Virtuoso

A virtuoso (from Italian virtuoso [virˈtwoːzo] or [virtuˈoːso], "virtuous", Late Latin virtuosus, Latin virtus, "virtue", "excellence" or "skill") is an individual who possesses outstanding technical ability in a particular art or field such as fine arts, music, singing, playing a musical instrument, or composition.[1] This word also refers to a person who has cultivated appreciation of artistic excellence, either as a connoisseur or collector. The plural form of virtuoso is either virtuosi or the Anglicisation, virtuosos, and the feminine forms are virtuosa and virtuose.

For other uses, see Virtuoso (disambiguation).

According to Music in the Western civilization by Piero Weiss and Richard Taruskin:[2]

...a virtuoso was, originally, a highly accomplished musician, but by the nineteenth century the term had become restricted to performers, both vocal and instrumental, whose technical accomplishments were so pronounced as to dazzle the public.

The defining element of virtuosity is the performance ability of the musician in question, who is capable of displaying feats of skill well above the average performer.

Especially in music, both critics and musicians have mixed opinions on virtuosity. While the skill implied is clearly positive, musicians focused on virtuosity have been criticized for overlooking substance and emotion in favor of raw technical prowess.[3]

More commonly applied in the context of the fine arts, the term can also refer to a "master" or "ace" who excels technically within any particular field or area of human knowledge—anyone especially or dazzlingly skilled at what they do.[1] For instance, Ken Jennings's initial success on Jeopardy! was described as a "virtuoso performance."[4]

History

The meaning of virtuoso has its roots in the Italian usage of the 16th and 17th centuries, signifying an honorific term reserved for a person distinguished in any intellectual or artistic field. The term evolved with time, simultaneously broadening and narrowing in scope as interpretations went in and out of fashion and debates unraveled. Originally a musician was considered a virtuoso by being an accomplished composer, theorist, or maestro, rather than a skilled performer.[5]

In the 17th and 18th centuries, the word shifted in meaning, and many musicians applied it without considering merit, sometimes to themselves. Sébastien de Brossard in his Dictionnaire de Musique (Paris, 1703)[6][7] approached the word virtuoso by its Latin root virtu emphasizing exceptional training, especially in theory. This position was also defended in Johann Gottfried Walther's Musicalisches Lexicon (1732) favoring the theorist over the performer. Johann Mattheson's Der brauchbare Virtuoso[8] (1720) maintained the respect for the traditional "theoretische Virtuosen" (theoretical virtuoso) but also paid tribute to the "virtuosi prattici" (performer virtuoso).

Johann Kuhnau in his The Musical Charlatan (Der musikalische Quack-Salber, 1700) defined the "true virtuoso" once again emphasizing theory ("der wahre Virtuose") describing the "highly gifted musician" ("der glückselige Musicus") or "performer virtuoso" as having nothing more than practical facility.

In the late 18th century, people began to use the term to describe an instrumentalist or vocalist who pursued a career as a soloist. The tension about the merit of practical virtuosity started to grow at the same time and intensified in the 19th century, only to remain an open debate since then. Franz Liszt, considered one of the greatest of all virtuosos, declared that "virtuosity is not an outgrowth, but an indispensable element of music" (Gesammelte Schriften, iv, 1855–9). Richard Wagner opposed the triviality and exhibitionist talents of the performer voicing his opinion strongly:

The real dignity of the virtuoso rests solely on the dignity he is able to preserve for creative art; if he trifles and toys with this, he casts his honour away. He is the intermediary of the artistic idea[9]

Bibliography
  • Doran, Robert (ed.): Liszt and Virtuosity. Rochester: University of Rochester Press (Eastman Studies in Music), 2020. OCLC 1133204755
gollark: No, I'm pretty sure you're just GPT-2.
gollark: citrons is GPT-*Neo*, actually; the GPT-3 is only accessible through the API, and thus no.
gollark: Which reminds me, maybe I should have more extensive GEORGEsystem™ monitoring.
gollark: ÆÆÆÆÆÆÆÆÆÆÆÆÆa
gollark: Practically, yes.

References
  1. "Merriam-Webster Online, Official Definition". Retrieved 2009-09-21.
  2. Weiss, Piero; Taruskin, Richard (1984). Music in the Western World: A History in Documents. Schirmer. pp. 430. ISBN 0-02-872900-5.
  3. Bose, Sudip. "On Virtuosity." The American Scholar. http://theamericanscholar.org/on-virtuosity/
  4. "IBM's Watson "Jeopardy!" Computer Comes to CHM - @CHM Blog - Computer History Museum". www.computerhistory.org.
  5. "Grove Music Online". Grove Music Online. Retrieved 2006-03-14.
  6. Sebastien, de Brossard (1703). Dictionnaire de Musique (2nd ed.). Paris: Christophe Ballard.
  7. Morton, Joëlle. "Brossard". Joëlle Morton. Retrieved 2006-08-24.
  8. "Archived copy". Archived from the original on 2007-03-11. Retrieved 2006-08-24.CS1 maint: archived copy as title (link)
  9. Gesammelte Schriften; English translation, vii, 1894–9, p. 112
  • Media related to Musicians at Wikimedia Commons


This article is issued from Wikipedia. The text is licensed under Creative Commons - Attribution - Sharealike. Additional terms may apply for the media files.