Full Description
The first thorough study of Liszt's use of the musical style associated with the Hungarian Roma ["Gypsies"] in his renowned Hungarian Rhapsodies and less overtly Hungarian works.
Some of Franz Liszt's most renowned pieces -- most famously his Hungarian Rhapsodies -- are written in a nineteenth-century Hungarian style known as verbunkos. Closely associated with the virtuosic playing tradition of theHungarian-Gypsy band, the meaning and uses of this style in Liszt's music have been widely taken for granted and presented as straightforward. Taking a novel transcultural approach to nineteenth-century modernism, Shay Loya presents a series of critiques and sensitive music analyses that demonstrate how the verbunkos idiom, rich and artful in itself, interacted in myriad ways with Liszt's multiple cultural identities, compositional techniques, and modernist aesthetics. Even supposedly familiar works such as the Rhapsodies emerge in a new light, and more startlingly, we find out how the idiom inhabits and shapes works that bear no outward marks of nationality or ethnicity. Particularly surprising is its role in the famously enigmatic compositions of Liszt's old age, such as Nuages gris and Bagatelle sans tonalité.
We are pleased to announce that Liszt's Transcultural Modernism and the Hungarian-Gypsy Tradition is one of two winners of the 2014 Alan Walker Book Award, given by the American Liszt Society.
Shay Loya is a Lecturer at City University London and is a board member of the Societyfor Music Analysis (UK).
Contents
Preface
Introduction
Transcultural Modernism
Verbunkos
Identity, Nationalism, and Modernism
Modernism and Authenticity
Listening to Transcultural Tonal Practices
The Verbunkos Idiom in the Music of the Future
Idiomatic Lateness
