Recomposing National Identity: Four Transcultural Readings of Liszt's Marche hongroise d'après Schubert

Loya, Shay

doi:10.1525/jams.2016.69.2.409

Cited by 2 publications

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“…Liszt's manifold affiliations with Hungary, the Austrian Empire (and from 1867 Austro-Hungary), France, North Germany (especially Weimar) and Rome have been extensively explored in biographical studies, including recent ones (Gooley 2004;Loya 2011: 86-117 and2016;and Cormac 2013). When looking at a list of his wartime compositions (Appendix 1), the 'Hungarian' works clearly predominate, although -as I will try to show in this chapter -such mono-national adjectives disguise more complex modes of representation within each work.…”

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Liszt’s national compositions in the year of the Franco-Prussian war

Loya¹

2018

Confronting the National in the Musical Past

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confidence: 99%

Liszt’s national compositions in the year of the Franco-Prussian war

Loya¹

2018

Confronting the National in the Musical Past

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HeimatIs Where the Heart Is; or, What Kind of Hungarian was Goldmark?

Brodbeck¹

2017

Austrian Hist Yearbk

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On 2 January 1915, during the first winter of the First World War, the celebrated composer Carl Goldmark died in Vienna at the ripe old age of eighty-four. The Viennese press gave the story of his passing the kind of coverage that one would expect for a figure who was described as the “rector of Austrian music,” even its “epicenter.” The notice in the Neue Freie Presse was particularly striking in its imagery: “We, musical Vienna and the entire musical world, stand shaken around the funeral bier of the great composer and Austrian Carl Goldmark.” As the report goes on, the writer makes a clear reference to the growing war effort: “Many of our best and brightest must now die on the battlefield for the fatherland. Goldmark lived for his fatherland, and by creating art touched by the breadth of eternity, he honored the fatherland in his own way and greatly increased the cultural heritage of humanity.” Meanwhile, in the other great capital of the Dual Monarchy, the composer's death was covered very differently. To read the obituaries that appeared in Budapest is to be told that Hungary, not Austria, was Goldmark's fatherland. Here, in effect, both halves of the monarchy were fighting over the same man's legacy—the one, primarily on the basis of his Hungarian birth and childhood; the other, on the basis of his long residency in Austria and the central role he played in the musical culture of late Habsburg Vienna.

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Recomposing National Identity: Four Transcultural Readings of Liszt's Marche hongroise d'après Schubert

Abstract: This is the published version of the paper.This version of the publication may differ from the final published version. Permanent repository link:

Cited by 2 publications

References 44 publications

Liszt’s national compositions in the year of the Franco-Prussian war

Liszt’s national compositions in the year of the Franco-Prussian war

HeimatIs Where the Heart Is; or, What Kind of Hungarian was Goldmark?

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