Books by Alexandros Maria Hatzikiriakos
Rappresentata per la prima volta a Venezia durante la stagione di car-nevale del 1643, L'incorona... more Rappresentata per la prima volta a Venezia durante la stagione di car-nevale del 1643, L'incoronazione di Poppea è l'ultima opera attribuibile, del tutto o in parte, a Claudio Monteverdi. Oltre a essere una delle poche opere, forse l'unica, del primo Seicento a essere entrata stabil-mente nel repertorio contemporaneo, è sicuramente uno dei drammi musicali più complessi e ambigui del suo genere. Questo libro offre un'introduzione ai temi e ai personaggi dell' opera, insieme a una guida all'ascolto, entrambe rivolte ad un pubblico inclusivo, sia universitario che non specialistico.
Lo Chansonnier du Roi (BnF, f. fr. 844) è uno dei codici più antichi del corpus trovierico e trov... more Lo Chansonnier du Roi (BnF, f. fr. 844) è uno dei codici più antichi del corpus trovierico e trovadorico, e uno dei più complessi per contenuto, caratteristiche codicologiche, e soprattutto per significato storico. Compilato nel Nord della Francia intorno alla metà del Due-cento, verso la fine del secolo il codice viene in contatto con gli ambienti francesi e provenzali della Napoli di Carlo I e Roberto I. Tale contatto è testimoniato da un vasto numero di aggiunte in notazione mensurale, opera di una ventina di scribi diversi. Tra queste si trovano composizioni in francese, provenzale e latino, di forme e generi differenti, nonché alcune tra le prime attestazioni manoscritte di danze strumentali a noi pervenute.
Journal Articles and Book Chapters by Alexandros Maria Hatzikiriakos
"Tu duca, tu segnore e tu maestro" Studi in onore di Franco Piperno, 2023
Il Saggiatore Musicale, 2018
The Museum of Renaissance Music: A History in 100 Exhibit, edited by Vincenzo Borghetti and Tim Shephard, 2023
Tradurre i trovatori Esperienze ecdotiche e di traduzione a confronto, a cura di Cecilia Cantalupi e Nicolò Premi, 2020
www.lim.it Volume realizzato con il contributo di Sapienza -Università di Roma (Finanziamenti per... more www.lim.it Volume realizzato con il contributo di Sapienza -Università di Roma (Finanziamenti per le iniziative culturali e sociali degli studenti, a.a. 2012/13) Tutti i diritti sono riservati. Nessuna parte di questa pubblicazione potrà essere riprodotta, archiviata in sistemi di ricerca e trasmessa in qualunque forma elettronica, meccanica, fotocopiata, registrata o altro senza il permesso dell'editore, dell'autore e del curatore.
Medioevo Romanzo , 2018
The article presents a general reconsideration of the so-called “Chansonnier du Roi” (Paris, BnF ... more The article presents a general reconsideration of the so-called “Chansonnier du Roi” (Paris, BnF f. fr. 844), a significant witness of thirteenth-century French and Occitan lyric with music, and polyphonic motets. It intermingles different perspectives, taken from both musicology and romance philology. Indeed, a dual approach is particularly effective for a wider comprehension of the Roi, as it brings to light important connections between the manuscript transmission of music and lyric in late thirteenth-century northern France. The first two sections are devoted to an overview of the contents, the story and the codicological structure of the manuscript. Then, a third part analyses the iconographical project in relation to the compilation of the codex. Finally, the last section concerns the Occitan and the motet gatherings, paying particular attention to the issue of intersection and the contamination of lyric and polyphony in the late thirteenth century.
Philologie et musicologie. Des sources à l’interprétation poético-musicale (XIIe-XVIe siècle), 2019
Trans-mission. Création et hybridation dans le domaine d’oc. Nouvelles perspectives de la recherche en domaine occitan. F. Barberini, C. Talfani (eds.), Turnhout, 2022
Muzyka, 2022
During the late mediaeval and early modern periods, Crete was the most important Venetian colony,... more During the late mediaeval and early modern periods, Crete was the most important Venetian colony, giving the Republic almost unchallenged commercial and military control of the eastern Mediterranean. Based on archive and documentary evidence, this article discusses the role played by music as a means of social and cultural control over the native Cretan population. After a brief introduction to the history of the Venetian domination of Crete (aka Venetocracy) and of its impact on local literature and visual arts, the first section deals with the presence of Western music in the Venetian secular and religious institutions. From a very early stage, Venice started employing locals as civic musicians (mostly trumpeters and ‘piffari’). For the locals themselves, a stable role in the local musical institution represented an opportunity for income and social ascension; for the Republic, meanwhile, it was a means of political and cultural control. Music was also central to religious institu...
Presented Papers by Alexandros Maria Hatzikiriakos
Tradurre i trovatori: Esperienze ecdotiche e di traduzione a confront, Verona, Università di Verona, 13 – 14 settembre 2017, 2017
Scritto su pelle. Esperienze di studio del manoscritto medievale.
Terzo incontro: Fr... more Scritto su pelle. Esperienze di studio del manoscritto medievale.
Terzo incontro: Frammenti di discorsi amorosi: sui manoscritti lirici, 3 luglio 2020, 16h
Studenti, dottorandi e professori sono invitati a partecipare al ciclo di incontri "Scritto su pelle. Esperienze di studio del manoscritto medievale", organizzato dal Dipartimento di Studi Europei, Americani e Interculturali dell'Università di Roma "La Sapienza", in collaborazione con il dottorato in scienze del testo dal medioevo alla modernità: filologie medievali, paleografia, studi romanzi organizzano. In ogni incontro, giovani ricercatori e ricercatrici si confronteranno intorno a una tema condiviso, presentando le proprie esperienze di studio. L'ultimo incontro dell'estate, Frammenti di discorsi amorosi: scritto su pelle, si terrà il 3 luglio alle ore 16 sulla piattaforma google meet. Il codice per accedere alla riunione è jcastzcmvi. Per maggiori informazioni: [email protected]
Mare Amoroso. Croisement méditerannéens dans la lyrique romane. Verona 6-7 June 2019
The conference Books, Images, Objects: The Media of Secular Music in the Medieval and Early Moder... more The conference Books, Images, Objects: The Media of Secular Music in the Medieval and Early Modern Period intends to discuss medial and material aspects of secular music sources between the twelfth and the sixteenth century. We aim to consider music manuscripts and printed books as complex and multifaceted objects, not only containing, but also shaping, communicating and representing the music they transmit. A related purpose is to broaden the concept of music source by considering a variety of media and “texts” that concern musical meanings and events, e.g. images, pieces of furniture, luxury items and objects for everyday use.
Nowadays, it is generally accepted that the sonic quality of medieval and early modern music is irretrievably lost. Notation, the only sound recording technology available at the time, was strictly limited to basic parameters; many of its theoretical and practical aspects are still far from being fully understood. Indeed, nobody in the Middle Ages would have been surprised by the famous assertion by Isidore of Seville: «Unless sounds are remembered by people, they perish, for they cannot be written down» (Etymologiae, III, 15). It comes as no surprise, therefore, that the evidence of this vanished soundworld is almost exclusively visual and literary. However, in the last few decades music scholars have devoted their efforts to the investigation of sound and sound aesthetics by widening the remit of what constitutes a music source or medium. Taking their cue from new philology, sound studies and material culture, today’s musicology is constantly increasing its material and visual approach to sources and opening up to interdisciplinary dialogue and multi-field research.
Our conference will explore these new trends, focusing especially on the following issues:
Firstly, the role of visual arts/visual aspects in medieval and early modern musical sources: the ways in which decorations, paratexts, mise en text/mise en page, compilational strategies and book forms interacted in conveying narratives and identities of authors, patrons and users;
Secondly, the materiality of music, beyond its “bookish embodiment”: how musical and sonic experiences were mediated by non-musical sources, such as paintings, portraits, literary works, both narrative and lyric, and scientific literature (e.g. treatises, chronicles, etc.);
Thirdly, the ways in which not strictly musical artefacts (e.g. furnishings, intarsias, rings, necklaces, goblets, cutlery, tableware etc.) might have worked as means to convey musical meanings and/or to mediate music performances.
Seminario Tradurre i trovatori: Esperienze ecdotiche e di traduzione a confront, Verona, Università di Verona, 13 – 14 settembre 2017. , 2017
Trouvères Transposed. Sounding Conversations Between Chansons and Their Relatives, King's College Cambridge, 5th May 2018., 2018
The French chansonnier Paris, BNF f. fr. 844 (generally known as Chansonnier du Roi) is one of th... more The French chansonnier Paris, BNF f. fr. 844 (generally known as Chansonnier du Roi) is one of the earliest and most important sources for trouvère and troubadour lyrics, but also for early motets in modal notation. Compiled around 1250 in Artois, the manuscript was later brought to the Angevin courts of Naples, probably around 1282, and enriched by many different hands, with a unique collection of Occitan, French, and Latin songs and instrumental dances in mensural notation. These later additions, mostly refrain genres (like the Occitan virelais, rondeaux and eterostrophic chansons) epitomize one of most emblematic case study for the comprehensions of the stylistic turn from the strophic chanson to the new formes fixes.
My paper will narrowly consider the French additions, mostly constituted by refrain-genres, like rondeaux, chansons à refrain and motets entés, and the latin composition Iam mundus ornatur, notably a contrafactum of the descort La douce acordance by the Artesian trouvère Adam de Givenci. The major part of the late additions shares and quotes materials derived from the musical and poetical tradition of the city of Arras. I will provide evidence in order to demonstrate a strict connection of the scribes, and maybe also the composers, of these songs with the Artesian political and cultural milieu existing in the Regno during the last decades of the thirteenth Century. The extended use of quotation and remaking of pre-existent songs, throughout the late French additions, plays a key-role in constituting the identity of the Artesian environment settled out of France and gathered around the courts of Charles I of Anjou and Robert II of Artois in Naples.
MedRen 2018 - Maynooth 5-8 July 2018, 2018
Vitsentzos Kornaros’ chivalric poem Erotokritos (1600 – 1610ca) is a major work of the Cretan
Ren... more Vitsentzos Kornaros’ chivalric poem Erotokritos (1600 – 1610ca) is a major work of the Cretan
Renaissance literature and represents an articulated compendium of the syncretic culture of Venetian
Crete. Erotokritos is modelled on one of the most popular 15th century European romances, Pierre de la
Cépède’s Paris et Vienne, and it stands out for representing the transposition of western courtly values in
early modern Greece. The protagonist Erotokritos, literally “tormented by love”, embodies all the
features of the perfect renaissance hero: courtly lover, cultured knight and an especially fine singer. Indeed,
music, especially monophonic love song, plays a key role in constructing the hero’s identity: it primarily
represents the only vehicle of expression of the love’s anguish, which names the protagonist, and also
the main communication medium between Erotokritos and his lady, Aretousa.
This paper aims to investigate the presence of monophonic love song as a pivotal cultural object of
western music and its reception and recreation in the Cretan Renaissance. In order to comprehend its
significance in Erotokritos, I will present a detailed comparative analysis of musical features in the
original French romance and other earlier adaptations, that possibly served as models for the Cretan
poem, including also the Italian prose translation Paris and Vienna. Finally, I will also consider the
iconographical implications in the decorations of many of the manuscripts and printed books of both
western romance and Cretan poem, trying to offer a complete framing of the phenomenon.
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Books by Alexandros Maria Hatzikiriakos
Journal Articles and Book Chapters by Alexandros Maria Hatzikiriakos
Presented Papers by Alexandros Maria Hatzikiriakos
Terzo incontro: Frammenti di discorsi amorosi: sui manoscritti lirici, 3 luglio 2020, 16h
Studenti, dottorandi e professori sono invitati a partecipare al ciclo di incontri "Scritto su pelle. Esperienze di studio del manoscritto medievale", organizzato dal Dipartimento di Studi Europei, Americani e Interculturali dell'Università di Roma "La Sapienza", in collaborazione con il dottorato in scienze del testo dal medioevo alla modernità: filologie medievali, paleografia, studi romanzi organizzano. In ogni incontro, giovani ricercatori e ricercatrici si confronteranno intorno a una tema condiviso, presentando le proprie esperienze di studio. L'ultimo incontro dell'estate, Frammenti di discorsi amorosi: scritto su pelle, si terrà il 3 luglio alle ore 16 sulla piattaforma google meet. Il codice per accedere alla riunione è jcastzcmvi. Per maggiori informazioni: [email protected]
Nowadays, it is generally accepted that the sonic quality of medieval and early modern music is irretrievably lost. Notation, the only sound recording technology available at the time, was strictly limited to basic parameters; many of its theoretical and practical aspects are still far from being fully understood. Indeed, nobody in the Middle Ages would have been surprised by the famous assertion by Isidore of Seville: «Unless sounds are remembered by people, they perish, for they cannot be written down» (Etymologiae, III, 15). It comes as no surprise, therefore, that the evidence of this vanished soundworld is almost exclusively visual and literary. However, in the last few decades music scholars have devoted their efforts to the investigation of sound and sound aesthetics by widening the remit of what constitutes a music source or medium. Taking their cue from new philology, sound studies and material culture, today’s musicology is constantly increasing its material and visual approach to sources and opening up to interdisciplinary dialogue and multi-field research.
Our conference will explore these new trends, focusing especially on the following issues:
Firstly, the role of visual arts/visual aspects in medieval and early modern musical sources: the ways in which decorations, paratexts, mise en text/mise en page, compilational strategies and book forms interacted in conveying narratives and identities of authors, patrons and users;
Secondly, the materiality of music, beyond its “bookish embodiment”: how musical and sonic experiences were mediated by non-musical sources, such as paintings, portraits, literary works, both narrative and lyric, and scientific literature (e.g. treatises, chronicles, etc.);
Thirdly, the ways in which not strictly musical artefacts (e.g. furnishings, intarsias, rings, necklaces, goblets, cutlery, tableware etc.) might have worked as means to convey musical meanings and/or to mediate music performances.
My paper will narrowly consider the French additions, mostly constituted by refrain-genres, like rondeaux, chansons à refrain and motets entés, and the latin composition Iam mundus ornatur, notably a contrafactum of the descort La douce acordance by the Artesian trouvère Adam de Givenci. The major part of the late additions shares and quotes materials derived from the musical and poetical tradition of the city of Arras. I will provide evidence in order to demonstrate a strict connection of the scribes, and maybe also the composers, of these songs with the Artesian political and cultural milieu existing in the Regno during the last decades of the thirteenth Century. The extended use of quotation and remaking of pre-existent songs, throughout the late French additions, plays a key-role in constituting the identity of the Artesian environment settled out of France and gathered around the courts of Charles I of Anjou and Robert II of Artois in Naples.
Renaissance literature and represents an articulated compendium of the syncretic culture of Venetian
Crete. Erotokritos is modelled on one of the most popular 15th century European romances, Pierre de la
Cépède’s Paris et Vienne, and it stands out for representing the transposition of western courtly values in
early modern Greece. The protagonist Erotokritos, literally “tormented by love”, embodies all the
features of the perfect renaissance hero: courtly lover, cultured knight and an especially fine singer. Indeed,
music, especially monophonic love song, plays a key role in constructing the hero’s identity: it primarily
represents the only vehicle of expression of the love’s anguish, which names the protagonist, and also
the main communication medium between Erotokritos and his lady, Aretousa.
This paper aims to investigate the presence of monophonic love song as a pivotal cultural object of
western music and its reception and recreation in the Cretan Renaissance. In order to comprehend its
significance in Erotokritos, I will present a detailed comparative analysis of musical features in the
original French romance and other earlier adaptations, that possibly served as models for the Cretan
poem, including also the Italian prose translation Paris and Vienna. Finally, I will also consider the
iconographical implications in the decorations of many of the manuscripts and printed books of both
western romance and Cretan poem, trying to offer a complete framing of the phenomenon.
Terzo incontro: Frammenti di discorsi amorosi: sui manoscritti lirici, 3 luglio 2020, 16h
Studenti, dottorandi e professori sono invitati a partecipare al ciclo di incontri "Scritto su pelle. Esperienze di studio del manoscritto medievale", organizzato dal Dipartimento di Studi Europei, Americani e Interculturali dell'Università di Roma "La Sapienza", in collaborazione con il dottorato in scienze del testo dal medioevo alla modernità: filologie medievali, paleografia, studi romanzi organizzano. In ogni incontro, giovani ricercatori e ricercatrici si confronteranno intorno a una tema condiviso, presentando le proprie esperienze di studio. L'ultimo incontro dell'estate, Frammenti di discorsi amorosi: scritto su pelle, si terrà il 3 luglio alle ore 16 sulla piattaforma google meet. Il codice per accedere alla riunione è jcastzcmvi. Per maggiori informazioni: [email protected]
Nowadays, it is generally accepted that the sonic quality of medieval and early modern music is irretrievably lost. Notation, the only sound recording technology available at the time, was strictly limited to basic parameters; many of its theoretical and practical aspects are still far from being fully understood. Indeed, nobody in the Middle Ages would have been surprised by the famous assertion by Isidore of Seville: «Unless sounds are remembered by people, they perish, for they cannot be written down» (Etymologiae, III, 15). It comes as no surprise, therefore, that the evidence of this vanished soundworld is almost exclusively visual and literary. However, in the last few decades music scholars have devoted their efforts to the investigation of sound and sound aesthetics by widening the remit of what constitutes a music source or medium. Taking their cue from new philology, sound studies and material culture, today’s musicology is constantly increasing its material and visual approach to sources and opening up to interdisciplinary dialogue and multi-field research.
Our conference will explore these new trends, focusing especially on the following issues:
Firstly, the role of visual arts/visual aspects in medieval and early modern musical sources: the ways in which decorations, paratexts, mise en text/mise en page, compilational strategies and book forms interacted in conveying narratives and identities of authors, patrons and users;
Secondly, the materiality of music, beyond its “bookish embodiment”: how musical and sonic experiences were mediated by non-musical sources, such as paintings, portraits, literary works, both narrative and lyric, and scientific literature (e.g. treatises, chronicles, etc.);
Thirdly, the ways in which not strictly musical artefacts (e.g. furnishings, intarsias, rings, necklaces, goblets, cutlery, tableware etc.) might have worked as means to convey musical meanings and/or to mediate music performances.
My paper will narrowly consider the French additions, mostly constituted by refrain-genres, like rondeaux, chansons à refrain and motets entés, and the latin composition Iam mundus ornatur, notably a contrafactum of the descort La douce acordance by the Artesian trouvère Adam de Givenci. The major part of the late additions shares and quotes materials derived from the musical and poetical tradition of the city of Arras. I will provide evidence in order to demonstrate a strict connection of the scribes, and maybe also the composers, of these songs with the Artesian political and cultural milieu existing in the Regno during the last decades of the thirteenth Century. The extended use of quotation and remaking of pre-existent songs, throughout the late French additions, plays a key-role in constituting the identity of the Artesian environment settled out of France and gathered around the courts of Charles I of Anjou and Robert II of Artois in Naples.
Renaissance literature and represents an articulated compendium of the syncretic culture of Venetian
Crete. Erotokritos is modelled on one of the most popular 15th century European romances, Pierre de la
Cépède’s Paris et Vienne, and it stands out for representing the transposition of western courtly values in
early modern Greece. The protagonist Erotokritos, literally “tormented by love”, embodies all the
features of the perfect renaissance hero: courtly lover, cultured knight and an especially fine singer. Indeed,
music, especially monophonic love song, plays a key role in constructing the hero’s identity: it primarily
represents the only vehicle of expression of the love’s anguish, which names the protagonist, and also
the main communication medium between Erotokritos and his lady, Aretousa.
This paper aims to investigate the presence of monophonic love song as a pivotal cultural object of
western music and its reception and recreation in the Cretan Renaissance. In order to comprehend its
significance in Erotokritos, I will present a detailed comparative analysis of musical features in the
original French romance and other earlier adaptations, that possibly served as models for the Cretan
poem, including also the Italian prose translation Paris and Vienna. Finally, I will also consider the
iconographical implications in the decorations of many of the manuscripts and printed books of both
western romance and Cretan poem, trying to offer a complete framing of the phenomenon.
Concentrandosi sul rapporto tra il racconto di Poe e il cantiere incompiuto de "La Chute", questo studio tenta di indagare alcuni dei nodi estetici fondamentali che interessarono i due autori: Voce, Silenzio, Ascolto. Se il silenzio e l'ascolto furono un terreno comune alla filosofia e all'estetica sia di Poe che di Debussy, i due autori elaborarono, nelle loro rispettive versioni della storia degli Usher, discorsi divergenti sulla voce umana. Tali divergenze possono oggi essere lette come il sintomo di differenti sensibilità estetiche ma anche, e forse soprattutto, etiche.
profane du XIIIe siècle. Ce recueil préserve, a côté d’une collection fondamentale de chansons notées, un
ensemble de quarante-huit motets à deux et trois voix et une section de lais. Cet ensemble de textes, qui
constituait le noyau original du manuscrit, a été enrichi par des ajouts successifs, à cheval entre le XIIIe et le
XIVe siècle. Ces ajouts regroupent des compositions monodiques françaises, occitanes et latines de typologie
très variée, des estampidas, et d’autres danses en notation mensurale qui comptent parmi les toutes premières
attestations manuscrites de musique instrumentale conservées. Le Manuscrit du Roi est aussi l’un des plus
anciens témoins du corpus lyrique des trouvères et des troubadours. C’est en effet un témoin textuel fondamental
pour plusieurs trouvères et, en même temps, un témoignage crucial des modalités d’assimilation de la poésie
troubadouresque dans le domaine d’oïl.
Ce manuscrit présente des caractéristiques notables du point de vue de la structure codicologique. En
particulier, il compte de nombreuses pages vides et des tétragrammes dépourvus de notation qui remontent à la
première phase de l’histoire de l’objet, c’est-à-dire la copie et l’assemblage du noyau originaire. En outre, il a
plusieurs perturbations dans l’ordre des cahiers et de nombreuses lacunes sont intervenues. C’est en effet à cet
aspect chaotique du recueil et à l’histoire de ses modifications que se sont attachés la plupart des chercheurs en
philologie et en musicologie. Après l’édition en fac-similé et « reconstructive » publiée en 1938 par Jean et
Louise Beck, et le long compte rendu de Hans Spanke, le Manuscrit du Roi a fait l’objet de deux importantes
recherches musicologiques, celle de Judith Peraino, focalisée sur l’interprétation des ajouts, et celle de John
Haines, centrée sur les aspects paléographiques et matériaux du manuscrit dans son ensemble. Au cours des
mêmes années, Maria Carla Battelli étudia les aspects de la mise en recueil d’un point de vue philologique tandis
que Stefano Asperti proposa de lire les ajouts dans le contexte de la production poétique et musicale liée à la
cour angevine de Naples.
Notre contribution se focalisera surtout sur les ajouts postérieurs qui semblent essentiels pour la
connaissance de l’histoire du manuscrit et pour la détermination des milieux de production et de circulation.
Malgré les nombreuses hypothèses avancées, les conditions historique et géographique de la production et de la
circulation du recueil sont loin d’êtres assurées. Si la copie du noyau originel semble remonter au Nord de la
France, les ajouts montrent une situation plus complexe, puisque l’hypothèse d’une probable connexion des
textes français et provençaux – ainsi que des danses instrumentales – avec la Naples angevine ne peut pas être
étendue aux textes latins. Plusieurs questions attendent donc de nouvelles réponses : celle de la possible
identification d’un commanditaire, celle du public visé par les auteurs du projet codicologique, et surtout celle
des objectifs de la consignation, son éventuel caractère pratique ou, au contraire, celui de la conservation visant
la « monumentalisation » d’un répertoire prestigieux. Nous essayerons d’émettre des hypothèses sur ces sujets en
exploitant les outils de réflexions offerts par la musicologie et par la philologie textuelle. Nous chercherons tout
d’abord à fondre les données, en préparant ensuite des hypothèses fondées sur une approche intégrale, jamais
encore tentée pour ce sujet. Un objet « amphibie » comme le Manuscrit du Roi semble ainsi un domaine de
recherche très prometteur pour un dialogue entre différentes compétences et perspectives critiques.
Russian music.
It is well known that Liszt, during his concert tours, had many opportunities to
spread his name across Russia; the composers of the rising Russian national school
were deeply impressed by the Hungarian master, as some of Mussorgsky’s assertions
can demonstrate: «How many new worlds, perhaps, might have been discovered in
talks with Liszt, how many unknown corners we might have explored together; and
Liszt, by his nature, is daring and has no lack of courage, and […] it evidently would
not be diffi cult for him to take such an excursion with us into new lands». Such considerations
are signifi cant especially because they are provided by the leading innovator
of The Five, who probably wouldn’t have shown interest in conservative occidental composers.
On the other hand, Liszt himself was one of the fi rst European artists to praise
and to try to promote – for example – Glinka, Dargomyzhsky and Borodin’s works.
These revealing and unusual musical interests were not always shared by Liszt’s traditionalist
contemporaries. On this front, there is a document which narrates Liszt’s enthusiasm
towards Mussorgsky’s The Nursery: the letter by Adelaide von Schorn to the
Russian editor Bessel. Although Émile Haraszti and Màrta Papp demonstrated that this
epistle is a historical falsifi cation, nonetheless it might be useful to consider this document
as an echo of a real problem: the mutual attraction between Liszt and Russian
musicians. What is to determine is the quality of this relationship.
This research aims to examine Liszt’s output through two different levels:
1) the analysis of paraphrases and transcriptions of Russian works and melodies
(Prélude à la Polka d’Alexandre Porfi ryevitch Borodine. Variation pour piano seul
par F. Liszt – S207a; Tscherkessenmarsch aus Glinkas Oper: Russlan und Ludmilla
– S406; Tarentelle de César Cui pour piano seul – S482; Abschied Russisches
Volkslied – S251; Tarantella di Dargomyzhsky – S483 etc.);
2) the investigation about the actual infl uence of Russian composer’s “non-classical”
production on Liszt’s
2-4 April 2025, Museu Maritim, Barcelona, Spain
Submissions deadline: 30 October 2024
Confirmation of acceptance: 15 November 2024