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A Historical Perspective on Improvising in Beethoven Graduate Theses, Dissertations, and Problem Reports 2017 Revolutionary Pedagogy: A Historical Perspective on Improvising in Beethoven Julia Kinderknecht Follow this and additional works at: https://researchrepository.wvu.edu/etd Recommended Citation Kinderknecht, Julia, "Revolutionary Pedagogy: A Historical Perspective on Improvising in Beethoven" (2017). Graduate Theses, Dissertations, and Problem Reports. 5977. https://researchrepository.wvu.edu/etd/5977 This Dissertation is protected by copyright and/or related rights. It has been brought to you by the The Research Repository @ WVU with permission from the rights-holder(s). You are free to use this Dissertation in any way that is permitted by the copyright and related rights legislation that applies to your use. For other uses you must obtain permission from the rights-holder(s) directly, unless additional rights are indicated by a Creative Commons license in the record and/ or on the work itself. This Dissertation has been accepted for inclusion in WVU Graduate Theses, Dissertations, and Problem Reports collection by an authorized administrator of The Research Repository @ WVU. For more information, please contact [email protected]. Revolutionary Pedagogy: A Historical Perspective on Improvising in Beethoven Julia Kinderknecht Dissertation submitted to the College of Creative Arts at West Virginia University in partial fulfillment of the requirements for the degree of Doctor of Music in Piano Performance Peter Amstutz, D.M.A., Chair Travis Stimeling, Ph.D., Research Advisor James Miltenberger, D.M.A. Beth Royall Michael Vercelli, Ph.D. Department of Music Morgantown, West Virginia 2016 Keywords: Beethoven, Improvisation, Performance Practice, Pedagogy Copyright 2016 Julia Kinderknecht ABSTRACT Revolutionary Pedagogy: A Historical Perspective on Improvising in Beethoven Julia Kinderknecht This dissertation will investigate the historical significance and modern application of Beethoven’s improvisations in performance, first by observing what we know through primary sources and eye-witness accounts, then by considering the reasons for the absence of improvisation in modern performance practice and the steps that could be taken towards reincorporating classical improvisation into modern pedagogy, and finally by offering historically-based improvisation exercises and written-out examples of improvisations in Beethoven’s works to benefit modern pianists. iii DEDICATIONS To Dr. Peter Amstutz, who patiently listens, encourages, and gives me freedom to grow, no matter how crazy my ideas are. To Dr. John Salmon, who inspired me with the idea in the first place, provided me with resources, and pointed me in the right direction. To Dr. John Cheek, who introduced Beethoven to me as a normal person who was capable of extraordinary things, and who made me believe the same about myself. To my Savior, whose awesome paradox of Spirit and Truth, the written and the unwritten, Scriptura and Rhema, casts shadows throughout this little research project—just as He is reflected in so many unexpected corners of this life. iv ACKNOWLEDGEMENTS I would like to express my sincere thanks to Dr. Travis Stimeling, my research advisor, for his advice, patience and encouragement through this whole process. Not only did he push me to do my very best, but he consistently went out of his way to cheer me on and keep me motivated. Dr. Stimeling, you represent so many things that I want to be as a teacher. Thank you for everything. I also want to thank my husband, who has been my biggest supporter through all of this. He has picked me up when I was the most discouraged, cheered the loudest when I succeeded, and told me to go to bed when I needed to. I love you so much, Noah. Besides belonging to Jesus, having you as my husband is my greatest distinction in life. v TABLE OF CONTENTS Table of Figures……………………………………………………………………………………………vi Review of the Existing Scholarship about Beethoven and Improvisation………………………………….1 Beethoven’s Practice of Improvisation……………………………………………………………………22 The Transition Away from Improvisation in Music History……………………………………………...57 How Do We Learn to Improvise? ………………………………………………………………………...67 Practical Examples………………………………………………………………………………………...78 The Path Forward……………..………………………………………………………………………….112 Bibliography……………………………………………………………………………………………...120 vi TABLE OF FIGURES 2-1: Sonata in E major, (Op. 14 No. 1), Movement 1, mm 1-11…………………..………………...……31 2-2: Sonata in E major, (Op. 14 No. 1), Movement 2, mm 1-20…………………..……………………...32 2-3: Sonata in E major, (Op. 14 No. 1), Movement 2, mm 30-48...………………...…………………….33 2-4: Sonata in G major, Op. 14 No. 2, Movement 1, mm 52-66………………...………………………..34 2-5: Sonata in A major, Op. 2, no. 2, Movement 1, mm 157-61………...………………………………..45 2-6: Sonata in D major, Op. 10, no. 3, Movement 1, mm. 180-183…...…..……………………………...45 2-7: Sonata in G major, Op. 16, Movement 3, mm. 76-77...…………………..………...………………..46 2-8: Sonata in c-sharp minor, Op. 27, no. 1, Movement 3, mm. 25-26...………………………………....46 2-9: Sonata in G major, Op. 31, no. 11, Movement 2, mm. 25-26...…………………...………..………..47 2-10: Variations in F major, "Se Vuol Ballare"…..……………………………………………………….53 4-1: Sonata in c-sharp minor, Op. 27, no. 1, Movement 1, mm. 1-7...……………………………………76 5-1: Melody of Consecutive Thirds...……………………………………………………………………..80 5-2: Filling in the Spaces...………………………………………………………………………………..80 5-3: Two Blocked Sonorities...……………………………………………………………………………81 5-4: Activating the Texture………………………………………………………………………………..81 5-5: Melodic Fragment…………………………………………………………………………………….82 5-6: Transforming Melodies into Passagework...…………………………………………………………82 5-7: Sonata Op. 13 in C minor (“Pathetique”), Movement 3, mm. 1-21. First statement of refrain..…...85 5-8: Sonata Op. 13 in C minor (“Pathetique”), Movement 3, mm. 57-72. Second statement of refrain….86 5-9: Sonata Op. 13 in C minor (“Pathetique”), Movement 3, mm. 117-136. Third statement of refrain…87 5-10: Sonata Op. 13 in C minor (“Pathetique”), mvt. 3, mm. 169-183. Fourth statement of refrain……..88 5-11: Sonata Op. 13 in C minor (“Pathetique”), Movement 3, mm. 119-124, embellished by John Salmon…………………………………………………………………………………………………….89 vii 5-12: Sonata Op. 13 in C minor (“Pathetique”), Movement 3, mm. 60-70, embellished by author...……90 5-13: Sonata Op. 13 in C minor (“Pathetique”), Movement 3, mm. 61-65, embellished by author..…….91 5-14: Concerto No. 1 in C major, Movement 3, mm. 49-68………………………..……………….….…92 5-15: Concerto No. 1 in C major, Movement 3, mm. 49-61………………………..……………….…….93 5-16: Sonata in a minor, Op. 2 No. 3, Movement 4, mm. 301-312…………………...……..…….……..94 5-17: Sonata Op. 2 No. 3 in a minor, Movement 4, mm. 306-307, embellished by Salmon……………...94 5-18: Sonata No. 12 in A flat Major, Op. 26, Movement 2, mm. 1-4…………………………..…………95 5-19: Sonata No. 12 in A flat Major, Op. 26, Movement 2, mm. 1-4, embellished by author…………...96 5-20: Sonata No. 12 in A flat Major, Op. 26, Movement 2, mm. 17-21…………………………..………96 5-21: Sonata No. 12 in A flat Major, Op. 26, Movement 2, mm. 17-21, embellished by author…………97 5-22: Sonata Op. 110, Movement 3 mm. 1-11……………..………………………...……………………98 5-23: Sonata Op. 110, Movement 3 mm. 4-9, embellished by Salmon…………..……………………....99 5-24: Sonata Op. 22, Movement 2, mm. 49-54………………...…………………..……………………100 5-25: Sonata Op. 22, Movement 2, mm. 50-53, embellished by Salmon….………..…………………..101 5-26: Carl Czerny, “A Systematic Introduction to Improvisation,” pages 7-9…………..………….103-105 5-27: Sonata Op. 57 (“Appassionata”), Movement 2, mm. 82-96……………………………………….106 5-28: Sonata Op. 57 (“Appassionata”), Movement 2, mm. 95-96, embellished by Salmon…………….106 5-29: Sonata Op. 14 No. 2 Movement 3, mm. 131-160…………………..……………………...………107 5-30: Sonata Op. 14 No. 2 Movement 3, mm. 138-154…………………..……………………..………108 5-31: Carl Czerny, “A Systematic Introduction to Improvisation,” page 23…………………………….110 viii 1 Review of the Existing Scholarship on Improvisation and Beethoven The ultimate goal of this dissertation is to make the reader aware of the need for, the practicality of, and the existing options for incorporating historically informed improvisation into modern piano pedagogy, particularly in the music of Beethoven. This research will present arguments in five layers: 1), a review of the existing literature on the subject of improvisation and performance practice in the music of Beethoven, and other relevant scholarship; 2), a portrayal of Beethoven as an improviser first and foremost via eye-witness accounts, and illustrations of the ways he improvised both in free fantasies and within the context of “written-down” repertoire; 3) an examination of the reasons that improvisation has disappeared from piano pedagogy and performance practice; 4) a presentation of pedagogical methodologies that incorporate a historically informed approach to improvisation in Beethoven’s works; and 5), an application of the descriptions of Beethoven’s improvisations to the creation of exercises and written out examples of improvising in Beethoven’s music in a way that is consistent with his own practice of improvisation. Modern performance practice in classical piano repertoire is generally opposed to the idea of deviating from the written score. As a result, in order to successfully make the argument in favor of such deviations, there is a need for a substantial research foundation of respected sources. Biographies which contain reputable eye-witness accounts of Beethoven’s performances are integral to the foundation of this research. As Beethoven increased in fame, the accounts of his performances from aristocratic audience members, and in some cases his own students, tend to become increasingly flowery and sensational. Therefore, in order to get a clear idea of what his performances were actually like, it is important to look at the specific facts that are mentioned, common threads that remain consistent in all the accounts, and also compare early (and often more critical) descriptions with later descriptions. This research, of course, is based upon precise descriptions of Beethoven deviating 2 from the score, along with the more common descriptions of his rapturous free fantasies.
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