Recent years have seen virtuosity thrive as a topical focus in nineteenth-century music studies. Reflecting music scholars' increasing attention to issues of performance and performers—perhaps influenced by the historically informed performance practice movement, which has of late been training its lens on the Romantic era—discussions of virtuosity have emerged in monographs, journal articles, dissertations and theses, and conference programs over the past decade and a half. Alexander Stefaniak's monograph participates in this development.1 In focusing on the concept of virtuosity in Robert Schumann's music, Stefaniak tackles an issue that has long lain cloaked in near silence among scholars who specialize in this composer's works. Such reticence may stem from the...
Schumann's Virtuosity: Criticism, Composition, and Performance in Nineteenth-Century Germany, by Alexander Stefaniak
ROE-MIN KOK is Associate Professor at McGill University. Her research interests are driven by a fundamental curiosity about the cultural frameworks through which music is created, received, understood, and discussed. Ongoing projects include a monograph on children's music in the context of family life in nineteenth-century Europe and two edited collections, one on the Schumanns and the other exploring music and colonialism in global history. She is currently revising the Grove Music Online article on Robert Schumann.
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Roe-Min Kok; Schumann's Virtuosity: Criticism, Composition, and Performance in Nineteenth-Century Germany, by Alexander Stefaniak. Journal of the American Musicological Society 1 April 2020; 73 (1): 183–187. doi: https://doi.org/10.1525/jams.2020.73.1.183
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