The Battle Against Instrumental Virtuosity in the Early Nineteenth Century

Gooley, Dana

doi:10.1515/9781400828616.75

“…Situamos historicamente o surgimento da atual configuração das posições de poder ocupadas pelas figuras do compositor e do intérprete no momento das transformações econômicas e sociais ocorridas no contexto europeu entre os séculos XVIII e XIX, conforme apresentadas por Moore (1992) e Attali (2009). Coincidem com elas as duas concepções avaliativas de performance apresentadas por Goehr (1992Goehr ( , 1995 e ilustradas de modo empírico nas análises de Gooley (2006), Piotrowska (2012) e Leistra-Jones (2013). Tais modos de avaliação implicaram limites classificatórios e princípios normativos para a dimensão da performance musical, nos oferecendo subsídios para compreender as técnicas, aplicação e aperfeiçoamento dos mecanismos de poder que se estabelecem no âmbito da divisão dos papéis.…”

Section: Relações Compositor/intérpreteunclassified

As estratégias de abertura ao intérprete e os procedimentos de controle do discurso

Pizaia

¹

,

Furlanete

²

2023

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Este artigo propõe uma análise crítica da relação compositor/intérprete a partir da proposta do intérprete emancipado conforme articulada por Paulo de Assis. Situamos historicamente as configurações e mecanismos de poder que marcam a divisão de trabalho a partir das concepções de disciplina e soberania de Michel Foucault. Posteriormente, analisamos proposições metodológicas e artísticas fundamentadas na atualização da noção de Obra musical concebida por Assis. A fim de compreender os limites e as contradições que marcam tal proposição, traçamos paralelos entre a abordagem do autor e os procedimentos de controle do discurso. Acreditamos que tal via analítica nos possibilite compreender os mecanismos de ordenamento, delimitação e exclusão que marcam as formações discursivas pautadas no eixo da relação compositor/intérprete.

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“…Allgemeine musikalische Zeitung 10 (May 1808), quoted in Heck,Mauro Giuliani,[39][40] even while suited to the instrument's nature, a kind of bon-bon for ladies and fashionable folk, as are all such adaptations [Amphibien].…”

Section: [Emphasis In Original]mentioning

confidence: 99%

The Intimate Virtuoso: The Guitar, the Rhetoric of Transformation, and Issues of Spectacle in Music by Fernando Sor, Johann K. Mertz, and Giulio Regondi

Garrick¹

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<p>Studies of virtuosity in the eighteenth and nineteenth centuries have tended to focus on the piano and the violin. These instruments were obviously virtuosic and lent themselves to visual and aural displays of power, most notably in the case of Liszt and Paganini. These virtuosi crafted spectacles that were often described with metaphors of power and violence. These spectacles came to characterise the virtuosity of the early nineteenth century. However, the guitar has been largely neglected in scholarship dealing with virtuosity from the late eighteenth and early nineteenth centuries. This is due, in large part, to the status of the guitar within that period. Though popular as an accompanying instrument and in the home, the guitar struggled to find a secure position as a legitimate solo instrument in the public arena. While guitarists such as Dionisio Aguado and Mauro Giuliani were described as ‘virtuosi’, their instrument, unlike the piano and the violin, did not give itself to a spectacle that conveyed notions of power and violence. Rather, the guitar is an intimate instrument, quieter than the piano or the violin, and utilising small movements in the hands. These aspects of the instrument, so often perceived as ‘limitations’ led many writers to dismiss it as an inappropriate instrument for performance in the public spheres occupied by the piano and the violin. Guitarist-composers sought to play to the guitar’s strengths in ways that contrasted with the conventional metaphors of power and violence. Some of these attempts rhetorically aligned the guitar with genres and instruments that carried greater cultural capital. Composers used orchestral metaphors and emphasised the guitar’s ability to imitate other instruments. Other guitarist-composers sought to create a greater spectacle both in and beyond the music itself by emphasising physical movements within the music and writing extra-musical gestures into the music. The rhetoric of transformation was used either by or about the guitarist-composers Fernando Sor, Dionisio Aguado, Johann Kaspar Mertz, and Giulio Regondi, all of whom this exegesis focuses on, demonstrating a desire to legitimise the guitar at a time when it struggled not only to find traction as a ‘serious’ classical instrument, but also a place amongst more obviously virtuosic instruments.</p>

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“…39 Liszt became rich very quickly due to high ticket sales and he did so well that he could afford to give generously to charity -Gooley suggests that this protected Liszt from the anti-virtuosity critics who equated the flurry of notes with greed. 40 Paganini, too, did handsomely, bestowing upon Berlioz a large gift of twenty thousand francs, enabling him to compose his penultimate symphony. London, Paris and Vienna between 1830and 1848(Burlington, VT: Ashgate, 2004), 6-8.…”

mentioning

confidence: 99%

The Intimate Virtuoso: The Guitar, the Rhetoric of Transformation, and Issues of Spectacle in Music by Fernando Sor, Johann K. Mertz, and Giulio Regondi

Garrick¹

0

View full text Add to dashboard Cite

<p>Studies of virtuosity in the eighteenth and nineteenth centuries have tended to focus on the piano and the violin. These instruments were obviously virtuosic and lent themselves to visual and aural displays of power, most notably in the case of Liszt and Paganini. These virtuosi crafted spectacles that were often described with metaphors of power and violence. These spectacles came to characterise the virtuosity of the early nineteenth century. However, the guitar has been largely neglected in scholarship dealing with virtuosity from the late eighteenth and early nineteenth centuries. This is due, in large part, to the status of the guitar within that period. Though popular as an accompanying instrument and in the home, the guitar struggled to find a secure position as a legitimate solo instrument in the public arena. While guitarists such as Dionisio Aguado and Mauro Giuliani were described as ‘virtuosi’, their instrument, unlike the piano and the violin, did not give itself to a spectacle that conveyed notions of power and violence. Rather, the guitar is an intimate instrument, quieter than the piano or the violin, and utilising small movements in the hands. These aspects of the instrument, so often perceived as ‘limitations’ led many writers to dismiss it as an inappropriate instrument for performance in the public spheres occupied by the piano and the violin. Guitarist-composers sought to play to the guitar’s strengths in ways that contrasted with the conventional metaphors of power and violence. Some of these attempts rhetorically aligned the guitar with genres and instruments that carried greater cultural capital. Composers used orchestral metaphors and emphasised the guitar’s ability to imitate other instruments. Other guitarist-composers sought to create a greater spectacle both in and beyond the music itself by emphasising physical movements within the music and writing extra-musical gestures into the music. The rhetoric of transformation was used either by or about the guitarist-composers Fernando Sor, Dionisio Aguado, Johann Kaspar Mertz, and Giulio Regondi, all of whom this exegesis focuses on, demonstrating a desire to legitimise the guitar at a time when it struggled not only to find traction as a ‘serious’ classical instrument, but also a place amongst more obviously virtuosic instruments.</p>

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The Battle Against Instrumental Virtuosity in the Early Nineteenth Century

Cited by 24 publications

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As estratégias de abertura ao intérprete e os procedimentos de controle do discurso

As estratégias de abertura ao intérprete e os procedimentos de controle do discurso

The Intimate Virtuoso: The Guitar, the Rhetoric of Transformation, and Issues of Spectacle in Music by Fernando Sor, Johann K. Mertz, and Giulio Regondi

The Intimate Virtuoso: The Guitar, the Rhetoric of Transformation, and Issues of Spectacle in Music by Fernando Sor, Johann K. Mertz, and Giulio Regondi

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