The Emperor's New Clothes: Nineteenth-Century Instruments Revisited Author(S): Robert Winter Reviewed Work(S): Source: 19Th-Century Music, Vol

The Emperor's New Clothes: Nineteenth-Century Instruments Revisited Author(s): Robert Winter Reviewed work(s): Source: 19th-Century Music, Vol. 7, No. 3, Essays for Joseph Kerman (Apr. 3, 1984), pp. 251- 265 Published by: University of California Press Stable URL: http://www.jstor.org/stable/746380 . Accessed: 02/12/2012 22:24

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This content downloaded by the authorized user from 192.168.72.231 on Sun, 2 Dec 2012 22:24:24 PM All use subject to JSTOR Terms and Conditions The Emperor's New Clothes: Nineteenth-CenturyInstruments Revisited

ROBERTWINTER

Almost seven years ago in the pages of this jour- using upon individual releases ratherthan over- nal we explored some of the questions raised by all objectives. the infrequent recordings of nineteenth-cen- It is all too easy to exaggeratethe influence to tury music on period instruments.1 The time date of the historical performance movement, elapsed since may have been relatively brief, but let us review for a moment the gains of the but it has witnessed a dramatic growth in last several years. In 1977 there were some awareness of performance issues in music after thirty discs of nineteenth-century music on pe- 1800-and a flood of new releases. Not only is riod instruments available in this country; over it none too soon to reconsider both the issues the last seven years this number has swelled to and their merits, but this may well be the last almost 125, an impressive surge by any stand- time it will be practical to discuss either with ard. The prestigious PolyGram family of labels any degree of comprehensiveness; if present now devotes its entire L'Oiseau-Lyreseries to trends continue, by the end of the 1980s there historical performances,presenting many Clas- will be a surfeit of so-called authentic perform- sical and Romantic works. Not to be out- ances circulating, with debate necessarily foc- flanked, Harmonica Mundi has countered with Pro-Arte. Smaller labels like Astree, Claves, Ti- and Toccata are to corner 19th-Century Music VII/3 (3 April 1984). ? by the Regents tanic, scrambling of the University of California. their share of the growing market. Who would have predicted, five years ago, 'Robert Winter, "Performing Nineteenth-Century Music that would on Nineteenth-Century Instruments," this journal 1 (1977), Christopher Hogwood be conduct- 163-75. ing at the Hollywood Bowl-not just once but in

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This content downloaded by the authorized user from 192.168.72.231 on Sun, 2 Dec 2012 22:24:24 PM All use subject to JSTOR Terms and Conditions 19TH successive seasons? And notion on. The in The New CENTURY although my lingers generous coverage MUSIC that "it would be splendid if a major recording Grove (to be improved upon even further in the firm would pick [Malcolm Bilson] up" was soon forthcoming New Grove Dictionary of Musical answered by a contract and several fine disks Instruments) has filled in many longstanding from Nonesuch, even my most optimistic pro- gaps in general knowledge. Under new editorial jections were outstripped by Deutsche Gram- leadership, one of the most articulate and mophon's engaging of Bilson to recordon forte- widely-read organs concerned regularly with piano over the next several seasons the performance practice, Early Music, has broad- complete Mozart concerti with John Eliot Gar- ened its scope to include at least occasional Ro- diner. These last years have also witnessed a mantic'forays. Finally, the issuing of the first steady growth in the performerbase: today we "complete" set of a body of well-established can hear on fortepiano not only Badura-Skoda repertoire-in this case the thirty-two piano so- and Bilson and Demus, but Binns, Burnett, natas of Beethovenperformed by Malcolm Binns Dahler, Hogwood, Hoogland, Junghanns, and on instruments from the collection of C. F. Lubin as well. It is too early to tell which, if any, Colt-must be viewed as a milestone that one of these artists will emerge as major main- hopes can be repeated in the years ahead. stream interpreters; much may depend, as we These successes are genuine, and many of shall see shortly, upon the instruments them- them will doubtless prove lasting. Indeed, it is selves. their very magnitude that obliges both the lead- And there is more. Not only have sympa- ers and participants in the Romantic perform- thetic critics like Andrew Porter and Nicholas ance movement to reassess their motivations Kenyon written thoughtful and provocative re- and goals. Although recordings do not tell the views for the New Yorkerof increasingly plenti- whole story, they are representativeof what has ful performances-both recorded and live-on been going on for the last several years. Collec- original instruments, but voices of the Estab- tively, they point up three factors that, in spite lishment, like Donal Henahan of the New York of the recent growth, do not seem to have Times and Michael Walsh of Time, have also changed substantially since the early 1960s. filed approving accounts of recent develop- First, the interest in nineteenth-century per- ments.2 A share of historical recordings regu- formance practice continues to center primarily larly receives high marks in the pages of High around the piano. In our original checklist of Fidelity, Stereo Review, Gramophone, and about thirty discs, all but three involved music other trade magazines. It is true that most of the for or with piano. Among the recent crop of music under discussion has been largelyby Bach some ninety-five discs, a dozen do not employ and Haydn and Mozart rather than Beethoven the piano, a proportion only slightly changed and Schubert or beyond; more important to our from seven years previously. In one sense this is purposes is that it has now become acceptable hardly surprising;the piano is, after all, the ful- to re-examine not just obscure corners of the crum of Romanticism: its solo ideal. On the repertoire,but the war horses themselves. other hand, a view of the nineteenth-century In musicological circles, performance prac- that excludes opera and orchestral music can tice is at least officially sanctioned at meetings, scarcely be considered complete or even repre- specialized conferences, and in scholarly jour- sentative. nals-even if a patronizing whiff sometimes Second, the nineteenth-century historical performance movement has been, and continues to be, European-based.Only six of the re- 2See Andrew Porter in the 26 October 1981 issue of The New cordings in the present checklist were made by Yorker (reviewing a "Steinway vs. Erard" symposium at non-Europeans-all Americans, as it turns out; Gambier College); Nicholas Kenyon in the 24 November 1980 issue of The New Yorker and in the February 1981 is- a seventh features an American soprano accom- sue of High Fidelity (reviewing Malcolm Bilson on forte- panied by a European pianist on a European la- piano); Donal Henahan in the 7 December 1978 issue of bel. The original reason for this state of affairs of the New York Times (reviewing Bilson's Advent cassette instruments themselves were Haydn keyboard sonatas); and Michael Walsh, "Letting Mo- may be that the zart Be Mozart," in the 5 September 1983 issue of Time. by and large to be found in Europe. Although the

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This content downloaded by the authorized user from 192.168.72.231 on Sun, 2 Dec 2012 22:24:24 PM All use subject to JSTOR Terms and Conditions firm of its Mozart change. For one thing, cities like Los ROBERT Neupert pressed fortepiano Angeles WINTER: model into service for the Mozart bicentennial and New York are experiencing an unprece- 19th-Century in the mid-1950s, most European performer/ dented growth of interest in historical perform- Instruments collectors (such as Paul Badura-Skoda,J6rg De- ance, rapidly approaching a level that can at- mus, or Richard Burnett) have continued to fa- tract and hold first-class performers. For vor originals, reflecting to some extent the Old another, the building of replicas has secured a World bias-one not entirely without founda- strong foothold in America, which now boasts a tion-that they don't make them as well any- dozen world-class early keyboard instrument more. For relatively modest outlays, it was pos- makers, and may over the next decade corner sible for Europeans to assemble impressive and the market on historical pianos as well. The important keyboard collections. Assuming best copies by Philip Belt of Mozart's 5-octave such instruments could still be located, an Walter concert instrument compare favorably equally interested American, bucking the va- with the best-known originals; some would garies of export restrictions and shipping ar- even argue that they surpass them in reliability rangements, faced an uphill battle. and purity of tone, as the originals themselves There is also the circumstance that Europe must have in Mozart's day. A few intrepid has traditionally provided a more congenial at- builders are now stretching the outside of the mosphere for the cultivation of performerswith envelope by building the first prototypes of 6- iconoclastic leanings: Arnold Dolmetsch at the and 61/2-octave pianos; although the engineer- turn of the century, Landowska in the '20s and ing problems are considerably greater than '30s, Thurston Dart in the immediate postwar those of the smaller instruments, they are period, and the Leonhardts,Harnoncourts, Hog- slowly being solved. It remains to be seen what woods, Gardiners, Maiers, and Schr6dersof the influence this renaissance will have upon his- last two decades. Europeaneducation in general torical performancein America. remains more humanistically based than its Third, although fresh repertoire is being in- American equivalent, and even the strictly con- troduced continually, the nineteenth-century servatory-trainedperformer is likely to have at historical performancemovement continues to least some exposure to organology or musical feed heavily on Beethoven and Schubert. In our iconography (perhapsalong with a dose of clas- original survey, only two discs contained at sics or Arabic),from which the study of histori- least a full side of music not by one of these two cal performance flows quite spontaneously. Eu- Viennese masters. In the most recent batch, ropean performers-most especially the about twenty discs contain no music by either; English-have also proved to be more articulate all but three are for or with piano, and only nine spokespersons for their causes, facilitating ac- are on labels that enjoy wide distribution. All ceptance by a largerpublic. Few leading Ameri- together there are just ten recordingsdevoted to can performers, for example, could cross con- music composed after 1830, and all of these in- versational swords with ChristopherHogwood, volve the piano. whose speaking engagements with the BBC Given that Beethoven and Schubert repre- have covered practically every cornerof the mu- sent both the culmination and dissolution of Vi- sical universe. And finally, there has been a cos- ennese Classicism, it stands to reason that they mopolitan musical environment-best exem- are natural targets for a movement that has plified by London, but to a considerable extent marched steadily forward through Mozart and by Paris and Vienna as well-that provides Haydn. It will be interesting to see whether in- nearly full-time work for a reasonable number terest stalls at around 1830, and whether it re- of historical-performance practitioners. The mains fixed upon the piano. In either event the closest American analogue remains Boston importance of historical performance for the (most of whose early music activities took root Romantic century will remain sharply circum- in the workshop of Frank Hubbard), where audi- scribed. This would be an altogether ironic out- ence size has never quite caught up with the come for an era that, in terms both of measure supply of performing musicians. and of variety, prized color above all else. For To be sure, some of this may be about to this reason alone I would argue that the period

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This content downloaded by the authorized user from 192.168.72.231 on Sun, 2 Dec 2012 22:24:24 PM All use subject to JSTOR Terms and Conditions 19TH in which instruments and cavernous of these suit CENTURY original performance shapes-all Stravinsky's MUSIC practices are most indispensable is indeed the Petrushka admirably, while conspiring to suck nineteenth. That such an argument runs the life out of the staples of Romanticism. counter to virtually every popular assumption A reviewer is likely to jump to the Trio of the about Romantic performanceundermines only "Eroica" Scherzo to test the valveless horns, its implementation, not its essential validity. and sure enough there is considerably more The successes and limitations just outlined color and nuance (especially the stopped c2 and inevitably cast their shadow over any evalua- ab , pungent though non-abrasive) in this section of the current ferment. Many of the virtues tion. But rather than a series of similarly dra- and deficiencies that crop up are manifestations matic differences between the Collegium of a movement struggling to emerge from its co- Aureum and, say, the Cleveland Orchestra coon; like a butterfly, it has an instinctual sense under Szell (or even the Vienna Philharmonic of destiny, but at the same time it is reluctant to under Schmidt-Isserstedt),there is a much more undergo the necessary transformation. The subtle but pervasive difference in the overall launching pads for this transformation can be palette of sound. After several hearings of the logically sought in incremental extensions of Collegium Aureum, modern performances be- previous activities, of which two of the most gin to sound excessively dense, compacted, and stimulating have been the release by the Colle- even colorless, more like a uniform brick wall gium Aureum of both Beethoven's "Eroica" than a decorated eighteenth-century altar. This Symphony (8; numbers are keyed to the check- remains true in spite of the fact that both Szell list concluding this essay) and his Missa solem- and Schmidt-Isserstedt choose more coura- nis (17). geous tempi in the outer movements. It is not so In the mid-1960s this pioneering group was much that the Collegium Aureum winds, for recording Bach and Handel; in the early '70s example, can be heard more easily; they can, they moved on to Haydn and Mozart, and now but not for the reason that the less reinforced Beethoven. The Collegium Aureum has always strings are dramatically softer. What we are been easy for even the general listener to digest, aware of instead is the greatermusical space be- both because of their careful attention to into- tween tiers of sound, permitting individual nation and ensemble and because their perfor- voices and nuances to slip effortlessly ming style is perhapsnot so very differentfrom through-although the bassoon used here is less that of a well-disciplined modern orchestra.Un- penetrating that its modern counterpart. der the vigorous leadership of FranzjosefMaier One byproduct of this transparency is that the strings project a round and spacious tone the overall dynamic range is increased, particu- that is frequently vibrato-based-a vibrato larly at the soft end. The Collegium Aureum's echoed by the winds-and probably activated rendition of the B phrase in the opening section by Tourte bows. No ghost of Leopold Mozart of the Funeral March, for example, begins from lurks here. The Collegium Aureum has never a genuine piano, not the mf to which we have gone in for low pitch, keyboard continuo in become accustomed.When it is time to cut loose, Classical symphonies, or other purist articles of as in the triadic explosions of mm. 76 and 98ff., faith. Whether as a string quartet or the thirty- it is astonishing how much sound thirty-two two-piece ensemble used for the "Eroica"(with pieces can generate; on this smaller scale the strings disposed 6-5-3-2-2, as in the 1805 Beethoven's reliance on the brass for dynamic premiere), they have always recorded in a live reinforcement seems even more dramatic. The acoustic (most frequently the Cedernsaalof the outcome of all this is a highly successful, taut Renaissance Schloss Kirchheim), which imparts reading that in crucial respects reintroduces a to their performances a vibrant sheen generally revolutionary dimension smothered since the absent from modern orchestral sound. Even in advent of outsized Brahms orchestras. the largest American cities there are remark- For the Missa solemnis the Collegium ably few halls that treat the music of the nine- Aureum employed the same basic orchestra as teenth century kindly. Plush carpeting, cush- for the "Eroica," augmented by a fourth horn, ioned seats, upholstered walls, acoustical tile, three trombones, organ continuo, a chorus of

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This content downloaded by the authorized user from 192.168.72.231 on Sun, 2 Dec 2012 22:24:24 PM All use subject to JSTOR Terms and Conditions about forty, and four soloists (with women so- tieth year in 1984, having amassed a catalogue ROBERT and as in the WINTER: pranos altos, original perform- of recorded performances that includes late 19th-Century ance). This is somewhat smaller than that used string quartets of Haydn, Mozart, and Instruments for the premieres of the Kyrie, Credo,and Agnus Beethoven; the "La Reine," "Jupiter," and Dei at Beethoven's academies of May 1824, "Eroica" symphonies; Beethoven's Septet, op. though it doubtless reflects the actual forces fre- 20; Mozart's C-Major (K. 467) and Beethoven's quently available for some time after that. Sev- Fourth and Triple Concertos; the Missa solem- eral of the same distinctions pointed up in the nis; and Schubert's "Death and the Maiden" "Eroica" apply here as well. In particular, the Quartet and "Trout" Quintet. They have much timpani function as an audible agent of rhyth- to be proud of. If, in light of the contributions of mic organization, rather than being buried at more youthful, radicalgroups like the Academy the bottom of the pile. The ambitious fugues of Ancient Music and the Quartetto Esterhazy, that conclude both the Gloria and the Credo their performances appearto be haunted by lin- breathe more naturally. In the end, however, lis- gering modernisms, it is not from lack of ex- teners are apt to favor one readingor another de- traordinary polish and musicianship. One pending upon whether the passage in question hopes that the next generation of performerson is epic or intimate. There is no question that in original instruments can make an equally last- places such as the Qui tollis of the Gloria the ing contribution; for unless these groups evince chamber-sized forces project a more personal equal amounts of curiosity and commitment, tone; on the other hand it is hard to do without the orchestral experiments of the Collegium the sweep and grandeur at the opening of this Aureumwill markan end ratherthan a beginning. same movement, as in the standard performances of Klempererand von Karajan. The heavy reliance upon vibrato and porta- In the field of chamber music the most intrepid mento provides a more serious obstacle to ap- group of explorers over the last several years has preciating the Collegium Aureum's perform- been The Music Party, a flexible ensemble ances. However beautiful in other respects, headed by clarinettist Alan Hacker. Hacker is, concertmaster Maier's rendition of the soaring by even the most rigorous standards,an extraor- Benedictus solo could just as well be Fritz dinary performer, combining an expressive, Kreisler's. I would be hard pressed to point up speaking tone on a variety of instruments with any significant differences between the vocal virtuosic abandon. The intonation problems styles applied here and those in any of a half that we are told plagued all performancesbefore dozen representative modern recordings.There the introduction of B6hm keying systems are is something specious about arguingfor instru- happily absent here. Several of his group's mental authenticity while largely ignoring the recordings, such as that of Hummel's Clarinet vocal domain. It is certainly true that we know Quartet (47), demonstrate how a work can be less about vocal techniques and performance rescued from mediocrity by a sympathetic styles in the eighteenth and nineteenth centu- performance radiating the colors envisaged by ries than we do about instrumental perform- its composer. Hummel will never become a ance. But that is no reason to abandon the great architect, but in the Music Party'sreading search. Too often in the Collegium Aureum his sensitivity to nuance and shading far sur- Missa solemnis the vocal-instrumental mix- passes the Biedermeier mentality of his genera- ture stratifies into oil and water-soprano Syl- tion. And it is hard to imagine Weber's Grand via Geszty employs a wide vibrato even by mod- Duo (51) having been performed with more ern standards-rather than projecting a gusto and flair by Heinrich Biirmann than by convincing blend. It is a tribute to the partici- Hacker. Not all of the digging for fresh reper- pants, headed by conductor Wolfgang Gonnen- toire yields gold; Glinka's Trio Pathetique (51; wein, that the performance often rises above inexplicably employing a bassoon built almost these limitations to include many sustained sixty years before the work was composed, and passages of great beauty. sounding appropriately out of place) scarcely The Collegium Aureum celebrates its twen- merits a revival. One earnestly hopes that a

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This content downloaded by the authorized user from 192.168.72.231 on Sun, 2 Dec 2012 22:24:24 PM All use subject to JSTOR Terms and Conditions 19TH and two sonatas Brahmslie in Hack- editions. The opening Allegro con brio of CENTURY quintet by MUSIC er's recordingfuture. Beethoven's Septet-now available in no fewer In the recent rush of recordings no single than three historical performances (3, 4 in the group has exercised a monopoly on the redis- present checklist; 15 in my previous one)-pro- covery of neglected works. A sensitive and pol- vides a perfect example. In spite of their more ished performance of Beethoven's Serenade,op. transparenttextures, none of the historical per- 25, highlights a disc using instruments from the formances by Die Instrumentisten, the Diverti- collection of the Metropolitan Museum of Art mento Salzburg, or members of the Collegium (5).No rendition known to me capturesthe deli- Aureumbegins to approachBeethoven's admitted- cacy and charm of this work so persuasively ly brisk metronome markingof J= 96. In varying while paying equal attention to matters of artic- degrees all three ensembles treat this move- ulation and phrasing. A few more such releases ment as gemiitlich salon music, with metro- could begin to reverse the otherwise grim image nome speeds in the low to mid 70s. It takes a of museum-related recording projects. Al- reading on modern instruments by the Boston though marred by an abysmal piano and occa- Symphony Chamber Players (Nonesuch sional intonation problems, countertenor Rene N-78015; the violinist of this group,Joseph Silver- Jacobs'sofferings of ariette e cavatine by Doni- stein, is perhapsnot coincidentally a superbper- zetti, Bellini, Schubert, Rossini, and Beethoven former on historical violin) to deliver close to (67)present a fresh perspective on operaticvocal Beethoven's tempo with the requisite brio. The types in the first quarterof the nineteenth cen- d=82 of the Boston group never sounds frantic, tury. Schubert's delightful setting of Metasta- and one could well imagine a performanceon sio's "Da voi, cari lumi" is by itself worth the historical instruments that breathed naturally price of the album, and there are few singers of at very close to Beethoven's own marking. the repertoire who could not learn much from As Rudolf Kolisch established more than Jacobs's skilled application of vocal fioritura. forty years ago, there is nothing to be gained by Only slightly less eclectic is an entire album de- clinging literally to all of Beethoven's metro- voted to nearly two-dozen Lieder of Vaclav Jan nome markings, especially those added many Tomaiek, most of whose texts-including years after the creation of a work. At the same Erlkdnig,Am Flusse, and Rastlose Liebe-were time, these same markings are the surest guides also set by Schubert. While visited less by di- we have to the characterof specific movements; vine inspiration than his Viennese contempo- regardless of the kinds of instruments used in rary, Tomaiek's dramatic faculties are fully the the Beethoven Septet, this music is ill served by equal of the poetry (his setting of Wer kauft taking, as does the Divertimento Salzburg,the Liebesgbtter?is as ingratiating a strophic song final Presto at two-thirds of the tempo specified as any Schubert ever wrote), buttressedby lively by its composer. Such recordings only under- piano accompaniments presented here with re- score the organic interrelationships among the freshing clarity on a healthy 1816 Streicher. various components of musical performance. Perhaps the most welcome development Without careful attention to each, the claims over the last several years has been the gradu- advanced by the advocates of "authenticity" ally increasing availability of multiple perform- sound hollow indeed. ances of the same work. Until more of these are in circulation it will be all too tempting for both advocates and detractors of historical perform- But it is to the large corpus of music for or ance to pit the historical version against a host with piano that we are forced to return. For of modern interpretations. Although restricted most people who have brushed up against nine- at present to a modest number of items teenth-century period instruments at one time (Beethoven's Septet, op. 20, Schubert's Schone or another, it is the "fortepiano" that comes Miillerin and Winterreise, the three sonatinas most readily to mind and ear, and the predomi- for violin and piano, op. 137, and solo piano nance of piano recordings bears this out. Sixty works of Beethoven and Schubert), these are percent of the historical recordings to date have enough to demonstrate that "authentic" per- been for solo piano, and another quarter use it in formances are no more definitive than "Urtext" concert with other instruments or voices. At 256

This content downloaded by the authorized user from 192.168.72.231 on Sun, 2 Dec 2012 22:24:24 PM All use subject to JSTOR Terms and Conditions present nineteenth-century historical perform- ences as to what constitutes a "clear, ringing ROBERT but in scores of it is WINTER: ance is, for all practical purposes, historical pia- tone," reviewing recordings 19th-Century nos. How, then, do we evaluate the increasingly at present far easier to ascertain what is not Instruments with a plentiful recordings on these instruments? The such a tone. A "ringing"tone is not plagued only clear verdict to date is that for now we hollow, unfocused sound at its core. A "clear" must be far more concerned with the sounds tone is not riddled with what modern techni- emanating from them than with individual cians refer to as "unison beats," i.e., beats pro- performances upon them. This myopic, unbal- duced by the irregularities of a single string. anced view of performance must sadly prevail Such beats have always been the bane of tuners, until more satisfactory instruments are widely for it makes the tuning of three (or even two) available; to adopt any other stance is simply to strings to precisely the same pitch virtually im- put one's head in the sand. For many observ- possible. The vast majority of modern techni- ers-among these the most outspoken-there is cians attributes the presence of unison beats in no point in trying to pass judgement on sounds a piano to deterioration of strings at the end of a producedby either replicas or restoredoriginals. wear cycle (generally falling, depending upon We cannot, so the familiar argument goes, the use to which the piano is put, somewhere know what Beethoven's or Schumann's or between ten and twenty years), and in most Liszt's pianos actually sounded like in their cases restringing an otherwise sound instru- day; we can only, through personal preference, ment solves the problem. It is one of the ironies choose one present-day sound over another. We of historical restorations that, because of the cannot divine what a nineteenth-century con- frequent unavailability of suitable modern temporary would have praised or condemned. wire, we often go to great lengths to locate or The major appeal of this argument is its sim- salvage original wire whose very age may con- plicity, which, however, does little justice to tribute greatly to the problems it is supposed to the traditions of nineteenth-century perform- solve.5 ance. There is absolutely no evidence, for exam- The piano recordings available to date fall ple, that the nineteenth century either valued or largely into two general categories, those whose tolerated instruments in poor regulation or instruments do not meet even minimal stand- overall condition. In 1815 Beethoven wrote to ards of purity and regulation, and those that, an acquaintance that "Schanz has sent me such while still haunted by problems, offer at least a a bad one [i.e., a piano] that he will soon have to glimpse in to a lost sound world. Except for the take it back again."3 On the contrary, there is marvelous replica by Philip Belt of Mozart's considerable evidence that many of the virtues concert Walter instrument (7; the considerably we prize today in a piano carried the same lower tension on these early frames has permit- weight then. Already in the 1770s Mozart had ted the solving of their majorproblems), there is praised Stein's pianos for their evenness of as yet no third category of eminently satisfac- touch, their quick, efficient damping, their re- tory instruments. The former list is not a short sponsive knee-lever mechanisms, and their du- one. It includes nos. 10 (with isolated excep- rability. In describing his attempt in 1823 to dis- tions), 12, 13, 22, the Graf on 53, 55, 56, 58, 59, play the virtues of both English and Viennese the Schneider on 62, 64, 67, two of the Broad- pianos to the Viennese public, Moscheles freely woods on 68, and most of the instruments on admits that the poorer condition of Beethoven's 70. Broadwood, and its resultant "muffled tone," The most regrettable casualty is doubtless contributed to the local preference for the entry 10, whose dozen discs present for the first "clear, ringing tones" of the concert-ready time all of Beethoven's keyboard sonatas under Graf.4 The nineteenth is with century replete inhabitants doubt the accounts. 5Lest twentieth-century importance similar of good wire to nineteenth-century builders, the following There is ample room for individual differ- excerpt from Clementi to his partner Collard in 1805 (preserved in the Willshire Collection of the Yale University 3Anderson no. 539. Music Library) is a strong corrective: "Since you find the 4Charlotte Moscheles, Life of Moscheles, With Selections strings good, send for more immediately, for the tone of in- and in from His Diaries and Correspondence, trans. A. D. Cole- struments depends much on that article; stinginess ridge (London, 1873), I, 89 such cases is the highest folly." 257

This content downloaded by the authorized user from 192.168.72.231 on Sun, 2 Dec 2012 22:24:24 PM All use subject to JSTOR Terms and Conditions 19TH the hands of a on instru- is Pierre three-re- CENTURY single performer period poor preservation Bouyer's MUSIC ments. The continuing importance of C. F. cord exploration of keyboard works composed Colt's keyboard collection, as well as his own in Europe between 1808 and 1812 (64). The direct contributions to our knowledge of histor- group of composers assembled, among whom ical keyboard instruments, must be fully ac- Tomasek ranks as one of the better known, pro- knowledged by anyone working in the field. It is vides a fascinating glimpse into stylistic cross- all the more tragic, then, that this anthology currents at the end of Beethoven's heroic dec- captures the collection at a moment when its ade. Aside from being once again unchar- prize instruments are in considerably less than acteristic of contemporary continental pianos, peak form. The Graf employed in Beethoven's none of the three English (two Broadwoodsand final sonata, op. 111, can be only a ghost of its a Tomkison; English composers are curiously former self, and the situation does not improve excluded from the set) or Italian (Molitor) in- as one moves backward in time. On top of the struments used is in anything like a concert general state of disrepair there is the circum- condition. stance that the instruments chosen arenot at all A more checkered relationship with period representative of those known to, and used by, instruments has been enjoyed over the last two- Beethoven. Nowhere in the series do we find and-a-half decades by the Austrian pianist J6rg Walter or Schanz or Streicher, makers directly Demus. Although his own personal collection associated with the composer. This would be numbered at one time some fifty instruments, less compromising if the instruments chosen in it is almost impossible to escape the conclusion their stead were at least representative of con- that Demus has been less than passionately temporary Viennese construction. But a 6-foot, concerned with the playing condition of those triple-bridge Heilmann of Offenbach for ops. upon which he has recorded. Several of these- 22-28, or a largely double-strungLouis Dulcken the NufrnbergGraf and Streicher (12);the Schu- (which must date from at least fifteen years mann Graf in Vienna (54); the Beethovenhaus later than the ca. 1785 attributedto it by Colt)for Graf, Stockholm Streicher,and NmrnbergPleyel op. 57, cannot possibly do justice to their as- (70)-are only embarrassments,both to the rep- signed works. Many of the overly cautious utations of their makers and to a performerof tempi (cf., for example, the finale of op. 27, no. Demus's accomplishments. At the same time 1; the opening movement of op. 28; the first Demus can turn around and produce an exhila- movement of op. 111) in Binns's conscientious rating Faschingschwank aus Wien on a robustly if somewhat sternly controlled performances Romantic Streicher of 1841 from his own col- seem dictated by instruments struggling to lection (54; recorded almost twenty years ago maintain a precarious tuning and regulation. but distributed only recently in America). This Furtherto criticize the general lack of dynamic same warm instrument was used for a four- range or articulative variety does Binns an injus- hand recording by Demus and Paul Badura- tice if for no other reason than the limitations of Skoda of Schubert'sGrand Duo, D. 812 (28);al- the instruments at his disposal.The 1825 Hasch- though the tone of a nearly mid-century instru- ka used for op. 106 is both the best-preserved ment is perhapsa bit ripe for Schubert,the result and most representative instrument in the an- is one of the most pleasing four-handcollabora- thology (and hence cannot explain the ponder- tions to date. ously slow tempo of the opening movement), Unsatisfactory instruments will ultimately also being featured in a lovely recording by lose favor with both the general public and the Binns of Hummels's unjustly neglected FrP-Mi- professional. Much more problematic are the nor Sonata (46). For now one can only hope that groups whose shortcomings are less obvious. In this nobly-intentioned Beethoven project re- one important respect they pose more of a ceives only modest circulation, and that Binns threat to the wholesale acceptance of the Ro- along with other artists will have the opportu- mantic performance movement, for their best nity in coming years to repeat the cycle under examples are just satisfying enough to lull more favorable conditions. the converted into the conviction that what A less ambitious but more creative victim of they are hearing is the composer's ideal realiza-

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This content downloaded by the authorized user from 192.168.72.231 on Sun, 2 Dec 2012 22:24:24 PM All use subject to JSTOR Terms and Conditions a conviction not to be shared there can be moments of ROBERT tion, likely restrictions, great WINTER: by a lifetime devotee of ebonized Stein- beauty. I enthusiastically recommend Badura- 19th-Century ways. At the center of this debate are four varied Skoda's exquisite rendering of the slow move- Instruments personalities, three of whom are also important ment of the "Hammerklavier"to anyone who collectors in their own right. Far and away the remains skeptical of the reasons for Beethoven's most seasoned, both as a performerof interna- continued allegiance to Viennese pianos. Simi- tional stature and as a collector, is Paul Badura- larly, the Graf is a perfect vehicle for the regis- Skoda. Although only in his mid-fifties, Badura- tral writing in the first of the op. 94 Moments Skoda has three decades of experience with musicaux. Better preparedto meet the demands original instruments (not to mention intimate made on it is the ca. 1815 Hasska used in a re- knowledge of the primary sources for the entire cent disc containing three middle-period so- Viennese school) under his belt. Long before natas,including the "Waldstein"(11). In this sona- performing on Grafs and Broadwoods became ta's opening movement the bright, woody tone fashionable, he and his wife, Eva Badura-Skoda, of the Hasska is put to exuberantly athletic use, were busy collecting instruments, cultivating a while the blurred pedalings that characterize local technician's interest in restoring them, each return of the Rondo theme contain just the and, most importantly, asking serious ques- right overlay of haze. Few pianists exhibit as tions about the impact these curious machines much insight into this Viennese repertoire as exercised upon the music composed for them. does Badura-Skoda,whose performances draw Badura-Skoda's historical recordings for out all the color these instruments have-at BASF (Harmonia Mundi) from the early '70s present-to give. have been supplanted in recent years by a new A more eclectic path has been pursued over series of Haydn, Beethoven, and Schubert re- the last fifteen years by the EnglishmanRichard leases from Astr6e, all with vastly improved Burnett, whose growing collection at Finch- playing surfaces. Although outside our immedi- cocks (a spacious eighteenth-century manor ate purview, the Schantz used for a boxed set of house in Kent, restored to and maintained at six late Haydn keyboard sonatas is one of the close to its original condition) provides perhaps most pleasing original instruments yet on re- the most authentic-and certainly the most cord (Astr6e AS 914), with performances to lovely-setting for the study of historical key- match. If the four discs containing Beethoven's board instruments there is. Burnett has taken five late sonatas ops. 101, 106, 109-11, and great pains to acquire originals whose major Schubert's "Wanderer"Fantasy and Moments structural components are still intact, and his musicaux, op. 94 (checklist 14-16 and 26) on recordingsput the best possible foot forwardfor Badura-Skoda'sown Graf from ca. 1827 are on carefully selected, minimally restored instru- the whole less successful, it is not from short- ments. To me the most valuable lesson to be comings in the performances.Rather it is simply gleaned from Burnett's two interesting solo al- the limitations of a heavily strung wooden- bums on an 1826 Graf (originally restored by frame, at the inevitable cost of volume and Derek Adlam in 1969; 65, 66) is that mere age is would require replacement of many parts that as much the enemy of an original instrument as confer historical value upon it in the first place. is obvious deterioration. I am not persuaded Like many originals this Graf has been under- that retaining the original strings and leather strung to prevent further deformation of the hammer coverings produces an "original" frames, at the inevitable cost of volume and sound. Regardless of how long it has gone un- power. The rotation of the wrest plank has fur- struck by a hammer, wire that has been sitting ther eroded down-bearing on the bridge, and in that chemical bath we call air for more than a from d2 on up there are persistent unison beats century and a half will have undergone crystal- that undermine the cantabile of singing pas- lographic realignment. Without at least a light sages. The shift no longer moves far enough to redrawing it cannot be expected to perform as it produce a true una corda, requiring the addi- did when new. Leather proves to be equally sus- tional introduction of the moderator to create ceptible to change, and no one would claim that the illusion. In spite of these unavoidable a soundboard, even under the best circum-

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This content downloaded by the authorized user from 192.168.72.231 on Sun, 2 Dec 2012 22:24:24 PM All use subject to JSTOR Terms and Conditions 19TH had an indefinite life An even bet- tive for four-hands on and a text- CENTURY stances, span. piano (also 37, MUSIC ter preservedGraf from ca. 1820 used by Burnett book specimen of sonata form in spite of its des- for two early Beethoven violin sonatas (6) is ignation as a Marche brillante). In two passages plagued equally by ubiquitous beats, especially that rework the second group (mm. 139, 161ff.), in the treble. (Burnett'sreasoning that a 61/2-oc- pianists Neumeyer and Junghannstake advan- tave Graf might be "the vehicle best fitted to do tage of the lone pianissimo anywhere in this true justice" to works composed for an instru- fifteen-minute work to employ the full shift, al- ment about half its weight sounds more prag- though they hold enough in reserve to carryout matic than philosophical, although the Graf Schubert's further directive of diminuendo at may well blend more gracefully with the fully- mm. 147 and 169, easily the most dramaticmo- modernized Stradivariusused in the recording.) ments on the record. (29 is an album devoted Such observations, sharedby the large major- entirely to four-handmusic of Schuberton this ity of musicians for whom I have played these same Graf, though we have so far been unable recordings, are in no way meant to detract from to locate a copy.) We can only hope that his the important educational mission of Finch- important collection will continue to grow and cocks. Thanks entirely to the unstinting ef- develop, despite Neumeyer's recent death, un- forts of Burnett and his wife (a capable artist in der the curatorship of four-hand partner her own right), tens of thousands of visitors over Junghanns. the last several seasons have made the pilgrim- Although he owns only a single instru- age to Finchcocks, with its unparalleledoppor- ment-a Brodmannof ca. 1815 also restored by tunities to see, hear, and experience the evolu- Martin Scholz-J6rg Ewald Dahler has proved tion of keyboard music through three glorious to be the most prolific historical recordingartist centuries. Burnett not only puts on a wonderful over the last seven years, producing no fewer show, but through his extensive knowledge and than eight albums and ten discs (all devoted to enthusiasm he quite literally raises the artistic Schubert, and including both major song cycles consciousness of his legions of visitors. His am- with Ernst Haeflinger) during this period. In bitious series of recordings, now appearingon terms of purity no other original instrument can the Amon Ra label, are making available works compete with this restored Broadmann,and for little known to the musical public. Both he and those who claim that they neither hear nor are the Badura-Skodascontinue to make their irre- disturbed by unison beats I suggest they listen placeable instruments available to qualified to the opening of the C-Minor Inpromptufrom students and builders for study. It either were to op. 90 (38) to discover what life is like on the indulge in the making of wholesale changes to other side. Not everything about the instru- the objects placed in their trust, our knowledge ment is ideal; its purity seems to have been about this period would be irretrievablydimin- achieved at the cost of significant understring- ished. ing (noticeable as well on the Neumeyer Graf), Perhapsthe two most successful originalsyet and the tone is sometimes less warm than to be put on disc both received their restorations steely. Dihler's Schubert is of the intimate, lei- between ten and twenty years ago at the "Werk- surely variety, occasionally bordering on the stitte for historische Tasteninstrumente" of fussy, but never unmusical. As with all of the Martin Scholz in Basel. Aside from turning out originals discussed above (and those we have instruments whose actions and various pedal been unable to cover), there is much that the cu- mechanisms are quiet and reliable, Scholz has rious performerand listener can learn here. accomplished the seemingly impossible feat of eliminating virtually all traces of unison beats, even in the high treble. The mid-1820s Graf One obvious alternative to even the best-pre- used on an album of Nachtstiicke (37) also ex- served originals is the manufacture of replicas. ploits in stunning fashion the potential of the The success of the Dulcken and Walter copies una corda (physically attainable on most Grafs by Philip Belt and the Heilmann replicas by but rarely set up correctly). It is heard to best ad- Adlam-Burnett has emboldened several Euro- vantage in the development section of the rarely pean and American builders to take the techno- heard Divertissement iiber Franzosische Mo- logically terrifying leap from 51/2- into 6- and 260

This content downloaded by the authorized user from 192.168.72.231 on Sun, 2 Dec 2012 22:24:24 PM All use subject to JSTOR Terms and Conditions 61/2-octave instruments. Two such can successful of both while ROBERT copies examples types, post-5- WINTER: be heard on records to date. That Christopher octave fortepiano builders and restorers have 19th-Century Clarke's fresh and clear copy of the ca. 1814 not yet proven they can do either. If we review Instruments Fritz at Finchcocks has made its recording de- harpsichordrecordings from the 1930s (whether but accompanying a harpist playing Boieldieu Landowska or others), it is immediately clear and Krumpholz (52) should hide neither its that the Baroquerevival was launched, not with beauty nor its significance. Although the large compelling restorations of originals or stun- hammer cores softened with only two thin lay- ning historical copies, but with instruments ers of leather and mostly bi-chord stringing rep- like Landowska'spanzerized Pleyel that bore as resent archaic rather than progressive tenden- much resemblance to a Ruckers or a Taskin as cies in Viennese pianos of the time, the Fritz an all-beef hot dog does to prime rib. It would be copy constitutes an important step forward,and both premature and unduly harsh to criticize we can only hope that the Clarke workshop will the Romantic historical performance move- be turning out more of these as well as copies of ment, barely two decades old, for finding itself instruments by more established builders. (A in similar straits in 1984. 61/2-octave Schantz is rumored to be in the But it is also worthwhile noting that the ad- works.) vocates of the harpsichord were not compet- More contradictory is a passionately high- ing-as must the early piano-against an in- strung and compelling recording of Schubert's strument widely perceived by both audiences posthumous A-Major Sonata by the American and performers as the perfect culmination of a Seth Carlin. During the first movement the long evolutionary development. Forthe average Smith copy of an anonymous Viennese-type in- music patron, Romantic pianos-or clarinets or strument-there is no evidence to support the hunting horns or singing styles-do not offer a builder's claim that the original is by Conrad welcome opportunity to hear a work fully real- Graf-projects a well-tuned, largely clear ized, only to endure a primitive version borne though somewhat brittle tone. The Andantino, stoically by a composer who would gratefully however, suddenly overflows with unison beats have embraced our modern technology (How and mistuned octaves, mitigated only slightly often is Beethoven's peremptory-indeed, sec- in the ensuing Scherzo and Rondo. With re- ondhand-remark, "the piano is and remains an peated listenings the basic sound of the instru- inadequate instrument," invoked to dismiss ments feels increasingly thin and pinched. Nev- the early piano?)They are no more persuadedor ertheless, in the first movement of the Schubert won over by a performance on an ailing nine- and throughout the Clarke recording there is a teenth-century grand than they are by one on a freshness and vitality approached only by similarly ailing modern Steinway or Bechstein. Dahler's Brodmann. Although these copies Romantic music enthusiasts will ultimately could well benefit from an infusion of mellow- be forced to choose between the cult status ness from the best originals, the originals could which for all practical purposes has already gain even more from the clarity and immediacy been achieved and the rigorous standardsmain- of newly manufactured instruments. In Eng- tained in the world's major concert halls. It is land Derek Adlam has just finished his first 6- one thing for the initiated to listen with histori- octave Streicher copy, and in CaliforniaEugene cally sympathetic ears that allow the potential Schachter is putting the finishing touches to a of flawed instruments to come through while replica of a 61/2-octave Graf in his possession. masking their defects. It is quite another to ex- We may well be on the verge of very exciting pect a justifiably skeptical public to put on times for nineteenth-century performance. these same sets of ears. There is a tendency for The debate as to the relative virtues of origi- historical performance advocates to view them- nals versus replicas has only begun. It has been selves as members of a beleaguered if enlight- going on in the harpsichord world for nearly half ened elite, charged with preserving an exotic a century, and even today there are no unani- and inaccessible tradition. What is generally mously held points of view. At the risk of over- forgotten is that in the Vienna of the first quar- simplification, one can argue that harpsichord ter of the nineteenth century there was nothing builders and restorers are now able to produce elitist or especially enlightened about perfor- 261

This content downloaded by the authorized user from 192.168.72.231 on Sun, 2 Dec 2012 22:24:24 PM All use subject to JSTOR Terms and Conditions 19TH the music of Beethoven or Schubert on sion of the enthusiastic CENTURY ming Strei- sound, endorsement of MUSIC chers and Grafs. Until and unless the converted imperfect instruments will continue to echo make the commitment to the highest profes- the unqualified praise of loyal subjects for the sional standards (and these have probably emperor's new clothes-and with equally last- changed less since the nineteenth century than ing results. The surest sign that the movement we find ourselves flattered to believe), their im- is coming of age will be when the next review of pact on the Neville Marriners and Georg Soltis its progress can focus on performance issues of this world will continue to be negligible. Or, rather than the instruments upon to transfer a metaphor of sight into our discus- which they are fought out.

AN UPDATED DISCOGRAPHY OF NINETEENTH-CENTURY MUSIC ON NINETEENTH-CENTURY INSTRUMENTS

As with its predecessor,the following checklist is doubtless incomplete, intended to convey only a broadpicture of the recordedcoverage since my original article. The arrangementis roughly chronological, first by composer and then within the composer's own output. (Schubert'sworks are generally referredto by Deutsch numbers, but by opus where the latter is the more common designation.)Anthologies areplaced at the end. The cutoff date of 1800 is no less arbitrarythan other possible boundaries,and necessarily excludes the rich recent harvest of music by Haydn and Mozarton historical instruments. Data about instruments is taken from the accompanying recordjackets, except in those instances where this informationis known to be incorrect. Although a clear distinction is not possible, recordingsavailable in the United States-though often only with difficulty-are presented first, with a few specialty discs placed in an appendix. (A few of these were re- leased some time ago and are now out of print, but have been included for the sake of completeness.) "Availabil- ity," as any serious record collector or librarianknows, is a relative term. Unless you live in a large urban area inhabited by dealerswho distribute importedrecordings, you will discoverthat many of the items detailed below are not found at your local record store. Several are them are no longer in the Schwann catalogue-although recordings often turn up in retail stores for years after their deletion from Schwann. 1 Toccata FSM 53 625. Beethoven: Sonata in D 6 Amon Ra SAR 9 (Finchcock Series, vol. 5). Major for Piano, Four-Hands,op. 6. (Also includes Beethoven: Sonatas for Piano and Violin in F Major, Weber: Six Pieces, op. 3, pub. in 1801.) Rolf op. 24; and in C Minor, op. 30, no. 2. Ralph Holmes, Junghannsand BradfordTracey, fortepiano. violin (Stradivarius, 1736); Richard Burnett, forte- ca. 2 Titanic Ti-94. "Solo Music for Natural Horn." piano (Graf, 1820). Includes Haydn: Divertimento a 3 in Eb Major; 7 Nonesuch N-78008-A. Beethoven: Piano Sona- Beethoven: Sonata for Horn and Piano in F Major,op. tas in F Major, op. 10, no. 2; and in D Minor, op. 31, 17; and Ries: Sonata for Horn and Piano in F Major, no. 2, "Tempest." Malcolm Bilson, fortepiano (copy op. 34. JeanRife, horn; Martin Perlman,fortepianos; by Philip Belt of 5-octave Walter, ca. 1781). Daniel Stepner,violin. 8 Pro-Arte PAL-1029 (formerly BASF [Deutsche 3 Deutsche Harmonia Mundi iC 065-99 713. Harmonia Mundi] EA 229 017). Beethoven: Sym- Beethoven: Septet in Eb Major, op. 20. Members of phony No. 3 in EbMajor, op. 55, "Eroica."Collegium the Collegium Aureum on original instruments. Aureum on original instruments. 4 Claves D 809. Beethoven: Septet in Eb Major, 9 L'Oiseau-Lyre DSLO 535. Beethoven: Songs op. 20. Divertimento Salzburg on original instru- An die Geliebte and thirteen ments. (includes ferne others). Martyn Hill, tenor; Christopher Hogwood, forte- 5 Pleiades P 106. Beethoven: Serenadefor Flute, piano (AndreasStein, collection of C. F. Colt). Violin, and Viola, op. 25; Charles Nicholson: Varia- on Auld 10 L'Oiseau-Lyre D182D3, D183D3, D184D3, tions Lange Syne. (Also includes works by 185D3. Beethoven: The Piano Sonatas. and C. P. E. Bach.) David Hart and Sandra Thirty-Two Pleyel Malcolm Binns playing fortepianos from the collec- Miller, flutes; Nancy Wilson, violin; David Miller, tion of C. F. Colt. Twelve recordsin four volumes. viola. (Instrumentsfrom the collection of the Metro- politan Museum of Art.) 11 Astree AS 73. Beethoven: Piano Sonatas in C

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This content downloaded by the authorized user from 192.168.72.231 on Sun, 2 Dec 2012 22:24:24 PM All use subject to JSTOR Terms and Conditions Major, op. 5; in FbMajor, op. 78; and in E minor, op. ius, 1709); Christopher Hogwood, fortepiano ROBERT 90. Paul ca. ca. 1825; collection of C. F. Colt). WINTER: Badura-Skoda,fortepiano (GeorgHasska, (Haschka, 19th-Century 1815). 25 Teldec 6.42363 AW. Schubert: Three Violin Instruments 12 Colosseum SM 632. Beethoven: Works for pi- Sonatas, op. 137. Vera Beths, violin (Stradivarius, ano, including the sonatas, ops. 13, 90, and 110. Jorg 1727); Stanley Hoogland, fortepiano (JacobWeiss, Demus, fortepianos (Graf, ca. 1826; Streicher, ca. 1830). 1816). 26 Astree AS 53. Schubert: Fantasia in C Major, 13 Pro-ArtePAL-1026. Beethoven: Adagio,Varia- D. 760, "Wanderer";Moments musicaux, op. 94. tions, and Rondo in G Majoron Ich bin der Schneider Paul Badura-Skoda,fortepiano (Graf, ca. 1827; art- Kakadu for Piano Trio, op. 121a. (Also includes Carl ist's collection). Czerny: Fantasia Concertante for Piano, Flute, and 27 Deutsche Harmonia and FerdinandRies: Piano Trio in Mundi 1C 065-99 732. Cello, op. 256; B6 Schubert: in A D. Frans String Quartet Minor, 804; Quar- Major, op. 28.) Jaap Schr6der,violin; Vester, tetsatz in C Minor, Quartett Aureum on transverse Anner violoncello; Piet Collegium flute; Bylsma, original instruments. Honingh, clarinet; Stanley Hoogland,fortepiano. 28 BASF 14 Astree AS 48. Beethoven: Piano Sonatas in A (Deutsche Harmonia Mundi) 29 29329- 7. Schubert, works for four-hands:Divertisse- Major, 101; and in E Major, 109. Paul Badura- piano op. op. ment a la hongroise in G Minor, 54 Vari- Skoda, fortepiano (Graf,ca. 1827; artist's collection). op. (D. 818); ations on an Original Theme in A6 Major,op. 35 (D. 15 Astr6e AS 47. Beethoven: Piano Sonatas in Bb 813); GrandDuo in C Major,op. 140 (D. 812). J6rgDe- Major, op. 106. Paul Badura-Skoda,fortepiano (same mus and Paul Badura-Skoda,fortepianos (Schweig- as 14). hofer, 1845; Streicher, 1841). Two records. 16 Astree AS 49. Beethoven: Piano Sonatas in A6 29 Toccata FSM53612. Schubert,works for piano Major,op. 110; and in C Minor, op. 111. Paul Badura- four-hands:Grand Rondeau, op. 107; Andante Varia- Skoda, fortepiano (same as 14). tions, op. 84, no. 1; Fantasy,op. 103. FritzNeumeyer and Rolf 17 Deutsche Harmonia Mundi iC 157-99 668/69 Junghanns,fortepiano (Graf,ca. 1826). QA. Beethoven: Missa solemnis, op. 123. Geszty, 30 Claves D 807. Schubert:Piano Sonatain A Mi- Soffel, Rendall, Widmer, Suddeutscher Madrigal- nor, D. 537; and in A Major, D. 664. J6rg Ewald chor, Collegium Aureum (on original instruments); Dahler, fortepiano (Brodmann,1820). Wolfgang conductor. Two records. G6nnenwein, 31 Claves D 903. Schubert:Dances for Piano, D. 18 Amon Ra SAR 8 (Finchcocks Series, vol. 4). 135, 139, 146, 783, 790. J6rgEwald Dahler, fortepiano "Clementi, Late Piano Works 1821." Includesthe So- (same as 30). in no. nata G Minor, op. 50, 3, Didone abban- 32 Claves D 8301. donata-Scena and Twelve Schubert: Die schone Miil- tragica; Monferrinas,op. lerin, D. 795. Ernst Ewald 49. RichardBurnett, fortepiano (Clementi, 1822). Haeflinger, tenor; J6rg Dihler, fortepiano (same as 30). Two records. 19 Deutsche Harmonia Mundi 1C 065-99 834.22 33 IntercordINT 160.845. Schubert:Die schone Goethe Liederof VHiclav Jan Tomi4ek. KurtWidmer, D. 795. Peter Steven baritone; Klaus Linder,fortepiano (Streicher,1816). Millerin, Schreier,tenor; Zehr, fortepiano (K6nnicke).Two records. 20 Toccata FCM 53 613. Four-handmusic of We- 34 Telefunken 6.35266 DX. Schubert: Die ber (Huit Pieces, op. 60) and Diabelli (Sonatain D Ma- schdne D. 795; 33 miscellaneous dances jor, op. 33). Fritz Neumeyer and Rolf Junghanns, Mfillerin, for piano. Nigel Rogers,tenor; RichardBurnett, forte- fortepiano(Streicher, 1816). piano (Graf,1826). Two records. 21 Deutsche HarmoniaMundi 20 22060-S. Schu- 35 French Harmonia Mundi 102/24. "Schu- bert: Quartets in E6 D. and in G Mi- H, String Major, 87; bertiade."Includes Der Hirt dem Felsen, D. nor, D. 173. Quartett Collegium Aureum on original auf 965; instruments. Auf dem Strom, D. 943; Ellens Gesiinge, D. 837-39; Suleika I and II (D. 717, 720), plus a dozen more 22 Saga 5407. "The Unknown Schubert." In- songs; Impromptu in G6 Major, op. 90, no. 3; Mo- cludes the Sonata in E Minor, D. 566, and a group of ment musical in A6 Major,op. 94, no. 2; and miscel- dances. Rosario Marciano, fortepiano (Bbsendorfer, laneous dances. JudithNelson, soprano;Jorg Demus, 1828; artist's collection). fortepiano (Balaschowits, 1840). Two records. 23 Claves D 608. Schubert:Three Violin Sonatas, 36 Amon Ra SAR 13. Schubert:Piano Sonatas in op. 137. Ilse Mathieu, violin; Jorg Ewald Diihler, G Major, op. 78; and in A Minor, op. 143. Howard fortepiano. Shelley, fortepiano (JohannFritz, ca. 1814). 24 L'Oiseau-LyreDSLO S65. Schubert:Three Vi- 37 Toccata FSM 53 620. "Schubert: Nacht- olin Sonatas, op. 137. JaapSchrbder, violin (Stradivar- stiicke." Includes six songs and the Divertissement

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This content downloaded by the authorized user from 192.168.72.231 on Sun, 2 Dec 2012 22:24:24 PM All use subject to JSTOR Terms and Conditions 19TH in E Minor, op. 63. Theo Altmeyer, tenor; Fritz fortepiano;Duncan Druce, viola; HansjurgLange, bas- CENTURY as MUSIC Neumeyer and Rolf Junghanns,fortepiano (same soon). 30). 52 Arion ARN 38686. "Concert chez Madame 38 Claves D 508. Schubert: Impromptus,op. 90; Recamier. Duos pour harpe et pianoforte." Music of Moments musicaux, op. 94. JorgEwald Dahler, forte- Sejan, Jadin, Boieldieu, Krumpholtz, and Desargus. piano (same as 30). Marielle Nordmann, harp; Brigitte Haudebourg, Clarke of a ca. 1814 39 Claves D 509. Schubert: 142. fortepiano (copy by Christopher Impromptus,op. Fritz). Ewald Ddihler,fortepiano (same as 30). J6rg 53 Prelude PRS 2804. "Mendelssohn and John 40 Claves D 8008/9. Schubert: Winterreise, D. Field: Piano WorksPlayed on Instrumentsof the Per- 911. Ernst Haeflinger, tenor; J6rg Ewald Dihler, iod." RichardBurnett, fortepianos (Clementi, ca. 1821; as Two records. fortepiano(same 30). Broadwood,1823). 41 Toccata FSM B3 633. Schubert's Winterreise, 54 Deutsche Harmonia Mundi IC 151-99 773/4. D. 911. Kurt Widmer, baritone; Rolf Junghanns, Schumann: Piano works, including Kinderszenen, ca. fortepiano(Graf, 1826). op. 15; Faschingsschwank aus Wien, op. 26; Wald- 42 Titanic Ti-50. Schubert: Piano Sonata in A szenen, op. 82. J6rgDemus, fortepiano (Graf, 1839; Major,D. 959. Seth Carlin, fortepiano (copy by Rob- Streicher, 1841). Two records. ert Smith of an 6-octave anonymous Viennese-type 55 Argo ZK 91. Schumann: Sonata in G Minor, instrument). op. 22; Faschingsschwank aus Wien, op. 26. Kenneth 43 Claves D 8011. Schubert: Piano Sonata in B6 von Barthold,fortepiano (Graf,formerly collection of Major, D. 960; Fantasie in C Major, D. 605A. J6rg C. F. Colt). Ewald as Ddihler,fortepiano (same 30). 56 Argo ZK 59. "Chopin Piano Music." 9 works, 44 L'Oiseau-LyreDSLO 571. Schubert:Violin So- including the Fantasie-Impromptu,op. 66; the Bal- nata, D. 574; Mendelssohn: Violin Sonata,op. 4. Jaap lade in F Minor, op. 52; and the gerceuse, op. 57. Ken- Schr6der,violin; ChristopherHogwood, fortepiano. neth von Barthold,piano (Broadwood,1848). 45 Amon Ra SAR 12 (Finchcocks Series, vol. 8). 57 BASF25 21577-6. Chopin: GrandDuo Concer- Hummel: Sonatas for Violin and Piano in Eb Major, tant for Piano and Violoncello; Polonaise Brillante op. 5, no. 3; and in D Major,op. 50; Nocturne, op. 99. for Violoncello and Piano, op. 3; Sonata in G Minor Ralph Holmes, violin (Stradavari, 1736); Richard for Violoncello and Piano, op. 65. Anner Blysma, vio- Burnett, fortepiano (Graf,ca. 1820). loncello (G. Pressenda, 1835); Gerardvan Blerk, piano (Erard,1840). 46 L'Oiseau-LyreDSLO 530. Johann Nepomuk Hummel: Piano Sonatas in F# Minor, op. 81; and in D 58 PandoraPAN 107. Chopin: Etudes,ops. 10 and Major,op. 106. Malcolm Binns, fortepiano(Haschka, 25 (complete). MarthaGoldstein, piano (Erard,1851; ca. 1825, and Schmidt, ca. 1830; both from the collec- collection of Glenn White, Seattle). tion of C. F. Colt). 59 Pandora PAN 109. "Favoritesof Chopin and 47 L'Oiseau-LyreDSLO 501. Hummel: Clarinet Liszt Played on a Piano of Their Day." MarthaGold- Quartet in E6 Major; Bernhard Crusell: Clarinet stein, piano (same as 58). Quartet No. 2 in C Minor, op. 4. The Music Party 60 Musical Hertitage Society MHS 4286. "The (Alan Hacker, clarinet; Duncan Druce, violin; Simon Romantic Claviharpe." Includes piano music of Rowland-Jones,viola; JenniferWard Clarke, cello). Schumann, Mendelssohn, Brahms, Liszt, and De- 48 L'Oiseau-LyreDSLO 523. Carl Mariavon We- bussy. J6rgDemus (claviharpeby Johann Christian ber: 25 Songs. Martyn Hill, tenor; ChristopherHog- Dietz, 1860). of wood, fortepiano (Haschka,ca. 1825; collection C. 61 L'Oiseau-LyreDSLO 539. Liszt: Piano music, F. Colt). including Legendes, Ave Maria, Miserere from II 49 Archiv 2533 381. Weber: 19 Songs. Peter Trovatore, and three other operatic transcriptions. Schreier,tenor; KonradRagossnig, guitar. Malcolm Binns, piano (Erard,1868; collection of C. F. Colt). 50 L'Oiseau-Lyre DSLO 553. Weber: Clarinet Quintet, op. 34; Krommer: Clarinet Quartet, op. 82. 62 Peerless ORYX 803 (The Colt Clavier Collec- The Music Party (featuringAlan Hacker, clarinet). tion, vol. 3). Charles-Valentin Alkan; piano music, including six of the Preludes, op. 31; Le Festin 51 L'Oiseau-LyreDSLO 524. Weber:Grand Duo d'Esopefrom op. 39; and the Allegro Barbaro,op. 50. Concertant for Clarinet and Piano, op. 48; Robert Ronald Smith, piano (Schneider, 1851, and Erard, Schumann:Mirchenherzihlungen for Clarinet,Viola, 1855; both from the collection of C. F. Colt). and Piano, op. 132; Mikhail Ivanovich Glinka: Trio Path~tiquefor Clarinet,Bassoon, and Piano. The Mu- 63 Amon Ra SAR 10 (Finchcocks Series, vol. 6). sic Party (Alan Hacker, clarinet; Richard Burnett, "Clarinet Collection." Includes music of Scarlatti,

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This content downloaded by the authorized user from 192.168.72.231 on Sun, 2 Dec 2012 22:24:24 PM All use subject to JSTOR Terms and Conditions Telemann, Handel, Vanhal, Mozart, Weber, 70 Deutsche Harmonia Mundi IC 065-99 796/7 ROBERT and Verdi. Alan Harmonia Mundi 29 listed but WINTER: Burgmfiller, Schumann, Hacker, (formerly 29069/7; 19th-Century clarinets; RichardBurnett, keyboards. not reviewed in original article). "Instrumente der Instruments Meister." Keyboard music of Beethoven, Schubert, 64 Arion ARN 336 029. "Les Annales du Clavier; and (Euvres ecrites en entre 1808 et 1812 le Schumann, Chopin. JbrgDemus, fortepianos(in- Europe pour struments Walter, Stodart, Streicher, Schweig- Includes music of Beethoven, Weber, by pianoforte." hofer, Rausch, Graf, Schrimpf, and Pleyel). Two re- Dussek, Tomai'ek, Boely, Oginsky, Lessel, Elsner, cords. and Szymanowska. Pierre Bouyer, fortepianos (Tomkinson, 1795; Molitor, 1805; two Broadwoods, both from 1818). Three records. 65 Amon Ra SAR 3. "A GrafFortepiano Recital." Music of Schumann (Papillons, op. 2), Liszt (Har- SPECIALTYRECORDS monies et Schubert in poetiques religieuses), (Sonata 71 Deutsches Museum, Munich 0654070. "Mu- A Minor, D. 537), and Chopin (Nocturnes in E Minor, sic FourCenturies." 72; and C# Minor, Richard Through Keyboardinstruments, op. op. post.). Burnett, including music by Beethoven. Li Stadelmann and fortepiano(Graf, 1826). Heinz Schnauffer,keyboards. Amon 7. 66 Ra SAR "The Romantic Fortepiano." 72 Deutsches Munich M 407700. on Museum, Music of Hummel (Ten Variations a Theme from "Blechblasinstrumente." Includes the Beethoven Gluck's Armida), Chopin (Andante spinato from op. Schubert miscellaneous Schumann Horn Sonata, op. 17, with a Ziegler fortepiano from 22), (11 dances), and the Strauss Andante for Horn and Piano and (Five Variations on a 1810, (Kinderszenen), Czerny with a piano of 1924. theme of Rode, op. 33, La Ricordanza). Richard Blithner Burnett, fortepiano (same as 65). 73 Colosseum M1010 (45 rpm). Includes a performance by Ernst Gr6schel of Beethoven's Polo- 67 Accent ACC 8017. "Ariette e Cavatine." Vo- naise C a cal music of in Major, op. 89, performedon Broadwood Beethoven, Rossini, Schubert, Bellini, of ca. 1815 from the collection in and Donizetti. Rene Jacobs, countertenor; Jos van Rick Nirnberg. Immerseel, fortepiano (Berndt,1837-40). 74 Musica Rara MUS 71, side B includes keyboard music by Steibelt (peformedon a giraffepiano 68 L'Oiseau-Lyre DSLO 540. "The Broadwood der and music of of ca. 1810 by van Hoef) Sydney Smith (per- Heritage." Keyboard Handel, Clementi, formed on a Wornum grandof ca. 1875). Haydn, Beethoven, Chopin, Mendelssohn, and Chopin. Malcolm Binns, fortepiano (six different 75 Norwegian Cultural Council NKF 30 019: Broadwoods). "Norsk Barokk og Galanterier: Einar Stten-Nokle- instrumenter." Includes a 69 Amon Ra SAR 6 (Finchcocks Series, vol. berg spiller pahistoriske 2). performanceon a Graffortepiano of 1827. "The Finchcocks Collection of Historic KeyboardIn- struments." Includes music of Dussek, Beethoven, 76 Troldhaugen Trold 2: "Toner fra Field, Schubert, Chopin, Mendelssohn. Richard Troldhaugen: A Recital Recorded in EdvardGrieg's Burnett, keyboards (instruments by Rosenberger, Home." Songs and piano pieces recorded on the Broadwood, Fritz, Clementi, Graf, Collard & Steinway presented to Grieg in 1892. Olav Eriksen Collard). and Audun Kayser.

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