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By Ian Bent

During this moment quantity of nineteenth-century song analyses, Ian Bent presents an additional number of newly translated writings of nineteenth-century track critics and theorists, together with composers resembling Wagner, Schumann and Berlioz, and critics akin to A. B. Marx and E. T. A. Hoffmann. the place quantity I, on Fugue, shape and elegance, awarded nineteen analyses of a technical nature, all of the writing right here consists of a metaphorical variety of verbalised description, a few natural examples, and others hybrid types combined with technical research. The tune analysed is among the best-known within the repertoire: Wagner writes on Beethoven's 9th Symphony, E. T. A. Hoffmann at the 5th, Schumann writes on Berlioz, and Berlioz on Meyerbeer. Professor Bent provides each one research with its personal exact advent and every is amplified by way of assisting details in footnotes.

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His later vivid account is worth quoting in full:61 Far from being a new invention, [hermeneutics] has been practised constantly, if not in so comprehensive and systematic a manner, since the dawn of modern art. [. ] Our [nineteenth-century] instrumental music [. ] has become more complex [than that of the eighteenth century], its public broader and more mixed, and at the same time more expert. This state of affairs is cause for rejoicing, if only because it has stimulated an interest in hermeneutics.

Since then several fellow-reporters, most recently our Mannheim correspondent and before that the reviewer of the Second Symphony piano [trio] arrangement,47 have given similar accounts but have attempted also to probe in detail the work's purpose and character, and the causes of the impression that it makes. At this stage the individuality [Eigenheit] and the rich content [Gehalt] of the work cry out now for a concentrated and serious investigation of the work's technical side that follows the composer very precisely, working step by step from this [technical] side and from the adjacent mechanical side.

Brendel Amid the subliterature of nineteenth-century aesthetics there exist two passages now long forgotten, passages of the sort that modern aestheticians and historians pass over as ellipses, but passages of great interest to our present purpose. One was written in 1 8 4 5 , t n e other in 1903. Each provides a chronicle of what was, in its author's eyes, a new genre of writing about music. Since each serves as a preamble to a manifesto for a still newer and higher type of writing, we should treat its historical record with some caution.

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