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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

DECLARATION for anydegreeandis not being concurrentlysubmitted This work hasnot previouslybeenacceptedin substance for anydegree. in candidarare I .

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STATEMENT I This thesisis the resultof my own investigations, exceptwhereotherwisestated. A bibliographyis appended. by footnotesgivingexplicitrefcFences. Othersourcesareacknowledged Signed

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2), by University (see AppenAr has been the behalf bar shoulduse approved Candidateson whose on access a 2: thefollowingversionof Statement andfor inter-libraryloansafter I herebygive consentfor my thesis,if accepted,to be availablefor photocopying Walýs the University the by of the bar of on special recommendation on accessapproved expiry of a ConstituentInstitution/University Collegeconcerned. I Signed ...................................................................... Date

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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

4-

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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

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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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-4-4-4w-L-L4 4-4ý1 rýý

--.

m

faý4

N-mm=22Hir--ý

': ý '-''-, Z. L

--

i i

: wýl

-I

EýFmý=

popr lpý-EdEt=ý

[::::I

Dý-

a -i ý-- fl, fe Ii

iýl

I

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-.

-

-.

'1r1

--

Fri. -_-

T-

-

p.

-

-I

1367ý

?I -n 1wi -rl ý:Cg;tgggMa E3EEREa5&= . --

Ex. 2.25 Both the damper pedal and pian6. pedal pressed.dawn.

Adag-io.

+

Cil

4AI. * -(ý-A -Z

ýt: VVZVTT pp -4.

--ej

aý.

Ir-: 7 . 47.12 _;:; - -:Sý . 4iliýQ -4

-

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pe

LU t

LIJ III

&J, sII Is --.. .. I'on t#.. P;. =-w .I. LATI-I

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LU

111 pp

I-

t: El

-

+

4: n

-e 1:;:: 4 4-w>

ri

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6- 1-i

su

A

iI44l! fj :f1; tiii

61

ig

ireJ

Mi III

Ex. 2.26 [::: ý-4-4

ý--i i

11 Wýw

MINI.

I

f rl. i P-,=-

iii

1

Jb Atli w1 WE --

ljo

-"4

i-1-011

a I- rI 11 111

Q

pt--t--3 Výý rTI-H 19-1 11v11aj-Iii-11,1kj

P04 ýi-i-i

-1

r7: 3-ý-

-

" Ill -j -

-Tý

-4ý, - *Jda

-iiý-id. id -i

Pa: 7r-lAF Cl-ý 11101iiii i

i-I

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15399-

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_-1

i* *14 -

if- ,01

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

ý4e eýr-4F-0.

44>

I.

r--j- -. - -- II

:J-

ap -

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

Ex. 3.2

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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?

7

-

n

Adaglo ma non troppo

Fýý ,Iiýi 0 01

con afTettp.

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79

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

ý--? a!

J/L

-F-rI F -1 r--PIrIF1

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S3 -

il

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lili ! I1HTI Iw If 10 9 -ov-62

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

I

4jJI [-. Iql I

5

L____

u1 - -Ij

143

r_all---ý

4a2

rrrr61Jdrr

il

(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-

4- S

k-iýlt

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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

ax inýý19

g.. 1.

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am. p

Ji L

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to

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,i

9 Jrf''. ý

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0 1&

,

0-0

II

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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-

SE -,

IT,.

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fIIiIIrIF,

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0

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1

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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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

/P 4-ý

f.

0

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a

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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

IL"l-b @ ast it-..

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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

ýý VL

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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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Wessel.occasionallyhasadditionalpedalmarkings,suchasthosein barsl7-22 (ex. 3.40a)andin fi do These in four (ex. 3.40b) 152-161 the the of rst movement. markings not appear other -bars in in first The Art Czemy's but the they advice where, movement,thepedalmust reflect editions, &C'y%3 9 (as in.bars 14,17,20 Thereare, be usedin "all concording,[and] energeticpassages, however,two obviousmistakesin theWesseledition. Basedon Czemy'sremarksin TheArt and I in Wessel, in in bar 19 should two the these the passages pedal release sign pedalling on most of be at the end of the third beat of the previous bar, while in bar 155, it has been accidentally omitted.

Both are engraving errors.

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98

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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.

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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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(d) "At the transitioninto anotherspeciesof time, or into anothermovement,differentin speed from that which precededit". " In Op. 106/ii/164-167(ex. 4.12), the 3/4 sectionendswith un breve by is followed the sectionmarkedpresto. alla poco ritardando, and i

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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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(1) "At the end of every long shakewhich forms a pauseor Cadenza,and which is marked diminuendo"." In Op. 54/i/132-136(ex. 4.22), mezzavoce,ratherthandiminuendo,is usedto indicatea suddendecreasein volumeandintensity. Ex. 4.22 1)

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F-

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

I=

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"Czemy (1846),p. 51. "Ibid., p. 55. "Ibid., p. 53. 137

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(d) The secondsubjectgroup/expressivethemes. Czemy insiststhat secondsubjectgroups which be have The tranquil character must not played a perceptibly more and slowly. are melodious " ftone, beauty is In than through the three-bar an rather alteration o ofspeed. expression obtained linking passageof Op. 106/i/198-200 (ex. 4.26), Beethoven asks for a gradual diminution in in bar This 20 1. The the transition to a smooth second ensures subject group speed. volume and

"'Ibid., p. 93.

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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(e) If the characterof a passageis lesseffectivelyconveyedwhen tempo flexibility is used. Czernyasksthat rallentandobe avoidedin the conclusionof Op. 31/3/ii (ex. 4.27)," probably becauseany slowingdown would destroythe mischievoushumour. Ex. 4.27

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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

142

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