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

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19THCENTURYMUSICMS I 76 ♯ ♯ ♯ ♯ ♯♯ ̇ ♯ ♯ ♯ ♯ ♯♯ ̇ ♮ ♮ ♮ ♮ ♮ [covered up hereafter]MS I 17(revised) ♯ ♯ ♯ ♯ ♯♯ ♮ ♮ ♮ ♮ ♮ ♮ ♮ ♮ ♯ ♯ ♯ ♯ ♯♯ ̇ ♮♮ MS I 13♯ ♯ ♯ ♯ ♯♯ ♮ ♮ ♯ ♯ ♯ ♯ ♯♯ ♮ ♮ ̇MS I 17(revised)♯ ♯ ♯ ♯ ♯♯ 3 ♯♯ ♯ ♯ ♯ ♯ ♯ ♯♯ ̇ MS I 13♯ ♯ ♯ ♯ ♯♯ ♯ ♯ ♯ ♯ ♯♯ ♮♮ ♮♮ ̇̇ ♮ ♮ ♭ MS I 17(revised)MS I 13 ♯ ♯♯ ♯ ♯♯♭♮ ♭♮ ♯ ♯ ♯ ♯ ♯♯ ♮ ♭♮ ♭5♮ ♮ ♭ ♮ ♭♭ ♭ ♮ ♭ ♭ ♮ ♮♭ ♮ ♭ ♮ ♮ ♯ ♯ ♯ ♯ ♯♯ ♭♮ ♭ ♮ ♮ ♮ ♯ ♯ ♯ ''''♯ ♯♯ ♮ ♮ ♭ ♮ ♭ ♮̇♭ ♮ ♭ ♮ ♭ ̇ ♮♭ ♮ ♮♭ ♭ ♭♮ ♮ ♮̇ ♮ ♭ ♮ 86Example 6: Presentation of theme through differing idiomatic figures.
MS I 17(revised)MS I 13MS I 17(revised)MS I 13♯ ♯♯ ♯ ♯♯♯ ♯ ♯ ♯ ♯♯ ♭ ♮♮ ♮ ♮ ♭ ♮ ♮ ♭ ♮ ♮ ♮ ♮ ♮♮ ♭̇ ̇♮ ♮ ♯ ♮♮♭ ♮ ♮♭♯ ♯ ♮♮ ♮ ♮ ♯ ♯♯ ♯ ♯♯ ♭ ♮ ♮ ♮ ♮ ♮♮ ♮ (♮)♭̇ ̇ ♯ ♯ ♯ ' ' ' ''♯ ♯♯ ♮ ♮ ♯ ♮ ♮ ♭♯ ♮9♯ ♯♯ ♯ ♯♯ ♮♮♮ 7♯ ♯ ♯ ♯ ♯♯♯ ♯♯ ♯ ♯♯♯ ♯♯ ♯ ♯♯♮ ♮ ̇♮ ♮ ♮ ̇ ♮♮ ♮♮ ♮ ♮♮ ♮ ♮ ♮ ̇ '♮♮♯ ♮ ♮♮ [etc.][etc.] ♮ DAVIDTRIPPETTVirtuosity inthe “Dante”SonataExample 6 (continued)ingly become constitutive of the fixed workcharacter while the theme’s harmonic and melodicidentity remains essentially consistent inall manuscripts.Putting my argument in its most extreme terms,the considerable revisions to the “Dante” Sonatasuggest a shift in its status from a notatedaide-mémoire sketch to a post-Beethovenianwork, a shift that shadows the mise-en-scèneof Liszt’s explicit metamorphosis from virtuosoas-caterpillarto composer-as-butterfly. By resigningpublicly as a professional performeramid a flurry of antivirtuoso criticism, 97 Lisztrendered his self-critique an act of self-effacement.He effectively determined the negativereception of his earlier portfolio of virtuoso97The most recent analysis of antivirtuoso criticism is thatof Gooley, “The Battle Against Instrumental Virtuosity inthe Early Nineteenth Century,” Liszt and His World, pp.75–112.works by seeking, as Hanslick put it, to writein Weimar “for posterity” rather than to continueto perform for the gratifying heights ofthe instant alone.Because musicological scholarship has tendedto rely on documentary evidence, improvisationhas remained elusive, relegated to the sidelinesof conjecture and imagination. 98 Method-98Adopting a more analytical approach to the problem ofimprovisation, John Rink has aimed to quantify improvisationwithin Chopin’s Polonaise-Fantaisie, op. 61, througha Schenkerian graphing of different structural levels. Rinksupports his modus operandi with the observation that“certain features of Chopin’s style appear to derive fromthe improvisation tradition . . . at a deeper level—at thestructural level, however, the influence improvisation hadon his music . . . is far more difficult to assess precisely.. . . To grasp the essence of Chopin’s music, one mustunderstand how improvisation affected its structure”(“Chopin and Schenker: Improvisation and Musical Structure,”in Chopin Studies: The International MusicologicalSymposium “Chopin and Romanticism” Warsaw, 17–23October 1986, vol. 3 [Warsaw: Frederick Chopin Society,1990], pp. 219–23, here 219).87
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 and 22: a.35Presto agitato assai ♯
Page 23 and 24: Theme ♭ ♭ ♭ ̇̇ ̇ ̇
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: sense that each listener being pres
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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