Liszt’s National Compositions in the Year of the Franco-Prussian War

The six-month Franco-Prussian war of July 1870-January 1871 had an immense impact on European political history, redrawing maps, upsetting a longstanding balance of power, creating the German Empire, causing the fall of the French one, further weakening the new Austro-Hungarian Empire (formed in 1867), and setting the stage for World War I.1 When searching for equivalent large-scale shifts in compositional practices, the effects of the war are debatable. No major canonical works have marked this war either, notwithstanding a pièce d’occasion such as Wagner’s Kaisermarsch, or more symbolic expressions of patriotism, such as Brahms’ Triumphlied Op. 55 (1870-71) or Saint-Saëns’ Les soldats de Gédéon Op. 46 (1876). Yet we do not need to find the 1870 equivalent of a ‘Leningrad Symphony’ to explore musical material that reflects manifold responses to the war or the political tension associated with it. One of the most telling signs of such responses is the enthusiastic, negative, or more equivocal representation of national identity that emanated particularly, but not only, from the nations directly involved in this conflict. In that respect, the wartime works of Franz Liszt offer a particularly rich and challenging case for the critique of musical nationalism

Liszt’s Legacy and the Paradoxes of Hungarian Musical Modernism

In collaboration with Michael Saffle, James Deaville of Carleton University has assembled a collection of essays devoted to these subjects as well as operatic aspects of the symphonic works, Liszt and theories of "degenerate genius,

Lateness in Context

Where does the idea of Liszt’s visionary, future-gazing late style come from? The ostensibly obvious answer is the music itself: just listen to the final bars of Nuages gris (1881), many austere and borderline atonal passages in Via crucis (1879) or the concept and realisation of sans tonalité in Liszt’s Bagatelle (1885). But listening is not a passive activity, and someone has always guided our hearing of these works in a selective way, directing the reader to filter out music that weakens the case. The idea of a late style has a history before Liszt and during his time. It also has a reception history specific to Liszt’s music, one whose definitive form can be pinpointed to events and publications in the 1950s. Like many other ‘late’ styles, Liszt’s has been used by his champions to shore up his credibility as a composer. However, there was a certain edge to this advocacy precisely because Liszt was (and perhaps still is) a controversial composer, and because the people who made the case on his behalf were all committed modernists. As we track this story, I will reflect on its repercussions on past and present scholarship and ask whether there could be other ways in which Liszt’s final works might be understood

Recomposing National Identity: Four Transcultural Readings of Liszt’s Marche hongroise d’après Schubert

Liszt's Mélodies hongroises d'après Schubert, a solo piano transcription of Schubert's four-hand Divertissement à l'hongroise, provides an interesting example of the complex relationship between centers and peripheries, and between personal patriotism and public nationalism. The first transcription (S. 425, 1838–39) stands at the very beginning of Liszt's career as a “national composer,” the most significant aspect of this rather overlooked fact being Liszt's transformation of the second movement—a naive, dance-like march—into “republican” heroic music driven toward an apotheosis à la Beethoven. This heralded a new type of national genre, and Liszt deemed the march movement important enough to be published on its own in numerous versions between 1838 and 1883. Yet this Marche hongroise was not merely nationalist: it related to other, non-Hungarian identities, most notably French and Austrian. Later versions (from 1859 onward) allowed Liszt to express a progressive, liberal Hungarian identity in the face of a rising tide of chauvinism. Four transcultural readings of the work, both complementary and conflicting, follow Liszt's revisions in roughly chronological order, interpreting the work as, in turn, a nationalist reclamation of Hungarian music, a republican response to the political status quo, the construction of an Austro-Hungarian identity, and a discontinuous text in which new, modernist ideas often merge or conflict with older ones, forcing a fresh renegotiation of national identity

Neither major, nor minor: The Affective Fluctuating Third in Central-European Art Music ca. 1840–1940

Neither major, nor minor: The Affective Fluctuating Third in Central-European Art Musicca. 1840–1940AbstractFrom the middle of the nineteenth centuryonwards, several composers have attempted to capture a phenomenon of unstable major and minor intervals in folk music. Looking at the transcultural impact of this representational drive, this paper focuses on one particular scale degree–the third–and on particular contexts wherethe modal fluctuation of the third subverts the traditional ethos of major and minor, inherited from the eighteenth-century art music. Bartók’s interest in the neutral third has received some attention from Olsvai (1969) and more recently Riskó (2015), but the affective meaning of this third within Bartók’s largely triadic harmony deserves more attention, even if of a speculative nature. Applyinga circumplex model of affects(originally devised by Russell,1980) to ‘Major and Minor’from Bartók’s Mikrokosmossuggests the manipulation of traditional mode-related affecthad additional consequences for the perception beginning, middle and ending of this short masterpiece. In the second part of this paper,a similar application of both formal and affective analysis will look at earlierworks by Dvořák, BrahmsandLiszt, where triadic harmony would normally invite a tonal analysis that would cover up the phenomenon of the fluctuating third and its transcultural affective impact. To narrow down the analysis to comparable cases,this part is limited to works by art-music genres that represent traditional Central European musics,all exhibiting an energetic and positive moo

Simulation and experimental study of rheological properties of CeO2 – water nanofluid

Open Access. This article is distributed under the terms of the Creative Commons Attribution License which permits any use, distribution, and reproduction in any medium, provided the original author(s) and the source are credited.Metal oxide nanoparticles offer great merits over controlling rheological, thermal, chemical and physical properties of solutions. The effectiveness of a nanoparticle to modify the properties of a fluid depends on its diffusive properties with respect to the fluid. In this study, rheological properties of aqueous fluids (i.e. water) were enhanced with the addition of CeO2 nanoparticles. This study was characterized by the outcomes of simulation and experimental results of nanofluids. The movement of nanoparticles in the fluidic media was simulated by a large-scale molecular thermal dynamic program (i.e. LAMMPS). The COMPASS force field was employed with smoothed particle hydrodynamic potential (SPH) and discrete particle dynamics potential (DPD). However, this study develops the understanding of how the rheological properties are affected due to the addition of nanoparticles in a fluid and the way DPD and SPH can be used for accurately estimating the rheological properties with Brownian effect. The rheological results of the simulation were confirmed by the convergence of the stress autocorrelation function, whereas experimental properties were measured using a rheometer. These rheological values of simulation were obtained and agreed within 5 % of the experimental values; they were identified and treated with a number of iterations and experimental tests. The results of the experiment and simulation show that 10 % CeO2 nanoparticles dispersion in water has a viscosity of 2.0–3.3 mPasPeer reviewedFinal Published versio