Book contents
- Liszt in Context
- Composers in Context
- Liszt in Context
- Copyright page
- Contents
- Illustrations and Tables
- Contributors
- Preface
- Part I People and Places
- Part II Society, Thought and Culture
- Part III Performance and Composition
- Part IV Reception and Legacy
- Chapter 27 Pupils
- Chapter 28 Critics
- Chapter 29 Lateness in Context
- Chapter 30 Liszt and the Twentieth and Twenty-First Centuries
- Chapter 31 Life-Writing
- Chapter 32 Iconography
- Chapter 33 Liszt in Film
- Further Reading
- Index
Chapter 29 - Lateness in Context
from Part IV - Reception and Legacy
Published online by Cambridge University Press: 23 September 2021
- Liszt in Context
- Composers in Context
- Liszt in Context
- Copyright page
- Contents
- Illustrations and Tables
- Contributors
- Preface
- Part I People and Places
- Part II Society, Thought and Culture
- Part III Performance and Composition
- Part IV Reception and Legacy
- Chapter 27 Pupils
- Chapter 28 Critics
- Chapter 29 Lateness in Context
- Chapter 30 Liszt and the Twentieth and Twenty-First Centuries
- Chapter 31 Life-Writing
- Chapter 32 Iconography
- Chapter 33 Liszt in Film
- Further Reading
- Index
Summary
Where does the idea of Liszt’s visionary, future-gazing late style come from? The ostensibly obvious answer is the music itself: just listen to the final bars of Nuages gris (1881), many austere and borderline atonal passages in Via crucis (1879) or the concept and realisation of sans tonalité in Liszt’s Bagatelle (1885). But listening is not a passive activity, and someone has always guided our hearing of these works in a selective way, directing the reader to filter out music that weakens the case.
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- Liszt in Context , pp. 271 - 281Publisher: Cambridge University PressPrint publication year: 2021