Virtuosity and the Musical Work: The__Transcendental Studies__of Liszt

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. This Book Is About Three Sets Of Etudes By Liszt: The Etude En Douze Exercises (1826), Its Reworking As Douzes Grandes Etudes (1837), And Their Reworking As Douzes Etudes D'execution 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.--jacket. 1. Ecology By Numbers -- 2. Of Maps And Materials -- 3. Composing The Performance -- 4. Making And Remaking -- 5. Forms And Reforms -- 6. Suggestion And Symbol -- 7. Mazeppa Times 7. Jim Samson. Includes Bibliographical References (p. 227-234) And Index. Cover......Page 1 Half-title......Page 3 Title......Page 5 Copyright......Page 6 Dedication......Page 7 Contents......Page 9 Acknowledgements......Page 10 Introduction......Page 11 3 TIMES 12 ETUDES......Page 18 3 COMPOSERS......Page 22 2 PIANOS......Page 31 ETUDES AND EXERCISES......Page 39 A RECOVERED PAST......Page 45 AN ACTIVE PRESENT......Page 63 SOUNDING HISTORY......Page 76 PAGANINI AND THE DREAM FACTORY; LISZT, L’ENCHANTEUR......Page 86 SURPLUS NOTES......Page 93 MUTUAL DEDICATIONS......Page 113 THE ORIGINAL TONE......Page 119 THE PLAY OF ECHOES......Page 127 IN THE WORKSHOP......Page 144 THE SELF AND THE FORMS......Page 153 TONALITIES......Page 169 FROM TOPICS TO TITLES......Page 185 SEEKING THE PLOT......Page 195 ON TO ONTOLOGY......Page 202 ‘IL TOMBE ENFIN! ... ET SE RELÈVE ROI!’......Page 208 BEYOND BLACK AND WHITE......Page 217 TESTS OF TIME......Page 222 Bibliography......Page 237 Index......Page 245 This book is about three sets of etudes by Liszt: the Etude en douze exercices (1826); its reworking as Douzes grandes etudes (1837); and their reworking as Douzes etudes d'execution transcendante (1851). It is also a book about nineteenth-century instrumental music in general because 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. 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 Étude en douze exercices (1826), its reworking as Douzes grandes études (1837) and their reworking as Douzes études d'exécution transcendante (1851) In 1827, when Liszt was sixteen years old, a volume of twelve exercises, almost certainly composed in the early months of the previous year, was published by Boisselot in Marseilles.

Considers the nature of nineteenth-century instrumental music through three sets of etudes by Liszt.