Programme Music in the Last Four Centuries: A Contribution to the History of Musical Expression

By Frederick Niecks | Go to book overview

CHAPTER II.

SIXTH PERIOD CONTINUED.
LISZT.

Important as Berlioz is in the development of programme music, LISZT is so far more. Indeed, he is the most important of all, and is this quite apart from the value of his productions as works of art. His importance lies chiefly and mainly in the impulses he gave--in the vistas he opened, the new problems he proposed, the solutions of old problems he attempted, in short, in the new ideas, methods, procedures, and means he suggested. Unlike Berlioz, Liszt had a system, and set it forth in unequivocal language. While in the quantity of his programme music and in the scope and variety of his programmes Liszt surpasses Berlioz, the latter must, I think, be allowed the possession of a larger amount of originality and creativeness. Of Berlioz I have already said that he was not one of the spontaneous composers, one of those whose souls are steeped in harmonious beauty, and whose natural language is music, in which their thoughts easily find adequate expression and perfect form. But although alike in being outside the blessed circle of the elect, they were nevertheless very different in many respects--in endowment, in training, in circumstances, in character, &c., &c. From the age of ten Liszt was trained by excellent masters and lived in artistic environment, first in Vienna and afterwards in Paris; Berlioz had no music teaching worth speaking of and lived in inartistic

-265-

Notes for this page

Add a new note
If you are trying to select text to create highlights or citations, remember that you must now click or tap on the first word, and then click or tap on the last word.
One moment ...
Default project is now your active project.
Project items

Items saved from this book

This book has been saved
Highlights (0)
Some of your highlights are legacy items.

Highlights saved before July 30, 2012 will not be displayed on their respective source pages.

You can easily re-create the highlights by opening the book page or article, selecting the text, and clicking “Highlight.”

Citations (0)
Some of your citations are legacy items.

Any citation created before July 30, 2012 will labeled as a “Cited page.” New citations will be saved as cited passages, pages or articles.

We also added the ability to view new citations from your projects or the book or article where you created them.

Notes (0)
Bookmarks (0)

You have no saved items from this book

Project items include:
  • Saved book/article
  • Highlights
  • Quotes/citations
  • Notes
  • Bookmarks
Notes
Cite this page

Cited page

Style
Citations are available only to our active members.
Buy instant access to cite pages or passages in MLA, APA and Chicago citation styles.

(Einhorn, 1992, p. 25)

(Einhorn 25)

1. Lois J. Einhorn, Abraham Lincoln, the Orator: Penetrating the Lincoln Legend (Westport, CT: Greenwood Press, 1992), 25, http://www.questia.com/read/27419298.

Cited page

Bookmark this page
Programme Music in the Last Four Centuries: A Contribution to the History of Musical Expression
Table of contents

Table of contents

Settings

Settings

Typeface
Text size Smaller Larger Reset View mode
Search within

Search within this book

Look up

Look up a word

  • Dictionary
  • Thesaurus
Please submit a word or phrase above.
Print this page

Print this page

Why can't I print more than one page at a time?

Help
Full screen
/ 548

matching results for page

    Questia reader help

    How to highlight and cite specific passages

    1. Click or tap the first word you want to select.
    2. Click or tap the last word you want to select, and you’ll see everything in between get selected.
    3. You’ll then get a menu of options like creating a highlight or a citation from that passage of text.

    OK, got it!

    Cited passage

    Style
    Citations are available only to our active members.
    Buy instant access to cite pages or passages in MLA, APA and Chicago citation styles.

    "Portraying himself as an honest, ordinary person helped Lincoln identify with his audiences." (Einhorn, 1992, p. 25).

    "Portraying himself as an honest, ordinary person helped Lincoln identify with his audiences." (Einhorn 25)

    "Portraying himself as an honest, ordinary person helped Lincoln identify with his audiences."1

    1. Lois J. Einhorn, Abraham Lincoln, the Orator: Penetrating the Lincoln Legend (Westport, CT: Greenwood Press, 1992), 25, http://www.questia.com/read/27419298.

    Cited passage

    Thanks for trying Questia!

    Please continue trying out our research tools, but please note, full functionality is available only to our active members.

    Your work will be lost once you leave this Web page.

    Buy instant access to save your work.

    Already a member? Log in now.

    Oops!

    An unknown error has occurred. Please click the button below to reload the page. If the problem persists, please try again in a little while.