Performers have enacted Beethoven in ways that disclose overt similarities in the ways through which they conceptualize both the composer’s music, and their own ambitions in performing it. This article looks at the pianist Anton Rubinstein (1829–1894) who became known as ‘Van II’ not for his compositions but rather his performances. The focus the late nineteenth-century demand for autobiographic readings, and their blurring of boundaries between fact and fiction, sets the scene for Rubinstein’s role in the creation of a Russian obsession with the performance of Beethoven’s piano works. Rubinstein’s fame for being a ‘son born of Beethoven’ continued well beyond his death, and set a precedent for other pianists to look to his Beethoven legacy to fashion themselves as what Stefaniak has termed ‘revelatory interpreters’ of the composer. The resulting Beethoven–Rubinstein synthesis resulted in a counterpart obsession that peaked in the late-Soviet landscape of the mid-twentieth century. The article turns to the case of Heinrich Neuhaus (1888–1964) to give a sense of how this active myth-making reflected itself in the construction of a performance narrative by a pianist who had never seen or heard Rubinstein but who felt compelled to enact the language, metaphors, and physical trope of the Beethoven-Rubinstein synthesis. It suggests how, in Neuhaus’s case, enacting the Beethoven–Rubinstein synthesis perhaps underpinned aspects of his own pianism (such as the concept of intonirovaniye (a way of intoning sound) as a manifestation of revelatory interpretation) in Beethoven’s Piano Sonata in A-flat major Opus 110.

This article focuses on the Italian inventor, telephone pioneer and opera house technician Antonio Meucci (1808–1889), exploring the shifting relationships between Meucci’s experiments and his operatic connections across his transatlantic career. Meucci first developed an acoustic telephone while working at Florence’s Teatro della Pergola, before discovering the transmission of sound via electricity during his tenure as chief machinist at Havana’s Teatro Tacón in the 1840s. These experiments were further refined after his relocation to New York, where he continued to be part of a network of Italian musicians, thinkers, journalists and scientific practitioners while seeking to patent his invention. Feted among the Italian diasporic community in the USA – both for his technological innovations and for his close relationship with Italian revolutionary Giuseppe Garibaldi – at the time of his death Meucci was nonetheless embroiled in a lengthy legal case against Alexander Graham Bell over the primacy of the telephone’s invention, a dispute not fully resolved until the twenty-first century. This article accordingly unfolds in three main parts, focusing in turn on Florence, Havana and New York. Meucci’s experiments – and his complex emigrant environment – collectively highlight the Italian opera house as a global and multidimensional site of technological and sonic innovation, during a period when the telephone gradually moved from conceptual fantasy to material reality. At the same time, Meucci’s career can challenge direct links between Italian sonic environments and Italy itself. Ultimately, I argue, the complex and changing relationships between opera and the telephone invite more nuanced approaches to histories of music and technology, while demonstrating the centrality of the Italian opera house and its sounds – within, across, and beyond the stage – to nineteenth-century auditory cultures more broadly.

Now mostly derided as a musical vandal, the cellist Friedrich Grützmacher (1832–1903) was seen during his lifetime as a noble and serious artist, highly respected as a performer and sought-after as a teacher. His numerous and heavily annotated performing editions – and in particular his pedagogical editions of older works – represent his attempt to preserve and disseminate a style of playing that was referred to at the time as ‘classical’ (classisch or klassisch). While the concept of classic works, as it developed in the nineteenth century, has been studied in depth by Lydia Goehr, William Weber and others, the related yet distinct concept of classical musicianship is relatively unexplored. This chapter traces the cultural resonances of the term ‘classisch’ as it was used in the German-speaking press over the course of Grützmacher’s lifetime, arguing that it represents a complement or parallel to the idea of classic works, with an independent connection to Romantic Idealism and Hellenism. The chapter then examines the performance practice implications of classical musicianship through the lens of Grützmacher’s editions, with a particular focus on a disciplined sense of tempo, a grand and tranquil physical presence, and a highly nuanced use of the bow in the service of musical character. Viewing classical musicianship in this way clears Grützmacher’s editions of the charge of vandalism by challenging us to reconsider the ideal relationship between composer and performer, as well as the fundamental purpose of an edition.

This essay takes as its point of departure the so-called ‘Verdi A’, 432Hz. From the late 1860s through to the 1880s, the opera composer was intensely preoccupied with the question of tuning, weighing in several times on the matter of where A should sit. Verdi was concerned for the strain that high tunings should place on singers’ voices. He advocated on multiple occasions for global acceptance of an A well below 440, and sent Arrigo Boito to argue in favour of A=432 at the Congresso dei Musicisti Italiani, held in Milan on 16–21 June 1881. In the 1880s, Italy remained one of the only nations in Europe that had not adopted equal temperament wholesale for fixed-tone instruments; as in the case of its spoken languages during this same period, and the locations of its A, temperament varied by region, with the southern part of the peninsula clinging to meantones. This article argues that ‘Verdi tuning’ represents the end point of a number of longer shifts in the conceptualization of musical sound, particularly in the Italian context: from temperament to tuning (accordatura); from relative conceptions of musical pitch to an absolute one; from local and regional variations towards a standardized system; from an older notion of all-encompassing nature to a presumed separation between nature and culture. Tracing this history through the Italian long nineteenth century will involve concentrating on what this article calls music-adjacent sound: that is, interrogative play with musical pitch; sound experiments from musical materials and operatic voices; instrument tuning by ear; listening for overtones; legislating preferred ratios and (eventually) frequencies for musical use; and constructing a theory of music that draws together these means of sounding. Music-adjacent sound is where the conditions for music-making were and still are established. This article argues that an attention to these sonic and nearly musical moments can demonstrate how listening and the musical imagination were cultivated outside the boundaries of any work or performance.

In this article, I argue that the musical landscape in Panama during the nineteenth century was much more active, diverse and globally connected than previously observed by authors of traditionally accepted music historiography of the country. Particularly, I discuss the heightened activity in the second half of the century through primary sources concerning violinist Miguel Iturrado (d. 1879). I further argue that the violin culture fostered by Iturrado and his contemporaries became a solid platform for cultural exchange which allowed for the development of early-twentieth-century music production in Panama. I conclude that the flourishing of numerous fin-de-siècle concert violinists, as well as the advent of the violinist-composers of dance music now known as the Azuero School in the first third of twentieth-century Panama, are directly related to Iturrado’s –and his colleagues’– musical and cultural achievements.