Frank O’Hara’s Virtuosity

  title={Frank O’Hara’s Virtuosity},
  author={Anne Lovering Rounds},
  journal={Soundings: An Interdisciplinary Journal},
  pages={29 - 53}
This article illuminates the way American poet Frank O’Hara (1926–1966) develops Romantic tropes of musical virtuosity. While the term “virtuosity” has been used to decry O’Hara’s work, scholarship has not acknowledged the extent to which his poetry, via elliptical hints to Keats and Liszt, could partake in a nineteenth-century discourse about this aesthetic mode. Virtuosity highlights a relationship between performance and form; interaction of these forces is what a strain of O’Hara’s poems… Expand


Virtuosity of the Nineteenth Century: Performing Music and Language in Heine, Liszt, and Baudelaire
Introduction 1. Virtuosity and journalism 2. Instruments of virtuosity 3. Virtuosity 4. Virtuosity, rhapsody, and Romantic philology 5. Liszt's bad style 6. Poetic originality and musical debt:Expand
Frank O'Hara: The Poetics of Coterie
In this stimulating and innovative synthesis of New York's artistic and literary worlds, Lytle Shaw uses the social and philosophical problems involved in "reading" a coterie to propose a newExpand
Tribes of New York: Frank O'Hara, Amiri Baraka, and the Poetics of the Five Spot
No poetry has come out of England of major importance for forty years, yet there are would-be Negro poets who reject the gaudy excellence of 20th century American poetry in favor of disembowelledExpand
Franz Liszt and His World
No nineteenth-century composer had more diverse ties to his contemporary world than Franz Liszt (1811-1886). At various points in his life he made his home in Vienna, Paris, Weimar, Rome, andExpand
Liszt: the Romantic artist
It is one of the ironies of French history that the revolution which brought with it the bourgeois king, Louis-Philippe, and a ‘middle-of-the-road’ official attitude to both culture and governmentExpand
Aprèès une Lecture de Liszt: Virtuosity and Werktreue in the ““Dante”” Sonata
Abstract The European press of the late 1830s indicates a glaring disparity between Liszt9s questionable status as a composer and his eminence as a virtuoso performer. The staggered compositionalExpand
Musical Meaning: Toward a Critical History
Contents List of Illustrations Acknowledgments Introduction: Sounding Out: Musical Meaning and Modern Experience 1. Hermeneutics and Musical History: A Primer without Rules, an Exercise with SchubertExpand
The Romantic Generation
Preface Music and Sound Imagining the sound Romantic paradoxes: the absent melody Classical and Romantic pedal Conception and realization Tone color and structure Fragments Renewal The Fragment asExpand
Piano Roles: Three Hundred Years of Life with the Piano
The piano puts whole worlds of musical sound at the fingertips of one player, evoking the singing of a solo voice, the textural richness of an orchestra, and the rhythmic impetus of a dance band. ItExpand
The piano since c.1825
The concert grand to c.1860 Piano making in the years c. 1825–60 was characterised by the development of ever more powerful and sonorous instruments. In order to achieve their aims, makers continuedExpand