Fantasies of Improvisation
Free Playing in Nineteenth-Century Music
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Product details:
- Publisher OUP USA
- Date of Publication 26 July 2018
- ISBN 9780190633585
- Binding Hardback
- No. of pages314 pages
- Size 239x157x30 mm
- Weight 540 g
- Language English
- Illustrations 20 line, 4 halftones 0
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Short description:
The first history of keyboard improvisation in European music from the time of Beethoven through the later nineteenth century, Dana Gooley's Free Play: Fantasies of Improvisation in Nineteenth-Century Music describes the motives, intentions, and musical styles of the nineteenth century's leading improvisers, and traces the evolution of the performance practice into a glorified ideal.
MoreLong description:
The first history of keyboard improvisation in European music in the postclassical and romantic periods, Free Play: Fantasies of Improvisation in Nineteenth-Century Music documents practices of improvisation on the piano and the organ, with a particular emphasis on free fantasies and other forms of free playing. Case studies of performers such as Abbé Vogler, J. N. Hummel, Ignaz Moscheles, Robert Schumann, Carl Loewe, and Franz Liszt describe in detail the motives, intentions, and musical styles of the nineteenth century's leading improvisers. Grounded in primary sources, the book further discusses the reception and valuation of improvisational performances by colleagues, audiences, and critics, which prompted many keyboardists to stop improvising. Author Dana Gooley argues that amidst the decline of improvisational practices in the first half of the nineteenth century there emerged a strong and influential "idea" of improvisation as an ideal or perfect performance. This idea, spawned and nourished by romanticism, preserved the aesthetic, social, and ethical values associated with improvisation, calling into question the supposed triumph of the "work."
This is an extremely interesting book on a topic that has not received as much attention as it deserves ... Highly recommended.
Table of Contents:
Table of Contents
Prelude: The Virtue of Improvisation
Chapter 1: The School of Abbé Vogler: Weber and Meyerbeer
Chapter 2: The Kapellmeister Network and the Performance of Community:
Hummel, Moscheles, and Mendelssohn
Chapter 3: Carl Loewe's Performative Romanticism
Chapter 4: Schumann and the Economization of Musical Labor
Chapter 5: Liszt and the Romantic Rhetoric of Improvisation
Chapter 6: Improvisatoriness: The Regime of the Improvisation
Imaginary
Postlude: Improvisation and Utopia
