The document summarizes and compares key elements found in four different articles that provide criticism on works by Romantic composers Franz Liszt, Johannes Brahms, Franz Schubert, and common features among such articles. Specifically, it notes that the articles 1) compare the composers to others for context, 2) focus on a representative piece as an example, 3) provide historical background, and 4) discuss how views have changed over time between initial performances and modern perspectives. It also observes that the NPR article on Liszt is unique in challenging perceptions rather than discussing a new performance.

1. Criticisms on Romantic
Composers
Tim Sanchez
Christina Perez

2. “Franz Liszt AT 200: An Important, But Not Great,
Composer”
The NPR article, “Franz Liszt AT 200: An Important, But Not Great, Composer,” heavily
quotes Morning Edition's music commentator Miles Hoffman to argue that Franz Liszt was significant
not because of his own compositions, but because he influenced so many other composers. The
article introduces Liszt as a virtualistic performer who expanded the possibilities of what the piano
could do. It then provides two perspectives on Liszt’s music. Some see it as ostentatious while others
see it as deep, emotional music. However, the article still commends Liszt on the fact that his music is
still played today. Miles Hoffman says that when listening to Liszt’s works, he’s “more struck by the
virtuosity than by the beauty or the depth of the music itself.” Although, he does make an exception for
Liszt's B minor Piano Sonata.The article calls Liszt a “pioneer” and lists some composers that were
inspired by and even supported by Liszt. This includes Richard Wagner, Claude Debussy, and Bella
Bartok.
NPR Staff. “Franz Liszt At 200: An Important, But Not Great, Composer.”National Public Radio. N. P.
21 Oct. 2011. Web. 14 Oct. 2014.
<http://www.npr.org/blogs/deceptivecadence/2011/10/21/141562068/franz-liszt-at-200-an-important-
but-not-great-composer>

3. Johannes Brahms Symphony 4 (John
Eliot Gardiner)
The BBC article called, “Johannes Brahms Symphony 4 (John Eliot Carder)”
reviewed a specific recording of Johannes Brahms Symphony 4 that was record. It was
conducted by John Eliot Carder who is a two time Pulitzer Prize-winning conductor.
Despite his personal criticism of his work, this review written by Charlotte Gardner
raved of the performance’s success. She compares the symphony to chamber music in
that it is sharp and well nounced. While the symphony itself isn’t written to have the
audience swooning in a big sound, it is full of energy and Gardiner successfully entice
the listener and understood how to properly express Brahms in a fresh way.
Gardner, Charlotte. "Johannes Brahms Symphony 4 (John Eliot Carder)." BBC News. BBC, 2010.
Web. 19 Oct. 2014.
http://www.bbc.co.uk/music/reviews/v49p

4. “Unfinished Symphony”
In Alex Ross’ New Yorker article, “Unfinished Symphony,” he describes the mystery of
Schubert’s life and the power of his compositions as well as his approval of Bard’s Schubert Festival.
Schubert died at 31, so he never fully developed as a composer. Plus, little is known about his plans
for future pieces. However, he was still a skilled composer and capable of majestic and advanced
pieces. At the time of this article being written, Bard was hosting a Schubert festival that put special
emphasis on his songs. He lists names of musicians involved as well as the conductor. He also
mentions the discussions held regarding the music, showing that the audience is very involved with
learning about the music they hear. The last thing he mentions is Schubert’s “Fierrabras.” Ross has
mixed feelings about it because he thinks it’s powerful, but shows potential for more dramatics.
Ross, Alex. “Unfinished Symphony.” The New Yorker. Condé Nast. 11 Aug. 2014. Web. 9 Oct.
2014 <http://www.newyorker.com/magazine/2014/08/11/unfinished-symphony>

5. Common Features

6. Comparisons to other composers
Writing about music can be difficult since the audience usually won’t know exactly how a piece
sounds just from an article. If the audience is unfamiliar with the piece or the composer, the author
of a criticism article will compare them to another famous composer to give the audience a general
sense of what the music sounds like. This can also help to categorize composers into eras of
music. Understanding what came before and after a composer can help to give the reader context.
Examples:
“What Liszt did for the piano was what Paganini had done for the violin a generation earlier.” -NPR Staff
“Perhaps most importantly though, Gardiner has taken guidance from, and programmed the symphony alongside, the
music that made Brahms tick – orchestral and choral works by his beloved Beethoven, Bach and Schütz, plus his own
substantially-sized choral works. The resultant interpretation, performed on a small, period-instrumented orchestra, is a
revelation.” -Gardner
“The apocalyptic tremors that scar his mature lyric landscapes—the subterranean trill in the B-Flat Sonata, the stabbing
dissonance at the end of the F-Minor Fantasia—presage symphonic and operatic utterances that would have struck
fear into the nineteenth century and perhaps rendered Wagner unnecessary.” -Ross

7. Representative example
One criticism article is just not enough space to accurately analyze all of a given composer’s works. So, the authors of the
articles usually include one specific piece to focus on as an example of a composer’s style of writing. Certain elements of
one piece will often be applicable to other pieces by the same composer, so the author can go into great detail. This also
incorporates the forum of these articles. Each one we looked at was online, so they each had a link to listen to the piece.
This feature is internet-specific unlike some visual or written works that could be printed and put in a physical magazine.
Allowing the reader to listen to the piece being talked about gives the audience an exact idea of what the author is arguing.
The reader can’t appreciate the criticism unless they can truly experience the music in question.
“But I should probably make an exception — or pianists would angry with me — for Liszt's B minor Piano Sonata, because
many people, especially pianists, do consider it a masterpiece." -Hoffman (From the NPR article)
“In short, Gardiner and his orchestra have placed the work firmly within the classical tradition, as a natural continuation
from Brahms' symphonic idol Beethoven, rather than the seamless precursor to Wagner.” -Gardiner (This whole article
focuses on Brahm’s 4th Symphony)
“The festival ends with a concert performance of “Fierrabras,” Schubert’s most imposing attempt at opera. The libretto,
which tells of loves among warring Franks and Moors in the time of Charlemagne, is too conventional to allow for the full
liberation of the composer’s dramatic capacities, but there are premonitions of what was not to be: notably, the
harmonically wayward aria “Die Brust, gebeugt von Sorgen,” which ends with cries of “Blood!” over a hammering B-minor
ostinato.” -Ross

8. Historical Background
Confucius said, “Study the past if you would define the future.” Historical background is necessary in a
criticism article because if we don’t know where a work came from, how are we going to know all the
facts to accept or reject a criticism. Not only is it informative for those who may have not had access to
the direct source, it provides a refresher to those who many not remember. Historical background is
extremely important because without it we will not fully understand the development of a text.
"This is a man who lived an extraordinarily long and an extraordinarily productive life — a very complicated life," Hoffman says
"By many accounts he was the greatest pianist of the 19th century, somebody who revolutionized people's ideas of what was
possible on the piano." -From the NPR article
“During a 2008 BBC interview to mark the centenary of his birth, the composer Elliott Carter uttered the startling statement that
live performances of his works rarely sounded the way they did in his head. Such an admission from this two-time Pulitzer
Prize-winning centenarian sounded rather tragic, but in fact Brahms had a similar problem with his symphonies.” -Gardiner
“It seems as though Schubert, who died at thirty-one, departed before his character had fully formed.” -Ross

9. Diction

10. Difference between Then and Now
As time passes, styles, preferences, and trends change. Comparing a work from completion to
modern day is included in a criticism article because it is important to know the origin of the
piece. It adds depth by discussing the evolvement of a work. What people thought then and
what they think now can add a lot of perspective not only into the piece but of the current time
and trends.
“Liszt's music has waxed and waned in popularity over the years.” -NPR Staff
“Nevertheless, these days, almost every concert pianist of note has a few pieces by Liszt in their repertoire.” -NPR Staff
“Indeed, even the greatest conductors of his day could reduce him to despair. He accused Walter Frisch of "fussy over-determined
expressivity", whilst a performance by Hans Richter was "truly awful". -Gardiner
“It's an entire reassessment of how Brahms' fourth and final symphony should be understood and performed. Marvellous.” -
Gardiner
“Modern scholars have discarded the Romantic picture of Schubert as the innocent tunesmith, but agree on little else.” -
Ross

11. Variation

12. No New Performance, but a New
Perspective.
The NPR article, “Franz Liszt AT 200: An Important, But Not Great, Composer,” is unique among
these articles because it doesn’t talk about a new performance. Instead, it has to introduce a new
perspective on old material. All of these articles about Romantic composers have the benefit of
knowing the whole lives of the composer and their effect. This one goes further because the NPR
staff and Miles Hoffman challenge the idea that Franz Liszt was a great composer. Readers will only
be interested in the article if a new idea is presented so this one had to go deep into the
compositions themselves and their original performances rather than focusing too much on current
performances.
"I think there are people who would disagree with me, but I would make the case that Liszt was not
so much a great composer but was an extraordinarily important composer," Hoffman explains. "I
don't think of Liszt as a composer of masterpieces. When I listen to his piano works, for example,
I'm more struck by the virtuosity than by the beauty or the depth of the music itself.” -From the
NPR article