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Doctor of Musical Arts RICE UNIVERSITY A History of Keyboard Hand Division: Note (Re)Distribution in Keyboard Music from the Renaissance to the Twentieth Century By Michael Clark A THESIS SUBMITTED IN PARTIAL FULFILLMENT OF THE REQUIREMENTS FOR THE DEGREE Doctor of Musical Arts APPROVED, THESIS COMMITTEE Karim Al-Zand Karim Al-Zand (Apr 22, 2021 15:21 CDT) Karim Al-Zand Professor of Composition and Theory Danielle Ward-Griffin Assistant Professor of Musicology Robin Sickles Reginald Henry Hargrove Professor of Economics and Statistics HOUSTON, TEXAS April 2021 ABSTRACT A History of Keyboard Hand Division: Note (Re)Distribution in Keyboard Music from the Renaissance to the Twentieth Century by Michael Clark This thesis considers the history of redistribution, the practice of altering the hand assignment of one or more notes, in keyboard music from the Renaissance to the early twentieth century. Chapter 1 explores methods of notating and executing hand division in the sixteenth and seventeenth centuries through the writings of contemporary performers and composers. Keyboard music appeared in two broad categories of notational formats: those that indicate hand distribution (“prescriptive”), such as the two-staff Italian intavolatura, and those that do not (“non-prescriptive”), including open score and Spanish and German tablature. Performers using non-prescriptive formats considered factors such as equal division of labor, wide spans, and ornamentation when determining which hand plays what, important precursors to the principles guiding the practice of redistribution. Chapter 2 traces two parallel trends in eighteenth-century keyboard music described by C.P.E. Bach. He asserts that the notation of three or more voices across two staves does not represent the hand division required to play them, establishing a particular freedom of fingering in polyphonic music. In contrast, Bach emphasizes the care he took to notate hand distribution in his own music through changes in stem direction and clef. Chapter 3 considers how Chopin and Liszt approached the division of notes in their own works. As composers, they were prescriptive, using multiple notational strategies to clarify the intended distribution of the notes between the hands, but as teachers, they were flexible. Chopin’s own markings in his students’ scores and Liszt’s comments in master classes reveal that they suggested alternative note distributions in their own compositions. Chapter 4 examines the history of “practical” or “instructive” editions in the late nineteenth and early twentieth centuries, using Beethoven’s piano sonatas as a case study. I survey the uses of redistributions in five editions of the sonatas: those of Sigmund Lebert/Hans von Bülow, Karl Klindworth, Moritz Moszkowski, Alfredo Casella, and Artur Schnabel. My analysis reveals five broad applications of alternative distributions that are common to each, representing a strong consensus for how redistribution was used by pianists of this era. Acknowledgements Many mentors, colleagues, friends, and family supported me in completing this project. I want to especially thank my advisor, Karim Al-Zand, for his perceptive feedback and expertise that enriched this project. I am deeply grateful to my piano teacher, Robert Roux, the king of redistribution, for believing in me, challenging me, and inspiring me to new levels of artistry. To my former piano teachers, Nancy Weems (the queen of redistribution), Jennifer Hayghe, and Melinda Smashey Jones, I remain forever indebted. I would like to thank many other Shepherd School of Music faculty who influenced me during my time here, especially Anthony Brandt, Brian Connelly, David Ferris, Jeanne Kierman Fischer, Pierre Jalbert, Richard Lavenda, Sohyoung Park, Jon Kimura Parker, Janet Rarick, Kurt Stallman, and Danielle Ward-Griffin. I am grateful to Suzanne Taylor for encouragement and guidance through all the logistical hurdles of this degree. Many thanks to Courtney Crappell, Jeffrey Sposato, and Katherine Turner for challenging me to become a stronger researcher and writer. This project would not have been possible without the assistance of Patrick Lenz. I am grateful for his good humor, curiosity, and fastidious efforts in engraving the numerous musical examples in this thesis. I would like to extend my gratitude to Richard Zimdars and Alexander Silbiger for thoughtfully answering research questions via email. Thank you to Mary Brower, Paul Novak, Christy Shelenberger, Allison Shinnick, and the entire Fondren Library Interlibrary Loan staff for helping me access important documents for my research. I am grateful to the Bibliothèque national de France, the Allen Music Library at Florida State University, and the University of North Texas Music Library for access to rare scores. Thank you to Christoph Wagner and his mother for deciphering and translating Old German text, to Kamila Swerdloff for additional German translation assistance, and to Eleanor Bolton for her help in proofreading. I extend my heartfelt thanks to my dear friend Kate Acone for her encouragement, advice, and long-distance companionship throughout this project. Finally, I am eternally grateful to my parents, Wayne and Lee Ann Clark, for their enduring support of my life in music. Thank you for providing an instrument, lessons, and an environment in which I could thrive as a young pianist. Contents List of Musical Examples . v Introduction . 1 1. Before 1700: Initial Principles of Keyboard Hand Division . 6 2. The Eighteenth Century: Counterpoint and Crossings . 31 3. The Nineteenth Century I: How Chopin and Liszt Approached Hand Division as Composers and Teachers . 45 4: The Nineteenth Century II: The History of Redistribution in Beethoven’s Sonatas . 60 Conclusion . 97 Appendix A: Annotated List of Resources Addressing Redistribution . 103 Appendix B: Table of Redistributions in Beethoven’s Sonatas . 107 Bibliography . 115 v List of Musical Examples Because this thesis centers on questions of musical notation, special care has been taken to present the musical examples as precisely and clearly as possible. The majority of examples were reproduced from primary sources by Patrick Lenz, strictly respecting original clefs, staff layout, and beaming. Where appropriate, images of original documents appear to illustrate key notational features. 0.1 Faber and Faber, “The Opposite Song”: mm. 1–4 . 1 1.1 Fragment of MS British Museum Add. 28550 (Robertsbridge Codex) . 6 1.2 Groningen, University Library, Incunabulum no. 70, recto . 7 1.3a Buchner, setting of Quem terra pontus with fingerings . 10 1.3B Buchner, setting of Quem terra pontus with fingerings (modern transcription) . 10 1.4a Der Allmeyer Dantz: mm. 7–9, intabulated by Ammerbach . 12 1.4B Der Allmeyer Dantz: mm. 7–9 (modern transcription) . 12 1.5a Palestrina, Angelus domini, intabulated by Paix . 13 1.5B Palestrina, Angelus domini, intabulated by Paix (modern transcription) . 13 1.6 Bermudo, open score transcribed into Spanish keyboard tablature . 15 1.7a Correa, Tiento de Quinto Tono: mm. 1–12 . 16 1.7B Correa, Tiento de Quinto Tono: mm. 1–12 (modern transcription) . 16 1.8 Diruta, Ricercar: mm. 1–4 . 20 1.9 Diruta, Ricercar: mm. 73–76 . 21 1.10 Diruta, Ricercar: m. 52 . 22 1.11 Frescobaldi, Toccata No. 3: mm. 1–2 . 23 1.12a Froberger, Toccata in D Minor, FbWV 102: m. 18 (Libro Secondo, 1649) . 24 1.12B Froberger, Toccata in D Minor, FbWV 102: m. 18 (Bourgeat, 1693) . 24 1.13 Byrd, Galiardo Mistress Marye Brownlo: mm. 7–12 . 25 1.14a Chambonnières, Gigue in A Major: mm. 10–14 (Bauyn MS, fol. 31) . 26 1.14B Chambonnières, Gigue in A Major: mm. 10–14 (1670) . 26 1.15 Jacquet de la Guerre, Allemande in D Minor: mm. 1–3 . 27 1.16 D’Anglebert, Gigue in G Major: mm. 1–3 . 28 1.17 Froberger, Allemande in D Minor: m. 1 (Libro Secondo, 1649) . 29 1.18 Kuhnau, Praeludium: mm. 1–8 . 30 2.1 C.P.E. Bach, Versuch, Figure LXV . 33 2.2 J.S. Bach, Fughetta in C Major, BWV 870a: mm. 10–13 (Bach’s fingering) . 34 vi 2.3 J.S. Bach, Fugue in the C Major, WTC II, BWV 870: mm. 19–26 (Czerny) . 35 2.4 C.P.E. Bach, Sonata No. 4, H73: I. mm. 1–4 . 37 2.5 C.P.E. Bach, Sonata No. 4, H73: II. mm. 1–4 . 38 2.6 C.P.E. Bach, Sonata No. 6, H75: I. Allegro di molto, mm. 1–6 . 38 2.7 J.S. Bach, Fantasia in C Minor, BWV 906: mm. 9–10 . 39 2.8 J.S. Bach, Partita No. 1 in B-flat Major, BWV 825: Giga, mm. 1–4 . 39 2.9 D. Scarlatti, Sonata in F-sharp Minor, K. 25: mm. 12–16 . 40 2.10 W.A. Mozart, Sonata in A Major, K. 331: I. mm. 73–76 . 40 2.11 W.A. Mozart, Sonata in C Minor, K. 457: III. mm. 90–101 . 41 2.12 Beethoven, Sonata in A Major, Op. 2, no. 2: IV. mm. 147–53 . 42 2.13 Beethoven, Sonata in A Major, Op. 2, no. 2: IV. mm. 147–48 (Czerny) . 42 3.1 Chopin, Ballade No. 1 in G Minor, Op. 23: mm. 1–3 . 46 3.2 Chopin, Ballade No. 3 in A-flat Major, Op. 47: mm. 47–49 . 46 3.3 Liszt, Sonata in B Minor, S. 178: mm. 18–20 . 47 3.4 Liszt, Sonata in B Minor, S. 178: mm. 44–49 . 47 3.5a Liszt, Etudes d’éxécution transcendente, S. 139: X. mm. 13–15 (original notation) . 47 3.5b Liszt, Etudes d’éxécution transcendente, S. 139: X. mm. 13–15 . 48 (hand division shown through stem direction) 3.5c Liszt, Etudes d’éxécution transcendente, S. 139: X. mm. 13–15 . 48 (hands remain on individual staves) 3.6 Chopin, Prelude in B-flat Major, Op. 28, No. 21: mm. 1–12 . 51 (Jane Stirling’s copy with Chopin’s pencil marks) 3.7 Chopin, Prelude in D-flat Major, Op.
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