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CHAPTER THREE Schubert's Impromptus

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City Research Online City, University of London Institutional Repository Citation: Rakitzis, Vasileios (2015). Alfred Cortot's response to the music for solo piano of Franz Schubert: a study in performance practice. (Unpublished Doctoral thesis, City, University of London) This is the accepted version of the paper. This version of the publication may differ from the final published version. Permanent repository link: https://openaccess.city.ac.uk/id/eprint/16965/ Link to published version: Copyright: City Research Online aims to make research outputs of City, University of London available to a wider audience. Copyright and Moral Rights remain with the author(s) and/or copyright holders. URLs from City Research Online may be freely distributed and linked to. Reuse: Copies of full items can be used for personal research or study, educational, or not-for-profit purposes without prior permission or charge. Provided that the authors, title and full bibliographic details are credited, a hyperlink and/or URL is given for the original metadata page and the content is not changed in any way. City Research Online: http://openaccess.city.ac.uk/ [email protected] ALFRED CORTOT’S RESPONSE TO THE MUSIC FOR SOLO PIANO OF FRANZ SCHUBERT: A STUDY IN PERFORMANCE PRACTICE BY VASILEIOS RAKITZIS A thesis submitted in partial fulfilment of the requirements for the degree of Doctor of Musical Arts City University London, School of Arts and Social Sciences, Department of Music; and the Guildhall School of Music and Drama London, November, 2015 i ii TABLE OF CONTENTS LIST OF FIGURES…………………………………………………………..p. ix LIST OF TABLES…………………………………………………………..p. xxi ACKNOWLEDGEMENTS………………………………………………...p. xxiii DECLARATION…………………………………………………………...p. xxvii ABSTRACT………………………………………………………………...p. xxix INTRODUCTION…………………………………………………………..p. xxxi CHAPTER ONE Alfred Cortot’s Musical Personality and Repertoire Affinities………………………………………………………………………p. 1 1.1 Educational Background and Influences…………………………….p. 2 1.1.1 The French Piano School…………………………………….p. 3 1.1.2 Cortot within the French Piano School……………………...p. 9 1.1.3 Cortot and Risler……………………………………………..p. 12 1.1.4 Cortot in Bayreuth (1899-1901)…………………………….p. 14 iii 1.2 Cortot as Author and Editor………………………………………….p. 17 1.3 Performing and Editing Particular Repertoire……………………...p. 21 1.3.1 Chopin and Schumann………………………………………p. 21 1.3.2 Features of the French Musical Scene in the late Nineteenth Century and their Influences on Cortot’s Repertoire……………p. 23 1.3.3 Risler, Cortot and the German Repertoire………………...p. 26 1.4 Cortot and Schubert’s Piano Music…………………………………p. 28 CHAPTER TWO Issues of Performance in Schubert’s Piano Music…………………………………………………………………………p. 43 2.1 Primary Sources and Schubert’s Piano Music………………………p. 43 2.2 Cortot’s Connection to Schubert………………………………………p. 46 2.3 Montgomery’s Investigation, Critics and Cortot……………………...p. 49 2.3.1 Tempo………………………………………………………………….p. 51 2.3.2 Rubato…………………………………………………………………p. 53 2.3.3 Structure……………………………………………………………….p. 56 2.3.4 Notation………………………………………………………………..p. 58 2.3.5 Voluntary Ornamentation and Improvisation………………………p. 62 2.3.6 The Sound of Period Instruments and Expressive Devices……...p. 64 2.3.7 Technique……………………………………………………………..p. 76 iv CHAPTER THREE Schubert’s Impromptus as Seen through Cortot’s Editions………………………………………………………………………p. 79 3.1 The Avant-Propos: Why these pairs? ………………………………..p. 84 3.2 The Classification of Issues……………………………………………p. 87 3.2.1 Tempo Adoption………………………………………………………p. 88 3.2.2 Tempo Modification…………………………………………………..p. 89 3.2.3 Tempo Flexibility……………………………………………………...p. 94 3.2.4 Structure – Repeats…………………………………………………p. 109 3.2.5 Notation………………………………………………………………p. 111 3.2.5.1 Rhythmic Alteration………………………………………p. 111 3.2.5.2 A Comparison of Urtext and Cortot’s Editions………...p. 114 3.2.6 Technique……………………………………………………………p. 127 3.2.7 Expressive Devices…………………………………………………p. 130 3.2.7.1 Loud Dynamics on the Modern Piano………………….p. 131 3.2.7.2 Non-literal Execution of Accents………………………..p. 134 3.2.7.3 Articulation………………………………………………...p. 141 3.2.7.4 Pedalling…………………………………………………..p. 146 CHAPTER FOUR The ‘Wanderer’ Fantasy: A Repertoire Work Over The Years…………………………………………………………………..p. 153 4.1 Schubert and Liszt…………………………………………………….p. 155 v 4.2 Lisztian Tradition and Cortot………………………………………....p. 156 4.3 The Avant-Propos……………………………………………………..p. 160 4.3.1 Structure……………………………………………………………...p. 161 4.3.2 Virtuosity and Orchestral Power…………………………………...p. 166 4.3.3 The Issue of Programme…………………………………………...p. 169 4.4 The Classification of Issues…………………………………………..p. 171 4.4.1 Tempo Adoption……………………………………………………..p. 172 4.4.2 Tempo Modification…………………………………………………p. 177 4.4.2.1 Sections, Episodes and Variations……………………..p. 177 4.4.2.2 Transitions between Movements……………………….p. 185 4.4.2.3 Avoid the Habit……………………………………………p. 186 4.4.3 Sound and Expressive Devices……………………………………p. 188 4.4.3.1 Articulation – Touch……………………………………...p. 188 4.4.3.2 Accentuation………………………………………………p. 199 4.4.3.3 Suggested Dynamic Plans………………………………p. 212 4.4.4 Orchestral Suggestions…………………………………………….p. 218 4.4.5 Liszt’s Versions in Cortot’s Edition………………………………...p. 229 4.4.5.1 Additions and Variants…………………………………..p. 230 4.4.5.2 Verbal Indications………………………………………...p. 238 4.4.5.3 Additional Improvisation and Embellishment………….p. 240 4.4.6 Technique……………………………………………………………p. 243 vi 4.4.6.1 Transmission of the Thumb……………………………..p. 244 4.4.6.2 Polyphonic Texture………………………………………p. 250 4.4.6.3 Octaves……………………………………………………p. 251 4.4.6.4 Chords……………………………………………………..p. 258 4.4.7 Structure - Motivic Transformation………………………………...p. 264 4.4.7.1 Modified Motif in the First Movement…………………..p. 264 4.4.7.2 Modified Motif in Different Movements…………………p. 275 4.4.7.3 Transitions………………………………………………...p. 277 CHAPTER FIVE Cortot’s Recordings of Schubert’s Music……...p. 283 5.1. Studying Early Recordings…………………………………………..p. 283 5.1.1 Features of Early Twentieth-century Style and Years of Change……………………………………………………………………...p. 285 5.1.2 A Clash of Styles and Cortot’s Stance……………………………p. 290 5.2 The Recordings………………………………………………………..p. 298 5.2.1 Cortot’s Consistent Style…………………………………………...p. 298 5.2.1.1 Twelve Ländler D 790: Early and Late Versions……...p. 300 5.2.1.2 ‘Litanei’: Early and Late Versions………………………p. 309 5.2.2 Comparison and Contextualization………………………………..p. 311 5.2.2.1 Impromptu D 935 No. 3………………………………….p. 312 5.2.2.2 Moment Musical D 780 No. 3…………………………...p. 323 vii 5.2.2.3 Twelve Ländler D 790……………………………………p. 327 5.2.3 Recordings vs. Editions…………………………………………….p. 333 5.2.3.1 Impromptu D 935 No. 3………………………………….p. 335 5.2.3.2 Twelve Ländler D 790……………………………………p. 345 5.2.3.3 Moment Musical D 780 No. 3…………………………...p. 370 CONCLUSION……………………………………………………………..p. 381 APPENDIX I………………………………………………………………..p. 405 APPENDIX II……………………………………………………………….p. 411 BIBLIOGRAPHY…………………………………………………………..p. 415 SCORES-EDITIONS………………………………………………………p. 427 DISCOGRAPHY – WEBSITES…………………………………………..p. 431 viii LIST OF FIGURES CHAPTER THREE Figure 1 Schubert D 899/4 bars 105-106, Henle Edition………………..p. 95 Figure 2 Schubert D 899/4 bars 105-106, Cortot's Edition (1960)……..p. 95 Figure 3 Schubert D 935/2 bars 97-98, Henle Edition…………………..p. 96 Figure 4 Schubert D 935/2 bars 97-98, Cortot's Edition (1957)………..p. 96 Figure 5 Schubert D 899/4 bar 106, Henle Edition………………………p. 96 Figure 6 Schubert D 899/4 bar 107, Henle Edition………………………p. 97 Figure 7 Schubert D 935/2 bars 97-99, Henle Edition…………………..p. 97 Figure 8 Schubert D 899/4 bars 163-164, Henle Edition………………..p. 98 Figure 9 Schubert D 899/4 bars 165-168, Henle Edition………………..p. 98 Figure 10 Schubert D 899/4 bars 169-171, Henle Edition………………p. 99 Figure 11 Schubert D 899/4 bars 163-164, Cortot's Edition (1960)……p. 99 Figure 12 Schubert D 899/4 bars 165-166, Cortot's Edition (1960)….p. 100 Figure 13 Schubert D 899/4 bars 170-171, Cortot's Edition (1960)….p. 100 Figure 14 Schubert D 899/2 bars 165-168, Henle Edition…………….p. 101 Figure 15 Schubert D 899/2 bars 50-51, Henle Edition………………..p. 101 Figure 16 Schubert D 935/2 bars 24-30, Henle Edition………………..p. 103 Figure 17 Schubert D 935/2 bars 24-30, Cortot's Edition (1957)……..p. 103 Figure 18 Chopin Polonaise-Fantaisie, Op. 61 bar 244……………….p. 113 ix Figure 19 Schubert D 935/3 bar 65………………………………………p. 113 Figure 20 Schubert D 899/2 bar 83, Henle Edition…………………….p. 115 Figure 21 Schubert D 899/2 bar 83, Cortot's Edition (1960)………….p. 116 Figure 22 Schubert D 899/2 bar 83, Liszt's edition (1868-1874)……..p. 117 Figure 23 Schubert D 899/2 bars 158-159, Henle Edition…………….p. 117 Figure 24 Schubert D 899/2 bars 157-159, Cortot's Edition (1960)….p. 118 Figure 25 Schubert D 899/2 bar 168, Henle Edition…………………...p. 120 Figure 26 Schubert D 899/2 bars 167-168, Cortot's Edition (1960)….p. 120 Figure 27 Schubert D 899/4 bars 23-27, Henle Edition………………..p. 122 Figure 28 Schubert D 899/4 bars 28-30 Henle Edition………………...p. 122 Figure 29 Schubert D 899/4 bars 23-27, Cortot's Edition (1960)……..p. 123 Figure 30 Schubert D 899/4 bars 28-30, Cortot's Edition (1960)……..p. 123 Figure 31 Schubert D 935/3 bars 120-128, Cortot's Edition (1957)….p. 124 Figure 32 Chopin Etude Op.25/2 bars 1-3………………………………p. 128 Figure 33 Schubert D 899/2 bars 1-4……………………………………p. 129 Figure 34 Schubert D 899/2 bar 103, Henle Edition…………………...p. 132 Figure 35 Schubert D 935/3 bar 85, Henle Edition…………………….p. 133 Figure 36 Schubert D 935/3 bar 85, Cortot's Edition (1957)………….p. 133 Figure 37 Schubert D 935/3 bar 102, Henle Edition…………………...p. 136 Figure 38 Interpretation of the accent of bar 102 and equivalents in Schubert D 935/3, Cortot's Edition (1957)………………………………p.
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    Whose Chopin? Politics and Patriotism in A Song to Remember (1945) John C. Tibbetts Columbia Pictures launched with characteristic puffery its early 1945 release, A Song to Remember, a dramatized biography of nineteenth-century composer Frederic Chopin. "A Song to Remember is destined to rank with the greatest attractions since motion pictures began," boasted a publicity statement, "—seven years of never-ending effort to bring you a glorious new landmark in motion picture achievement."1 Variety subsequently enthused, "This dramatization of the life and times of Frederic Chopin, the Polish musician-patriot, is the most exciting presentation of an artist yet achieved on the screen."2 These accolades proved to be misleading, however. Viewers expecting a "life" of Chopin encountered a very different kind of film. Instead of an historical chronicle of Chopin's life, times, and music, A Song to Remember, to the dismay of several critics, reconstituted the story as a wartime resistance drama targeted more to World War II popular audiences at home and abroad than to enthusiasts of nineteenth-century music history.3 As such, the film belongs to a group of Hollywood wartime propaganda pictures mandated in 1942-1945 by the Office of War Information (OWI) and its Bureau of Motion Pictures (BMP)—and subject, like all films of the time, to the censorial constraints of the Production Code Administration (PCA)—to stress ideology and affirmation in the cause of democracy and to depict the global conflict as a "people's war." No longer was it satisfactory for Hollywood to interpret the war on the rudimentary level of a 0026-3079/2005/4601-115$2.50/0 American Studies, 46:1 (Spring 2005): 115-142 115 116 JohnC.Tibbetts Figure 1: Merle Oberon's "George Sand" made love to Cornel Wilde's "Frederic Chopin" in the 1945 Columbia release, A Song to Remember(couvtQsy Photofest).
  • Magda Tagliaferro (1893-1986) a Discography1

    Magda Tagliaferro (1893-1986) a Discography1

    MAGDA TAGLIAFERRO (1893-1986) A DISCOGRAPHY1 By Philippe Rougier The pianistic career of Magda Tagliaferro was one of the longest, spanning more than eighty years-from her first public concert in 1902 in Sao Paulo to her last in Brasilia in 1985. Born of French parents near Rio de Janeiro, she divided her life between Brazil and France and she held both citizenships. She received first prize in piano at the Conservatoire National in Paris when she was fourteen. There she became acquainted with the director, Gabriel Faure, who around 1908 chose her to perform several of his works with him on tour. She was the protegee of the Cortot-Thibaud-Casals trio and worked regularly with her "venerated master," Alfred Cortot, whose musical aesthetics she adopted and perpetuated throughout her life. Prior to World War II, she lived in Paris and enjoyed a very brilliant career embracing Europe and South America, playing with conductors such as Furtwaengler, Weingartner, Ansermet, Munch, Paray and others. She was an activist for French music abroad and championed the contemporary composers that she had known personally: Prokofief, d'Indy (she performed his Symphonie sur un Chant montagnard under his baton), Ravel, Poulenc, Roussel, Schmitt, Falla, Albeniz, and others. She premiered or was the dedicatee of many works, including pieces for piano and orchestra by Heitor Villa-Lobos, Reynaldo Hahn, Georges Dandelot, Daniele Amfitheatrof; and solo pieces by Migot, Rivier, Pierne, Rosenthal, Inghelbrecht, and Mignone, among others. Mme. Tagliaferro also played an important role as a pedagogue. She was appointed professor at the Paris Conservatoire in 1937, remaining until the war, and founded a school in Paris and two more in Brazil (the Escola Magda Tagliaferro still exists in Sao Paulo) where she lived from 1940 until 1949.