Overview

The first comprehensive study in book form of Liszt's visits to England, replete with copious illustrations, appendix, and fascinating details of several previously unknown Liszt compositions. This volume certainly breaks new ground. It is full of arcana of his life and work, of the music he played, wrote, improvised, 'corrected,' or 'lost in a fire.' William Wright charts the course of the reception history given to Liszt and his music in England from 1824 to the present day. He includes all known premiere performances of Liszt's works in the country, and offers this must-have publication, providing a wealth of material about Liszt found in no other Liszt book, to scholar and general reader alike.

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9781576472460

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William Wright: Since giving the world premiere of Liszt's Piano Piece in A flat (S189a) in 1987, William Wright - musicologist, pianist, and a former Council Member of the Liszt Society - has written numerous articles and book chapters on Liszt, published in Italy, France, Hungary, Sweden and in the United States (in the Journal of the American Liszt Society volumes 23, 29, 31, 33, 35, 54-56 and 64). Wright has lectured and performed widely from 1993: at the International Congress of Liszt Societies in the Catholic University of America in Washington D.C., at the Great Romantics Festival in Canada (on six occasions), twice at the International Liszt Conference in Budapest, twice at the Journees Internationales in Belgium (in Liege and Durbuy), at the Liszt Bicentennial Conference in Paris in 2011 and elsewhere. He has also participated in the first modern performance of the following works: Wagner, Liszt O du mein holder Abendstern in an arrangement for violoncello and piano from a fragment by Liszt (LWD7) ; Liszt and Jules de Swert, Consolations nos. 1 and 4 for violoncello and piano (or organ), including an enchainement by Liszt (S382a), A Death Summons (Die Vatergruft, 1886) for voice and piano (S281iv); and in 2004, found, published and performed the Herold-Herz-Liszt Cavatine de Zampa. Today, Liszt in England, like Wright's recent study, 'Liszt in Asia' [see JALS '64', 2014], reveals new facts about Liszt and his movements via primary source material. It provides an opportunity to make known uncatalogued, untraced Liszt works that do not appear in any other Liszt publication: works including Liszt's boyhood compositions, that were 'lost in a fire,' during one of his early visits to England.

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