Après une Lecture de Liszt: Virtuosity and ... - Free

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19THCENTURYMUSICd.199 ♭ ♭ ♭ ♭ ♭ ♭ ♭ ♭ ♭ agitato poco a poco cresc.♮ ♯ ♯ ♮ ♯ ♯ ♯ ♭ ♮ ♭ ♭ ♭ ♮ ♭ ♯ ♭ ♯ ♮ ♮ ♭ ♭ ♮ ♭ ♯ ♭ ♯ ♮ 'e.273 ̇ ̇ ♭ ̇ ̇ ̇ ̇ ♭ ̇ ̇♯ ♯ ♯ ♯ lamentoso ♭ ♯ ♯ Tempo rubato e molto ritenuto♮♮ ♯♯ ♮♮ ♭♭ ♯♯ ♭♭ ♮♮ ♭ ♯ ♮ ♯♯f. Allegro Vivace 327♯ ♯ ♯ ♯ ♯ ♯♯ ↓ ♭ff ♭ ♭♯ ♯ ♮ Example 1 (continued) ♮ ♮ ♯ ♯ ' ' '♯ ♮ ' ''''♮ ♯molto appassionato ↑72
Theme ♭ ♭ ♭ ̇̇ ̇ ̇ ̇ ̇ ̇ ♮ ̇̇ ♮ DAVIDTRIPPETTVirtuosity inthe “Dante”Sonata“As Allegro”Allegro con brio ♭ ♭ ♭ ̇ ♮ ̇ ̇ff ♭ ♭ ♭ ̇ ̇ ̇ ♭ ♭ ♭ ♮ fḟ♮ ♯ ♭ ♭ ♭ ♮ ̇ ♮ “As Adagio serioso”Adagio serioso ♭ ♭ ♭ ♭ 2 4 ̇ ♭ ♭ ♭ ♭ 2 4 dolce ̇ ̇̇ ̇̇ ̇ ̇ ♮ ♭ ♮ ̇ ̇ ̇̇̇ ̇ ̇ ̇ ̇̇ ̇ ̇ ̇ ̇̇ ̇ etc. ♭ ♭ ♭ ♭ ̇ ♭ ♭ ♭ ♭ ♯ ̇♮ ̇ ♭ ♮ ♭etc.Example 2: Carl Czerny: Systematische Anleitung zumFantasieren auf dem Pianoforte, op. 200, example 38.concerning improvisation on a theme (ex. 2).The “Dante” Sonata employs thematic transformationas both an arbiter of form and as asource of musical development throughout, asmay be illustrated briefly by the episodic recurrencesof the principal chromatic theme in thepublished version from 1858. These transformationsappear to follow closely Czerny’s observationthat “every theme . . . can serve bymeans of several modifications in meter andrhythm as . . . [in] all species of compositions”and the prescription that follows: “The performermust devote time and practice to achievethe capability of transforming each motive thatcomes his way into all . . . styles.” 80 A brief80Michell, A Systematic Introduction, pp. 43, 50. Monothematicphantasieren held specific connotations for a Romantictheory of the creative imagination. In the NeueZeitschrift, an 1839 article on “Phantasie” by the young73
Page 3 and 4: composer-as-butterfly had finally m
Page 5 and 6: Playing and imagining music are not
Page 7 and 8: DAVIDTRIPPETTVirtuosity inthe “Da
Page 9 and 10: Table 1Transmission of the “Dante
Page 11 and 12: was a leitmotif of Liszt’s recept
Page 13 and 14: scale form, the sense of “form”
Page 15 and 16: misused in our day.” 51 Seven yea
Page 17 and 18: The broader reception of Liszt’s
Page 19 and 20: composing be before the latter’s
Page 21: a.35Presto agitato assai ♯
Page 25 and 26: teenth-century harmonic expectation
Page 31 and 32: . (continued) ♭ MS I 17 ♭
Page 33 and 34: . MS I 13 7 (1854), denoting the fi
Page 35 and 36: sense that each listener being pres
Page 37 and 38: MS I 17(revised)MS I 13MS I 17(revi
Page 39 and 40: substantial fragment, perhaps akin
Page 41 and 42: Regardless of the music’s elusive
Page 43: tween 1848 and 1849, however, for t

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