FOOTNOTES:[70]Without opus number.[71]Without opus number.[72]Without opus number.[73]This translation (the preface in the score is printed both in the original French of Liszt and in a German version made by Peter Cornelius) is probably the work of Mr. W. F. Apthorp.[74]Without opus number.[75]The English translation of this title, "Sounds of Festivity," would not identify it in the minds of most readers with Liszt's symphonic poem, which is most familiarly known by its German name.[76]Without opus number.[77]The Polish princess to whom Liszt was devoted for many years, and with whom he sought unsuccessfully to effect a legal union. She was born in Monasterzyska (Kieff), February 8, 1819, and died in Rome, March 3, 1887.[78]Without opus number.[79]Translated by Constance Bache.[80]Without opus number.[81]The order in which the verses are quoted by Liszt is not the order which they follow in Schiller's poem; and Liszt has included certain passages which Schiller omitted in the final revised form ofDie Ideale.[82]The quotations in verse are from Lord Lytton's translation. The prose passage in the "Aspiration" section is from a translation by Mr. Frederick Niecks.[83]Without opus number.[84]"Alles VergänglicheIst nur ein Gleichniss;Das Unzulängliche,Hier wird's Erreigniss;"Das Unbeschreibliche,Hier ist's gethan;Das Ewig-WeiblicheZieht uns hinan."[85]Without opus number.[86]This translation, and those that follow, are from the English version of Longfellow.[87]The translation of these lines in the prose version of Dr. John A. Carlyle—"There is no greater pain than to recall a happy time in wretchedness"—may appear to some to be more felicitous, as it is more precise, than that of Longfellow.[88]The final passage is said to have been conceived as an expression of the thought in these lines of Dante (from the twenty-first canto of the "Paradiso"):"I saw rear'd up,In color like to sun-illumined gold,A ladder, which my ken pursued in vain,So lofty was the summit; down whose stepsI saw the splendors in such multitudeDescending, every light in heaven, methought,Was shed thence."—Translated by H. F. Cary.[89]The English of this "introduction" is from the translation of Mr. Philip H. Goepp.
FOOTNOTES:
[70]Without opus number.
[70]Without opus number.
[71]Without opus number.
[71]Without opus number.
[72]Without opus number.
[72]Without opus number.
[73]This translation (the preface in the score is printed both in the original French of Liszt and in a German version made by Peter Cornelius) is probably the work of Mr. W. F. Apthorp.
[73]This translation (the preface in the score is printed both in the original French of Liszt and in a German version made by Peter Cornelius) is probably the work of Mr. W. F. Apthorp.
[74]Without opus number.
[74]Without opus number.
[75]The English translation of this title, "Sounds of Festivity," would not identify it in the minds of most readers with Liszt's symphonic poem, which is most familiarly known by its German name.
[75]The English translation of this title, "Sounds of Festivity," would not identify it in the minds of most readers with Liszt's symphonic poem, which is most familiarly known by its German name.
[76]Without opus number.
[76]Without opus number.
[77]The Polish princess to whom Liszt was devoted for many years, and with whom he sought unsuccessfully to effect a legal union. She was born in Monasterzyska (Kieff), February 8, 1819, and died in Rome, March 3, 1887.
[77]The Polish princess to whom Liszt was devoted for many years, and with whom he sought unsuccessfully to effect a legal union. She was born in Monasterzyska (Kieff), February 8, 1819, and died in Rome, March 3, 1887.
[78]Without opus number.
[78]Without opus number.
[79]Translated by Constance Bache.
[79]Translated by Constance Bache.
[80]Without opus number.
[80]Without opus number.
[81]The order in which the verses are quoted by Liszt is not the order which they follow in Schiller's poem; and Liszt has included certain passages which Schiller omitted in the final revised form ofDie Ideale.
[81]The order in which the verses are quoted by Liszt is not the order which they follow in Schiller's poem; and Liszt has included certain passages which Schiller omitted in the final revised form ofDie Ideale.
[82]The quotations in verse are from Lord Lytton's translation. The prose passage in the "Aspiration" section is from a translation by Mr. Frederick Niecks.
[82]The quotations in verse are from Lord Lytton's translation. The prose passage in the "Aspiration" section is from a translation by Mr. Frederick Niecks.
[83]Without opus number.
[83]Without opus number.
[84]"Alles VergänglicheIst nur ein Gleichniss;Das Unzulängliche,Hier wird's Erreigniss;"Das Unbeschreibliche,Hier ist's gethan;Das Ewig-WeiblicheZieht uns hinan."
[84]
"Alles VergänglicheIst nur ein Gleichniss;Das Unzulängliche,Hier wird's Erreigniss;
"Das Unbeschreibliche,Hier ist's gethan;Das Ewig-WeiblicheZieht uns hinan."
[85]Without opus number.
[85]Without opus number.
[86]This translation, and those that follow, are from the English version of Longfellow.
[86]This translation, and those that follow, are from the English version of Longfellow.
[87]The translation of these lines in the prose version of Dr. John A. Carlyle—"There is no greater pain than to recall a happy time in wretchedness"—may appear to some to be more felicitous, as it is more precise, than that of Longfellow.
[87]The translation of these lines in the prose version of Dr. John A. Carlyle—"There is no greater pain than to recall a happy time in wretchedness"—may appear to some to be more felicitous, as it is more precise, than that of Longfellow.
[88]The final passage is said to have been conceived as an expression of the thought in these lines of Dante (from the twenty-first canto of the "Paradiso"):"I saw rear'd up,In color like to sun-illumined gold,A ladder, which my ken pursued in vain,So lofty was the summit; down whose stepsI saw the splendors in such multitudeDescending, every light in heaven, methought,Was shed thence."—Translated by H. F. Cary.
[88]The final passage is said to have been conceived as an expression of the thought in these lines of Dante (from the twenty-first canto of the "Paradiso"):
"I saw rear'd up,In color like to sun-illumined gold,A ladder, which my ken pursued in vain,So lofty was the summit; down whose stepsI saw the splendors in such multitudeDescending, every light in heaven, methought,Was shed thence."
—Translated by H. F. Cary.
[89]The English of this "introduction" is from the translation of Mr. Philip H. Goepp.
[89]The English of this "introduction" is from the translation of Mr. Philip H. Goepp.