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. 25 May. 2013. <http://www.oxfordwestern
music.com/view/Volume3/actrade-9780195384833-div1-005004.xml>. -
Citation (APA): - Taruskin, R. (n.d.). Chapter 5 Virtuosos. In
Oxford University Press, Music i