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Max Planck Institute for the History of Science Physiologie Des Klaviers MAX-PLANCK-INSTITUT FÜR WISSENSCHAFTSGESCHICHTE Max Planck Institute for the History of Science 2009 PREPRINT 366 Julia Kursell (Hrsg.) Physiologie des Klaviers Vorträge und Konzerte zur Wissenschaftsgeschichte der Musik 5. Oktober 2006 Marco Stroppa (*1959) MINIATURE ESTROSE, 1ER LIVRE (1990-2002) Einführung von Florian Hoelscher Moai Ninnananna Innige Cavatina Birichino Tangata manu Passacaglia canonica Prologos. Anagnorisis I Florian Hoelscher, Klavier II 14. Dezember 2006 KONTAKTSTÖRUNGEN Andreas Mayer *** John Cage (1912-1992) SONATAS AND INTERLUDES FOR PREPARED PIANO (1946/1948) Sonata I Sonata II Sonata III Sonata IV First Interlude Sonata V Sonata VI Sonata VII Sonata VIII Second Interlude Third Interlude Sonata IX Sonata X Sonata XI Sonata XII Fourth Interlude Sonata XIII Sonatas XIV and XV: „Gemini“ Sonata XVI Markus Hinterhäuser, Klavier III 15. Februar 2007 L’ART DE TOUCHER LE CLAVECIN – ODER DIE WAHRE ART, DAS CLAVIER ZU SPIELEN. ZUR ENTWICKLUNG DER SPIELTECHNIK AUF CLAVICHORD, CEMBALO UND FORTEPIANO IN DER ERSTEN HÄLFTE DES 18. JAHRHUNDERTS Conny Restle Vortrag mit Klangbeispielen an Originalinstrumenten und Nachbauten *** MUSIKALISCHES PROGRAMM Johann Sebastian Bach (1685-1750) Inventio 6, E-Dur, BWV 777 François Couperin (1668-1733) aus L’ART DE TOUCHER LE CLAVECIN (Paris 1716) Premier et Second Prélude aus PIÈCES DE CLAVECIN, ZWEITER BAND (Paris 1716) Les Baricades Misterieuses Conny Restle, Cembalo und Clavichord Cembalo: Horst Rase, Berlin 1990 (Kopie nach Michael Mietke, Berlin, um 1700) Clavichord: Christian Gottlob Hubert, Ansbach 1784 *** IV Johann Sebastian Bach aus DAS WOHLTEMPERIERTE CLAVIER I Präludium und Fuge Nr. 15, G-Dur, BWV 860 aus DAS MUSIKALISCHE OPFER, BWV 1079 1. Ricercar a 3 Lodovico Giustini di Pistoia (1685-1743) aus SONATE DA CIMBALO DI PIANO, E FORTE DETTO VOLGARMENTE DI MARTELLETTI (Florenz 1732) Suonata III Li-Chun Su, Hammerflügel Hammerflügel: J. C. Neupert, Bamberg 2001 (Kopie nach Gottfried Silbermann, Freiberg i.S., 1746) V 8. März 2007 DIE KUNST DES ANSCHLAGS. ELISABETH CALANDS PHYSIO-ÄSTHETIK DES KLAVIERSPIELS Gerhard Herrgott Vortrag am Klavier VI 12. April 2007 „…DURCHAUS GEFECHTE, ATTACKEN, KURZ KAMPF MIT SEINEM INSTRUMENT…“ (ROBERT SCHUMANN) ZUR BESTIMMUNG DER KATEGORIE DES VIRTUOSEN Heinz von Loesch *** MUSIKALISCHES PROGRAMM Felix Mendelssohn Bartholdy (1809-1847) VARIATIONS SÉRIEUSES, OP. 54 (1841) Nicolas Bringuier *** Domenico Scarlatti (1685-1757) SONATE A-DUR, K. 24 SONATE D-DUR, K. 96 Franz Liszt (1811-1886) UNGARISCHE RHAPSODIE NR. 12 (1854) Kotaro Fukuma *** VII Claude Debussy (1862-1918) aus DOUZE ÉTUDES (1916) Pour les „cinq doigts“ – d’après Mr. Czerny Pour les notes répétées Pour les huit doigts Pour les Octaves Mizuka Kano *** Maurice Ravel (1875-1937) aus GASPARD DE LA NUIT (1908) Scarbo Sergej Prokofjew (1891-1953) aus SONATE NR. 7 B-DUR, OP. 83 (1939-42) 3. Satz Precipitato Benjamin Moser *** Pierre Boulez (*1925) aus PREMIÈRE SONATE POUR PIANO (1946) I Lent / Beaucoup plus allant II Assez large / Rapide Hardy Rittner *** Drei Zugaben VIII 3. Mai 2007 LINKS UND RECHTS. ÜBER DIE ORIENTIERUNG DES TONRAUMS IN DER KLAVIERMUSIK Julia Kursell *** Salvatore Sciarrino (*1947) PERDUTO IN UNA CITTÀ D’ACQUE (1991 / UA Bologna 1992) Georges Aperghis (*1945) LES SECRETS ÉLÉMENTAIRES (1998 / UA Clermont-Ferrand 2000) Elliott Carter (*1908) INTERMITTENCES (2005 / UA Kalamazoo/Michigan 2006) Rolf Riehm (*1937) HAMAMUTH – STADT DER ENGEL (2004 / UA Darmstadt 2006) Nicolas Hodges, Klavier IX 7. Juni 2007 REFLECTIONS ON THE PIANO AND PEDAGOGICAL THOUGHT AND PRACTICE DURING THE LATE NINETEENTH CENTURY Elfrieda Hiebert Vortrag mit Demonstrationen am Klavier X 5. Juli 2007 KLAVIER-SPIELE. CEMBALO, CLAVICHORD, HAMMERKLAVIER; AFFEKT, EMPFINDUNG, VORSTELLUNG Wolfgang Scherer *** MUSIKALISCHES PROGRAMM Robert Hill, Klavier, Cembalo und Clavichord Johann Sebastian Bach (1685-1750) aus DAS WOHLTEMPERIERTE CLAVIER I Präludium f-moll, BWV 857 Moderner Konzertflügel *** François Couperin (1668-1733) aus L’ART DE TOUCHER LE CLAVECIN Prélude A-dur Johann Sebastian Bach aus CAPRICCIO B-DUR, BWV 992 Lamento XI Domenico Scarlatti (1685-1757) aus ESSERCIZI (London 1738) Sonata A-dur, K. 24 Cembalo: Horst Rase, Berlin 1990 (Kopie nach Michael Mietke, Berlin um 1700) *** Carl Philipp Emanuel Bach (1714-1788) aus VERSUCH ÜBER DIE WAHRE ART DAS CLAVIER ZU SPIELEN, WQ 63/6 Freie Fantasie c-moll, Probestück Nr. 18 RONDEAU E-MOLL „ABSCHIED VOM SILBERMANNSCHEN CLAVIER“, WQ 66 12 VARIATIONEN AUF „LES FOLIES D’ESPAGNE“ D-MOLL, WQ 118, 9 Clavichord: Stefan Schafft, Berlin 1997 (Nachbau des gebundenen Clavichords von Christian Gottlob Hubert, Ansbach 1784) *** Jean-Baptiste Cramer (1771-1858) ETÜDE NR. 3 D-DUR Johann Sebastian Bach aus DAS WOHLTEMPERIERTE CLAVIER I Präludium D-dur, BWV 850 Wilhelm Friedemann Bach (1710-1784) POLONAISE F-MOLL, FALCK 12 Wolfgang Amadeus Mozart (1756-1791) aus SONATA D-DUR, KV 284 Variation XI Adagio cantabile Moderner Konzertflügel XII Inhaltsverzeichnis Programm der Veranstaltungsreihe ……………………………………………………….... 1 Vorwort …………………………………………………………………………………………… 15 Anmerkungen zu Marco Stroppas Zyklus miniature estrose für pianoforte d’amore Florian Hoelscher …………………………………………………………………………………… 19 Kontaktstörungen Andreas Mayer ……………………………………………………………………………………… 25 Die Kunst des Anschlags: Elisabeth Caland und die Physio-Ästhetik des Klavierspiels Gerhard Herrgott …………………………………………………………………………………… 31 „durchaus Gefechte, Attacken, kurz Kampf mit seinem Instrument“ (Robert Schumann) Zur Bestimmung der Kategorie des ‚Virtuosen‘ Heinz von Loesch …………………………………………………………………………………… 53 Rechts und Links. Zur Orientierung im Klavierspiel Julia Kursell ………………………………………………………………………………………… 61 Refl ections on the Piano, Pedagogical Thought and the Practice of Pedaling During the Late Nineteenth Century Elfrieda F. Hiebert ………………………………………………………………………………… 71 Klavier-Spiele. Cembalo, Clavichord, Hammerklavier; Affekt, Empfi ndung, Vorstellung Robert Hill (Musik) / Wolfgang Scherer (Vortrag) ……………………………………………… 101 Physiologie des Klaviers Vorträge und Konzerte zur Wissenschaftsgeschichte der Musik Körper und Instrument stehen, wie die Geschichte der Musikinstrumente und des Instrumental- spiels zeigt, in einem unaufl öslichen Zusammenhang. Der Wandel im Instrumentenbau hat die Entwicklung neuer Spieltechniken angestoßen, so wie neue Kompositionen und Spielweisen zu Neuerungen im Instrumentenbau geführt haben. Im 19. Jahrhundert entdeckte die Physiologie diesen Zusammenhang von Körper und Instrument für die Wissenschaft. Es wurde nicht mehr nur nach der Physik des Klangs gefragt, sondern nach der Funktionsweise des menschlichen Kör- pers, der Musik hört und spielt. Das Klavier wurde in Experimenten eingesetzt, deren Ergebnisse weit über eine Musikwissenschaft hinausreichten: Das Klavier diente der Sinnesphysiologie als Modell des Ohres; es wurde in der Bewegungsphysiologie zur Untersuchung sowohl der Feinmo- torik als auch der Bewegungen des ganzen Körpers eingesetzt; und es war in der Neurophysiologie an einer Erforschung der Steuerungsmechanismen des Köpers beteiligt. Das Interesse der Wissenschaftler am Klavierspiel gründete zunächst in der beispiellosen Erfolgsgeschichte des Klaviers im 19. Jahrhundert. Um 1800 hatte sich das Hammerklavier gegenüber dem Cembalo, das vor allem in höfi scher Musik zum Einsatz gelangte, und dem Clavichord, dessen Klang den Gebrauch dieses Instruments auf kleine Räume und intime Situationen einschränkte, durchgesetzt. Das Hammerklavier eroberte die Konzertsäle ebenso wie den bürgerlichen Salon, und es wurde zum festen Bestandteil der Unterrichtszimmer in den Konservatorien, wo es der Vermittlung von Harmonielehre und Kontrapunkt diente, aber auch ein Orchester ersetzte: Das Klavier übernahm allmählich die Funktion einer Wiedergabe von Musik, die eigentlich nicht für Klavier, sondern für Oper, Orchester oder Kammerbesetzungen geschrieben war: Wer Klavier spielte, konnte auf das gesamte Repertoire der Musik zugreifen. Der Erfolg des Klaviers beruht nicht zuletzt auf der Funktionsweise seiner Mechanik: Der Anschlag erlaubt eine Differenzierung der Lautstärke. Zum ersten Mal in der Geschichte des Instrumentalspiels war die aufgewendete Kraft ausschlaggebend für den Klang. Das Klavier stieß einen Wettlauf zwischen den Pianisten und den Instrumentenbauern, den Pädagogen und den Virtuosen an. Trainingsprogramme wie Carl Czernys Schule der Geläufi gkeit stärkten vor allem Ausdauer und Beweglichkeit der Finger. Eine Neuerung im Klavierbau hatte unterdessen das schnelle Wiederanschlagen der Tasten erleichtert. In einem kleinen Band über die Geschichte der Klavierinstrumente hat Curt Sachs diese sogenannte „Repetition“ beschrieben. Sachs war von 1919 bis 1933 Leiter der Berliner Musikinstrumentensammlung. Er schreibt: „Der Hammer läßt zwar die Saite nach dem Anschlage los, aber er fällt nicht in die Ursprungslage zurück, solange der Finger auf der Taste liegt, sondern fi ndet auf halbem Wege einen Ruhepunkt“. Dies ermöglicht es Hammer und Finger, „bei wiederholtem Tastenniederdruck den Schlag aus geringerer Entfernung und somit wesentlich rascher und genauer zu besorgen.“1 Dem schnellen Fingerspiel war damit ein neuer Anreiz gegeben. Allmählich entdeckten die Pianisten aber, daß nicht nur die Finger, sondern der ganze Körper zum Einsatz gelangen kann, um dem Klavierspiel eine immer größere Skala an dynamischen Werten zu erschließen. Die gesteigerte Beanspruchung der Klaviermechanik veranlaßte die Instrumentenbauer wiederum zu neuen Entwicklungen wie dem vollen Eisen- rahmen, der
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