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E-book Beethoven and the Piano : Philology, Context and Performance Practice

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Penilaian

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Czerny’s closeness to Beethoven, and his extraordinary musical abilities, have tendedto encourage confidence in him as a reliable source of information about Beethoven’sexpectations for the performance of his music. But despite his obvious reverence forBeethoven’s works, closer scrutiny suggests that he adopted a progressive rather thancuratorial position towards them: perhaps his concern was not with preserving the re-lationship between Beethoven’s notation and the performing practices the composerexpected it to convey to the musicians with whom he had worked; perhaps Czerny pre-ferred to ensure that the music should speak to his contemporaries in a language thatconformed to their notions of good taste. There has been stimulating discussion of theseissues by a number of scholars of performing practice in recent decades.10The presentarticle revisits them in the light of three sources that have not, to my knowledge, beendrawnuponpreviously:Czerny’seditionofanearliertreatise,theGrosse Fortepiano-Schulevon Aug. Eberh.dMüller [...] Achte Auflage mit vielen neuen Beyspielen und einem vollständigernAnhange vom Generalbass versehen von Carl Czerny, published around 1830, and two trans-criptions by Czerny of Beethoven’s Violin Sonata Op. 47. The first of the transcriptions,for solo piano, is the Andante con variazioni, published asVariations brillantes tirées del’Oeuvre 47 de Louis van Beethoven arrangées pour le Piano-Forte seul par Charles Czerny.Thesecond is a transcription of the whole sonata for piano duet.Grand duo brillant pour lePiano Forte à quatre mains, arrangé d’après la Sonate de L. van Beethoven, Oeuv. 47, par CharlesCzerny. Both title pages give the publisher as A. Diabelli. The first, however, has the platenumberC. et D. No. 1168and was presumably engraved before Cappi retired in 1824, whenthe firm was still Cappi & Diabelli; the second has the plate numberD. et C. No. 1212,andwas presumably engraved quite soon after the first. Both were certainly published inBeethoven’s lifetime.Czerny’s changing attitude towards the performance of Beethoven’s compositionsis clearly indicated in the introduction to his survey of all Beethoven’s works with pianoinDie Kunst des Vortrags der ältern und neuen Claviercompositionen (The Art of Performing theOld and New Piano Compositions), which was published in 1846, shortly after the review of Jansa’s concert (and perhaps partly in response to it), as the fourth volume of his 1839Pianoforte-Schule.InDie Kunst des Vortrags, he discussed the music of his younger con-temporaries, including Sigismond Thalberg, Frédéric Chopin, and Franz Liszt, in a waythat shows his active engagement with the newest developments in piano playing andpiano construction; and it is in that contextthat his discussion of Beethoven’s pianomusic is situated.

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Ketersediaan

Informasi Detail

Judul Seri

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No. Panggil

780.72 MIU b

Penerbit

Germany : Edition Argus., 2023

Deskripsi Fisik

424 hlm

Bahasa

English

ISBN/ISSN

9783931264963

Klasifikasi

780.72

Tipe Isi

text

Tipe Media

computer

Tipe Pembawa

online resource

Edisi

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Subjek

Musicology

Info Detail Spesifik

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Pernyataan Tanggungjawab

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Versi lain/terkait

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