The Liszt image in contemporary music publications

弗朗兹·李斯特（Franz Liszt）仍然是19世纪最丰富的多面艺术家之一；即使在他的一生中，媒体也为他提供了大量的传记、音乐百科全书、参考书，尤其是期刊。本项目将详细介绍19世纪20年代至80年代的当代音乐出版物提供的李斯特广泛而多样的形象，以探索这种异质性中的矛盾心理的核心方面。它提供了对李斯特周围的接受和话语的基于来源的分析，作为仅基于李斯特偶尔过分强调的自我呈现的研究的替代方案。该项目考察了两种修辞策略，以细微差别李斯特的接受：“生活的图像”和“艺术家的图像”。它将被记录和分析这两种策略的使用，并通过综合两者作为李斯特在音乐出版物中的整个话语的中心方面来总结。这种方法提供了一个新的有利位置来重新审视对李斯特的接受，通过避免依赖于“真或假”类别的传记式检查模式，并允许适当的距离来扩展限制的两极，例如“大师与艺术家”或“新德国与绝对音乐美学”。包括传记、音乐百科全书、参考书和广泛的音乐期刊，为该项目提供了广泛的来源和修辞，从中可以借鉴，通过它可以说明李斯特周围的出版网络，不仅为已知的宣传者提供空间，也为匿名或非专业评论家和记者提供空间。

Franz Liszt remains one of the most richly multifaceted artists of the 19th century; even in his lifetime the media provided him an enormous presence in biographies, music encyclopaedias, reference books, and especially periodicals. This project will detail the widespread and heterogeneous images of Liszt provided by contemporary music publications from the 1820s through the 1880s, to explore central aspects of the ambivalence within this heterogeneity. It offers a source-based analysis of the reception and discourse surrounding Liszt, as an alternative to research based only on Liszt’s occasionally overemphasized self-presentation. The project examines two rhetorical strategies to nuance Liszt’s reception: the »images of life« and the »images of artists«. It will be documented and analysed the use of both strategies, and concluded by synthesizing both as a central aspect throughout the discourse on Liszt in music publications. This method offers a new vantage point to reexamine the accepted reception of Liszt, by avoiding biographical modes of examination that depend on ›true or false‹ categories, and allows instead for an appropriate distance from which to expand limiting polarities, such as ›the virtuoso versus the artist‹ or ›new-German versus absolute music aesthetics‹. The inclusion of biographies, music encyclopaedias, reference books, and a broad panorama of music periodicals lends to this project a wide spectrum of sources and rhetorics from which to draw on, through which it will be illustrated the publication network around Liszt in order to provide space for not only known propagandists, but also anonymous or non-professional reviewers and correspondents.