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

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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 [email protected]
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Type
Book Reviews
Information
Nineteenth-Century Music Review , Volume 16 , Issue 1 , April 2019 , pp. 104 - 108
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Copyright
© Cambridge University Press 2017 

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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.