Hostname: page-component-cd9895bd7-jn8rn Total loading time: 0 Render date: 2024-12-26T08:20:06.455Z Has data issue: false hasContentIssue false
  • English
  • Français

Alexander Stefaniak, Schumann’s Virtuosity: Criticism, Composition, and Performance in Nineteenth-Century Germany (Bloomington: Indiana University Press, 2016). x+296 pp. $46.00

Review products

Alexander Stefaniak, Schumann’s Virtuosity: Criticism, Composition, and Performance in Nineteenth-Century Germany (Bloomington: Indiana University Press, 2016). x+296 pp. $46.00

Published online by Cambridge University Press:  22 December 2017

Beth Hiser
Beth Hiser*
Affiliation:
Baldwin Wallace Universitybhiser@bw.edu
Get access Rights & Permissions [Opens in a new window]

Abstract

An abstract is not available for this content so a preview has been provided. Please use the Get access link above for information on how to access this content.
Image of the first page of this content. For PDF version, please use the ‘Save PDF’ preceeding this image.'
Type
Book Reviews
Information
Nineteenth-Century Music Review , Volume 16 , Issue 1 , April 2019 , pp. 104 - 108
Check for updates
Copyright
© Cambridge University Press 2017 

Access options

Get access to the full version of this content by using one of the access options below. (Log in options will check for institutional or personal access. Content may require purchase if you do not have access.)

References

1 Gooley, Dana, ‘The Battle against Instrumental Virtuosity in the Early Nineteenth Century’, in Franz Liszt and His World, ed. Christopher H. Gibbs and Dana Gooley (Princeton: Princeton University Press, 2006): 86–87 Google Scholar.

2 Daverio, John, Robert Schumann: Herald of a New Poetic Age (Oxford: Oxford University Press, 1997): 89 Google Scholar.

3 Fink, a well-respected composer and theorist, was editor-in-chief of the Allgemeine musikalische Zeitschrift from 1827 to 1842. The journal, published by Breitkopf & Härtel through the 1860s, was highly regarded, yet scholars have given Fink’s work only minimal attention, generally emphasizing his ‘tolerant tone and pleas for artistic pluralism’ (p. 22).

4 Czerny, Carl, A Systematic Introduction to Improvisation on the Pianoforte, trans. and ed. Alice L. Mitchell (New York: Longman, 1983): 75 Google Scholar.

5 Bonds, Mark Evan, ‘The Symphony as Pindaric Ode’ in Haydn and his World, ed. Elaine Sisman (Princeton: Princeton University Press, 1997): 139 Google Scholar.

6 Liszt, Franz, ‘Compositions pour piano, de M. Robert Schumann’ in Franz Liszt: Sämtliche Schriften, vol. 1, ed. Rainer Kleinertz with Serge Gut (Wiesbaden: Brietkopf und Härtel, 2000): 374 Google Scholar.

7 Lydia Goehr describes Werktreue as the idea that ‘a musical work is held to be a composer’s unique, objectified expression, a public and permanently existing artifact, made up of musical elements … . Performances themselves are transitory sound events intended to present a work by complying as closely as possible with the given notational specifications’. in ‘Being True to the Work’, The Journal of Aesthetics and Art Criticism, 47/1 (1989): 55.

8 Schumann, Robert, Tagebücher, vol. 2, ed. Gerd Nauhaus (Leipzig: VEB, 1987): 401 Google Scholar.