Programme . responsibility of three-fourths of this absolutely hoggish behavior. Liszts admiration for Victor Hugo was lasting. He wrote to thePrincess from Weimar, July 5, 1878, of a visit to Paris the month before:I have composed music for several of his poems, Ce quon entend sur lamontagne, etc.—and I have preserved for him all the admiration ofmy youth, with something more, notwithstanding differences of opiniontoo easily understood. Told by one of his women friends that VictorHugo would see me again with pleasure, I renewed personally theconstant homage of my devotion to genius—homage to
Programme . responsibility of three-fourths of this absolutely hoggish behavior. Liszts admiration for Victor Hugo was lasting. He wrote to thePrincess from Weimar, July 5, 1878, of a visit to Paris the month before:I have composed music for several of his poems, Ce quon entend sur lamontagne, etc.—and I have preserved for him all the admiration ofmy youth, with something more, notwithstanding differences of opiniontoo easily understood. Told by one of his women friends that VictorHugo would see me again with pleasure, I renewed personally theconstant homage of my devotion to genius—homage to which he re-sponded amicably, as it was thirty years or more ago. The composer put the argument of Hugos poem into these wordspublished in the score; but, as will be observed later, he came to a dif-ferent conclusion:— The following lines should always be joined to the programme of aconcert in Avhich this symphonic poem will be performed: The poet hears two voices: one immense, magnificent, ineffable,. These refined tonal imaginings are for the intelligent pianistwho is inclined to place graceful poetic fancy above facilefinger-work. Technically moderate, and melodically rich. BOSTONcSItSTkNEWYORKDO
Size: 2019px × 1237px
Photo credit: © The Reading Room / Alamy / Afripics
License: Licensed
Model Released: No
Keywords: ., bookauthorbostonsy, bookcentury1800, bookdecade1880, bookyear1881
