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Uni International 30 0 N .Z E E B Road Ann Arbor, Ml 48106 INFORMATION TO USERS This reproduction was made from a copy of a document sent to us for microfilming. While the most advanced technology has been used to photograph and reproduce this document, the quality of the reproduction is heavily dependent upon the quality of the material submitted. The following explanation of techniques is provided to help clarify markings or notations which may appear on this reproduction. 1. The sign or “target” for pages apparently lacking from the document photographed is “Missing Page(s)”. I f it was possible to obtain the missing page(s) or section, they are spliced into the film along with adjacent pages. This may have necessitated cutting through an image and duplicating adjacent pages to assure complete continuity. 2. 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These prints are available upon request from the Dissertations Customer Services Department. 5. Some pages in any document may have indistinct print. In all cases the best available copy has been filmed. Uni International 30 0 N .Z e e b Road Ann Arbor, Ml 48106 Reproduced with permission of the copyright owner. Further reproduction prohibited without permission. Reproduced with with permission permission of ofthe the copyright copyright owner. owner. Further Further reproduction reproduction prohibited prohibited without without permission. permission. Order Number 1334061 A n examination of the teaching methods of seven nineteenth century piano pedagogues Kendricks, Renee Christine, M.A. The American University, 1988 Copyright ©1988 by Hendricks, Rene£ Christine. All rights reserved. U MI 300 N. ZcebRd. Ann Arbor, M I 48106 Reproduced with permission of the copyright owner. Further reproduction prohibited without permission. ----··-----------------------------------·------ ReproducedReproduced withwith permissionpermission of of the the copyright copyright owner. owner. Further Further reproduction reproduction prohibited prohibited without without permission. permission. AN EXAMINATION OF THE TEACHING METHODS OF SEVEN NINETEENTH CENTURY PIANO PEDAGOGUES by Renee Christine Hendricks submitted to the Faculty of the College of Arts and Sciences of The American University in Partial Fulfillment of The Requirements for the Degree of Master of Arts in Music Signatures of Committee: ean pf the College April 18, 1988 Date 1988 The American University Washington, D.C. 20016 THE AMERICAN UNIVERSITY LIBRARY Reproduced with permission of the copyright owner. Further reproduction prohibited without permission. (c) COPYRIGHT BY RENEE CHRISTINE HENDRICKS 1988 ALL RIGHTS RESERVED Reproduced with permission of the copyright owner. Further reproduction prohibited without permission. AN EXAMINATION OF THE TEACHING METHODS OF SEVEN NINETEENTH CENTURY PIANO PEDAGOGUES BY Renee Christine Hendricks ABSTRACT This thesis examines the teaching methods of seven nineteenth century piano pedagogues; Johann Nepomuk Hummel, Carl Czerny, Frederic Chopin, Franz Liszt, Theodor F.ullak, Ludwig Deppe and Theodor Leschetizky, in an effort to trace the development of piano instruction in the nineteenth century from its beginning as a secondary job or hobby of performer-composers to a full-time and sophisticated occupation. It is an observation of the growth in each musician's role as teacher as well as the approach to teaching piano as it developed in the nineteenth century. A single chapter is devoted to the teaching methods of each instructor and includes the major ideas, philosophies and techniques employed and imparted by that teacher. An appendix is included containing a list of pedagogical compositions and writings by each instructor. Reproduced with permission of the copyright owner. Further reproduction prohibited without permission. ACKNOWLEDGEMENTS I would like to thank Mr. Charles Crowder, Chairman of the Committee and Advisor, not only for his guidance in matters of music and pedagogy, but also for his kindness and support and for allowing me to borrow important and otherwise hard to find books from his collection. To Barbara Kober, I extend my gratitude for her valuable suggestions in the editing of my material and for her comfort and encouragement along the way. I offer my sincere appreciation to my Committee members, Mr. Milton Kidd and Mr. Willis Bennett, for their time and suggestions for improving the study; and, to Robin Carter for completing the final copy. Finally, I thank my parents, Evan Bryant, Jr. and Marilyn Hendricks, for their inspiring love and continous guidance through all my endeavors. xxi Reproduced with permission of the copyright owner. Further reproduction prohibited without permission. TABLE OF CONTENTS ABSTRACT .................................................. ii ACKNOWLEDGEMENTS ......................................... iii INTRODUCTION .................................. 1 Chapter page I. JOHANN NEPOMUK HUMMEL (1778-1837) The Mozart Style ........................... 4 II. CARL CZERNY (1791-1857) Musical Training ........................... 8 Teaching Method ........................... 10 III. FREDERIC CHOPIN (1810-1849) Teaching Method .................... 14 IV. FRANZ LISZT (1811-1886) Teaching Method ........................... 22 V. THEODOR KULLAK (1818-1882) Teaching Method ...................... 31 VI. LUDWIG DEPPE (1828-1890) Teaching Method ........................... 35 VII. THEODOR LESCHETIZKY (1830-1915) Teaching Method ........................... 41 VIII. CONCLUSION ........................................ 54 APPENDIX A LIST OF PEDAGOGICAL COMPOSITIONS AND WRITINGS BY PEDAGOGUES IN THIS W O R K ............58 BIBLIOGRAPHY ........................ 60 i iv Reproduced with permission of the copyright owner. Further reproduction prohibited without permission. INTRODUCTION In the early nineteenth century, the piano was fast becoming a fully-developed instrument. During the course of its development through the eighteenth century, piano builders continued to improve the construction of the instrument by replacing knee pedals with foot pedals, introducing the double-escapement mechanism, lengthening the keyboard and so on. Harpsichord and clavichord players were switching from their delicate instruments to the piano for its seemingly unlimited possibilities in sound pro­ duction and durability. The evolution of The Pianist had begun. In the early days pianists were composers as well as performers. Repertoire written exclusively for the piano grew slowly. The more the pianist explored and experi­ mented with the capabilities of the instrument, the more evident it became that compositions written for harpsichord and clavichord were insufficient for performance on the piano. And, who better to write for the piano than those who specialized in performing on the piano? Most of the early pianists; Clementi, Mozart, and Beethoven, were virtuoso performers and highly skilled composers. Each pianist had his own approach to performance and established his style through the performance of his own works. Not 1 Reproduced with permission of the copyright owner. Further reproduction prohibited without permission. only did it become fashionable for the pianist to compose, but it was highly unusual for one not to do so. As the concert pianist became more skilled and the music written for piano became more technically difficult, the gap between the amateur and the professional pianist widened. The demand for teachers of piano began to increase with the rise of the virtuoso pianists. Amateurs wanted to learn how to imitate those pianists who could stir their audiences into frenzied delight with their beautiful sonorities and amazing technical feats. Naturally, the virtuoso performer was the one most sought after to give lessons. However, only a few performers taught and those who did rarely accepted a pupil who did not possess a great deal of skill or talent. Mozart received a few gifted pupils and Beethoven taught Czerny, but neither devoted much time to teaching. Usually, one's instruction was received by a parent, a friend, or a music instructor employed by a wealthy family or church. Since its beginning, in the early eighteenth century, the teaching of piano has progressed from a secondary job or hobby of performer-composers to a full-time and sophi­ sticated occupation. It was during the nineteenth century that the trend in teaching began to change. The role of piano teacher became more involved and more demanding. Each artist's approach to teaching differed; from Hummel and Czerny's mechanical and technical approach to the Reproduced with permission of the copyright owner. Further reproduction
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