Adolf Bernhard Marx was a prominent figure in German musical life in the nineteenth century. In contrast to his theory of composition ( Die Lehre von der musikalischen Komposition, 4 vols., Leipzig, 1837–1847), his book Die Musik des neunzehnten Jahrhunderts und ihre Pflege: Methode der Musik (Leipzig, 1855) is little known today. Even less is the detailed review that Franz Liszt devoted to this volume in the same year. This rather lengthy essay appeared in the May 11 and 18, 1855 issues of Neue Zeitschrift für Musik, edited by Franz Brendel, framed by Liszt's two more prominent articles on Robert Schumann (March and April, 1855) and Hector Berlioz (“Berlioz und seine Haroldsymphonie”, July and August, 1855). It has been generally assumed that all three articles follow similar arguments: either as implicit responses to Schumann's short article “Neue Bahnen” ( NZfM, 1853) or to Eduard Hanslick’s Vom Musikalisch-Schönen (Leipzig, 1854). This article presents a critical approach to the content, intent, and genesis of the review as well as on intertextual relationships to other writings by Liszt or his contemporaries with the concept of “Zukunftsmusik” playing a prominent role in these debates.
The increasing number of world-famous foreign musicians visiting Budapest in the years following the unification of the capital in 1873 also included the outstanding members of the period's young French generation of composers. The visits L & eacute;o Delibes made to Budapest - in early 1878 and again in March 1881, when he conducted his own works at the National Theater - were of great importance for the revival of French musical relations. (The third time the composer of Copp & eacute;lia came to Hungary was for an official visit during the 1885 National Exhibition, as a member of a large French delegation.) The newly formed associations, such as the Society of Writers and Artists, the French Circle of Budapest, and the salons played a major role in welcoming Delibes and in the development of French-Hungarian intellectual and cultural rapprochement. Franz Liszt, the Wohl sisters, D & eacute;nes P & aacute;zm & aacute;ndy and M & oacute;r Wahrmann, among others, gave receptions in honor of the French musician. The present study examines those social events surrounding the illustrious guest which were also characteristic of Liszt's social life in Budapest, focusing on the venues, participants, and significance of these events.
Adolf Bernhard Marx was a prominent figure in German musical life in the nineteenth century. In contrast to his theory of composition (Die Lehre von der musikalischen Komposition, 4 vols., Leipzig, 1837-1847), his book Die Musik des neunzehnten Jahrhunderts und ihre Pflege: Methode der Musik (Leipzig, 1855) is little known today. Even less is the detailed review that Franz Liszt devoted to this volume in the same year. This rather lengthy essay appeared in the May 11 and 18, 1855 issues of Neue Zeitschrift f & uuml;r Musik, edited by Franz Brendel, framed by Liszt's two more prominent articles on Robert Schumann (March and April, 1855) and Hector Berlioz ("Berlioz und seine Haroldsymphonie", July and August, 1855). It has been generally assumed that all three articles follow similar arguments: either as implicit responses to Schumann's short article "Neue Bahnen" (NZfM, 1853) or to Eduard Hanslick's Vom Musikalisch-Sch & ouml;nen (Leipzig, 1854). This article presents a critical approach to the content, intent, and genesis of the review as well as on intertextual relationships to other writings by Liszt or his contemporaries with the concept of "Zukunftsmusik" playing a prominent role in these debates.
