A DIVIDED CULTURE
For these reasons, among others, Liszt's concerto, and the compositional approach it embodied, despite their claim of descent from Beethoven, were widely regarded by cultured musicians at the time as monstrosities. It is precisely at this point, in fact, that a chronic rift begins to open up between a compositional avant-garde, to which Liszt and many other “creative virtuosos” belonged, and a conservative establishment. This rift has been a constant factor in the history of European (and Euro-American) music ever since, and reached a crisis in the twentieth century. To a considerable extent, its story will be the main story of this book from now on.
- Citation (MLA):
- Richard Taruskin. "Chapter 5 Virtuosos." The Oxford History of Western Music. Oxford University Press. New York, USA. n.d. Web. 29 May. 2016. <http://www.oxfordwesternmusic.com/view/Volume3/actrade-9780195384833-div1-005004.xml>.
- Citation (APA):
- Taruskin, R. (n.d.). Chapter 5 Virtuosos. In Oxford University Press, Music in the Nineteenth Century. New York, USA. Retrieved 29 May. 2016, from http://www.oxfordwesternmusic.com/view/Volume3/actrade-9780195384833-div1-005004.xml
- Citation (Chicago):
- Richard Taruskin. "Chapter 5 Virtuosos." In Music in the Nineteenth Century, Oxford University Press. (New York, USA, n.d.). Retrieved 29 May. 2016, from http://www.oxfordwesternmusic.com/view/Volume3/actrade-9780195384833-div1-005004.xml