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"Lisztomania" hits Austin

Print of Franz Liszt, 1841.
Print of Franz Liszt, 1841.

Long before Beatlemania, mid-nineteenth-century European audiences went wild for Franz Liszt, the Hungarian pianist/composer with shoulder-length hair. Women fought over his broken piano strings and collected his coffee dregs in glass vials. One woman retrieved Liszt’s discarded cigar stump from a gutter and encased it in a diamond-studded locket monogrammed “F.L.” To describe this phenomenon, German poet Heinrich Heine coined the term “Lisztomania.”

Liszt took the classical music world by storm. Considered the best pianist of all time by his contemporaries, Liszt essentially created the piano recital. He was the first pianist to emerge onstage from the wings, he introduced the custom of performing in profile because he didn’t want the piano to block his face, and his unmatched technique and virtuosic piano compositions pushed the boundaries of what the piano could do.

This year marks the 200th anniversary of Liszt’s birth and the 100th anniversary of the Austin Symphony Orchestra. On November 18 and 19, the Austin Symphony celebrates both birthdays when Anton Nel performs Liszt Piano Concerto No. 2 in A major, S. 125 with the Austin Symphony.

Signed photo of Franz Liszt, not dated.
Signed photo of Franz Liszt, not dated.

Liszt is well represented in the Ransom Center’s collections. The musicians collection contains photos of Liszt, one of which Liszt autographed; two collections hold notebooks, manuscripts, and other materials for two Liszt biographies; and the Carlton Lake collection includes a signed manuscript of Liszt’s Gaudeamus igitur and 150 letters between Liszt and his daughters, Blandine and Cosima.

In these letters, spanning from 1850 to 1862, Liszt comes across as a caring but demanding father. It is clear that his daughters’ musical education is a priority. In an 1854 letter addressed to both daughters, Liszt tells Blandine and Cosima to make the most of the approaching winter, when the only teacher around will be their piano teacher:

“How goes it with your piano strumming? Do you practice? Is M. Seghers giving you regular lessons?… Music being the universal language, and even to a certain extent able to dispense with ideas, it is by no means my intention to end your studies with M. Seghers. But try to learn yourselves what even the best teachers cannot convey through lessons; and, until the day when I try to shape your talents to my liking, I kiss you most tenderly.”

Liszt also discusses the difficulty of navigating his relationships with other composers. In an 1858 letter to Blandine, Liszt writes about German composer and conductor Richard Wagner, who later married Cosima and with whom Liszt had a notoriously tumultuous relationship:

“With his immense genius which becomes more and more indisputable through all the foolish disputes he has to embark on, he unfortunately can’t manage to rid himself of the most trying domestic vexations, not to mention all the disappointments of his fantastic expectations. In this way he resembles those lofty mountains, radiant at their peaks, but shrouded in fog up to their shoulders…Tell me something of him in your next letter, for I love him with all my heart and admire him as Germany’s finest génie-artiste.”

While living in Rome in 1862, Liszt tells Blandine that he’s a little annoyed with French composer Charles Gounod:

“You know what sincere esteem and liking I have always had for the talent of Gounod, and how affectionate our personal relations were. Well! Can you believe that he spent more than six weeks in Rome without taking the trouble to come and see me, and that we didn’t once see one another?”

Through these letters, we catch a glimpse of Liszt’s life as a rock-star pianist, at its height in the 1840s. But Liszt’s letters from the 1850s reveal that he cherished solitude and was tiring of public life. On May 4, 1858, Liszt wrote to Blandine about his visit with Cosima in Berlin:

“The wholly public life (less and less to my taste) that I had been obliged to lead these last two months made me feel all the more, by contrast, the charm and intimacy of her affection.”

On July 19, 1862, Liszt sent his last letter to Blandine, who died two months later at the age of 26 following childbirth: “The fact is, I am comfortable only in my own company and in that of the very small number of those I love with whom I feel at one in thought and feeling.”

Selected items related to Liszt will be on display in the Ransom Center lobby from Tuesday, November 15 through Sunday, November 27.

Photo Friday

Each Friday, the Ransom Center shares photos from throughout the week that highlight a range of activities and collection holdings. We hope you enjoy these photos that reveal some of the everyday happenings at the Center.

Musician Graham Reynolds plays an interlude during the program “Censorship,” presented by the Harry Ransom Center in conjunction with the Dionysium. Photo by Pete Smith.
Musician Graham Reynolds plays an interlude during the program “Censorship,” presented by the Harry Ransom Center in conjunction with the Dionysium. Photo by Pete Smith.
Visitors at the Dionysium event enjoy a night of lecture, debate, theatrical presentation, and music. Photo by Pete Smith.
Visitors at the Dionysium event enjoy a night of lecture, debate, theatrical presentation, and music. Photo by Pete Smith.
Isaiah Sheffer of Selected Shorts reads selections from some notorious banned books. Photo by Pete Smith.
Isaiah Sheffer of Selected Shorts reads selections from some notorious banned books. Photo by Pete Smith.
Sam Tanenhaus, Editor of The New York Times Book Review, spoke informally with Ransom Center staff about the future of publishing. Photo by Pete Smith.
Sam Tanenhaus, Editor of The New York Times Book Review, spoke informally with Ransom Center staff about the future of publishing. Photo by Pete Smith.

This Veteran’s Day Weekend: Free Book Giveaway of Tim O’Brien’s "The Things They Carried"

Tim O'Brien's 'The Things They Carried.'
Tim O'Brien's 'The Things They Carried.'

Tim O’Brien’s The Things They Carried is an account of soldiers’ experiences during and after the Vietnam War. Like his other National Book Award-winning work, Going After Cacciato, The Things They Carried offers readers a glimpse of war that neither glorifies nor camouflages its realities. O’Brien himself has said he is only attempting to tell a “true war story.” Because of O’Brien’s frank depiction of war and strong use of language, The Things They Carried has been challenged and banned by some counties and schools.  In connection with the Ransom Center’s exhibition Burned, Banned, Seized, and Censored, visitors are invited to see the exhibition during Veteran’s Day weekend, Friday, November 11 through Sunday, November 13, and receive a free copy of The Things They Carried while supplies last. Tim O’Brien’s archive resides at the Ransom Center.

Fellows Find: Analyzing the fight scenes from "Raging Bull"

Paul Schrader's outline for the 1980 film 'Raging Bull.'
Paul Schrader's outline for the 1980 film 'Raging Bull.'

Leger Grindon is a professor of film and media culture at Middlebury College where he has taught since 1987.  He is the author of Knockout:  the Boxer and Boxing in American Cinema (University Press of Mississippi, 2011), Hollywood Romantic Comedy:  Conventions, History and Controversies (Wiley-Blackwell, 2011) and Shadows on the Past:  Studies in the Historical Fiction Film (Temple University Press, 1994).  Grindon spent time working in the Robert De Niro collection in July on a Robert De Niro Fellowship.  He is preparing an essay, “Filming the Fights in Raging Bull,” for a forthcoming critical anthology on the films of Martin Scorsese edited by Aaron Baker and to be published by Wiley-Blackwell.

The object of my research was the film Raging Bull (1980). Robert De Niro’s performance in the film earned him an Academy Award for Best Actor. I was particularly interested in the evolution of the nine boxing sequences in the film. With that in mind, I carefully examined five different screenplay drafts that were among the De Niro papers. These drafts by Emmett Clary, Mardik Martin, Paul Schrader, Robert De Niro, and Martin Scorsese demonstrated the development in thinking about the filming of the various boxing sequences and how they would be integrated into the other dramatic action in the movie.

Jake La Motta, the subject of the film, had 106 professional fights, so the question arises as to why these particular fights were chosen? As a result of my research in the archive, I now have a much clearer picture of the development and meaning of these choices. I was also able to get a better picture of how the staging of the fights changed over the course of the various screenplays. One lasting impression of my work in the archive was that the filmmakers of Raging Bull never stopped making adjustments and changes in their conception of the film. The notes I reviewed on the adjustments made in the final shooting script were illuminating. Furthermore, I was able to look at the many storyboard drawings of the boxing sequences. Some of the boxing sequences have more than 100 drawings and diagrams that were made in preparation for the filming. One sequence has only one drawing. These drawings, diagrams for figure and camera movement, and other notes, give me considerable insight into the planning, conception, and execution of these sequences. I have also received more than 50 photocopied pages from various screenplay drafts and storyboard images from the archives. I will continue to consult them while writing my forthcoming essay.

Fellows Find: Audrey Wood collection reveals relationships between the literary agent and the playwrights she represented

Snapshot photo of Audrey Wood, Tennessee Williams, and Carson McCullers. Undated. Unidentified photographer.
Snapshot photo of Audrey Wood, Tennessee Williams, and Carson McCullers. Undated. Unidentified photographer.

Milly S. Barranger, Dean at the College of Fellows of the American Theatre and Distinguished Professor Emerita at The University of North Carolina at Chapel Hill, visited the Ransom Center in July on a fellowship funded by the Fleur Cowles Endowment to study the Audrey Wood papers for her upcoming book Audrey Wood and the Playwrights: Shaping American Theatre and Film in the Last Century. The book will be her fourth on pioneering women in the American theater in the mid-twentieth century. Below, she shares her experience working in the collections.

The Hazel H. Ransom Reading Room at the Ransom Center is a treasure of interstitial resources on American theater and its creators from Eugene O’Neill to Lillian Hellman and Terrence McNally. The Center’s award of a travel fellowship afforded me the opportunity to return for a second time to the Audrey Wood papers to do a complete review of the more than 60 boxes containing materials on the literary agent’s representation of playwrights and their plays for the commercial theater. The considerable files present the life and career of Audrey Wood (1905–1985), along with her clients and their playbills, scripts, musical scores, photographs, and correspondence, and the business records of the Liebling-Wood Agency. The correspondence between the literary agent and her clients reveals the nature of their relationships during Broadway failures and successes. As Audrey Wood said, the commercial theater is a “tough business,” and these files reveal just how difficult it was for clients and their agents in the mid-twentieth century.

Based on my experiences in other research libraries, I have concluded that the ability to work with a collection that consolidates materials on the subject results in a highly productive research experience. I have written on subjects that required travel from one collection to another to review the career and interactions with associates and co-workers. The Center’s large collection of materials affords the researcher the luxury of remaining in one place to scrutinize, in this instance, the literary agent’s life story.

In addition, the ambience and orderliness of the Reading Room favors uninterrupted scholarship in the knowledge that across the table from you other research fellows are hard at work on Irish dramatic literature or Tom Stoppard. In other words, although undisturbed, you share the company of exceptional scholars.

The splendor of the Reading Room is that the researcher’s needs have been carefully anticipated in the organization of the collections, the retrieval system for files, the attentive staff, and the ambience of the room itself. It is my hope that my next research project mandates a return to the Ransom Center.

Photo Friday

Each Friday, the Ransom Center shares photos from throughout the week that highlight a range of activities and collection holdings. We hope you enjoy these photos that reveal some of the everyday happenings at the Center.

Associate Curator of Art Peter Mears discusses Frida Kahlo’s Self-portrait with Thorn Necklace and Hummingbird. Photo by Pete Smith.
Associate Curator of Art Peter Mears discusses Frida Kahlo’s Self-portrait with Thorn Necklace and Hummingbird. Photo by Pete Smith.
Richard Williams, an independent scholar researching the Erle Stanley Gardner collection at the Ransom Center, discusses his work at the fellows’ brown bag luncheon. Photo by Pete Smith.
Richard Williams, an independent scholar researching the Erle Stanley Gardner collection at the Ransom Center, discusses his work at the fellows’ brown bag luncheon. Photo by Pete Smith.
Elana Estrin interviews undergraduate student Sonia Desai about her work at the Ransom Center. Photo by Kelsey McKinney.
Elana Estrin interviews undergraduate student Sonia Desai about her work at the Ransom Center. Photo by Kelsey McKinney.
Len Downie, Vice President at Large of The Washington Post, reviews a document in the Woodward and Bernstein Watergate papers during his visit to the Ransom Center. Photo by Kelsey McKinney.
Len Downie, Vice President at Large of The Washington Post, reviews a document in the Woodward and Bernstein Watergate papers during his visit to the Ransom Center. Photo by Kelsey McKinney.

Ransom Center acquires collection of contemporary tintypes

The Ransom Center recently acquired ten tintype images from photographer Robb Kendrick. Tintype printing is a historical photo technique that was used primarily during the nineteenth century. The tintypes acquired are each handmade and one-of-a-kind.

The acquired tintypes vary in subject matter from portraits to landscapes to cacti. Several of Kendrick’s photographs were taken on location for National Geographic, and many were taken for personal projects.  Kendrick’s most recent wet-plate work documented the working cowboy for the December 2007 issue of National Geographic. The photographs were taken in 14 western states, Mexico, and Canada.  These photographs were then collected in the critically acclaimed book Revealing Character.

Kendrick’s documentary photography regularly appears in National Geographic, but he also frequently works with wet-plate photography. Kendrick currently splits time between Austin and San Miguel de Allende, Mexico, with his wife and two sons.

 

Please click the thumbnails below to view full-size images.

 

In the Galleries: An illustrated envelope from Frank Shay's Bookshop

An envelope sent from the bookshop to Christopher Morley in 1921.
An envelope sent from the bookshop to Christopher Morley in 1921.

Frank Shay’s shop at 4 Christopher Street in Greenwich Village was a bookstore, a community gathering place, a circulating library, and a tiny publishing house all at once. Shay published a newspaper, a magazine, and more than a dozen books from the shop during his time there: small, handcrafted editions with a simple, charming aesthetic that may also reflect the tastes of Shay’s wife, the artist and designer Fern Forrester Shay. In 1924 Frank Shay sold the bookshop and moved to Provincetown, Massachusetts, where he had already been spending summers with his traveling bookshop. The 4 Christopher Street location closed down just a year later. We know that the shop was being managed at the time by a woman named Juliette Koenig, but little further evidence of its final year is found in the Ransom Center’s collections.

Shown here is an envelope for a letter from Frank Shay to Christopher Morley, dated August 1, 1921. The designer of the shop’s stationery was the multitalented Hendrik Willem Van Loon, who won the first Newbery Medal for Children’s Literature for his illustrated Story of Mankind (1922). The envelope may or may not render the shop’s exterior accurately; without surviving photographs, we do not know.

This envelope can be seen in the exhibition The Greenwich Village Bookshop Door: A Portal to Bohemia, 1920–1925, on display through January 22. Van Loon’s cartoons of the shop and its customers have been rendered in various locations throughout the exhibition.

Creepy, macabre, and bloody: Halloween assignment illustrates breadth of Ransom Center's collections

Arthur Conan Doyle's Ouija board. Photo by Pete Smith.
Arthur Conan Doyle's Ouija board. Photo by Pete Smith.

Bethany Johnsen is an undergraduate intern at the Ransom Center who has been working with Cline Curator of Literature Molly Schwartzburg to gather materials for students for a visit on Halloween.

For the students in University of Texas at Austin English Professor Janine Barchas’s freshman honors seminar, a Ransom Center visit on October 31 will bring more than the usual bag of treats: a Halloween-themed presentation introducing students to the Center’s resources.

I assisted Ransom Center Cline Curator of Literature Molly Schwartzburg in putting together the presentation, and this process revealed the provocative connections that such a subject affords, and will, we hope, suggest to these students ways they might use the collections over the remainder of their time as students. With so many items relating to the supernatural, morbid, or just plain unusual to choose from, limiting the presentation to a manageable size was perhaps the most difficult part of the process.

With a topic as huge as Halloween and all its creepy associations, where does a curator begin? We wanted to pull from various collections to display the richness of the Center’s holdings. So while hours could be spent on the objects of horror from just, say, film, we restricted ourselves to the torso model of Robert De Niro’s makeup for his role as the monster in Kenneth Branagh’s 1994 adaptation of Frankenstein and the mask of (imitation) human skin from The Texas Chainsaw Massacre (1974).

Of course, the modern scary movie invokes a tradition long predating the twentieth century. The presentation will highlight older examples of fascination with the occult, from a sixteenth-century book entitled The discouerie of witchcraft,: wherein the lewde dealings of witches and witchmongers is notablie detected, the knauerie of conjurors, the impietie of inchantors…, (and so forth) to Arthur Conan Doyle’s Ouija board. And in case such historically important artifacts lack a certain flavor of whimsy, we were sure to include a blood-stained handkerchief from the personal effects of  printer T. J. Cobden-Sanderson, accompanied by a note reading “Dickie’s first cut sometime in November 1885.”

But many of the picks were not as immediately obvious candidates as century-old child blood.  Following a suggestion to investigate the Edward Gorey collection, given the American illustrator’s enormous influence on the contemporary Gothic aesthetic, I combed through his manuscripts to and came across a page that had—in addition to such phrases as “gothic,” “flamboyant,” and “arc cassé”—the words “danse macabre” scrawled across it. This page was not immediately remarkable in a series of brittle papers covered by Gorey’s doodles, but we were intrigued by “danse macabre” anyway. The dance of death, as we call it in English, is an artistic and literary genre that arose in the late medieval period to represent allegorically that death unites everyone, regardless of station or class; we must all dance with death. This symbol must have had special resonance in an age when death, and the harshest class distinctions were so ubiquitous. The Center holds wonderful examples of “dance of death” iconography from many periods, images that can be rather jarring.

Like Halloween traditions themselves, the Center’s holdings span many nations and centuries, and it is this diversity that allows the researcher to pursue unexpected links, like those that arise between twentieth-century artists and late medieval allegories.

Photo Friday

Each Friday, the Ransom Center shares photos from throughout the week that highlight a range of activities and collection holdings. We hope you enjoy these photos that reveal some of the everyday happenings at the Center.

Reading room page and undergraduate student Melissa Herman pages materials from the  stacks. Photo by Pete Smith.
Reading room page and undergraduate student Melissa Herman pages materials from the stacks. Photo by Pete Smith.
Chris Jones, a volunteer in the conservation department, works on the binding for 'El Salvador: Work of Thirty Photographers.' Photo by Pete Smith.
Chris Jones, a volunteer in the conservation department, works on the binding for 'El Salvador: Work of Thirty Photographers.' Photo by Pete Smith.
Conservation department volunteer Margaret Schafer works on repairing paper tears to an album belonging to Joseph Hergesheimer, an early 20th century novelist. Photo by Pete Smith.
Conservation department volunteer Margaret Schafer works on repairing paper tears to an album belonging to Joseph Hergesheimer, an early 20th century novelist. Photo by Pete Smith.