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This book considers the nature of nineteenth-century instrumental music by investigating three sets of etudes by Liszt. It explores central concerns such as a composer-performer culture, the concept of virtuosity, the significance of recomposition, music and the poetic, and the consolidation of a musical work-concept.
This book is about three sets of etudes by Liszt: the Etude en douze exercices (1826), its reworking as Douzes grandes études (1837), and their reworking as Douzes études d'exécution transcendante (1851). At the same time it is a book about nineteenth-century instrumental music in general, in that the three works invite the exploration of features characteristic of the early Romantic era in music. These include: a composer-performer culture, the concept of virtuosity, the significance of recomposition, music and the poetic, and the consolidation of a musical work-concept. A central concern is to illuminate the relationship between the work-concept and a performance- and genre-orientated musical culture. At the same time the book reflects on how we might make judgements of the 'Transcendentals', of the Symphonic Poem Mazeppa (based on the fourth etude), and of Liszt's music in general.
Like literature and art, music has ‘works’. But not every piece of music is called a work, and not every musical performance is made up of works. The complexities of this situation are explored in these essays, which examine a broad swathe of western music. From plainsong to the symphony, from Duke Ellington to the Beatles, this is at root an investigation into how our minds parcel up the music that we create and hear.
This book offers a novel interpretation of the sudden and steep decline of instrumental virtuosity in its critical reception between c. 1815 and c. 1850, documenting it with a large number of examples from Europe’s leading music periodicals at the time. The increasingly hostile critical reception of instrumental virtuosity during this period is interpreted from the perspective of contemporary aesthetics and philosophical conceptions of human subjectivity; the book’s main thesis is that virtuosity qua irreducibly bodily performance generated so much hostility because it was deemed incompatible with, and even threatening to, the new Romantic philosophical conception of music as a radically disembodied, abstract, autonomous art and, moreover, a symbol or model – if only a utopian one – of a similarly autonomous and free human subject, whose freedom and autonomy seemed increasingly untenable in the economic and political context of post-Napoleonic Europe. That is why music, newly reconceived as radically abstract and autonomous, plays such an important part in the philosophy of early German Romantics such as E. T. A. Hoffmann, Schelling, and Schopenhauer, with their growing misgivings about the very possibility of human freedom, and not so much in the preceding generation of thinkers, such as Kant and Hegel, who still believed in the (transcendentally) free subject of the Enlightenment. For the early German Romantics, music becomes a model of human freedom, if freedom could exist. By contrast, virtuosity, irredeemably moored in the perishable human body, ephemeral, and beholden to such base motives as making money and gaining fame, is not only incompatible with music thus conceived, but also threatens to expose it as an illusion, in other words, as irreducibly corporeal, and, by extension, the human subject it was meant to symbolise as likewise an illusion. Only with that in mind, may we begin to understand the hostility of some early to mid-19th-century critics to instrumental virtuosity, which sometimes reached truly bizarre proportions. In order to accomplish this, the book looks at contemporary aesthetics and philosophy, the contemporary reception of virtuosity in performance and composition, and the impact of 19th-century gender ideology on the reception of some leading virtuosi, male and female alike.
“A valuable resource for musicologists, theorists, pianists, and aestheticians interested in reading about Schumann’s views on virtuosity.” —Notes Considered one of the greatest composers—and music critics—of the Romantic era, Robert Schumann (1810–1856) played an important role in shaping nineteenth-century German ideas about virtuosity. Forging his career in the decades that saw abundant public fascination with the feats and creations of virtuosos (Liszt, Paganini, and Chopin among others), Schumann engaged with instrumental virtuosity through not only his compositions and performances but also his music reviews and writings about his contemporaries. Ultimately, the discourse of virtuosity influenced the culture of Western “art music” well beyond the nineteenth century and into the present day. By examining previously unexplored archival sources, Alexander Stefaniak looks at the diverse approaches to virtuosity Schumann developed over the course of his career, revealing several distinct currents in nineteenth-century German virtuosity and the enduring flexibility of virtuosity discourse.
A new and wide-ranging collection of essays by leading international scholars, exploring the concept and practices of virtuosity in Franz Liszt and his contemporaries.
Exploring Virtuosities. Heinrich Wilhelm Ernst, Nineteenth-Century Musical Practices and Beyond by Christine Hoppe,Melanie von Goldbeck,Maiko Kawabata Pdf
Over the last decade, musicological interest in both the composing virtuoso of the nineteenth century and the phenomenon of virtuosity has increased. Moving beyond approaches to music solely in terms of works allowed for a range of perspectives on concepts of virtuosity to emerge. Such cultural theory-based approaches crucially put the traditional musicological image of the virtuoso into a broader context. Recent advances in performance studies, furthermore, emphasise the need to include factors such as staging, the audience, sound and space, and musical practices, in our understanding of the complex phenomenon of virtuosity. The present volume tries to meet the challenges raised by these multi-layered perspectives by varying the foci on virtuosity – from specific attention to individual virtuosi and considerations of virtuosity’s historical and social context to broader questions regarding innovations in the current landscape and future virtuoso phenomena. The broad range of topics centres on the composer and virtuoso Heinrich Wilhelm Ernst and his immediate sphere of influence. The contributions in the present volume not only reveal the complexity of the research field of virtuosity but also liberate Heinrich Wilhelm Ernst from the shadow of fixed, mainly non-musical, discourses on virtuosity around Paganini. The enclosed CD with recordings by Guillaume Tardif, Philippe Borer, Clive Brown and Friederike Spangenberg enriches these texts by including the dimension of sound.
Aesthetics of Music: Musicological Approaches is an anthology of fourteen essays, each addressing a single key concept or pair of terms in the aesthetics of music, collectively serving as an authoritative work on musical aesthetics that remains as close to 'the music' as possible. Each essay includes musical examples from works in the 18th, 19th, and into the 20th century. Topics have been selected from amongst widely recognised central issues in musical aesthetics, as well as those that have been somewhat neglected, to create a collection that covers a distinctive range of ideas. All essays cover historical origins, sources, and developments of the chosen idea, survey important musicological approaches, and offer new critical angles or musical case studies in interpretation.
Foucault on the Arts and Letters by Catherine M. Soussloff Pdf
A collection of new essays addressing Foucault’s thought and its impact on thinking about the visual arts, literature and aesthetic discourse in the 21st century.
Introduction. Coloratura and Female Vocality -- The New Franco-Italian School of Singing -- Verdi and the End of Italian Coloratura -- Melismatic Madness and Technology -- Caroline Carvalho and Her World -- Carvalho, Gounod, and the Waltz -- Vestiges of Virtuosity : The French Coloratura Soprano -- Epilogue. Unending Coloratura.
The Imaginary Museum of Musical Works : An Essay in the Philosophy of Music by Lydia Goehr Pdf
What is the difference between a performance of Beethoven's Fifth Symphony and the symphony itself? What does it mean for musicians to be faithful to the works they perform? To answer such questions, Lydia Goehr combines philosophical and historical methods of enquiry. Finding Anglo-American philosophy inadequate for the task, she shows that a historical perspective is indispensable to a full understanding of musical ontology. Goehr examines the concepts and assumptions behind the practice of classical music in the nineteenth century and demonstrates how different they were from those of previous centuries. She rejects the finding that the concept of a musical work emerged in the sixteenth century, placing its emergence instead around 1800. She describes how the concept of a work then came to define the norms, expectations, and behaviour that we now associate with classical music. Out of the historical thesis Goehr draws philosophical conclusions about the normative functions of concepts and ideals. She also addresses current debates among conductors, early music performers, and avant-gardists. - ;Introduction; I. The Analytic Approach: Status and identity: Analytical positions I; Analytical positions II; Critique and transition; II. The Historical Approach: Normativity and Practice: The central claim; Musical meaning I; Musical meaning II; Musical production I; Musical production II; Werktreue: Confirmation and challenge -
Wanneer luisteraars over hun luisterervaringen praten, refereren ze vaak aan muziek alsof het een verhaal is. Maar kan muziek wel een verhaal vertellen? Kan muziek narratief zijn? Traditioneel wordt narrativiteit geassocieerd met verbale en visuele teksten en wordt er betwijfeld of een muzikale variant zelfs maar kan bestaan. In deze studie beargumenteert Vincent Meelberg dat muziek wel degelijk een verhaal kan vertellen, en dat de bestudering van muzikale narrativiteit zeer productief is. Meer specifiek stelt Meelberg voor om hedendaagse muzikale verhalen te beschouwen als metaverhalen, dus als verhalen die het verhaal van het proces van narrativizering vertellen.
Drawing upon the past two decades of burgeoning literature in philosophy of music, this study offers a comprehensive, critical analysis of what is entailed in performance interpretation. It argues that integrity and other virtues offset the harm that virtuosity and rigid historical authenticity can impose on the perceptive judgment required of excellent musical interpretation. Proposed are challenging and provocative reassessments of the appropriate roles for virtuosity and historical authenticity in musical performance. Acknowledging the competitive ethos of the contemporary music scene, it details the kind of character a performer needs to develop in order to withstand those pressures and to achieve interpretive excellence. Performers are encouraged to examine and explore the ethical dimension of their art against their responsibilities to the diverse patrons they serve. Professional and student performers and instructors will appreciate this practical discussion of the ethical challenges performers confront when interpreting musical works. The ethical discourse applies to instrumental performance studies, the history and theory of music, general music pedagogy, and philosophy of music courses.