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

19THCENTURYMUSIC ♭ 6 8 ̇Allegretto graziosȯ ̇ ̇ ♮ dolce ♭ 6 8 ♭ ̇ ♯̇ ♯ ̇ ̇♮ ̇ ̇ ♭“As Allegretto grazioso”“As Rondo”Rondo vivace ♭ ♭ ♭ 2 4 ̇̇ ♮ ↓↓ ↓↓↓↓ ♮ ♮ ↓ ♭ ♭ ♭ 2 ↓↓↓↓↓↓↓↓ ↓4 ↓ ↓ ↓ ↓ ↓ ↓ ♭ ̇ ♯̇ ̇ ♮ ̇ ♭ ̇ ̇↓etc.♭ ♭ ♭̇ ♮ ♯ ♭ ↓↓↓♮ ♭ ♭ ↓↓↓↓↓♭ ↓ ↓ ↓ ↓ ↓ ↓ ↓ ♮ etc.Example 2 (continued)look at Czerny’s written-out examples forFantasy-like Improvisation (Phantasieren) witha single theme makes the likeness clear. AlthoughCzerny’s musical language operateswithin stylistic boundaries such as antecedentconsequentstructures and accords with eigh-Königsburg Kapellmeister Eduard Sobolewski cites the infiniteexploration of a single theme/idea as the criticaldifference between artists and normal educated citizens:“The reason why [an intelligent person] never learns tocomprehend life [is] that an idea, a small, petty idea issufficient to relieve all the worry and trouble of this world./ One idea, often even an idea from an idea, [or] what wemusicians call motive, outline. . . . If one steals everythingfrom [an artist] he nevertheless remains rich” (Das ist dieUrsache, weshalb jener nie das Leben . . . recht begreifenlernt, daß eine Idee, eine kleine, winzige Idee hinreichendist, ihn all’ der Sorgen und Mühen dieser Welt zu entheben./ Eine Idee, ja oft nur eine Idee von einer Idee, was wirMusiker Motiv, Umriß nennen . . . Raubt ihm alles, erbleibt dennoch reich). See Sobolewski “Phantasie,” NeueZeitschrift für Musik 51 (24 Dec. 1839), 201–03, here 201.Writing in the same journal twenty-three years later,Richard Pohl similarly emphasizes the infinite capacity of74