C
ERNY'S
INTERPR-ETATION OF
BEETPOVEN'S.
PIANO
SONATAS
by Suan Liu Lee UNIVERSITY OF WALESBANGOR 2003 I'W DDEFNYDDIO YN Y LLY'FRC-[: YN U,",!IG -LL TO Di': -. COi%'SIJLT ED IN THE I , Ll"LMARYONLY
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SUMMARY The teachingof Carl Czemywas influential in the first half of the nineteenthcentury. His CompleteTheoreticalandPractical Piano Forte Schoolandits supplement, TheArt ofPlaying the Ancient and Modern Piano Forte Works,are especiallyrelevantto the performanceof Beethoven'spiano sonatas.Much of the informationin this monumentaltreatiserevealshow Beethovenwouldhaveperformedhis sonatas.His pedallingtechniques,for example,aresimilar to thosedescribedin Czerny'streatise. Although TheArt waspublishedin 1846,someof the ideasin tl-dsbook datebackto Czemy'sHaslingerII edition of the late 1820s,therebyshowing a.certain consistencyover a period of abouttwenty years. Most of Czemy'steachingon the hs in his Beethoven's sonatas, recorded piano piano treatise, stem from performanceof Beethoven'sown practice. However,he sometimesalteredBeethoven'sdirectionsbecausehe consideredhis solutionto be better (suchas the fingering.in the trio of Op. 2/l/iii), or because theydid not suit the they did not conformto contemporaryperformingstyles,or simplybecause moreresonantpianosof his day.
CONTENTS sUMMARY
H
PREFACE
ViH
ACKNOWLEDGEMENTS
xi
CHAPTER 1 CZERNY'S BACKGROUND 1
[Introduction) I
1.1 Czerny's early musical education
I
1.2 Czemy learns from Beethoven
3
1.3 Czemy's career as a performer
6,
1.4 Czemy's career as-a teacher
8
1.5 Czemy's other musical activities
15
CHAPTER 2 MUSICAL INFLUENCES [Introduction]
23
2.1 Background of the treatisesto be studied
24
2.2 A comparison of the treatises 28
2.2.1 Tempo
Indicationsof Speed- Italian terms,time signature andthe metronome
28
The meaningsof adagio andallegro
31
RallentandoandRitardando
32
Cantabile
32
Con animaandcon espressione
32
2.2.2 Tempoflexibility
33
2.2.3 Dynamics
36
The rangeof dynamicsin use
36
Functionsof dynamics
37
Accentuation
38
Dolce
40
Smorzando,cala.ndo andmorendo
40
in
2.2.4Articulation.andtouch
41
Legato
Tenutoandsostenuto
43
Legatissimo
44
Staccato
45
43
2.2.5 Ornaments
48
Long andShortAppoggiaturas
48
Turn
49
I
Mordent
49
TriHs
50
Arpeggio
51
2.2.6Fingeringandtechnicaldrills
54
2.2.7Pedalling
56
2.2.8 Stylisticandexpressivemattersin performance
63
2.2.9 Summaryof influences
65
CHAPTER 3 CZERNY'S INTERPRETATION,
AS RECORDED IN HIS WRITINGS
AND IN HIS EDITIONS OF BEETHOVEN'S
PIANO SONATAS
[Introduction]
67
3.1 What is "correct interpretatioif'?
67
3.2 Following the text faithfully
71
3.3 The problems of finding authoritative nineteenth-centuryeditions 73
of the piano sonatas 3.4 Czerny's editions of Beethoven's piano sonatas
74
3.5 Czemy's editions of Op. 57 compared
83
Metronome marks
83
Dynamic markings and accents
84
Articulation
89
Fingering
93
Pedal.ling
95
3.6 Summary
101
IV
CHAPTER 4 TEMPO AND TEMPO FLEXIBILITY [Introduction]
104
4.1 A Ila breve
106
4.2 Italian terms
108
4.3 Metronome -a provider of ansNyers? 4.4 Maelzel's chart
113
4.5 Beethoven's speed
115
4.6 The application of metronome markings-ýy Beethoven, Czemy and their 115
contemporaries 4.7 The metronome markings of Czerny and Moscheles
117
4.8 Czemy's metronome markings compared with the deductions made by
Kolisch and Gelfand
118
4.9 The validity of Czemy'smetronomemarkings
120
Tempoflexibility
123
4.10A ccelerando
124
4.11 Instanceswherea slowingdown is recommended
127
4.12 Instanceswheretempodeviationsarediscouraged
136
4.13 Summary
140
Appendixto chapter4
143
.CHAPTER 5 STYLE AND EXPRESSION DYNAMICS AND TONAL CONTROL [Introduction) 157 5.1 The range of dynamics,the character representedby each dynamic marking 157
and the,corresponding touches 5.2 Accentuation
161
5.3 sf, rf andfp
162
5.4 Unnotated accentuation
166
5.5 Annotations of Cramer Etudes
167
5.6 Beethoven's and Czemy's.usagesqf accentuation
172
5.7 Czemy's advice on-dynamicscompared to Beethoven's usagein the 177
piano sonatas
V
CHAPTER 6 STYLE AND EXPRESSION - ARTICULATION AND TOUCH 6.1 The basictouchesusedby BeethovenandCzemy
179
6.2 Legatoor non legato?,
130
6.3 Legatissimo
183
6.4 The meaningsof slursandlegatq
187
6.5 Tenutoandsostenuto
193
6.6 Staccato
195
6.7 Mezzostaccato
199
6.8 Summary
202
CHAPTER 7 ORNAMENTATION 7.1 The relevanceof Bach's Essay in the understandingof Beethoven's ornaments 204 7.2 Appoggiaturas
209
7.3 The Schneller
210
7.4 The trill
212
CHAPTER 8 FINGERING, HAND POSITION AND TECHNICAL EXERCISES [Introduction]
226
8.1 Some technical exercisesfrom Beethoven's sketches
227
8.2 Fundamentalrules of fingering
232
8.3 The fingering of repeated or similar figures
239
8.4 Chromatic scale
242
8.5 Passagesin thirds
243
8.6 The fingering of repeated monotones
245
8.7 Sliding from one key to another on the samefinger
246
8.8 Glissando
247
-
8.9 The "bebung" effect
248
8.10 Summary
253
vi
CHAPTER 9 PEDALLING Untroduction]
255
9.1 The significanceof Beethoven'spedalmarkings
257
9.2 The functionsof the damperpedal
260
9.3 The una corda pedal
280
9.4 Czerny'sauthorityon pedallingconsidered
283
CHAPTER 10 THE PIANO SONATAS IN THE HANDS OF FRANZ LISZT AND HANS VON BfJLOW [Introduction]
284
10.1Liszt's Approachto Beethoven'sPianoSonatas
2ý4
10.2The Choiceof Pianos
289
10.3 A Review of Liszt's and von Billow's Editions
292
CONCLUSION
300
SOURCES OF MUSICAL EXAWLES
304
SOURCES FOR THE THESIS
313
BIBLIOGRAPHY
327
1 I
PREFACE Throughouthis adult life, Carl CZemy,(1791-1857)playedan activerole in the promotionof Beethoven'smusic,especiallythepianoworks. His zealwasfuelledby hislovefor Beethoven's itg to and a sense of mission preserve music performancetradition in Viennaafter the latter's death.Thepianisticabilityof Czemyandhis first-handknowledgeof Beethoven'scompositions be for him be to to would appear sufficient consideredan authorityon the interpretationof the latter's pianomusic. However,contemporaryopHUOns are divided,becauseCzerny'swritings mayhavebeeninfluencedby the changingstylesof piano playingin his formativeyears. The rapid developmentin piano technology,achievedthrough the closepartnershipbetweenthe inevitablylea to a differentstyleofplaying.Thechangefrom makersandcomposers/performers, the non-legatoplayingof Mozart to a morelegatotouch aspractisedby Beethovenis only one example. The aim of this thesisis to investigatewhether Czerny's opinions on the performanceof Beethoven'spianosonatasreflectthoseof the composer. This subjectis largelyunexploredsurprisingly,consideringthe closefriendshipbetweenCzemyandBeethoven,andthe frequency from Thayer and Czerny's to support arguments of scholars: which writings are used with Nottebohmin the late nineteenthcentury to Brown, Drake, Rosenblum,andNewmanin the twentiethcentury. In order to understandCzemy's interpretationof the pianossonatas,it is to understandhispersonality,education,career,andrelationshipwith Beethoven,and necessary i to identifyimportanttreatiseswhichmayhaveinfluencedhisCompleteTheoreticalandPractical Piano Forte School, Op. 500 (1839), and its supplement The Art of Playing the Ancient and Modern Piano Forte Works (1846). These will be discussedin the first section. In the second, I will evaluate the extent to which Czerny's understanding of tdmpo indications, dynamic and articulation markings,his realization ofornaments, his idealsregardingtonal colours andtechnical dexterity, as well as the contexts in which he introduces pedalling, reflect the intentions of Beethoven. Czerny's various editions of Beethoven's piano sonataswill alsobe considered,with Op. 57 used as a casestudy. My conclusions,about how Czerny perceived Beethoven's piano by be Czemy, Beethoven andtheir contemporaries,by editions the guided writings of sonataswill by intelligent by Czerny, deductions from from (sometimes the the sonatas of musical context
viii
genresotherthanthe pianosonatas),andby modemscholarship.And finally,a brief surveywill be madeto seewhether Czemy'sinterpretationof the piano sonataswaspassedon from one generationto another,especiallyfrom Czemyto Liszt andfrom Liszt to BUlow. Beethoven'spianosonatasplayeda centralrole in the musicaldevelopmentof both Beethoven life, Czemy. Throughout his the pianoprovidedBeethovenwith the meansto experiment and improviser He techniques. compositional with wasalsoanexcellent on thepiano. Theimportant is in the role of piano madeclear thoseworks written for other instrument(s)andpiano,where the pianoactsas an equal,if not dominant,partner. Czemy'sparticularinterestin Beethoven's pianocompositionsis only to be expected,sincehe himselfwas an accomplishedpianist. One mustalsobearin mind that Cýemy'sfirst introductionto Beethovenwasasa piano student. It is for thesereasonsthat this researchis limitedto the pianosonatasof Beethoven. When interpreting music, the performers' duty is to realise itsmeaning through sound and this is undoubtedly shapedby their personalities,their environmentsand an understandingof historical and stylistic matters. By identifying Beethoven'sand Czerny's views on various musical details such as tempo, dynamics, articulation, and pedalling, it is hoped that this research will help today's performers make informed decisions.Since Czerny is the closest reliable link we have to Beethoven, we should certainly take his suggestionsseriously and use them as a starting point. The results of this investigation should by no meansact as a set of rigid rules or be perceived as the only solution to the way Beethoven's piano sonatas should be performed. The ultimate decision regarding the meaningbehindeachsonata'restsin the handsof the individual performer.
In this thesis,refqencesto Czerny'spiano treatisewill be obtainedmainly from the English translations,that is PianoForte SchoolandTheArt, ratherthanthe originalGermantext. Apart from some misplacedpunctuation,unusualcapitalizations,and occasionaladditionsby the translator(which do not alter the meaningof the original text) in'the Englishversion,these translationscannotbe faulted. Sincethe NeueBeethovenwerke edition of Beethoven'spiano been has not published,manyof themusicalexamplesareobtainedfrom theHenleUrtext sonatas facsimiles (1980) ofthe autographs.Whereexcerptsfrom theUrtext editionareused, and edition italics in fingerings Englishfingering the areBeethoven's.For clarity,thenineteenth-century only
ix
in someof the exarhpleshavebeenchangedto the modemstandardone. Sourcesfor all the .musicalexamplesý are listed at the end of this thesis. In general,I will be using the standard Hehnholzpitch notation,in which middleC= c', andeachoctaverunsfrom C to the B above. However,wherethe octave is immaterial,as for instance,when fingeringpatternsare being discussed,which apply in any octave, capital letters are used. And finally, for the sakeof convenience,nineteenth-centurypianos are referred to as "pianos" rather than "fortepianoe'.
I
x
ACKNOWLEDGEMENTS As with all large-scaleresearch,this thesiswould not havebeenpossiblewithout the assistance of numerouspeople.First of all, the adviceandhelpfulcommentsfrom my supervisorDr Bruce Woodandfrom ProfessorRobertPascallaregreatlyappreciated.I havealsobenefitedgreatly from the Germanto Englishtranslationswhich ProfessorPascallandMrs HelenDavieshaveso kindly helpedme with. I am deeplyindebtedto Mr Michael Freyhanfor allowing me to play on two earlynineteenthcentury.pianosin his private collection.I am also grateful to Ms Carol Barker,the Musepm Assistantin the Royal Collegeof Music, for the tour shecon4uctedandthe discussionwe had. Manythanksalso to Mr RichardBurnett for the informativeandthoroughlyenjoyabletour of the pianocollectionsat Finchcocks,Goudhurst,and for the opportunityto play on someof the pianostherewhich havehelpedincreasedmy understandingof earlypianos. I would also like to expressmy heartfelt gratitude to the staff of the University of Wales Bangor library, especiallythe music librarians Mrs Catherine Evans and the now retired Miss Elizabeth Bird, for their patienceand guidancein helping me to find the material I need. My sincerethanks in Mrs Dorothea Geffert (from Beethoven-Haus, British Library, Bonn) the to the the staff also and Dr Otto Biba and Ms Ingrid Leis (from the Gesellschaftder Musiýfreunde, Vienna) for their kind assistance.I am also grateful to Mr Nigel Simeoneand, in particular, Mr Harvey Davies for lending me their books and music.
Finally, I wish to convey a specialthank you to Mr Edward Davies and his wife for their constant support and encouragementthroughout my PhD studies. I truly Appreciatewhat they have done for me and I cannot thank them enough.
xi
SEC
ION Fll
CIIAPTER-1: CZERNY'S BACKGROUND
a
Music was a major love in Carl'Czemy's life. Throughouthis career,he was not only an influentialteacher,but alsoa competentperformer,composer,writer, andmusiceditor. Apart from a few trips abroadin the 1830sand 1840s,Czemyspentall hisworkinglife in Vienna. In 1837,uponLiszt's invitation,Czemytravelledto Parisandstayedtherefor a few months. His onlyotheroverseastravelswereto Leipzigin 1836,to Londonin 1837andto Lombardyin 1846. Czemywas an astuteobserverwho integrateddifferent standsof contemporaryperforming traditionswhich he consideredto be good andmadethem into his own. The slightbut gradual of Czerny'sperformanceideals are evident in his writings, for example! he modificpLtions in the subsequent realizationsof trills (seesection7.4 below). Beforetheseiss4esarediscussed chaptersofthis thesis,we will first exploreCzerny'sformativeyearsaswellashisbusyandvaried career.
1.1 CZERNY'S EARLY MUSICAL EDUCATION
Carl Czerny was born in Vienna on 21 February, 1791. He was to spendall his childhood in that for four family lived Polish father, (1791-1795) His the on a estate. years when city, except Wenzel Czerny, a talented pianist, bad taken up a teaching post there. The family eventually in his Vienna Poland. In Carl Czerny to to avoid childhood, political unrest was exposed returned to a wide variety of piano music played by his father - music by Bach, Clementi, Mozart, and Kozeluch, among others. He showed musicalpromise from an early age. Whenhe was about ten had knew he his the and already of piano old, a good command much of years repertoire (including a great deal of music by Mozart, Clementi and other contemporarycomposers)from father. by his Czerny later This in his memoir talent was carefully nurtured recounted memory. that "My father had no intention whatever of making a superficial virtuoso out of me; rather, he strove to develop my sight-reading ability through continuous study of new works and thus to develop my musicianship")
'CzeMY(1956),p. 303. I
I
Czemy'sexposureto eighteenth-century music was further encouragedfrom the year 1802 Government Councillor Hess(a friend of ClementiandMozart) offeredthe boy when onwards, his library. library This to private containedBacNsfugues,Scarlatti'ssonatas,andmany access difficult to obtainat that time.He wasalsograntedthe privilegeof copyingany that were works from library? he It was,around this time that Czernystartedcopyingthe the music wanted orchestralworks of Beethoven,MozartandHaydnandbeganto realisetheenormousbenefitshe from did he Not instrumentation, it this activity. only get a good graspof alsogavehim received the opportunityto practisethe art of notatingmusic.very quickly - somethingthat provedvery in later on his life whenhe startedcomposing. usefiil Besideshis father,who playeda majorrole in his earlymusicaleducation,Czernyalsobenefited from contactwith the variouswell-knownmusicianswho frequentlycameto theirhouse.Among themwerethe composerandteacherJohannBaptistWanhall'(1739-1813),the famouspianists JosefGelinek(1758-1825)andJosefLipavsky(1772-1810),andtheviolinistWenzelKrumpholz (1750-1817).It wasthroughGelinekthatWenzelCzemyfirst learntofBeethoven.Gelinek,who hadbeenchallengedto a "pianoduer' by Beethoven,wasmostimpressedwith the latter'spiano technique,improvisationsandcompositions.This promptedCarl to persuadehis fatherto buy him all the availableBeethovencompositions,suchasthe first threetrio Op. 1, the Op, 2 piano sonatasdedicatedto Haydn,severalvariations,andthe songAdelaide.Thispianoduelisbelieved by someto havetakenplacesoonafterBeethoverfsarrival in Viennain 1792. However,there is evidencethat it took placeaboutsixyearslater. All theworksmentionedabovewerepublished duel and Czerny'sintroductionto between1795and 1797. Therefore,the Gelinek-Beethoven Beethoven'smusicprobablytook placein 1797. Carl Czernywasonly six yearsold. Although Gelinek was the first personto mention the nameof Beethovento the Czemys, Krumpholzdeservesspecialmentionhere,becauseit was he who arrangedthe first meeting betweenthe ten-year-oldCzernyandBeethoven.He alsoplayeda furtherrole by passingon his knowledgeof Beethoven'sperformancepracticeto Czemy. Krumpholz,beinga closefriendof
'Ibid., pp. 307-308. 'In additionto this-spelling,Vanhall,Vanhaland Wanhalare givenasalternativesin Sadie (2001),xxvi, p. 254, s.v. "Vanhall". 2
latter's ideas familiar Beethoven, the was with andmusicalprojects.SinceKrumpholzvisitedthe Czemysalmosteveryday, Carl wasableto playBeethoverfscompositionsto him regularlyand learnfrom him. Although Krumpholzwasnot a pianist,he wasa good musician. He was able to adviseCzemy on matters relating to "tempo, manner of performance,intendedeffect, character,etc., sincehe had often heardthemperformedby Beethovenhimselfandhadin most 4 the caseswitnessed processof composition
1.2 CZERNY LEARNS FROM BEETHOVEN
Czerny'sfirst meetingwith Beethovenin 1801was a considerablesuccess.Beethovenwas impressedby the young boy's talentandagreedto teachhim severaltimesa week. Before his first pianolesson,Czernywasrequestedto get C. P. E. Bach'sYersuchfiber die wahreArt das Clavierzu spielen. Czemylater recalledin his memoir: During the first lessonsBeethovenmademework solelyon the scales in all keysandshowedmemanytechnicalfundamentals, which were asyet unknownto mostpianists,e.g. the only properpositionof the handsand fingersand particularlythe useof the thumb;only much later did I recognizefully the usefulness of theserules. He thenwent' through the variouskeyboardstudiesin Bach'sbook andespecially insistedon legato technique,which was one of the unforgettable featuresof his playing;at that time all other pianistsconsideredthat kind of legatounattainable,sincethe hammered,detachedstaccato techniqueof Mozart'stime was stillfashionable. (Someyearslater Beethoventold me that he had h,card Mozart play on several occasionsand that, sinceat that time the fortepianowas still in its infancy,Mozart, moreaccustomed to the then still prevalentFlagel, used a technique entirely unsuited for the fortepiano. 1, too, subsequentlymade the acquaintanceof severalpersonswho had studiedwith Mozart, and found that Beethovensobservationwas ' by their confirmed mannerof playing). Unfortunately,theselessonsdid not last long becauseBeethovenwas frequentlybusywith his had lessons. Czerny left his By 1802, to the and cancel was on own. By then, compositions however,the fundamentalrules regqding proper playing posture,hand position and legato
"Czemy(1956),p.-305. 'Ibid., p. 307. Italicizationoriginal. 3
later duly been fully Czerny his them to and established. on all passed pupils. playing-had In the meantime,Czernycontinuedto learnall Beethoven'spianocompositionsfrom memory. Concerts,both privateandpublic,wereanotherimportantfeatureof Czerny'seducation.From 1801-1804,hewasa regularvisitor to the rnýsicalsoir6eswhichweregivenby Mozart'swidow.' In addition,therewereweeklymorningconcertsin the AugartenHall duringthe summerwhich featured,amongotherthings,the symphonies of Haydn,Mozart andBeethoven.In the winter, ` by thesewere replaced quartetand quintet recitals. The concertswere performedto a high in forum Beethovens this the works given of many of great madea and premi&es standard, lastingimpressionon Czemy. Czemy'seducationtook a differentturn in 1804,owing to a chancemeetingwith Beethovenat PrinceLichnowsky'shouse. Czernyhad beenin the habit of playingto the Princeon most including he On the piano musicof Beethoven, these occasions playedeverything, mornings. frommemory! Beethoven,who wassometimes present,wasworriedthatCzernymightoverlook " Beethoven ifhe "Even the whole, on remarked, plays correctly markings: someofthe expression "he will forget in this mannerthe quick survey,the a vista-playingand,occasionally,the correct 1 expression".However,Beethovenwassaidto beverysatisfiedwith Czerny'sprogressandsightin sight-readingthe newlycomposedpianosonata readingskills,afterthe youngboy succeeded Op. 53 from themanuscript.Fromthenon, CzernyandBeethovenremainedon mutuallyfriendly . Czernywasevenentrustedwith theproof-reading terms,asseenbytheirregularcorrespondence. he had 1812, Between 1810 Beethoven's the opportunity again works. and newly published of to study"severalthings"underBeethoven.He alsorevealedthat Beethoven'scorrectionswere " been had been had by his hearing loss. ten not affected yearsearlier;and still aspreciseasthey From 1816" to 1818,whenCzemywasaskedto teachBeethoven'snephewKarl, the frequency
61bid.,p. 308. 7Ibid.,p. 3 10. 'Ibid., p. 309.
9Thayer(1969),p. 391. Italicizationoriginal. (1970),p. 10. IOCzerny "Czernygavethe yearhe startedteachingKarl as 1815in "Recollections" (1956),p. 313. His in death; is dates he date for 305, 1819 Krumpholz's the unreliable: on gave of p. as memory fact, Krumpholzdied in 1817. He alsoprovidedtwo differentdatesfor the publicationof his 4
increased. his Beethoven meetings with of Beethovenwas influential not only.in developing the pianistic skill of the young Czemy, he also latter in the art of arrangement. Czerny's first assignmentin this field came in 1805, the advised he when was askedto make a piano reduction of Beethoven's operaFidelio. With Beethoven's learn from Czerny to this project. Beethovenwas obviously satisfied, was able guidance, much for he entrusted Czemy with many more such tasks: for example, the arrangementsof the Seventhand Eighth Symphoniesfor two pianos, which were both publishedin 1817. Eight years later, in 1825, Beethoven publicly announced his approval of Czerny's arrangementsof the Overture Die Weihedes Hauses, Op. 124:
I considerit my duty to wam the musicalpublic againstan entirely misleadingpian6forte arrangementfor four hands of my latest overture, an arrangementwhich, moreover,.is not faithfid to the hasbeenpublishedby Trautweinin originalscore. This arrangement Berlin underthe title 'FestivalOvertureby Ludwig van Beethoven'. Thiswarningisthemorenecessary for asthepianof6rtearrangements two andfour bandsmadeby Herr Carl Czerny,which areabsolutely faithfulto the score,will shortlyappearin the only authenticedition." Beethovenwas also impressedby the speed with which Czerny could complete these " WhenHaimwasasked arrangements.And Czerny'sskill wasalsorespectedby othermusicians. Quartet, to makeanarrangement of the"GrosseFuge",Karl Holz, a violinistin theSchuppanzigh suggestedusingCzerny'srecentlycompletedpiano arrangement of the "Kreutzer" Sonataasa sometimessufferfrom an excessiveuseof the model. Unfortunately,Czerny'sarrangements piano'shigh register. It was believedto be for this very reasonthat Beethovenhad rejected " for four hands. "Grosse Fuge" Czerny'sarrangement After Beethovenexpressed the of piano hisdisapprovalof Halm'sarrangement, Artaria hadapproached Czerny.Apart from this overuse on the whole,conveythe appropriate of the high registerof the piano,Czerny'sarrangements, I
Op. I- 1806on p. 312 and 1805on p. 314. Whenwriting the anecdotesfor Otto Jahnin 1852,he admittedthat the dateshe quotedmaybe incorrectbecausehewaswriting from long However, he that took time that it wasonly a place ago. emphasized events memory he See qzerny (1970), dates that erred. p. 10. with "Anderson (196 1), iii, pp. 1442-1443. 13 Ibid., iii, p. 1148.-
(1958),p. 133;Schindler(1841) (ed. Moscheles),p. 169. 14MacArdle 5
" the original compositions successfully. charactersof
Czerny'slove for Beethoven'smusicinspiredhim to makemanyarrangements, includingall for pianoduet. However,he did not limit hisarrangements Beethoven'sninesymphonies to the his initiative, Beethoven. On he by of own compositions also madearrangements of works I
Handel (Messiah), Haydn (The Creation and some of his symphonies)," Mozart (the Requiem, at least six symphoniesand ten string quartets), as well as works by Schubert,Spohr, Cherubini, Donizetti, and Mendelssohn,and others. At that time, there was great interest and enthusiasm families to play arrangementsof orchestral and chamber the aristocracy and middle class among music, especiallypiano arrangements,at home for their own enjoyment. It was also a way for them to get to know great music. Czerny's arrangementscertainly help cater for that market.
1.3 CZERNY'S CAREER AS A PERFORMER
In 1800,Czernygavehispublicconcertd6butasapianistin Vienna,whenheperformedMozart's C minorConcertoK. 491. Thecriticspraisedhisplaying:Schillingdescribedit as"uncommonly fiery" and Hanslickconsideredhim the third most important native Viennesepianist, after " Beethovenalso admiredCzerny'splaying.He wrote a favourable Hummeland Moscheles. testimonialfor the boy in 1805." Evenafter 1806,when Czernyno longeractivelyperformed in public,Beethovenstill hadfaith in his pupil's pianisticabilities. H6 wasthe soloistin the first for in Beethoven's Fifth Piano Concerto 1812. His audience of a private performance performanceimpressedeven Schindler,who commentedthat "as a result of Beethoven's " brought in [Czerny] best Years later, Beethoven the the out very music". againturned coaching, to Czernyto performtheAdagioandRondofrom the sameconcerto,this time in a publicvenue, I
"Among themareCzerny'spianoduet arrangements the Overtureto of the ninesymphonies, the Tragedyof Coriolanandthe EgmontOverture. (Nos. 93-104). IICPM liststwelvesymphonies, 17 Sadie(1980),v, p. 139,s.v. "Czerny". "Anderson(196I)j iH,p. 1414. (1966)(ed.MacArdle),p. 160. 19Schindler 6
to "lend-lustreto thewhole concert"." Unfortunately,Czemyhadto refuseon the groundsthat he had recentlyneglectedhis piano playing." This was inevitablewhen he startedfull-time teachingin 1806,and thus could not devotesufficienttime to practice. Although highly esteemedas a performer,Czernypreferredto leada life awayfrom the public eye. He gavethe limp excusethat hisplaying"lackedthat type of brilliant,calculatedcharlatanry that is usuallypart of a traveling[sic] virtuoso'sessentialequipment",a claimwhichheseemsto in his by statingthat"brilliant virtuosityon thepianowasat thattime still next sentence contradict " imperfect novelty". He also cited severalother reasonsin his "Recollections":his elderly an lack Beethoven's the the unconducive wartime conditions, and of popularity of parents, " the public. This lastexcuseis nevertheless compositionswith ratherweak. Czernyknewa výst have if he had ofpiano popular music, and could easily performed more works chosen repertoire to do so. Of all the explanationsgivenabove,it seemsthat the mostplausibleis the circumstance be him his hidden There tours. too to take who were old may also on parents, other of reasons: his poor health(it was impairedby childhoodillnessesandby his overwork from 1806),andhis for his help his family financially, had the to of gratitude sacrifices out parents madeto wish income from his he The teachingwasverygood,andthis that a good education. received ensure enabledhim to improvehis family's living conditions. There were two distinct types of pianist at that time: the often flamboyant travelling virtuosos for in built hAs, less larger, the the the concert and public newly extrovert performed who in held in private halls or chambers(usually associatedwith royal and pianistswho played recitals first is by The the typified artists). of category such artists asDussek and Liszt. noble patronage Czerny and Beethoven belong to the second category. Although Beethoven toured Prague, Dresden, Leipzig'and Berlin, Pressburg(now Bratislava) and Pest (now Budapest) in 1796, and in he did Prague 1798, for his to trip on such not rely performances another upkeep. made Similarly, Czerny preferred to play for the entertainmentof the nobility (such as he had done for
"Anderson(1961), ii, p. 775. AlthoughAndersondatesBeethoven'sletter as 1818,Albrecht believesthat 1824is moreaccprate.SeeAlbrecht(1996),iii, fn. 2 p. 37. 2'Anderson(1961), ii, p. 775. (1956),p. 311. 22Czemy 211bid. 7
PrinceLichnowsky'in 1804), and for private concertsorganisedby Beethovenand himself. Between1818and 1820,he organisedweekly programmesat his homewhich were devoted exclusivelyto Beethoven'spiano music. Beethovenhimselfsometimesattendedtheseevents. For his own pleasure,Czemyalsoplayedpianoduetsandduosboth with prominentmusicians (suchasFerdinandRies who was a pupil of Beethoven,andalsowith Chopinwhenhe visited Viennain 1829)andwith royalty andnobility (suchasQueenVictoria in 1837).
1.4 CZERNY'S CAREER AS A TEACHER
Czemy was a well-respected and much sought-after teacher in Vienna. Besides Beethoven's his list includes Karl, of pupils virtuosos and child prodigies, such as Theodor D6hler, nephew Theo Kullak, Sigismund Thalberg, Stephen Heller, Ninette von Bellevile-Oury, Leopoldine Blahetka,Theodor Leschetizky, and Franz Liszt. The last two namessubsequentlybecamehighly influential figures in the musical world during the late nineteenthcentury. Leschetizky became included impressive Est Ignaz Paderewski, Benno teacher of pupils a prominent whose Moiseiwitsch and Artur Schnabel. Although Liszt was better known for his virtuosity on the for he training numerous excellent pianists, Hans von BUlow and was also responsible piano, Eugen d'Albert among others. Czemy's career as a teacherbeganbefore he was fourteen years his father in later He to teach. teaching started was unable earnesta year old, on occasionswhen he he In 1807, a good made the acquaintanceof Andreas and quickly established reputation. Streicher, the piano manufacturer. They had a mutual understandingand arrangement. It was agreedthat Streicherwould recommendgood pupils to Czemy andhe, in turn, would recommend Streicher's pianos to his pupils."
From 1816, Czerny taught from morning till night in the housesof the highest nobility and the leading families of Vienna. It was lucrative, but it badly affected his health. Eventually, in 1836, he gave up teaching entirely.
Czernywas a broad-mindedman and a keenleamer,who was alwaysopento new ideasand "Ibid., p. 312. 8
believed in. his He al§o exposing studentsto differentmusicalstylesand not just suggestions. ideason pianoplayingand thosepreferredby theteacher.He andStreicherfrequentlyexchanged in When Clementi Vienna 1810,Czernytook the opportunityto learnfrom teaching. visited on him by frequentlyvisiting a farnilywhosedaughterClementiwasteaching. Czemylater wrote in his "Recollections": I SinceI was very often presentat theselessons, I became familiarwith the teachingmethodof this celebratedmasterand foremost pianist of his time, and I primarily owe it to this later fortunate I that was circumstance enoughto train many important studentsto a degreeof perfectionfor which they " becameworld-famous. Czerny -later entitled his study, Op. 822 (Nouveau Gradus ad Parnassum) in homage ýto Clementi's studies Gradus adParnassum." Beethoven,too, thought highly of Clementi's studiesand his Introduction to the Art of Playing on the Pianoforte (1801). When Carl Czemy suggestedgiving Karl van Beethoven a copy of Clementi's studies,Beethovenapproved." Beethovenalsoorderedtwo German-languagecopies in last few life in 1825 later. Clementi's the once and again, years ofhis a year of piano method In the spring of 1826, he wrote to Stephanvon Breuning regarding a good piano rnethod for the latter's son, Gerhard. He advisedthem not to use Czerny's Klavierschule (published in 1826 by Haslinger), but to wait for Clementi's piano method which he had ordered on their behalf Unfortunately, this letter has caused some confusion." It has been generally assumedthat Beethoven preferred Clementi's teaching to Carl Czerny's. However, Czerny's Complete Theoretical and Practical Piano Forte School, Op. 500, was not published until 1839. There is indeed no evidence that he wrote a Klavierschule in 1826. In that year, however, his 29 by Josef Czerny, the same surname, published a piano method Der Mener contemporary hanoforte Klavier-Lehrer, oder: Theoretisch-practische Anweisung das nach einer neuen
211bid., p. 313. 26Besides the studiesby Clementiandhimself,Czernyalsorecommends thoseby Bertini and Cramerto his pupils. '7Thayer(1969),p. 680. 2'Anderson(1961), iii, p. 1279. 19Josef wasa composer,pianist,teacherandpublisherwho took over the teachingof Karl Beethovenfrom Carl Czernyin 1818.
9
is likely Methode. It Klavierschule Beethoven that the that most objectedto was erleichternden by Josef Czemy. fact the one written in Carl Czemywasnot a rigid teacher. His aim was to createall-roundmusicians,competentnot improvisation in but in the arts of public perfbný=Ce and piano playing and also only in his his his He Both Complete teaching, was very meticulous as writings reveal. composition. TheoreticalandPracticalPianoForte School,Op. 500,andtheLettersto A YoungLady, Onthe Art ofPlaying thePianofortearewell-organisedand.follow a systematic plan. Hehadanoverall teachingschemewhichheadaptedaccordingto theneedsofthe individualpupil.ThePianoForte basedonhisthirty years'teaching Schoolis a compilationofpianoplayingmethodsandexercises for benefit It the of aspiringyoungteachers,andespeciallythosepoorer was written experience. in The Piano Forte School teaching the to teachers. who were unable afford renowned pupils whichare exemplified on aspectsof playingandmusicalunderstanding consistsof explanations in musicalexamples.Exercisesaregivenat the endof eachchapterfor thepupato practisewith is inserted Letters lessons in A the taught at strategic points. summary of mind. specificpoints to A YoungLady, on the other hand,was written as a kind of Appendixto the Piano Forte School. It is madeup of ten short lettersto a fictitious twelve-year-oldpupil, the talentedand well-educated"Miss Cecilia",who was supposedlyat a boardingschoolin the country. The lettersnot only sumup thesystematicteachingthat is recordedin thePianoForteSchool,but are is informal. language Naturally, his the to teaching. used more approach a revelationof practical Czerny's disciplinedand systematicteaching method can also be seenin his approachto Liszt, as describedin the "Recollections". Liszt's Playing was apparentlyin a relatively bad state when he in for found it he had Czejny 1819. Czerny "irregular, careless, and confused, and so auditioned little knowledge of correct fingering that he threw his fingers ove the keyboard in an altogether ,r 3' Liszt highly fashion". Nevertheless, Czemy instinctive that was a recognised gifted arbitrary him his by Like Beethoven, Czerny teaching started as a pupil. programme pianist and accepted laying the foundations of piano playing systematically - he initially worked on regulating and
(1956),pp. 314-315. IOCzemy 10
" dexterity Liszt's through the mechanical playing of scales. Liszt was eager, strengthening * týlentedand hardworking,and beforelong he could play all the scalesfluently. Czernythen proceededto instil in him a senseof rhythm,a good control of touchandtone,correctfingering, and proper musicalphrasing,usingClementi'ssonatasas a basisfor this work. In Czerny's best for "will these the the pianist,if one knowshow to sonatas always remain school opinion, " his Once Liszt had basic in these them techniques,Czernyallowedhim mastered spirit". study to play the works of Hummel,Riesand Moscheles,followed by thoseof BeethovenandJ. S. Bach. By then,the technicalgroundworkhadbeenlaid, so that Czemywasfreeto concentrate on familiarizingLiszt with theinterpretativespirit andcharacterof thesecomposers.Thisaspect in the fourth volumeof hisPiano Forte School,entitled"TheArt of interpretationis emphasized Modern Piano Forte Works". Ancient the and ofPlaying In this last respect,Czerny's methodofteaching with an emphasison interpretative valuesechoes that of Beethoven as describedin Ries' reminiscenceIf I made a mistake somewherein a passage,or struck wrong notes, intervals he which often wanted strongly emphasizedor missed he rarely said anything. However, if I lacked expression in crescendos,etc. or in the character of a piece, he became angry because,he maintained,the first was accident, while the latter resulted' from inadequateknowledge, feeling, or attention. The first happened " frequently him, he in to too, quite even when played public. Also evident in Beethoven's oft-quoted letter to Czemy in 1817, in which he advisedCzemy on how to teach Karl: In regard to his playing for you, as soon as he has learnt the right fingering and can play a piece in correct time and the notes too more or lessaccurately,then pleasecheck him only about his interpretation; ývhenhe has let him don't thatPoint, stop playingfor the and, reached but him them to out when he has sake of minor mistakes, point
"The teachingof scalesis an essentialelementin Czerny'sinstruction. Eventhe methodof teachingin the first volumeof Piano Forte Schoolis foundedon the studyof scales.Besides familiarizinghis pupilswith the notesandkey signatureof all the major andminorkeys, Czernyusesscalesto teachthe rulesof fingeringandto developflexibility andagility of the fingers. "Czemy(1956), p. 315. Italicizationoriginal. Czernyalsobelievesthat everypiece,in away, is a study. 3,WegelerandRies(1988),p. 83. 11
finishedplayingthe piece. AlthoughI havedonevery little teaching, have followed I this method. It soonproducesmusicians yet always is which, after all, oneof the chiefaimsof the art, andit is lesstiring for both masterandpupil." And Czemyagreedwith Beethoven: ietter Noteworthyin this interesting is the very correctview that one ought not to wearythe talent of a pupil by too muchpetty concern (whereinmuchdependson thequalitiesof the pupil, it is true) aswell 35 fingering its influence interpretation. the as singular and on Beethovenhimselfwasusuallypresentat Karl's lessons.The fact that Beethovenfelt compelled to write.this letterto Czemysuggeststhat theyprobablydifferedin their opinionsregardinghow muchtime a teachershouldspendcorrectingtechnicalproblems.Althoughboth agreedon the importanceof teachingthe pupil the correct "spirit" of a composition,Czerny's attentionto technicaldetailswasperhapstoo closefor Beethoven'sliking. Beethoven'sown spiritedbut not technicallyflawlessplayingshowshis attitude towardstechnicalaccuracy,aswitnessedby Ries. Similarly,CzernydescribesBeethoven'splayingasinconsistent,aswell as"lacking in cultivated " in difEculties". Elsewhere, he and clearness explains:"Although his playing was purity extraordinarywhenhe improvised,it was often much lessgood whenhe playedhis published compositions,for he never took the time or had the patienceto work somethingup again. Success,then,wasmostlya matterof chanceand mood."" Evenbeforethe onsetof deafness, Beethoven'splayingwasnot alwaysdistinctandfully workedup. In a letter to the Allgemeine dated Zeilung April 1799, the writer describesBeethoven'splaying as being musikalische "extremelybrilliant but [it] has lessdelicacy[thaý W61ffl's], and occasionallyhe is guilty of " This observationis alsosupportedby Moscheles(in 1814)andFriedricliNisle indistinctness". (in 1808)."
Czerny's emphasisin TheArt on technicalproficiencyas a prerequisitein the interpretationof compositionsby Beethoven,andthenumerousbooksof studieshecompiledfor help improve technical to them their technique,showthat hewasmuch ability ofdifferent pianists
ii, 1), Italicization (196 742-743. pp. original. -14Anderson "Thayer (1969),p. 680. (1846),p. 32. 16Czemy "Czemy (1970),p. 16. IýThayer(1969),p. 205. "Newman(1988),p. 77. 12
I
moreconcernedthan Beethovenwith technicalprowess. Although a strict teacher,Czerny incorporatedsome humour into his lessons. One of his favouritetricks wasto correcthisyoungpupils' mistakesthroughteasing- he reproachedthem for "making a cat's back7,that is, for hupchingover the keyboard."' As a cautionagainst he likened fingers "little through the the to out of control course of playing a piece, accelerating like an disobedientcreatures,if they are not kept well-reinedin[j they to are apt run off ... " have degtee fluency". He alwaysexplainedto they gainedsome of unbrokencolt assoonas hispupilshow to practiseandwhy it was necessary to do so. This wasdonethrougha variety and evenby temptingand of methods:by clear instruction,by analogy, by encouragement, enticement.For instance,he gavethe following explanationto the imaginary"Miss Cecilia"in the first two letters,aboutthe virtuesof scalesandthe needto overcomethe initial difficulties: Considerthe matter, dear Miss Cecilia,as if you were for a time compelledto wend your way amongsomewhattangledand thorny bushes,in order to arrive at last at a beautifulprospect,and a spot alwaysbloomingin vernalbeauty. At present, Miss Cecilia, you cannot form an idea of the beauty and effect which is produced by a pure, clear, rapid, and strictly equal execution of such runs; they are musical rows of pearls; and many great artists are more particularly distinguished on account of their peculiar excellencein the performance of them. You will no doubt have alreadyremarked,that correctfingering is a very important part of pianoforte playing, and one which costs every pupil a good deal of labour. Now, the scales contain all the principal rules of fingering; and they are in themselvessufficient,,in almost all cases,to shew the pupil the right path. What do you say to all these advantages? Is it not well worth the while to occupy yourself seriously with thesesame tiresome scales?"
Throughoutthe first volumeof thePianoForte Schoolandthe Lettersto A YoungLady, Czemy importance injury. he Relaxed to the of relaxed playing so as avoid physical muscles, stresses declares,will alsohelpthepianistto vary histouchandtonewhenplaying. And we shallseethat body movementswhenplayingwasa resultof the Czerny'semphasison avoidingunnecessary
(1848), p. 4. 4OCzemy 411bid.,pp. 23-24. 411bid.,pp. 3 and 15. Italicization original.
13
influenceoffleethoýen(seechapter8) andClementi(seesection2.1). Czernyexpresses hisclear displeasure including at the contortionsandgrimacesdisplayedby manyof his contemporaries, He of good pianists. complainsthat sometry to evena number feelings by their manifest widelyjerking out their elbows;or they mark the commencementof every bar by making a low bow with their head and chest, as if they were desirous of shewing reverenceto their own playing. Others, after every short note, suddenlytake up their hands as far from the keys as if they had touched a red hot iron. Many, while playing, put on a fierce and crabbedcountenance;others, again, 43 &c. assumea perpetualsimper,
He wasalso a perfectionist,and the relativelack of technicalfacility displayedby someof his in public performancesfrustratedhim. In his Piano Forte School,he expresses contemporaries hisamazement at the numberof performerswho, in his opinion,couldnot evenplay the scaleof C majorperfectly." Onecanform someideaof Czerny'spersonalityfrom his writingson teaching,for he perceives irable between des in both during teaching. When qualities a person outside and a clearparallel hand and body movementswhen playing the piano, he is he insistson avoidingunnecessary for his decorum, moderation, admiration sincerity,andelegance: revealing Do not suppose that you [Miss Cecilia] areto sit at the piano as ... stiff and cold as a wooden doll. Some gracefulmovementsare it is while playing; only the excessthat mustbe avoided. necessary deportmentof polishedlife mustalwaysbetransferred the elegant ... to the art; andtherule applies,generally,"that everymovementwhich conducesreallyandessentiallyto our'betterplayingis allowed;here, " however,we must avoid all that is unnecessary andsuperfluous. In his concludingremarksto the first volumeof the PianoForle School,he listsother traits that firmness, friendliness,warmth,and teacher should possess: good communicative skills, a good draws between behaviour in life He the again parallel andin teaching:"Good temper patience. in Teachingas in life in general"." A teachermust also be a competent is as advantageous
411bid., p. 31. 'Czemy (1839E), i, p. 219. (1848),p. 32. Italicizationoriginal. 41Czemy (1839E), i, p. 216. Capitalizationorigmial. 46Czemy 14
for demonstrate in One to to the such effectively such occasion order' pupil. performer is beforethepupil learnsa new piece. The teachershouldalsobe in a positionto demonstration for preparepupils publicperformances. The effectivenessof Czerny's teaching Met with a somewhatmixed responsefrom his indebtedness his fond Czerny. Czemy He Liszt to very of acknowledged was contemporaries. throughouthis life, often referringto his teacher as "my dear and belovedMaster", or "my " his fife. His Liszt Czerny's beloved teachingg to with all were remain master". respectedand Karl his On hand, Schindler's Anton teacher. the that teaching van and other of reflected own Beethoven'sdisapprovalof Czerny'sapproacW'may havebeeninfluencedby their prejudices. In fact, Czemy'sLettersto A YoungLady andhis Piano Forte Schoolarevery informativeand his for his his the they they to also show concern well-being of pupils; reflect enjoyable read: interestin providinghis pupils with the best educationin line with their ability and the latest his he further displayed Throughout techniques. all the necessary qualitiesof a writing, playing international fame his large The teacher. asa performer, of who achieved number pupils good bear his further both, to teacher, success. witness or a
1.5 CZERNY'S OTHER MUSICAL ACTIVITIES
1806 was a historic year for Czemy, for this was the year he started full-time teaching and had his first taste of composition. His Variations concertantes for piano and violin, Op. 1, was based it having lessons, for by Krurnpholz. He taken the theme without any wrote except on a himself by frqm Vanhall. later hint He the taught rules of composition reading occasional Albrechtsberger's book on thorough-bass."
Although Op. I sold well, his heavy teaching
"See Liszt's letter of 15February1881(to DdnesPdzmdndy)for example.Czernywasmore thanmerelya pianoteacherto Liszt. Czemyshowedcompassion andgaveLiszt freelessons in lodging for kindness his board free Liszt, turn, to time. some showed and pupils aswell as Liszt perhapsalsoperceivedCzernyasa fatherfigure.In the from humblebackgrounds. 1830s,Liszt continuallyinvited Czernyto Parisandpromisedto do for Czernywhat he would do for his own father. (1958), p. 130. 41MacArdle 49Czemy(1956), p. 312. 15
4
him from concentratingon composition. prevented schedule A meetingwith the publisherAnton DiabeUiin 1818, however,re-ignitedCzemy's zeal for he in his free time theeveningsto composea largeamountofmusic. This and usedup composing 10 his during day. Czernycomposedquicklyand top twelve-hour teaching the of sche4ule wason fife, his he had producedover a thousandworks, includingnumerous By the end of easily. many of which are without opus numbers. In additionto his reputationas a arrangements, teacher,Czemywasbecomingincreasinglyfamousashcomposer,partlythanksto hiswillingness to writepopularmusicwhichwasin greatdemand.He composednumerousvariationson famous themesby other composers(for exampleon the duet "La ci darenf' from Mozart's Don Giovanni),andon folk melodiesof variousnations(includingthoseofAustria, Ireland,Scotland, Bohemia,Poland, Russia,and France). He was also very fond of composinglight-hearted characterpieces,populardancesandmarches,aswell aspiecesin the brilliantstyle,designedfor thesolepurposeof displayingthepianist'svirtuosity. Althougha largepercentage of hisoutput consistsof small-scalecompositionsfor the piano, he was equallycapableof writing in large forms,suchasthe symphony,the string quartetandthe mass. Unfortunately, his enon-nousoutput of light, popular music, which had brought him fame, also brought him criticism from certain quarters. Chopin describedhim as "Vienna's oracle in the " And Schumannwas also rather unsympathetic. In his review taste". manufactureof musical PhantasierP, brillante "4 Op. 434, in 1838, he states:"By all meanslet him retire and Czerny's of he deserves it him truly, a pension; and would not [have to] write any more ... In a word, he's give " fed his things". up with gotten stale; we've gotten
Beethoven was also not particularly
impressedwith Czýrny's compositional style. In 1823, Beethoven admitted to Ries that he was in brilliant because keen the they tend to promote mechanicalplaying compositions style, on not in an unnatural manner.53 When Czerny visited Beethoven in Baden two years later, he was " in "get larger forms". Czerny admitted that he to to the an appointment and compose advised
"Ibid., pp. 313-314. "Chopin (1988),p. 142. "Newman(1969),p. 181. Translatedby Newman. "Wegelerand Ries(1988), p. 137; Anderson(1961), iii, p. 1064. (1969), p. 956. 14Thayer 16
did not-attachany real importanceto his compositionsfor the reasonthat "he scribbledthem " This maybethe case downsoeasily,andthat hetook musicfrom the publishersin exchange". light-hearted but he certainly conceivedhis solo piano sonatasas serious the pieces, with compositions.In his letter of 1823to the publisherC. F. Peters,he explains: My solopianosonatas,howevermanyI planto write, oughtthrough [one separate]continuousnumberingto comprisean entirety [in in whichI want,little by little, to recordmy artisticviews themselves], and experiences.ThereforeI ask you to considerthe 3"" Sonate, sentto you, asoneitem of an over-all series,which I hopeto make " moreandmoresignificant. Czemy'selevensolopianosonataswerepublishedbetween1820and1843,eventhoughthe first in 181 Or. His in F minor, Op. 57, could be seenasa homage third composed sonata sonatawas to histeacher.It sharesnot only the key andopusnumberof Beethoven's"Appassionata",but its first the of energy, power and passion of movement.In all his pianosonatas alsosomething duets, by instrument. Czemy he Sometimes, the the exploits of sonority range offered andpiano bass deep high the tones the treble. At other times,suchas the with penetrating of contrasts in duets Op. I 0/iii andOp. 54, hetreatsthepianolike a full orchestra. the pianos certainpassages Suchplaysof timbre,tessitura, andcolour are especiallyeffectivein the pianoduet medium,as theuseof four handsprovidehimwith theopportunityto achievefull textures,harmonicrichness, between the tonalcoloursaffordedby the differentregistersacrossthe rangeof the and contrast the piano. In spite of his submissivereply to Beethoven's advice mentioned above, all Czemy's writings display a certain confidencein his own ability as a composer. He could indeed compose in any familiar with a wide range of compositional techniques. However, he generally was genre and develop to a thematic idea, preferring insteadto ch;inge the accompanimentor the seemsunable harmonic progression. The chordal section in the second movement of his fourth sonata in G for like 65, harmony He from Op. example, sounds almost a exercise. also suffered an major, long for fourth The of stretches passagework. movementof his first Piano Sonata overfondness in A flat major, Op. 7, is one such example. '
"Ibid. (1969),p. 181. Translatedby Newman. 16Newman 17
light, should Czemy'sabilityasa composer,WhiChhas oftenbeenviewedin a ratherunfavourable bcre-considered. Thequalityofcompositionsin hisenormousoutputis,admittedly,not uniform It is thereforeimportantthat oneshoulddifferentiatethe good onesfrom thosewhichresemble for His third sonata, example,is worthy to bein themainpianorepertoire. studies. compositional Manyof his pianoduetstoo deservesomerecognition,suchashis OuvertureCharacteristique et Brillante in B minor, Op. 54. His studiesalso should not be viewedas meremechanical des for Die Schule Virtuosen, Op. 365, example,not only exploresvarioustechnical exercises. difficultiesoverthewholecompassof the keyboard,it canalsohelpthepupildevelopa wide and " dynamics, touch. tonal emphasis,and articulation, variedrangeof From the 1820s,Czernybeganwriting about music, piano playing, andcomposition. His writings from this period show him to be a well-rounded musician. He dealswith the art of improvisation in the SystematischeAnleitung zum Fantasieren auf dem Pianoforte, Op. 200 (1829), and Die Kunst desPraludieren in 120 Beispielen, Op. 300 (1833). The preludesandfuguesin his Schule des Fugenspiels, Op. 400 (cl 836), are intended to encouragethe pianist to develop the skill of playing polyphonic compositions. As mentioned in the previous section, his three-volume Vollstandige theoretisch-praktischePianoforte-Schule, Op. 500 (1839), and its supplementDie Kunst des Vortrags der d1teren und neueren Klavierkomposilionen (1846), contain detailed instructions on piano playing and stylistic matters. They were both translatedinto English as CompleteTheoretical and Practical Piano Forte School and TheArt ofPlaying the Ancient and Modern Piano Forte Worksrespectively. Both translations were published in the sameyear as their original Germantreatises. Czerny's Elementary Worksfor the Piano Forte, published in London in 1840, is a simplified version of the Piano Forte School. As it was intendedfor the use its formula is in Britain, Great Cramer to the treatises similar of and Clementi (seealso of schools it is English brief Like The in 2.1). Cramer's treatise, treatises, all relatively exercises, as section by instructions concise explaining the purpose of eachexercise,or the technical are accompanied difficulty involved, or how to overcome it. Czerny was obviously familiar with the music trade both Continent in England. Letters to the the the of music-buying on expectation public and and A YoungLady, asmentionedin the previous section, teachesmusic theory andpiano playing from
'Tor Kuerti's suggestionregardingsomeof Czerny's"serious"compositionswhich shouldbe (1997), Kuerti 493-497. pp. see explored, 18
ideas, Essentially the the different stylesof writing andthe using same a practicalviewpoint. differentformulasofPiano Forte School,Lettersto A YoungLady andElementaryWorksshow how adaptableCzemywas. He also possesseda sound knowledgeof variouscompositional forms and genres,as well as of orchestration;all of which is recordedin his Schuleder School Composition, Tonsetzkunst 600 (1848). Op. later, Three or ofPraqical years praktischen he published Umriss der ganzen Musikgeschichte bis 1800, Op. 815, a book which gives a list birth Christ from time the the of of until 1800, with a brief rdsum6accompanying of musicians is he book, In this able to combine the three passionsof his fife - music, literature eachentry. is history. Each composer placedwithin a carefully drawn historical context (including major and in history the with cultural of the important literature and musical political events), parallel compositions of the period.
in German,French,Italian, andCzechalsobecameusefulin later Czerny'slinguisticcompetence life. With a good knowledgeof French,he was ableto translateAntoine Reicha's Traitj de milodie (1814),Coursdecompositionmusicale(c 1816-1818),andTraitedehautecomposition into bilingual German. The (1824-1826) edition of this compilation, entitled musicale VollstandigesLehrbuchder musikalischenComposition,waspublishedin Viennain 1832." In he German translation, to a also addedremarksand an Appendix. He addition providing frequentlyusesthe works of well-known composers,such as Mozart, Haydn, Clementiand his is It Beethoven, to explanations. aid not only the aestheticswhichCzernyadmired especially in Beethoven'smusic,but alsothe'latter'sskill in thematicdevelopment,his harmoniclanguage, his experthandlingof variousstructures,andthe overallunity in his compositions.Czemyalso du Reicha's, 4rt dramatique (1833) he in translated compositeur and which published 1835 edited der dramatischen Composition. By himself Kunst Die acquainting with the writings of an as important figure'such as Reicha, as well as the cornpositioýsof his contemporariesand have been for his Czerny the may paving way own compositiontreatise. predecessors, Similarly, Czerny'sedition of A. E. Maller's GrosseForlepiano-Schule(Leipzig, 1825)and Kleines Elementarbuchffir Klavierspieler (Leipzig, 1830) were perhapsalso preparations in particular towardshis own monumentaltreatiseon pianoplaying. Miller's Fortepiano-Schule "'Newman(1969),p. 32. 19
I
hashadaninterestinghistory,havingbeenrevisedmanytimes. It wasin fact first written by G. S.L6hleinandpublishedin 1765underthe title Clavierschule.The sixtheditionof this treatise in Klavier-und 1804 Willer's Fortepiano-Schule.The eighthedition,entitled as waspublished GrosseFortepiano-Schule,and publishedtwenty-oneyearslater, was editedby Czerny. He itten large newly-wr, sectionon figuredbasswhich incorporatesthe andcomprehensive addeda theoriesand views of prominentcontemporarybooks, written for both the amateurand the incorporate in In to changes order piano playing, extensiveadditionsand educatedmusician. in fingering, ', ornamentationand performance. In the the chapters on alterationswere made he fingering, replacedmany of the old exerciseswith new pedagogicaldoctrine chapteron he found, the after a long periodof testing,to be the bestway concerning studyof scales,which dexterity. Out-of-date for thedevelopment offinger realizationsoforriamentswerereplacedwith include interpretation The to the section on performance was expanded of classical ones. newer his each compositions,a chapterwhich anticipates Piano Forte School. The five classifications for dynamicsandarticulation,his descriptionsregardingthe qualitiesandcharacteristics of each dynamicandarticulation,andhis remarkson the useof the pedals,are similarto those in the PianoForteSchool.CzernyalsomodernisedtheKleinesElementarbuchby addingexercises and the chapteron ornaments,but the revisionsherewereon a muchsmallerscale. supplementing Nevertheless, not all his editionsof existingpianotreatisesreceivedsuchextensiveadditions.In his editionof Pleyel'sClavierschule,publishedaround 1860,he addeda sectionto explainthe Sometimes, his "editing" and notation, some and portato new exercises. may simply staccato his in editionof Jousse'spiano consistof addinga new setof exercisesat the endof a treatise,as treatise, Op. 420, published in London in 1836. Indeed, Czerny was also greatly respectedin London. J. A. Hamilton, the man who translated Czerny's Piano Forte School into English, invited Czerny to composenew exercisesfor the 50' edition of his treatise,Modern Instructions for the Pianoforte. Prior to its publication in 1854, this treatise was sent to Czerny for revision. I In the preface, Hamilton proudly declares that Czerny made only very few and insignificant indicating latter's the thus approval. corrections,
In additionto contemporarytreatises,Czerny.also editedthe musicof a numberof prominent Scarlatti Weber from Bach Beethoven. His to and and variouseditionsof the composers, Beethoven be discussed in below. his 3 In of will sonatas chapter editionsof J. completepiano
20
t
S. Bach's The Well-TemperedClavier (1837) and 200 of the sonatasby DomenicoScarlatti (1839), he attemptedto reveal the characterof each piece by inserting tempo markings, diminuendo fingerings, and sudden accents, and crescendo nuances, metronomemarkings, is favouring legato). ff His dynamic from (often to suggested range pp articulationmarks have, intended. Sometimes,Czemy encouragesa rapid larger Bach than would significantly in in from Book for loud Prelude XV G 1, from to vice versa: example,the soil and major change happens bars bars back (from 7 9). From fromp two to top the tof within space of and change halfway bar leads bar beginning 7, Czemy through the the a recommends crescendo wMch of p at tofat the beginningof the next bar. This is followedby a diminuendohalfwaythroughbar 8 to beginning bar 9. All thesemarkings,whichclearlyreflectthe earlynineteenth-century the of at p found in baroque those to consistent are with contemporarycompositions, music, approach is found in is Czerny's Beethoven's. Another trait the which editing nineteenth-century especially insertion his in bass texture, the thickening such as ofdouble octaves ofthe of bars25occasional 29 from the C minor fugue in Book I. In the Prefaceto his edition of The Well-Tempered Clavier, Czemyfurther revealshis indebtedness to Beethoven,that is, by using Beethoven's basis for his fugues These the as a editing. performancesevidentlygaveeach of performances " interplay independent highlighting between fugue in the the voice aswell as an parts. part a In spite of the vast quantity of new music that was being composed in the nineteenth century, Czerny still felt that there was a lack of short pieceswhich would aid the development of sightbe for for the could used or which purpose of entertaining, or one's amusement. reading skills, As a result, the Musikalisches Pfennig-Magazin was startedto fill this gap, with Czerny as editor between 1834-1836.
The majority of compositions in the Pfennig-Magazin were by
Beethoven, Moscheles, Dussek, Field, Clementi, Cramer, and such composers as contemporary himself The Czerny Amongthern these genres of compositions are, also very varied. particularly bagatelles, dances, Austrian romances, polonaises, cadenzas,and etudes. variations, are rondos, A few pieces by Bach and Scarlatti are also incorporated, as it is Czerny's intention to introduce the older composerswho had beenneglectedinto nineteenth-centuryrepertoire. However, like his edition of Bach's The Well-Tempered Clavier, these pieces contain articulation marks, dynamics,and the occasionaltempo changewhich havebeeninserted by Czemy. In his preface,
59Bach(183 7), preface.
21
heexplainsthat it *as necessary. to revisethe interpretativeandperformanceof baroquepieces io suitmodemtaste.'O 'Czemy9s extensivecreativeoutput, with his editionsof treatisesandmusicwhich he soughtto bringinto linewith contemporarytaste,carlbe bestsummedup by hisforcefulandwitty motto: "Viel für Viele; Alles der ZeiC. `
Whentranslatedinto English,it means"much for [the benefitofl many;Time will bring all to
fruitiore'.
I
I
I
6'Czemy(1834-1836), preface. 611bid. 22
CIIAPTER 2: MUSICAL
INFLUENCES
Throughouthis life, Czemywasexposedto a variety of musicalstyles. In the "Recouectiol&' his indebtedness heacknowledges to C. P. E. Bach,Beethoven,ClementiandHummel.In order to understandCzemy'sinterpretationof Beethoven'spianosonatas,it is essentialthat eventsor first In in influenced Czemy to the are explored. addition occasional remark personswho diaries, information. provide an extensive source or of anecdotes reminiscences, -treatises Towardsthe end of the eighteenthcentury,Europ6 was swept by an enthusiasmamongboth instrument for treatises the on playing an publishing especially amateursandprofessionals increasingly for in It becoming London teachers popular. was not uncommon piano,whichwas (includingeventhosewithout-anystanding)to publishtreatises.Copyrightlaw did not exist in teachersusuallyresortedto copyingthe writings GermanyandAustria,sothe lessaccomplished for having The craze one?s piano treatisepublishedwas partly musicians. of well-established in New improve developments by to the ways were explored manufacturing. piano encouraged in instrument turn, to the provided new opportunities and which, sound worlds of mechanism composersandpianists. Improvementsin transport andcommunication enabledthe main musicalcentresin Europe, such latest developments. Translations Vienna, Paris to London, stay ofthe abreast and ofthe more as important treatises were made. For instance, Clementi's Introduction to the Art of Playing on into both in German French (180 1) 1802 while Hummel's Forte translated Piano and was the Ausfahrliche theorelisch-practischeAnweisungzumPiano-forte Spiel (1828) wastranslatedinto English the following year. Many musiciansandpublishersknew one anotherandwere interested in new publications on piano playing. The subscribersto Hummel's English translation of the Anweisung (1829), for example, include Clementi, Cramer, and Cocks and Co. (the company Czerny's writings and compositions). of many which published
For the sakeof discussion,I will compareeight importantdocumentspublishedover a 93-year in in lived England German-speaking They The (1753-1846). the and writers countries. period or a combinationof were composers,teachers,performers,publishersandpianomanufacturers, begins E. Bach's die discussion C. P. Versuch The iiber then. with ivahre theseaswascustomary 23
I
Art das Clavier zuspielen(Berlin, 1753,1762) and D. G. Tilrk'sKlavierschule oderAnweisung ffir Lehrer und Lernende (Leipzig, 1789), continuing with J. L. Dussek's Klavierspielen zum Instructions on the Art ofPlaying the Piano Forte or Harpsichord (London, Edinburgh, 1796), Clementi'sIntroduction to the Art ofPlaying on the Piano Forte (London, 1801), A. Streicher's Kurze Bemerkungenüber das Spielen, StiMmen und Erhalten der Fortepiano (Vienna, 180 1), J. B. Cramer's Instructions for the Piano Forte (London, 1812), and J. N. Hummel's Ausfahrliche theoretisch-practischeAnweisung zum Piano-forte Spiel (Vienna, 1828), leading to the culmination of Czemy's three-volume Vollstandige theoretisch-praktische PianoforteSchule, Op. 500 (Vienna,1839) and its supplement Die Kunst des Vortrags der d1teren und ' (Vienna, 1846). However, sincesomeofthe treatisescontain very Klavierkompositionen neuren little information on pedalling, pedal markings in the music of thesewriters will be incorporated
in the discussion. It is beyond the scope of this thesis to study all the treatiseswritten in that period. Among them byFriedrich Pianoforte-Schule Starke (Vienna, 1819-182 Wiener 1), Mithodepour apprendre are le pianoforte by Friedrich Kalkbrenner (Paris, 1830) and Mithode des mithodes de piano by FrancoisJ. Fdtis and Ignaz Moscheles(Paris, 1840). There were also many treatiseswhich echo the writings of someofthe above-mentionedauthors. JohannP. Milchmeyer's Die wahreArt das Pianoforte zu Spielen (Dresden, 1797) is influenced by Bach's Essay,' Louis Adam's Mithode de ideas (Paris, 1802) in Clementi's Introduction' and Pleyel's piano reflects pour nouvelle , Mithode pour le Pianoforte (Paris, 1797) echoesconcepts in Dussek's Instructions on the Art.
2.1 BACKGROUND
OF THE TREATISES TO BE STUDIED
Clementi's Introduction to the Art of Playing on the Piano Forte (1801) dealswith elementary
from Germantreatisesmadein this chapterare mainlyextractedfrom the EngEsh 'References translations.The third editionof Cramer'sInstructionfor the Piano Forte (1820)is used insteadof the original,of which the British Library copy hasbeenmislaid.I amusingthe 1800 has list ItaHan list is in Dussek's treatise terms; this wlýich a of not the 1796edition. editionof 2Bach(1974),p. 7, (1974),p. ix. 3Clementi/Rosenblum 24
fingering, He to theory, sittingand playing position, and ways practise effectively. music hand "quiet" lays This the a and on usefulness emphasis of practising scales evenly. repeatedly in later (1812is from Starting the seventh editions. edition made more pronounced emphasis 1814),the sentenceregardingthe unnecessary motion of the hand is printed in capitalletters. Clementiand one of his pupils, Cramer,extol the virtue of practisingscalesto train technical facility. Dussekalso upholdsthesebasic principles. Besidesteachingfinger agility, Dussek help fan-dharise keyboard, fingering the the the that scales will of pupil with and practice explains Czerny Piano Forte School, had keys. By knowledge the time the the wrote of scales of role a beenextended. They were no longer practisedmerely to enableneat and rapid execution. Czernyusesthemto developexpressive playing:legato,the differentdegreesofstaccato,a wide his He levels, dynamic to trains the tones ability produce any at will. also pupilsto and of range developing V-I harmonic in fifths, The thus taboo the a sense of progression. circle of playscales little finger black keys it is the thumb the the or of on unless placing absolutely surrounding ' is by Dussek Clementi, in TUrk, Piano Forte School. taught and still evident unavoidable, Although Clementi is often considered "the father of the pianoforte", many of the principles in his Introduction have their roots in C. P. E. Bach's Essay.' Bach teachesthe correct sitting importance hand in He the the of correct position understands order to play properly. position. He maintains that the thumb should always remain close to the hand while unnecessarybodily " discourages be Bach from the avoided. performer adopting ugly grimaces. should gestures . Before the publication of Clementi's treatise,Bach was already teachingthat the left hand should be intelligently exercisedso that it has equal facility with the right. This last point and the art of fingering are perhaps the most important principles to influence later teachers. At the time of fingering known "almost Essay, [sic] by ýhe the was secret art, art of a and practiced writing ... ' fingering be important in few". Bach to a very obviously considers element performance very becausethe Essay begins with a large chapter on fingering. He uses both the old and the new
4Bach(1974),p. 45; Rirk (1804),p. 17; Cramer(1835), p. 2; Cramer(c 1820,treatise),pp. 5 Czerny (183 i, ii, 9 3 1; 9E), 46-77 (1800), 3. Dussek 34; and pp. pp. and p. and 'Clementihimselfadmitted"WhateverI know-aboutfingeringandthe new stYle,in short, have learned from I book". See Bach (1974), I the this of pianoforte, p. understand whatever 14. Tach (1974),pp. 30,31,41-44, and 152. 71bid.,P. 41. 25
few fingering Inthose with scales. no or very sharpsand flats, he expresseshis methodof is, for finger fourth, that the the third the of vaulting old method, over andthe second preference heconsidersthe turning fingeroverthethumb. Nevertheless,in keepingwith newdevelopments, longer fingers be important the the the thumb to the thumb the of and crossing over most of fingering! Unlike fingering for in t4e the the easierscales, options study of of available element thosewith many sharpsand flats permit only the new fingering. It is this new method of fingering that was later developed and used as the basis of piano technique, first by Clementi, then by Cramer,Hummel,' and Czerny. Another method that they adopt is Bach's recommendation on how to practise technical exercises. First, the exercisesare practised slowly, the speed is then fingering increased becomes the of such until passages secondnature to the player. gradually
Bach'sEssayconcernsitself mainly with the responsibilityof the keyboardplayer within an improvisation. In the treatisesemphasizethe contrast,nineteenth-century of art and ensemble Bach have the must solo concert pianist. noticedthe tendencytowardsmechanical virtuosityof he from 1750s by "[p]lay like that the the the warns when early performer must soul, not playing "O bird! a trained Bach's and TOrk's treatises follow the format of many contemporary Gennan tutors. They are lengthy, with rather few or no practical exercises. Bach offers advice on the mechanismsof the harpsichord and clavichord, tuning, and care of the instruments. An experiencedperformer, he for how Clementi's hints to prepare public performances. on and Dussek's, on the other gives hand, follow the basic arrangement used by most late eighteenth-centuryEnglish instruction books. They are simple and concise. Music theory, fingering, piano technique, and ornaments followed is fingered by few first. Thýs taught sometimes scales and/or a exercises. At the end are lessons English tutors were considered treatises, the added. small number of pieces or are a of in their time as dictionaries of elements. Lessons would be selectedat the discretion of the teacher and in the order that he saw fit. Cramer's treatise follows this principle loosely. It is has different but format. his From he found teaching that a slightly experience, simple and concise
,ibid., pp. 45-46. 9Hummelshowsan awarenessof Bach'ssystemof fingeringwhenpreparinghis own chapter (1829), H, Hummel 224. See the p. subject. on "Bach (1974),p. 150. 26
it wasmorebeneficialto teachmusictheorythroughmusic. Therefore,eachexerciseis followed byexplanationandinstructions.Hummel'sTheoreticalandPracticalCourseandCzemy'sPiano Forte School incorporatethe format of both the Germanand Englishtutors: comprehensive by numerousexercisesandpieces. Unlike the English theoreticalknowledgeis supplemented tutors, Czernysetsout the topicsin Piano Forte Schoolaccordingto the order in wbýichthey in his lessons. In is be if follows teacher taught the the opinion, a unnecessary pupil would lessonsclosely. Like Bach, Hummel and Czemy give counsel on the mechanismand care of the for ' The between how to the structure of a public performance, resemblance prepare and piano, Czerny'sPiano Forte School and Hummel's Theoretical and Practical Course is striking. Both basic into divided theoretical and practical knowledge,fingering, and the styles three sections: are
difference is The discussion is the only obvious where performance. advanced of ornaments of introduced.Hummelplacesit in the third part of his treatise,togetherwith mattersrelatingto introduces Czemy, hand, the on other styles. ornamentstowardsthe end performing advanced Forte School. In Piano Streicher's booklet is first the contrast, of volume shortandprecise. of It coversfour mainareas:basicplayingposition,toneproduction,themechanics ofthe piano,and the tuningandgeneralmaintenance of the instrument. Bach's Essayand Streicher'sNotes on the Playing, Tuning and Maintenance ofthe Fortepiano As I F. Rochlitz be "amateur" the to amateurs. explains, aimed at word was used to are said indicate one who truly understandsand enjoys music, as opposedto a "professional", one who " constantly criticizes.
The high standard expected of a performer asset out in the writings of
Bach and Streicher is therefore understandable. 'Although its market is unspecified, TOrk's Treatise is probably written for the same category of performers. Dussek's, Clementi's and Cramer's treatisesare written for beginners. They are easyto read but lack instructions on the finer nuancesof playing. Therefore, it is difficult to determinethe witers' idealson suchmatters. Hummel's Theoretical and Practical Course and Czerny's Piano Forte School, however, are for They from beginners' are at all stages written pupils of proficiency, comprehensive. more level to that of the advancedpianist.
I'Rochhtz(1832),p. 295. 27
2.2 A COMPARISON OF THE TREATISES
2.2.1 TEMPO Indications of Speed - Italian terms, time signature and the metronome
About a centurybeforethe adventof the metronome,Italian temis were introducedto indicate the speedof a piece. Originally,thesetermswereusedasa descriptionof mood. By the middle implications Italian termsalso the the of carried of speed.In some eighteenthcentury,some of important is became Allegro The the term's than original meaning. an example. more cases,speed literal meaningof allegro is "cheerfur. In 1789,TOrk definesallegro as"quick". " j
The meaningsof Italian termsconstantlyevolvewith time. Even the degreeof quicknessor blurred became in There disagreement terms time. these associated with was as to slowness whetherlargo, adagioor gravewasthe slowesttempo. TOrkconsiderslargo to be the slowest tempo. Clementiis more conservative. He prefersto follow the practiceof Corelli, thereby listing adagio asthe slowesttempo. In his subsequenteditionsof Introduction, he repeatedly defendedthis practice.He andCramerwereamongthe minority who followedthe adagio-largo tradition. The others,includingDussek,Hummeland Czerny,regardedlargo or grave as the by The tempo. andantino was also problematic. TUrk, Dussek, speed conveyed slowest Clementi,andCramer,who standin oppositionto Czemy,insistthat andanteis slightlyquicker Hummelexplainsthat it is than andantino. In the hopeof Clearingup this misunderstanding, because than the formeris the diminutiveof to as quicker andante erroneous perceiveandantino 13
the latter.
Speedsmay be classifiedin threemain groups- slow, moderateand fast. Slow temposare lento. largo, Fast by by tempos and adagio, are expressed grave, allegro,presto, represented The by and meaningof vivaceat this time was ambiguous. preslissimo. and sometimes vivace TOrkdefinesvivaceasa tempomarkingwhichis slowerthanallegro. Clementicontradictshim 'IT&k (1804),p. 14. (1974),p. xxix; Cramer IMIrk (1804),p. 14; Clementi(1801), p. 13; Clementi/Rosenblurn (c1820,treatise),p. 52; Dussek(1800),pp. 44-45;Hummel(1829),i, pp. 68-69;Czemy (I 839E),i, p. 156. 28
I
by listingvivaceasAquickertempothanallegro but slowerthanpresto.DussekandCzerny,on the otherhand,considervivacean adverbto the maintempoheadings.Dussek definesvivace interprets it Czemy "lively, The life "with termsandante, as with warmtlf while spirit" and as He between fast An tempos. the the slow and analysisof the and moderato allegretto andantino, tableof speedas listed in the treatisesrevealsthe similarity betweenHummel'sand Czerny's. Comparethe two lists, startingwith the slowesttempo: Hummel: Grave - largo - adagio - andantino- andante- allegretto- allegro - vivacissimopresto-prestissimo Czerny: Grave - largo - adagio - andante - andantino - allegretto - allegro - presto " prestissimo. Although choosing an appropriate speedis an important criterion in performing, the decision may In difficult. Speed be to time the second edition according varies and place. sometimes rather TUrk Klavierschule, observesthat a more moderate tempo was expectedof a piece marked of increasing The fifty trend the of speedof allegro and reducing earlier. years composed allegro in This the throughout was noticeable even nineteenth century. the speedof adagio continued the mid-eighteenth century, for Bach complains of considerable differences in the speeds of location. him According TOrk, be depending the to on and speed also may allegro and adagio, deducedfrom the characterofthe piece and its smallestnote value. Theselast two points are also " by Czerny. observed , The influence of the time signature in the choice of tempo was more significant in the eighteenth in The time the nineteenth century with a the only signature used thanin nineteenth century. breve. Italian As the terms, there the to the with were many was alla proportions relationship its implication. To this time tempo the of signature 4nd meaning contrasting views regarding between C, further, distinctions the time, sign of common were rarely made complicate matters k. by late Dussek breve, time the of common seventeenth-centurymeaning retains and the alla
"Tork (1804),p. 14; Clementi(1801),p. 13;Dussek(1800),p. 47; Czemy(I 839E), i, p. 156 "Hummel(1829), i, pp. 68-69;Czemy(I 839E),i, p. 156. "Bach (1974),pp. -148,151and414; TOrk(1802),p. 106;Tilrk (1804),p. 14; Czemy (1839E), iii, p. 69. 29
ý "' indications C, this time and 'ý as of signature. assigning Apart fromDussek,all thewritersstudiedin this chapteragreethatalla brevecontainstwo minim beatsin a bar. Dussekholdson to the old meaningof alla breve,that is, "a movementthat has " in bar". There were two waysof interpretingthis time Breve, two and semibreveetc. a one signaturein performance.TUrkandCzemyareof the opinionthat the notesin alla breveshould be playedtwice asfastasthey would otherwisebe in commontime." In the seventheditionof the Introduction,Clementidecidesto embracethe other meaningassociated with alla breve. He writes: A composition marked thus
ý
was ANCIENTLY performed as fast
ý but C; again as when markedthus now is performedsomewhat fasterthanC." -
j
Such confusion prompted musiciansto experiment with ways of measuringthe exact speed of lists Tiirk's Treatise someof thesemethods: uýing the ticking of a watch and writing eachpiece. " to time the needed perform a piece. In 1752, Johann Quantz proposed using the "pulse beat at " healthy hand the of a person". Pendulumsand chronometers were also usedto measuretempo for example,had a calibrated frame with a peg on the fixed end (1696), LouliCs chronomatre be in frame. This would then adjust that the the at a number of points cord could plugged on of the length of the pendulum." In 1724, William Turner suggestedsetting tempos in terms of a 0 in the crotchets reversed mensuration should be counted "as fast as speed of clock whereby ` Watch". A more sophisticated version of this idea included a twoMotions the regular of a by high Jacques-Alexandre-C6sar Charles in 1786 and clockwork chronomNre musical m6tre inventors by Anthony George Eckhardt in 1798 and G. E. St8ckel in such as various patents 1800. Someof the patents,such as St6ckel's proposal to build a device resemblinga large wall-
(1800),p. 4. 17Dussek "Ibid., P. 44. 19Tfirk(1804),p. 12; Czerny(1839E), i, pp. I 10 and 119. (1974),p. xxv. "Clementi(1801), p. 4 (capitalizationoriginal); Clementi/Rosenblum 21Turk(1804),pp. 14-15. is discussion in (1966), Seeh Quantz 283. 12Quantz(1966), p. pp. 282-294. , 21Fora list of the devicesusedto measuretempobeforethe inventionof the metronome, (2001), 532-535. Sadie xvi, pp. see please (2001),xvi, p. 534, s.v. "Metronome". 'Italicizationandcapitalizationoriginal. 24Sadie 30
" harnmers bells, Until 61 the audible were never carried cm pendulum, and out. a clock with inventionofthe metronomein 1816,noneofthoseearlierexperiments wereuniversallyaccepted. Hummel and Czemy were amongthe many musicianswho recommendedthe use of the its it They about virtues. wrote with authority and understanding. and praised metronome Hummel cautionsthat practisingwith the Tetronome is usefulas long as the playerdoesnot follow the beatsmechanically.Somerelaxationof pulseshouldbeallowed,dictatedby the taste important The Czemy, feeling the the to most role of metronome, according of performer. and is the opportunityit providescomposersto notate the exactspeedof their compositions.The Perhaps be to asa reactionagainstthe excessiveuseof aid practice. used metronomecanalso temporubato employedby someperformers,Czemy seesthe metronomeas an instrumentto helps fault. fingers He that the the this with metronome practising elaborates strengthen correct " in andgivesadditionalcertainty performance. The meanings of adagio and allegro In general, adagio is often seenas an expressivemovement while allegro is cheerful and lively. By the 1830s,movementsmarked adagio and allegro had suchdiversecharactersthat qualitative terms were sometimesused. Both Hummel and Czemy reveal that the moods implied by allegro brilliance from liveliness. through to thoughtful, tranquil majesty and warmth, and and range Czerny also describesthree types of adagio - expressivebut sad, sentimental,and elegant.27 In the eighteenthcentury, movementsmarked adagio and allegro were characterisedby different types of articulation. The general rule was to expressadagio through broad, slurred notes and distinction detached In this the through century, notes. nineteenth was achievedthrough allegro finger action and tone. Hummel and Czerny teach that a piece markedallegro should be precise, is The The brilliant. be the of subtle. cýaracter execution adagio more of piece should and neat " by finger The tones that through controlled a-variety of are pressure. notes are communicated have Czerny the a singing quality. melody must explainsthat more sustainedand the Player must know how to fascinate his Audience by the finest
211bid., p. 535. 26Hummel(1829), fii, pp. 65-67; Czerny (1839E), iH, pp. 66-68. 2'Hummel(1829), i, pp. 68-69; Czerny (1839E), i, p. 156 and ifi, pp. 69-79. 2'Bach(1974), p. 149; Hummel (1829), ifi, pp. 41-42; Czemy (1839E), iE, pp. 70 and 74.
31
possiblequality of tone, by correct accentuationand phrasingof the fullness by andcloseconnectionof the harmonies,by a pellucid melody, feeling and delicacy,and by the appropriateexpressionof tenderor sublimeemotions;and, accordingto the contentsof the composition, " hearts their th6r or understandings. operateon Some Italian terms which affect the speed and/or character of a piece Rallentando and Ritardando Clementi, Cramer and Czerny agree that both rallentando and rilardando refer to a gradual both imply believes down. Hummel decrease in but terms that not only a gradual speed, slowing in intensity as well. This dual meaningis more commonly associatedwith the terms smorzando, (see 40-41). Dussek have been for to this pp. may able clarify and morendo matter, he calando, Unfortunately, is in Est the the with calando. meaniný of calando rallentando not given equates " in his Italian to treatise, the terms the possibly owing an oversight on part of publisher. of
Cantabile Thetermcantabileis usedto emphasize the lyric characterofa piece:to revealthislyric character to the player, and encouragehim or her to bring it out. Its specificmeaning,however,is determinedby the type of keyboardused. Tfirk's definition of "pleasingly,pleasantly"is more keyboard. In the eleventheditionofIntroduction (1826),Clementirefinesthe the to early suited from "in a singingandgracefulmanner"to "in a singing,gracefulandexpressive originalmeaning legato line is in This the adoption of as the normal touch (seepp. 42-43). with manner". Cramer'sand Hummel's definitionscarry the samemeaningas Czerny's:"in a singingstyle. MelodioUSV'.31 Con aninia and con espressione Cramer, Hummel and especially Clementi all emphasize the expressive intention and shaping denoted by con espressioneand con anima. In the first edition of Introduction, Clementi asks that passagesmarked with either of those two terms be played:
"Czerny (I 839E), Hi, p. 74. Capitalization original. IoDussek(1800), p. 46; Clementi (180 1), p. 14; Cramer (c 1820, treatise), p. 53; Hummel (1829), i, p. -71; Czerny (1839E), i, p. 190. IMIrk (1804), p. 15; Clementi (180 1), p. 14; Clementi/Rosenblum(1974), p. xxx; Cramer (c1820, treatise), p. 52; Hummel (1829), i, p. 72; Czerny (1839E), i, p. 156. 32
[w]ith expression;that is, with passionatefeeling;whereeverynote has its peculiarforceandenergy;andwhereeventhe severityof time maybe " for relaxed extraordinaryeffects. And in his seventhedition, the con animahasbecomemore expressive:"CON ANIMA, with is indication for While "With the the of con meaning espressione standard expressiorf'. great is Hummel's like Clementi's, ', the anima slightly elusive. of con con anima, meaning exptessioif is"fullof soul,impassioned".However,Czemy'sdefinition,written only tenyearslater,is rather different.In his opinion,con animameans"moving with spirit, life andvivacity"."
2.2.2 TEMPO FLEXIBILITY
i
by a slightslowingdown,acceleratingor both. Bach,Hummel A performanceis oftenenhanced flexibility In Czemy the tempo. that should not affect o, verall such other words, the agree and " in tempo, tempo the the with slight changeswithin same music. The pieceshouldstart andend degreeof tempochanges,however,vary accordingto the characterof the pieceandthe tasteof the individualperformer. Many instances of tempo flexibility in performance are not notated. Since this practice is determinedby contemporary taste,which constantlychanges,it is a 'lost" art-form, savefor some in Bach down be laid that treatises. the tempo suggests accelerating and retarding can guidelines in The be broadened tempo transposition of a octaves. melody should each at at the effective in key in fermata. Slow that the was originally a minor major mode and ofpassages at a repetition I " dissonant for the tempo chords call use of rubato. notes, caressingor sad melodies and
BachdefinestemporubatOasthe additionor subtractionof note values,whereone handplays it. definitions TOrk beat three the the with gives other strictly of temporubato, and against
32CIementi(180 1), p. 14. (1974), p. xxv (capitalization original); Cramer (6820, treatise), p. 52; 33CIementi/Rosenblum Hummel (1829), i, p. 72; Czerny (1839E), i, p. 190. 14Bach(1974), p. 161; Hummel (1829), iii, p. 47; Czemy (1839E), i, p. 118. "Bach (1974), p. 161.
33
Bach's definition beingone of them. TOrk's secondtype of rubato occurswhenthe accentis beats. is The by delaying third than the stronger achieved rather or accelerating on weaker placed " is by Bach, he does it last Although type this employed not classify astemporubato. speed. in Tork givesmanyinstanceswheretempoflexibility canbeused.Accelerandois recommended in furious fiery, in the character, strongest violent and of a passages and passages played pieces is in Ritardando the effective very tender,languishingandplaintivepassages, repeat. strongerat it, beforeembellished towards the end of or a piece a part of and in passages marked pauses, diminuendo,diluendo"orsmorzando.Certainpassages shouldbeplayedin strict timebut a little Among them are embellishedpassages than the speed. markedsenzatempoor original slower a softerpassageat therepetition,anda softandpoignantpassage adlibitum, a transitionpassage, betweentwo lively ones." Similarly, Hummel believesthat melodious passagesin pieces marked allegro should be played in florid hand Conversely, left hand the pieces with right passages, slower. must imperceptibly in Practical Course Theoretical in The Hummel time. that and examples reveal strict uses play tempo flexibility sparingly to enhancethe overall shapeof a phrase. He warns that tempo rubato " delicacy the of a performance. neatness,grace and should not affect
Czernyconsiderstempo flexibility to be the most important meansof expression.Unlike his favour he broadening He it is tempo. to that seems a of explains morecommonto predecessors, because former is less likely increase down the than to the to disfigurethe character speed, slow instances In to the numerous where a slowing down is favourable,he contrast of a piece. be firstly, in two the transitionto a examples where accelerando may employed: only suggests themewhich consistsof rapid runs or quick legatonotes;seconqly,in piecesof a fiery, violent 'O latter TOrk's The furious recalls one of examples. nature. or
"Bach (1974),pp. 161-162;TOrk(1804),p. 40. 37Torkdefinesdiluendoas"ext.inguishing"(seeTiirk (1804), p. 35). 3lTiIrk(1804),p. 40. "Hummel (1829),iii, pp. 41-53. 4,Czemy(1839E), iii, pp. 31,3 3 and38. 34
Like Tfirk, Czernyrecommendsa slight ritardando in sad, tranquil and tenderpassages.In is in following down he the that effective cases: slowing addition, advises (a) In thosepassages which containthe return to the principalsubject. lead (b) In thosepassages, to someseparatememberof a melody. which (c) In those long and sustainednotes which are to be struck with follow. to after which quicker notes are particularemphasis,and (d) At the transition into anýther speciesof time, or into another in from it. different that speed which preceded movement (e) Immediatelyafter a pause. (f) At the Diminuendoof a preceding.very lively passage;as also in brilliant passages, when there suddenlyoccursa trait of melody to be delicacy. playedpianoandwith much (g) In embellishments, consistingof very manyquick notes,which we degree first into force the to of movement chosen. areunable (h) Occasionallyalso, in the chief crescendoof a strongly marked *to leading an importantpassageor to the close; sentence, (i) In very humorous,capriciousand fantasticpassages,in order to heightenthe characterso muchmore. (k) Lastly, almost always where the Composer has indicated an espressivo;asalso (1) At the endof everylong shakewhich formsa pauseor Cadenza,and 41 diminuendo. is which marked In some ways, this list is similar to Tflrk's guidelines. The main difference is the absenceof Examples (a), but in (b), (0, (g) time. strict and slower are placeswhere passages playing certain TUrk would have played the whole passageslower rather than gradually slowing down. It is frequently diminuendo Czerny those that and chords equates soft passages or marked :observed in bear list One broadening that the the tempo. mind must above merely servesas a of with a The Take to theme transition the the as an example. main variation of speed when guide. judgment is by determined the the and the musical cdntext. performer's subject approaching According to Czerny's list (ex. (a)), the transition passageshould be played slower and slower. Elsewhere in Piano Forte School, he clarifies this, stating that if the transition consists of notes hand, On the towards the the of chords, performer should or ritard end. staccato other played transition passageswhich contain rapid runs or quick legato notes should be played in strict time " or accelerando.
411bid.,iii, pp. 33-34. Capitalization and punctuation original. Incidentally, Czerny omitted the letter 0) as was customary then. 4'Ibid., iii, p. 38.
35
Theabuseof temporubato,a commonmistake,met with strongdisapprovalfrom Hummeland Czerny. Nevertheless, the boundariesof what was acceptablewere extendedthroughoutthe 1820s, Towards Hummel the the of end statesthatanexcessive century. useof tempo nineteenth Slightly later, finds Czerny ten the exaggerated over years also use a performance. rubato ruins In Hummel's, Czemy's to particularly offensive. comparison and ritardando of accelerando in Forte School Piano tempo are significantlymorenumerous.He advises of rubato examples bar. in Hummel Czemy do tempo every and almost not evenagreeon the change a slight figurations. florid Hummel hands that the two right-hand states with must of rendition passages keeping left hand Although Czerny independently, time. the the strict alsorecornmends with act from eachother,heallowsthe left handto slowdownwith theright two handsto beindependent however,mustbe unornamentedso asnot to blur the pulse." hand. The accompaniment,
2.2.3. DYNAMICS
The range of dynamics in use At the time of writing their respective treatises, all the writers surveyed set the soft and loud limits his Essay, Bach In dynamics. is in his It terraced still speaks of respectively. only andff at pp later compositions that the terms crescendo and diminuendo are used. This was in line with the development in the second half of the eighteenth century, when both terms were used with increasing frequency. There was also an expansion in the dynamic range; as the piano increasingly between loud, for Clementi tonal varied soft and contrast and more wider a possibilities. all owed development. In he introduces this the to seventh edition, new ppp andfff was open-minded However, this practice was not immediately followed by later writers, including Cramer and CzeMy. 44
Mezzavoce,mp,mf, andsottovoceareamongthe termsusedto definethe volumebetweensoft
(1829),iii, pp. 47,51-53; Czerny(1848),p. 3 1; Czerny(1839E),iii, pp. 32,35 and 43Hunu-nel 46. 4'Bach(1974),p. 162;TtIrk (1804),p. 35; Dussek(1800),pp. 44-47;Clementi/Rosenblurn (1974),p. xxv; Cramer(cl 820,treatise),pp. 52-53;Hummel(1829),i, p. 70; Czerny (1839E),iii, P. I 36
is in between Czerny Cramer, Dussek, the loud. TUrk, that soft agree mezza voce middle, and and definitions do The Hummel Clementi Bach, the term. loud. contradictory and not mention and did Clementi Dussek Cramer by Clementi, that show not exist. a standard meaning and given loud" it between Cramer "a "rather to while sees soft and as medium soft", considersmp mean Dussek,curiously,claimsthat mp is "softer thanpiano". On the whole, this markingis more define in German-speaking Bach TOrk in England the than countries. and mf as commonlyused "half loud" and"half strength''respectively.Dussek,Clementi,Cramer,andHummeldefineit as "ratherloud" while Czernyinterpretsit as"moderatelyloud". Sottovoceis a lesssignificantterm it its Tark Like this time was ambiguous. considers a thanmezzavoceandmf. mp, meaningat it it likens In Dussek the In to dynamic. other words, voce. represents mezza contrast, soft " four intermediate dynamic loud. Of between terms, the these only was mf and soft medium indicationthat wasuniversallyadoptedat the time. There are two possiblereasonswhy intermediatedynamicindicationswere rarelyused. The it Micult different dynamic to the obtain on early pianos made rangeavailable relativelysmall have broader loud limits Therefore, the spectrum may represented a and soft moderatevolumes. frompp be P do to today. they than anything whHef may anything represent mp may of sound from mf to ff.
This boundarybecameclearer in time as composerswrote more specific
instructions. Functions dynamics of However, the role of dynamicsis not so much the volume it representsbut its contribution to the is Volume TiIrkto the the character adapted suit of a music. gives of piece. overall performance be lively tender while and singing passagesshould played strongly must pieces guide: a general be softer. Within these pieces,the touch must be adapted accord.ingly. He explains: Compositions of a cheerful, joyous, lively, sublime, splendid, fiery, furious, bold, wild, and the courageous,serious, proud, like, character all require a certain degree of loudness. This degree must even be increased or decreased according to is intensely feeling the more or or passion represented whether
4'Bach(1974),p. 162;TOrk(1804),p. 35; Dussek(1800),p. 46; Clementi(1801), p. 9; Cramer(c1820,treatise),p. 52; Hummel(1829),i, p. 70; Czemy(1839E),i, p. 184andiii, p. 3. 37
in itself different each composition more moderately. ... be in again necessary, all ofwhich are must a suitable gradations forte in furioso A Allegro the to whole. an must relation thereforebe considerablylouder than in an,41legroin which only a moderatedegre6ofjoy prevails,etc. Compositions of a gentle, innocent, naive, pleading, tender, moving, sad, melancholy, and the like, character all require a softer execution. The degree of loudness [in 1802, "of however, must correspond accurately to the sofines§"], is in different therefore and most of the prevailing sentiment " just named. cases
Hummel'sand Czerny'steachingis in the samevein. Again, this mannerof playing had been, " Essay. in Bach's anticipated Dynamicsalsoserveto emphasizethe structureof a piece. On a smallscale,both Hummeland Czernyaskthat ascendinglinesbe playedcrescendoand descendingonesdiminuendo,unless 48 TUrk highlighting Bach by indicated the and advise composer modulations, otherwise . 4' TUrk different dynamics dissonances turn of a melod y. recommends using andanunexpected at the repeatof phrasesto providecontrast: If a passagebe repeated,it is playedthe secondtime softer,if it wasplayedstrongthe first time. On the contrary,a repeated passagemay sometimesbe played strongerthe secondtime, " if has it Composer by the enlivened additions. particularly Although Czerny agreesthat the choice of dynamicsat repeatsis determinedby circumstances, he is Particularly fond of playing the repeat softer, with little or no crescendoand diminuendo. This plan is also applied to formal structures, suchasthe repeatin a scherzoand trio movement."
Accentuation Accentuationconsistsof metrical,expressiveand structuralaccents. Metrical accentscanbe
is from Rosenblum (1988), 61. The 36. taken translation 46TOrk(1804), p. p. 4'Bach(1974),pp. 163-164;Hummel(1829), iii, pp. 40-42;Czemy(1839E),iii, pp. 74-79. (1829),iii, p. 42; Czerny(1839E), iii, p. 15. 48Hummel (1974),p. 163;TiIrk (1804),pp. 34 and36. 41Bach 'OTiIrk(1804),p. 36. Capitalizationoriginal. 5'Czerny(I 839E),iii, pp. 16 and 85. 38
further dividedinto two groups:accentswhich are determinedby the time signatureand note , divisions. The first type is self-explanatory.The secondtype of metricalaccentis usuallynot indicated.Playersareexpectedto accentuatethe first of a group of notes,suchas In addition,HummelandCzemy(asshownin exs.2.1a and2.1b respectively)proposevarying the accentuationof a repeatedmotivic phrasefor interest'ssake. Ex. '2.Ia
Ip.
(i
LL
-r---1I
?a *i iýii1F16ý4 io
19
j4
-1 111---
111
11
-ýEt4
Ex. 2.1b /
A
-#", I
--*-
týlft 1,
I
I
.t
AL -0.
f
LJ3'I II I;p
-0
pl F1f1
6--L-L-4
;p
gh !IN
r. Z: jzz4::
--j
-
>
a
yi, 1,jil IIIIII
-4-
t"4 f= -0:!ý >
_
-9-
I >
Czerny also usesthe sametreatment-at the repetition of a simple melody. The melody is first in below). is included The (this the musical example not placementof emphasis playedsemplice is then varied so that the melody appearsnew and interesting (ex. 2.2). Ex. 2.2
Similarly, many expressiveand structural accentsare implied rather than indicated. TUrk fists a be dissonances, instances accents can used effectively: expressive when syncopations, number of
39
length, depth). beginning Accents (in the terms pitch and at of phrases of andprominentnotes havea structuralfunction.Accentson noteswhich indicatemodulationsareof anexpressive and in Czerny Hummel Accents Bach, and also use accents similar contexts. a structuralnature. highlightdetailsof musicalinterestaswell as help the performerkeeptime. Hummelexplains' for This fingcrs doing, by the also allows more scope that so can play with more precision. " refiýedexpression. Italian terms with dynamic implications Dolce Clementi and Czerny classifydolce under "dynamics". Czerny simply describesit as "soft". On ýrst the other hand, Clementi is more concernedwith the expressiveelementof this term. In the dolce he defines "sweet, SWELLING Introduction, taste; then the as with now and edition of in "sweet, SWELLING is Its taste; the with eighth edition and refined meaning somenotes". DINUNISHING some notes". Tork fists it with other terms which denote the character of a both headings. dolce Hummel's definition, lists Hummel under as with passageor a piece. Tark's, reflects an overlapping of the two categories - "sweetly, with softness". Cramer's definition is the only one that does not have a dynamic implication. He translatds dolce as "sweetly". On the whole, it can be concluded that dolce implies a soft dynamic."
Smorzando, calando and morelldo The original meaningsof smorzando, calando and morendo, as recorded by TUrk, refer to a decreasein volume. Hummel retains the original meanings of smorzando and calando" but has It is together and rallentando. with ritardando now acquired. a new morendo grouped Hummel's Prior is, to the treatise, the original that publication of of speed. one significance, I
"Bach (1974), p. 163; TOrk.(1804), pp. 33,34, and 37; Hummel (1829), i, p. 59, ii, p. 2 and iii, pp. 54-61; Czemy (1839E), iii, pp. 6-13. I'Tfirk (1804), p. 15; Clementi (180 1), p. 9 (capitalization original); Clementi/Rosenblurn (1974), p. xxvii (capitalization original); Cramer (c 1820, treatise), p. 52; Hummel (1829), i, p. 72; Czerny (1839E), i, p. 184. "'Rosenblumpoints out the weaknessof this definition. She arguesthat the indications in Sonata Op. 81 (1819) his Piano Concerto Hummel's Piano in tempo and appear calando, Op. 85 (cl821). SeeRosenblum(1988), p. 83. This indicates that Hummel associatedsome his before he least treatise. down term the years calando at nine published with slowing
40
it in Clementi's Cramer's Instead, and writings. meaningsof smorzandoandmorendoareused is the termcalandothat hasthe speedimplication.While Clementirun-dnates on oneof thethree die it involve (the sounds should away or a slight gradually, may of calando possiblemeanings declares it decrease both), Cramer to that the confidently a gradual refers or speed, slackeningof in both tone and speed. Someconfusionmight be expectedwhen the meaningsof theseterms decades However, in first the the trend towards three the of nineteenth century. werý evolving inevitable. By Czemy 1839, speed was with groupssmorzando, associated adoptinga meaning They together once more. now sharea commonmeaning - onethat calandoand morendo " both in decrease tone andspeed. relatesto a 0
2.2.4 ARTICULATION
AND TOUCH
Among the many touches described in Bach's Essay are legatissimo, legato, semi-detached and detached tones. Crotchets and quavers in moderate and slow tempos are normally played with the most common touch: the semi-detached. They are played firmly, with fire and a slight 56 accentuation.
A suitable articulation can be deduced from the tempo, the notated lengths of notes and the dynamics.Both Bach and Tiirk recommendusing different touches to characterisethe allegro from the adagio. As mentioned on p. 3 1, the generalrule is to play detachednotes in allegros in TiIrk heavier that broad, slow or solemn elaborates adagios. pieces notes require a slurred and touch than fast and lively piecesor those of a plaintive character. He prefers to use the.-terms "heavy and Eght Expressiorf'to refer to legato, and semi-detached(or staccato) respectively. In duration, be heavier longer to than those of such as and minims,, semibreves are of general,notes factor Similarly, is the duration, time semiquavers. signature also a such as quaversand shorter breve be Pieces influences time to the with an alla signature are choice of articulation. which Soft be factor is dynamics. influential Another Eghtly. and pleasant passages should played
"Tork (1804), p. 35; Clementi (180 1), p. 14; Cramer (cl 820, treatise), pp. 52-53; Hummel (1829), i, p. 7 1; Czemy (1839E), i, p. 190. IbBach(1974), pp. 148-160.
41
loud heavy light TOrk ones while are played expression with expression. recognises playedwith two otherimportantfactors:thenationalityandstyleofcomposers.Germancompositionsrequire by French Italians. Contrapuntal by S. Handel J. heavier than those touch or compositions or a Bachalsorequirea heavierexpressionthan Classicalpieces.57 Although Bach and TOrk agreethat the common touch is neither legato nor staccato, they differ in their descriptionswith regard to its length. According to Bach, the notes are held for half their is is legato held Tilrk's touch, towards the touch, already which progressing semi-detached value. for three-quarters of its notated length." By the beginning of the nineteenth century, most treatisesrecogniselegato as the normal touch. The revisions which Clementi made to his Op. 2 forty legato Short this towards of years record a move over period playing. slur sonatas piano in found Haydn dominant Mozart, the those the traits works with of and are consistent patterns, in Op. 2. In long the the these of early editions revisions, were with articulation replaced of " slurs.
Clementi'sdecisionto changetowards legato playing may havehad its roots in the famous himself Mozart 24 December in 1781 Vienna. between Clementi's on and virtuosic contest technicaldisplayof doublenotesin the right handdid not impressMozartwho wrote to his father in January1782complaining: Clementi plays well, as far as execution with the right hand goes. His in his in lies thirds. Apart from that, he has passages greatest strength not a kreuzer's worth of taste or feeling - in short he is a mere 60 mechanicus. Oneand a half years later, Mozart still had not changedhis n-dndabout Clementi's playing."In his letter dated 7 June 1783, he once again criticized Clementi's mechanicalplaying which produced "an atrocious chopping effect" and accusedhim of lacking in expression,taste or feeling." In 1806,Clementiadmitted to his student Ludwig Berger that until that occasion,he had never heard he "so by Mozart the spirit and much grace" and was also overwhelmed with way perform anyone "Bach (1974), pp. 149 and 154; TOrk.(1804), pp. 36-38. "Bach (1974), p. 157; Tfirk (1804), p. 37. "Harrison (1998). 1 am grateful to Professor Robert Pascallfor sharing this information. (1966), ii, p. 792. 6OAnderson 611bid.,U, p. 850. 42
6' his in his he to io. He that, Adag ability play youth, showing off enjoyed admitted also playedan However,he later adopteda more"cantabileandrefinedstyleof'perforrnance bravurapassages. by listeningattentivelyto singerscelebratedat the time, andalsothroughthe gradualperfection ' faulty Englishpianos, a cantabile, constructionvirtuallyprecluded whoseearlier particularlyofthe legatostyleof playing".6' This changein Clementi'smannerof playingis also reflectedin his (beginning Op. 13 I 780s from the the sonata). with onwards midcompositions Legato, by Dussek,Clementi,Hummel,and Cramer'sdefinitionof legatois representative given ofthose Czerny:legatonotesmustbe "playedin a smooth,connectedstyle,keepingdown eachnote its Inhis this touch. full lengtlf'.' Technicalexecutionapart,thereis a soundidealassociated with theBESTstyleof singing". The fifth edition,Clementiadvisesthat legatopassages must"in-ýitate " for Hummeland Czemy. Anothersourceof inspiration Dussek, is humanvoice alsoa model for Czernyis the smoothtoneof wind instruments.Both modelscanbetracedto C. P. E. Bach, " distinguished instrumentalists. listening to the singersand of advantages emphasizes who Tenuto and sostenuto In general,Bach, TUrk, Dussek,Clementi, Cramer, and Hummel usetenuto to indicatethat a note is Czerny length. full its that these held tenuto be when adds placed over single notes, should firryfly held down. Many the then them be equate and of emphasis, with struck notes must definitions Czemy's Clementi's and of sostenuto also carry tenuto with sostenuto. meaningof Clementi first Introduction, In implications. the explainsthat sostenutomeans edition of tempo "to sustain, or hold on, the notes to their full length". In his seventhedition (cl8l2-1814), he is in "in This to time" "in time". qualification modified steady, moderate the steady words adds the twelfth edition (1830).
The addition may have been inserted as a reaction against the I
(1988), p. 25. Her translation. 62Rosenblum 611bid.Her translation. Plantinga translatesClementi's new way of playing as "melodic and 314). (1972), Plantinga (see p. noble" 64Cramer(cl820, treatise), p. 20. in latter's 1802, Dussek's the Tomagek J. admired singing quality playing 65W. who witnessed on the piano. (1974), (capitalization Clementi/Rosenblurn (1974), p. xiii original); 6bBach pp. -151-152; iii, i, 19. 189 (I 839E), iii, 39; Czemy (1829), and p. Hummel p. p. 43
tendencyto hold backthe tempoin sostenutopassagesin the nineteenthcentury,asis reflected in Czemy'sdefinitionof sostenuto,"holdingon. Keepingback". " Legatissinto Thecontextin whichBachpermitstheprolongationof notesis exernplifiedin ex. 2.3 below. The first exampleconcernsanarpeggiated chord,the seconda brokenchordandthethird a repetitive figuremadeup of brokenchords." Ex. 2.3
H Ff R)
I;Zý
I
f in .11
I-,
I.
" 7-
plr-týl (C-) 9, -, , ý rý
r--ý
LLI
?I-tij -t
t
TOrk, Clementi, Hummel," and Czerny also prolong notes in certain figurations. Hummel interest longer holding than their ofmelodic notated value, thus giving a sustained notes suggests effect (ex. 2.4). Ex. 2.4
N. B. Notes marked * are held longer than their notated value. ,,
Sometimesnotes are prolonged for a practical reasonwhich indirectly results in a better musical Hummel 2.5, key longer In that the thumb the than the explains must remain on ex. execution. fingers helps This in hand, helps length the to the turn on. other play stabili, se while which notated " harmonious to produce a richer and more passage.
(1974), p. 157; Tfirk (1804), p. 15; Dussek (1800), p. 47; Clementi (180 1), p. 14; 6113ach Clementi/Rosenblum(1974), pp. xxv and xxxi; Cramer (cl 820, treatise), p. 25; Hummel (1829), i, pp. 68 and 70; Czemy (1839E), i, pp. 156 and 189. (1974), pp. 155,15 6 and 160. 6113ach ORosenblurn(1988), p. 157; Hummel (1829), H, p. 8. (1829), ii, p. 67. 7OHummel 44
Ex. 2.5
Czernytoo works on the sameprinciple. Certainnotesare sustainedin passages whichcontain " increase in fullness harmony (ex. 2.6). to the the of consonantarpeggiatedchords order Ex. 2.6 WMte. n1-,
Ipi6
f' r-,
Pý'
wy-c--J-I v
-i
1"T
IIII
--1
1,-P,
IQ.; f Sclfdlmo
4-ý Lj;; ý'
rt
VI
cbtA
I
Staccato There are many ways of indicating staccato. The notes can be separatedby rests,the passagecan be marked semprestaccato, or the notes can be marked with dashes( ... )or dots(-).
Hummel
does not differentiate between the dashesand the dots, which Clementi and Cramer believe is in TOrk Hummel but degrees different agreement with of shortness. acknowledges represent dashýs indicate to a shorter touch. Czemy also does not differentiate that some composersuse
(I 839E),iii, p. 19. 71Czemy 45
betweenthe two signs,eventhoughtherehasbeensomeconfusionregardingthis matter. He Piano Forte School in first "Punkle" (notated both dots that the of volume and as clearlystates dashes)indicatestaccato.'In the third volumeof the sametreatise,however,he usesthe term "Panktchen"to referto staccatoindications.J. A. Harniltonunfortunatelytranslatesthis term as' dashes,without any referenceto dots. SinceCzemyshowsthat "Punkte" refersto dots and da&s, the term "Panktchen"mustsurelycover both signs. Perhapsinsteadof "dashes",this term shouldbe translatedinto Englishas "little dots and little dashes". Czemy's edition of Pleyel'sClavierschulealsosupportthis conclusion..In the sectionon staccatowhich he added, Czernymadeno distinctionbetweenthestaccatoimpliedby dotsor that by dashes.In hisPiano Forte School,Czernyalsomentionsanothertypeofstaccato. Thisverypercussivetouch,known is be is It in to struck as short as possible. generally or staccatissimo, employed as martellato in far (ex. in 2.7). the which notes are apart and passages chords octaves, Ex. 2.7 v
v I
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ljýll This touch, as describedby Czemy, probably stemsfrom the bravura style which was popular in does It described by Clementi and the short not resemble very staccatos the nineteenthcentury. Cramer. In the examples and explanations given, Clementi and Cramer use this staccato (indicated with dashes)in a group of notes in close succession,such as
72
(whether it is indicated The debatethat surroundsthe differentsharpness a staccato of notation by a dot or by a dash)mayhaveresultedfrom a practiceduringC. P. E. Bach'stime. Ironically, he suggeststhe useof dots insteadof dashesto indicatestaccatoso asto avoid confusionwith
12'rfirk(1804), p. 36; Clementi (1801), p. 8; Cramer (0820, treatise), pp. 27 and 38; Hummel (1829), i, p. 65; Czemy (1839E), i, p. 186 and iii, pp. 27-28; Czemy (1839G), i, p. 142 and iii, 8. (c 1860), Pleyel 21-23; p. pp.
46
"' fingering. the
Anothertype of staccato,known asthe mezzostaccato,appearswith slur marks. The manner Tilrk be "the teaches that this was not universal. staccato notes must touched* ofperformanceof it Cramer detached, distinctly". Clementi least the and classify as afterthe dashand smoothlyand aot. Hummel'sandCzemy'sdefinitionsof the mezzostaccatoresemblethe meaninghitherto the is Hummel found in that this touch reveals generally withportato. cantabilepassages. associated The notesare gentlydetached,with eachreceivingan increasingdegreeof emphasis: rrr Czemydescribestwo typesof mezzostaccato.In slow tempos,the notesareslightlyemphasized When in fight, fast for held this their the two-thirds value. staccato occurs passages, and are fingersshouldmakea "scratching"motion." in spiteof the differentmeaningswhichcertainwriters associatewith the staccatoindications, they agreethat the shortnessof staccatodependson the musicalcontext in which it occurs. Many of the factors listed by Bach and TUrk on pp. 41-42 still apply in piano playing of the He believes is Czerny's Take that as an example. explanation staccato nineteenthcentury. influencedby the tempoandthe characterof a piece. In his opinion, mezzostaccatois mainly in (or is orpresto allegro while molto martellato pieces marked staccatissimo) reserved employed " for piecesof a brilliant character. Besidesthe staccato signsalreadymentioned,Czerny proposesusing'the term sciolto to indicate double is because (untied loosened; free, light This the meaning of sciolto or or and staccato. he is However, in TOrk, Dussek the the this. of staccato. characteristic alone up sums and supple) Hummel do not mention this term in their writings. Clementi includes it for the first time in his it different but he "SCIOLTO FREE, a slightly associates with meaning: means seventhedition Cramer be in Staccato". Legato that states notes marked nor sciolto should a played neither
7'Bach(1974),p. 39. (1804),p. 36; Clementi(1801),p. 8; Cramer(cl 820,treatise),p. 35; Hummel(1829), 14TOrk i, p. 66; Czemy(1839E),i, p. 186andiii, pp. 24-26. 75 Czerny(1839E),iii, pp. 27-29. 47
" Althoughthistermwasnot universallyadopted,it showshow Czernyexpects distinctmanner. be to played. staccato
2.2.5 ORNAMENTS
Bach's description of ornamentsdiffers from that of Dussek, Clementi, Cramer, Hummel, and Czemy. Bach is concernedwith the correct context in which eachornament can be employed. Dussek, Clementi and their contemporaries, however, concentrate on the realizations of factor being in The tempo the the the and character of piece shift question. variable ornaments; in the way ornaments are dealt with in treatises is the result of the new practice, wher6by bridges TOrk's development by treatise the this ornaments. showing the composerswrite out " in their the realizations. ornamentsoccur as well as context which Long and Short Appoggiaturas The main ornamentsused in the mid-eighteenthcentury which survive into the nineteenthare the long and short appoggiaturas,turns, mordents, and trills. The most common ornament and the function of ornamentsin the nineteenth century, however, differ from those in the eighteenth. Bach and TOrk pay the most attention to the appoggiaturasbecauseof the diversity and the frequency with which they occur in music. The realization of appoggiaturas from Dussek's in found is to those treatise onwards similar modem-day textbooks. The long appoggiatura has half or two-thirds of the value of the principal note. The accentfalls on the appoggiatura rather than the principal note. Bach's practice, in which the appoggiaturasshould take the length of the is (after in the tie the played after appoggiaturas note a principal or as a slur shown exs. note while 2.8a and 2.8b respectively) or during the ensuingrests (ex. 2.8c), had becomeobsolete.78 I
"Clementi/Rosenblum (1974), p. xxv (capitalization original); Czemy (I 839E), i, p. 189; Cramer (c 1820, treatise), p. 53. ITach (1974), pp. 79-146; TUrk (1804), pp. 24-3 0; Dussek (1800), p. 6; Clementi (180 1), pp. 10-12; Cramer (cl 820, treatise), pp. 21,32,34, and 38; Hummel (1829), iii, pp. 1-13; Czemy (I 839E), i, pp. 160-172. "Bach (1974), pp.,90-9 1; Tilrk (1804), p. 24; Dussek (1800), p. 6; Clementi (180 1), p. 10; Cramer (cl 820, treatise), p. 2 1; Hummel (1829), iii, p. 11; Czerny (I 839E), i, p. 161. 48
Ex. 2.8
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11
Bach, Tflrk and Clementi use the samenotation for both the long and short appoggiaturas. In their opinion, a different notation for eachtype of appoggiaturais unnecessarybecauseeach can be recognisedfrom the context in which it occurs. Dussek, whose treatise was published before Clementi's, is probably one ofthe first to usea different indication for the short appoggiatura. The tau diagonal the stroke through notation of the short appoggiatura as a small quaver note with a Unlike long Czemy. Hummel by Cramer, the the later and appoggiatura, accent of adopted was the short appoggiaturafalls on the principal note while the appoggiaturaitself is played as quickly ' as possible.
Turn BachandTtirk recognisethat theturn mayhavea pleasingor animatedquality,dependingon the ornamentsbecamemotivic decorationsinsteadof tempo. As the nineteenthcenturyprogressed, in is in The trend this the way ornamentsare change reflected essentialelementsof music. in treatises.Dussek, describedin somelateeighteenth-century andespecially nineteenth-century Clementi,HummelandCzernyare concernedonly with the realizationsof the ornaments.The beautyof the ornamentsis no longerconsideredanimportantfactor. The variousrealizationsof 80 have inverted the turns turnsand remainedunchangedsince nineteenthcentury. Mordent Bach and Tfirk employ both long and short mordents. By the nineteenthcentury, only the short inconsistent. it Bach The this were ornament calls a name and notation of mordent was used. it it Czerny Clementi it beat, Cramer transient to Tfirk a as and call shake, refers calls a mordent, "Tach (1974), fn. 5 p. 9 1; TUrk (1804), p. 25; Dussek (1800), p. 6; Clementi (180 1), p. 10; Cramer (c1820, treatise), p. 39; Hummel (1829), iii, p. 12; Czemy (1839E), i, p. 160. IoBach(1974), pp. 12-127; Tiirk (1804), pp. 29-30; Dussek (1800), p. 6; Clementi (1801), -I (1829), iii, i, (1839E), 164-165. Czemy 9-10; Hummel 10-11; pp. pp. pp. 49
(ex. (ex. 2.9a) 2.9b), Hummel it by transient or a shake while shake calls any of three short a beat. (sic), The transient shake or short notationof the mordentalsovaries, mordente names: from+ (Bach,Tfirk andHummel)andir (Cramer)to the acceptednotationtoday,W (Czerny). Sometimes,a composermay employmore than one type of notation. As shownin ex. 2.9,* Clementiacknowledges threedifferentindications.Thesevariants,however,areinsignificantas lonj as the performersunderstandthe intentionof the composers.In spite of the numerous " its indications, day. the this to agree on writers realization, whichremainsunchanged namesand Ex. 2.9 (a) Ii
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Trills Unlike Bach and Tfirk, nineteenth-century writers consider the trill to be a more important ornamentthan the appoggiatura. They emphasizethe difficulty ofexecuting the trill satisfactorily. Thus, they concentrate their efforts on teaching finger exercisesthat will aid the successful is This demands increased,with the use of trills. technical the various necessary as execution of double trills, simultaneoustrilling accompanyinga melody played by one hand, and the like. Bach, too, recognisesthat trills are the most difficult ornaments. They must be played evenlyand lightness He fingers training the to play this with and clarity. as recommends well as all rapidly fingers though some are naturally more suited to trifling. This train of thought is ornamenteven followed by all the writers studied in this chapter."
"Bach (1974), p. l27; Tflrk(l804), p. 28; Clementi(1801), p. 11; Cramer (c1820, treatise), p. 34; Hummel (1829), iii, contents page and pp. 1,8 and 9; Czemy (1839E), i, p. 163. "Bach (1974), pp., l 01- 102; TUrk (1804), pp. 26-27; Cramer (cl 820, treatise), p. 32; Hummel (1829), iii, pp. 2-3; Czerny (I 839E), i, p. 171; Czerny (1848), p. 33.
50
Thefirst two to threedecadesof the nineteenthcenturywerea timeof transitionin the way trills The to the trill the on upper practice was start eighteenth-century accepted ended. and started followed it In Dussek, Clementi Cramer finishing turn. the with a general, and notewith optionof the old practiceof startingthe trill on the uppernote. By the time Hummeland Czernywrote' in It it the trill the to on their treatise, was common start principalnote. was also usual the I Dussek, Clementi, Cramer, Czerny turn trill turn. the to a with a use and end century nineteenth " Hummel Tark to trills continue use with eitherendings. and at the endof the trill. rpeggio Turk classifies arpeggio under "graces" while the other writers consider it a performance I direction. According to Tilrk, arpeggio is indicated with or small notes. The rapiditý in indications Among depends the the the the the and character of on speed piece. spreading chord L. I (ex. The during Bach's the time word notes are overlapped are arpeggio, and of arpeggio 2.1Oa),except when the notated note values within the chord are different (ex. 2.1Ob). Ex. 2.10 (ct) Wr%ttQY\
-
-1
Nineteenth-century performers, however, are divided on this matter. Clementi and Hummel follow Bach's practice of holding down all the notes for the duration of the chord which have ( (and in Hummel's case,also and the term arpeggio) prefixed to it. Clementi, however, does it Cramer, to to this as appoggiando, maintains of who refers method playing. not assigna name hand, in Cramer's 2.11. by indicated the is it other shown on small notes, as ex. arpeggio, that
"Bach (1974), pp. 100-101; TiIrk (1804), pp. 26-27; Dussek (1800), p. 6; Clementi (180 1), p. 11; Cramer (cl 820, treatise), p. 32; Hummel (1829), iii, pp. I and 3; Czerny (I 839E), i, pp. 171-172. $'Bach(1974), pp. 159-160; TUrk (1804), p. 3 1.
51
Ex. 2.11
1m
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I ( is identifiedby or or is markedby a strokethroughthe stem. Unlike Bach,Clementiand Hummel,Cramerinsiststhat the notesin an arpeggioshouldnot be helddown (ex. 2.12). He " is determined by the the the spread characterof piece. alsoexplainsthat the speedof Ex. 2.12
L-. -l
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Czernyagreeswith Cramerthat arpeggiosareindicatedwith or with a strokeacrossthe chord, be In Czerny's important factor the to the prolonged. opinion, not should most notes and influencethe speedof the spreadis, surprisingly,dynamics.This is exemplifiedin the following Beethoven's "Tempest" No. Sonata, Op. 31 2. 2.13), (ex. the opening of recalls which excerpt Ex. 2.13
41 0. (cl 820, 5 i, Cramer (1829), 66; 9; Hummel 1), treatise), (180 pp. and "Clementi p. p. 52
Markedpp, the spreadshouldbe playedslowly, with the possibilityof a rallentando. If the be the should playedquickly, or not employedat all, unless arpeggio were markedff, passage indicatedby the composer.In general,he suggeststwo waysof playingan arpeggio:it canbe helddownfor along durationor quicklydetached.This is usuallycombinedwith playingit either " loudly "hard" and respectively. softly andgraduallyslower,or Cramerspecifiesthat chordsare arpeggiatedonly where indicated. Czernyis more liberal. Where indications are not given, the musical context should be taken into account. In contrapuntal has full be be The to chord which emphasized may and arpeggiated. single, slow, passages,a be but in 2.14 the + arpeggiated with moderate quickness, may spreadmust ex. marked chords is in Unnotated legato. interrupt two types of chordal passajes. the arpeggio also allowed not Ex. 2.14 -4T
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The first is in a slow passageof sustainedchords. All the chords in ex. 2.15 may be arpeggiated in fourth last bar, When the the the chord except which closes speed, section. moderate at a flow Czerny be disturbed. the the these warns, smooth of melody chords, must not arpeggiating The secondcontext is a long, sustainedchord which precedesa successionof quick chords, as in ex. 2.16 (the chords marked + may be arpeggiated)."
Ex. 2.15 I
(1839E), i, p. 138 andiH,pp. 55-56. 16Czemy 171bid. 53
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Czemy's description of arpeggio suggeststhat it is used for expressivepurposes. None of the Czemy. to tbýs aspect attention of playing as as much pays abovewriters
2.2.6 FINGERING AND TECHNICAL
DRILLS
byall thewriterssurveyed. Theimportanceoffingeringin theart ofperformanceis acknowledged Some,however,considerfingeringprimarily from a technicalor aestheticpoint of view. TOrk In Clementi's is fingerings Hummel to two contrast, select such writers. priority which are and intended by Sometimes, the the the the and effect connection composer. smoothest produce be fingering Czerny's is in the middle, the may unsuitable. natural standpoint most easiestand " first leaning to that the of closer group. thoughperhaps On the whole, technical exercisesin the early nineteenthcentury were aimed at improving finger independence fingers. Technical difficulty of and precision, and the style of agility, strength, in The be elegance performance. affect playing not must neat, and the tone playing should produced, smooth, clear and varied.
Thebasicexercisesspecifiedby Bach,TOrk,Dussek,andClementidealwith repetitivefive-finger hand, fingerleaps, the chords, scales, arpeggios, contraction of silent patterns,extensionand key finger, black from the to same a white with a repetitionon a monotone, changing,sliding
"Bach (1974),p. 4 1; TiIrk (1804),p. 17; Clementi(1801), p. 14;Hummel(1829),ii, p. 1; Czemy(1839E), ii, p. 4. 54
hand Initially, crossing. and mostof theseexercisesweremeant quickrepetitionofdoublenotes, for the training of the right hand. Throughout the early nineteenthcentury,there was an increasingexpectationof training the left hand to be as proficient as the right. The revised ideal, for Introduction Clementi's this echo with many exercises written specifically editionsof by fingers the left hand. Among them are exerciseswhich airn to securethe independence of holaingdown somenoteswhile repeatinga monotone;othersemphasize the playingof parallel thirdsandsixths,chromaticrunsin contrarymotion,legatooctavesandarpeggiateddiminishedby followed Clementi, This technical trend competence, set was quickly ofraising seventhchords. by Cramer,Hummeland Czemy. Trainingin technicalproficiencycontinuedto be intensified.By the time Huninielpublishedhis with a rangeof up to an treatisein 1828,he had widenedthe boundariesto include'exercises finger double hand, for trills their and variants, patternswhich are played each eleventh finger longer fifth (the held the and passing of a short chords, under a one with simultaneously fingerunderthe fourth,asin ex. 2.17). The exercisesin Czemy'sPianoForte Schoolareno less Ex. 2.17
51
If ;; '-ý 1 .5 I I
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impressive.Exercisesincludechromaticrunsin doublenotes,extensionsbiggerthanan octave durable dynamic in the the to an more piano with enlarged exploit range, striking of order and, fingers. While for loud two composers and performers searched with morechallenging note a intensify demands, to they andvary the trainingin the basicexerciseslisted continued technical by Bach. This was necessarybecauseof the unsatisfactoryactionof the pianohammers. The difficult. This by the especially was problem notes was caused slow return of repetition quick holding back As finger the the hammer the slightest string. a result, of striking action the after of " would affectequality.
89Czemy(1839E), i, p. 9.
55
Hummel(ex.2.18)andCzemyalsomentiona peculiarway of playing,that of glidingthe fingers double-note keys. Czemy that the explains when playing so-called of white on a succession fingers be kept but hand double fact (in the thirds, the sixths or octaves), should stiff, glissando Ex. 2.18
cc IIIIiI
S5
" flexible (see below). its 8.8 In the also and section relaxed remain spite of overtly must arm and is by invention. In 1797, this no means a nineteenth-century of playing mode virtuosicnature, Milchmeyerwrites in Die wahre,4rt dasPianofortezu Spielen:
I
As part of showmanshipin the playing of the pianoforte I include in glissandopassages thirds, sixths, and octaves,which can only be keyboard in C deep key dip. If on a major and without a played in foolishness, however, this to which, participate one wants some might consideran admirableskill, then one must turn the right hand quite far outwards in going up, so that the fingers that slide over the thirds, sixths, or octaves come virtually to Heon the keys; at the sametime the thumb must be kept stiff and straight. Further, it is necessarythat one give the two fingers playing a certain strength or elasticity so that they do not open and close with the thrust that one gives to the hand with the arm while playing." His account suggeststhat this method of playing was already fairly well-establishedby then.
2.2.7 PEDALLING
Although pedalswere alreadyavailableby 1789, TOrk did not considerthem of sufficient importanceto beincludedin histreatise.His youngercontemporaryDussekalsoappearsto treat Under list Italian in he describes the terms, caution. of with mezzo an the subjectof pedalling indicates he forte This that the term, the explains, pedal of grandpiano unexpectedmanner. detachment His in be the this taking one string. apparent matter off only gives employed, should
(1829),ii, pp. 254-255;Czerny(1839E),ii, pp. 29-30. 9OHummel (1988),p. 202. Rosenblum'stranslation. 91Rosenblum 56
impression that Dussekhardlyused pedals. In fact, this could not be furtherfrom the truth, for CzernytestifiesthatDussekwasoneof thoseresponsiblefor bringingthe pedalinto generaluse " Kalkbrenner's frequently Dussek beginning the that century. the nineteenth report of at " in his Czemy's damper the playingalso supports statement. pedal employed Sini'larly,Clementimentionspedalmarkingsfor the first time in hisfifth edition(1811),but does Clementi's brevity In know from Czemy this their of spite on use. subject, on we elaborate not 94 frequently in his latter is This Clementi the true, but pedal pedal works. that employed indicationsare alsofoundin earlycompositionswhich were revisedby Clementi. His revision (see 42 fingering in (as Op. 11) the p. above) or articulation adding and changing of mayconsist first Op. 34). The Op. 34 in 1195 (the two sonatas edition of was of piano published pedalling set beginning first indications. At movement first in his the the the of of sonata pedal without any later, by he Artaria twelve about years addsa statementto explainthe revisededition,published in both Pedal His first were added markings sonatas. used. piano sonatato pedal symbols incorporatethe useof the damperpedalis Op. 37, publishedin 1798,in whichheusesthe terms "OpenPedar'and"without Pedar'. Thesetermswere soondroppedin favourofpaired symbols "-V')orEband-A-. (or 'Ted" and"@" suchas Cramer's treatise is slightly more helpful. He recommends that the tremando (presumablyhe [because] be "open diminishing the the sound tremolando) with pedal, swelling played and means from in Apart damper is that, the some passagee'. effect pedal a great primarily used produces in slow movementswhenthe sameharmony is to be prolonged." In addition, Czerny revealsthat '6An in broken damper Cramer the Dussekand pedal chord passages. use exan-dnationof the pedal in that the the the tremolando passagesand show use of surveyed pedal authors markings of in damper The figures the common nineteenth century. was pedalwas also used to arpeggiated left hand line. in All be bass the to these to enable play another effectscan seen ex. note sustaina 2.19 below, from variation 8 of Cramer's Introduction and Variations on Mozart's air "Vedrai
(1800), p. 46; Czemy (1839E), iii, p..64. 9'-'Dussek (1988), pp. 118-119. 93ROsenblum ý. (1974), 14CIementi/Rosenblum xxiii; Czemy (183 9E), iii, p. 64. 9'Cramer(cl 820, treatise), pp. 50-5 1. 96Czemy(1846), p. 2.
57
Carino" (from the opera Don Giovanni). This examplealso revealshow Cramer pedals dominantdepressed 14, bars 9,10,13, In the the and after pedalremains passages. arpeggiated finale Dussek's Le Relour The Sonata the senýiiquaver rests. of ensuing and seventharpeggios Ex. 2.19 iA) var: (9. I
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In ex.2.22below,Cramerintentionallyomitsthereleasesignat theendofthe movementto allow is favourite This dissipate Dussek (ex. 2.23), to also a naturally.. effect with the resonance
(1839E), ifl, pp. 58,61 and62. 97Czemy 59
Clementi,Hummel,andCzernywhenthe endingconsistsof only oneharmony." Ex. 2.22
Ex. 2.23
The principal rule of pedalling, as observedby Clementi, Cramer,Dussek,Hummel, and Czemy, 99 be harmony. Occasionally, to the the changed along with this rule is violated to pedal requires According Hummel is Czerny, to this and effect. special especiallydesirablein very soft createa damper is the especially when slow movements, of pedal not changedthrough several passages "' different harmonies, in bars 5-6 2.24. Hummel as shown with chords of ex. passing
98See the end of the secondmovement of the first sonata from Clementi's Trois SonatesPour le Forte Piano, CEuvre42 (it is actually Op. 40), Hummel (1829), iii, p. 63 and Czerny (1839E), iii, p. 63. "Cramer (cl820, treatise), p. 51; Hummel (1829), iii, p. 63; Czerny (1839E), iH, p. 57. (1829), iii, p. 63; Czerny (1839E), iii, p. 61. 100Hurnmel
60
harmonies dominant (ex. 2.25). the tonic through without changing pedal and pedals occasionally He employsthis effect only sparingly,sinceclarity is his ideal. In contrast,Clementi'sblurring is (see 9.3 harmonies tonic-dominant significantly more extensive and adventurous and exs. of Clementidoes, 9.4). WhHemanywould advisethatblurringshouldbeconfinedto soft passages, bars. is 04-106 (ex. 2.26), depressed for his Op. 34/2/iii/l In follow the two this pedal rule. not Altfiough the harmonyin the bassis static,the chromatic scale in the treble, especiallyin a fortissimo passage,givesriseto muchblurring. Ex. 2.24 LýrgoI___________
v-.
-
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Fri. -_-
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-
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Ex. 2.25 Both the damper pedal and pian6. pedal pressed.dawn.
Adag-io.
+
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CzernysharesHummel'sidealof clarityin playing,but allowsblurringin the highregistersof the 101 is in bass (ex. harmony 2.27, 9.25). This long the the the same see also ex. also as as piano, for in CEuvre 64/iv/1 17-120 (ex. 2.28). be Dussek's to example prmciple, appears Ex. 2.27 Allewro.
.
L
Ex. 2.28 ..,., :
:''. " ' *0 -00-_OL
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Czernymentionsanotherroleofthe damperpedal:that of connectingchordswhenlegatocannot beachievedby the fmgcrs(seeex. 9.6below).102The otherwriters surveyedprobablyemployed
(1839E),.iii, pp. 59-61. 'O'Czerny Hi,p. 63. 1011bid., 62
thepedalin this mdrineralso,tho.ughthis cannotbe confirmed. Neithertheir treatisesnor pedal in markings their music offer any clue.
llý
Accordingto Cramer,the othermainpedal(that is, the shiftingpedalor the unacorda)is mainly' 103 inp, diminuendo As and pp passagýs. a result of the expandedtonal possibilities employed & has in been 1830s, the this the role of pedal adaptedaccordingly.Althoughit is still pianos of its function Czemy delicate in sees passages, asoneof creatingspecialeffects. It soft and used is particularlyeffectivein melodicpassageswith slOw-movingharmonies.It canalso usedto diminuendo (usually indicated bypoco and a poco 3 cordeandpoco createa gradualcrescendo When damper it the combined with respectively). corda pedal, createsa pleasing a poco una However, Czemy and passages. chords warns that sincethis pedal is effect M arpeggiated its be for He that the soft, use should effects, sparing. special alsoemphasizes mainly employed light anddelicatetone shouldbe producedsolelyby the fingers. The unacorda is usedto add 'O' the tone. to anothercolour Onemustbearin mindthat the guidelinesgivenby thesewriters areby no meanscomprehensive. by Dussekand Crameris For example,the use of the damperpedalin broken-chordpassages but by Czerny. In by in themselves, the musicof these addition, pedal markings not revealed for Czerny) (except are significantlymore extensiveand variedthan the explanations writers they are informativeandthey showhow the functionsof found in their treatises.Nevertheless, . the pedalsbecamemorevariedover time.
2.2.8 STYLISTIC AND EXPRESSIVE MATTERS IN PERFORMANCE
Bach believes correct fingering, good embellishmentsand what he terms good performance are important factors which lead to expressive playing.
While correct fingering and good
It covers a vast self-explanatory, good performance area. are refers to the ability embelfishments to play the keyboard in a vocal manner,to correctly understandthe content of the piece and to
"'Cramer (cl 820, treatise), p. 5 1. (1839E), iii, pp. 57-65; Czemy (1846), p. 3. 114Czemy
63
by is dynamics, last This to the this point affected articulation, audience. transmit understanding be kcents,tempo,andtemporubato. In addition,all the notesandembellishments should played in correcttime with a touchthat is in accordancewith the true contentof the piecein question. The soundproducedmustbe round, clearand forthright. Rage,angerandother passionsare' "' by heavy harmonic than an exaggerated, attack. andmelodicnýeansrather portrayedthrough I
ContemporarydescriptionsofBach's playing further reveal somefmer details in his performance. He was praised for his expressiveand singing playing in adagio movements. His rendition of but distinct. he In Essay, the soft cautions againstrough playing very soft passageswas not only in loud passages. Johann Cramer was also impressed by Bach's facility to create "endless. light [in] his performance".106
nuancesof shadowand
...
Although Bach expresseshis preferencefor the clavichord, he recognisesthe potential of tonal keyboard influential His teaching the on playing remained upon newly-inventedpiano. variety on future generationsof teac4ersand performers. TOrk's teaching faithfully follows the principles laid down by Bach. In Bach's opinion, a musically sensitiveperformanceis more satisýýingthan "' importance in is However, the technical of skill already noticeable a technically accurateone. TUrk's treatise. Although brief, Clementi's comments on this matter are along similar lines. Numerous pianists, including Hummel, experimentedwith tonal colour on the piano, but none Czerny. than with a greater passion ideas frequently improve Streicher to the Czerny Both exchanged on piano playing and ways and Czerny Since instrument. improvements technique to the adapts piano according of mechanisms be latter built his The Streicher's this should the views on matter considered. to piano, made instrumentsto emulatethe fullness of sound produced by the richnessof the human voice or a is responsiblefor affecting the feelingsof the listener. believes, fullness, he This instrument. wind if is type tonal instrument gradation, His of played by someone with an also capableof every finger hand, A instrument the the control. necessary quiet and supple and with understandingof
(1974),pp. 16,30,148, and 149. 105Bach (1974),fn.-33p. 164. Seealsoffi. 14 p. 36. 106Bach ,O'Ibid.,pp. 36 and 150. 64
is for finger He but touch. a motion, required good constantlywarnsagainst precise with minimal Ffmust beachievedthrough full-voicedharmonies hardplayingin veryloudpassages. ýxcessive keys. Equally, descend by the the to a mere than on soft passages must not pounding rather be light but Streicher likens the sound the played with certainty. must notes whisper:rather, full ff in to the to the organ or a orchestra, an and pp passages glass passages produced harýonica. The staccatomustbe quick and fight, but with a roundedtone. Every note and 'O' fluently is It from description be Streicher's this that executed. clear and clearly must ornament idealis similarto Bach'sandCzemy's.
2.2.9SbMMARY OF INFLUENCES From this study,it is obviousthat the eight treatisesrepresentthe personalpreferencesof the flux in TOrk Dussek during the the of performance, with writings of serving and period writers Bach's The Clementi's between the time. transitions aesthetics of and performance as in ffigering, Clementi, Bach to especially articulation and matters relating and of contributions in helping been in have keyboard instruments to the shape vital way which expression, styleand areplayed. On a personallevel, Czemy himself acknowledgesusing Hummel as a model, hencehis emphasis facility. be Other between Hummel's Theoretical technical similarities can observed and on clarity Czemy's Piano Forte School. Besides Course identical Practical the and almost structure and indications (beginning from the tempo both the the slowest treatises, on order of authors agree of They by the to fastest). create encourage performer a variety the of nuances altering the to descending lines fingers, to though the useof crescendoand the ascending and shape pressureof diminuendo respectively,.to vary the placing of accentsat repetitions to add interest, to prolong beyond length increase figures fullness in their to the the notated of passage, arpeggiated notes keys. double-note on white to glissando and use
(1984),pp. 463-465. losFufler 65
In someinstances,Czemywas inclinedto follow the newwaysof playingthe piano:the manner in whichtemporubato is treated,for example.The numerousfluctuations(sometimeswith the left handfollowingthe speedof the right) which herecommends, occurringat shortintervals,are In Czerny's' late to convention. other such as respect, pedalling, nineteenth-century akin mid-and his is He his that than contýmporaries. of communicative more practicemerely reflects but Piano Forte School does this close examination, on subject, on not offer any contemporaries innovations. By far the most influential factor to shapeCzemy's approachto piano playing is the development improved had high, Thicker the tone the the quality the of strings middle and especially piano. of improved hammer This, him the together to extend the with action, allowed piano. registersof frame instrument, The the technical sturdier of with stronger strings, the scopeof showmanship. be developed. The breakthrough in finding bravura to the style of playing a suitable enable hammers be from for that timbre the the meant more variety could of obtained covering material in its large Viennese 1830s, dynamic range,was keys. In the the with piano touch-sensitive short, Very touches and articulation. oftonal shading short and sharp possibilities numerous of capable At legatissimo became fuller the the other end of scale, possible. could create suchasmartellato harmonies.
piano playing, as describedin Piano Forte School, was the result of constant experiment, and of itself in instrument in It both technique. the the and piano required close cooperation refinements In best from to the tone the piano, and piano makers. order obtain composers performers, of Czerny, through his own experiments, improved on discoveriesmade by his predecessorsand contemporaries.
66
S E-C
ION
CHAPTER 3: CZERNY'S INTERPRETATION,
AS
RECORDED IN HIS WRITINGS AND IN HIS EDITIONS. OF BEETHOVEN'S
PIANO SONATAS
After Beethoven'sdeath,Czemy expressedconcern regarding a lack ofunderstanding of his style ' Czemy's wish to preservethe correct performance of Vienna. in many performancesoutside Beethoven's music, especially that for piano, must'have been the main driving force for his deals School, Forte Piano Even the which with many aspectsofperformance numerouseditions. be back fingering ideas Beethoven, traced to theory, can which especially on contains and music is be This had 9). Czemy 8 (see to only expected, since and studied many chapters and pedalling including Op. Op. 14/1, 13, the tfie Beethoven's composer, sonatas with piano compositions of Op. 14/2, Op. 31/2, Op. 57, Op. 101, and the Andante from Op. 28, and all his piano concertos Czerny Badura-Skoda Op. 19. that adds was probably also aware of the exception of with Beethoven'sperformanceintentions for Op. 26, Op. 27/2, Op. 31/2, Op. 31/3, Op. 53, Op. 81a, Op. 106, the Diabefli Variations Op. 120, and the "Kreutzer" SonataOp. 4V
3.1 WHAT IS "CORRECT INTERPRETATION"?
Accordingto CountessGiuliettaGuicciardi,Beethoven'steachingwascentredaroundcorrect interpretation?But what does"correct intcrpretation7'embody?Merely accurateplayingdoes (see 11-12). When Schuppanzigh be Beethoven's to concern pp. main complained not seem in "Razurnovsky" difficulty Quartets, Beethoven the technical one of the of a passage about fiddle I believe he think that "Does the to of a wretched when spirit speaks me. replied: Beethovendid not mind Sirifflarly,Ignazvon Seyfriedrecalledthat duringorchestralrehearsals, if certainpassages went amiss. However,he was delicate the to expression, more shadings, verymeticulouswith regard fight distribution of and shade,and an effectivetempo an equalized 'Czemy(1846),p. 68. 2Czemy(1970),p. 3. 3Sonneck (1967),p. 33. 4 Kerst (1964),p. 25. 67
impatience betraying the slightest alwaystook without rubato, and ' individually in discussing them the with variousmusicians. pleasure I This passage shows that, to Beethoven, "correct interpretation" involves conveying the be dynamics through tonal should achieved which colours, and of a piece appropriateexpression tempo flexibility. To this list, ofcourse, must be added articulation marks. As Beethoven'sletter to the violinist Karl Holz in 1825 makesclear, his notation of dynamic and articulation markings is very specific, for it either denotesessentialelementsin the structure of the piece or revealsthe letter, below, in This String Quartet A to the the quoted refers music. expressivecontent of
bemoans ignorance Beethoven the 132, Op. also andcarelessness of copyists: where minor, Most ExcellentSecondViolin! Thepassagein the first violin part of the first Allegro is asfollows: etc.
So makeit exactlylike that. And in the first Allegro aswell you mustaddin the four partsthese expressionmarks ----N I
T
1. --A I
t
I
0 etc.
=:: --
I_-
J)
p
pp
PP
=-
All the notes are correct - but do read me correctly - Vold Subito. Well, dear fellow. for my your copy, now Obbfigatissimo - but for the marks p etc. etc. have been horribly neglected and frequently, very frequently, inserted in the wrong for is For haste God's doubt, No this. responsible sake please place. impress on Rampel to copy everything exactly as it stands. If you willjust have a look now at what I have corrected, you will find everything that you have to tell him. Where there iý a dot above the note a dash must not be put ý i *r instead and vice versa -(rir, and are not identical). Sometimes the are inserted intentionally after the notes. For instance,
5Sonneck(1967), p. 41.
68
The slursshouldbe exactlyasthey arenow. It is not all the samewhether it is like this or like this In the Adagioit is predominantlythus
4r
Pay attention to what those who know better are teHingyou _
In additionto the four factorsmentionedabove,Czernystatesthat goodinterpretationdepends having technique, the and a goodunderstanding of thecharacter anexcellent on pianistpossessing of a pieceandthe styleof the composer!
P
Czemy is aware of the importance of being acquainted with the styles of earlier composersin The better music. have to contemporary style characteristic to each of understanding a order in Piano Forte School its described is The He 4rt. the and supplement, composer carefully divides the music of his contemporaries into six different styles and schools: (a) Clementi, (b) Dussek and Cramer, (c) Mozart, (d) Beethoven, (e) Hurnmel, Kalkbrenner and Moscheles,and Thalberg, Chopin and Liszt. Some of the differences are underlined below: Clementi to unite brilliant bravura execution with was able ... tranquility anda regular position ofthe hands,solidity oftouch and tone, great address and flexibility of finger, clear and voluble distinctiveness, andgraceofexecution; and correctness, execution, in his day he was always allowed to be the greatest Player on the Piano-forte The [English] Pianosof that day possessedfor their ... ftill distinguished Singing quality of tone; but as a properties, most deep had fall to that, they also a of the keys, a a counterbalance hard touch, and a want of distinctnessin the single notes in rapid led Cramer, few This Dussek, and a naturally others to playing. that soft, quiet, and melodious style of execution, [with] beautiful Cantabile,a fme legato combinedwith the use of the Pedals,[and] in an astonishingequality the runs and passages,for which they, likewise their compositions, are chiefly esteemed,and which and may be looked upon as the Antipodes of the modem, clear, and brilliantly piquant manner of playing. Mozart['s] style, which latter to the mode, and which was brought to approachednearer by Hununel, was more suited to those perfection such exquisite
6Anderson(1961),iii, pp. 1241-1242. 7Czemy(I 846),p. 118. 69
[German-Viennese] piano-forteswhich combinedfight and easy touch with greatdistinctnessof tone, and which were therefore for for the useof Youth. general purposes, as well suited as more [This stylerevealeda] distinctandconsiderablybrilliantmannerof playing, calculated rather on the Staccatothan on the Legato touch. [It required]anintelligentandanimatedexecution[but the] Pedal[was] seldomused,andneverobligato. Meantime,in 1790, ýnriched Beethoven, Piano-forte by the who appeared new and bold passages,by the use of the pedals, by an extraordinary characteristic manner of execution, which was particularly for remarkable the strict Legato of the full chords, and which thereforeformeda newkind of melody; [punctuationsic] andby _ before thoughtof. His executiondid not possess manyeffectsnot the pure andbrilliant eleganceof manyother Pianists;but on the it hand wasenergetic,profound,noble,with all the charms other of smoothandconnectedcantabileandparticularlyin the Adagio, highly feeling' and romantic. His performance[j like his Compositions,was a musical painting of the highest class, for its generaleffect. The meansof Expressionis esteemedonly often carriedto excess,particularlyin regard to humorousand fanciful levity. The piquant,brilliant, and shewymanneris but for here; but this reason, we must more seldom applicable frequentlyattendto the total effect, partly by meansof a full, harmoniousLegato,andpartly by a happyuseof the Pedals,etc. Greatvolubility of finger without brilliant pretensions,and in the Adagio, enthusiasticexpressionand singingmelody,repletewith sentimentandpathos,arethe greatrequisitesin the Player!
p
Czerny confidently declaresin TheArt that: in the present case there can be only one perfectly ... correct mode of performance, and we have endeavoured, best the to of our remembrance,to indicate the time, (as according the most important part of correct conception,) and also the style ' Beethoven's to according own view. of performance,
-
Unlike modem researchon performancepractice, which placesarguablytoo much emphasisupon the minute details of the music, Czemy is more concernedwith the result of the performance as is details This is due his belief Advice to that only given where appropriate. on musical a whole. Beethoven's He the technique on piano should attempt sufficient sonatas. piano a performer with insists that Beethoven's compositions were usually inspired by visions and images,which were
to avoid 'Czemy(1839E),iii, pp. 99-100. The text from the two pageshasbeencondensed Spelling, capitalizationandpunctuationoriginal. repetition. 9czerny (1846),p. 119. Italicizationandpunctuationoriginal. 70
drawnfromreading,natureor frornhisown imagination,anaccountsupportedby RiesandLouis , " Unfortunately,Beethovenwasratheruncommunicative Schl6sser. on suchmatters,hisreason beingthatifhe divulgedwhatinspiredeachcomposition,it mightforcetheaudienceto experience however, believes Czemy, thenecessity their thus experiences. musical thesaidobject, restricting inspirations, in thecompositions (where know the orderto understand to possible) sourceofthese , " is he feels his duty is help It the therefore that to not surprising their performances. and "correct" the the spirit of compositions. convey and understand performer Czernyadn-iitsthat Contraryto his earlierclaimto preserveBeethoven'sview in performances, had in Beethoven's time: changed works the appropriateconceptionof different through the the a acquires value conception mental ... be by time, the taste must occasionally expressed and of altered " demanded. then othermeans,than were By thishemeansthe newpossibilitiesaffordedby the improvedpianos.It appearsthat Czerny's is "one the correct mode of performance" a partial adaptationof perfectly claim regarding Beethoven'soriginalconception.It is alsopossiblethat someof theseimagesare invented. In The Art, he remarksthat the two recitative passagesin Op. 31/2/i "must sound Eke one 13 believed he is have Theodor However, Kullak (Franz distance". to told also complainingat a Kullak's father) that Beethovenintendedthese recitative passagesto create the effect of "someonespeakingfrom a cavernousvault, wherethe sounds,reverberations, andtoneswould blur confusingly"." The two differentremarkssuggestthat, in this instance,Czemyis trying to inventimagesto explainthe music. Basedon Beethoven'spedalmarkings,Czemy'ssecond descriptionwill conveythe effect more convincingly.
3.2 FOLLOWING
THE TEXT FAITHFULLY
In theperformanceof his [Beethoven's]works ... the playermustby himself to alter the composition,nor to makeany no meansallow 147. (1967), 67; Sonneck (1988), Ries p. 1OWegeler p. and "Czemy(1846),p. 60. Schindleris alsoof the sameopinion;seeSchindler(1841) (ed. (1966) (ed. MacArdle), Schindler 80-82 pp. 398-400. Moscheles),pp. and 12 Czerny(1846),p. 32. "Ibid., P. 53. MQuotedin Newman(1988),p. 246. Histranslation. 71
15 addition or abbreviation. 0 introduction in his Beethoven's to the performance of Czemy's stem warning piano music in The Art has its roots in an incident that took place on II February 1816. Czemy, who was playing the piano in the Quintet for piano, oboe, clarinet, hom, and bassoon,Op. 16, had embellishedthe doublings " like. This the octave notes, and additional act so offended the with part piano in front Czemy day, The that the reproached ofthe was other members of quintet. next composer Beethoven apologisedto Czemy in a letter:
I was very sorry [b]ut you must forgive a composerwho ... ... his heard have work performedexactlyas it was would rather " it in beautifully however you played otherrespects. written, Beethovenwas not the only one who reacted against this prevailing nineteenth-centurypractice. Years earlier, Milchmeyer had expressedhis disapproval."
In fact, Beethoven was so specific
he in 16, Eingang. Op. indications According Ries, Beethoven the his to even wrote out with his first, in Rondo Op. two him to the to the on only compositions occasions: add notes of asked 13 and the second,in the Rondo theme of his First Piano Concerto, Op. 15. Beethovendecided it double to the concerto would make more brilliant. On the whole, Ries that adding notes " Beethoven However, that playing. there added or embellishments rarely notes when observed he broke Beethoven's harsh, this he rule. outburst when was rather considering occasions were himself could not resist the temptation of improvising in a public performanceof this samework, " his colleagues. much to the annoyanceof
Nevertheless, Beethoven's reproof left a lasting
impressionon Czerny,through whosewritings this messagewas passedon to future generations.
Czerny also strongly objectsto the other common practice, that is, ofaitering Beethoven'searlier for five-octave instruments, the written were when six or six-and-a-halfoct4ve piano pieceswhich He in letter Beethoven George the became the to opinion. same explains was of a norm pianos .21 Thomson that he refrains from rewriting his compositions, becauseevery changein the details of "Czemy (1846), p. 32. See Thayer (1969), pp. 640-641; Schindler (1966) (ed. MacArdle), p. 415. 16 17Anderson(1961), ii, p. 560. IgMilchmeyer (1797), p. 8. 19Wegelerand Ries (198 8), p. 94. "Ibid., p. 69; Thayer (1969), p. 350. 21Czemy (1846), p. 32.
72
22 the the his compositionswill change characterof whole piece. I-
3.3 THE PROBLEMS OF FINDING AUTHORITATIVE NINETEENTH-CENTURY EDITIONS OF THE PIANO SONATAS his Beethoven'scorrespondence with publishersshowsthat,throughouthiscareerasa composer, he consistentlytried to correct errors in the fair copy or those which have crept in during in his Pirated In the some were retained published efforts, edition. of copiesof engraving. spite hismusic,oftenwith inaccuracies, werealsowidelycirculated.Thecommonpracticein theearly in different further the same plates publications using propagatedthe of r.uneteeiithcentury by for Op. 90 Breitkopf in Sinirock 1815 Steiner's their were also used plates and problem. in Steiner, later Haslinger, from dating the year. partnership same with madea second editions details, including Although the to articulation some markings. such changes with printing became basis the the this the composer, second of authority without print made alterationswere " Unfortunately, isolated 1823. London this Clementi's was not an casewhere after edition of Beethoven's liberty decade More the text the than took without consent. ofchanging a publishers by decided "improve" four had bars in Ndgeli the to the codaof the music adding extra earlier, first movementof Op. 31/1.' io denounced Mainz Beethoven 1803, In a engraver's attempt publish a pirated edition publicly In for in Wiener Zeitung, the his the piano and strings. same article, published works collected of 25
he declared his intention of undertaking such a project, which he himself would supervise.
However, it was another sevenyearsbefore he approachedBreitkopf& Hartel for the publication his it Although did fruition, his "an to collected compositions. come edition"of not authentic of his for fmancial led him for to of compositions and, possibly, version correct reasons, a wish 1816 1825, he Between Simrock, the and other publishers. with negotiated with matter pursue
2'Kerst(1964),p. 30. (1993),pp. 37-40. 2'Beethoven 77. (1988), Ries 24Wegeler p. and (1961), iH,p. 1435. 25Anderson 73
" Unfortunately,his effortswereunsuccessful, Hofineister. becausethis Schott, Peters, F. C. and undertakingwould mostlikelyhaveprovedunprofitablefor the publishers.Thepublicwasmore in interestedin newly-composed than works correctedcopiesof musicwhich hadalreadybeen published.
3.4 CZERNY'S EDITIONS OF BEETHOVEN'S
PIANO SONATAS
From the 1820s until his death in 1857, Czerny was involved in at least four editions of the Beethoven. According he Moscheles, to of supervised the edition complete piano sonatas " This company also published another edition of the (1828-1832). by Haslinger published & (I 828-cl 840). For from time the same sake of convenience, at about sonatas now collected be Haslinger I first Haslinger II. The to the the as and, referred second will as edition plates on, II Haslinger but Haslinger 1, for those the were of of additional editorial markings printing used its Haslinger II As inserted. the of editor was not namedon the title page predecessor, with were but, as will be shown below, Czernywas involved. In the meantime, Cocks in London published from 1835 1880, Beethoven's Czerny to sonatas about piano with of as the named collection a his life, Czerny his Towards turned the of again end attention to a new edition of the editor. 28 Simrock (1856-1868). the this time with as publisher piano sonatas,
complete
Czerny'sactivitiesasaneditorof thesesonataswereby no meansrestrictedto completeeditions. Many sonatassold separately,whichnamedCzernyasthe editor, were alsopublishedboth in Europeand in America. Someof theseeditionscarry the inscription"revised from the New ViennaEdition" or "carefullyrevisedfrom The OriginalViennaEditions",thus acknowledging The by NYessel in Londonaround1852Haslinger the to edition published edition(s). theiraffinity 1854is one suchexample. On the title pageof the 1856-1868Sinirock edition,as well as on " is individually, Czerny insertion the credited with of metronomemarks somesonataspublished justify for in 1822 in he Anderson draft to the this 16See reasons project prepared a also (1961), ifi, pp. 1450-1451; Schindler(1966)(ed. MacArdle), p. 400. ii, p. 107. (ed. MoscheJes), 1) (184 2'Schindler . 217hedatesof the HasUnger andSimrockeditionsare givenin Newman(1976-1977),pp. 510512. "For a list of thesesonatas,seeibid., pp. 510-516. 74
be because, in is be This fingering. this the as will made clear misleading sectionand next, and alsoaddeddynamicmarkings,accents,articulationandpedalmarkings. Althoughthe editorof Haslinger11is not namedon the title page,theeditorialmarkingscanoffer dynamic identity. indications his Some in Haslinger to ofthe markings and pedal clues usvaluable II cýrrespondwith Czemy'sadvicein TheArt and in his variouseditionsof the piano sonatas. Therhythmicaccentsin Op. 57/iii/I 13-118(seeex. 3.19 below) arethe samein both Haslinger IlandinSimrock. Theaccentedfo's in the trio of Op. 28/iii/71,75,79,83, and87 inHaslinger " in The Art. Similarly,the e6s in the bassof Op. Czemy's to II also correspond suggestion 31/3/iv/20-34areconsistentlyaccentedin HaslingerII andin Cocks(ex. 3.1). Of the last eight P tx. 3.1'
bars of variation 2 from Op. 26/i, Czemy instructs that"the crescendomust increasetoforte, but " lightly be bars 4 last staccato and very soft". The dynamicmarkings in Haslinger the must again II (ex. 3.2) reflect this advice,and are clearly addedby the editor. In the autograph of this sonata, Beethoven does not include a single dynamic marking in tl-ýspassage(ex. 3.3).
846),p. 51. "Ibid., p. 47.
30Czemy(I
75
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There are other instanceswherethe editorial markings in HaslingerII are consistentwith Czemy's ýar The in from last deviate but the the markings. pedal marking composer's of editions other Op. 109/iii in Haslinger II, for example, is identical to that in the Cocks edition (ex. 3.4). However, this is different from the autograph, in which Beethovenrevealsthat only the last chord Ex. 3.4
viý4" "I L 11-
z
in below). Similarly, Op. 101/iii Haslinger 9.15 (see the be pedal markings of should pedalled ex.
77
I, HaslingerIl (ex. 3.5) andCocksarethe samebut, again,they are different from Beethoven's (ex. 3.6). It is for aUthesereasonsthat the editor of HaslingerII mustbe Czerny. Ex. 3.5 Mif4iiterSafte. Sul una cotda.
Z; a ngýa?
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fingering. The The Czemy's Cocks Art. between of Therearealsomanysimilarities editionand bars /iii, for Op. 14/1 in the left-hand of example,areexactlythe same opening the accompaniment 32For the left-handpatternin thirds in Op. 81a/iii/l, he indicates3-1 in both in thetwo sourceS. " four finger is first In Cocks, Art. The throughout the this (ex. 3.7) Cocks pattern maintained and Ex. 3.7
1f4 mo
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bars. Czerny's fingering of this passagealso reflects his reluctanceto place the thumb on black keys. The choice of fingering in Op. 7/iv/76 and 83 in Cocks (ex. 3.8) is almost identical to that in The Art (ex. 3.9). Czerny clearly prefers the older method of fingering, whereby the fourth is between difference Cocks The Art fifth. The the fingering of the and finger crossesover only does indicate Czemy fingering finger. In fifth the the not general, exactly same the note preceding in different editions of the samesonatas,but the principle of fingering is usually consistent. There Ex. 3.8
3
c
ALUI
rnlsiý 4J
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(1846), 44. i, Czemy 9; 835-1880), (cl p. Beethoven 32 p. 61. (1846), H, Czemy 10; (cl 835-1880), Beethoven p. See p. 33 80
Ex. 3.9 43a -t db
y1V. 11 01
f--;-- -4e-. r-
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is anothersimilaritybetweenCocksand TheArt: Czemymaintainsthat the first six barsof Op. 31/3/i hasa free tempo. In the Cocksedition, the metronomemarking is printed not at the beginning,as is the norm,but on the seventhbar. This reflectsCzemy'sremarkin TheArt: The openingresembles a question(theanswerto whichfollows in the 7' bar) andmust,on that account,havea certainindeterminatecast, both in time andexpression;which, after the pause,andparticularly in the 16' andfollowingbars,yieldsto a decidedstyleof performance " be beats Metronome duly the the then can of observed. and Sometimes,Czerny's editorial markings in Cocks, though basedon the sameprinciple as TheArt, indication His in Op. 7/iv/1 55-156 in the Cocks at abrupt pedal modulation modified. are slightly in Art. The his advice supports
The two sources, however, disagree on the length of the
35 be depressed Czerny for Art, bars, In The the that two-and-a-half states pedal should pedalling. but in the Cocks edition, the pedal is releasedafter two bars (ex. 3.10).
(1846),p. 55. Capitalizationoriginal. 14Czemy 'qbid., P. 39. 81
Ex. 3.10 .1 rl
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Although most of Beethoven's fingerings are incorporated in the Cocks edition, a few (for By II I/ii/174) 1830s, Czerny had Op. in 81a/i/5 the Op. omitted. are and already made example the decisionto modify Beethoven's fingering of Op. 2/l/iii/59-62 (ex. 3.11). His fingering of this in is largely The Art (ex. but (ex. 3.12) 3.13), in Cocks the that these minor same as passage deviations do not affect the overall fingering pattern. In The Art, Czerny retains Beethoven's fingering in bars 61-62, but in his earlier Cocks edition, he makestwo small alterations in these however, is interesting It that there are no changesto his fingering of the bars. to note, two double fourths in bars 59-62 between Cocks and The Art (see also the discussionin chapter 8).
Ex. 3.11 1ý
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Thesimilaritieswhich TheArt shareswith the editorialmarkingsin Haslinger11andin the Cocks ideas in TheArt by late that the the the many of show sonatas were already sown piano editionof 1820s.Thesewere consolidatedthroughthe Cocks edition,begun in the 1830s,beforebeing finallywrittendown in TheArt in the 1840s.In the Simrockedition,Czemychoseto concentrate in hardly fingerings There the as all other editions, and, metronome markings. are any' onadding from few in None his four this edition, apart a accents. markings of editions additionalexpressive in but his in ideas, fairly his The Art, they offer, conjunction collectively with advice a containsall Beethoven's his to pianosonatas. approach goodpictureof
3.5 CZERNY'S EDITIONS OF OP. 57 COMPARED
In this section, Op. 57 will be used as a casestudy to exemplify Czerny's editing from the 1820s 65, As this was one of the sonataswhich Czerny had studied with 1850s. to the mentioned on p. Beethoven. The five editions usedfor this study are Haslinger1,HaslingerII, Cocks, Wessel,and Sinirock. These editions will also be considered alongside Czemy's advice in The Art and Beethoven's autograph of this sonata.
Metronome marks First movement
Allegro assai
HaslingerI
J.=120
Haslinger11
J.=108
Cocks
J.=120 J.=138; Piý allegro J.=120
Wessel Simrock
83
1,=160
Secondmovement
Andantecon moto
HaslingerI
ý=120
HaslingerII
ý=108
Cocks
ý=120
Wessel
ý =92
Sirnrock
ý=l 12
Third movement
Allegro ma non troppo
HaslingerIJ
=138
HaslingerII
= 138; Presto
Cocks
=138
Wessel
= 152;Presto
=100
Simrock
= 144;Presto
=96
=92
As can be seenfrom thistable, the metronomemarkingsin Cocks are identicalto those in HaslingerI. Although Haslinger11was publishedat about the sametime as HaslingerI, the However, in first'two Haslinger I, Haslinger the are slower. movements of metronomemarkings II andCocks,Czerny'smarkingsconsistentlydemonstratethe tempo relationshipbetweenthe first two movements,wherethe basicpulseof the secondmovementis alwaysthe sameasthe first. This is, surprisingly,no longerthe casein editionspublishedin the 185Qs.Themetronome from being in first being in Wessel the to extremely quick wildly movement swing markings is followed This by in in tempo the the again second movement. a very quick slower significantly in Simrock later Although the the metronome markings edition were published third movement. thanWessel,the speedsof the threemovementsare,onceagain,morecompatible.Czernyhad his obviously reconsidered metronomemarkings on various occasions,and one can o'nly ' in He Wessel his four (see the the to outside range of markings other editions conjectureas why in 4.6-4.9 below). Czerny's discussion sections markings metronome the of also Dynamic markings and accents Many of the dynamic markings in these five editions are the same as those in the autograph. is by bar In 226 Beethoven's however, terms replaced another. of the third Occasionally, of one
84
is by in Beethoven's five the replaced either rinforzando ritard. or ritardando all movement, i:ditionssurveyed.This error initially appearedin the first editionof this sonataand may have beenoverlookedin Czerny'seditions. In four out of the five editions,the rinforzando in bar 14 of the secondmovement(ex. 3.14) is replacedwith sf-::, -. Although the dynamic in is diminuendo begins in Wessel (ex. We 3.15). the the the as autograph, same earlier marking havýseenonpp.68-69how particularBeethovenwaswith regardto thetypeofdynamicmarking be it begins. in In addition, as will outlined section5.3 below, he did not usedaswell aswhere employrinforzandoasan alternativeterm to sf andvice versa. Ex. 3.14
Ex. 3.15
Cl
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It is not unusualto find editorialdynamicmarkingsandaccentsin Czerny'seditions. A hairpin is addedto reflectthe ascendingand descendingfigure in bar 50 of the first movementin the
85
Sinirock edition. His recommendationfor the use of hairpins in such instanceshas been documentedin his treatise (see p. 38). There are significantlymore dynamicmarkingsin HaslingerII thanin HaslingerL For example,Haslinger11adds
in bars22-23,--=::Z
in bar 28 anddim. in bar 30 of the secondmovementof Op. 57. HaslingerI doesnot haveany first In dynamic the these movement,the sf markingson the third and markings. additional of fouith beatsof bar 15in HaslingerII (ex. 3.16) are not found in HaslingerL Thesfon the first beat of bar 18 is not foundin the autograph,nor in any of Czemy'sotherfour editions. The sf in bot4, I Haslinger Haslinger first beat bar however, Il. At tlýiispoint, 16, the and appears of on the autograph(ex.3.17)andWesselhavep. Anotherdiscrepancyoccurson the first beatof bar 14:fz in HaslingerII but onlyf in the autograph. Ex. 3.1*6
17 Ex*.3-..
86
In bars53-54of the first movement,a crescendois addedto accompanythe ascendingbassline in HaslingerII (see ex. 3.31 below), but this marking does not appearin HaslingerI or in Czemy'sothereditions. Accentsarealsoinsertedin bars135-137in the third movementof this because in Haslinger II. The As theyaredissonantagainsttheotherparts(ex. areaccented sonata 3.18). j-18 Ex.
tjp-T-pr-tr-
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In HaslingerII, rhythmicaccentsareaddedin bars113-115(ex. 3.19)andthesemiquavers in the first time barbeginningin bar 300 of the lastmovement.Simrockis theonlyothereditionwhi6h hasaccentsin thesetwo passages.In the Simrockedition,rhythmicaccentsarealsoinsertedin from this movement:bars96-97 andbars 100-101. two otherpassages Ex. 3.19
.&
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Accentsof anexpressivenaturecanalsobe foundin Czemy'sSimrockedition. In bars105-107 (ex. 3.20), in he bar 206, he first highlights the the syncopations while accents movement, a of foreign harmonynote (ex. 3.21). In bars37 and 111,accentsareplacedoverlong notes(ex.
97
3.22a). Theaccenton thislongnote,whichwasaddedby Czemy,hadalsoappearedin anextract in decade (ex. 3.22b). This The Art than earlier suggeststhat Czemypossessed a publishedmore listed in below, 5.6 In section addition, as all theabove-mentioned memory. usages a remarkable in his Forte Piano School in TheArt. the with precepts accents are consistent and of unnotated Ex. 3.20 3; it
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Articulation Articulation marks in Czemy's editions, especiallythe length of slurs, sometimesbear no is in One the to the example slurs bars33-40 in the secondmovement autograph. resemblance of Op. 57. SinceHaslingerI andII (ex. 3.23) are printed from the sameplates,the slursarethe same. From bars 33-37, the slurs both in the treble and in the bassare shorterthan in the bass in bars (ex. 3.24). The 33-40 is the samein Simrock(ex. 3.25), the slurringof autoiraph Cocks andWessel,but it is longerthan Beethovenintended. In all threeeditions,the long slur in the trebleis alsomissing. Ex. 3.23
I,
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21 41 a54
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The lengthsof the slursin bars76-95of the third movementarealsodifferentin all five editions. & Beethovenconsistentlyslurs bassmotif either in groupsof 2+2+4+1+1or of 2+2+4+2(ex. 3.26). HaslingerI andHaslingerII (ex.3.27)arefaithful to thecomposer'sslurringin bars76-85, but in the next phrase,the slur coversvirtually the whole phrase.The slurringin Simrock(ex. 3.28), CocksandWesselis inconsistentandthe slursareessentiallylongerthanin the autograph. Ex. 3.L6 Qq
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Two-note slurs and staccato dots are added to the quaver accompanimentin bars 25-26,28 aýd 31-32 in the first movementofthe HaslingerII edition (ex. 3.29). This articulation is not included in Simrock juncture in four However, the the this other editions. edition, slurs are added in at bars 94-95 in the developmentsection, but without the staccato sign (ex. 3.30). Even without this indication, accordingto Czemy's teaching(seesection 6.4 below), the secondnote ofthe slur is expectedto be detached. This shows that in spite of the twenty- to thirty-year gap between the publication of thesetwo editions, Czerny still holds to a similar rhannerof performing those quavers. Ex. 3.29
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Staccato signs are also addedto the ascendingbassfigure in bars 53-54 of the first movement in three of Czerny's editions - Haslinger 1, Haslinger II (ex. 3.3 1) and Sinirock. - The same 11 is in Haslinger every time this motif appears,albeit sometimesincomplete. marked articulation In Haslinger I and in Sinirock, staccato signsare also added in bars 192-193, thus confirming the articulaiion of this passage.
Ex. 3.31 Ir-IN %R; aj
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It is observedthat Haslinger I and Haslinger 11use dots to indicate staccato, while Cocks prefer the dash. Simrock and Wesselemploy both signsin this sonata. In Sinirock, staccato is usually in Czerny dash. However, has by the where passages made additions, such as the represented in bars 192-193 first bass figure in bars 53-54 the and movement, or the ascending ascending in dots in bars 266-267 figure the third movement, are us&d. It is possible thýt the quaver dashes but, indicated staccatowith perhaps,anotherengravermay haveadded engraveroriginally dots at a later stagebefore printing, so as to incorporate Czerny's suggestion. It is unlikely that dashes and dots were used to represent different degrees of sharpnessor that Czemy had be for to type used. of sign a particular specifically asked
Fingering Of the five editionssurveyed,only the Simrockeditioncontainsfingeringaddedby the editor. Onemodeof fingeringis unusual.As will bediscussedin section8.6 below,differentfingersare Throughout first in the movementof this normally used passageswith repeatedmonotones. in bars finger in 24-28,33,94-97 (ex. Czerny the thumb such passages: only one requests sonata,
93
3.30 above),134,135,149,166,and172,andthe secondfinger in bars150and 173. Inthetwo instanceswherethesecondfingerisemployedratherthanthe thumb,it is to facilitatethefingering of the figure which follows,asshownin ex. 3.32. Ex. 3.32 4
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In TheArt, Czerny advisesthat the repeatedCs in the bassof Op. 57/i/134-139 be struck with one fmger, or preferably, with the thumb." In the Simrock edition, he reinforces this idea by in bars 13 4,13 (ex. 3.3 Cs 5 3) Is the over and 149 (seeex. 3.32 above). Why repeatedly marking does Czemy insist on this fmgering? He explainsin TheArt that if the fmgers.are changed,a less " he be Presumably envisagesan'insistent,rumbling, aimost produced. convincing effect would be best bass, He the the thumb and would candidate. studied this sonatawith ominous-sounding Beethoven "several times"" so it canbe assumedthat Beethoven conceivedthis effect and, most fingering. this requested probably,
Ex. 3.33
161bid., p. 59. 171bid. 38 Czemy(1970),p. I 94
Pedalling in Czemy's Op. 57 ofthe markings many pedal editions of correspondto the autograph, -Although the exact place for the pedal releaseis not always as precise as Beethovenwould have liked. The latter was meticulous in his notation, sometimeseven marking where the pedal should be released during a rest (see chapter 9, especially pp. 256-257 below). Towards the end of the first movement, Beethovenusesthe pedalto link the adagio sectionto thepih allegro at bar 23 8. The is first faithfully the the release on chord of allegro piii pedal observed in Cocks, Wessel (ex. 3.34) and Sinirock, but not in Haslinger I nor Haslinger II (ex. 3.35), where the peddl is released , before the beginning of the quicker section. Ex. 3.34 PIG
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The lack of accuracyin the positioningof the pedalreleasesignsprobablyresultsfrom a lack of intentions and ontheengraver'spartratherthanCzemy's. notation ofBeethoven's understanding figurein bars176-183ofthe third movement,for example,varies Thepedallingofthe arpeggiated from editionto edition,andsometimes evenwithin thesameedition.In theautograph,Beethoven depressed including be for bars 179and 183 to through the the two the rests, pedal empty asks (ex. 3.36). In HaslingerI, HaslingerII and Simrock(ex. 3.37),thepedalreleasesignsappearat the endof bars178and 182,that is, a barearlierthan is specifiedin the autograph.The pedalis
95
to be releasedevenearlierin Cocks - on the last quaverof the bar 178 (ex. 3.38). Wesselis rather inconsistent(ex.3.39);thepedalreleasein bar 179is accordingto Beethoven's autograph, but that in bar 183is a bar early. Ex. 3.36
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Both are engraving errors.
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99
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3.6 SUMMARY
Throughout chapterstwo and three of TheArt, Czerny emphasizesthe importance of observing Beethoven's tempo, dynamic and articulation markings. It is therefore perplexing that Czerny insisted on this when a "correct" edition of the sonatasdid not exist. It was common to share because it the was expensive and time-consuming to re-engrave. publishers plates among Unfortunately, mistakeswere sometimesoverlooked and were retained in new editions, such as Clementi's London edition of Op. 90. However, from the various editorial changeswhich Czerny form his it is to understanding a of more comprehensive approach. There may be possible made,
101
his but discrepancies among various editions, many of the main principlesremained some unchanged. Czemy's editing of Beethoven'spiano sonataswas more thorough than originally thought. He added not only fingering and metronome marks, as many of the titles suggest, but also pedal dynamic The articulation, and markings. accents, additional pedal markings in Op. markings, 57/i/I 7-22 and 152-161from the Wesseledition are exactly the sameasthose he suggestsin The Art. Accents are added in Op. 57/iii/I 13-115 in Haslinger II and Simrock. Staccato and bass figure in Op. 57/i/53-54 in Haslinger 1, to the ascending added crescendo marks are also Haslinger II and Simrock. The dynamic markings in the last eight bars of Op. 26/i/var. 2 in Haslinger II correspondclosely with Czemy's advice in TheArt. Thesemarkings, together with
Haslinger II The Art Czemy's share with which and other similarities numerous other editions, its Czemy. identity lead to the of editor us also There is a certainconsistencyamongCzerny'svariouseditionsand his commentsin TheArt. Apart from the featuresalreadymentionedin the previousparagraph,the similaritiesalsoextend to Czemy'sfingeringand tempo indications. His adviceof usingonly one finger to play the in first Op. first bass 57, the movement of monotones publishedin The Art, is repeated his fingering in Simrock this through the of movement reinforced edition. The old consistently fourth finger fingering, the crossesover the fifth, is employedin Op. 7/iv/76 whereby methodof , in both CocksandTheArt. The importanceof maintaininga freetempoin the first few barsof both in Cocksand in TheArt. Op. 31/3/i is alsoemphasized Suchconsistencyalsoreflectsthe seriousstudywhich Czernymusthaveundertaken.Someof the ideason the performanceof Beethoven'spianosonatasin TheArt canbe tracedbackto the Haslinger II edition from the late 1820sthrough to the Cocks edition in the 1830s. Although this Forte School Piano his 1846, Czerny's to was not publ-ished until monumental supplement his In it in 4rt The. to editings. consolidate earlier addition, appear was an opportunity comments to elaborate on the character of the individual sonatas and also to provide some solutions to technical problems.
102
Sometimes,however,Czemy'seditingcontradictsBeethoven'sindications,suchashis fingering in Op. fourths 2/l/iii. double Although trio the the composer'sfingeringwasretained the of -6f in the two Haslingereditions,reverencegaveway to a moremodemfingeringby the 1830s,in the Cocksedition. This wasthenslightlymodifiedin The,4rt. Thisprovesthat Czemyhadbeen in his the the sonatas and, process, reviewing studying understanding consistently ofthem. In The ýe Art, did not simplytry to recallwhat hehadlearnedwith Beethovenalmosttwo decadesafter the latter's death. Rather,he wascommittingto paperhis understanding of thosecompositions from whenBeethovenwasstill alive,albeitwith so# modifications. .
103
CHAPTER 4: TEMPO AND TEMPO FLEXIBILITY Whena work of Beethovenhad been performed,his first question Every " "How tempi? the other consideration were was always, importance him! be to to of secondary seemed There is clearlysometruth in this statementby Schindler. Beethovensometimesalteredtempo finale His first "Wer three the the successive versions of ofFidelio performances. after markings increase 1814) in (1804-1805,1805-1806 Weib holdes show and an speedand errungen" ein liveliness.HermannBeckobservesthat the originaltempomarkingfor the finalewasmaestoso. "LebhafteresTempo"(morelivelytempo),whichwaswritten at theedgeof thefirst version,was 2 in in Frustratea troppo the third. 1he to and allegro ma non second, vivace changed maestoso by the differentmeaningsassociated with someItalian terms,he laterusedmetronomemarkings , he his had Metronome to tempo markings which assigned compositions markings. as as well MM 108 He 120 been the possibility of considered or asthe speed carefullychosen. often ' but decided 88. Timesignatures his final first eventually onJ= the symphony, movementof of is important it is In influence to the the choose one which most appropriate. so speed, also can the trio of theNinth Symphony,for example,Beethovenmadesketchesin both2/4 and4/4 time implied ' by breve deciding before that the accentuation alla was moreappropriate. signatures, Even when his deafnessbecamepronounced,the violinist JosephBblim recountedthat the bows [ofthe hewas judge followed "eyes that] to the quartet so closely string able composer's ... 5 inimediately". in fluctuations them tempo or rhythmandcorrect the-smallest This concern with tempo was shared by many musicians, Czerny being one of them. - He Acknowledgesthat:, [a]ny musical piece produces its proper effect only ývhenit is played in the exact.degree of movement prescribed by its Author; and any from deviation inconsiderable that time, whether as to even
'Schindler(1966)(ed. MacArdle), fn. p. 423. 'Rosenblum(1988),p. 324. 3 Barth (1992),p. 52. 4For a detaileddiscussion,seeStadlen(1967),pp. 341-342. 'Thayer(1969),pp..940-941. This eventtook placeduringa rehearsalof the Quartetin A in 1825. 132, Op. minor, 104
destroy totally the sense,the will often or slowness, quickness, beauty,andthe intelligibilityof the piece.' By requesting that "the exact degreeof movement" be preserved, Czemy is obviously referring to the necessityof observingthe tempo which hasbeen"prescribed" by the composer. However, the meaningof his next point is slightly ambiguous. "[A]ny... inconsiderabledeviation from that time, whether as to quickness,or slowness,will often totally destroy the sense,the beauty, and the intelligibility of the piece" could be understood to mean either (i) the initial tempo selection initial (H) tempo selection and the strict maintenance of that tempo throughout a the or performance.
As discussedin chapter2, the treatisewriters from C. P. E. Bach to Czernyunequivocally back for holding They within a piece expressive on and pressing purposes. some recommend flexibility, desirable, distort In though tempo the tempo. that should not such overall caution in begin Both Hummel Czerny the tempo. and end same should and a piece also words, other down (see 36). If flexibility tempo slowing p. accelerating or were excessive spokeout against to be completelyforbidden,they would haveexpressedtheir remarksin a differentand more for Czerny be in Therefore, "strict to when asks a whole movement way. played comprehensive ' "Tempest" Sonata, Op. 31 he meantwhat we No. 2, the the time", suchas slow movementof interpretive flexibility however, tolerates tempo term today which a steady rhythm without, might for be he it Had to tempo to one maintainedrelentlesslythroughoutthis wished excess. carrying have both he the use of accelerando and not requested rallentando, of which movement, would in bars it is by Unfortunately, Beethoven, 55-58. termssuchas"strict time" which notated arenot led GeorgeBarth to accuseCzernyof encouragingthe strict observanceof a single speed throughouta pieceor movement.He alsocriticizesCzemyfor distortinga tradition,or at least, helpingto establisha new one.' Czerny'ssuggestedperformanceof Op. 31/2/ii (mentionýd in flexibility his his both tempo treatise, to that are sufficient of explanations prove above)and Barth's accusationsarecompletelybaseless.
'Czemy (I 839E),i, p. 157. Capitalizationoriginal. ICzemy(1846),p. 53. 'Barth (1992),pp. 1-2,55-57and80-81. 105
4.1 ALLA BREVE
Like Beethoven,Czernyalsounderstands the relationshipbetweentime signature,especiallythe Czemy, According breve (ý), to tempo. movementswith thealla brevetime signature and alla indicated, degree increase be in liveliness.Although than often with a quicker an should played Op. 14/2/His markedandante,he advisesthat since"the measureis alla breve,the time should be a tolerablylively Allegretto".' Sin-dlarinstructions are given to two works with this key Beethoven's Piano Concerto No. 1, Op. 15, and the first the of second movement signature: " Czemy knew Beethoven's intentions in No. 2. Op. 27 of all threeworks, having movement Czemy breve least the that two them composer. elaborates of with at alla movements studied however, during "second "must be distinguished Beethoven's period", moreby beauty composea " by than excessiverapidity". of tone andperformance, introducedwithin a movementwhichbeginswith a differenttime Evenshortalla brevepassages, intention. Beethoven's be This In to the scherzoof certainly quicker. was are played signature, the Ninth Symphony,Beethovenalternatesbetween3/4 (molto vivace)andalla breve(presto) is breve bar A half throughforte the given accentuation of alla reminder marks at every sections. for the first two barsof this section.A briefpassageof alla breveis alsoinsertedtowardsthe end Third Symphony. In both 3/4 the trio the of and movement scherzo symphonies,the 3/4 of J. breve 16, 16. Accordingto Beethoven's the sections o=1 while alla arc =1 sectionsaremarked basic in both breve 3/4 is As the the the the and pulse alla sections markings, same: metronome have he breve, because his the adopted meaning could not old associated with alla a result, is inform breve that the sections us alla onlysomewhatquickerthanthe 3/4 metronomemarkings 29-30, it. As thereweretwo meanings onpp. mentioned precedes associated with sectionwhich thistimesignatureat thistime. Beethoven'smetronomemarkingsin thesetwo symphonies show the newermeaning:that ofplayinganalla brevepassage thathe,like Clementi,embraces quicker twice as fast. thannotated,but not necessarily
9Czemy(1846), p. 45. "Ibid., pp. 49 and 104. "Ibid., p. 87.
106
Czemy is moreconservative.In an articlethat appearedin CocksMusicalMiscellany(I April 1853),hecomplainsof thetendencyto playthe alla brevepassagefrom the scherzoof theThird Symphony(ex.4.1) too slowly. However,heappearsto be unawareof Beethoven'smetronome in he breve for be that the the this minims explains alla when passage passage should markings is 2/4). Here, he if (as defh-ýition time the the signature were using crotchets" old of as played this signature.His examplebelow(ex. 4.2) showshow the alla breveshouldproceedfrom the 3/4 section. AlthoughCzemy'ssuggestedspeedof the alla breve sectionis questionable,he denoted by deduces He the time the that the signature. accentuation correctly points out is Beethoven "likely the why preferredthewhitenotesalla breveto the reason most accentuation " ordinary crotchete'. Ex. 4.1
Ex. 4.2 -
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N. B. The first'h6tes of t'heallý breve section in exs. 4.1 and 4.2 are as written in Cocks Musical Miscellany. Both notes are extracted from the E flat major chord. The inconsistencybetween from Czerny the that extracts memory. two quoted the examplessuggests
Although Czernygivesthe old meaningof alla breve in his Piano Forte School,he doesnot breve depend in The follow the the this alla may on speed of musical practice. rule slavishly is Czerny's finale Op. 53/iii. "[p]restissimo is in to the the advice play case of structure,as
12Cocks(1853), pp. 29-30. "Ibid., p. 30.
107
[markedalla breve] with the greatestpossiblerapidity"" ratherthanmeasureit in relationto ... the*beginningof the movement. BeethovenandCzernyboth construealla breveto imply a quickertempo. Regardingthe speed however, have be disagreement. breve they played, a small should section an alla
4.2 ITALIAN
TERMS
A piecewhichis playedtoo fastor too slow losesall its effect,and becomesquitedisfigured.Wherethetime is not markedaccording to Maelzel'smetronome,theplayermustlook to the Italianwords which indicatethe degreeof movement;as allegro, moderato, presto, etc. andlikewiseto the characterof the composition,and " know by learn to their experience real significations. gradually
i
Unfortunately,the "degreeof movement"andthe "real significance"denotedby Italian terms discussed in Their 2.2.1, as section meanings, straightforward. wereconstantly always were not definitions background, Italian Against by Czemy the the this ternis of are main given changing. likely to be thoseof Beethoven?The answer,in the majority of cases,is affirmative. Both Beethovenand Czemy considerlargo a slower tempo than adagio. Beethoven's his in largo Op. 106 the of smaller and notation note-values of sectionshow marking metronome that he considerslargo to be slowerthanadagio. Similarly,Czernyplaceslargo as a slower " School. first Forte They were also frustratedby the in Piano the two volumeof tempoof the In 1810, Beethoven the to tendency slow movements. exaggerate public's asked general Breitkopf to add ma non troppo to the existingadagio indicationon the headingof the second " Art, Czerny frequently Op. 74. In The Quartet String the cautionsthat slow movementof be largo "spun in is, (that those should or not adagio) marked out" or played a movements "draggingmanner". 14
Czemy(1846), p. 57. IlCzerny(1848), pp. 46-47. 16 Czemy(I 839E), i, p. 156. "Anderson(1961), i, p. 285. 108
"In gehenderBewegung,dochmit viel Ausdruck"(with walkingmovement,but with expression) is the GermaninstructionBeethovenassignedto the secondmovementof Op. 81a,alsomarked indication in instance is direct German The this translationof the Italian a andanteespressivo. term, so andante,asunderstoodby Beeth6ven,refersto "a walking pace". Czerny'sdefinition less however Adagio"" impression he have "moving than the that gives so slowly; onward may of However, his Beethoven. than slowly metronomemarkingsofthe andante playedandantemore fairly brisk. In in Beethoven's sonatas are piano spiteof the choiceof wordingsin movements his definition of this term, Czerny'sandantemust have beentaken at a speedcomparableto Beethoven. The mearing of andantinowas more problematic. In 1813,Beethovenwrote a letter to the ScottishpublisherGeorgeThomson,askinghim whetherheunderstoodandantinoto be quicker " discovers Beck In Beethoven's this that than twentyof uncertainty, spite andante. slower or threeusesof andantinosuggestthat it is moreoftenusedto meanquickerinsteadof slowerthan " defines it He "progressing Czerny the ofandantino. same meaning as with also adopts andante. " it but than andante. still considers quicker a tolerablyslow pace" Czerny's defHtion of allegretto as "somewhat lively, cheerful, yet not hurrying onward"22also is in This first Beethoven's the term. the exemplified of usage movement of Op. 10 1, reflects indication lebhaft German "etwas Its der innigsten troppo. und non mit ma allegretto marked Empfindung" means"somewhat lively and with deepestfeeling".
In a letter to Mosel (cl 817), Beethoven complained that the original meaningof allegro, that is " ignored. Beethoven even resorted to using German indications frequently been had "merry", In his the order to clarify the meaning of allegro-in compositions. to convey spirit of some of includes he German "Geschwinde, Op. 101, doch nicht zu the translation last the movement of
"Czemy (1839E),i, p. 156.Capitalizationoriginal. (1961),i, p. 406. 19Anderson "Newman(1988), p. 101. 21 Czemy(I 839E),i, p. 156. 221bid.
"Anderson(1961),ii, p. 727. 109
but decision). is This (fast, Entschlossenheit" too the with not much, and one of mit und sehr, Czerny's Beethoven the of character a piece marked specified allegro. rare occasionswhen ` is Lively, Agility". In definition the third volumeof with textbook simply'Tast, of allegro Piano Forte School,he elaborateson the ýwiderangeof emotionsembodiedby the term, all of in Beethoven: features the sonatas of piano which arerecognisable (a) Tranquil,soft, andcoaxing (b) Thoughtfulor Enthusiastic (c) Sorrowful,or harmoniouslyintricate (d) Majestic,grand,andevensublime (e) Brilliant, yet without ain-dngat too mu&hmovementor rapidity (0 Light, cheerfulandsportive (g) Hastyandresolute (h) Impassioned,excited,or fantasticandcapricious (i) Stormy,hasty;iq a seriousaswell as in a sportivesense. (k) Extremelywild, excited,andunbridledor furious." During Beethoven'slifetime,vivacewas usedin two ways;some(suchasTOrk.and Clementi) it Dussek) (such indicate it to used asan adjectiveto the maintempo as speed,while others used , headings.Vivaceappearsfairly frequentlyin Beethoven'spianosonatas,usuallyasa qualifierto is in This Op. 2/2/i, Op.28/iii, indications, the tempo the case and allegretto. two of allegro main Op. 3 I/l/i, Op. 31/3/ii, Op. 78/ii, andOp. 109/hi/var.3. Sometimes,Beethovenusesvivaceon its own (asin Op. 79/iii) or with otherqualifiers(in Op. 101/ii, vivaceis usedwith alla marcla, in Op. 106/ii,assai,and in Op. 109/i,ma non troppo). In everyinstance,he usesvivaceas an it is its indication, Czerpy's tempo than even when used on own. a main as rather adjective definitionof vivace"lively, with warmth" correctlydescribesthe characterof all the movements 26 it He too uses asan adjective. with this marking. The following Estby Czerny,on the degreeof movementimpliedby the maintempoheadings, (beginning Beethoven the tempo): be that to slowest with of echo said can Grave - largo - larghelto - adagio - andante - andantino - allegretto - allegro -presto 27 prestissimo.
i, p. 156. Capitalization original. (I 839E), "Czerny , 211bid.,Hi, p. 69. Capitalization*original. Again, 0) was omitted as was then customary. 261bid.,i, p. 156. 21bid. 110
Although CzemyagreeswithBeethovenonthemeaningsoftheseItalianterms,hehasotherideas Stewart Rosenblum, Deas the of assai. andCliveBrown areconvincedthat regarding meaning Beethovenoftenusesassaito indicate"enough"or "rather". Czerny,on theotherhand,defines 's This is morein line with the usageof Mozart, ClementiandHummel. "very". the term with
4.3 METRONOME
OF ANSWERS? PROVIDER -A
his supportfor the metronomepublicly (in 1813)evenwhile it wasstifl in Beethovenexpressed the processof beingmade.Thayerclaimsthat Beethovenwasat first "not well disposedto the instrument, notwithstandinghe had joined SaHeri and the other composersin strongly in Beethoven believed 1813". 'chronometer' is "[i]t the that silly stuff; onemust recommending feel the tenip&%2' Eventually,he changedhis mind. On 6 February1817,WienerA11gemeine "celebrated including ' Beethoven, Zeitung named numerous masters; who pledged musikalische to includemetronomemarkingsin their future compositions.In Decemberof the sameyear,he invention help letter Mosel, its the to to and praising vowed spread a use. He also wrote in Tempo Fixation Maelzel's terms two on a of of pamphlets metronome.The first published for in 1817, Septet, Op. 20 and all his the contains metronome markings published one, Ninth. The the secondpamphlet,publishedtwo yearslater, unwritten as yet except symphonies, hasmetronomemarkingsfor his first elevenquartets. Metronomemarkingswerealsoinserted in someof his compositionswritten after the publicationof the pamphlets,namelyin the Ninth Symphony,the "Hammerklavier"Sonataandthe Diabelli Variations. Another public endorsementofthe metronome,this time as a teachingaid, appearedin the Wiener Allgemeine musikalischeZeitung (14 February 1818):
Maelzel'smetronomehasarrived! The usefulnessof his inventionwill be Moreover, Germany, England the all composers of and more. provedmore it. have But have France we not consideredit quite adopted and superfluousto voice our convictionandto recommendthe metronomeas beginners indispensable in to aid all and an pupils, nay, whether a useful, "Rosenblum(1988),p. 320; Deas(1950),pp. 333-336;Brown (1999),p. 302; Czemy (I 839G),i, p. 118(1969),p. 687. '*'Yrhayer ill
instrument By it for the they or any other using pianoforte Will singingor learnto judge andto applyin the easiestpossiblyway the valueof a note, be difficulty in time they to the will enabled without shortest perform and to anyaccompaniment andwithoutbecomingconfused.For sincethepupil directions by the teacher,must the method and provided observing suitable by latter's in time, the arbitrarily sing or play out of absence meansof not themetronomehisfeelingfor timeandrhythmwill quicklybe soguidedand have further difficulties he to encounterin this that soon nd will corrected invention that this think we should acclaim of Maelzel's, respect - we from is for it indeed for this that of point view also, so useful seems which " it has been, this particularadvantage not yet sufficientlyappreciated. Schindlertried to play down the advantages of the metronome.He claimsthat Beethovenhad (on for different Ninth the two markings separate sets of metronome occasions) assigned. Beethovenwas supposedto havereplied"No Symphony.Whenaskedaboutthe discrepancy, does feel it; for Anyone the right need can music not and who anyonewho more metronome! " he is is This the away with whole orchestra runs anyway". use; any remark can't, nothing of inventions. is Schindler's be Beethoven 'It to that of also possible another now generallyassumed did utter thosewords,but Schindlerquotedthemout of context. Beethovenmayhavebeenbusy because he did be disturbed. his lost this to temper question, asked not want when and perhaps Whatevertheinterpretationof Schindler'sremark,Beethovencertainlycontinuedto advocatethe death. his to the time the of metronomeup useof From February 1825 to February 1827, Beethoven repeatedly promised to send metronome in Op. D 123 Mass Symphony, Opp. 127' Ninth the the the major, and string quartets of markings he fulffl Unfortunately, his Schott. in his to 131 managed to promise only publisher respect and his health, deteriorating His his Symphony. Ninth problematic relationship the with nephew, of broke, his He frequency the are possible causes. metronome also attributed which the with and " in 1826 Symphony Ninth The first to the the metronome of markings. performance -successof in March further 1827 bear Moscheles his he for to to this witness sent which work markings endorsementof the metronome.
"Anderson(1961), iii, pp. 1441-1442. (1966) (ed. MacArdle),pp. 425-426. 31Schindler (1961), iH,p. 1325. 32Anderson 112
4.4 MAELZEL'S CHART In September1821,Maelzel publisheda chart of metronomemarksand Italian terms in the AllgemeinemusikalischeZeitung (the Intelligenz-Blatt, No. 8). Comparisonswere made is by jeading It from favoured in Table No. 3 the the composers. some of clear speeds regarding Maelzel'schart(shownbelow)thatBeethovenwasinclinedtowardsfasttempos(seealsosection 4.5 below). For example,Beethoven'spresto (J =224) is twice asfastasClementi'spresto by large Italian for The the term: of speedimplied each range example, chartalsoshows =96). 1 Cramer'smoderato2/4 covers =63-116,while Beethoven'spresto C coversa rangeofJ=1 52224. It alsorevealsthe relationshipbetweenspeed,time signatureandItalianterms. Although is included in composition not each asa speedfactor in thý the smallestpredominantnote value by large is its the rangeof speedsassociatedwith eachItalian term. table, presence suggested Maelzel'sclairnthat the metronomemarkingswere takenfrom actualmarkingsby the various left by For dubious.. is there are examples of no metronome markings a start, composers rather Beethovenfor presto movementsin commontime. l4owever,sincethe signsfor commontime it interchangeably breve time, the to three makes sense at consider used metronome were alla and by breve Beethoven in for time whichwerepublishedprior to markings presto movements alla 1821. Of the threemetronomemarkings,that for the finaleofthe StringQuartetinE minor, Op. 59/2 (o=88) andthe fourth movementof the Fifth Symphonyin C minor,Op. 67 ( c) =1 12) are J Op. finale Septet, (J=l is 20 12) the the Maelzel's of while of =152-224, outside range within for limit. Beethoven's the secondmovementof the Ninth lower marking metronome the Symphony,publisheda few yearslater, alsolies within Maelzel'srange. lie figures Maelzel is that It peculiar which outsidetheupperlimit of themetronome givesseveral . ' (that is, 160),andevenmore so that he attributesthe metronomeindicationsin TableNo. 3 to is inclusion by in his Hummel Even the this of curious chart more thoserespectivecomposers. but brief by three tables, the without any correction,or explanationof treatise,accompanied a is in In Maelzel. the the that these to chart useful sense eccentricities, spite of acknowledgment it provides informationon the varying speedswhich were employedand the factors which influencetempo.
113
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4.5 BEETHOVEN'S SPEED
In the early nineteenthcentury,fast temposwere more moderatein Viennathan they were in Germany.JosephFischhof,a Viennesepiarnstandmusichistorian,wrote that from the 1820s, GermanorchestrasplayedBeethoven'scompositionsmorequicklythantheywereperformedin 33
Vienna. However,Beethoven'sown playingwas consideredfast by his contemporaries.A Piano Concerto Fourth Reichardt Beethoven's which attendedon 22 December1808 concertof left a favourableimpression. He also considerstheythennew piano concerto"of, immense difficulty, whichBeethoven,with astoundingcommand,executedin thefastestpossibletempi"." This is in spitethe fact that neitherthe first nor the third movementof the concertois marked indications large The the they allegro moderato and vivace carry respectively. prestissiMo: s differencebetweenBeethoven; fast tempo and that of someof his'conternporariesis also fast however, The be by Maelzel's Moscheles tempo, should never chart. extreme, as confirmed by by Wagner in He tempo 1840s: the the extremities of set saddened was early clear. makes I know manythink me old-fashioned,but the moreI considerthe tendency I know I that the taste, strenuously will uphold which more of modem ... to be sound art, and side with those who can appreciatea Haydn's grandeur. playfulness,a Mozart's Cantilena,anda Beethoven'ssurpassing What antidotes have we here for all these morbid moanings and overwroughteffects! ... Here as elsewhereI missthe right "Tempi," and look in vain for the traditions of my youth. That tearing speedwhich little note; that spinningout of an Andanteuntil it many a away sweeps becomesan Adagio, an "Andantecon moto," in which thereis no "moto" is but "Allegro anything comodo" which comfortable. ..... at all, and
ý
4.6 THE APPLICATION
OF METRONOME
MARKINGS BY BEETHOVEN, CZERNY
AND THEIR CONTEMPORARIES
(1821),Maelzelexplainsthat themetronome in anarticlein theAllgemeinemusikafischeZeitung beginning He the be tempo that to of at a piece. also a correct stresses communicate used could
"Rosenblum(1988),p. 334. (1953),p. 325. 14Sachs I'Moscheles(1873),H,p. 286. Capitalizationoriginal. 115
" imposed be Beethoven for tempo. the also on uses metronome mechanical rigidity could not head indicates He the of the autograph to the song "Nord oder SUP, WoO 148 thiS'purpose. at 0 817): 'ýI 00 according to Malzel; yet this can only apply to the first measures,sincefeeling also has its beat, which cannot be conveyed wfiolly by a number (that is, 100),,.31
Moscheles is alsoofthe opinion that metronome markings must not be applied strictly throughout by how He were viewed marks nineteenth-centuryperformers and metronome reveals a piece.
conductors: Its objectis to showthe generaltime of a movement,particularlyat but it isnot to befollowedstrictlythroughout;for its commencement; have dance, life or a would any a real and no piece,except march if Solo fight the performer,or the orchestra shade, and expression,or its under conductor,were strictly to adhereto one and'the same tempo, without regard to the many marks which commandits into The the time and conductor, enters who playeror variations... he has introduce feel to the the whenandwhere piecemust spirit of delicate these so are often of anature,thatthe and changes; necessary become the superabundant, not to say would metronome marksof " impossible. Czerny's metronome markings are also intended to convey the speedof a piece only in the first few bars. Therefore, they should serve only as a guide. For example,the prestissimo section in Czerny is fmale be Op. 53 "must then that this c)--88. comments marked third the movement of " The is last the the same advice given rapidity". regarding possible greatest played with No. 3, Here, Op. I Trio Piano the also markedprestissimo. metronomemarking ofthe movement is
152.'o Both metronome markings probably reveal the speedat which Czerny could play
be dogmatic he indications is It be to them that meant unlikely which must those movements. followed slavishly.
(1821),pp. 53-56. 36AIlgemeine (1988),p. 111 37Newman 38Schindler (1841) (ed.Moscheles),p. I 11.Italicizationandcapitalizationoriginal. 39Czemy(1846), p. -57. 94. 401bid., p. 116
4.7 THE METRONOME
MARKINGS
OF CZERNY AND MOSCHELES
As listed in the Appendixat the endof this chapter,Czemy'smetronomemarkingsfor the fast five Op. 27/l/ii, Op. 27/2/iii fairly the the sets, with of exception over consistent movementsare in Proper Performance" for His Op. 78/i. these slower are significantly movements markings and (a differenceof threenotchesor moreis consideredsignificant).Moscheleshadfaith in Czemy's " in Haslinger I his The the markings edition. metronome majorityof of authority andapproved Czerny. About 25 % by Moscheles those to of of the metronome similar are the markings less fast, 10% Moscheles' I in than Haslinger of markingsare quicker while are very markings fast in be fast. The Today, the to too Czemy's. their movements appear markings of than most lighter key-dipof the pianohasoften beencited as a possiblefactor. Moschelesstatesthat he I
4' his favoured by fast the some, and yet metronomemarkingsare tries to avoid extremely speeds implies by Tl-ýs Czemy's from Czemy's. different that the speeds suggested not significantly been have conceivable. would metronomemarkings Czerny'ssuggestedspeedsfor the slow movementsare ratherbrisk. This, of course,was the by Moscheles, The in two the sets of metronome markings which century. earlynineteenth norm Czerny's, lend latter's than to the the quicker also slightly credibility or same either are generally markings. On the whole, Czerny's slowest metronome markings are found mainly in Proper Performance. Many of the markings in Simrock confirm those in Haslinger I, but the former occasionally has in Czerny's Cocks indications. All derived the markings edition metronome are slightly quicker from Haslinger 1, except Op. 26, Op. 31/3, Op. 101, the prestissimo section of Op. 109, and the Out I the Op. 11. the these, metronome markings, with all of exception-of of section maestoso Op. 26, are exactly the same as Haslinger IL Apart from the third movement of Op. 26, the Sinirock's. In the three the are same as most cases, movements other metronome markings of
is The Art, is two three the more Performance, and of 4'Proper which madeup of chapters former I in Therefore, books. in the shall title use subsequent reference used commonly discussionsin this chapterfor the sakeof uniformity. 42Schindler (1841) (ed.Moscheles),p. 107. 411bid. 117
difference Perhaps is inconsistencies the the metronome most striking the arerarelysignificant. had I Simrock. Czemy Haslinger between his Op. 49/1 and completely changed of rriarkings conceptof this sonata. In the majority of cases,the metronomemarkings of Czerny and Moschelesare internally is It Discrepancies thereforesafeto accept the seven sets are usually negligible. over consistent. that Czerny'smarkingsof theslowmovementsandmanyof the fastmovementsarebasedon the have Beethoven them. played would fI speedat which
4.8 CZEftNY'S METRONOME MARKINGS COMPARED WITH THE DEDUCTIONS MADE BY KOLISCII
I
AND GELFAND
Rudolf Kolisch(1896-1978)wasa pioneerin the deductionsof the tempo for all Beethoven's left by Factors few based the the composer. markings suchastime-ý metronome on compositions, the the texture time the values signature, prevalent note and a piece, of the of character words, first in 1943. into His Each taken were published results account. compositionwas musicwere broad This of speed. range method was refined,and whenthe categorizedundera particular in 1993, precisemetronomemarkingswere assignedto every published was version revised " investigation, but he Gelfand Yakov In 1985, similar carried out a useda slightly movement. different approach. He choseto calculatemetronomemarkingsby using his own elaborate 4' factors Kolisch Unity of the whole work, into the formula which took as same account . into last in taken three the consideration. pianosonatas,wasalso especially Such a study is relevantsinceBeethovenwas certainly aware of the relationship betweenthe time draft On for his indication the the a note values. tempo and prevalent minore of song signature, he from dates 1790, WoO 113, contemplates: "Klage", about which That which now follows will be sung still more slowly, adagio or, at the most andante quasi adagio. Andante in 2/4 time must be taken it here. As latter faster the. the the tempo than appears, song of much
"See Kofisch(1943)andKolisch(1993). 4'Gelfand(1985),pp. 92-129. 118
in for 2/4 is too slow for it. It appears. time the music cannotremain ý bestto setthemboth in time. The first [part], in E major, must remain in 2/4 time, otherwiseit be would sungtoo slowly. In the past,longernote valueswere alwaystakenmore slowly than shorterones;for example,quartersslowerthan eights. The smallernotevaluesdeterminethetempo;for example,sixteenths in 2/4 time nbke the tempovery slow. thirty-seconds and Perhapsthe contraryis alsotrue.46 The existenceof this relationshipis alsoimpliedin Maqlzel'schart. A comparisonbetweenCzemy'smetronomemarkingswiththosededucedbyKolischandGelfand Many Czemy. is interesting It those complement to notethat ofthem of similarities. many reveal Kolisch andGelfandsometimesarriveat the samefigure asCzerny'smarkingin the HaslingerI is first Op. 10/3 (see The Appendix). In twenty-one the of an example movement edition. instances,Czerny'smetronome markingsare significantlyquickerthan those by Kolisch and Gelfand. In nineteencases,the significantdifferencesarein HaslingerI, with the majority in fast fourteen hand, Kolisch's On fast of the other of markings movementsare movements. Haslinger I. Gelfand's than even markings are more moderatethan significantly quicker Kolisch's: only three fast movementshave a quicker marking than Czerny's. Gelfand's interpretationof allegrettomovementsis differentfrom Czerny'sandKolisch's. His markings (Op. Op. 14/l/ii 10/2/ii, Op. frequently 27/2/iii). In the scherzoof Op. the side and on slow are 31/3, his markingsare significantlyquicker. It is only in Op. 22/iv that he agreeswith Czerpy's HaslingerI and Simrockmarkings. Many of Gelfand'sslow movementmarkingsare also not Kolisch. Czerny the and of range within The investigationsof GelfandandKolischare by no meansinfallible. Someof the contrasting be by different Gelfand Kolisch their can explained and personalopinions when results of ideas. However, fact the the that they reinforcesome same musical groupingcompositionswith fast Czerny's in influenced that tempo the the movements prove choices were markings quick of by Beethoven. Gelfand'smarkingsin the slow movementsare lesshelpful, for they displaya for in in bias trend the twentieth the towards slower century speeds allegretto andslow strong .
4'Kramer(1975),p. 75. 119
Kolisch's Similarly, of slow movement markings are also slower than some movements. Czemy"s.
4.9 THE VALIDITY
OF CZERNY'S METRONOME
MARKINGS
NottebohmdescribedCzernyasanhonestandknowledgeablemusician,gifted with anexcellent but had doubts Czerny's He teaching reliable, on the authenticity of the considered memory. latter's metronome markings in Proper Performance: Although not of authentic validity, still these indications can lay claim to a certain confidence, especially for those works of which we know that Czemy either heard them played by Beethoven or studied [them] knew Czerny instruction. Anyone his who personally, who under ... had the opportunity to observe his nature, which was'above all directed toward the practical, will believe him capable of impressing fimily on his memory a tempo that he had heard, and will have in had he that the such outwardly tangible musical certainty noticed 47 matters.
This is a curiouscriticismconsideringthat Nottebohm.did not hearBeethovenplay. He alsodid "not he he Had those markings metronome of authentic validity". considered why not explain basedthis conclusionon performancetraditions in the mid and late nineteenthcentury? Or because by Beethoven himself. he the term this were markings not notated chose perhaps, Schindlerwasalsodissatisfiedwith Czemy'smetronomemarkings. His argument,however,is by Moscheles London He the to the that edition approximates new composer's adnýiits weak. very Czerny's He Haslinger intentions. the two then sets ofmetronome compares markings of original 48 London I editionwith the new edition: Op. 27 No. 2 New London Edition
Haslinger, Vienna 1) Adagio
=60
=60
2) Allegretto
=84
=76
3) Presto agitato
=92
=92
insert by Rosenblum. bracket Translation 329. (1988), 4'Rosenblum and p. (1841) (ed. Moscheles),pp. 109-112. 4ISchindler 120
Op. 27 No. I New London Edition
Haslinger. Vienna 1) Andante 2) Allegro 6/8
=72
=69 J.
=1 16
=104 1=126
J. 3)ARegro molto vivace 3/4 =138 4) Adagio 5) Finale, allegro vivace
=76
-t=69 1 =160
J
=132
With the exceptionof the finale of Op. 27 No. 1,.aHthe metronomemarkingsare within three insignificant, largely differences Schindler's Since to the according are opinion of the notches. Czerny's Edition, in New London the metronomemarkingsshould also resemble markings Beethoven'sintentions. After all, Moscheleshimself had complete'confidencein Czemy's least (see I 117). is in Haslinger On the the there edition at p. whole, only markings, metronome between difference the metronomemarkingsof the two men. a small The metronomemarkingsdeducedby Kolisch and Gelfandalsocomplementmanyof thoseby Czerny. The maindifferencelies in Gelfand'sdeductionsof the speedsin the slow movements. His thinkingwas influencedby the twentiethcentury'spracticeof playingslow movementsat a been in have the they than played early nineteenth century. would normally speed slower Although thesecomparisonsare not fool-proof, they show that Czerny'smetronomemarkings had been carefully consideredand they were basedon the knowledgehe received from Beethoven. Czernyhad great respectfor Beethoven. He was reluctantto alter Beethoven'smetronome he found it Op. 106 "unusually first for though the even of movement quick and marking impetuous"." Rather,he defendedBeethoven'smarkingsby declaringthat the suggestedspeed indicated insisted be He in that the impossible speed could achieved performance. was not throughpractice.
49
Czemy (1846), p. 64.
121
In spiteof Czerny'sbestintentionsto indicatethe "correct" speedsof Beethoven'spianosonatas byuSingthe metronome,he mayhaveexperienceddifficulties oneway or the other. After the HaslingerI edition,hepublishedat leastanotherfour setsof metronomemarkings.He mayhave in fast Haslinger II andProperPerformance,because down the movements ofthe speeds slowed he consideredthosemarkingstoo fastin HaslingerL The Cockseditionusesexistingmetronome for Op. both Haslinger 26. from The editions, except suggested speedof the "Marcia markings funebre"in the Cockseditionis strikingly slower than the two HaslingereditionsandProper Performance.Did Czernythendecidein the 1850sthat his previousattemptsfailedto convey Beethoven'sintentionssatisfactorily? Is that the reasonfor the more moderatemetronome fast Sinirock in in the the than of edition, movements which are generally quicker markings HaslingerII andin ProperPerformance,but are slower than in HaslingerI? The difficulty in searchingfor a "correct" tempo does not necessarilyimply that Czernyhad trouble recallinghis lessonswith Beethoven.Nottebohmandmodern-dayscholarsall agreeon Czerny'sgoodmemory.A morelikely explanation,therefore,is Czerny'schangingperceptions his fife. his As different "correct" the the view changes, stages of sonatas at speedalters of drop in is is Op. This 49 Op. 14/2/ii between the there a significant speed of why and accordingly. the Haslinger and the Simrock editions, even though Czerny had studied the latter with Beethoven.It is alsopossiblethatwith maturity,Czemybecameincreasingly concernedwith the beautyof tone (ratherthanspeed),evenin the fast movementsof the sonatas.As adjustments frame instrument, to tones the the the to the the and strengthen of piano project of made, were key-dipsgraduallybecameheavier.This developmentwould havemadeveryfastplayingslightly in These in 1830s difficult Czerhy's than the the early nineteenth century. will explain why more in in fast Haslinger 11, Proper Performance in the the movements of markings and metronome Simrockedition are lessextremethan in the HaslingerI edition. However,Czerny'smarkings for the slowmovements arelargelyconsistentoverthe five sets.Thelackof majordiscrepancies in the majorityof casescommandssufficientconfidencefor oneto concludethat thesemarkings intended in Beethoven the the slow movements. speeds resemble
122
TEMPO FLEXIBILITY
Giventhe vagueandvaryingmeaningslinkedwith temporubato in the first half of thenineteenth be in following discussion. " flexibility" the term"tempo the wig used century, Czerny states clearly that [m]any passageswill not producetheir intendedeffect, unlesstheyare holding back, slackening; or retarding gradual certain played with a degree just Time: that the the of movement shall as others require of be gradually accelerated,quickened, or hurried onwards." Contemporaries' description of Beethoven's playing, and that of the performers he approved flexibility be in to type tempo the Czerny's the teachingslon of used performancesof corroborate Beethoven's piano sonatas. According to Ries, Beethoven generally he his though capriciously, usually most compositions own played kept a very steadyrhythm and only occasionally, indeed, very rarely, he At times, the tempo restrained the tempo somewhat. speededup in his crescendowith a ritardando, which had a beautiful and most " striking effect. Dorothea von Ertmann (one of Beethoven's favourite pianists)" and the SchuppanzighQuartet features highlight in flexibility the to tempo particular or climaxes a piece. also employed Sometime between 1815 and 1816, the violinist Michael Frey witnessed a performance by the SchuppanzighQuartet: They played it [Op. 59/2] with great precision and skill, so that one in In in for the playful menuetts general, more. nothing need wish [elements] the they playful and casual exaggerate sometimes places in the performance. They usually do it twice in a row, which doesnot like be that can only pleasing make a good effect since something " in once quick passing.
in its Hudson the history early nineteenth tempo see century, 'OFora meanings and rubato of (1994) andRosenblum(1988),chapter10. "Czerny (1839E), i, p. 189. Capitalizationoriginal. q4. (1988), Ries Wegelerand 12 p. Schindler(1966) (ed. MacArdle),pp. 209-211. 13 bracket inserts by Rosenblum. Translation 386. (1988), square and '14Rosenblum p. 123
In addition,Frey's commentsrevealthat tempoflexibility was not introducedhaphazardly. Czemyalsodifferentiatesbetweenperformances with and without an audience.If a performer is playingto an audiencewho is unfamiliarwith the piece,he mustplay in strict time. However, he should play with greatertempoflexibility. He if he is playingonly for his own amusement, " between is difference If the two types this the case,perhaps that can, and must, exist. a s stresse Beethovendid not normallyplay,as Schindlerclaimedhe did," with a high degreeof freedom basic (even is It to the the tempo true that to extent of obscuring pulse). with regard Beethoven'scompositionalstyle had developedto include greaterfluidity in his late works. Terms suchas accelerando,ritardando and rallentando are also more numerous. However, in he Schindler, himself freedom Beethoven the presence of allowed was playing greater when friend. it himself Even is'still highly he then, to and a only unlikely that playing was since Beethovencouldhaveallowedhimselfso muchfreedomasto makethemusicincomprehensible. This would alsocontradictthe accountof Beethoven'splayingasgivenby Ries.
4.10ACCELERANDO
Beethoven's written indicationsof accelerando in his music are as sparingashis use of this effect in his playing. Czerny's cautious use of accelerando, as mentioned in section 2.2.2, is therefore in line with Beethoven's. This term is notated when tempo change is not apparent, such as the (ex. Beethoven indicates 4.3), Op. 90/ii whereby ritardando, accelerando and unusual ending of Beethoven's Czerny his In the to He observe asks player tempo. comments, markings. writes: a "The conclusion is remarkable, as the last eight notes almost disappear, strictly in time, but " The difficulty lies in determiming thus the close". must and piece unexpectedly, pianissimo and be introduced. indicated, it is Sometimes, Czemy can not when requeststhat where accelerando,
"Czemy (1846),p. 38. (1966) (ed. MacArdle),p. 412. '6Schindler "Czemy (1846),p. 62. 124
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in be played quicker orderto obtainthe maximumexcitementandintensityin a finale, an ending. for example,the conclusionsofthe first andthird movementsof the "Waldstein"SonataOp. 53, the third movementof Op. 57, andthe fourth movementof Op. I 10." He elaborates on how this be can achieved: The presentFinale [Op. 57/iii] must not be played too fast. The be distinct to are performedwith passages equalityandlightness,only slightlylegato,andbut [sic) seldomimpetuously.Themovementand power first continuallyincreaseon the repetitionof the secondpart andtowardstheconclusion,andthe Prestowindsup the Sonatawith all thepowerwhichcanbeelicitedfrom the Pianoforte,by employing " its all means. In addition, Czemy uses accelerando to create tension, such as in the crescendo passage of Op. 31/2/ii/55-58 (ex. 4.4). Here, it is paired with ritardando.
Czerny suggests that the crescendo
in bars 55-57 should be played with increasing rapidity, while bar 58 (markedp) should be slowed down gradually. " Sometimes, accelerando is used on its own, for example Op. 27/2/i/32-35 (ex.
4.5),61in which the ascendingfiguration and dissonancesdemanda quicker pace. Beethovenalso in increase to the senseof excitement,such as Op. 101/iii/i6certain passages usesaccelerando 28, Op. 106/iv/10 and Op. III /i/I 28-131 (ex. 4.6).
"Ibid., pp. 56-57,60 and67. 191bid., p. 60. 601bid., p. 54. 6'Ibid.,p. 49. 125
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Although it is difficult to determineconclusively where Beethovenexpected unnotated be introduced, to a certainamountof speedingup wasprobablyusedto increasethe accelerando is 4 passages or those excitementofa passage. ccelerando thereforesuitablein certain crescendo introducing line. Czerny's in dissonant, the concluding of advice accelerando ascending with a bars of a movement,however,may havebeeninfluencedby the popular nineteenth-century bravura styleof playing.
4.11 INSTANCES WHERE A SLOWING DOWN IS RECOMMENDED
Czemy explains that a slowing down is usually indicated by ritardando or other equivalent The difference lies in the varying smorzando, calando, etc. such as ritenuto, rallent, expressions, " down implied by degreesof slowing eachterm. Both Beethovenand Czerny did not make any distinction betweenrallentando and ritardando. In Op. 2/2/i, Beethovennotatcs rallentando in the exposition and ritardapdo in the parallel passagein the recapitulation. Czemy also usesboth
in TheArt. temis interchangeably In general, Czemy suggeststhe use of rallentando to mark important structural junctures in a Examples its former increase be found in the to effects. atmospheric or poetic of can piece, or
62Czemy(1839E), iii, p. 34.
127
in bar 89 of Op. 13/i, duringthe smallclinm beginning before bars few the the quaversection introduction bars before in Op. the the Op. 27/2/Hi/55-56, three the of section allegro and of in last down tenbarsin orderto produce the 81a/i.63In Op.31/2/i,Czemysuggests someslowing 64 in distance. dying the away an effect reminiscentof thunder Czernywarnsthat the degreeof slowingdown shouldnot, in the majorityof cases,disturbthe basicpulse;it shouldbeachievedthrough"a very small,gradual,andequallyprogressivedegree '5 by 1/4 1/6 is How do Czerny's time the or part". that varied scarcely prescribed so ..., ,q instances Beethoven's in following the the compare with markings eleven on recommendation piano sonatas? " In to the the the transition (a) "In those passages principal subject". return contain which Beethoven 4.7), (ex. Op. 2/2/i/221-224 writes calando. passageof Ex 4.7
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6ICzemy(1846),pp. 43,49 and61. 611bid., p. 53. Czemy(I 839E),iii, p. 33. Incidentally,the sameprincipleappliesto the useof accelerando. 65 'Ibid. 128
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6'Ibid. 129
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(e) "Immediately after a pause".'9 Beethovenis very specific about the speedinu-nediately'after In Op. 31/2/i/l to the of a movement. clarify structure a pausewhich serves -9, the tempo change from largo or adagio to allegro, and vice versa,is carefully indicated. In other compositions,he in Op. 53/i/293-295. There however, the to as original speed, are, many may require a return instanceswhere no indication is given. In Op. 31/3/iv/317-322, the pausein bar 318 is followed bypoco ritardando, then a tempo (the last line of ex. 4.13). The precedingpassage(bb. 308-318) does not have any tempo indication eventhough it follows a pause. Does Beethovenexpect the
611bid. 691bid.
130
in original speed that passage,or should we take Czerny's advice, that is, to slow down imperceptibly?If we wereto examineOp. 57/i/16 andOp. 78/ii/175-178(ex. 4.14),two out of in thepianosonataswhichdo not havea tempoindicationimmediatelyafter the manyoccurrences in Czemy's In it is is truth there three advice. all cases, some plausibleto easethe speed a pause, before immediately little a after pause, resumingthe original speedsoonafter that. a Ex. 4.13 -
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"At the Diminuendo of a preceding very lively passage;as also in brilliant passages,when there suddenly occurs a trait of melody to be played piano and with much delicacy"." The following passagefrom the first movementof Op. 90 (ex. 4.15) is an instance. Beethoven does indications, but furnish the use of a small amount of slowing down speed such passageswith not cannot be ruled out. Ex. 4.15
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(g) "In embellishments,consisting of very many quick notes, which we are unable to force into " is first This degree clearly exemphfiedby the elaborate right-hand the chosen7'. of movement is indicated (ex. in Op. II I/i/I 18 4.16) which meno allegro by Beethoven. ornamentation Ex. 4.16
IOIbid. Capitalization original. 711bid. 132
(h) "Occasionallyalso, in the chief crescendoof a strongly markedsentence,leadingto an ' /iii/214-223 (ex. In Op. 10 1 4.17), thenumeroussfmarkings important passage to the close". or build-up bar 232. Ries As 123, device" 'braking the towards to quoted on p. emphasize act asa'. Beethoven usingtl-ýseffect. witnessing recalled Ex. 4.17
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(i) "in very humorous, capricious, and fantastic passages,in order to heighten the character so " "fancy", "whirif 'or in in language Czerny's Humour time the the of means as seen much more". description of Op. I 0/l/iii: This Finale is altogether written in that fantasticalhumour which was feature This Beethoven. to may be displayedparticularly so peculiar in the middle subj ect (from the 17' bar) by a humorous retardation of in the whole, we must there also remain true to though, single notes, the rapid time."'
Beethovenhimself asksfor retardationin a similar context in his late works, such as in Op. I 10/ii/33-35andOp. II I/i/22-23 (seeexs.4.18and4.19respectively).Asmentionedonp. 123, Quartet. by Schuppanzigh the this effect was alsoused
711bid. 711bid. 74Czemy(1846), p. 40. Capitalization original.
133
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(k) "Lastly, almost always where the Composer has indicated an espressivo".". Beethoven in It be to two use espressivo ways. can either appears used to refer to a slight slowing down or to tempo flexibility.
The context in which the former occurs is easily recognisable since
Beethoven often writes a tempo to follow espressivo,for exampleOp. 109/ii/ 120-124(ex. 4.20). Similarly, espressivoandpoco ritenente in Op. III /i/34 and 99 are followed by a tempo in bars 35 and 100 respectively. In most cases,tempo flexibility is implied. This is often apparent from the music itself, such asthe openingbarsof Op. 79/ii and Op. 8la/i (ex. 4.21). WhereBeethoven heading, in Op. 81 tempo as a as a/ii and Op. II 0/i, it is a directive to the uses espressivo
"Czemy (1839E), iii, p. 34. Capitalization original.
134
flexibility. include tempo to an element of performer Ex. 4.20 U
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This alsoappliesto the trill in Op. 27/l/iii/26 (ex. 4.23). A perfectcadenceis formedwhenthis dominant-seventhchord of E flat major resolvesto the tonic at the beginningof the next bar Beethoven this cadenza-Eke muchsofterthan it began. again ends movement. Ex. 4.23 * -l' -, --ý0 a-)P. 't 0*& 0 IPa
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Through their analyses,Barker andDrake" eachfound an instancewhich they do not consider language. Barker believes Beethoven's Czerny's that musical with statementgiven corresponds death, Beethoven's Drake (0 has doubts playing after reflects piano while above about under be because Their (1). from the piano accepted, cannot musical assertions examples example by in instance listed Czerny. found The be every various markingsinsertedby sonatascan Beethovento indicatea slowingdown serveonly to strengthenCzerny'srecommendations.In his Schindler, his to tendency the criticize given writings even of contemporaries, addition, 78 in discussion Czerny's thethird part ofPiano Forte School. tempo on modification approves of
4.12 INSTANCES WHERE TEMPO DEVIATIONS ARE DISCOURAGED
Although tempo flexibility was widely used in performances,Czerny did not encourageits introductionin certainpassages:
"See Barker (1996),p. 71 andDrake (1972),p. 71. 71Schindler (1966) (ed. MacArdle),pp. 411-412. 136
(a) passages character,suchasthe secondsubjectgroupof Op. 28/1"1 with a marked/march-like for exampleOp. 31/3/i/177-182(ex. 4.24)." (b) Passagework, Ex. 4.24
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"Czemy (1846),p. 51. "Ibid., p. 55. "Ibid., p. 53. 137
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138
like Czemy, have Beethoven, beginning that this the suggests may expected melody tempo of at a in be time. to played melodies Ex. 4.26 . .... ..................................................................... ............................................................... (1-292)0 ........................ 4K 9 * =ý 5 :ý RP
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4.13 SUMMARY
On the whole,BeethovenandCzemyusealla breveto imply a quickerspeed.Wherealla breve is introducedduringthe courseof a piece,Beethovenappearsto haveadoptedthe new meaning hand, On Czemymay have employed in his day the time that other signature. with associated both the old and new meaningsof alla breve,dependingon the context in which it occurs. However,thereis a strongpossibilitythat Czernypreferredtheold meaningor employedit more frequently. I Czemy'sdefinitionsof the maintempoheadingscorrespondcloselyto Beethoven's. Both of themreactedagainstplayingadagiomovementstoo slowly. Czernyalsosucceedsin capturing I by allegro. the spirit impliedby eachterm, for example,the vastemotionalrangeencompassed in spite of his definition of andante,he probablyhad a similar understandingof the term to Beethoven's.However,hisdeýinitionof assaias"very" insteadof "rather" or "enough"betrays his allegianceto the tradition of Mozart andHummel. Nottebohm praised the honesty and good memory of Czerny, but had less confidence in the latter's metronome markings. Unfortunately, he did not explain why he considered Czemy's be Although discrepancies in Performance Proper to unauthentic. exist among the five markings his for by Czerny, the slow movementsare trustworthy. markings markings sets of metronome They show no sign of being influencedby the Wagneriantrend in the 1840s,where the speedsof slow movementswere exaggerated. Many of Czemy's metronome markingsof the fast movementsare also relatively consistent over the five sets. Allowing for Czemy's varying moods on the different occasionsthe markings were insignificant. Although be discrepancies to too the usually are some markings appear prepared, fast, this is not the casewhen comparedwith the two setsby Moscheles. Only a few in Haslinger I are significantly quicker than those by Moscheles. One must bear in n-dndthat a quick tempo Reichardt by fast foreign Beethoven. tempi the by to was astounded concept very a no means was in which Beethovenplayedhis Fourth Piano Concerto. These,together with Moscheles' approval latter's I that true Haslinger Czerny's confirm most ofthe markings area markings, metronome of
140
Beethoven's style. of reflection Occasionally,the discrepancybetweentwo of Czemy's metronome markings is so large, such as Op. 49/1, that he must have changed his concept of this composition completely. This was inevitable as Czemy's experiencesincreasedand the styles of performancechanged.The slightly heavier key-dip of the piano from the 1830s,as compared with the earlier instrument, is also a deductions factor. Unfortunately, the of modem scholars, such as Kolisch and contributory Gelfand, fail to provide satisfactory answers. Although some of their results confirm Czemy's be helpful. instances, In Kolisch's too to the they subjective on whole, some are, markings, impractical. become Gelfand, fast in that they tried to this so who are avoid markings problem his calcufation, produced markings for the slow movements which are more in the style of Beethoven. than that of performance modem-day
If a literal adherenceto Czerny'smetronomemarkingsof the fast movementsresultsin manic is intention Beethoven Czerny. be Czemy's to the that of or unlikely metronome performances, is It decision the to to choosea as a guide performers. performer's markingscould serveonly "correct" tempothat would enablethe characterof a pieceto be conveyedsuccessfully. Although George Barth accusedCzemy of creating a tradition of performers who play with flexibility in the throughout tempo examples a numerous piece, of rigidity recorded mechanical Piano Forte School and its supplementprove Barth wrong. Czemy, who is usually thorough in his explanations, fails to make clear the meaningsof the metronome indications and the term c4stricttime" in his writings. Their meanings may have been obvious to nineteenth-century literally is Unfortunately, take to As Moscheles, there tendency everything a nowadays. readers. Maelzel and Beethovenexplained,the metronomemarkings were understoodto refer only to the first few bars of a piece. Playing in strict time is an aspect which Czerny constantly emphasizes in The,4rt. However, "strict time", when usedto refer to an entire movement, was not meant to be taken literally. For example,Czerny advisesOp. 31/2/ii to be played in "strict time", but asks for tempo flexibility later in the movement. This means that when "strict time" is apphed to a is it flow to to to the throughout y maintain a abilit steady used refer rhythmic movement, whole the movement. Where appropriate, a slight acceleratingor slowing down should be introduced.
141
described by literal Ries. The Beethoven's Theseare also characteristicof piano playing, as is in intended is . term this to "strict time" shortpassages. used relation when only meaningof According to Michael Frey's descriptionof a performanceby the SchuppanzighQuartet, instances, but had been introduced flexibility these certain tempo at planned was unnotated beforehand.Czemymanagesto list numerousinstanceswhereaccelerandoand rallentando is important highlight imperceptible This to be change of speed necessary cffective. would he the features to character, such as evocation mentionsof a particular or emphasize structural his Beethoven's distance. All in dying the capture guidelines style,with thepossible thunder away intensity. high level to the a very of excitement and produce useof accelerando exceptionof in is by Beethoven's list Czemy's Although supported musical examples rallentando ofunnotated degree by flexibility determine tempo taught the type is difficult it to and of whether music, from Czernycorrespondwith thoseof Beethoven.In this matter,Czernyreceivesendorsement Schindler. an unexpectedquarter its literal sense)is preferable, the only (in in time With regard to those passages which strict is from Beethoven have the treatment on of recitative-like passagesand we confmnations is Czerny's this On the advice on matter convincing. whole, expressivemelodies. In short, most of Czerny's advice on tempo and tempo flexibility (or the lack of it) is modelled have Czerny based the teaching. Beethoven's may made certain changes on and playing on flexibility in frequency tempo the bravura style and perhaps occurs, but the essenceoThis which by Beethoven. understandingwas shaped
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CHAPTER 5: STYLE AND EXPRESSION - DYNAMICS AND. TONALCONTROL Accordingto Czerny,"style" and"expressiorf'in interpretationareinfluencedby dynamics(that is the varieddegreesof shading,loudnessand softness),attack, articulation,andby the use of ' In the previouschapter,we sawhow tempoflexibility wasused accelerandoandritardando. to heightentheeffectofa piece.Articulation(whichwill bediscussedin chapter6) anddynamics but in different to a pieceor passage, a way. were alsoused characterise
0
5.1 THE RANGE OF DYNAMICS, THE CHARACTER DYNAMIC
MARKING,
REPRESENTED BY EACH
AND THE CORRESPONDING APPROACH TO PIANISTIC
TOUCH
Czerny does not describedynamicssimply in "mechanicar' terms of volume but, more importantly,its impacton colour andexpression,astonal and interpretativequalities: (a) The Pianissimo(pp) which indicatesthe gentlesttouchingof the keys, so however,as not to becomeindistinct or inaudible. It bearsthe characterof secrecy,mystery,andwhenexecutedwith the utmostperfection,it is capableof producingon the hearerthe pleasingeffectof musicat a greatdistance,or of an echo. (b) The Piano (p) Loveliness, Softness, tranquil equanimity, or quiet sorrow, by the still soft and tender, though yet somewhat firm and themselves manifest keys the touch of with which are to be struck. expressivemode
(c) The Mezzavoce(m.v.) This degreelies exactlyin the middlebetweensoft be loud, andmay comparedto the tranquil speakingtone usedin narration; and into declaiming in descending a whisperor a loud tone,it will interest andwithout be by by than to the styleof the performance. the played, matter us more (d) The Forte (/) denotesthe expressionof self-sufficingfirmnessand power, limits Passion dignity; the within of presumption; proper as excess or without is brilliant be to shewy, whatever and may executedwith this also,according rule, degreeof power.
'Czemy (I 839E), i, p. 184; Czemy (1848), p. 30.
157
(e) The Fortissimo(ft) That eventhe highestdegreeof force must alwaysrest is beautiful, be limits the and never allowed to degeneratein a of what within ill instrument, hasalreadybeensaid. Within treatment the thumping, of or coarse thesebounds,it expressedthe exaltationof joy to extacy,of grief to rage;just ' is brilEant-to Bravura. it absolutesplendorand as alsoelevateswhat Czerny'sinsistencethat dynamicsareto beusedto conveymood clearlystemsfrom Beethoven. However,this doesnot meanthat Czemyallowsonly the expressivequalitiesequatedto each dynamiclevelasdescribedin the abovegeneralization.For example,all threemovementsof Op. 14No. I beginwithp. Insteadof followingthe generalguideabove,he commentson ihe tempo describing first individual "serene", "noble" the movement movements, as ofthe and andcharacter "lively", the secondas a kind of "sadhumour"which must be played "in an earnest,but lively ' but lively, is finale "very facility". Even the the with a certain gay and playful while manner", is Op. 90, by in the theme markedp of and often accompanied movement second either recurring dolce or leneramente,requiresdifferenttreatmenteachtime. Czerny'sadviceregarding the is follows: this movement as performanceof The utmost sweetnessand feeling is here required, which can be light fine delicate by touch, and a cantabile, performanceof a produced the quickernotes.As the themeis frequentlyrepeated,the playermust it deliver different to time a with gradationof tone, but endeavour each ' delicacy. alwayswith Although not expresslywritten into the score,the different gradations of tone are understood to include a slight changein character,andthis ideais not unlike Schindler's description ofDorothea he impressed by imaginative Ertmann's this the was of movement: performance way she von introduced a different nuanceat eachrecurrenceof the main theme in this movement, so that it ' times more melancholic. was sometimescoaxing and caressing,at other
Evenbeforethe turn of the nineteenthcentury,Beethoven'sextremeconcernwith tone colour is evidentin his letter of 19November1796. He thanksStreicherfor the receiptof a piano,but jokes that it is "far too good" for him becauseit "robs me of the freedomto producemy own
'Czemy (1839E), iii, p. 5. Spelling, italicization and capitalization original. 'Czemy (1846), p. 44. 4Ibid., p. 62. 'Schindler (1966) (ed. MacArdle), p. 210. 158
tone".' Accordingto CiprianiPotter,Beethovenproduceddifferenttonequalitiesby varyingthe " ThusCzernyalso echoeshis teacher'smethodof producingdifferentqualities fingerpressure. finger Czemy Op. No. 10 the through touch: pressure. considers second varied movement of of as Beethoven'sgrandestbut most melancholy,and [one of one ... that] mustbe playedwith the Aiostattentiveexpression. In theperformanceof piecesof this kind it is not sufficientthat we into disposition; the the handsand fingers proper put ourselves mustbearon the keyswith a different, andheavierweight,thanis in fively, or tenderlyexpressivecompositions,in order necessary to producethat significantkind of tone, which may duly animate the slow courseof an earnest.4dagio! the touch shouldagainbevariedaccordingly.Czemyrecommends In fastanalivelymovements, facetioue' in "humorous, Op. 78.9 "brilliant" the touch merry and second movement of a more In non-brilliantpassagework,he often prefers a pearl-like effect, reminiscentof Hummel's does disapprove but Beethoven Czemy this, that sometimes of not reminds of playing. manner 11 letter is is (an desired 24 1). kind this "different of excerpt quotedon p. ofjeweV' a but thevarietyof shadings Czerny'sinstructionson tonalcolourcanbetracedbackto Beethoven, improvements is (for discussion Czerny to the the a of result made proposes piano a of which below). 10.2 improvements, He these see section admitsthat the extent of tonal someof between is 1820-1830 because improvement in in the greater of performance modifications hammercoverings."' He evengoesso far as to declarethat "... we are ableto produceat least in degrees loud different by hundred the loqch of and soft striking any one note mere one ... dynamics is ivhat His p912 the thus colours given above of on an extension advice of alone Beethovencouldhaveachievedon thepianosat the beginningofthe nineteenthcentury. It would be merespeculationto concludewhetherBeethovenwould haveendorsedthe useof a laricr varietyof tonal colours. 6Anderson(1961), i, p. 24. 'Sonneck (1967), p. I 10. 'Czemy (1846), p. 42. 91bid.,p. 61.
(1961), ii, p. 742. IOAnderson Czemy(1846),p. 3. 11
Czemy (I 839E), iii, p. 3. Italicization original. 12
159
havedifficultiesdefmingthe meaningof mezzavoce,asunderstoodby Modem-dayresearchers Beethoven.Rosenblumbelievesthat the term refersto a level of soft sound. Barkeris in partial important Beethoven's He is its that the more connotation of argues mezza voce agreement. " to the singingqualityof a passage. Althoughmezzavoceis usuallyfoundin passages reference which are melodious,expressiveand/orserene,this term was usedby Beethovento indicate a In String Quartet level in C Op. 1, 13 the second movement ofthe oftone. sharp n-dnor, restrained in bars introduced 194-195 is (ex. implies 5.1). This that non-melodious passage mezzavoce -a Beethovenusesthis term as a dynamicmarking. In addition, Schindler,a contemporaryof Beethoven,alsousesmezzavoceto indicatea relativelysoft dynamiclevel.14 Ex. 5.1
In the third. movement of Op. 106, its expressivequality is indicated not by mezzavoce, but by In late Op. the third sentimento. movement of e con molto another piano sonata, appassionato 109, mezzavoce indications in bars .15 (ex. 5.2) and 31 are preceded-bya set of hairpins, again its dynamic The role as a marking. expressive quality of the theme and the first suggesting is by marked molto cantabile ed espressivoand mollo espessivorespectively. variation
"Rosenblum(1988),p. 58; Barker (1996),pp. 155-159. "Schindler(1966) (ed. MacArdle),p. 283. 160
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The degreeof softnessimplied by this term, however, varies. In ex. 5.1 above, mezzavoce Hes between p in bar 191 and pp in bar 197. This term is also used in the third movement of Beethoven's last symphony. The opening melody, which is introduced by the first violin, is is In instance, this the the melody,although markedp. accompaniment while markedmezzavoce, louder Beethoven's be have thanp. to mezzavoce, therefore, refers to a soft slightly soft, would dynamic level, ranging frompp to mp. This range, of course, is lower than Czerny's suggested level: the "middle between soft and loud". On the other hand, the character Czerny associates in "the tone the tranquil term used narration" this suitably speaking reflects character with is of the passagewhere mezzavoce used.
5.2 ACCENTUATION The importanceof correctaccentuationin Beethoven'smusiccanbeseenfrom thevastarrayof f, fp, ffp, Reichardt in his >, and rinfor rf, occasionally also mfp. compositions: sffz, markings 161
draws attention to the use of accentuation, among other things, in his description of a in 1808: Quartet Schuppanzigh by the performance himself hasan original, interesting[pikanl] style Herr Schuppanzigh that is very well suitedto the imaginative[humoristisch]quartetsof Haydn,Mozart, and Beethoven;or rather, perhaps,it hasresulted from the spirited [launig] mannerof performancesuited to these difficult He the most passages clearly,although plays masterpieces. in local tune, the about which virtuososseem, not alwaysabsolutely He to the also accentsvery correctly and care. whole, not on is full His too, often singing quite and of cantabile, meaningfully. feeling. Likewise,he skillfully leadshis W'CII-chosen colleagues, who 's into the the composer.... truly enter spirit of This so-called"correct" and "meaningfur'accentuationwhich Schuppanzigh employedwould both in The types are often unnotated. Which to context accents; refer rhythmicandexpressive in discussed be 5.4,5.5 5.6. be sections and such accentuationcan appliedwill
5.3 sf, rf ANDfp
While sforzando(sforzato or sj) andfp are used to emphasizethe note which carries the indication,Czerny'sexplanationsof rinforzando (rinforzato, rf or rinfi areinconsistent.In the he fp, ft, is, School, Forte to the Piano that to equates rinf accent, sf, and third volumeof later in himself in for by Piano Forte He an example asking contradicts only onenote. emphasize " bars (ex. 5.3). for be bar in 9 two to sustained the rinf
bracket in italicization Square Spelling 386. (1988), original. "Rosenblum and p. Rosenblum. i, p. 184andiii, pp. 6 and 76. 16Czemy(1839E), 162
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163
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Ex. 5.6
Whilefp does not appear as frequently as sf in Beethoven's music, it too has its own meaning. In contrast to Czerny's convenientdefinition whereby all the markings which indicate an emphasis hasthe samemeaning,Beethovenusesfp in two different contexts. The first is to emphasizethe (Op. 2/2/Hi/58-68 Op. it is deficate but 28/i/40-62) indicates, than it accent sf and a more or note is frequently, The (ex. is 5.4 which meaning, also used second above). more as an rinf even by immediately is followed This by the p marking which piano. confirmed offorte abbreviation is placed on the secondquaver in the bassof Op. 57/i/93: the note which immediately follows the fp chord (ex. 5.7). Althoughfp is employed at the climax of a passagewhich incorporates a it be build-up, during fp is the to that would erroneous conclude markings of sf a succession Occasionally, be in the two that the samepassage, meanings offip may used sf. accent stronger for example in Op. 27/2/iii/78-87 (ex. 5.8). In bar 79, it indicates that the first beat of the bar it in bar 87, be not only crowns the climax of the passagecommencing should emphasized,while in bar 71, but also marks the sofl beginningof the next phrase. Ex. 5.7
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Schindlerclaimsthat Beethovenlaid muchemphasison rhythmic accentsin his teaching. He
writes: As for Beethoven'sparticularstyleof accentuation,the authorcan Czemy's fromBeethoven's critical remarks on playing speakpartly instruction Beethoven him from that to the gave piano andpartly directly. It wasaboveall therhythmicaccentthat hestressedmost heavilyandthathewantedothersto stress.He treatedthe melodic (or grammatic,as it was generallycalled) accent,on the other 166
hand,mostly accordingto the internalrequirements.He would especiallythat of thediminishedsecond all retardations, emphasize in cantabilesections,more than other pianists. His playingthus highly different from the even, personal character, a very acquired " flat performances that neverrise to tonal eloquence. The importanceof accentuationis further strt-, ssedin the annotationsof Cramer'sEtudes(see in it helps because, Schindler's below) deep 5.5 the opinion, convey section poetryin Beethoven's " Schindler's Although the given annotationsare, reputationas an insecureandjealous music. in Conversation Books, forged the the some of entries viewed with suspicion,his man who basis. his In day, Cramer for the vocal without are not was accentuation admired on cornments both features in his are playing; whichprobablyattractedBeethovento accentuation quality and Cramer'splaying. In addition,.Beethoven's"Rolland" Sketchbook,which datesfrom the latý in C inscription'auf 1823, Sylbenmasse the melodies major with contains"two summeror autumn InstrumentalMelodien(schaffen)machen... (to createinstrumentalmelodiesaccordingto syllabic meter).
5.5 ANNOTATIONS
OF CRAMER ETUDES
The annotations of Cramer's Etudes are signed by Schindler, with some remarks attributed to Beethoven. They deal mainly with rhythmic and melodic accents, which are derived from a by the prolongation of the accentednote. Beethoven touch accompanied are often and stronger is supposedto have written the following instructions for Etude no. 3 (ex. 5.9): The melody is nearly always to be found in the third note of each be but the accent must given uniformly on the rhythmical group; first note. On account of binding, the finger should dwell on this 20 accented note.
"Schindler(1966) (ed.MacArdle),p. 416. Barth correctlyobservesthat Schindleris mistaken in equating"melodic" accentwith "grammatical"accent. SeeBarth (1992),p. 130. (1893),p. ii. "Cramer/Shedlock "Rosenblum(1988),p. 100. Rosenblum'stranslation. (1893),p. 7. Seealsothe commentsregardingEtudeno. 21. IOCramer/Shedlock 167
I
Ex. 5.9
!
t .5-2'.
5
4.
r== 10
EjEEJ
EMS ý
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2
C==
1
2
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11 ýý
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II 1 I ... ý
L
ME
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4
3
4
These suggestedrhythmic accentsin the Etudes do not necessarilyfall only on the first note of beats by Rather, the time to the suggested strong and weak signature. or conform. each group, it appearsthat there is more concernto place the accentsin strategic places in order to bring out importance line. The (or the sometimes accents override suggestedrhythmic the melodic scalic) " following from in Etude 16 (ex. 5.10). the passage no. of the metrical accent, as shown Ex. 5.10
(
Moderato con espressiorie.
D9
J=132.
il. .
16.
5 2f
4
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"Ibid., P. 27. 168
(v)
(Y)
Accentsare alsoinsertedto marksyncopation,for examplethe syncopatedC-E dyadsin Etude help 6 (ex. 5.12), Etude In to the 5.11). the I (ex. accents are used clarify and rhythm no. no. Beethoven, bar is in four 15 (according to the to to the attributed study up comments polyphony " voices). Ex. 5.11
B
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in P
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8
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Ex. 5.12 ovivace
3
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pi
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a
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Dissonances are usually highlighted in this manner, as in Etude no. 21 (ex. 5.13): Attention must be paid to the accent of the fifth note of each group which mostly appears as a minor second. Trochaic measure fornis the basis of each group: the first note accented and long, but less 23 fifth. the so
Ex. 5.13 Maerato.
c
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140
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3 1. 231bid., p. 170
40
Cresc.
Sometimes,the notated rhythms are altered so that a "melody" can be formed, suchasEtude nos. 7 (ex. 5.14) and 24 (see section 6.3). Since the first and third notes of each group in Etude no. 7 carry the melody, the first note must be held for the length oftwo quavers,thus giving the effect in 5.15.24 ex. shown
Ex. 5.14 92.
Pib tosto moderato G13, P.-r-9 -
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Ex. 5.15
/I
KyII
VIIIII
This study is also consideredto be in four voices even if it is not explicitly notated thus, with the tenor supporting the soprano, so the alto and bassshould be played with a lighter touch.
Schindler claims that Beethoven consideredthese Cramer Etudes "the best preparation for his " own works".
Beethoven is also believed to have written that "... all nuances cannot be
These S-)2.26 in help for they studies provide other pieces. counsel and all case indicated, neither can When comparedto the functions ofaccents found in Beethoven's sonatas(seesection 5.6 below), the "counsel and help" in the annotationsof Cramer's Etudes are rather limited; they deal only dissonances. In Etudes these addition, and syncopations are confined accents, with rhythmic largely to passagework,with a few studies in polyphony and cantabile melodies.
"Ibid., pp. 15 and35. (1966)(ed.MacArdle),p. 379. 21Schindler (1893),p. 27. Italicizationoriginal. Cramer/Shedlock 26 171
5.6 BEETHOVEN'S
AND CZERNY'S USAGES OF ACCENTUATION
Czemy'scommentsin TheArt alsorevealhis concernfor correct accentuationin Beethoven's be divided into Czemy's the the of unnotated accentuation on use can advice piano sonatas. following categories: (a) to emphasizethe highestnote in a phraseor motif In the third movementof Op. 14/1(ex. 5.16),Czemyinstructsthat the highestnotesin the right " be G hand(in the majorsection)should well marked. This correspondswith thestaccatomarks left by Beethoven.Before > becameuniversallyacceptedas the sign for the light accent,the indications dash) If dot (both thestaccatonotation the the one ofthe was used. and staccatoSign hiccupsin thephrases.Sometimes,Beethoven is understoodliterally,it would causeunnecessary In he for Op. 2/3/iii, the types two minor section of accentuation. marks of notation combines the highestnote of the arpeggiatedfigureswith both a staccatoandan sf. Ex. 5.16
{
p -0-
(b) to emphasizenotesof longerduration. long Op. Op. 14/2/ii/2 4, Czerny's on a accents are Among note and manyexamplesof unnotated 14/2/fii/3, Op. 26/ii/6, and Op. 57/i/37 and 39. The sign A in ex. 5.17 (an excerptof Op. 2,Czemy (1846), p. 44. 172
31/l/Hi/I and 5), a strong accent,is insertedby Czemy." Beethovenalso subscribedto this 7 in Op. 57/iii/228-256 (in the the where minimsare markedsf rhythm usage,asshown Ex. 5.17
411fgretto . /IJOW
==,gc .
(c) to highlightdissonances Beethovenfrequentlymarksdissonances with accentsor sfmarkings,asin Op. 14/l/ii/3 and43 Pin for Czerny's 123. Therefore, 14/2/iii/121 Op. the the thealto request emphasisof and a and is because it forms diminished (ex. 5.18)" 2-13 Op. 22/iv/1 an unexpected valid seventh voiceof bass the andmakesthe g' an accentedneighbournote. with Ex. 5.18
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(d) to highlightnotesof harmonicinterest Both BeethovenandCzemyemployaccentswhena noteof harmonicinterestoccurs,suchasto Op. 28/i/310-31 1, highlight (at dominant to the the shift to the the of or cadencepoints) mark dominantin Op. 14/2/ii/6-7(ex. 5.19). Czemy'scommentson the fourth movementof Op. 26 idea: this echo
59. 45,47,52, 211bid., and pp. 29Ibid.,p. 46.
173
IIII
17
II
in the bass,in the 6' bar, mustbe The two quavers markedwith a certa6degre"eof emphasis.Similarly,wherever theyoccureitherasa perfector asanimperfectcadence asin the 12' 20' 28' 30' 32nd& 34' barsetc. In Beethoven'sworks we often find that he groundsthe structureof hispieceson singleand apparentlyunimportantnotes,andby bringingout thesenotesin the performance,as he himselfwas accustomedto do, we shall impartthe true unity andcoloaringto the whole." Beethovenhimselfmarksthesenotesstaccato. As mentionedabove,staccatois oneof the signs usedto signify an accent. Ex. 5.19 0
(D Iv
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(e) to emphasizesyncopations According to Czerny, the syncopatednotes in the last twenty-two bars of Op. 10/l/ii must be " in does Beethoven but in this Op. any accents not mark syncopated marked. passage, slightly 27/l/i/4 and 28 (ex. 5.20), he reveals that it is necessary to accent the syncopated b6l in the treble. Ex. 5.20
Czerny Although Punctuation 48. 101bid., correctly observesthat those notes at original. p. his do be I "unimportant to them with not agree reference accented, as must points cadential notes". "Ibid., p. 40.
174
(f) metricaccents Czernyadvocatesthe useof metricaccents,asshownin his directionson the first phraseof Op. 10/2/iii andthe bassof Op. 31/3/i/174-175(ex. 5.21)." The accentsin ex. 5.21 are Czemy's. Beethovenadds Metric accentsareoftenunderstood,andihereforenot indicated.OccasionaUy, beats, in Op. 90/ii/223 Op. 106/iv/ 102-110 his the to to strong as emphasize music accents -224, Op. 78/i/20-23. in bass the of and Ex. 5.21 fý
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llýIn contrastto the Schindler/Beethoven annotationsin the CramerEtudes, Czerny does not in brilliant first lengthening the of notes passageworkas a meansof of a group mention lengthening in is It that the arpeggiated consonant chords with of only passages accentuation. " benefit from full, because is He first tones. would such passages the resonant permitted, note (even if fall beats) in does the they teach selected notes of accentuations on weak not order also his line. Nevertheless, form adviceon varyingthe placementof metric to a scahcor melodic (see 38-40) is by from the pp. of supported passagework an example at repetition accents Beethoven'sOp. 109/iii/107-108(ex. 5.22).
bass Op. 31/3/i in begin in bar 55. The 41 the 121bid., of must surely accents metric pp. and 170. (1839E), iii, pp. 3,9,12, and 19. 33Czerny 175
Ex. 5.22 >
5
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(g) to highlight the lowest bassnotes when they forrn a meaningful line Czerny gives Op. 31/I /iii/3 6-42 and 132-140 as examples.34 This is soundadvice,judging from the staccato marks, evidently having their alternative function as accents,applied to the lowest bass notes in bars 132-140 (ex. 5.23). Op. 26/i/I 11-116 and Op. 54/ii/37-44 are another two instanceswhere Beethoven highUghtsthe bass lines. Ex. 5.23
-
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35 Accordingto Schindler,Beethovenis saidto havecriticizedCzernyfor "false" accentuation. This is mostprobablyanothermisleadingaccusation:the abovecomparisonsshow that Czemy Beethoven. in the contexts as same usedaccents
"Czemy (1846),p. 53. "Schindler(1966) (ed.MacArdle),p. 416. 176
5.7 CZERNY'S ADVICE ON DYNAMICS COMPARED TO BEETHOVEN'S USAGE IN THE PIANO SONATAS In general,Czemyasksfor the carefulobservance of Beethoven'sdynamicmarkings,probably herecognises because therelationshipbetweenBeethoven'sdynamicmarkings,the structureand Op. 31/2/iii, he Of remarksthat the movementcanbeenlivenedonly "by an characterof a piece. forte, the crescendoand diminuendo...... Again, in Op. 57/ii, he piano, exact observanceof " "crescendo the that the andforte must.-bewell observed". reminds reader Sometimes,Czerny'sstatementsserveto reinforcethe markingsalreadyin the score. He may Beethoven'sdynamicmarkingsproduceanunexpected havefbuýd this necessary eitherbecause importance he because large-scale to the the wishes emphasize of observing effect, or simply functioningof thedynamicmarkings.For example,Czernystatesthat the expositionof Op.53/i be both He the that times. thus crescendo must cut confirming off abruptly also endssoftly, Op. 90/ii. In Trio Op. he 2/l/iii, the the the ending of of soft emphasizes confirms unexpected importanceof maintaininga soft dynamic" (as indicatedby Beethoven).Czernyalso showsan he bars 68-89 be Op. "must 2/l/i that the when observes musical structure of of understanding " does Even Beethoven though and vivacity". augmented power constantly with not performed intended build-up in his thesebarsis clearfrom his useof insistent tliýis passagecrescendo, mark in bar 90 he by the the tension until climax sequences when and releases writing sf markings decrescendo. Where no dynamic marking is given, Czerny (like Hummel, seep. 38) is fond of using crescendo in an ascendingline and diminuendo in a descendingline, as is shown in his advice for Op. 10/2/H, Op. 14/1/ii and Op. 26/i/var. P' Occasionally,he deviatesfrom this generalrule; in the first phreise from bar he Op. 2/3, 5 in bar 13,4' to theforte the a recommends crescendo of up even scherzo of line. descending Beethoven also follows this rule of using 8 bars 7 though and are madeup of a
"Czemy (1846), pp. 54 and 59. "Ibid., pp. 33,56 and 62. "Ibid., p. 33. 47. 41,44 191bid., and pp. 101bid.,p. 37. Seealso his musical exampleof the first phrase of Op. 14/l/i.
177
different diminuendo fan fine to to the the suggest nuances according and crescendo rise and of fok small-scale structures,suchastheshortmotifsat thebeginningof Op. 101A. Wherea passage hasa largerstructuralfunction,suchasthe descendingline in Op. 54/ii/61-65,Beethovenwould level. dynamic In is this the case, a appropriate crescendo choose more suitable becausethe descendingline leadsto a climaxin bar 65. Occasionally,Czerny'sadvicecontradictsBeethoven'snotation. We haveseenon pp. 75-77that last bars Czerny's the on eight comments of Op.26/i/var.His a legitimateinterpretaiion, although bars last four four, his ideas to the the act as an answering phrase preceding arethe opposite since in bar By 89 direction (seeex. 3.3 Beethoven's. the not cancelling crescendo with another of intends implies Beethoven last that the to this crescendo until the endof this variation. above), It is alsovery strangethat Czernyshouldaskfor the first note of the third bar of Op. 7/iii to be indicates loudly" Beethoven dolce (ex. 5.24). clearly when and very p played Ex. 5.24
I
On the whole, Czerny hasa very good understandingof the functioning of Beethoven's dynamics do in hand, he introduce knows the to composer's not exist markings often such where when and, the appropriate dynamics or accentuation. However, one must be wary of his occasional deviations from Beethoven's indications.
38. 411bid., p. 178
CHAPTER 6: STYLE AND EXPRESSION - ARTICULATION. ANDTOUCH 6.1 THE BASIC TOUCHES USED BY BEETHOVEN
AND CZERNY
From the three main type of touch specified by Czerny - prolonged, connectedand detached he and Beethoven exploit the numerous variations available, some of which arc described by .
Czemy as foRows:
-LEGATO
Gliding one into another; smoothly connected.
LEGATISSIMO andMOLTO LEGATO
Very connected; nearly to the approaching prolongedtouch.
TENUTO (ten)
Held on, is sometimesplaced over singlenotes, be in that case,must struck with emphasis, which firmly held down. be then and
STACCATO
Detached, separated. With peculiar emphasis; generally united with staccato, though also applicable to the Legato.
MARCATO and BEN MARCATO
LEGGIERMENTE and LEGGIERO
MARTELLATO
ftee,
light,
agile; is most properly employed in quick, movements and in the somewhat staccato style or touch; though it may also be applied to the Legato as well as to the Staccato.
Hammered. The highestdegreeofStaccato; this term is employedbut seldom,and but by few it deserves authors; although certainly a to be introduced into generaluse.'
'Czemy(1839E),i, p. 189. Italicizationandcapitalizationoriginal. 179
i
All the abovetouches,with the exceptionof martellato, can be found in Beethoven'spiano Beethoven is Czemy than abouttheuseofmartellato, a characteristic enthusiastic more soýatas. touchin compositionsof thebrillianttype(seep. 46). Beethoven,on the otherhand,consistently introducing for its (see 16,231 232). his disapproval virtuosity own sake of pp. and expressed
6.2 LEGA TO OR NON LEGA TO?
SchindlerandMoschelestestifythat Beethovenalwaysinsistedon legatoasthe normaltouch.' In 1796,Beethovenwrote a letterto Streicher,expressinghisobjectionfor thepianoto betreated like theharp. This clearlyindicateshiswishfor a smoother,connectedsound.In the sameletter, in 3 "sing". ArchdukeRudolph's the he strongly emphasizes the nd-cessity of making piano instructionbook, Beethovenagainadmitsto usinggood singingasa model: Good singingwasmy guide;I stroveto write asflowingly aspossible justify before judgment-seat in to the trusted ability myself my of and soundreasonandpuretaste! Schindleralsoconfirmsthat Beethoven"adoptedthe methodsof cultivatedsingers"in cantilena is faced difficult Beethoven he In a with when passage, would overcomethe addition, sections. it, listening by "appropriate to to a perplexing words passage and singing assigning or problem ' it". The in Beethoven's vocal quality slow of or wind player play playing a good violinist He his draw his by is the to was contemporaries. not of onlypianist many confirmed movements inspirationfrom excellentsingersandinstrumentalists.As wasmentionedin chapter2, C. P. E. Bachhadgiventhis advicein his n-iid-eighteenth centuryEssay,a treatisewhichBeethovenheld in greatrespect.Sostrongwashisbeliefin this methodthat hepassedon this ideato Czerny(the latter's idealshavebeendiscussedon p. 43). It is therefore no surprisethat Czernyrecognisesthe singing, legato tones neededto perform the in his As 3, Czerny that sonatas. mentioned on p. piano recalled slow movementsofBeethoven's
2Schindler
(1841) (ed. Moscheles),p. 129. 'Anderson(1961),i, pp. 25-26. 'Kerst (1964),p. 25. 'Schindler(1966) (ed. MacArdle),p. 416. 180
first lesson,Beethoveninsistedon, amongother things,legato technique.A cantabilepassage in a Beethoven'spianosonata,eventhosewithout slur marks,therefore,shouldbeplayedlegato. This certainlyappliesto the slow movementof Op. 57 (ex. 6.1). Czerny'sadviceregardingthe " involves legato. theme, the the asexpected, useof opening performanceof Ex. 6.1
f
y 7,
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=
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The sameassumption,however,shouldnot be mad&tu passageworkwithout slur marks. The indicates in frequently Beethoven's of slurs suchpassages wishfor thenonlegatotouch. absence In Op.31/3/iv/275(ex. 6.2),for example,Beethovenusesthe termnonligato to confirmthat thý is intentional. in Again, from legato in legato Op. the this to shift slurs passage of non ornission 53/i/l 96-215is conveyedthroughthe presenceandthe absenceof slursrespectively'.However, Ex. 6.2
"
-r FI.
have it is inserted be beginning has to that the to unusual slur marks not aware only at of a one in the the restof the section. For same articulation expected with stylisticallyuniformpassage, (ex. in Op. 53/iii/450-451 6.3) lack does indicate the of slur marks not a non legato example, touch,ratherthesetwo barsareexpectedto be slurredin the samemannerasbars 442-443and 446-447.
6CZeMy
(1846),p. 59. 181
Ex. 6.3 4-
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r
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3'
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On the whole, many of C2emy's adviceon the use 6f legato conform with Beethoven's notation. Schindler's accusationthat Czerny "never sustain his notes", is without basis, considering the legato in Czemy frequency the performance of recon-imends playing with which emphasisand Beethoven's piano works in TheArt. Sometimes,Czerny would sacrifice the rhetoric ofa phrase in favour of an unbroken legato line (seesection 6.4 below). Even when he occasionallydeviates from the composer's indications, as in Op. 22/ii, it is legato that he always asks for. In ex. 6.4, the bass from Op. 22/ii is marked mezzostaccato, but Czerny states that it should be played legato.' He is mistaken here becauseBeethoven most probably intends the accompanimentto drum These than triads. smoothly connected strokes, rather prove'that, soft, rhythmic resemble far from Czemy's playing showing, as Schindler claims, a lack of "binding", perhaps therg is it. is Czerny danger that of over-fond sometimesa Ex. 6.4 AA. 'ý.ý-.., mw\t). W%.wl
Ul i ti
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'Schindler(1966)(ed.MacArdle),p. 416. ICzemy(1846),p. 46. 182
1L'
_____
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6.3 LEGA TISSIMO
In TheArt, Czernyrecommends theuseof legatissimoin certainpassages eventhoughdirections for it is not specifiedby Beethoven.Nevertheless,Czernyis carefulnot to overusetl-ýstouch, (Op. 03-118, Op. 13/ii/9for 2/3/iv/1 it choral-like or passages melodies cantabile reserving only 16 and the themeof Op. II l/ii), arpeggiatedchords (Op. 27/2/i), and as a meansto project in bass (Op. 7/iv/150-154). Sometimes, Czerny the couplesaccentswith counter-melodies legatissimo,suchasin Op. 7/iv/150-154(ex. 6.5).' 6) Ex. 6.5 ý >WC >ýi 09 . it9'0[a 1
1 L=ý iý rM0 i 1-ý= mi -'-, mimL..., 5220 f9-0'Ge* -1
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Beethoven evidently wishesfor some degreeof sustainedtones in all thesepassagesbecausehe (Op. 27/2/i) (Op. II I/ii). terms the them sostenuto or cantabile or uses slurs, with marks
The notation of Op. 31/2/iii, with its extensive use of sustained notes, could perhaps offer an insight into Beethoven's usesof legatissimo. Notes are lengthened to contribute to the overall harmonic bass line, highlight (note for to the the to show progression example the resonance, tonic and dominant harmonies supported by the sustained a in the bass of ex. 6.6a), and to I
increasethe impactof the dominant-seventh anddiminishedchords(ex. 6.6b). p
Ex. 6-6a
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Besidesaccents,which were discussedin the previbus chapter,the lengtheningofnotes is another' for in is Schindler/Beethoven Etudes, Cramer the the annotations emphasized of aspectwhich lends (ex. 6.7). The 2 Czerny's Etude to this to annotation etude use of support no. example, legatissimo in broken chord passages: In the four introductory bars the thumb adheresfirmly to the fiindamental in broken that the triad, and a similar manner all broken chords, so note, binding, be figure in left In the to triplet the obtain clear. order may made band must be dealt with in the sameway. "
"Cramer/Shedlock(1893),p. 5. 184
Ex. 6.7 JPresto. wo. dp
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Notes may also be sustainedto form "unwritten7'melodies,as seenin the commentsregarding Etudeno. 24: In the first five barsthe first noteof the first triplet andthe third noteof the in best be together the triplet connected must possiblemanner,so second that the melodymay standout thus: K
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The fmger, therefore, must remain on the long note." Etude no. 24, however, appearsas follows: Ex. 6.8 a,,:r6
4=ý2
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I'Ibid., p. 35. The rhythm time signatureis 2/4.
ratherthan 185
is probablymeant,seeingthat the
Many of the annotationsof the CramerEtudesrevealthat noteswb&h carrythe metricaccents held longer (see interest 5.5 than their those are often notated value also section with melodic and be determined, Czerny's If they these that the annotations can of will confirm validity above). bring legatissimo line in bass to the the the out and of of accents melodic use adviceregarding Op. 7/iv/150-154comesto us directly from the tradition of Beethoven. Legatissimo was a common early nineteenth-century practice but the reason or the context in from have is interesting It introduced it to to note that the person person. varied may which was is Czemy, in Cramer to to the touch give annotations rhythmic or motivic clarity, while role ofthis it is to increaseresonanceeven when applied to arpeggiatedchords in fast movements. He adds that legiwissimo is used mainly in fairly soft passages,rarely in forte or fortissimo ones"' Instancesin Beethoven's piano sonatasreveal that the composer also usesthis touch to increase the resonanceof a passage.However, unlike his pupil, Beethovenis not shyabout using it in loud (ex. 6.9) bars. in Here, Op. 53/i/1 14-115,118-119 and similar and numerous as passages,such lengthening broken Beethoven the instances, to they of notate chords only when seems other he does in bars 116-117 Why for bar the "static" two. sustain arpeggiated not chords or a remain instinctively, he Czerny Does in bars 104-113? to them performers sustain those expect as or done? have would probably Ex. 6.9
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Beethovenwouldhaveexpectedperformersto lengthencertainnotesaccordingto contemporary few have based Unfortunately, Schindler/Beethoven the only a guidelines survived, on convention. annotationsand Czerny'swritings. Czemy's advice on legatissimois not unlike the advice in limited found in in Beethoven's the the and musical examples annotations piano contained demands due therefore consideration. and sonatas,
6.4 THE MEANINGS OF SLURS AND LEGATO
The difficulty in understandingslursHesnot in the touch they represent,but in whetherthe last is detached. Of be found in Beethoven's the two types to main of slurs slur of each music, note theperformanceof two- andthree-noteslursis morestraightforwardthanthatof the longerones. Accordingto Czemy,the last note of a two- or three-noteslur shouldbe detached,especially in in The, 4rl, He it is Op. this the vein continues staccato. giving marked same advice on when 15/iii, Op. 27/l/ii, Op. 28/iii, and Op. 78/ii." Someof Beethoven'snotationindeed confirms Czerny'steaching,for example,the dot on the last note of a two- or three-noteslur in Op. 7/iii/71-79,Op. 10/3/iii/74-85,Op. 28/i/448-453,andOp. 53/i/146-153. from oneor two basicideaswhicharerecognisable Beethovenoftenconstructswholemovements fast his In basic developed these through slurs. movements, use of short short motifs are partly in a way that increasesthe liveliness,excitementor intensityof theclimax. Czernyshowsan important he this that the lastnote of of short-slurred motifs of role when stresses understanding " presumablybecausehe the two-note slurs in the scherzoof Op. 28 should be detached, fiveliness in it the conveying andhumourof this movement. element considers an essential It has been establishedthat the long slurs in Beethoven'smusic refer to legato rather than " ligato figato indications In to the and are some slurs, sempre of common addition of phrasing. legato; the exact degreeof "binding", however,is determinedby the musicalcontext. These
"Ibid., i, p. 187;Czemy(1846),pp. 50,51,6 1, and 104. 14Czerny(l 846), p. 51. "Newman(1988),p. 134;Rosenblum(1988),.p. 168. 187
differentdegreesof legatoarerecognisedby Czemy:his descriptionof this touch rangesfrom legato (the Op. 7/iii) legato (the 57/iii) legato (Op. trio to through of very or extremely a slight "' Op. 106/iii). from Op. 109/i and vivace SinceCzemyconsidersslur marksto indicateboth legato andlegatissimo," he often relieson his musicalinstinctswhen decidingon the degreeof legato to be employedin eachpassage. Thereis alsoa strongpossibilitythat Czernyequatespassages which carrythe indicationsempre ligato (or semprelegato),irrespectiveofwhetherlong slursarepresent,with analmostprolonged touch. For example,Czernyrecommends a "very (or extremely)legato" touchfor thetrio in Op. 26/ii andOp. 57/ii/33-48;both arepassages whicharemarkedwith long slursandsempreligato (or semprelegato). Similarly,he asksfor a "very legato" touch in Op. 109/i/2-3"-a
passage
but legato, does have indication long the not slurs. sempre carries which also The most hotly-debated issue regarding the performance of Beethoven's long slurs is whether the last note of the slur should be detached, as is the casewith the short slurs. This question, baffle day. in B. Marx" A. to to this the continues researchers century, nineteenth started which last long by be detached. Czerny Although that the the of note slurs should stating contradicts latter recognisesthe importance of observing Beethoven's articulation in order to achieve the is influenced Czerny by from legato the to also expression, style and change non appropriate legato as the normal touch. He writes: When, however, slurs aredrawn over severalnotes, although the slurs but broken into are continuous, several lines, they are are not forming [punctuation but, as one, considered sic] and no perceptible separationmust take place. I
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16Czerny(1846),
188
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Herethe last note of eachbar must not be playedshortor detached; but it must, on the contrary, be connectedwith the following one. Shouldthe Composerdesireto makeit detached,hemustplacea dot " it. dash over or By endingthe long slursin Op. 28/i/20,39 etc. with a dot, Beethovenmakeshis intentionclear. Unfortunately,mostof the long slursin his piano sonatasdo not endwith a dot. Beethoven's is (which long the of a combination old andnewwaysof writing)" alsomakes slurs of notation it difficult to establishwhetherthe lastnote of everylong slur shouldbedetached.Someof his in Op. 10/3/iv/41-45 (ex. 6.10), late long those to the conform eighteenthas slurs,such relatively line. bar A by the tradition separationat the end of each slur win crossing not century in disjointed. is This in to the this sounding passage similar example phrase undoubtedlyresult Czemy'sPiano Forte School,.quoted above,where he advisesthe use of continuouslegato irrespectiveof the slurs.Others,especiallythe very long onesin cantabileor chordalpassages Ex 6.10 1
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(the trio of Op. 26/ii and Op. 109/i/21-35), are akin to what beýamethe nineteenth-centurystyle however, Beethoven's inspection Closer slur notation, of suggeststhat there cannot of slurring. be a standardmethod of performing his long slurs. The decision on whether the last note of a long slur should be detachedwill depend on the context in which it is used.
"Czemy (1839E), i, p. 187. Capitalizationoriginal. 2'Newman(1988), pp. 127,135 and 136; Draýe (1972),p. 122. 189
it is believed It is not unusualto find slursof oneor two bars'lengthin slowmovements, and now " Someof the that suchnotationreflectsBeethoven'sintentionof creatingrhetoricalexpression. (Op. 13/ii), in themes the fast movements(Op. and even cantabile passages slow movement 2/3/iv/103-110 andOp. 53/i/35-42),certainlybenefitfrom a slight feelingof "breathing"at the last in instances Although detached, be the these the of slurs. note each slur should gently endof the overallshapeandphrasingof the melodymustnot bedistorted.In Op. 2/3/i (ex. 6.11),if the last note of bar 47 is detached,attentionwill be focussedon the highestpitch of this two-bar is 40 172, idea (tlýiis, Since this on and was mentioned pp. was again as normal practice). motif bars, between define bars 48 49 two the next a slight separation over and will clearly presented the beginningof the motif. Beethoventheninsertsa long sluroverthe secondhalf of this phrase, from bars51 to 55, to balancetheprecedingfour one-barslurs. Thesmooth,continuouslegato impliedby this long slur alsoprovidesa contrastwith the slightly"breathlese'effectcreatedby the shorterslurs. Ex. 6.11 (D 3w A
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In a lively passage,slurs can be used to enhancethe articulation and to highlight the harmonic in Op. 2/3/i/27-37 (ex. last 6.12). By detaching the transition the such as passage progression, in bars 33, 27 in bars 28 and 34 will'be the the crispness and shortness and of acciaccature notes last bar is discreetly from beginning If 29 following the the the note of separated of emphasized. bar, the pianist will help highlight the changeof harmony. Incidentally, the slurs in bars 35 and 36 have the samefunction.
2ISeethe discussion in Rosenblum(1988), pp. 182-183; Barth (1992), pp. 108-117; and Drake (1994), pp. 17-32.1 agree with Newman, who rejects Mies and Grundmann's suggestionthat the irregular slurring in Op. 13/ii servesto mask the regular eight-bar phrase.
190
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Czerny's concept of long, seamlessmelodies originated in the decadesafter Beethoven's death, influence. In The Art, Beethoven's for Wagner's the opening themes slurs probably as a result of in favour ignored longer for have been In Op. 57/i, 101/i Op. 57/i Op. of slurs. example, and of Czerny's slur marks indicate the phrase structure (ex. 6.13a), while Beethoven's common is long is in 6.13b, before to a ex. end slur as shown a cadence.The latter most probably practice, because, declamation in 6.2, to the simulate vocal as'was good slurs mentioned section used is intensity better his The detaching by the this guide. of phrase maintained slightly singing was ýlur beginning bar 3 (according Beethoven's by from bar 2 to the than piaying Of marks) end of legato throughout the first four bars. Unfortunately, since the top of the page of theautograph hasbeenslightly trimmed off, the first slur seemsto disappeartemporarily in bar 2. However, the discerned be bar. In its from bars 5 to this the this end of at slur can addition, sequence, end of 8, is slurred inexactly the samemanner,with the slur ending at preciselythe samejuncture in the next phrase. Ex. 6.13a 41tegro assai. . -- TAIýI-I----. 60,19 rl
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6.5 TENUTO AND SOSTENUTO
In contrastto somenineteenth-century theoristswho equatetenutowith sostenuto(seepp. 4344), BeethovenandCzemyusethetwo termsdifferently. Theyemploysostenutoasanadjective to the maintempoheadings.The indicationadagiosostenutoin Beethoven'sOp.27/2/i andOp. 106/iii prove that he usessostenutoas an adjectiveto adagio. The debatablefactor is whether Beethovenconceivessostenutoasmeaning"holding on. Keepingback" asdefinedby Czerny." Tenuto,on the other hand,canbe usedin two ways. The first is to indicatea deepertone (or a it is indicate Secondly, to used a smoothconnection slight emphasis)on singlenotesor chords. in Op. 53/ii/l (ex. 6.14) in 8 The Op. 81 tenuto markings and and a/i/I of chords. succession a on III are examplesof the former. Their functionis to enhancethe expression.Like Beethoven, Czemy" alsoperceivesthat tenutoon singlenotessignifiesthat they shouldbe emphasized.In later works, tenutoon singlenotesis also usedto mark a key change,as in Op. II 01iii/6(ex. 6.15). The tenutoin bar 9 from the Largo of Op. 106deservesspecialmention:it is placedoil Ex. 6.14
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be 6.16). At (ex. this to tied appears a glance, a curiousand most unsuitableplace. chord a Wouldit not bemoreappropriateto introducetenutoon the first of thisseriesof chords(in b. 8)? However,the significanceof this notationbecomesapparentif oneconsidersthe possibilitythat Beethovenmayhaveusedtenutoto mark the point of modulationaswell asthe first beatof bar 9. Here,tenutohasceasedto bean expressivemarking. It hastakenon a differentmeaning:one function. with a structural Ex. 6.16 t1vto
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If tenuto is required over two or more chords, Beethoven would spaceout the marking, as is the in Op. 78/i/24 83. 6.17) Alternatively, he (ex. in Op. 7/ii/50 and and usesthe term tenuto case Op. 2/2/ii/1-5,13-16,32-36, to of chords, such a succession as sustain sempreorsempretenuto 44-47 and 58-59 and Op. 7/ii/25'(ex. 6.18). In both instances,the right-hand melody, marked tenuto sempre or sempre tenuto, has an accompaniment marked staccato sempre or sempre in Czerny this manner, as witness his instructions regarding the tenuto also employs staccato.
FuneralMarch of Op. 26:
I
As a funeralmarchion.the deathof a hero,this movementmustbe performedwith a certainearnestgrandeur,whichis expressed not only by the slow time, but alsoby a heavypressureof the chords in the strictesttenuto,by whichthe fulnessof the sameisproduced in everydegreeofpiano andforte.25 Ex. 6.17 Il
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6.6 STA CCA TO
Much research has been conducted in the last one-and-a-half centuries in an attempt to decipher Beethoven's staccato notation. The aim is to determine whether dots have a different meaning from dashes. Nottebohm, Unger, Keller, Unverricht, Zaslaw, Newman, and Fischer suggest that dots refer to a light staccato afid dashes a heavier one.
Although Nottebolun
states that
Beethoven made a distinction between dashes and dots at least from 1813 (possibly even by 1800), Newman claims that such distinctions already exists in an early work for four hands (179 1) -
in bars 59-60 of Beethoven's
Pariationen fiber ein Thema des -Grafen von WaIdstein,
26 Wo067.
In 1957,Mies opposedthe ideathat Beethoven'sdotsanddashesrepresentdifferentdegreesof in Beethoven have dots dashes He that my opinion correctly, would used and staccato. reasons,
f25; Unger (1926),p. 2ý; Keller (1973),pp. 100-101; 107(18 72), "Nottebohm pp. Unverricht(1960),pp. 56-63;Brown and Sadie(1989),p. 210;Newman(1988),pp. 139-144; Fischer(1990),pp. 154-166. Fischerclaimsthat Beeýhoven alsoemploysthe wedge. 195
heobserves in a systematicandconsistentmannerifa differencehadbeenintended.Nevertheless, that Beethoven'sstaccatonotation is sometimesaffectedby the expressionof the passagedashesbecomeincreasinglylongerandheavierin loud passages while the staccatomarkingsare in dot-like is It this sameobservationwhichled Newman soft passages. oftensmallerandmore to arriveat the oppositeconclusion- that Beethovenconsciouslydifferentiatedbetweendots in insists dots dashes. He that aremainlyused softer,gentlermusic,andin passages marked and in diminuendo. Dashes, his opinion, are associatedwith brighter, more and/or ritardando " he from The Op. 26/i/77-81 (ex. 6.19),unfortunately uses, quoted example accentedsounds. his is It theory. than true that Beethoven'snotationwas to support rather serves contradict influencedby the emotionsof the passagehe was writing at the time, but the staccatoat the beginningof this passageis clearlynotatedwith small dashesrather than dots as claimedby Newman. Ex. 6.19 p
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haphazard in A convincingexplanationonthismysterysurroundingthesupposedly manner which
17Mies(1957), pp. 83-95; Newman (1988), pp. 143-145. -
196
1
Beethovennotateshis staccatomarks can be found in an unpublishedthesisby Riggs. He dashes indicate Beethoven to the that, uses staccatooversinglenotes,while on whole, concludes dots areusedwith slursto indicateportato. His view is also sharedby Rosenblum,Drake and Brown. They maintainthat dashesare employedin all instanceswheresinglenotesare to be detached,irrespectiveof the degreeof staccatodesired. AlthoughNewman,who hadnot read Riggs'thesis,hastheoppositeviewpointregardingstaccatonotationoversinglenotes,heagrees " indicate dots to that portato. andslursareemployed Althoughthey arriveat opposing results,the two "groups" aboveoftenrely on the oft-quoted letter whichBeethovensentto Holz in 1825(seepp. 68-69),andthe composer'scorrectionsin in No. 7 Op. for A 92, Symphony to supporttheir arguments. major, parts a set of Orchestral When commentingon the letter of 1825,Riggsand Brown clarify that Beethovenconsistently dots String Quartet dashes the the correcting copyists' when work on with under slurs replaced Op. 132, but did not make any changesto the dashesplacedover singlenotes. A similar for Seventh Symphony: Beethoven is the the changed orchestralparts regarding observation made Riggs dots. In dashes that the to parts the notices when correcting addition, slurs under all (portato) dashes his Beethoý, by to to careful change very en was under slurs copyists, prepared dots,but wasnot concernedaboutalteringhiscopyists'dotsto dashes(to indicatestaccato)over in Investigations this the two types occur close articulation succession. on of unless notes single discovery Op. 132 from benefitted the have the of manuscript of which wascopied also subject " Unverricht Nottebohm (it their Holz by and presented views). wasunavailablewhen II.
A page from the autograph of Op. 90/ii (ex. 6.20) shows how Beethoven clearly differentiates between round dots under slurs for portato, and long dashesfor staccato. Allowance must be
in Beethoven's irregularities for however, the the and sizes shapes of staccatoandpor6to given, indicationswhichcould be causedby writing fatigue,or the varyingsizesof the pennips,or the "emotionaldrive" of the passagehewasnotating. Writing a dot with a quill pencanbe difficult, hole becomes been has the times that if the the so many rather sharpened nip endof especially 1 Rosenblum 348-349; (1988), (1972), 186; Drake 245-269,308-319 and p. pp. Rewman 143'. (1988), 252; (1999), Brown 6; 13 p. p. p. (1993), 202; (1999), Brown Brown 252; 348-349; 10 257-3 (1987), p. "Riggs p. and pp. Drake(1972),p. 136;Rosenblum(1988),pp. 186-187.
28
i Riggs(1987),
197
large. In the autographof Op. 101/iii,the two dots undera slur towardsthe endof bar 17have beenlengthenedto the extentthat they look like dashes(seeex. 3.6). If onestudiesthe writing darker lines is in ink 6.20. This the thicker than the and are much much ex. suggests carefully, that the pennip at this stagewasmuchlarger. Consequently,it is muchmoredifficult to write thedotsundera slur. Thisapparent"inconsistency"is obviouslynot intentionalon thepart ofthe composer. Ex. 6.20 "t -....
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Beethoven's staccato notation was also consistentthroughout his careeras a composer. NNUle he was proofreading a work, the staccatomarkswhich were addedin pencil could shedsomelight ftom large debate (the have been this sometimes which could result problems a pen nip on discussedin the previous paragraph). In his corrections of the three early sonatasfrom about 1783(a set of sonataswhich he dedicatedto the Elector of K61nMaximilian Friedrich), the added
is In bars in bar 66 first 19-21 the to relevant. sonata particularly and again staccatomarkings in thefirst movementof thissonata,longdashesareboldlyaddedin pencil. His staccatonotation later. The in /ii/54 in Op. 10 1 thirty-three the staccato markings, added years pencil, same wasstill
198
(ex. 6.21) are also in the shapeof long dashes. Ex. 6.21
Even though Beethoven does not vary his signs to indicate different degreesof staccato, performersshould be able to decipherthe composer'sintentionsbasedon the musicalcontext. Czcrny's solution is exemplary. In all his explanationsregardingthe choice of the different degreesof touchesand articulation, it is the characterof the individual passagesand/or of the overall movementwhich is the deciding factor. The third movemcntof Op. 2/3 and the bassin the secondmovementsof Op. 28 and Op. 31/1, for example,are all markedstaccato. Czerny correctly observesthat the staccatoin the lively schcrzoof Op. 2/3 mustbe"light andshort". In contrast,the bassin the march-likcsecondmovementof Op. 28 shouldbe "very short, light, and remarkablystaccato". In the gracefulsecondmovementof Op. 3 1/1,thestaccatois delicate,and he likensit to the nccompanimcntof a guitar. "
6.7 Af EZ7,0 S TACCATO Czcrnyconsidcrsviezzostaccato(usuallynotatedthus: *01-IN -, or whenappliedto singlenotes, the smoothlegato and the pointcdstaccato. Eachnote, struck Nvith --ý- ) as a touch tx-t%%-ccn "'Czcrny(1846), pp. 37,51 and 52. 199
for its full be held two-thirds of note-value. In slow movements,the a slight emphasis,should 3' interrupted be by "a thus this touch would resemble speech sigl&', and would cffect of appropriatein Op. 27/l/iii/19. His advicecan also be appUedto movementsof moderatespeed, for example,Op. 10/2,riV3840,4344,4748
(ex. 6.22) and Op. 26/i/209-212(ex. 6.23). Note
how effectively Beethovenchangesthe characterof bars 205-208 at its modified repetition in bars209-212 of ex. 6.23, prirnarily through the use of a different articulation. Ex. 6.22 tI 11 A w0l Ifny
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In addition to the "sighing cffect", Beethoven rnay have used this notation to convey a psychologicalmessage.I Ic often usesit on repeatedchords,for instance,in ex. 6.22 aboveand inOp. 53/iV4,18,20,26, and27. In this context, Beethovenimpliesthat an almostlegato cffect is neededeventhoughthe finger hasto be liflcd beforethe secondchord is played. Sometimes, in Op. 6.24) in (ex. Op. 2/2/V221-224 by and mezzostaccato chords arc separated rests, as "Czemy (1839E), iii. pp. 20,24 and 25. 200
7.5ii/82-83.It is obviousthat Beethovendoesnot intendthat the chordsin ex. 6.24 shouldbe becausethey psychologicallysegregated eventhoughtheyhaveto bephysicallydisconnected, forma vital finkbetweenthedevelopment Theslursoverthedots, sectionandtherecapitulation. therefore,referto a coherentphrasingleadingto the recapitulation. Ex. 6.24 lb
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In florid figurations,suchasthosefound in Op. 31/1/ii/2,4 (ex. 6.25) andsimilarbars,and in Op. 53hill I and 13, anothertype of mezzostaccato is used. CzCrnycalls it the lingering staccato. He describesthis methodof playing as follows: I 1crcthe fingersmust rest on the keysfor onehalf the durationof the notes, in legato; hand the tranquil the as so that the notesare and must remainas " fingers. by the tips the shortenedonly a gentlewithdrawing of of Ex. 6.25 ýIrA%Csfj 0
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Czcrny also states that mc=o staccato should be employed in very fast passagcsmarked kgglermente or k=1crissimo. To achievethis touch, [c]ach finger mustmakecontactwith the keyswith its soft and fleshy tip. By a rapid action, makea movementlike that usedin scratching " be I'lic tone must clear,pearlyand equal. or tearingoff something. Apart from Op. 78/i/8-10 and 60-64 and Op. 79/i/12-23 and 134-144 which are in fast "Ibid., i, p. 186. "Ibid., iii, pp. 26-27. 201
in derniserniquaver leggiermente passages of eitherslow movements usuallyoccurs movements, in for Op. 3 I/l/ii/1 0,12,74, Op. 0/i/12-19 76, II those and and example speeds, of moderate or Op. 11I/ii/72-80 (ex. 6.26). Ex. 6.26
III
1!
Even though it is difficult to assessthe authenticity of Czerny's instructions on mezzostaccato his is lack this to to matter, seems suit on advice plausible and writings of contemporary a owing the various passagesin the piano sonataswith this touch.
6.8 SUMMARY
BothBeethoven and Czernyemployeda wide rangeofarticulation (from legatissimoto staccato), but elected legato as the normal touch. Beethoven also taught Czemy the important lesson of imitated that tone the especially one piano, excellent singers. when playing obtaining a good Czemy's enthusiasmfor the use of martellato, however, was probably not sharedby his teacher. The latter repeatedlyvoiced his objection on composersand pianists who introduced virtuosity for its own sake.
In The Art, Czerny shows a strong understanding on the performance of short slurs in Beethoven's piano sonatas. By asking for the last note of thesetwo- or three- note slurs to be detached, the appropriate character of the movement (such as humour) will be successfully legato in is for his However, smooth cantabile or chordal a passages advice conveyed. longer Czerny Beethoven's By to slurs, chooses sacrifice rhetorical extending questionable. legato. for expression continuous
202
CzernyandBeethoven,in contrastto manyof their contemporaries, treatedsostenutoandtenuto Sostenuto j different terms. two as was used an ad ectiveto the maintempoheadings,while as tenutowas applicableto either singlenotes(or chords),or to a short chordalpassage.When tenutoappearsover singlenotesor chords,this signifiesthat the note or the chord shouldbe indication Beethoven tenuto to sustaina succession employs also as an emphasized. of chords. Beethoven'stwo mainusagesof tenutoare correctlyunderstoodby Czemy. Czernyrecognisedboththedashandthedot asindicationsofstaccato. Beethovendifferentiated betweenthe two signs,but only as far as using dashesfor staccatoand dots under slurs for degree is The derived but from therefore, the of shortness of a staccato, not notation, portato. froin the contextit is usedin the music. On the whole,manyof Czerny'ssuggestions on legatoandstaccatoconformwith Beethoven's His Beethoven's also understanding advice reflects a strong of style andthe,distinct notation. however, instances, In Czemy's betray each movement. some of comments a personal character long in the of slurs. especially performance preference,
rI,
203
CHAPTER 7: ORNAMENTATION 7.1 THE
RELEVANCE
BEETHOVEN'S
OF BACH'S
ESSAY IN THE
UNDERSTANDING
OF
ORNAMENTS
The general survey of early nineteenth-centuryperformance practice, as outlined in chapter 2, in By their areas. of uncertainty many no means the smallest issue is that of state reveals
asthe role andrealizationsof ornamentswereundergoinga periodof transition. ornamentation, Suchchangeis clearlyreflectedin Beethoven'streatmentof ornaments.In spite of his high in Beethoven's for Bach's Essay, the of some ornaments earlycompositionsshowthat he regard from departing Bach had the tradition to established. was, someextent,already The first obviousdifferenceHesof coursein the notationof ornaments.During Bach'slifetime, indicationsof ornamentswerefew, sinceperformerswereexpectedto introduceembellishments but discretion, those 'including their unnotated obligatoryornamentsat the cadentialtrill own at in his indications fermata. Beethoven the was more particular asto thetype of ornamentand and the contextin which eachoccurs. WhileBachusedsmallnotesto indicateboth the long andthe difference between (the had be from deduced the two to the ornaments appoggiatura short his long Beethoven in largenotes. Only the to notate appoggiaturas preferred musicalcontext), in indicated by small notes orderto avoidanyconfusionthat mayliave were appoggiaturas short dual function the of thesesmallnotes. as a result of arisen fI.
From his first set of piano sonatas with opus number, there is already a hint that he did not in he introduce Bach his the on which should agree with context ornaments. Theway necessarily the Schneller is employed is an example. Bach states that this short trill (which he calls a Pralltriller)
in is descending found either over the second note of a It second. appears only a
two-note slur (ex. 7.1a) or in descendingpassagesof three or more notes (ex. 7.1b) and should ' it is detached its Since function is "fife to over placed rapid notes. notes, over add appear never 2 brilliance to a performance". and
'Bach(1974),pp. I 10-112. 2Ibid.,p. I 10. 204
Ex. 7.1a
Ex. 7.1b 4,
Although Beethovenretainsthe quick and brilliant characteristicsof this ornament,the Schneller in his piano sonatasalways begin on the first rather than the second note. For example, Op. 2/2/iv/27 and 29 (ex. 7.2), Op. 7/iv/43 and 136 and Op. 79/iii/7 and 41. He even uses the Schneller in ascendingfigures in two of his piano sonatas - Op. 2/3/i/58-59,190,191-192 and Op. 22/i/10 and 137 (ex. 7.3). 'In addition, Newman concludes that Beethoven;s Sqhneller by Bach four (ex. 7.1a but notes as suggested above), not of of three (see also the consists 3 in Schneller beat in below). 7.3 discussionon the placementof the relationto the section Ex. 7.2
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Beethoven'streatmentof slides,however,is lessradical.Bachdividesslidesinto two categoriesThe is three. two-note the two other of and slide, of notes which usuallyplayed consists one it helps iW'. in leap fill The is fill is "always to three-note to which used a slide also used quickly, the gapin a leapbut its speedis determinedby the characterof the movementandthe tempo. It is suitablenot only in rapidmovementsbut alsoin slow andexpressive ones.Thetwo-noteslide be (ex. by"v 7.4). Similarly, by indicated be the three-noteslidecaneither smallnotesor can be indicated (ex. This followed by 7.5). leap in cn slide may with a out or a or a note written 4 before beat. Both the types of'Slideareperformed stepwisemotion. Ex. 7.4 or
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The three-noteslide, as describedby Bach, is used frequentlyin Beethoven'spiano sonatas It by 1800. appearsalongsidemodifiedversionsof this ornament,such as sometimes, written 4Bach(1974),pp. 136-138. 206
thosederivedfrom triadsor brokenchordsin Op. 10/1A/9-13(ex.7.6). Suchslidesarerelatively Ex. 7.6 A16o-PA Pi It(
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is in It his in that the two-note observed piano also many slides sonatas. piano all common 46. in 44 Op. 3 I/l/ii/42), Bach's do the those to and exceptionof rules,with sonatas not conform While Bachusesthe two-note slideto fill the gap of a leap,Beethovensometimesusesit as a decoration(often without a leap),as in Op. 13/iii/5-6,66-67,125-126,and 175-176,and Op. 3I/l/ii/33 and97 (ex.7.7). He alsousesa succession of two-noteslides,againasdecorationsto Ex. 7.7 4
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-f the numberof notesin a slide,turning it into a florid figurationwhichfills the gapin a^leapin Op. 10/l/ii/17,19,21,62,64, and66 and Op. 31/2/ii/5 and 94 (ex. 7.10). Ex. 7.10
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A number of Bach's rules governing the appropriate contexts for the inclusion of particular loosely their are and characteristics, only realizations observed by Beethoven. ornaments, Sometimesthey are modified, as is the casewith the Schneller and the sl*.
This has serious
implications, for it calls into question the extent to which modem scholars can rely on Bach's Essay as a basis of understanding the realization of Beethoven's ornaments, espeoially,trius. Even in an early composition such as Wo04O (seeexs. 7.29a and 7.29b below), his fingerings for the three trills indicate not only an upper-note start (as Bach practised) but a main-note one as in lack A the the early nineteenthcentury on realization ofornaments consensus ofuniversal well. it Even few fingerings to treatises. the consult contemporary unhelpful equally some of makes his have Beethoven trills given rise to more questionsthan answers,as will be over added which discussedin section 7.4 below. The only alternative, therefore, where Beethoven's instruction is in is ifthis (even these the the contexts which of musical ornaments study occur may unavailable, it is Unfortunately, be Beethoven's to not subjectiveý. possible compare and rather sometimes Czemy's realizations of every ornament, since the fori-ner did not leave sufficient directions
208
discussion For is this the the turn their reason, of performance of not realizations. regarding includedhere.
7.2 APPOGGIATURAS
While manyof Beethoven'slong appoggiaturasare written out, heprefersto usesmallnoteswith X) 3' indicate ( The to the two the stem and short appoggiatura. across a stroke or without In he interchangeably. for instance, be Op. 13/i/51-71, the to exposition of used signs seem in but in (bb. the the the analogous with aP passage short appoggiatura recapitulation notates ý. Czerny acceptsthe two signs to representthe short appoggiaturaexcept 221-241), he uses 1.5
in the contextsshownin ex. 7.1 Ex. 7.11
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A few years later, Czemy again asks for the samerealization of an appoggiaturasimilar to the third instancein ex. 7.11 above. With regard to the passagein Op. 10/3/i/53-55 (ex. 7.12), he is long [sic) beplayed little therefore that"the appogiatura and a must note as a quaver spSFifies
6 Unfortunately,it is not possibleto deduceBeethoven'sintentionsherebeýause he always assignsthe appoggiatura sign to the samedescendingfigure. Ex. 7.12
II
ii
'Czemy(I 839E),i, p. 161; Czemy(1846),p. 42. 6Czemy(1846),p. 42. 209
Czerny'sinstructionthat the shortappoggiaturashouldbeaccentedon the second Nevertheless, The Beethoven's be to compositions. sfor > markingson the mainnotes applied note'can safely 125, Op. 7/iii/36,38 in 2/2/iv/4,28 40, Op. Op. 13/i/53-54 2/l/i/5-6, Op. and and and and of determine (ex. 7.13) bars that the secondnote of the short appoggiaturareceivesthe similar accent. Ex. 7.13
7.3 THE SCHNELLER
Accordingto Czerny,the Schneller(he refersto it as the transientshake)is madeup of three be The to the two written note added must notes playedvery quickly, with an small notes. He third the consistentlygivesthe sameadviceregardingthis or written note! on emphasis for in His Op. 31/2. this the third the ornament same explanation movement of using ornament, ' beginning in bar is in 43 7.14. the ornament shown ex. realizationof recommended Ex. 7.14 I
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1
By suggestingthat the bass"mustcomeout smartlyafter the two smallnotes"," he is implying that the Schnellershouldbe playedbeforethe beat. As mentionedin section7.1, Beethoven introducedtlýiisornamentin a differentcontextfrom Bach,suggestingthatthe formermighthave hada differentrealizationin mind. However,do Czerny'srecommendations aboverepresentthe have Schneller? Although in Beethoven the would realized scholarsof performance which way his Czerny's this that three they suggestion ornament consists of accept notes, question practice before beat be it the that andthat the accentshouldfall on the third note. played should claim In bar 108 Newmancites Op. 7/i/ 109-110(ex. 7.15) in which, he believes,the semiquavers from introduced being Schneller beat first before first the two the the of notes of the prevent following bar." Ex. 7.15
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Kullak andNewmanalsobelievethattheaccentshouldbeon the first beat,ratherthanthethird." io is be basis. If Czemy's is in doubt 7.14 Their adviceregardingthe passage ex. not without takenliterally,playingtheSchnellerbeforethebeatandplacinganaccenton thethird notewoLuld The length be the the the two ensuing quaver. rhythm of of equal quavers would shorten distorted. In this case,it is moresuitableto placethe accenton the first note. In addition,the further in Beethoven's his in Many this they music could clarify occur matter. of which position Schnellerare on the first of a two- or three-noteslur, so accordingto the rule governingshort in first (and 6.4, first discussed the the therefore the of note slur section note of the slurs as Schneller)is to be slightlyaccented.
101bid. "Newman (1988), pp. 213-214. IlKullak (1973), pp. 77-78; Newman (1988), pp. 213-ý14. 211
7.4 THE TRILL
Czernyliststhreepossiblewaysof startinga trill - on the note above,on the mainnoteor on the Schneller, invariable his Unlike the the below. ofthe realizations appoggiatura and advice on note is differs from in in 40s 1820s, 1830s that the trill the the his view on the performance as and of below. outlined Accordingto Czerny'sPianoForteSchool,a trill maybeginon themainnotewhenit is preceded by restsor by any note apartfrom the principalnote itself If the latter occurs,a start on the is lower it begin The is the trill on auxiliarynotewhen preceded mayalso uppernote advisable. " begin Double trills their by a lower appoggiaturaprefix. also on respectivemainnotes. A in his introductory later, Schoolfor to the two these years remarks appeared rules summaryof for Op. 632: Shake, twelve the practiceof Practice the which contains a work exercises the of the trill. The notabledifferenceis his adviceon the startingnote of the trill whichaccompanies his is Piano Forte School, hand. In by be to this trill the the to start advice same played a melody, " " begin for he 632, Op. In this type to the trills of on mainnote. asks on the uppernote. Although Czerny is insistent in the Piano Forte School and in Op. 632 that most trills should begin on their main notes,his earlier emphasis, as specified in his prefaceto the Grand Exercise for the Practice of the Shake, Op. 151 (cl 828), is to begin them on their upper notes. Of the , in for Op. 151 he for beginnings the upper-note'start. trill, a preferenýe expresses three possible a The vast majority of fingering in the exerciseof Op. 151 refers to an upper-note start-,including by by hand, be trills to one and a succession quitted of played those which accompanya melody he had decided School Forte Piano By to (ex. 7.16). the time was written, adopt a mainskips " leaps. by for trills which were quitted note start
"Czerny (I 839E), i, pp. 171-175. , 130. ii, 128 i, 176 "Ibid., p. pp. and 1lCzemy (184 1), p. 4. "Czemy (0828), preface and p. 5; Czemy (1839E), ij, p. 129. 212
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Czerny'sview on the automaticinclusionof a suffix to enda trill wasalsodifferentin the 1820s. In theprefaceto Op. 151,hestatesthatwhena suffix is not notated,thetrill shouldbcrperformed he his later, had it. In instructs Eleven Piano Forte he School, the changed mind. years without that irrespectiveof whethera suffix is notated,the trill shouldendwith it. 17As mentionedin in definite 2, the earlynineteenthcenturytowardsadoptinga main-note trend there wasa chapter it Although Hummel both for the trill suffix. with a embraced and ending upper-noteand start for latter. he He began the a preference starts, expressed also embracingthis new main-note Hummel his In German (1828), Czemy. that the treatise same year published of ahead practice Czerny'sOp. 151still endorsesthe upper-notestart,with thetrill finishingwithouta suffixunless notated. A comparison of the preface of Op. 151 with Czerny's comments in the Piano Forte School further reveal subtle changesto the rapidity and the qualities which he claims constitute a good his In descending in Op. the trill. trills on realization explanation a of a cýain of performanceof 151 (ex. 7.17), eachtrill consistsOf five notes. The samerealization in the Piano Forte Sýhool " increase (ex. in 7.18), trill the rapidity of the tri.11.His notes suggesting with nine an each shows in ýn Op. 15 he instructs 1, this that successive approach. also confirm change ofadjectives choice trills in the grand exercisemust be played "quite legato, and in a light, graceful, style". By 1839, he is more concerned with trills being "quick, equal and distince'. " This shows a significant is his in following 7.18 to afler consideration given qualifying even statement attitude ex. change in the Piano Forte School - the number of notes in a trill varies dependingon the context.
IlCzemy(cl 828),preface;Czemy(I 839E),i, p. 171. "Ibid. "Ibid. 213
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II Czerny's theoretical writings display his conscious efforts gradually to incorporate tho newNyays in his fingerings Unfortunately, in the trills. the second volume some of examples performing of in first his School Forte Piano the guidelines volume of the same treatise. For contradict of double first begin trills the to over single notes volume, should on their example, according " below. in 7.19 ex. respective main notes, as shown
2'Czemy(1839E), i, p. 174. 214
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The sametype of trill in the secondvolume, however, begins on the upper note (ex. 7.20). Ex. 7.20
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Incidentally, it is common for Czemy to add prefixes to trills in his theoretical writings (such as in Op. 632) and in his arrangementsof Beethoven's compositions, including the "Kreutzer" Sonata, Op. 47, and the Septet, Op. 20. In the third movement of the Septet, Czerny adds the Beethoven's in bar (ex. 7.21). 20 does have original score prefix not a trill upper appoggiatura is key instruments, decays but the tone this once a piano struck, wind unlike very quickly. point, at As a result, a trill, insteadof an unembellished long-held b62, is more appropriate in the piano Czemy's The the to clearly confirms with prefix position regard upper-note added arrangement. starting note of the trill.
ii, p. 132. 211bid., 215
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All Czemy's double trills in the secondvolume of Piano Forte School, except the ascendingand descendingchainsof double trills, begin on their upper notes. This is in direct opposition to the in himself listed he the first volume of his treatise. Discrepancy also existswith regard precepts to Czerny's realization of a trill which is sandwiched vertically between two notes in the same hand. In the first volume of this 1839 treatise, he insists that the double trills should start on the in (ex. 7.22) while the second volume, the same'type of trill begins on the upper main notes 22 note.
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The fingering in ex. 7.23 below, from the secondvolume of Piano Forle School, not only instructions in first Czerny's the volumeof the sametreatise(seeex. 7.24),it is also contradicts itself" The fingeringin the first bar of ex. 7.23pointsto a maininconsistentwithin thepassage left) in bar, hand in is (both the the third the while right and an upper-note start start note
i, pp. 175and 177andii, pp. 130and 132-134. 211bid., i, p. 176andfi, p. 138. 211bid., 216
intended.In contrast,hestipulatesanupper-notestart in ex. 7.24irrespectiveof whetherthetrill is accompanying a melodyaboveor below it. Ex. 7.23
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This mixture of main-note and upper-note starts within the samemotif is a common feature in Czemy's writings on the subjectof trills. According to the fingering of an ascendingmotif in Op. 151 (ex. 7.25), it appearsthat no consideration is given to maintain tlýs stepwise rise by in The inconsistency is for trills. the the the same note all still starting prevalent same employing Piano Forte School, as can be seenin ex. 7.26 below. This example,as well as exst 7.19 and 7.22, has different starting notes and an uneven number of notes in each trill. In these three in first is have It he trill the trills while all subsequent eight seven notes notes. examples, notates " for "uneverf ' he such an realizýationof certain trills. only occasionallyopts unclear why Ex. 7.25 -9=-
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in Czerny'srealizationsof trills. FranzKullak wasoneof the first to observethe inconsistencies He initially consideredCzemy'sremarksin the Piano Forte Schoolto be valid adviceon the but in Beethoven's his investigations the trills piano music, results of of convinced realizations him otherwise. He was shockedand disgustedthat Czerny's fingering of the trills in the "Kreutzer" Sonata,Op. 47, differed in two separateeditions. The majority of the trills in from Variations Czerny'sarrangement the"Kreutzer" Sonata(Kullakdatesthepublication the of date c1821),which havedoublefingeringsor addedprefixes,beginon the uppernotes. Later, in his scoreeditionof the samesonata(publishedby Simrock),Czernyhadremovedmanyof tfie doublefingeringsandtheaddedprefixes,replacingthemwith singlefingerings.Onlyonepassage in the Simrock edition (from výr. 4) has double fingerings. In contrastto Czemy's earlier double fingerings in for Simrock the this upper-note starts, edition indicatethat the preference trills shouldbegin on their main notes. Kullak assumesthat the other trills with only single fingeringsin this passagewould alsobeginon their mainnotes." We haveseenin the previous ýrting be, Czerny's how fondness for different this erroneous assumptionmay given st, paragraph Piano Forte School In the the second volume of addition, revealsthat when siogle notes. fingeringsareindicated,theymaynot necessarily referto the startingnoteof the trills. To aid his discussionon the appropriatefingeringsfor trills, Czernyrecommends the combinationof 42-31 for a trill in thirds,but his singlefingeringdoesnot refer to the startingnote (ex. 7.27)." Ex. 7.27
-i
"Kullak (1973),pp. 83-86. (I 839E),ii, p. 133. 16Czerny 218
In spiteofa gradualchangetowardsthepreferencefor a main-notestartin histheoreticalwritings from the 1830s,Czemyshowsa lack of consistencyin practice.His fingerings,and his own from (as is to the casewith the vary one arrangement another addition of prefixeswhich may in Op. 151andin the "Kreutzer" Sonata),often contradictthe very ruleswhich he emphasized Piano Forte School. The addedprpfix to the trill in his arrangementof the Septet,Op. 20 (ex. 7.21 above)indicatesan upper-notestart. It is noted with interestthat this arrangementwas Piano Forte School, in he before the the of publication which strongly madeabout a year favoureda main-notestart. Theseinconsistencies raisemanyquestions. Could hd merelybe during Beethoven's lifetime? inconsistent Are Czerny's how trill this was realized recalling dictated Beethoven's they of own practice or are simply of startingnotesa reflection suggestions by his own fancy? Unfortunately,Beethoven'spracticeon thismatteris not entirelycleareither. The commentand but to divideopinion the few fingeringsheleft on thematterhaveservednot to secureagreement from in Piano Trio B flat, Wo03§, bar In 8 the the part piano of amongmodem scholars. is direction for begin (ex. fingering in the trill to the Beethoven's 1812, a on upper note published 7.28). Ex. 7.28 I (ý)ý-4-1-1 , IIvIJIIIII
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Beethoven also inserts fingerings for three trills in his Variations for Piano and Violin, Wo04O (1793). Even in an early work suchasthis, only two of his three fingerings reveal an upper-note in bass) both begin in (first in bars 59-60 treble, then the their the The trills on upper notes start. (ex. 7.29a). In contrast, his fingering in bar 74 implies a main-note start (ex. 7.29b).
219
Ex. 7.29aThe triH beginsin bar 49. a
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The fingering of the trill in Op. 119/7/1-2 in Starke's Mener Piano-Forte Schule (1819-182 1) by in English the edition published Clementi (1823) are the same. They are befieved authentic and I, to have been inserted by Beethoven but, here again, the two trills begin on their main notes (ex. 7.30). Ex. 7.30
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by later Beethoven (no An earlymiscellaneous than 1792)containstwo double-notetrills sketch in whichthe secondfinger crossesover the thumb(ex. 7.31)." Ex. 7.31 54 iý 2 ,x,
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The trills, accordingto Beethoven'sfingerings,begin on their upper notes. Although he be impossible trill to the with the 51-42fingering,he musthavedecidedthat considered second it was the most suitable for double trills of smaller intervals. In two of his published fingering: double in he to this trill thirds in Wo04O (seeex. 7.29a a compositions, againreturns in below). in fifths Op. III (see double 7.32 trill ex. above)anda One fingering by Beethoven wl-iich have causedthe most debateis that of his double trill in the treble of Op. II Mill 12 (ex. 7.32). Winter, Beyschlag,Drake, Grundmannand Mies believethat the fingering (52-41) indicates a crossed fingering as shown in Beethoven's early illustration in double begin both 7.31 the trill of notes on their upper notes. Newman, above, where ex. however, is unconvinced. He suggestsa rather peculiar alternative, that the trill on the soprano 2' 62 begin The d2 begin the the the on upper note while should alto should a on main note. be its double-note E6 the to trill this viewed within should context of of modulation realization ,t in bar 106 in d2e2d2e2d2 lower its firs few The being trill to the would result C02 prefix major. begin bars later If (with, then to the trill two the chooses one on upper an 06? as note notes. indicated), this will lead smoothly into the double note trill in bar 112 (with upper-note starts for both notes). The faint fingering (1-2) in the tenor part of this bar hasalso beena source of debate, 2' it by inserted Beethoven Assuming that the fingering is by time this regarding whether was . Beethoven,the trilling of this chord, with the upper-note starts, will act as V4ý". The music then W V in bar first inversion in 118, bar briefly 119, in bar 120, tonic the the through of and passes finally the resolution to I in the following bar.
(1988),p. 194;Nottebohm(1887),p. 359. 21Newman Winter (1977),pp. 492-494;l1eyschlag(1908),p. 217; Drake(1972),p. 167;Grundmann 28 Newman (1978), 100; Newman (1988), 125-126; 194. (1966), Mies p. pp. p. and 29Fora list of sourceswhich containsthis argument,sqethe list in ffi. 28. 221
Ex. 7.32 229
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Various hypotheseshave beenput forward in an attempt to discover how Beethoven,may.luave intendedhis trills to be performed. Although Rosenblumrecognisesthat the starting note ofa trill he, is by dissonance determined be is important that the the convinced she melodic most and can influential factor. Winter also placesmuch emphasison the importance of dissonance.Although Newman acknowledges the function of trills as dissonant appoggiaturas in Beethoven's early from he deduce to the trill note of a starting prefers melodic and technical factors. compositions, He considersthat using dissonanceas a factor is too subjective and therefore unreliable."
"Rosenblum(1988),pp. 250-2ý5;Winter (1977),pp. 483-504;Winter (1979),pp. II 1-116; Newman(1988),pp. 196-202;Newman(1976),pp. 440-446and451-453;Newman(1978), pp. 98-103. 222
Theseexplanations, thoughintelligent,areall subjective.Takefor exampleBeethoven'sfingering for Wo039 (ex. 7.28 above). FollowingNewman'sandRosenblum'sguidelines,which would line andtheharmonicprogressionin bar8, theywouldprobably takeinto accountthedescending for begin In the to trill asking start. on theuppernote,Beethovenclearlydoes advisea main-note Consider his follow the suggestionregarding one of the trills within the long same rules. not Op. (ex. 53 7.33). the third the towards end of movement of series Ex. 7.33 I V2)))
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At the endof the autograph,Beethovensuggeststhat the trill in bar 485 shouldbeginon the but does instruction 7.34b) 7.34a (exs. not provideany and on the startingnote of uppernote the trill beginningin bar 477. It also offers the insightthat he, unlike Czerny,is not unduly (which trill the accompanies a melody)at a slowerpacethanusual: concernedaboutplaying
223
N. B. Thosefor whom the trill is too difficult, herewherethe theme is joined with it, may facilitatethe trill in the following manner[ex. 7.34a],or, accordingto the extentof their capability,alsodoubleit [ex.7.34b] Ex. 7.34a
Ex. 7.34b
Of these sextupletstwo are played to each quarter in the bass. Generallyit is not importantif this trill also losessomethingof its " usualspeed. I If onewereto apply Newman'sargumentsthat Beethovengenerallypreferredto beginhistrills (as Rosenblum's) his the guidelineregardingthe preservationof the well as and main note on has in bar 485 begin in bar Although 477 line, the the trill the trill should on main note. melodic beginning This Beethoven's trill the the suggestion shows on upper would give note. no prefix, in by bar followed indiscriminate 477 to a of main-note start an upperchoice rise an apparently is, however, in bar There A 485. the of another solution. closer examination continuation note by been lower hand has in Rondo theme trill the that the a accompanied right scorereveals is (bb. 55,168 337). Each the theme time, the three times and entry of previously announced in in bass held four bars descending by the trill semiquavers anda g' the right of on a preceded hand. In all threeinstances,Beethovenconscientiously notatesanupperappoggiatura(a4) to is bý however, in bar 477, The trill trill. not preceded anupperappoggiatura,perhaps on g' each becauseBeethovenconsideredit to beunderstood.Therefore,by startingthe trill in bar 477 on the upper note, one will be able to maintaina consistentpatternwherebythe Rondo theme In in bars 485 484 from long, the to "appears" trill. tiejoining addition, sean-dess g' a suddenly into bar be for 485. This Beethoven to the trill that continue smoothly can achieved wishes shows "Drake (1972),p. 165. Drake's translation. 224
begin in bar 485 if to the triH were on the upper note. only By initially startingthe trill in bar 485 on the mainnote,beforecrossingit out andopting for the Beethoven (see 7.34a 7.34b and above), exs. givesthe impressionof beingindecisive. uppernote Drakereasonsthattheshadeof the ink on the g2naturalandthe slantof thehandwritingsuggests irill beginningon the mainnote.32This is a perfectly that Beethovenautomaticallythoughtof the it does Beethoven that except not reveal why explanation plausible eventuallydecidedto starton the uppernote.Onereasoncouldbe,asis explainedin the previousparagraph,that he expected this trill to be treatedin the samemannerasthosethreeearlierstatements. Although Czerny's usageof a combination of starting notes in exs. 7.25 and 7.26 above is now Beethoven himself have done that the the same. possibility remains eccentric, considered might In the long trill passagefrom Op. 53/iii (bb. 493-514), the latter requestsfor an upper-note start in bars 493,501 and 507, but a lower-note start in bar 511. Similarly, the trills in Op. 57/i/44-46 have different starting notes; the trill in bar 44 is preceded by a lower appoggiaturawhile those in bars 45-46, by upper appoggiaturas. Beethoven leavesno doubt as to his intended starting by trills they when are pre6eded appoggiaturas, but how does he expect performers to notes of Could "inconsistent" trills the those without prefixes? starting notesin the passageswhere realize trills are precededby appoggiaturasbe a clue that the performer has the freedom to choose the by the trills preceded of which are not a preffix? note starting
I
The views of Winter, Rosenblum, Drake, Newman and other present-dayscholarscannot be fingerings fact limited The Beethoven left do not favour one that the conclusive. which entirely he did the that over other suggests not strictly practise either the cighteenth-century starting note or the nineteenth-centurysystem. He continued to use all three ways ofstarting a trill throughout his creative output. The theory that the starting note of a trill (without a prefix) can be chosen by studying the harmony (often the starting note of the trill is expectedto createdissonancewith line by following logical doesnot seemto apply to every harmony) the the the or path of melodic trill which has been fingered by the composer. PerhapsBeethoven, Re Czerny, employed one his "fancy". to three the notes according starting of I
"Ibid. 225
CHAPTER 8: FINGERING,
HAND POSITION AND EXERCISES
TECHNICAL
As discussedin section1.2,Czerny'sfirst I&ssonwith Beethovenwason correcthandposition fingering is fundamental in That fingering. a correct aspectof playingis againemphasized and includ,ing SirJohn Beethoven'soft-quoted1817letterto hispupil.' Beethoven'scontemporaries, Russell,GerhardvonBreuningandFriedrichWieck,all agreethatheplayedwith curvedfingers, hands his body wereheld [in a] quiet in "[h]is Schindler's the upper portion of and words and [manner]"? ThereseBrunsvik,who hadlessonswith Beethovenin 1799,relateshow Beethoven "nevergrewwearyof holdingdownandbendingmy fingers,whichI havebeentaughtto lift high heard Beethoven Joseph Mahler, Willibrord hold a proniinent portrait painterwho straight"! and in 1803,laterrecalledhow he"playedwith hishandssovery still; wonderfulashisexecutionwas, therewasno tossingthemto andfro, up anddown; they seemedto glideright andleft overthe keys,the fingersalonedoingthe work".' Evenwhenthe musicis not in a closefive-fingershape, from dates 1793 (ex. direction in 8.1), Beethoven's about reveals asshown anearlysketchwhich that he expectsthe hand to be always held in a close position. "Z QXI J" 7-ISAMIOP -V\ all rSqý, a Ex. 8.1 blý- ,., ,.,, E
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226
I
Usingcorrectfingering,adoptinga quiet handposition andplayingwith curvedfingersare also in frequently his Czemy's In Letters to the stressed are writings. which piano aspectsof playing A YoungLady, he showsthe relationshipbetweencorrect fingering,a quiethandposition and fingers: curved playingwith In general,that modeof fingeringmust be chosenby whichwe may be'able fine to tranquil maintain a and most easily and naturally hands, firm the a andperpendicularpercussion,aswell as positionof a correctholding down of the keys, and a beautifulandconnected 6e the the scalesandruns. melodyand of performanceof Oncethe art of ffigering is mastered,Czernypromisesthat the pianistwill be able to executethe mostrapidruns,the mostintricatepassages, consisting boldest delicate the the skips, notes, most and numberless often of [ ] complicatedembellishments... with the sameperfect equality, if connection,andvolubility, as naturehadbestoweduponhimat least fifty fmgers.' The largecollectionof Audiesby Czemyfurther testifiesto the importanceheplaceson correct fingeringwhenpractisingtechnicalexercises.He tirelesslyinsertsfingeringsin all the exercises in the Piano Forte School,right'from the very first pages.In the secondvolumeof this treatise, Est of the fundamentalrules of fingering. However,since he evenpreparesa comprehensive Czernyconsidersthe rules of fingering to be influencedby the developmentof mechanical dexterity,' this chapter(from section 8.2 onwards) will comparehis teacyirtgwith the few fingeringsprovidedby Beethovenin compositionswhich involvethe piano. FI.
8.1 SOME TECHNICAL
EXERCISES FROM BEETHOVEN'S SKETCHES
Throughouthiscreativeyears,Beethovenexperimented with varioussoundworldsandtechnical difficulties, noting down some of the results in sketchbooks. He sometimesresorted to fmgers for his two to to such as using goal, play a single a achieve note means unconventional
6Czemy(1848),pp. 25-26. SeealsoCzemy(1839E),i, pp. 2 and44-46andH,p. 5. Tzemy (I 839E),ý, p. 2. Italicizationoriginal. 'Ibid. 227
fuller in tone, strongerand asshown bars25-31 from a sketchof 1793/early1794(lines3 and4 in ex. 8.2). This methodof playingremainedin useevenafterhis death,asit wasstill mentioned in Czerny'sPiano Forte School.' Ex. 8.2
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In the first nine bars of ex. 8.2 above (see the first two lines), Beethovendemonstratesan fingers. In the the characteristics of order to obtain a powerful natural of understanding fortissimo on the singlebassnotes,henot only choosesthe strongestfinger,but by assigningone fingerto all thesenotes,heis alsousingthe weight of the armto makethenoteslouderandfuller. Many of Beethoven'ssketchesfrom 1790-1803containinnovativefingerpatterns,accompanied by remarkson effectivewaysto executethesepatterns(including the art of fingering). The benefitted Czemy, foundation for his the these which provide numerous explorations, resultsof facility finger In technical through to training all conceivablepassages and studies. addition develop Czemy the to the strengthand of such exercises also encourages repetition patterns, in for His fingers, to the strive greater evenness playing. and preoccupationwith agility of in be Beethoven, his 1790 figures October to traced who canalso sketchof practisingrepeated (ex. 8.3), indicatesthat the motif is to be playedmanytimes. Ex. 8.3
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The finger patternsin the varioussketchesby Beethovenbelow, obtainedfrom his Kafka and leaf in Nottebohm'sBeethoveniana, Kesslersketchbooks, canbe aswell asfrom a miscellaneous found in anyof Czerny'sstudiesfor the advancedpianist.As a youngmanof abouttwenty-pne, Beethovenmadea sketchon rapidstaccatooctaves(ex. 8.4). Thisexercise,to beplayed"up and down throughall majorandminorkeysin asfasta tempoaspossible"" is practicableonly if one his leaps has (ex. 8.5) flexible The to to exercise same on octave applies which arm. playswith a be playedby throwingthe hand. Exs. 8.6,8.7 and 8.8 below requirethe combinationof light, leaps. for finger the actionanda relaxedarm agile
"Rosenblum(1988),p. 207. Her translation. 229
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Nevertheless, Beethoven was mindful not to neglect the training of the left hand.' He wrote based in bars in from 7-8 8.7 the motion on pattern contrary ex. above. In another exercises contrary motion exercise(ex. 8.8 above), the left hand is again expectedto match the virtuosity 1790, Beethoven Even left hand be the to the already as early as required right. as agile asthe of Czerny left hand in his (ex. 8.9). Forte Piano this training the not only emphasizes of right School," but also provides ample studies, including a few which are written specifically for this 12 purpose.
Ex. 8.9
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However, as was mentionedon p. 16, one must bear in mind that Beethovenneverallowed to bemoreprominentthantheexpressionofmusic. ErnstPauer,apianist, technicalshowmanship
"SeeCzerny(1839E),i, p. 51. "Grand Studiesfor the Improvementof the Left Hand,Op. 399; EasyStudiesfor the Left Hand,Op. 718; andEtudes,in Thirds,for the Left Hand,Op. 735. 231
writes: They saythat his performancewas not so much "playing" as"painting it " tones, others express as recalling the effect of while with "reciting," all of which are attempts to state the fact that in his playing, the means, - the passages, the execution, the technical before disappeared the transcendenteffect andmeaning appliances,in his He the particular was not polishing and refining music. ... of W61ffl, Hummel, Kalkbrenner, as and others: were performance, indeed, such "speciar' artists he satirically calls "gymnasts," and "increasing that the the mechanismof pianoforte expresses opinion " destroy in in truth the all of expression music. end playing would
Czernyis oftenaccusedof embracingthe idealdescribedin the lastsentence.It is true that, as highly Hummel's he in 2, the thought of clarity and of more neatness was mentioned chapter Beethoven Beethoven's. than technique 'He than more emphasis on good also placed of playing (seepp. 11-12). However,onemustnot automaticallyassumethat Czernywasinterestedonly in drilling the fingers.His commentsin TheArt regardingthe performance of Beethoven'spiano distinct his to the characterof eachsectionandthecompletemovement. sensitivity musicreflect By insistingon goodtechniqueandan understandingof the composer'sstyle,hetries to get the bestof both worldsby expressingthe poetic contentof the musicthroughtechnicalskill.
8.2 FUNDAMENTAL
RULES OF FINGERING t
Czerny declaresthat
II.
[e]very passagewhich may be taken in severalways, shouldbe played in that mannerwhich is the most suitable and natural to the casethat is by determined the adjacent notes, and partly and which occurs, " by the style of execution. partly
Indeed,his choiceof fingeringfor the exercisesand examplesin the secondvolumeof Piano Forte Schoolandin thesonataexcerptsin TheArt oftenhelpsthepianistto obtainthe smoothest highest figure, into He the thecharacterof each takes note of each account connectionof notes. for fingering). He its (polyphonic example, a also require particular passages, style passage,and "Quotedin Gerig(1974),p. 98. Punctuationoriginal. 14 Czemy(1839E), ii, p. 4. 232
has hands" find it broken difficult therefore, to who small and, with pianists play sympathizes in 308-309 Op. 2/2/i/84-85,88-89,304-305 (ex. 8.10a) and or the octave octave passages in bar beginning 465. For in Op. 53/iii he these pianists, offers alternatives:either glissando betweentwo hands(asin Op. 2/2/i) or play singlenotesinsteadof octaves(in dividethe passage he remindsthe readerthat the suggestedalternativeway of playingthe Op. 53).16Nevertheless, " (ex. 8.1 Ob) in figure Op. 2/2/i the the shouldnot alter characterof passage. Beethoven's octave Ex. 8.10a e
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hands. 749) 748 (Opp. to those with smaU and "He evendedicatestwo setsof studies IlCzerny(1846),pp. 34 and57. "Ibid., P. 34. 233
v
fingeringsrevealthat he too consideredall thesefactorswhen choosinga suitablefingering. In Wo05O/i/13-17andWo039/5,10,13, and 15(ex. 8.11),he arrangeshisfingeringin sucha way in hand fifth finger highest the to the the to right play noteof eachphrase.Very often, so as allow different hands he to sizes of and shapes, providesmorethan one set of so as accommodate fingering,for exampleOp. 28/iv/205and208 (exs. 8.12aand 8.12b)andOp. 90/ii/132. Ex. 8.11 Allerr4tto Viatioe
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Czerny's rules on fingering in the passagebelow, quoted from the Letters to A YoungLady, are the sameas those in the Piano Forte School: First. When severalkeys are to be played one after another, either in [sic] five in descending, fingers that and ascendingor are not sufficient for this purpose,the four longer fingers must never be turned ovdr one another; but we must passthe thumb under, or passthe three middle fingers over the thumb.
vI.
Secondly.The thumb must never be placed on the black keys. Thirdly. We must not strike two or more keys one after another with the self-samefinger; for each key must retain its own finger.
Fourthly.In runs,the little fingershouldneverbeplacedon theblack keys. Fifthly. In chordsandwide extensions,however,the thumb,aswell fall fmger, little the mayoccasionally uponthe blackkeys. as Sixthly. The fingering given for the scales must be resorted to everywhere,and as much as possible.
235
Seventhly.At eachnotethat we strike,we mustconsiderwhether,for " the fbHowingnotes,the appropriatefingersstandin readiness. Both Czemy(rule (2) above)andBeethovenconformto the generaltaboosurroundingtheuse is indicates black keys Beethoven 1 1 2-5there thumb the no alternative. except when or on of -51 in the octavepassageof Op. 2/2/i/84-85,88-89,304-305and308-309whenthe first andthird keys, but 2-4-2 black keys (see the two chooses when outer notes are on white on are ex. notes 8.10 above). Similarly,he uses5-1 to connectthe gapsin the passageworkin Op. III /i/27-28 is black leap key. When happens, he this the the on a employsthe of second note exceptwhen in in Op. 78/ii, hedoesnot However, (ex. finger 8.13). with a piece many sharps, such as second Ex. 8.13 0
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have any choice but to employ the first finger on black keys where necessary(seehis fingerings in bb. 116-117 and 120-121 in ex. 8.17).
Newman suggeststhat, in his later compositions,Beethoven appearedto prefer placing the thumb in he keys. He Op. II 0/ii/7 1, by indicating first black 4 that the quotes which reasons on on righthand note, the following note (a 6) would undoubtedly be played by the thumb (ex. 8,14)), ve have seen in the previous paragraph how in the next piano sonata, Op. I 11, Beethoven still bear black keys. in One the thumb must also on n-dndthat the passagein Op. II 0/ii/64avoided 72 is in E flat minor, so as in Op. 78/ii, it would be almost impossibleto play fast passagework keys. black the thumb the of on use without
"Czemy (1848),p. 25. Italicizationoriginal;seealso Czemy(1839E),ii, pp. 2-4. (1988),p. 288. 19Newman 236
Ex. 8.14
-A-
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ff
(4)
As shownin ex. 8.15 below, Beethoven'sfmgering in the right handof Wo039/95 confirras Czerny's rule (6) above,that one shouldemploy the normal fingeringfor scalesas much as it know fingering during Beethoven's The today as we scales was established systemof possible. Ex. 8.15 The pianopart only. % 2.3
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between difference half lifetime. The first, Czerny's this that the main system of the and of and by described is in Czerny's (1) By the thumb, the as role played century above. rule eighteenth is finger fingers, the the thumb the all-important which enablesthe smooth and easy passingunder " known few in Although tl-ýs to method was already a musicians the execution of passagework. including Couperin Francois Marpung, it and was not widely adopted. early eighteenth century, The generalpractice then was to usethe thumb and the fifth finger sparingly, choosing insteadto 21 frequently long finger fingers heavily vaulting a and over a shorter one. on the three middle rely
'OThismovementof the thumbis constantlyemphasizedin Czerny'swritings,seefor example Czerny(1839E), i, p. 43. "Bach (1974),pp. 12-13. 237
Althoughturningthethumbunderthe fingerswasthe preferredmethodof fingering,Beethoven, from time to time, continuedto usethe old systemof vaultingthe third finger over the fourth. In his WienerPiano-ForteSchule,Starkehadpublisheda shortenedversionof Beethoven'sOp. 28, with fingeringsin the excerptsattributedto the latter. In bar 77 from the secondmovement he in finger 31 Starke's (b. that the third this shortened version), specifies shouldcross sonata of the fourth from a white to a black key (ex. 8.16). The Variationson "Es war einmalcin alter Mann" (Wo066/ix/8-9) is another instancewhere Beethovenusesthis type of fingering:the fourth finger crossesthe fifth, againfrom a white to a black key. Although thisýmethodof fingering is not includedin Czerny's list of rules above,he neverthelesscontinuesto use it for (see he 3.9 OP. 7/iv/68-69,76-79, in In etc. ex. asks above), repeatedly sparingly practice. the fourth fingerto crossthe fifth (from a blackkey to a white andfrom a white.to anotherwhite key). Similarly,in Op. 13/ii/5, he indicatesthat the fourth finger shouldcrossthe fifth from a " leave did fingerings for key. Beethoven black to not eitherpassage. white a Ex. 8.16 ii.
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Modem scholars such as Bamberger and Hiebert insist that Beethoven's fingerings must be in They fingerings his they the that occur. context which are convinced within are considered based on musical considerations. Bamberger believes that his fingerings help define phrase structure, show metrical stress,convey the characterand are a way to generatedynamics,accents Beethoven's fingerings Hiebert be that to agrees and adds also articulation. enable scales and fluently (as discussed in to the trills the clues starting provide as well as note as of executed but Newman fingerings help that the agrees adds composer's chapter). clarify the previous " emphasisof particular rhythmic groupings.
(1839E), ii, p. 34 andCzerny(1846),pp. 39 and43. 12Czerny (1976),pp. 242,245,249,250, and261; Hiebert(1985-1986),pp. 5-6; Newman 2'Bamberger (1988),p. 290. 238
Thetrio from Op.2/l/iii/59-62 is a much-discussed case,andonein whichBeethoven'sfingering is believedto contributeto the crescendo.Barnbergerconcludesthat Beethoven'sconsecutive 5-1 fingeringof the doublefourthsin bar 60 (seeex. 3.11 above)will generatea forward push in following bar. towards thefortissimo thus the the a generating crescendo whole arm, with Although the doublenotesarenot physicallyconnected,the movementof the armwill give the impressionof legato. Shecorrectly observesthat it was commonpracticein the nineteenth fingerings learn indicate to to which were easy uniform and easyfor the fingers to century issues, her fingering Czerny's Hiebert these to on and goes with on criticize agrees memorize. in Art (see 3.13 She in his for fingerings The that this ex. above). argues which quest passage of ignores fines be Czemy fingering legato long to to clarify the played, smooth role of enable " Czerny'sfingeringis exactlythe sameasBeethoven'sin bars61-62. However,he dynamics. in fingering in bars 59-60 in fingering Beethoven's to the order avoid consecutive slightly alters bar 60 (seeCzemy'srule (3) above). Beethoven'sfingeringis not includedin TheArt because Czernymust haveconsideredhis suggestionto be better. Although a differentset of fingering is offered,Czernywould still expecta similarmusicalresult,wherebythecrescendois createdby the fingers(seethe discussionon tonalcontrol in chapter5), ratherthanby the armasimpliedby Beethoven'sfingering.
8.3 THE FINGERING OF REPEATED OR SIMILAR
FIGURES
I
in certain passages,such as the successionof double fourths in Op. 2/3/iv/269 and in. Op. lol/Hi/248-250, Beethoven employs a consistent pattern of fingering. In both cases,he usesa intervals 4-1. is 5-2 Even the the casewith the semiquaver vary, when as and of combination (ex. 8.17), his decision 120-121 in 16-117 Op. 78/ii/I to use a consistent pattern of and motif fingering is further proof of the importance of maintaining a quiet hand position.
(1976),pp. 250-254;Hiebert(1985-1986),pp. 9-10. 14Bamberger 239
Ex. 8.17 e-I%aI d2x
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It is thereforeperplexingthat the ffigering for the secondinversionof a tonic major seventhin Op. 106/i/96-97shouldbe inconsistent(ex. 8.18). Ex. 8.18
His instructionaccompanying a sketchof a diminished-seventh arpeggioon B (ex. 8.19) - "in long, wide rangingor extendedpassages[keep] the samefingeringas much as possible"" fingering he impression that throughout. He is true to his word for the expects uniform gives but for the whole arpeggio, someunknownreason(possiblya scribalerror), he fingers virtually the last note of the sketch2 insteadof the expected3, thus disruptingthe consistent1-2-3-4 had been he using. pattern Ex. 8.19
/
, II.
Perhapshis letter of 1817to Czemycouldprovide someanswers.He asksfor all the fingersto be trainedand advisesCzernythat pearl-likeruns, althoughdesirable,shouldbe varied. The description, follows "i. few fingere', in brackets imply this that which e. with only a clarification
"Rosenblum(1988),p. 212. Her translation. Seealso GrundmannandMies (1966),p. 117 288. (1988), Newman p. and 240
he wasreferringnot only to tonal colour (seep. 159)but alsoto uniformity in fingering: In certain passages,such as
n- -f- - t---pF --
I shouldlike him alsoto useall his fingersnow andthen,andin such too as passages
finger Admittedly he that over another. suchpassages so may shp one like if "played (i. they to were pearls e. with only sound, so speak, as but have like like few fingers) to occasionally a a pearr' we or a different kind ofjewelry. " This letter also demonstrates that in spite of his annotation accompanying the sketch of the diminished-seventharpeggio mentioned above, Beethoven sometimeschoosesto use irregular fingering in repeated or similar figures to obtain a different effect. Sometimes,there may be interpretive or technical considerations, as Newman and Bamberger point out. According to Bamberger, the irregular fingering in Op. 2/l/iii/60-62 is necessaryto implement the irregular " We have in dynamic how Beethoven 8.2 the to climax. also seen section emphasize slurring and black Op. 2/2/i in fingering to the thumb the the on of avoid octave passages placing changes I
keys. 71.
In addition, Beethoven's caution, mentionedabove, implies that Czerny prefers to use the same 'fingering for repeated motives, a suspicion which is confirmed by the latter's fingerings in the in his fingering Czerny School Forte Piano two the studies. of and sets provides exercisesof for a repeatedmotivic pattern in his Piano Forte School, as shown in ex. 8.20 below. In one set, is black is The to the thumb fingering so as modified, avoid placing on other the pattern regular. keys. All passagesderived from dominant-seventhanddiminished-seventharpeggiosin the Piano
"Anderson(1961), ii, p. 743. (1976),p. 252; Newman(1988),pp. 28ý-289. 2'Bamberger 241
Ex. 8.20 SI1
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Forte School are also given consistentfingerings throughout. However, Czerny again provides black keys involved, fingerings are where so as to avoid placing the thumb on them alternative
(ex. 8.21). Ex. 8.21 III 2,3 s I 'I ýý
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In an early sketch, Beethovenoffers two ways of fingering a chromatic scaleýeghu-dngon B flat. The first is to finger every note while the secondmakes use of finger sliding (ex. 8.22). ' Ex. 8.22
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Newmanobservesthatthechromaticscalewith thefingerslidingis markedwith a slurandarrives legato finger "super the that the sEdingenablesa not unlikethe velvety,slithering conclusion at " Nevertheless, Chopin Beethoven's later fingering in Wo039/114, identified the style". with sort 115and 118(ex. 8.23) indicatesthat the first systemof fingeringcanalsobe usedto obtaina 292-293. (1988), pp. -'Newman 242
smoothlegato. Ex. 8.23 The piano part only.
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The fingeringof the chromaticscalein ex. 8.23aboveis the onemostcommonlyrecommended in nineteenth-century treatises,but Czemyis lessthan enthusiasticaboutit. In his Piano Forte School,helistsfour waysof fingeringa chromaticscale(includingthe onechosenby Beethoven, favours fingering but heavily the which relies above), on thecombinationofthe thumband shown " finger, index the as shown in ex. 8.24. Ex. 8.24
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8.5 PASSAGESIN THIRDS
in thirds, As is the casewith chromaticscales,Czernyspecifiesfour waysof fingeringpassages by disadvantages the offered each: and explaining advantages "Czemy (1839E), i, p. 49 andii, pp. 30-31. 243
(a) right hand: 1-3-1-3-1-3-1-3;left hand:3-1-3-1-3-1-3-1(ex. 8.25) Ex. 8.25
:n
11
He commentsthat this fingering,which is applicableto thirds in C major only, will enablethe handsto remaintranquilandthe notesto beplayedwith equalpowerandrapidity. In-otherkeys, if lower be the the thumbmay placedon notes they are on white keys. Otherwise,the second finger shouldbe used(in combinationwith the fourth finger). The right handfingeringfor an be for for 2-4-1-3-1-3inB flat 2-4 1-3-1-3-1-3-2, third should example, major, while ascending the left handit is 3-1-4-2-3-1-3-1 3-1-4-2-3-1-3. (b) right hand: 2-4-2-4-2-4-2-4; left hand: 4-2-4-2-4-2-4-2 Although this fingering will also maintain a quiet handposition, Czerny believesit is more difficult is inconvenient It also and therefore not to play a passage which requires much power. I
recommended.
(c) right hand: 1-3-2-4-1-3-2-4 (accent on the thumb); left hand: 4-2-3-1-4-2-3-1 (ex. 8.26) This is suitable mainly for the right hand in passageswhich require an emphasison the first note Czemy it is in beat (played C thumb). the that elaborates with applicable onlý crotchet of each black keys. be because thumb the on cannot placed major, Ex. 8.26 cavil 0 nt314 -0 [Ctj3 ý' -). II-
-2.3
(d) right hand: 1-3-2-4-3-5;left hand:5-3-4-2-3-1 Accordingto Czerny,this fingeringcannotbe employedin keyswith morethan two sharpsor flats. However,if the accentednote is a blackkey, the thumbmaybe used(ex. 8.27).30 "Ibid., fi, pp. 36-37. 244
Ex. 8.27
Ll.i43
Ofthe four wayslistedinthe PianoForteSchool,the first methodwasprobablypreferredby both Czemy and Beethoven. In the ascendingbassfigure at the beginningof Op. 81a/iii, Czerny " Similarly, Beethoven 3-1. 1-3-1-3-1-3 that the should of specifies combination recommends inC lending 74, 31/l/ii/10 thus beusedinthe ascendingthirds and apassage weight major, of0p. to Czerny'sexplanationsabove.
8.6 THE FINGERING OF REPEATED MONOTONES,
Czerny fists three main ways of fingering repeatedmonotones, all ofwhich makesuseofdifferent fingers. The first way (ex. 8.28d) is usedto repeat an even number of notes, such as 2,4,6, etc. The second(ex. 8.28b) is suitable for fingering triplets or when the samekey is to be struck three times. When the key is to be struck twice, the third type of fingering may be employed (ex. 32 8.28c). Unfortunately,Czerny'sthird example(ex. 8-28c)is not asclearbecauseit lists four
I The fingering Beethoven's first like two. than the only example of rather of example, notes, I (ex. 8.29), Czerny's Op. 28/ii/9 different supports suggestion monotones, of using repeated fmgers. 33
Ex. 8.28b
Ex. 8.28a
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Ex. 8.29 1 11 1%I
Czerny suggestsusing the same finger occasionally, especially in portato passagesor if it is impossibleto employ different fingers (ex. 8.30)." Ex. 8.30 55
3" II
b-IA3 c
8.7 SLIDING FROM, ONE KEY TO ANOTHER ON THE SAME FINGER
Although Czerny prefers not to bse the samefinger successively,this is sometimesunavoidable. In such situations,he recommendsthat the finger slide from a black key down to a white because it is more difficult to slide from one white key to another. The latter, in his opinion, should be 35 legato. be in to played used only contrapuntal passages j Beethoven was also familiar with this technique. In the bassof Op. III A/12 and 14, he asks for the fifth finger to slide from a black key to a white one. A shnilar finger action is intended in his flat (see B beginning 8.22 in on ex. above) which the third and the scale sketch of a chromatic fourth fingers slide from black keys down to white ones. Sometimes,he usesthe samefinger to instances five is key The in his from technique to this where another. used one white piano slide in Starke's (ex. 8.3 1), Op. bar 2/l/iii/60, Op. 24 Op. 28/ii/70 shortened version or sonatas 81a/i/5, Op. 81a/iii/53 and 61-62, and Op. II 0/iii/1 07 - all endorseCzerny's guideline above in that they occur in legato polyphonic passages.
(1839E), ii, p. 120. 34Czemy H,pp. 159-160. 311bid., 246
Ex. 8.31
Incidentally,Beethovenalsousesthe 1-1fingeringin Op. 81a/i/5 andin Op. 81a/iii/146-147even thoughit is impossibleto slidefrom a white key to a black one.
8.8 GLISSAADO Czemy statesthat octave glissando played legato, is applicable only in C major and is generally In fifth in to the execute order an ascending octave passages. glissando, effective only quick finger should be slightly bent, with the thumb following on its fleshy surface. The reversetakes leads by fingers The be descending in the thumb the gliding on glissando: nail. must stiff, place a but the hand and the arm should remain relaxed and flexible.36 The context in which this type of is by Czemy, Beethoven's described Op. be 53/Hi/ to remarkably similar as used, can glissando 465-475 (ex. 8.32), so it is nýtural that Czerny should recommend this technique there.37 Beethoven's seriesof 1-5 fingering, and the fact that Czemy sight-read the manuscript of this himself in 1804, Beethoven have intended that to the strongly suggest composer may an sonata
here. octaveglissando Ex. 8.32
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ii, pp. 29-30. 311bid., 37Czemy(1846), 57. p. 247
.5
8.9 THE IIBEBUNG" EFFECT"
Regardingthe scherzoof Beethoven'sSonatafor 'cello andpianoOp. 69 (ex. 8.33), Czemy's oft-quotedcommentregardingthe performanceof a slur bindingtwo notesof the samepitch (frequentlyreferred to as bebung).remains controversial. The 4-3 fingering below is by Beethoven. Ex. 8.33 mo"o
30
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Czernywrites in TheArt: The ties in the right handand the fingeringplacedover them,here signifysomethingwholly peculiar. Thus,the secondnoteis repeated in an audiblemannerwith the 3' finger, so that it soundsnearlyas follows:-
II
that is, the first note (with the 4' finger) very tenuto,andthe other (with the 3d finger) smartly detachedand lessmarked: and so The finger 4' therefore elsewhere. must glideasideandmakewayfor the third." "Newmanobjectsto the misuseof the term bebungandproposesthe name"repeated-note describe Beethoven indicates the to situation where peculiar slur" a 4-3 fingeringover what See Newman (1988), be two tied to notes. pp. 295-297. Bebungis usedhereasthe appears term is generallyunderstoodto describethis notation. "Czemy (1846),p. 88. Punctuationanditalicizationoriginal. 248
Schnabel,Tovey,Newman,andBarker acceptCzerny'sadvice,but othersconsiderthe bebung Badura-Skoda). Bamberger Bamberger (Schenker, tied and agreeswith Schenker's notes as implications. believe They tied the two that the that notes carry psychological explanation feel "restlessness" help Badura-Skoda the the required of passage. performers would notation but he believes having it be for direction to the this effect, a psychological a alsosees notationas for legato in Drake, his 1972 book, Badurathe to a effect. note agrees with sustain performer Skoda. However,two decadeslater,he changeshis mind. He is now of the opinionthat the 4-3 fingeringin Op. I 10/iii, for example,is insertedto conveythe "speakingqualityof the passage". The secondnote, therefore,hasto be played. Badura-Skodaalso wrongly reasonsthat since Czemyhadnot studiedOp. 69 with Beethoven,this techniquemaynot havebeentaughtby the 40 had Czerny fact, in Thayer 1816, In that this played reveals composition at a concert composer. " by graced the presenceof the composer. Czerny's suggestionfor the second note of the 'lie" to be sounded can be produced on early innovative Beethoven did follow As composer, an not always nineteenth-century pianos. traditional rules. In an interesting early sketch, dating from 1793, Beethoven asks for the third finger to lie acrossthe fourth uritil the latter withdraws and the third takes its place (ex. 8.34). Ex. 8.34
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This .fingeringis not a precursorof the bebungbecauseboththe secondmonotone(d' in b. 2 and first The d2 is by 6) b. in to tied the second note. also accompanied not a sf mark, are e2 be it In bebung in has the that the struck. addition, none of should piano sonatas a confirn-dng double fingeringover the first of the two "tied" notes,becausethere is insufficienttime to
(1935),ii, p. 808;Beethoven(1931), H,pp. 68-69andifi, p. 216; Newman 4OBeethoven (1988),pp. 295-299;Barker (1996),p. 295; Beethoven(1972),pp. 64-72;Bamberger(1976), (1994), Drake 125-126; (1972), 21; Badura-Skoda (1988), Drake 246-249; pp. p. and pp. pp. 84-88. Seealsothe discussionby GrundmannandMies (1966),pp. 126-131. 47hayer(1969),p. 641. 249
his directed by bars In 3-4, finger, fourth to the the annotation sketch shown as above. withdraw the repeated s areto be playedby two different fingers(the secondandthe third), but which 29 finger shouldbe usedto play the following d. If the fourth finger is used,d' will be detached C2
from the note in the next bar. Alternatively,Beethovenmight haveenvisageda legatoline by & fourth fingers finger, it fifth the tl-drd to playthenextnote, the and cross the while with playing (see Beethoven 8.2 This to section technique above). sketchraisesmany not unfamiliar a his beginning Eke it but that ti-ils the of sketches mentioned chapter, many at of shows, questions, he did not alwaysadhereto convention.Therefore,the bebung,probablythe resultfrom oneof his manyexperimentswith fingeringandtechnique,mustbe treatedasa specialcase,andnot a tie. Beethovenmust have intendedthe secondnote of the bebungto be sounded,becausehe finger different 'lied" Such indicates over each second careful and note. a conscientiously been if have "tie" be fingerings the to necessary would not was playedaccordingto consistent did he Why trouble to the two take notate semiquavers also whenonequaver convention. normal he to trying All that these notatea mannerof playingwhich was was suggest suffice? would different,perhapsthe slurringof a monotone(with the secondnotejoinedto the first, but to be in Op. I 10/iii/5 125 (ex. 8.35 Since 8.36 less the and slurs and ex. strongly). respectively) played it is likely that eachpair of semiquavers is to do not extendto the followingpair of serniquavers, be slightly detachedfrom its neighbour. Although the secondnote in eachpair of serniquavers is weakerthanthe first, this articulationmustnot hinderthe overallphrasingof the passage.In be below, 8.36 8.35 semiquavers must carefullygradedto'create.the eachpair of and exs. by indicated Beethoven. In Op. diminuendo 106/iii/ (ex. 165 8.37), bebungs the a and crescendo begins bars Here, three the the which earlier. of crescendo onemustguardagainst peak are at losingthe intensityat this climaxasa resultof the secondnote of the slurbeingweaker.
250
Ex. 8.35 kltýlo
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8.10 SUMMARY'
Onthewhole,Czernysharesmany.of Beethoven'sviewsregardingthebasicplayingpositionand the fundamental rulesof fingering.Theyemphasizethe importanceof maintaininga "quiet" hand body hand and movements,andchoosingcorrectfingeringto ensure position,usingeconomical I I is executedaccuratelyandfluently. Czemy'sstudies,whichdealwith a variety that passagework intended finger in trills, to train are octave passages and patterns, evenness of playing as well as , to develop strength and agility in the fingers througlý repetition. This idea of training technical known by he Beethoven through to the time of course, was already repetition, was competence twenty. Czemy, therefore, prepared the necessary"training materiar'for this idea to be put into in fingering differ However, their they choice of of repeatedmotives. AlthoughCzerny practice. fingering in black key to the thumb so as alternative avoid provides an piacing on a sometimes fingering. he In to uniform prefers use generally contrast, Beethoven's fingering such passages, decision irregular. be be His based may may motives on technical considerationsor of repeated those of a more expressivenature.
While Beethoven may not have beenas fastidious as Czerny in following a strict set of rules, his fingerings of numerouspassagesare not unlike Czerny's. Of passagesin thirds on white keys, for example,they prefer using the pattern 1-3-1-3 or 3-1-3-1. Their suggestedfingeringsof scalic based fingers the thumb the under are often on passing and crossinga longer finger over passages the thumb. They avoid, where possible, placing the thumb on black keys. They also encourage fingers different Finger is repeated monotones. when playing sliding used sparingly. using Although it is more common to slide from a black key down to a white, they occasionally slide in key from finger to polyphonic passages.They evenoccasionallyresort to another one white a fingering long finger the a of vaulting over a shorter one. It is also very eighteenth-century using likely that Czerny's description ofplaying the bebung, in which the secondnote is slightly audible, is exactly how Beethovenwould have expected it to be played.
Although heavily influencedby his teacher,.Czerny was also a progressiveman. While Beethoven'sfingeringin Op. 211/iii/59-62suggeststhe useof the arm to createthe crescendo, Czernyprefersto usethe fingers. The latter's fingeringwRlalsoavoidBeethoven'sconsecutive
253
fingering in bars 61-62, another taboo in Czerny's rulebook. Czerny also disagreeswith Beethovenon the bestfingeringof chromaticscale. Beethovenprefersthe fingeringwhichuses finger. is Czerny, the third the thumb who and ratherdismissiveof this fingering,chooses mainly insteadto recommendthe fingeringwhich relieson the partnershipof the thumbandthe index finger. In conclusion, Czerny's choice of fingering largely reflects that of Beethoven. It is only in a very he disagrees his teacher, either becauseBeethoven's^fingeringis that of cases with small number old-fashioned, or simply becauseof a different personal preference.
/
II.
254
CHAPTER 9: PEDALLING Of the numerouspedalsavailableon early nineteenth-century pianos, Beethoven indicates only two in his compositions -
the damper and the una corda. In addition to these, Czerny
buff (also known in the the the use of occasional as or muffle piano pedal) recommends ' tremolando passages. All the other pedals,he declares,are "childish toys of which a solid Player 2 himself '. disdain to avail will
In his compositionsbefore1802,Beethovenemployedthe termssenzasordino to indicatethat the dampersshouldbe raised,and con sordino when the dampersshould be returned to the ' Beethoven knee-levers. Czemy the that this was caseonlywhen expliins meant originalposition. The indicationsPed and 0 first appearedin the autographof the "Kreutzer" Sonata,Op. 47 (composedbetween1802-1803),but there is a possibility that Beethovenadoptedthe new indicationsin an earlierwork. Indicationsfor the foot pedalare found in the first edition of the PianoSonataOp. 31/2 (composedin 1801-1802);but with the holographlost, it is impossibleto determinewhetherthe markingswere insertedby Beethovenhimselfor by Nageli the Swiss ' publisher. Even as a young composer,Beethovenalready realized the potential of the pedal. In a sketch of 1790-1792, he asked for the dampers to be raised with the knee during a'series of repeated known believes be Newman by for damper the this to earliest request any composer chords. II. ' Beethoven have Czerny's We that testimony also usedthe pedal extensively,evenwhen control. it has not been indicated in his compositions.'
As will be seenin section 9.2, the damper pedal is given a prominent role in the piano sonatas, functions. As of an accomplishedpianist, Beethoven knew the precise carrying out a variety
ICzerny(1839E), iii, p. 57. 'Ibid., iii, p. 65. Capitalizationoriginal. 'Czerny(1846),p. 57. 'Rosenblum(1988), p. 118. 'Newman(1988),p. 66. 6Czemy(1846), p. 2. 255
in his He directions, he to was very meticulous create. pedal markingthe exact effect wished be depressed In Op. is 57/i/218-221, the the and should released. pedal pedal positionwhere (bb. 219 before 221) the the changeof harmony, quaver rest and penultimate on alwaysreleased harmony half bar, is in bars 222-223, the the changes where at every pedal releasedon the while lastquaverbeforethe introductionof the new harmony(ex. 9.1). KennethDrakepointsout that Ex. 9.1
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in bass bar last 8 first beginning from indication the to the the the serniquaver of note at of pedal the following bar. In bars57 and 174,he decidedagainstthe initial ideaof startingnew pedal descending instead have for the to themwithout the the scale, of choosing continuation markings in his The Very two analogous markings pedal passages are also consistent. often, pedal! for Op. 27/2/iii, by in the of opening motif example, are always accompanied staccatoquavers senzasordino.
9.1 THE SIGNIFICANCE
OF BEETHOVEN'S
PEDAL MARKINGS
Whilethenumerousinvestigationsinto Beethoven'spedallingin the secondhalf of the twentieth functions, important led have their to of clear understanding many a questionsremain century differ from Beethoven Did they the norm,asproposed only when pedalling notate unanswered. by Kochevitsky,GoldsteinandBarker? Shouldwe refrainfrom pedallingpassages whichdo not " by Grundmann Mies? Or the suggested as markings, and shouldwe, as pedal carry composer's " Beethoven's has been Hughes, by Martin the of apply principle pedalling, which encouraged deducedfrom his markings,to'sirriilar passagesin his other works? The answerto this last because, be Czerny the of affim-native as surely mentioned above, must recallsthat question Beethovendid not confinepedallingsolelyto passages with pedalmarkings.Thisdoesnot mean, however,that one could usethe pedal indiscriminately. of the two arpeggiateddiminished'2 Op. 27/2/iii, in bars is 163-166 (ex. Since 9.2). the only of second one chords pedalled seventh level is, dynamic (that bars four the same share p), the aim of the pedalin bars 165-166 also all from different bars, be timbre the two to preceding a provide whichareunpedalled. This must is an instancewhere Grundmannand Mies' caution againstthe employmentof the pedal in justified. is without pedalmarkings passages
(1988),p. 122. $Rosenblum 9Kochevitsky(1962),p. 24; Goldstein,(1988),pp. 104-105;Barker(1996),pp. 266-267. "GrundmannandMies (1966),pp. 27-28. "SeeStowell(1994),pp. 236-237. "In the autograph,bar 163is markedcon sordino. 257
Ex. 9.2
In contrastto the view held by Kochevitsky,Goldsteinand Barker, Beethovendid not indicate from in different As 2.2.7, the contemporary practice. shown section were which pedallings only depressing the tonic through the at end ofmovements, chords even on rests,can pedal of practice Clementi, Cramer, Dussek, Hummel. They, like in found be the of and compositions also Beethoven,sometimesallow the resonanceto decaynaturallyat the endof movementsby not indicatinga releasesign. Sustaininga bassnote with the pedalwhile the left handplaysanother line, and pedallingarpeggiatedpassagesto help increasethe resonance,are two of the most in Even the the pedallingof alternatingtonic the century. early nineteenth of pedal uses common bass (thus harmonies blurring), dominant by a common note over causing excessive and Hummel's standard,are not extravagantwhen comparedwith Clementi. An exampleis the (ex. 9.3), Op. 34/2/i/125-130 in Clementi's 1807, he published about of which version revised in his Op. lengthy 37/3/iii/1-31 (ex. in The 9.4), 1798, pedalling published addedpedalmarkings. is further evidenceof hisboldnessin usingthepedalto achievecolouristiceffects.Thesespecial depart from because the they normalpracticeof changingthepedalwith only are unusual effects depressed 9.4, 9.3 both In the throughchangesat the two harmony. pedalremains the exs. and later device by in last fifteen bars Beethoven dynamic the the adopted a range, oppositeendsof is There below). between 9.16 (see 53/iii the Op. another similarity pedallingof ex. of Beethoven'sOp. 53/iii andClementi'sOp. 37/3/iii: the openingthemesof thesetwo movements
258
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9.2 THE FUNCTIONS OF THE DAMPER PEDAL
In this section,Beethoven'sexploitationof the pedalto help achievelegato,to enhancedynamic highlight important increase to the to a of passage, resonance structuralelements,and contrasts, for specialeffectswill be discussed.Theseprinciples will also be comparedwith Czerny's instructionsin his Piano Forte Schooland TheArt. The damperpedalcanassistin connectingnoteswhen this cannotbe achievedwith the fingers. Without thehelpof thepedalto connectlargeleapsin Op. 101MY14-16,for example,Beethoven legato from bar have been beginning the to to the end of achieve one able not of the next. would Sometimes,he usesthe pedalto link two contrastingsections(Op. 57/i/238from adagioto p1h first (the Op. 109 beginning the to the two of movement end of movements of the or allegro) lingering from instances, increases both In the the elementof resonance a soft chord second). by in the the chord, ensuingfortissimo accompanied entry of change a at characterand surprise by introducing Op. 109, Beethoven In surprise springsanother an abruptmodulationto speed. the tonic minor (ex. 9-5). Czernyalso usesthe pedal to achievelegato. In his Piano Forte School,he showsandexplainshow this canbe done,that is, by depressing the pedalat the same " it is first (ex. the 9.6). His techniqueis the time as chordandreleasing when next chord struck indications for in 9.6 Beethoven's, the the ex. as correspondto Beethoven's same exactly (comparewith ex. 9.5). Ex. 9.5 f f)IIITIM A.RI'T IV I IIF'%
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In slow movements, thepedalcanalsobeusedto sustainlong-heldchordsor passages with slowin by Op. Beethoven's Op. 57/ii/96-97 (ex. 9.7) harmonies, pedal markings and as shown moving 8la/ii/37-42. Althoughhedoesnot insertanypedalmarkingsin Op. 31/2/ii(seeex. 7.10above), dotted for in is bars 1,3 5. the on example minim chords and necessary, some pedalling Therefore,Czemy'sadviceto usethepedalin suitableplacesin thismovementto helpsustainthe harmonies"is within the style. Ex. 9.7
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A favouriteeffect,usedfrequentlyby both BeethovenandCzerny,is to createthe impressionof bass damper left hand by the the the textures with note sustaining pedal while playsanother richer fine. Op. 53/Hi/251-284and287-312(ex. 9.8) andOp. 79/i/67-74,91-98and 111-118aretwo 14
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instanceswhereBeethovenemploysthe pedalin this manner. Czemyundoubtedlyvisualizesa " has Although dynamic in 31/l/i/170-193. Op. this the passage no pedal marking, effect similar (ex. 9.9) Op. 31/l/i/170-193 Beethoven's bass in to the offers vital what clues as of markings intentionmightbe. All the low bassnotesin bars 170,174 and 178aremarkedf,whilethe notes Ex. 9.9 a
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in Beethovenoften usesthe pedalto differentiatebetweenalternatingloud andsofl passages, as Op. 78/ii/57-63 and 116-122and Op. 106/i/I7-23 and 176-197(ex. 9.11). Similarly,Czemy He inOp. dynamic 31/2/i/21-41, highlight that to the contrasts. recornmends only pedal employs " be theforte passages should pedafled.
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is by Czerny throughout this The two these quavers movement confirmed of pedalling quavers. in The Art. He also asksfor the sf B6s in Op. 26/iii/33-34 to be pedafled,'9 eventhough Beethovenleft no such indications. Although he usesthe pedal to emphasizeaccentuation, Czemyappearsto haveoverlookedthis functionin his Piano Forte School. Increasing the fullness of a passage,especially if it is chordal or arpeggiated, is one of the most in This the the early nineteenth of pedal uses century. application, which popular and common Czerny describesasharmoniouspedaHing,is frequently recommended,even in Beethoven's early 20 for he duration to As term the this the the refers use of explains, pedal of a piano SonataS. 21Op. 2/3/i/218-223, Op. 31/2/Hi and the trifl passagetowards the end of Op. harmony. consonant 53/H?2are only someofthe many instanceswhere he suggeststhe useof "harmonious pedalling". Examples of Beethoven's pedal indications in the piano sonatasshow that he too usesthe pedal (Op. in 57/i/123-132,218-233 and 228-232, and Op. harmony the arpeggiated to enrich 8la/iiV29-30,33-34,122-123,126-127, and 193-195) and chordal passages(Op. 106/i/1-4). They also support Czemy's counselofchanging the pedal when a different harmony is introduced.
Czerny's pedalling of the first four bars of an arpeggiatedpassagein his Piano Forte School (ex. 9.13) also bears a striking resemblanceto that of Beethoven's Op. 57/iii/176-204 (see ex. 3.36 be depressed direct first the Both that the pedal on composers note/chord of the above). By in both the the the rests. until maintaining same resonance pedal pattern sustaining arpeggio, loud and soft passages,they are sharingthe idea that fullness of harmony is not restricted to loud passagesonly.
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100p.26 is the first pianosonatawhereBeethovenrequeststhe useof the damperpedal. Czerny(1846),p. 113. Seealsop. 2. 21 57. 36,54 211bid., and pp. 265
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Pedalling through rests, and allowing the resonance to die away naturally at the end of frequently by Beethoven. both In two types, exploited special effects are achieving movements, he always changesthe pedal with the harmony. In Op. 53/iii/98-113, Op. 57/iii/176-191 (seeex. 3.36 above), Op. 81a/iii/1 30-137, and Op. 106/i/I 33-137, the resonancefrom the chords/notes is prolonged through the rests. The dynamic may be soft, or loud, or may even cover the whole dynamic range, as in Op. 53/iii/98-113. Interminable pedal markings at the ends of movements 66-169 harmony, Op. 26/iv/1 (ex. 9.14), Op. 55-158 I 101ii/I and such as one ofonly which consist Op. II I/i/157-158, are anotherfavourite with him. Occasionally,he may wish for the resonance in Op. linger 31/2/i/226-228 Op. (ex. 9.15). 109/iii/203 to tonic as the on, and chord of only Although all the examplesquoted thus far have a soft dynamic, Beethoven doesnot restrict these
266
instances include finale Other flat A thefortissimo to majorarpeggio effectssolely softpassages. in F Op. 57/iii/353-361. Thesetwoeffects 0/iii/209-213 II the ending exuberant minor and of'Op. Op. (ex. 53/iii 9.16) bar 529 from Beethoven be to the end of where markspedalling canalso seen its inversions (some C the of themstaccato)acrossthe wholedynamic through majorchordand full the the tonic to the through resonance of and allows chord vibrate at end. rests, and range, By pedallingthroughstaccatochords,he makesit clearthat his aimhereis for a massof sound Czemy's than explanationof suchpedallingsat the endof movements articulation. precise rather Ex. 9.14
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is dissipate by itself, is however, harmony to the allowed where resonance confined with only one from Forte for foRowing Piano School (ex. he 9.17), In the the tosoftpassages. example asks ` long last "so is distinctV'. This depressed the the to end as chord at sounds the pedal remain Ex. 9.17 Andante J
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the sameeffectasBeethovenwouldhaveintended,exceptthathisnotationoftenomitstherelease Beethoven's Czemy to this the principle earlypianosonataswherethere also appUes end. signat last four bars (ex. His Op. indications. 7/iv the the pedalling regarding of advice of areno pedal 9.18)" is in accordancewith Beethoven'sstyle. This passage,with its arpeggiatedtonic chord few last bars is Op. 26/iv (see 9.14 He decrescendo the topp, of unlike ex. not above). also anda " Op. I 0/l/ii (presumably he last "gently the the end of at effect means murmuring" visualizesa five bars)throughthecombinationofthe damperpedalandthe unacorda. AlthoughCzemydoes be linger indeýinitely to the allowed should on resondnce at the endof the not elaboratewhether based is there possibility, on existingexamplesmentionedabove, two movements, a very strong for have Beethoven that wished suchan effect. would Ex. 9.18
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2'Czerny(18 39E), iii, p. 63. Czemy (1846), p. 39. 24 2'Ibid., p. 40.
268
In addition to aiding legato, highlighting dynamic contrasts and increasing the resonanceof a important Beethoven to with a means underline structural passage, pedalling also provides (such Rondo link it Op. 53/iii), the themes He theme to to main as colour of employs elements. 260), in discussed (as to the characterof a motif, enhance a on p. change sections or movements introduction In Op. 101/iii/87-90 highlight the of an unexpected chord. to or a modulation and between helps the to 276-279, the contrast emphasize a very soft, melodious motif, and pedal and idea. bars (ex. In 30-34 the the the of same movement sonata, second pedal at a strong, energetic 9.19) marks not only the change from a strong, march-like character to one of repose, it also flattened Similarly, the the the submediant. unexpected move to a of arrival coincides with diminished chord in Op. 57/ii/96 is also accompanied by a pedal marking. The harmonic is identical bar in 89 beginning beginning in bar instead but 9, to that the passage progression of in bar in bar 96, introduces 16, Beethoven diminished to the as a subdon-dnant of a resolution in features, is the Czerny of pedal emphasizing use structural ofthe asreflected also aware chord. in his advice regarding the use of the damper and the una corda in the unexpectedmodulation 16 5. of Op. 7/iv/ 15
Ex. 9.19 (S)
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As the pedal undoubtedlyadds a different character to the sound, nineteenth-century different In with experimented colouristic effects. enthusiastically composers/performers "almost it but be insists Czerny the that was always necessary" pedal must tremolandopassages, " in Op. 26/iii, Beethoven In harmony. the to tremolando the passages addition changedwith
261bid., p. 39. 27 Czemy(1839E), iii, p. 61. 269
indicatespedal indicationsin tremolando-likepassages,such as Op. 106/ii/I 13-115and Op. 109/iii/105-107and 112(ex. 9.20). Ex. 9.20 1
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In all these three sonatas, confmning Czemy 1) s assertion, Beethoven changes the pedal with the harmony. Another special effect which Beethoven employs is the blurring ofsoft, dissonant notes, for example Op. 106/iii/44 (ex. 9.21 a). It is, however, surprising that he does not pedal the whole The b) blurring (ex. 9.21 bar 129 the be this to same effect. result achieve of would similar to of 28W,hich Czemy has in the "soft undulating effect of the Eolian Harp, or of very distant MUSiC,, dissonant through of soft, a succession chords, without a common bass note n-dndwhen pedalling
(ex. 9.22).
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Apart from occasionalspecialeffects which involve blurring, Czemy's fundamentalrule is for the 29 harmony is long depressed is This because tear the "[c] the to as only as same. and remain pedal distinct playing must always be considered as the Rule, all the rest is merely by way of " Beethoven's in The the numerous pedalling, some of of which are quoted majority exception". harmonic blurrings (the be discussed follow below). As this the rule will also above, examples is for it the pedal to remain depressedthrough permissible treble was weaker on early pianos, harmony long in in left hand is is the This the treble, the as as notes static. passing clear various from Czemy's recommendedpedalling in Op. 7/iv/155-157 (see ex. 3.10 above). Beethoven's beginning 9.23), (ex. G followed 0/iii/ 114-116 by in Op. II the with minor arpeggio, pedalling (including in fmally two the treble) over the same non-harmony notes melody a chords, and harmony, is also basedon the sameprinciple.
"Ibid., iii, p. 59. "Ibid., iii, p. 63. Capitalizationoriginal. 271
Ex. 9.23 oisýtsso
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in Op.31/2/i/143-148and 153-159(ex. 9.24)presenta muchlargerscale Therecitativepassages of blurring causedby numerousnon-harmonynotes in the treble. Beethoven'spedalling will beginning bass the the chord, announced at of eachrecitative,whilethe soft dynamicwill sustain help reducethe harshnessof the.dissonance. The wash of soundin thesetwo passagesis intentional,a fact confinnedby Czemy.31 Ex. 9.24
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According to Czerny, it is sometimespermissiblefor the pedal to be sustainedthrough two harmoniesin a soft passage.In spiteof the V6/4 - V1 -I harmonyin Op. 7/iii/3-4 (seeex. 5.24 " be depressed he for bars. that the the In ex. 9.25,takenfrom his two may pedal above), states treatise,no pedalchangeis requiredhalf-waythrough bar 7 (at the introductionof a different " This is further harmony)because,asheexplains,the octaveEs in the basshaveto besustained. Ex. 9.25
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influence, for Op. 101/ii/30-34 Beethoven's (ex. 9.19 above)and Op. see example, of evidence 53/iii. The pedalin the openingRondothemeof Op. 53, for example,not only sustainsthe low bass,it alsoblursthe alternatingtonicanddominantharmonies.In bars13-23,Beethovenfurther
32
Ibid., p. 38. 33 Czemy(1839E), iii, p. 60. 273
between dominant (ex. by 9.26). That tonic tonic the and minor or alternating major varies effect he fully intendeda wash of soundfrom two harmoniesis confirmedby his annotationat the beginningof the autographto Op. 53, a cautionagainstusingthe split pedalmechanism:"Nb. Wherever 'ped.' occurs,the whole damping,that is, treble and bass, shouldbe raised. '0' fall "" The function be it feature to the that again. allowed of pedal as should anessential signifies " by Czemy. is fully recognised of this movement Ex. 9.26 Rondo Allegretto moderato 0 0";--
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Most of Beethoven's harmonic blurring occur in soft passages. Sometimes,as in Op. II 0/iii/4 help dissonance. he Strict (ex. 9.27), to the 5 the the reduce effect corda of employs una and
(1994),p. 59. Rowland'stranslation. 14Stowell "Czerny (1846),p. 57. 274
Ex. 9.27 Adagio ma non troppo S-
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in loud is Op. harmony 57/i/218-223, the the norm always passages, such as with pedal change Op. 106/i/34-38 and 176-197, and the theme of Op. 53/iii. As shown in ex. 9.26 above,-the blurring of the tonic and don-dnantharmonies,an inherent part of the theme's identity, is found in bars 55 168 (ex. 9.28), When theme in the the entersfortissimo and only soft passages. mainly is Beethoven liberty However, is there takes the harmony one exception, where tonic pedalled. loud in bars 313blurring the announcement of a very opening material of allowing extensive he increase But in the the 9.29) to (ex. resonance. again shows 320 restraint presumably instrument, is quite noticeable. blurring, Such 321-328). (bb. bars on an early even subsequent in bars fromthe Cs 313 317, be help bass to the lighter and may touch on necessary A notes, apart but heard. be the to to treble "muddinessý'of the allow weaker and penetrating sound, the reduce
275
Ex. 9.28
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276
AnotherinstancewhereBeethovenavoidspedallingthroughtwo harmoniesis wherethelow bass beginning bar, is insistently if the the dynamicis p, as is the case at of every sounded even note in Op. 79/i/67-74,91-98and 111-118(ex. 9.30). Ex. 9.30
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The much-discussed caseof Op. 27/2/i, however, is different from the qbove examplesof harmonicblurring. Beethoven'sdirectionfor the dampersto beraisedthroughoutthemovement hasraisedmanyquestions.Shouldit be takenliterally, that is, depressthe pedalthroughoutthe be Or the should pedal usedthroughoutthe movement,but with changes,asdictated movement? by the changein harmony? The harmonicblurringsfound in the otherpiano sonatasare in passages wherea low bassnote is sustainedby thepedalwith changesof harmonyaboveit (asin Op. 53/iii, seeex. 9.26above), but different harmonies in in than two those are not announced more with no closesuccession or (Op. II 0/iii/5, seeex. 9.27above). Beethoven'sdirection,togetherwith thepredon-driantly soft dynamicthroughoutthe first movementof Op. 27/2, stronglysuggests that he intendsthe pedal he has for Since harmonies. blur be the to never asked to used a wholemovementto bepedalled
277
intended he be depressed for is that the to there pedal possibility a strong without anychanges, Op. 37/ii, for large did Czerny's he theme the duration of or sections. with the of eachphrase,as from Op. the theme the Beethoven through entire of slow movement that pedalled recollection 37 (ex. 9.31) corroboratesthe latter's pedalindicationsin this concerto. The numerouschord have the the bass in confused on painfully more of the resonant pianos sounded would changes 1830s. Czerny'ssolution,therefore,is for "the damperpedal to be employedanew;at each importantchangeof harmony;but in such a mannerthat no cessationof the soundmay be " holy, distant like harmony". for theme a andcelestial the sound must whole observed: Ex. 9.31 2, Ldxovem,,
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by for 27/2/i Op. the requestingthatthepedalbere-taken"at each Czernyalsooffers sameadvice in V blurring he bass by Although the base,. in passages accepts with a accompanied the note it dissonant (Op. 53/iii) those harmonies with and a succession of soft, chords above changing (seeex. 9.22 above),the extensiveblurring that resultedfrom Beethoven'sinstruction in Op. become had in 37/ii Op. his unacceptable on themorepowerfulpianos 27/2/i and pedalmarkings departure from beginning blurring is This the the the 1830s. of original ofharmopies of the intendedby Beethoven. bigger into the andmore resonantpianosafter Beethoven's taking Nevertheless,even account by Czerny, have in deep theearlynineteenth taught still roots death,theprinciplesof pedalling,as legato it is impossible damper to the obtain Both when physically pedal use composers century. for the fmgcrsto do so, to sustainslow-movingharmonies,to sustaina low bassnote while the dynamic line, to to sections, or emphasize contrast, band connectmovements left playsanother
Ibid., pp. 107-108. 311bid., p. 49. 278
to strengthena crescendo,to intensify an accent or sforzando,to increasethe resonanceof decay highlight the to to a natural at end of allow movements, and arpeggiatedpassages, importantstructuralelements,modulationsor a changeof mood/character.The damperpedal both is alsousedfor colouristicpurposes(asin tremolandopassages).In manyoftheseinstances, BeethovenandCzemyobservethe acceptedfundamentalrule of pedalling,that is, to changethe be blurring As Czemy harmony. the can successfully a result, used as a special effect. with pedal blurring in for in harmony Beethoven's the the treble of passing notes over request one accepts harmonies blurring loiv bass 31/2/i) (Op. bass the with changing of passages over a note and the (Op. 53/iii). However,herejectsBeethoven'slengthypedallingthroughdifferentharmonieswith frequentchangesin the bass(Op. 27/2/i and Op. 37/ii), which would result in suchextensive blurring asto makethe passageindistincton the increasinglyresonantpianosafter the latter's death.This is the only instancewhereCzemyknowingly ignores Beethoven'spracticeand his Czerny's from is identical Apart intention. this, technique to pedalling virtually original Beethoven's,includingwherethe pedalshouldbe depressedandreleasedto sustaina bassnote in his Czerny's Piano Forte School Sorne legato. examples on pedalling to of are and achieve for instance, from Beethoven's the sonatas; to piano pedallingof arpeggiated passages similar is by Beethoven's followed Op. 57/iii/176-204. to remarkably similar rests are which passages Severalof Czemy's instructions in TheArtalso reaffirm Beethoven'spedalmarkings,for instance, Op. 27/2/iii, in the theffchords of motif opening and the pedalling in the last ten the pcdalling of bars of Op. 31/2/i. Czerny also requests that the pedal be depressedfrom the largo to the beginning of the allegro section in Op. 31/2/i, as marked by Beethoven. In Op. 1101/iii; he by indications both the Beethoven's damper the use the requesting of una corda and reinforces four bars in first Op. 106/i beginning the Czerny's the of and at markings pedal of the pedal. " Czerny's remarks on the pedalling of Beethoven's. largo of Op. 106/iv are also the sameas Beethoven'spiano sonatas,with the exception of the "clearf 'pedalling he suggestsfor Op. 27/2/i, intentions. Beethoven's be be true to of reflection a can thus considered
64. 49,53,63, 311bid., and pp. 279
9.3 THE UNA CORDAPEDAL Evenbeforethe unacordabecamea standardpedalon VienneseandGermanpianos,Beethoven had askedfor it to be madeavailable. In his letter of 1802to Nikolaus Zmeskall,he praises Walter's pianos but expressesa wish for the maker to includethe devicewhich enablesthe 39 instrumentS. his WhenBeethovenwaspresentedwith the "tensionwith one string" effecton Erard in 1803,a pianowith four pedalsof whichthe una corda wasone,hesoonmadeuseofthis in Piano Concerto Third in Indications for the the the this of same year. performance pedal he in his for inserted be the where to piano concerto, asks next una corda also employed pedalare due the as epoi Ire cordeat bar 54, a3 cordein the next as well throughout secondmovement, bar, and due,poi una corda four bars later. The-changingcolours obtainedas a result of a in from his late three, to vice versa, and are also used string one shift piano sonatas, gradual Op. 110/iii. All Op. 106/iii instances 101/iii, these Op. three and of una corda are namely faithfully observedby Czerny. He instructs that Op. 101/iii must alwaysbe played with this pedal, in " Op. 106/iii Op. in indication II 0/fii the The Art. excerpts the of appears and una corda while Although he does not mention the gradual shifting from one string to three and vice versa, he is " in in he it his Piano Forle School. this an exarnple as uses cffect, aware of in the Beethoven uses una corda sparingly, generally soft passages,and as a device to alter the The between level. dynamic than the contrast tone colour rather una corda and tutte le corde, from is to three full in the string to the one and shifting vice gradual versa, as exploited well as op. 106/iii. If Beethovenhad associateduna corda with a soft dynamic,he would havdreqtiested lengthy first (bb. le 8-12). In bar 27, he introduces the the crescendo of appearance wite corde at detached idea This a sentimental and accompaniment melody. with provides a sharp a new Beethoven's first decision from indicate le tranquil, to the section. tutte chordal corde contrast in bar 27 shows that the two pedals are used to highlight the different moods. Similarly, he dimin. G le in thepp bar the 59. Again, through and tutte the minor corde chord of use maintains beginning is introduced in bar 60 (ex. the indication the at only of next section, the una corda
39Anderson(1961), i, p. 82. IoCzerny(1846), pp. 63,64 and 67. Czerny (I 839E), iii, pp. 64-65. 41
280
9.32). Ex. 9.32 0) 11
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-ea The useof the una corda in soft legatopassages, asa meansof providinga difTerenttimbre, is by Czemy. He alsowarnsthat the pedalshouldbe usedsparinglyandnot stronglyemphasized " All of thesepointsarein accordancewith Beethoven's in everysoft passage. own usageof the una corda. The una corda, in Czerny's opinion, may be usedeffectively in delicate, melodious passages with harmonies, especiallyoneswith a polyphonic texture.43 How does this compareto slow-moving Beethoven's practice? His frequent request for the una corda in soft, chordal or polyphonic Op. 101/iii, Op. 106/iii/1-26 and Op. 109/ii/83-104, serve only to such as passages, confirm Czerny's advice. In addition, Beethovenusesthis pedal to highlight the contrast between a calm passageand an energeticor lively one (suchasOp. 106/iv and Op. 109/ii) and to obtain a different tonal colour in fugal sections (Op. I 10/iii).
Czernyalsosuggestsusingthe unacorda,in combinationwith the damperpedal,in arpeggiated " wl&h resemblearpeggios. Thethird andfourth barsin his accompanying chordsandpassages
411bid. 43 Ibid., iii, p. 64. 44Ibid.,iii, p. 65. 281
illustration (ex. 9.33) in the Piano Forte School, for example, with the arpcggiatcd in figure from bass in the treble, the the closely scalic a a resembles passage and accompaniment bars Concerto: Fourth Piano 47-50 (ex. like 9.34), Beethoven's the restof of movement second in be the to with una corda, accordancewith Beethoven's played tl-dssecondmovement,are directionfound at the beginningof the movement. Indicationsfor the damperpedalshowthat it is to be changedon the lastsemiquaverprior to the introductionof a new harmony,a practice in in his 9.34. by Czerny as shown ex. example, carefullypreserved Ex. 9.33 leg-ato.
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in Piano Forte School the the Czerny's corda una is area truerecord of It clearthat explanations for in Czemy's this using pedal compositions which suggestions Beethoven's practice. own of in for indications, thepp passages Op. 53/iii andOp. 57/ii/33-48'45 do not containsuch example intentions. Beethoven's for As be likely of to compositions accuraterepresentations are most "Czemy (1846), pp. 57 and 59.
282
have being Beethoven 1803, before the would probably approved of una corda published he for it be 280, to was on p. enthusiastic madeavailableon employedsince,as mentioned Walter's pianos. Czemy'sdirectionfor this pedalto be usedin the lasttwenty-two barsof Op. 10/l/ii, " a melodioussectionwith polyphonicwriting (which is the type of passageBeethoven be therefore safelyadopted. the would use una corda),can
9.4 CZERNY'S AUTHORITY
ON PEDALLING
CONSIDERED
The resultsof this studyclearlycontradictRobert Winter's claim that Czerny'sviewpointwas 47 Rowland'sdoubt regardingCzemy'sauthority I 840S. the influencedby the changingtastesof in He 1790s, be that, the argues whenpedaltechniquewas this subjectshouldalso reviewed. on 4' Beethoven There is denying Czemy that the a pupil of yet was not no quickly, very advancing . in by 1790s, but by the the this was enthusiastically explored pedal was rangeof effectsoffered development. Czerny's the of experimentation and the period ofthe early end or no means climax instructionfrom the violinistKrumpholz,who wasalsoa goodfriendofBeethoven(seepp. 2-3), in boy Beethoven's have the advantageous starting an point young mannerof given would in in And if technique. his direct pedal specifically not any case, perhaps contact performance, have him from 1800 learn, Beethoven to provided would with ample onwards opportunity with It his have been from if instruction teacher's playing. would through or surprising a pupil either Beethoven's himself did Czerny technique. with pedal acquaint not as as eager As has been shown throughout this chapter, Czerny abides by the same general principles as Beethoven in the way they both employ the damperpedal and the una corda. Czerny also accepts intolerable indications those would Beethoven's which cause an except wash of sound pedal all in lapse In between the later time the spite of considerable short, of pianos. resonant more on Art, Czerny's The School Forte Piano and remarks on pedalling remain publication of the faithful the to composer's practice. essentially
46Ibid.,p. 40. 4'Brownand Sadie(1989),p. 353. SeealsoRowland(2001),pp. 2-3. (1994),p. 57. 48Stowell 283
CHAPTER 10: THE PIANO SONATAS IN THE HANDS OF FRANZ LISZT AND HANS VON BULOW Czemy'seffortsto preservetheperformingtraditionof Beethoven'smusicareindeedverynoble. His writings and editionsof the pianossonatasare informativeand offer later generationsof Czerny's One Franz Liszt (1811 tradition. of most celebrated ofthat pupils a glimpse performers 1886)alsoworkedtirelesslyto promotethe compositionsof Beethoven,especiallythe latepiano his he In 1, Hans Billow 185 (1830-1894) Ninth Symphony. the encouraged pupil von sonatasand ' large-scale Liszt Beethoven's Billow in-depth begin to sonatas. and were eminent study of an interpretation Beethoven's influential teachers of and whose music was and conductors pianists, in half They their the the own editions of piano sonatas also Prepared second widely respected. far did how Liszt Billow However, the and continuethe performing century. nineteenth of tradition which Czernytried so hardto preserve?
10.1 LISZT'S APPROACH TO BEETHOVEN'S
PIANO SONATAS
Liszt, like his teacher Czemy, held Beethoven in very high esteem. When Liszt was ten years old, he even attempted to play the "Hammerklavier"
Sonata, Op. 106. He admitted that he played it
"very badly, but with passion - without anyone being able to guide me in it. My father lacked 2 feared it, do Czerny to confronting me with such a challenge". )However, the and
experience
from 1822 to 1823, Czerny instilled the understandingof Beethoven's style in the young Liszt' in later life foundation for he Liszt formed this as continually sought to understand a useful and Beethoven's late piano sonatas.
By the time Liszt was twenty, all Beethoven's piano sonataswere in his repertoire. However, Liszt was not content to be simply able to play well. He had a hunger to understandeverything literature. Joseph d'Ortigue it, it (1802-1866), be intended or the a reEgion music, author as 'Wilfiams (1990), p. 274. 2Walker(1985), p. 218. 3CZeMy(1956), p. 315. 284
friend, critic andmusicologistrevealsthat Liszt would reada dictionaryin the "samevoracious bringing investigative did he inquiring bear' the to same a poet, and as manner mind and restless both for four hours Lamartine, Then, he Boiste time. and reading upon at a as when upon believed he had enteredinto the author's thought, he would go and ask him for his own " heard had Those Liszt he by touched the sheer who written. play were of what all explanation beauty,magic and fife that he brought into his performances.Such captivatingand moving intense his he Once the and profound of study a result of were music. understood performances throughhis the characterof themusic,hewouldthenattemptto communicatethýisunderstanding in inspiration literature his found In He and environment. also order to understand playing. ' lunatic hospitals, hearing he After Paganini asylums and even visit would prisons. everyemotion, in March 1832,Liszt worked evenmorefeverishly,studyingHomer, the Bible, Plato, Locke, Beethoven,Bach, Hummel,Mozart, and Weberand Byron, Hugo, Lamartine,Chateaubriand, he in In thirds,sixths,octaves,tremolos, them. practise exercises addition, would on meditating " four five hours for day. In his to a cadenzas and quest to understandan notes, repeated in Liszt he found experiment various ways would until of piece music, a satisfactory unfamiliar Thus if Wilhelm the the this markings expression on score. changing when meant even solution, Liszt in 1828, he (1809-1883), Russia'n Lenz called pianist, on amateur a recalledthat when von Liszt was facedwith Weber'sSonataNo. 2 in A flat for the first time, he experimentedwith differentarticulationin orderto achievethe desiredeffectandalsowith waysto makethe music Lenz wrote: coherent. sound The first part hetried out againandagainin the mostdifferentways. At the passage(in the dominant)in E flat at the endof the first movement, he said:"It is markedlegato,but perhapsit would be betterto makeit is It " He also marked leggermente. and staccato? pianissimo in experimented all possibleways. "It is verydifficult", saidLiszt, "but still moredifficult the coda,andhow to pull the wholething together,herein the centrifugalfigure" (13 bars beforetheend). "This passage"- in the secondsection,naturaIly in the , flat "we key accordinglyshan'tmakestaccato,whichwould main ofA be too affected,not yet legato, for which it is too thin; we'll makeit
4Wifliams (1990), p. 4 1. 51bid.,pp. 49 and 282. 61bid.,pp. 50-51. 285
1,7
between the two waters. thus swim spiccato,and
Liszt may haveapproachedBeethoven'slate piano sonatasin a similarway, but when he did his if he be faithful them, to the could, performance so chose, completely understand eventually Sonata, "Hanunerklavier" Op. for 106 first in Liszt When the the time played publicat the score. impressed Berlioz (1803-1869) by Hector the youngvirtuoso pianist's twenty-five, was ageof He for by from the the also showed great sonata. respect of composer refraining understanding Berlioz in Revuq Gazette the marks. or expression notes wrote any adding or et omitting in 1836: musicale In supportof my opinionI appealto thejudgementof all thosewho have heardhim playthe greatBeethovensonata[Op. 106],that sublimepoem has been Sphinx for almost every the the of riddle now which until it has in Oedipus, Liszt, solved a mannerwhich would a riew pianist. havemadethe composer,hadhe heardit in his grave,thrill with pride followed, joy. (I Not ornitted, not one added note was a scorein and hand),not a singlealterationmadeto what wasindicatedin the text, not idea from its inflexion true meaning.In or changed weakened or an an the Adagio above all ... he remainedconstantlyat the level of the composer'sinspiration! As was discussedin section 3.2, Czerny was told by Beethovento play his music the way he had in fresh Czerny's few lesson decades it, later he still memory was a which a when wrote notated The.4rt. PerhapsCzerny instilled this respect for Beethoven's scoresin Liszt in the early 1820s. After his successfulperformance of the "Hammerklavier" Sonata in 1836, Liszt continued to develop. His performancesof Beethoven's works in Vienna in 1839 were so convincing that his ýIlgemeine interpretation was hailed as a model. Heinrich Adami (1807-1865) wrote in the Theaterzeitung (4 December): For younger listeners in particular, who never had the opportunity of hearing Beethoven himself in his piano sonatas and concertos, Liszt's interest, from best them they and are of exceptional are able renderings to study theseworks, often capableof so multifarious an interpretation, ' for form themselves. a correct view and to
Nevertheless,if Liszt were in the mood to enthralhis audience,he would not hesitateto take 71bid.,pp. 37-38. Italicizationoriginal.The text hasbeencompressed. "Ibid., p. 78. 91bid., P. 115.
286
libertieswith the music,eventhat of his idol Beethoven. Carl Reinecke(1824-1910),a pianist, impressed by in 1840. He in Hamburg by Liszt the was sensitivityshown given attendeda concert by Liszt in the first two movementsof the "Moonlight"' Sonata,Op. 27 No. 2: "His marvellous, blended feeling keenest bravura the always with poetic and were and virtuosity unsurpassed humour, Boldness, intelligence. elegance, simplicityof expression- all grace, passion, musical boundless he However, admiration7'. a compelling wasastonished weretherewhenappropriate, 'o in last Liszt liberties the the took by the rhythmic movementof sonata. Two yearslater, Mikhail Glinka (1804-1857)had a similar experience. Sometimes,Liszt's playing was he because distortedthe expression,stretched it times, inspirational,at other wasunsatisfactory frivolous Beethoven, to the tasteless embellishments compositions of and the tempi,andadded " Bach. Weber, Chopin, and faithftil Beethoven's At the to the text. Liszt's works were later again of In performances years, (1818-? law ), Schorn in Karl 1845, in Bonn Festival a student and music enthusiast, Beethoven Symphony Fifth Beethoven's to the Liszt strictly according original that conducted observed Liszt's Moscheles and energetic spirited performance of with satisfied also was score. Charles HaI16 (1819-1895), German Also Concerto. Piano Fifth was present a Beethoven's finer Liszt "adhered to the text, that scrupulously and a and grander pianist, who remarked 12 Liszt insisted imagined". his be that also the pupils observe work could not reading of In 1883, Siegfried Ochs (1858-1929), German a carefully. Beethoven's expression marks his Liszt Beethoven telling that one of pupils considered witnessed composer and chorus-master difference frompiano large frompianissimo the different tojorte be while was soto very piano " North between South distance be to the and poles. compared that it could interpreting different the into their music. the composers of when styles took Liszt always account insisted Liszt by Beethoven, always on a performancewhich reached if a pupil played a sonata it had be delicate by Chopin If to played, were with exquisite the soul of the composition. a piece fancy. by the the composer and at the never player's but restrained rubato at places marked
101bid., p. 145. "Ibid., p. 187. "Ibid., p. 218. Ibid., p. 62 1. 13
287
However, with Liszt's own Rhapsodies,he would encouragehis pupil to play with "careless " in if the bravura7'even that was not specificallynotated score. Liszt's lessonswith Czerny leading differentiate the he to taught characteristic styles of various composers, where was includingBeethoven,Bach,Clementi,andHummel(seep. 11), would haveprovidedhim with a very good startingpoint. Liszt treated the piano as if it were an orchestra, extracting a large variety of tonal colour and by both Czerny " Beethoven (see5.1 and encouraged section emotions, an aspect of playing is derived from in Liszt's the The not only playing an understanding of expression above). but his the through to the the composer, also the of style sensitivity and piece of character harmonies and, where appropriate, accentuation.Caroline Boissier, whose daughter Val6rie had in her diary that when Liszt played, he was in 1832, from Liszt lessons been taking wrote "plumbed so deeply [into] the depths of art and the mysteries of harmony" that "under his fingers " by A William Mason (1829-1908), vivid account sounds". the piano rendersup unaccustomed brought life how Liszt his demonstrates to from America, through performance a pianist in flat followed Ballade A by fugue in Chopin's E had Mason major a minor played accentuation. in 1853. He lesson Liszt first his during Handel recalled how Liszt taught him the with by importance of accentuation: I found at this first lesson that he was very fond of strong accents in he talked so much about to phrases, and mark off periods and order have he that that supposed might one would abuse strong accentuation it, but he never did. When he wrote to me later about my own piano method, he expressed the strongest approval of the exercises on accentuation. While I was playing to him for the first time, he said on one of the from it "Don't he the that chair: me pushed play way. when occasions Play it like this." Evidently I had beenplaying aheadin a steady,uniforrn down, the Ile same phraseswith an accentuated, gave and sat way. flood light in let From that one of upon me. a which elastic movement, bring it the learned I to same out effect, where was experience I I in that that eradicated played. much piece every almost appropriate, in developed my playing, and unmusical an was mechanical,stilted, and
Ibid., p. 552. "Ibid., pp. 342-343. 161bid., p. 47.
14
288
has lasted life, touch which all my andwhich I havealways elasticityof tried to impartto my pupils-" From Liszt's editingsof Beethoven'spianosonatas,it is clearthat he consideredaccentuation to be a very importantelementin performance.He addedaccentsin numerousplacesto highlight the beginningof phrases,rhythmic groupings,dissonance,syncopation,noteswith long note interest. In his is in line with that of Beethoven short, accentuation of melodic notes and values, in discussed 5.6 Czemy section above. which were and
10.2 THE CHOICE OF PIANOS
The rapid developmentofthe piano throughout the nineteenthcentury meantthat the instruments Billow different. Liszt Beethoven, Although Beethoven was to were all and rather available in 1803 Broadwood Erard in 1818, he had and a grand piano grand with an piano presented The Viennese Viennese had the early nineteenth-century pianos. preferred pianos a lighter always damping English French than the system effective and a more and pianos. While the action bichord-strung, English Viennese French were pianos of and majority pianos (including Beethoven's Broadwood and Erard) were triple strung throughout to give them more resonance. The frames of Viennese,English and French pianos, however, were made of wood. In Bonn, Beethoven had played on Stein's pianos.'s When Czerny auditioned for Beethovenin 1801, he noticed a Walter piano in the composer's room. 19 Anton Walter (1752-'1826)'and Johann Andreas Streicher (1761-1833) were the two most prominent piano makersin Vienna at the time. At the beginning of the nineteenth century, Beethoven certainly preferred Walter's dated letter Nikolaus Zmeskall, In November Streicher's. to 1802, Beethoven a over pianos by Walter buy he his have though to even a piano could willingness a piano free of expressed 2' however, Beethoven From 1809 from onwards, consideredStreicher's other makers. charge
171bid., pp. 287-288. IsThayer(1969),p. 105. (1956),p. 306. 19Czemy (1961),i, p. 82. 2OAnderson 289
did by he his Streicher, Beethoven best. Although be the not own a piano made rented pianosto " for Beethovenwasdissatisfiedwith the relativelydeep full them. instrumentsandwas ofpraises it. Streicher Unfortunately, Erard to the heavy the alter touch asked and even piano result on and 22
Beethoven Broadwood he By time the from the far received was piano, satisfactory. was instrument. fully he Since the tonal deaf the qualities of appreciate andcould not alreadyquite is based Erard it is English the the the essentially which on actionon model, was unhappywith had Broadwood had have He he the the likely to complaint about that same piano. would very impairment. Streicher's brother-in-law hearing As his because a result, the of thump on piano Matthdus alias Andr6 Stein (1776-1842) was given the task of completely overhauling Beethoven'sBroadwoodpianoin 1824.Two yearslater,the pianohadto berepairedagain,this 23 (1797-1863). Stein Andreas Karl time by AndWs son by Walter first decade by Beethoven towards those the favoured the and The pianos end of of insight into his ideals. Walter's by Streicher us an sound offers pianos, the nineteenthcentury, Streicher's, for than were more suitable virtuosic playing. powerful which were more robust and Soft, had hand, tone. the a sweeter melting tones and a range of Strcicher's pianos, on other in In 1796, Jahrbuch der Tonkunst the the be them. writer on von achieved expression could Wien und Prag describes the player who prefers Streicher's instruments as those who seek 24 for the "nourishment Soul"). Czemy also preferred Viennesepianos,especiallythose madeby Streicher (see also pp. 64 - 66). louder forced for demand the pianos and However, piano makers to inrrease-the stronger heaviness of their hammers and dampers, as well as to strengthen the soundboard structure. his in in bars 1835 but, on the whole, Viennese iron pianos Streicher even used a system of Therefore, Czerny frames. 1830s the the pianos which to used use wooden makers preferred by Beethoven. those than played onwards were more resonant
in Sebastian Erard, Paris, (1752-183 1) Pierre the and At the sametime, mostprominentmakers ii, 686. 300 i, 292 (1961), Anderson and p. and 21See pp. 2'Cole(1998),p. 140. 2'Clive(2001), pp. 58 and351. (1995),pp. 11-12. 24Kon-d6s 290
Erard (1794-1855)werealsoconstantlylooking for new waysto strengthenhis pianos. Apart from the last few yearsof his life whenLiszt was introducedto overstrungpianosby Steinway, he had alwaysfavouredpianosby Erard. Theseinstrumentshada Bechsteinand136sendorfer, be to double-escapement rapid repetition of notes producedaswell as whichallowed mechanism device in by Erard 1822. keys' touch, to the the a player's patented responsiveness enhanced the hammersbecame From the 1830s,the framesof the pianowere enlargedand strengthened, heavier,thicker stringswere used,and the string tensionwas increasedin order to makethe instrumentmorepowerful,durableandresonant.In theprocess,thedynamicrangeahdthe range larger. his became As Liszt the to tones progressively a result, could vary pianist available of tones and expressionrangingfrom very soft ghostly or celestial-liketonesto very powerful, larger Viennese than that the on much pianosavailableto was majesticones,a rangewhich. Beethoven. Fromthemid-nineteenth century,theinfluenceofErard, StreicherandBroadwoodbeganto wane by Steinway and other companieswhich embracedthe new and was gradually replaced iron frame by BOlow those one-piece pianos such as technology. made on overstrung, played Bechstein,SteinwayandB6sendorfer.Althoughhepreferredthe tonalflexibility andthe timbre felt it his duty "worthy he industrial to Bechstein the encourage other and respectable pianos, of " Chickering. These B6sendorfer Steinway, including and pianosweremuchmore endeavour" Beethoven frame Liszt. to to than the available and some pianos extent, wooden powerful Although Beethoven used the piano when composing, his compositions were not baýsedon the derived from his ideas the sound world of his imagination. were tones of specific pianos; rather, His frustration with the limitations of the early nineteenth-century Viennese pianos are well known. However, the more mellow English and Parisianpianos did not satisfy him either. As a in justified larger Bfilow the Liszt using were and more powerful pianos and particularly result, However, the the they time convey character their of successfully pieces. more could as of be discussed in be these had tempo the to to and pedalling, and will especially made, adjustments following section.
Mfldebrandt (1988),pp. 140-142. 291
10.3 A REVIEW OF LISZT'S AND VON BULOW'S EDITIONS
Liszt's editionof Beethoven'spianosonataswaspublishedin 1857,a yearafter Simrockbegan inserted his Liszt In Czcrny's edition, metronomemarkingsat the new edition. publishing beginning of movements,accents,nuances,and fingering. In 1894, BUlow, togetherwith SigmundLebert,publishedaneditionof the sonatas.Theysharedthe workloadandBalow was Op. Opp. Op. 13, 26, 27, 31/3, Op. Op. 53, Op. for 54, Op. 57, Op. 78, the of editing responsible Op. 79, Op. 81a,Op. 90, Op. 101, Op. 106,Op. 109,Op. I 10, andOp. I 11. Billow"s cditings fingerings, he inserted Besides Liszt's. than accents, adding nuances and also aremoreextensive difficult (including for ways ofpractising passages), metronomemarkings comments eachsonata to convey the openingtempoaswell as fluctuationsof tempowithin the movementandpedal markings. Although Billow's edition was published towards the end of the nineteenthcentury, someof his Czemy in his ideas. Billow's he Czerny's to that references comments show echo still cornments Czerny's the the thoughts performance of on piano sonatas,either through aware of certainly was the latter's writings and editions, or through Liszt.
Billow recommends using Czerny's
in bar 10 from last the to the awkward passage practise exercise rhythmic movement preliminary " lack Billow, To like Czerny (ex. 10.1). 106 Beethoven Op. those of a sense pulse, who and of Ex. 10.1
njlý V H-I" .
I
a
r4
(seepp. 3 1,111 and 112),suggeststhat they usethe metronomein their practiceto helpthem " flexibility BUlow the Although tempo to virtues expounds of this using problem. overcome
2Teethoven(1894),ii, p. 596. Czemy'sexercisein TheArt (p. 65) is notatedan octavelower thanBOlow's. ii, 476. (1894), p. -'7Beethoven 292
he the of a passage, alsowarns,that the performershouldalwaysmaintainthe expression enhance 28As throughout a pieceor movement. wasmentionedin section2.2.2, overaHtempoandmood Czemyalsofollowedthisprinciple.SomeofBillow's editingsaresimilartoCzerny'ssuggestions earlier in the century. In Op. 31/3/iv/20-34,Billow accentsthe e6s in the bassasCzernydid in his Hastinger11andCockseditions(seep. 75). Billow insertspedalmarkingsin Op. 57/i/17-22, the barswith thefortissimochordsin order to increasethe resonanceof the passage.This is in line with Czerny'sWesseleditionandhis advicein TheArt (seep. 98). In the four barsleading in bar Op. 53/i " 35, Czerny to the group of secondsubject suggestsusing ritardando. up Similarly,Billow insertspocoritardando in bars33-34 (ex. 10.2). Ex. 10.2 c3o) POCO rilardando. .
decres-c.
5ý
n+R =0
decrese. 04
#; ý 1 -ý
1.
do! let#
i
II
ýH
---o
9ýý -,
W-
Iit 4
1
(d Z 152. )
4, ____ 4.2
i, ! .-
go-i i
2e
"ti
ýb ff
III
p
-
J4J
LAW"
P'l 44-ý-.2
..
iI.
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j I" IFlega
dolee e molto* e 4.
;: t53
Tr
BfIlow also cautions againstaltering passageswhich Beethoven had to compromisebecauseof the limited range on his then five- to five-and-a-half-octave piano, a warning emphasizedby Czerny in The Art (see section 3.2). Their reasons,however, are different. Czerny, after his issued by Beethoven, the warning out of reverence and deferenceto the composer. reproach Balow's caution stemsfrom his admiration for the imaginativevariantswhich Beethoventhought 30 of as alternatives.
IgIbid, ii, p. 506. 29Czerny(1846), p. 56. "Pfeiffer (1894), p. 35.
293
WhenCzemywaspreparinghis editionsof the pianosonatasandthe commentson performance in The.Art, hewastryingto recordBeethoven'sperformanceidealsasheremembered themalbeit into take to accountthe relativelymoreresonantpianofrom the 1830s. with somemodifications However,Billow's approachwas ratherdifferent. Although he respectedCzernyfor his firsthand knowledgeof Beethoven'sperformingtradition, Billow's aim was not to preservethe teachingsof Czemybut to presentan effectiveway of playingthe sonatas.Many of Billow's how decision be his the sonatas on should own played. His suggestionsto commentsreflect thicken the texture of a passage,to adopt a slower tempo, or to modify Beethoven'spedal late in to the the nineteenth-century suit pianos which were, made as outlined markingswere Czemy's. his In their and resonant edition of Op. 57, Billow powerful section, more previous in bass bars 130-134 (ex. doublings 10.3). In the of somecases,suchas octave recommends Ex. 10.3
ýýI.
Lz
3 do ---iaia
p. 41
1 go
9:
',
1
I
F=F::: 9 777
Beethoven'smetronomemarkingsof Op. 106,Billow proposesa differentmarkingwhich,in his Regarding first be the the metronome marking of appropriate. more movement opinion,would declares: Billow 106, Op. of In hismetronomicmarkings,whichcoincideessentially withthe character in decided Editor the theme, the stands oppositionto Carl principal of 294
Czerny (in his "Kunst desVortrage', Part IV of the Pianoforte Method, Op. 500), who, in his capacity as the first and contemporary interpreter latest Beethoven's pianoforte-works, deservesto be consulted as an of 6= if infaHible Czemy's 138, tempo authority, even not a whoHy one. so little in harmony with the ponderous energy of the theme, and for too rapid even such divisions of this movement as are apparently capableof considerable acceleration, may be justified in a senseby the lack of sonority in the Vienna pianos then in vogue. On one of our best modem concert-grands and suchan one (a substitute for the orchestra, _ is for it a proper execution of this sonata the Czerny as were) requisite _ " have blurring tempo would a confusing and effect.
In the secondmovementof Op. 106,BUlowacknowledgesBeethoven'smetronomemarkingof 66. In his opinion, this tempowill not only 80 but suggestsa slightlyslower tempo: bring to the out the animatedcharacterof this movementbut alsomakeit more performer enable distinct." He also permitsthe performer to take a slower tempo than that suggestedby Beethovenin the third movementof this sonataif a very sonorouspiano is used." Since the heavierkey action on the pianosof BUlow's day also doesnot permit playingthe in last Op. he decides 53, the to simplifyit andoffersthefollowing movement of glissando octave (ex. 10.4): as alternative passage Ex. 10.4 tIt, TP
pp
.
i-vý
tj
.-E-fij-9 it.0.
rI
4v
;; I
-
;:
if
.0-0
etc. L.
"
-
b--6-6-d
r
ý:
Liszt retainedtheglissandoin his editionbecause,on his Erard,this mannerof playingwasstill possible.
"Beethoven(1894),ii, p. 563. 32 Ibid., ii, p. 577. 33 Ibid., ii, p. 582. 295
Czerny's influenceis also evident in Liszt's edition of the piano sonatas. Liszt's choice of fingeringin Op.7/iv/68-69and76-77wherebythe fifth finger crossesoverthe fourth is identical Liszt Czemy's fingering 3.9 for Op. (see Czemy's also uses above). suggested ex. to solution " In in his (ex. 10.5) the trio sectionof this movement,Liszt marksthe first 22/iii/12-13 edition. this noteto beat in the bassof bar 39 with an sf marking. In TheArt, Czemyalsorecommends " In the fourth movementof Op. 22, Liszt accentsthe a 61in the alto part of bars be accented. 12-13to highlightthedissonance.ThiswasalsoCzemy'sadvicein TheArt (seeex. 5.18above). Ex. 10.5
crese.
in bass the two-note staccato Czerny's articulation of slurs and of Op. 57/i/25-32 (as shown in BUlow Liszt. in Liszt's Balow's dynamic the 3.29 of and editions and retained are above) ex. in Op. 57/i/53-54 57-58 in to thd and are marks also similar articulation editing markings and Czerny's Hastinger 11edition (see ex. 3.31 above).
/1 /ii, however, Liszt different Op. 31 finger leggieraniente prefers a of in the pattern passages few is Beethoven inserts fingerings. This Czerny. the Beethoven passages where from of one and in 1324 Liszt's is BUlow in 1313 fingering two minds. with edition. His preferred was replaced of but in bars 12 74 he 76, bars in 10 1324 and and offers 1313 as an He suggeststhe pattern alternative.
ii, 178. p. -141bid.,
46. (1846), Czemy 179; (1857), p. 3'Beethoven p.
296
Specialeffectswhich involveblurringofdifferent harmonieswith the pedal,suchastherecitative have Op. 53/iii been by Rondo Liszt. both In 31/2/i in Op. theme the of shortened and passages harmony in Liszt's Similarly, time. edition prolong only one the at a marking passages, pedal harmony the at the beginningof Op. 53/iii (ex. 10.6) BUlow alsoencourages pedalchangewith in order to reducetheblurringon themoreresonantlatenineteenth-century pianos.Comparethis in 9.26 is discussed As in Czerny 9, Beethoven's ex. above. shown was as chapter pedallingwith inherent is Rondo (see blurring the 273-274). theme the element of an that pedal pp. with reveals blurring Op. he 27/2/i, did keen he the of Although was not extensive not try to changethe on Rondo does into BUlow's in the Op. 53/iii. theme take regarding comment not pedal markings importance he Instead, first the the merely expresses the of viewing pedalling. account extensive 36 bassnote aspart of the theme. Ex. 10.6 Rondo. Allegretto moderato. (J - lorW -*-..
irJ
_____
II riLh r-
____
O-Mý
blwýý
I-
III
01 Jill r-_
-II
-
405. ii, (1894), p. 3Teethoven 297
I
As wasdiscussedin section10.1above,Liszt's performancesof Beethoven'smusiccouldeither be faithful to thetext or it couldcontainsomeadditions. A commentby Bolow regardingthe last Liszt Op. 106 BOlow himselfcould introduce the"touching up" which reveals and of movement had for his Balow fancy them. take teacheranddedicatedhis editionof the great respect should the piano sonatasto "FranzLiszt, as the fruits of his teaching". Insteadof the notatedsingle introducing 88, BUlow "Liszt's in Op. 106/iv/3 recommends octaves"(ex. 10.7)in orderto notes he had learnedfrom Liszt. However,Liszt, in brilliancy to the an effect passage, crescendo add his own edition,hadnot alteredthis bar to includethe octaves." 1
Ex. 10.7
As aneditor,Liszt's approachto Beethoven'spianosonataswasdifferent. Czernyheldthe view that it was importantto learnthe pianosonatasaccordingto the order that they werepublished in order to increasethe performer'sunderstanding of Beethoven'sdevelopmentasa composer. He classifiesBeethoven'scompositionsinto threestylisticperiods: he (about 1803) in his 28' to adhered, work a certaindegree,to the up however from Haydn; Mozart then until abouthis 90' work and styleof (from 1803to 1815)he fully displayedhis true peculiarity,andfrom that time until hisdeath(in 1827)heagaintook a new direction,whichis not lessgrand,thoughit differsmateriallyfrom the two former." Liszt, on the other hand, arrangedthe sonatasin his edition in order of difficulty, beginningwith op. 49/2 and ending with Op. 106.
On the whole, even though the editionsof Liszt and Balow still displaysome elementsof Czerny'steaching,the emphasisis on the preferencesof the editors rather than authenticity, Beethoven's The development to the markings. of overriding extent even of more sometimes the throughout nineteenthcenturyalsocontributedto a changing pianos and resonant powerful "Beethoven(1894),ii, p. 614;Beethoven(1857),p. 556. IlCzerny(1846),p. 32. 298
in be Czerny's Beethoven's that the spite piano sonatas should of played so way perceptionon his did Beethoven's to performing styles, writings and editings not make record untiringefforts had future he hoped. impression lasting as generations on sucha
299
CONCLUSION Carl Czernywasundoubtedlyan importantwitnessto the characterandmannerof Beethoven's is, how Czemy's is based The treatise this much of piano question really on style. performing it. learned Czemy is The theproperplayingpostureandthe of most tradition? answer probably: from Beethoven. Both hand to men position encouraged pianists avoid most advantageous . They body hand playing. when produceda varietyof tonalcolours movements unnecessary and by varyingfingerpressure.Theytrainedthe left handto beasagileasthe right. Whenfingering fiflh finger black keys. the thumb the they and avoided placing on a passage,whereverpossible Legato,in their opinion,wasthe normaltouch. They insistedon the useof tempoflexibility and in dynamic full to the markings articulation order and convey of rangeof a carefulobservance definitions headings Czerny's the tempo of main and their speed expressionof a piece. implicationswere broadly the sameas Beethoven's. The speedsdenotedby the former's Beethoven's for the of slow movements pianosonatasarewithin the style. metronomemarkings Many of the principlesof pedalling and its techniqueas expoundedin Czerny'sPiano Forte Schoolcanalsobe tracedbackto Beethoven. However, sincethere was not one universal performing style in the early nineteenthcentury, but ideals by individual training the the musical and personality, of characterised many styles in hybrids The in Mozart's this of styles. result spirit sometimes and grace could performer, his he to Clementi to approach performance re-think and eventually abandoned playing caused Czerny to and refined manner a more cantabile ofplaying. embrace virtuosity also adopted sheer legato Beethoven the hybrid energetic, expressive power, combining playing style, of of with a Mozart. in Hummel, Even the performance of of a pupil playing of neatness the clarity and Beethoven's piano compositions, Czernysometimesrecommendsa light, evenand"pearly" touch in passagework, to some extent reminiscent of Mozart's and Hummel's playing. Czerny also instead Beethoven's "very" "enough" "rather". definition Hummel's of as or of assai shared
The improvementsmadeto the constructionof the piano,the useof thicker stringsand better hammercoveringsandso on, not only madethe instrumentsturdierandmoreresonant,it also larger These in dynamic tonal compass of colours. advances and a piano range offereda wider 300
however, he had by Czemy. Sometimes, to adaptor exploited and welcomed technologywere incorporate in the these to technique new sonic of changes. resources order modify piano had damper he Beethoven Although that the is pedal employed recognised Pedalling anexample. increased by blurring, the through resonancecreated the in order to create specialeffects Viennesepianosin the 1830sand 1840smade extensiveuse of this techniquedifficult and Beethoven's The trend of curtailing pedalmarkingswhichcaused sometimes,evenundesirable. his Billow. Czerny, Liszt Billow Liszt blurring were and pupil and with continued considerable increasingly their the by that, at with powerful pianos accepted and progressivemen nature had Beethoven's However, to the sonatas to piano with made. disposal,changes of performance frame iron Bechstein Steinwaywhich pianos such as and of overstrung,one-piece the emergence had far he by Czerny. to than that by Billow, the were make greater changeswhich were used dip Billow key heavier that meant preferreda slowertempothan The sonorouspianoswith a in Op. 53, had the to Beethoven, octave glissando abandon a practicewhich Czemy and and Liszt. Czerny beyond be and could not preserved keep to Czemy from changes up-to-date with contemporary also made other Apart pedalling, for Beethoven's On the the markings metronome sonatas which piano whole, styles. perfom-dng his (1846) than 4rt in The, slower other setsofmark-ings. Thismay significantly were he published begun by Wagner. Between for 1820s trend from the trend a the speeds, and slower have resulted it his the the trill Czerny starting note about of 1830s, and whether should also changed mind the begin Czemy that the teaching trill In 1828, the still should turn. was note; on upper a with end have by But is 1830s, Czemy trill the the should not one. notated, specifically and unlessa suffix during the this transition confused state and of affairs starts, main-note adopting was gradually fingerings in his School, his Forte in his Piano which sometimes contradict is clearly recorded it trills that He should end with all a suffix, whether or not also emphasized written guidelines. Czerny Fingerings modemised. also preferred to use uniform were is specifically notated. din-iinished-sevenths dominant-seventh figures. in and fingering repeated patterns, arpeggios, hand, irregular. Although in the fingerings other were often on such passages, Beethoven's fingering (where long finger the to of a vaults over a system old Czemy occasionally resorted shorter
based fingerings the the his thumb modem system ofpassing on under were one), most of
his In Czemy finger longer the thumb. editions ofthe piano sonatas, over the fingers or crossinga
301
fingerings. Beethoven's In the Cockseditionof the trio of the F minor sonata retained normally (Op. 2/l/iii), however,Czemychangedthe composer'sfingeringin orderto avoidusingthesame fingers consecutively.The useof an alternativefingering in this awkwardpassageof double fourthswaslaterconfirmedin TheArt. WhileCzemyobservedmostof Beethoven'sarticulation lengthened he Beethoven's in slurs, sometimes By especially overtlymelodiouspassages. marks, highly Czerny doing, to chose sacrifice articulate,rhetoricalexpressionin favourof a smooth so legato line. SomeofCzerny'sdecisions,ofcourse,wereinfluencedby personalpreference.Beethovenwould finger a chromaticscaleby alternatingthe thumb and the third finger. Czernyexpressedhis fingering fingering to this and suggested a whichusedthecombinationof thethumband objection the indexfinger. AlthoughBeethovenwasoneof the pioneersin the trainingof fingerdexterity, have Czerny placed still more emphasison the attainmentof such skills. His seen, as we bear He interested in to this. the bravura styleof playing,a was also witness studies numerous did Beethoven's However, this doesnot meanthat Czerny approval. with which not meet style in display for its interested the ofvirtuosity only own sake.Whendiscussingtheperformance was in The he Art, Beethoven's sonatas piano constantly emphasizedthe importance of of Conveying the communicating character and of a piece. the spirit of a piecewas, understanding by be Beethoven important to the one considered of most aspectsof pianoplaying. of course, Czerny's wish to preservethe "correct" mode of performing Beethoven's piano music resulted in numerous editions of the latter's piano sonatas. Czerny's editorial markings in these editions display a certain consistencyfrom the late 1820sto the 1850sand are therefore reliable. Many his in in The Art Piano to Forte School. Inaddition, the them suggestions correspond also and of ideas in his The Art in the the Haslinger 11edition from are same as editorial ofthe markings some Beethoven's This 1820s. death,so the editorial markings late edition was published soon after the in it, and many of the remarks in The Art, probably reflect the composer's ideas and, in part at least, his intentions. Another source which anticipates some of the ideas in the Piano Forte School is Czerny's edition of MOIler's Grosse Fortepiano-Schule (1825). This is not as Piano Forte School, but Czerny's treatise as a concepts regarding the comprehensive interpretation of classical compositions, pedalling and the classifications and descriptions of
302
dynamicandarticulationmarkingswerealreadyestablishedby the mid-I 820s. On the whole,Czemy'seditorialmarkings,especiallythosewhich appearedin morethanoneof his editionsovera periodoftime, areinvaluablein giving usaninsightinto certainofBeethoven's habits of thought. Czemy obviously modified some of the principles he had learnedfrom Beethoven,but themajorityof histeachingsarea loyal recordof that performancetradition. But death, Beethoven's the gradualmodification of aestheticoutlook, and a thirty of years within decisive departurefrom his performingstyle had alreadybegun. With eachgeneration,this interpretation However, Czerny's largely departurebecameincreasingly while marked. was more Liszt andto a largerextent, basedon hisrecollectionsofBeethoven'steachingandperformances, (especially late for the discover the themselves. had the sonatas sonatas) to of Balow meanings led interpretations to technology the construction of piano This togetherwith effective of new in but the early nineteenth-century entrenched Beethovenworks which were not necessarily performingstyleof the composer. have Beethoven's is Czemy Carl the of we style. We can learn In short, only reliablewitness ideals from his long intentions Beethoven's writings and performance editings and as muchabout from departed had he this tradition. in bear the where areas mind as we
303
SOURCES OF MUSICAL N. B.
EXAMPLES
indicatesthat no bar numbershavebeengiven in the original,but, for the sakeof
have I addedthemto the musicalexamples. clarity, CHAPTER 2 Ex. 2.1a
Hummel (1829), iii, p. 61.
Ex. 2.1b
Czemy (I 839E), iii, p. 12.
Ex. 2.2
Ibid., iii, p. 11.
Ex. 2.3
Bach (1974), pp. 155,156 and 160.
Ex. 2.4
Hummel (1829), U,p. 8.
Ex. 2.5
Ibid., ii, p. 67.
Ex. 2.6
Czemy (1839E), iii, p. 19.
Ex. 2.7
Ibid., iii, p. 28.
Ex. 2.8
Bach (1974), pp. 90-9 1.
Ex. 2.9
Clementi (180 1), p. 11.
Ex. 2.10
Bach (1974), p. 160.
Ex. 2.11
Cramer (cl 820, treatise), p. 4 1.
Ex. 2.12
Ibid., p. 50.
Ex. 2.13
Czemy (I 839E), iii, p. 56.
Ex. 2.14
Ibid.
Ex. 2.15
Ibid.
Ex. 2.16
Ibid.
Ex. 2.17
Hummel (1829), ii, p. 245.
Ex. 2.18
Ibid., ii, p. 255.
Ex. 2.19
Cramer (1819), Introduction and Variations [bb. 1-19] of var. 8, p. 12.
Ex. 2.20
Dussek (1807), (Euvre 64/iv/[308-31 I], p. 18.
Ex. 2.21
Hummel (1829), iii, p. 63.
Ex. 2.22
Cramer (1820, variations), New Variations [bb. 28-34] of var. 8, p. 10.
Ex. 2.23
Dussek (1807), (Euvre 64/ii/[104-106], p. 30.
Ex. 2.24
Hummel (1829), fii, p. 63.
Ex. 2.25
Ibid.
304
Ex. 2.26
Clementi (c1807), Op. 34/2/iii/[104-107], p. 34.
Ex. 2.27
Czemy (I 839E), iii, p. 6 1.
Ex. 2.28
Dussek (1807), (Euvre 64/iv/[ 117-120], p. 24.
CHAPTER 3
Ex. 3.2
Beethoven (cl 835-1880), Op. 31/3/iv/[20-24], ii, p. 18. Beethoven (1828-1840?), Op. 26/i/[86-102], i, p. 5.
Ex. 3.3
Beethoven (1895), Op. 26/i/[85-102], p. 6.
Ex. 3.4
Beethoven (cl 835-1880), Op. 109/iii/[203], ii, p. 19. Beethoven (1828-1840?), Op. 101/iii/[ 1-20], ii, p. 7.
Ex. 3.1
Ex. 3.5 Ex. 3.7
Beethoven (1998), Op. 101/iii/[ 1-22], pp. 13-14. Beethoven (cl835-1880), Op. 8la/iii/[1-4], ii, p. 10.
Ex. 3.8
Ibid., Op. 7/iv/[76] and [83], i, p. 23.
Ex. 3.9
Czemy (1970), Beethoven Op. 7/iv/[68-69] and [76-77], p. 29. Beethoven (cl835-1880), Op. 7/iv/[151-159], i, p. 26.
Ex. 3.6
Ex. 3.10
Ex. 3.13
Beethoven (1980), Op. 2/l/iii/59-63, i, p. 15. Beethoven (0835-1880), Op. 2/l/iii/[59-63), i, p. 11. Czemy (1970), Beethoven Op. 2/1/iii/[59-63], p. 23.
Ex. 3.14
Beethoven (197 1), Op. 57/ii/[ 13-14], p. 20.
Ex. 3.15
Beethoven (1852-1854), Op. 57/ii/[8-16], p. 14. Beethoven (1828-1840?), Op. 57/i/[14-18], ii, p. 2.
Ex. 3.11 Ex. 3.12
Ex. 3.16
Ex. 3.19
Beethoven (1971), Op. 57/i/[14-18], p. 2. Beethoven (1828-1840?), Op. 57/iii/[133-137], ii, p. 22. Ibid., Op. 57/iii/[108-117], ii, p. 21.
Ex. 3.20
Beethoven (1856-1868), Op. 57/i/f 105-108], p. 333.
Ex. 3.21
Ibid., Op. 57/i/[205-208], p. 337.
Ex. 3.22a
I bid., Op. 57/i/[3 5-39], p. 331.
Ex. 3.22b
Czerny (1970), Beethoven Op. 57/i/[35-39], p. 49.
Ex. 3.23
Beethoven (1828-1840?), Op. 57/ii/[33-42], ii, p. 16.
Ex. 3.24
Beethoven (1971), Op. 57/ii/[33-42], p. 21.
Ex. 3.25
Beethoven (1856-1868), Op. 57/ii/[32-43], p. 340.
Ex. 3.26
Beethoven (1971), Op. 57/iii/[68-97], pp. 28-29.
Ex. 3.17 Ex. 3.18
305
Ex. 3.27
Beethoven(1828-1840? ), Op. 57/iii/[74-97], ii, pp. 20-21.
Ex. 3.28
Beethoven(1856-1868),Op. 57/iii/[76-96], p. 344.
Ex. 3.29
Beethoven(1828-1840? ), Op. 57/i/[25-32], ii, p. 3.
Ex. 3.30
Beethoven(1856-1868),Op. 57/i/[92-95], p. 333.
Ex. 3.31
Beethoven(1828-1840? ), Op. 57/i/[53-54], ii, p. 4.
Ex. 3.32
Beethoven(1856-1868),Op. 57/i/[147-151], p. 335.
Ex. 3.33
Ibid., Op. 57/i/[134-135],pp. 334-335.
Ex. 3.34
Beethoven(1852-1854),Op. 57/i/[238-239],p. 12.
Ex. 3.35
Beethoven(1828-1840? ), Op. 57/i/[236-238],ii, p. 13.
Ex. 3.36
Beethoven(1971), Op. 57/iii/[ 176-191], pp. 32-33.
Ex. 3.37
Beethoven(1856-1868),Op. 57/iii/[175-192],p. 346.
Ex. 3.38
Beethoven(cl835-1880), Op. 57/iii/[172-192],H,p. 23.
Ex. 3.39
Beethoven(1852-1854),Op. 57/Hi/[173-195],p. 23.
Ex. 3.40a
Ibid., Op. 57/i/[15-24],p. 2.
Ex. 3.40b
Ibid., Op. 57/i/[149-161],p. 8.
Ex. 3.41
Ibid., Op. 57/i/[122-143],pp. 7-8.
Ex. 3.42
Beethoven(1856-1868),Op. 57/i/[122-134],p. 334.
CHAPTER4 Ex. 4.1
Cocks (1853), Op. 55/Ei/[381-385], p. 30.
Ibid., Op. 55/iii/[372-385], p. 30. Albrecht (1996), ii, pp. 140-141. Maelzel's Chart Ex. 4.2
Ex. 4.4
Beethoven (1980), Op. 90/ii/278-290, ii, p. 210. Ibid., Op. 31/2/ii/54-60, ii, p. 38.
Ex. 4.5
Ibid., Op. 27/2/i/31-36, i, p. 250.
Ex. 4.6 Ex. 4.7
1bid., Op. III /i/ 127-132, ii, p. 315. Ibid., Op. 2/2/i/220-227, i, p. 27.
Ex. 4.8
Ibid., Op. 2/2/i/48-58, i, p. 23.
Ex. 4.9
Ibid., Op. 90/i/53-56, ii, p. 197.
Ex. 4.10
Ibid., Op. 2/3/i/249-252, i, p. 54.
Ex. 4.11
Ibid., Op. 101/ii/49-52, ii, p. 215.
Ex. 4.12
Ibid., Op. 1061ii/163-168,H, p. 244.
Ex. 4.13
Ibid., Op. 31/3/iv/307-324, ii, p. 72.
Ex. 4.3
306
Ex. 4.14
Ibid., Op. 90/i/104-113,ii, p. 198.
Ex. 4.15
Ibid., Op. II 1/i/l 18, ii, p. 315.
Ex. 4.16 Ex. 4.17
Ibid., Op. 101/iii/214-226,H,p. 223. Ibid., Op. II 0/ii/21-40,fi, p. 297.
Ex. 4.18
Ibid., Op. III /i/ 17-23,ii, p. 3 10.
Ex. 4.19
Ibid., Op. 109/ii/l 20-125,ii, p. 279.
Ex. 4.20
Ibid., Op. 81a/i/1-4,H,p. 179.
Ex. 4.21
Ibid., Op. 54/i/132-138,ii, p. 124.
Ex. 4.22
Ibid., Op. 27/l/iii/25-26 andiv/1-2, i, p. 240.
Ex. 4.23
Ibid., Op. 31/3/i/176-183,ii, p. 53.
Ex. 4.24
Beethoven(1999),Op. 125/iv/8-16,p. 196.
Ex. 4.25
Beethoven(1980),Op. 106/i/l93-208,H,p. 233.
Ex. 4.26
Ibid., Op. 31/3/ii/162-171,ii, p. 63.
CHAPTER 5 Ex. 5.1 Ex. 5.2 Ex. 5.3 Ex. 5.4 Ex. 5.5
Beethoven (1955), Op. 131/ii/[189-1981, iv, p. 8. Beethoven (1980), Op. 109/iii/I - 16, ii, p. 28 1. Czemy (1839E), iii, p. 76. Beethoven (1980), Op. 27/l/iii/5-8, i, p. 239. Ibid., Op. 7/ii/59-64, i, pp. 82-83.
Ex. 5.7
Ibid., Op. 10/3/ii/44-48, i, p. 135. Ibid., Op. 57/i/92-93, ii, p. 135.
Ex. 5.8
Ibid., Op. 27/2/iii/76-87, i, p. 257.
Ex. 5.9 Ex. 5.10
Cramer/Shedlock(1893), Etude no. 3 [bb. 1-5], p. 6. Ibid., Etude no. 16 [bb. 1-5], p. 26.
Ex. 5.11
Ibid., Etude no. I [bb. 7-11], p. 2.
Ex. 5.12
Ibid., Etude no. 6 [bb. 1-15], p. 12.
Ex. 5.13
Ibid., Etude no. 21 [bb. 1-2], p. 30.
Ex. 5.14
Ibid., Etude no. 7 [bb. 1-5], p. 14.
Ex. 5.6
Ex. 5.15 Ex. 5.16
Beethoven (1980), Op. 14/1/iii/47-5 1, i, p. 173.
Ex. 5.17
Czemy (1970), Beethoven Op. 31/1/iii/[ 1-5], p. 42. Beethoven (1980), Op. 22/iv/I 1-14, i, p. ý08.
Ex. 5.18
307
Ex. 5.19
Ibid., Op. 14/2/ii/5-8, i, p. 184.
Ex. 5.20
Ibid., Op. 27/l/i/3-4, L p. 234.
Ex. 5.21 Ex. 5.22
Czemy (1970), Beethoven Op. 31/3/i/[174-177], p. 45. Beethoven(1980), Op. 109/iii/106-109, ii, p. 286.
Ex. 5.23
Ibid., Op. 31/l/iii/132-134, ii, p. 24.
Ex. 5.24
Ibid., Op. 7/iii/1-4, i, p. 84.
CHAPTER 6
Ex. 6.2
Beethoven(1980), Op. 57/ii/1-8, ii, p. 146. Ibid., Op. 31/3/iv/273-276, ii, p. 71.
Ex. 6.3
Ibid., Op. 53/iii/442-451, ii, p. 117.
Ex. 6.4
Ibid., Op. 22/ii/1-3, i, p. 202.
Ex. 6.5 Ex. 6.6a
Czemy (1970), Beethoven Op. 7/iv/[150-155], p. 29. Beethoven(1980), Op. 31/2/iii/215-224, ii, p. 45.
Ex. 6.6b
Ibid., Op. 31/2/fii/167-180, U, p. 44.
Ex. 6.7
Cramer/Shedlock(1893), Etude no. 2 [bb. 1-5], p. 4. Ibid., Etude no. 24 [bb. 1-3], p. 35.
Ex. 6.1
Ex. 6.8 Ex. 6.9 Ex. 6.10 Ex. 6.11 Ex. 6.12 Ex. 6.13a Ex. 6.13b
Beethoven(1980), Op. 53/i/l 12-117, ii, p. 93. Ibid., Op. 10/3/iv/41-45, i, p. 142. Ibid., Op. 2/3/i/46-55, i, p. 46. Ibid., Op. 2/3/i/27-41, i, p. 46. Czemy (1970), Beethoven Op. 57/i/[1-4], p. 48. Beethoven(1971), Op. 57/i/[1-13], p. 1.
Ex. 6.15
Beethoven(1980), Op. 53/ii/I -2, ii, p. 102. Ibid., Op. II 0/iii/6-7, ii, p. 300.
Ex. 6.16
Ibid., Op. 106/iv/8-9, ii, pp. 256-257.
Ex. 6.17
Ibid., Op. 7/ii/50-51, i, p. 82.
Ex. 6.18
Ibid., Op. 7/ii/25-28, i, p. 81.
Ex. 6.19
Beethoven (1895), Op. 26/i/[69-84], p. 5.
Ex. 6.20
Beethoven(1993), Op. 90/ii/[23-40], p. 16.
Ex. 6.21
Beethoven (1998), Op. 101/ii/[46-54], p. 9.
Ex. 6.22
Beethoven (1980), Op. 10/ii/39-46, i, p. 117.
Ex. 6.23
Ibid., Op. 26/i/205-212, i, p. 223.
Ex. 6.14
308
Ex. 6.24
Ibid., Op. 2/2/i/220-226, L p. 27.
Ex. 6.25
Ibid., Op. 31/l/ii/1-3, ii, p. 12. Ibid., Op. II I/ii/72-73, ii, p. 322.
Ex. 6.26
CHAPTER 7
Ex. 7.1a
Bach(1974),p. I 10.
Ex. 7.1b
Ibid., p. I 11.
Ex. 7.2
Beethoven(1980),Op. 2/2/iv/27,i, p. 36.
Ex. 7.3
Ibid., Op. 22/i/10-11,i, p. 193.
Ex. 7.4
Bach(1974),p. 136.
Ex. 7.5
Ibid.
Ex. 7.6
Beethoven(1980),Op. 10/l/i/9-15, i, p. 96.
Ex. 7.7
Ibid., Op. 31/1/ii/33, fi, p. 14.
Ex. 7.8
Ibid., Op. 7/ii/37-41,i, p. 82.
Ex. 7.9
Ibid., Op. 7/ii/13-15,i, p. 81.
Ex. 7.10
Ibid., Op. 31/2/ii/1-7,ii, p. 36.
Ex. 7.11
Czemy(I 839E),i, p. 161.
Ex. 7.12
Czemy(1970),BeethovenOp. 10/3/i/[53-55],p. 32.
Ex. 7.13
Ex. 7.16
Beethoven(1980),Op. 13/i/51-55,i, p. 148. Czerny(1970),BeethovenOp. 31/2/iii/[43 44. p. -45], Beethoven(1980),Op. 7/i/108-111, i, pp. 73-74. Czemy(c1828), p. 5.
Ex. 7.17
Ibid., preface.
Ex. 7.18
Czerny(1839E), i, p. 171.
Ex. 7.19
Ibid., i, p. 174.
Ex. 7.20
Ibid., ii, p. 132.
Ex. 7.21
Czemy(1838), p. 25.
Ex. 7.22
Czemy(1839E), i, p. 175.
Ex. 7.23
Ibid., ii, p. 138.
Ex. 7.24
Ibid., i, p. 176.
Ex. 7.25
Czemy(c] 828),p. 9.
Ex. 7.26
Czemy(1839E), i, p. 172.
Ex. 7.27
Ibid., ii, p. 133.
Ex. 7.14 Ex. 7.15
309
Ex. 7.28
Winter (1977),Wo039/7-8, p. 489.
Ex. 7.29a
Rosenblum(1988),BeethovenW6040/59-60, p. 250.
Ex. 7.29b
Ibid., BeethovenWo04O/74-75,p. 250.
Ex. 7.30
Winter (1977),BeethovenOp. 119/7/1-2,p. 491.
Ex. 7.31 Ex. 7.32
Newman(1988),p. 194. Beethoven(1980),Op. III AV106-121, ii, pp. 325-326.
Ex. 7.33
Ibid., Op. 53/iii/473-494,H,p. 118.
Ex. 7.34a
Drake (1972),p. 165.
Ex. 7.34b
Ibid.
CHAPTER 8 Ex. 8.1
Rosenblum(1988), Sketch Fischhof 4r, p. 205.
E x. 8.2
Ibid., Sketch Kafka 139v, p. 207.
Ex. 8.3
Ibid., Sketch Kafka 88r, p. 204. Ibid., p. 208.
Ex. 8.4
Ex. 8.6
Ibid., Sketch Kafka 89v, p. 208. Ibid., Sketch Kafka 40r, p. 208.
Ex. 8.7
Ibid., Sketch Kafka 40v, p. 209.
Ex. 8.8
Ibid., Sketch Kessler 23v, p. 209.
Ex. 8.9
Ibid., Sketch Kafka 88v, p. 204. Beethoven (1980), Op. 2/2/i/84-9 1, i, p. 24.
Ex. 8.5
Ex. 8.1Oa Ex. 8.1Ob Ex. 8.11 Ex. 8.12a Ex. 8.12b Ex. 8.13 Ex. 8.14 Ex. s. 15 Ex. 8.16
Czerny (1970), Beethoven Op. 2/2/i/[84-91 ], p. 24. Hiebert (1985-1986), Wo039/1-18, p. 15. Starke (1819-182 1), Op. 28/iv/[205], ii, p. 63. Ibid., Op. 28/iv/[208], ii, p. 63. Beethoven (1980), Op. II I/i/27-29, ii, p. 3 10. Ibid., Op. II 0/ii/65-72, ii, p. 298. Hiebert (1985-1986), Wo039/95-96, p. 19. Starke (1819-182 1), Op. 28/ii/["3 I "], ii, p. 57.
Ex. 8.18
Beethoven (1980), Op. 78/ii/I 16-118, ii, p. 168. Ibid., Op. 106/i/96-97, ii, p. 230.
Ex. 8.19
Grundmann and Mies (1966), p. 117.
Ex. 8.20
Czemy (1839E), ii, p. 23.
Ex. g. 17
310
Ex. 8.21
Ibid., ii, p. 78.
Ex. 8.22
Newman(1988),SketchKafka 39v, p. 292.
Ex. 8.23
Hiebert(1985-1986),Wo039/113-119,pp. 20-21.
Ex. 8.24
Czerny(1839E), ii, p. 30.
Ex. 8.25
Ibid., ii, p. 35.
Ex. 8.26
Ibid.
Ex. 8.27
Ibid., ii, p. 37.
Ex. 8.28
Ibid., ii, p. I 11.
Ex. 8.29
Starke(1819-1821), Op. 28/ii/[9], ii, p. 56.
Ex. 8.30
Czerny(1839E), H,p. 120.
Ex. 8.31
Starke(1819-1821), Op. 28/ii/["24-25'1, H,p. 56.
Ex. 8.32
Beethoven(1980),Op. 53/iii/462-469,ii, p. 118.
Ex. 8.33
Czemy(1970),BeethovenOp. 69/ii/[1-8], p. 78.
Ex. 8.34
Rosenblum(1988),SketchKafka 39v, p. 206.
Ex. 8.35
Beethoven(1980),Op. II 0/iii/5-6, ii, p. 300.
Ex. 8.36
Ibid., Op. I 10/iii/125-127,ii, p. 305.
Ex. 8.37
Ibid., Op. 106/iii/156-167,ii, p. 254.
CHAPTER 9 Ex. 9.1 Ex. 9.2 Ex. 9.3 Ex. 9.4 Ex. 9.5 Ex. 9.6
Beethoven (1980), Op. 57/i/218-223, ii, p. 143. Ibid., Op. 27/2/iii/163-166, i, p. 261. Clementi (c 1807), Op. 34/2/i/[ 115-131], p. 25. Clementi (1798), Op. 37/3/iii/[1-38], p. 36. Beethoven (1980), Op. 109/i/97-99 and Op. 109/ii/I -4, fi, p. 276. Czemy (1839E), iii, p. 63.
Ex. 9.8
Beethoven (1980), Op. 57/ii/96-97, fi, p. 149. Ibid., Op. 53/iii/251-258, ii, p. I 11.
Ex. 9.9
Ibid., Op. 31/l/i/168-196, ii, p. 8.
Ex. 9.10
Czemy (1839E), iii, p. 58.
Ex. 9.11
Beethoven (1980), Op. 106/i/l 6-25, ii, p. 227.
Ex. 9.12
Ibid., Op. 106/i/402-405, ii, p. 239.
Ex. 9.13
Czemy (1839E), iH, p. 62.
Ex. 9.14
Beethoven (1980), Op. 26/iv/1 64-169, i, p. 233.
Ex. 9.7
311
Ex. 9.16
Ibid., Op. 109/iii/202-203, ii, p. 290. Ibid., Op. 53/iii/528-543, ii, p. 119.
Ex. 9.17
Czemy (1839E), iii, p. 63.
Ex. 9.18
Beethoven (1980), Op. 7/iv/1 80-183, i, p. 95.
Ex. 9.19
Ibid., Op. 101/ii/28-36, H,p. 215.
Ex. 9.20
Ibid., Op. 109/iii/104-107, ii, p. 285. Ibid., Op. 106/iii/44-46, ii, p. 246.
Ex. 9.15
Ex. 9.21a Ex. 9.21b
Ibid., Op. 106/iii/l 29-13 1, ii, p. 252.
Ex. 9.22
Czemy (1839E), iii, p. 6 1.
Ex. 9.23
Beethoven (1980), Op. I 10/iii/l 14-116, H, p. 304.
Ex. 9.24
Ibid., Op. 31/2/i/143-149, ii, p. 33.
Ex. 9.25
Czemy (1839E), iii, p. 60.
Ex. 9.26
Beethoven (1980), Op. 53/iii/1-24, ii, p. 103.
Ex. 9.27 Ex. 9.28
Ibid., Op. II 0/iii/ 1-5, ii, p. 300. Ibid., Op. 53/iii/55-62, U, p. 104.
Ex. 9.29
Ibid., Op. 531HV311-325,ii, p. 113.
Ex. 9.30 Ex. 9.32
Ibid., Op. 79/i/67-75, ii, p. 171. Czemy (1970), Beethoven Op. 371ii/[1-8], p. 97. Beethoven (1980), Op. 106/iii/57-63, ii, p. 47.
Ex. 9.33
Czerny (1839E), iii, p. 65.
Ex. 9.34
Beethoven (1996), Op. 58/ii/47-51, iii, Band 3, p. 49.
Ex. 9.31
CHAPTER10
Ex. 10.1 Ex. 10.2 Ex. 10.3 Ex. 10.4
Beethoven (1894), Op. 106/iv/[ 10], ii, p. 596. Ibid., Op. 53/i/[30-40], ii, p. 390. Ibid., Op. 57/i/[130-136], ii, p. 448. Ibid., Op. 53/iii/[465-475], ii, p. 421.
Ex. 10.6
Beethoven (1857), Op. 22/iii/[9-14], p. 178. Beethoven (1894), Op. 53/iii/[ 1-22], ii, p. 405.
Ex. 10.7
Ibid., Op. 106/iv/[388-391], ii, p. 614.
Ex. 10.5
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