|Date/Time: Sun 22 Apr 2018 - 14:00 to 16:30
|Organiser: The Richard Wagner Society (Victoria)
Contact Name: Trevor Clarke
Contact Phone Number:
Contact Email: email@example.com
Web Site for More Information:
Web Site for Bookings: http://wagnermelb.org.au/event-bookings/
Cost: $40.00 for Members, $50.00 for Guests, $25.00 for Students
Flockart Hall, Methodist Ladies’ College
207 Barkers Road, Kew, VIC, 3101
RSVP Date: Wednesday 18 April 2018
Who influenced whom and by how much?
Liszt was already a well-known figure in the musical world when he met Wagner, and the question of musical influence inevitably arises, primarily regarding harmony and the use of Leitmotifs.
Wagner developed in huge strides from his early stage works such as Die Feen and Rienzi to the late splendour of Parsifal. Similarly, Liszt progressed from the bravura of his early showpieces to the mystical asceticism of his final years.
Upon hearing Liszt’s Orpheus, Wagner found it “incomparable in its beauty and perfection”.
Wagner’s leap from the triadic harmony of the Ring to the chromaticism of Tristan und Isolde is very likely to have been influenced by Liszt’s symphonic tone-poems of his Weimar period.
Their relationship, especially after Wagner became Liszt’s son-in-law by marrying Cosima, went through rocky times, but Liszt continued to champion Wagner’s music through virtuoso transcriptions. Liszt’s celebrity status and aristocratic connections brought Wagner’s name to a very wide audience.
The 19th century saw the rise of national pride in many European countries, and Liszt gave generously to the cause of Hungarian independence. Nevertheless, Liszt remained the cosmopolitan he had always been. Liszt’s music overcomes national borders – German, French, Hungarian and even Italian. On the other hand, Wagner felt that musical style and nationality are intrinsically bound together – a sentiment shared by later composers who were influenced by Wagner, such as Debussy, Bartok and (of interest for Australians) Percy Grainger.
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