Virtuosity and the Musical Work

Abstract

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.

Fundoplication versus postoperative medication for gastro-oesophageal reflux in children with neurological impairment undergoing gastrostomy

“…Children with neurological impairments frequently experience profound feeding di iculties, which can lead to malnutrition and growth failure. These are o en seen as inevitable consequences of many neurological disorders due to their associated physical abnormalities, communication di iculties and motor impairments (Samson-Fang 2003).…”

“…The placement of a gastrostomy feeding tube is now the preferred method of providing long-term nutritional support to children with neurological impairments. A gastrostomy is considered when enteral feeding is required beyond the short-term period (that is, greater than six weeks), when there are prolonged feeding times, inadequate weight gain and an unsafe swallow Samson-Fang 2003). The use of gastrostomy tube feeding has previously been shown to increase weight, improve overall health and decrease feeding times for children with neurological impairment (Sullivan 2005).…”

The critic’s voice: On the role and function of criticism of classical music recordings

“…Genuine performance criticism did not emerge until mid/late-nineteenth century, influenced by a modified understanding of the musical artist’s persona as shaped by the nineteenth-century concept of and discourse on musical virtuosity ( Samson, 2003 ; Gooley, 2009 ; Ruprecht, 2013 ; Strandberg, 2014 ; Stefaniak, 2016 ; Doran, 2020 ). The belated recognition of the music performer’s accomplishments is hardly surprising in view of the generally wide-spread dismissive and neglecting stance of music critics toward the role and function of the musical performer that persisted till the beginning of the 20th century.…”

Franz Liszt and the Temple of Art

“…13 "At that time (1846), virtuosity was his main aim, with little emphasis on the artistic significance of the music," saidHanslick (2008,102) who, as an opponent, was still an admirer of him, in the mid-1840s. For a sensitive discussion of the figure of the virtuoso Liszt, see Gooley 2004; and for a musicological perspective, see the dual theme discussed inSamson 2004.…”