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Jonathan Kregor, Liszt as Transcriber (Cambridge Cambridge University Press, 2010). xiii + 299 pp. £55.00.

Published online by Cambridge University Press:  24 May 2012

David Korevaar
David Korevaar*
Affiliation:
University of Colorado Boulder
*
[email protected]
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Type
Book Reviews
Information
Nineteenth-Century Music Review , Volume 9 , Issue 1: Theoretical and Critical Contexts in Nineteenth-Century Performance Practice , June 2012 , pp. 115 - 118
Copyright
Copyright © Cambridge University Press 2012

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References

1 Charles Rosen, The Romantic Generation (Cambridge, MA: Harvard University Press, 1998): 511–541Google Scholar. Rosen's perspective is both broader and narrower than what Kregor presents: I sense that Rosen thinks that many of the transcriptions are in bad taste. However, his discussion of the Don Juan Fantasy (pp. 528–41) is brilliant, and shows a respect for Liszt's ability to make something original from borrowed material. Kregor's book essentially takes off from this point.

2 Similar evolution in key scheme and ordering can be found in the versions of the Petrarch Sonnets, especially as placed in the larger context of the second book of the Années.

3 One reservation I will admit to in looking over this book is that there are far too few opportunities to compare originals with their transcriptions through the included examples; the Oberon overture is notable for being exceptional.