Against Werktreue ideals of reverence and fidelity towards the musical score, this chapter presents improvisation as a creative and historically situated practice through which musicians reconstruct canonic repertoire as plural, dialogic, and continually open to transformation.
Improvisation, virtuosity, and textual freedom collide with emerging ideals of fidelity and canon formation in this exploration of how Czerny and Liszt helped transform nineteenth-century Beethoven performance and modern concepts of musical interpretation.
Moving between Poe’s literary theory, Ravel’s “Oiseaux tristes,” multimedia performance, and postcolonial reflection, this chapter examines how artistic meaning is continually transformed through processes of translation, correspondence, reinterpretation, and cultural recontextualisation.
Cite as
Forment, Bruno, ed. Performing by the Book? Musical Negotiations between Text and Act, virtual companion. SONUS Series. Ghent: Orpheus Instituut, 2024. https://doi.org/10.47041/SONUS.2024.1.
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