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
- Chapter 10 The ‘War’ of the Romantics
- Chapter 11 Visual Art and Artists
- Chapter 12 Literature and Literary Heroes
- Chapter 13 Liszt, Women and Salon Culture
- Chapter 14 Liszt as a Writer
- Chapter 15 Patronage
- Chapter 16 Liszt and the Networks of Revolution
- Chapter 17 Liszt’s National Identity
- Chapter 18 Liszt and Religion
- Part III Performance and Composition
- Part IV Reception and Legacy
- Further Reading
- Index
Chapter 17 - Liszt’s National Identity
What Else Is New?
from Part II - Society, Thought and Culture
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
- Chapter 10 The ‘War’ of the Romantics
- Chapter 11 Visual Art and Artists
- Chapter 12 Literature and Literary Heroes
- Chapter 13 Liszt, Women and Salon Culture
- Chapter 14 Liszt as a Writer
- Chapter 15 Patronage
- Chapter 16 Liszt and the Networks of Revolution
- Chapter 17 Liszt’s National Identity
- Chapter 18 Liszt and Religion
- Part III Performance and Composition
- Part IV Reception and Legacy
- Further Reading
- Index
Summary
‘Hungarian composer, pianist and teacher’: the first line in the current Grove online article bows to a long tradition of affixing a single national identity to composers as a shorthand for their geographical origins, citizenship or ethnic group identity. In a similar way, the travel guide Austria.info counts Liszt among ‘Austria’s “great” sons and daughters’, rationalised on the grounds of birthplace and regional geography.1 To depart from tidier lexical norms and define Liszt as a cosmopolitan-nationalist, French-educated Austro-German-Hungarian Catholic (who declared himself a Magyar) is, of course, still extremely reductive. But it gets us closer to a far messier and more interesting relationship between childhood memories of a native land, several adopted homes, changing languages, several political versions of national identity, his private sense of belonging and public participation in and promotion of national projects. It forces us to think again and again about the meaning of the ‘national’ in his music.
- Type
- Chapter
- Information
- Liszt in Context , pp. 154 - 162Publisher: Cambridge University PressPrint publication year: 2021