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Edwin Fischer and Bach Performance Practice of the Weimar Republic

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Edwin Fischer and Bach Performance Practice of the Weimar Republic City University of New York (CUNY) CUNY Academic Works All Dissertations, Theses, and Capstone Projects Dissertations, Theses, and Capstone Projects 9-2016 Edwin Fischer and Bach Performance Practice of the Weimar Republic Bradley V. Brookshire The Graduate Center, City University of New York How does access to this work benefit ou?y Let us know! More information about this work at: https://academicworks.cuny.edu/gc_etds/1625 Discover additional works at: https://academicworks.cuny.edu This work is made publicly available by the City University of New York (CUNY). Contact: [email protected] EDWIN FISCHER AND BACH PERFORMANCE PRACTICE OF THE WEIMAR REPUBLIC by Bradley Vincent Brookshire A dissertation submitted to the Graduate Faculty in Music in partial fulfillment of the requirements for the degree of Doctor of Philosophy, The City University of New York 2016 © 2016 BRADLEY VINCENT BROOKSHIRE All Rights Reserved ii This manuscript has been read and accepted for the Graduate Faculty in Music in satisfaction of the dissertation requirement for the degree of Doctor of Philosophy. Date Ruth I. DeFord Chair of Examining Committee Date Norman Carey Executive Officer Supervisory Committee: Richard Kramer Raymond Erickson Julia Sneeringer THE CITY UNIVERSITY OF NEW YORK iii Abstract EDWIN FISCHER AND BACH-PIANISM OF THE WEIMAR REPUBLIC by Bradley Vincent Brookshire Dissertation Supervisor: Professor Richard Kramer Edwin Fischer (1886-1960) provided a synthesis of approaches to Bach pianism that resolved dialectical tensions of long standing between schools that opposed one another throughout the nineteenth century. I argue that Fischer’s synthesis––which permits exegetical interpretation while maintaining a preservationist stance toward the integrity of the text––resembles both Felix Mendelssohn’s bifurcated approach to Bach’s music and Moses Mendelssohn’s description of a similar duality within modern Judaism. Such resemblance may not be coincidental or superficial, given that Fischer married into the Mendelssohn family at the height of its cultural influence in Weimar-Era Berlin. Although pieces of the Mendelssohnian construct were in circulation well before Fischer’s HMV recording of The Well-Tempered Clavier (recorded between 1933 and 1937), that recording served to codify and promulgate his synthesis, which was based on a crucial new approach. The foundations of this approach, which I call musical interpretation through structural amplification, we laid by Ernst Kurth, Karl Straube, Albert Schweitzer, and Ferruccio Busoni, all of whom were in Fischer’s personal circle. iv Fischer’s exegetical manner of approaching Bach’s keyboard music, through a combination of analysis and amplifying commentary (via pianistic interpretation), appears to have been instrumental in altering Bach pianism in the long term. Despite Fischer’s significance, however, nothing yet has been written that analyzes his Bach- performance practice. I attempt to address that lacuna with this work, the execution of which stems from my belief that conducting a performance practice analysis alone would be insufficient, that such an analysis is best viewed within the complex matrix of Bach- reception in the Weimar Republic; in other words, as an exercise of network science. Fischer’s network was rife with nationalist sentiment that gathered around a revolving diorama of Bach, Dürer, and German Gothic art and architecture during, and just prior to, Fischer’s formative years; with statements of belief regarding the apotropaic power of Bach’s music, which emerged naturally from the German social construction known as Kunstreligion; and with the aesthetics of das neue Bauen that were manifested by the Bauhaus, with which Fischer was very closely associated. In pursuing my investigation and report of findings in this way, I also employ techniques and theories that I have borrowed from cognitive science, especially as it relates to religion, and from the social anthropology of art. On the whole, I suggest that performance practice change takes place within complex systems––which behave in ways that differ fundamentally from those of simple systems––and that such changes in performance styles are poorly described and understood if one indulges in conjuring notions of hovering entities (e.g., “modernist Bach-performance”) in place of describing networks and processes. v Preface – Issues and Methods in Analysis of Fischer’s Bach-Pianism My aim in this dissertation is to provide a useful explanation of the system implicit in the Bach-pianism of Edwin Fischer (1886–1960), principally as manifested during the period of the Weimar Republic (1919–1933). A considerable part of Fischer’s worldwide influence rests on his widely distributed, iconic recording of The Well- Tempered Clavier (Book One, 1933-3; Book Two, 1936-37) for His Master’s Voice (hereafter, HMV), the first integral recording of the work. Its importance as a trendsetter can best be observed through analysis of the performance practices that it embraces. Such analysis is best undertaken within the context of Fischer’s relationship to the various streams of Bach performance that existed in his lifetime. Critics looking at Fischer’s recording outside of such a contextual frame have, I feel, consistently missed key elements of Fischer’s performance practice and thereby underestimated his contributions to twentieth-century Bach pianism. Although there is only space in this dissertation, however, to provide an assessment and description of the methods, mental constructions, and systems behind Fischer’s Bach-pianism, I wish to facilitate future assessments of his influence. That being said, descriptions are often more useful and illuminating if they are compared against a standard, particularly one that serves well as a baseline for noting historical change: in this case, editions and/or recordings to which Fischer’s editions and recordings stand in close relation. The Well-Tempered Clavier (henceforth WTC) edition made by Ferruccio Busoni (1866–1924)––who was Fischer’s primary mentor with respect to vi performing Bach’s music––may serve as a baseline in this case. In one case (the Prelude in C Major from WTC I), a recording by Busoni also exists. Corroboration of Source Materials In pursuit of the above, I seek to interpret Fischer’s Bach-pianism in the context of everything of relevance that Fischer left behind––i.e., his prose (manifested in freestanding essays that he published, and in the prefaces to his Bach-editions), the musical content of his Bach-editions, and, of course, his WTC recording. I will subject this body of data to integration with itself and with the universe of ideas in which Fischer moved in the period bracketed by the Weimar Republic. By “integration with itself,” I mean that I will look at Fischer’s prose in the context of his editions and the WTC recording, his editions in the context provided by his prose and the recording, and his recording in the universe of ideas fixed within his prose and his editions. By integration with “the universe of ideas in which Fischer moved,” I mean placing the process of integrating prose, editions, and recording within the context of the total pool of ideas – by which I mean perceived problems, techniques, and philosophies of art – in which Fischer was immersed. Obviously, this is a tall order. Alone the task of assessing the “total pool of ideas in which Fischer was immersed” is immense––which may help to explain why I have needed over a decade to produce this document. However, by using two foundational principles of network science, this task becomes feasible. First is the relatively secure generalization that influence travels poorly beyond its second refraction in human transmission. In other words, direct influence between people known to have been in vii contact is very likely; indirect influence via an intercessor that mediates the transmitted content is possible, but less effective, and the message itself is subject to corruption; beyond that, influence is so weak, and transmission so heavily mediated, that detecting transmission becomes an unacceptably speculative endeavor. A second principle of network science on which I will rely is that a given subject will manifest preferential attachments to ideas circulating in his or her immediate environment on the basis of which the analyst may accordingly assign greater or lesser weight at any particular stage in the evolution of the subject’s views. Discerning preference helps to narrow the field of ideas. One may have an Internet connection, for example, yet still might only surf a miniscule portion of the Web, returning to the same (or related) pages repeatedly, perhaps even obsessively. An historian attempting to reconstruct such a subject’s constructions would not be effective if he or she assumed the subject to have taken in the whole of the Web; but a close assessment of preferences might reveal clear patterns of thought. On the basis of these working principles, I drain the pool of ideas down to those with which Fischer had the most direct and least mediated contact; hence, the area of contact with ideas most likely to have exerted influence on him. I then look for Fischer’s preferential attachments to a subset of those ideas. I then take on the task of integrating them with his prose, his Bach-editions, and his WTC recording. Lack of any substantial and credible biographical study of Fischer posed a substantial problem. The process of writing a reliable biography of Fischer has required my acquiring and comparing all the various (although brief) biographical studies available. Unfortunately, conflicts arose between sources in almost every aspect of viii biographic study: Fischer’s lineage; his social circles; his intimate relationships; and his relations to the worlds of politics, culture, philosophy, music theory, and cultural theory have all proved to be fraught with errors, misunderstandings, and misinformation. In the case of Bernard Gavoty’s study of Fischer, more than a pinch of dis-information potentially misleads the Fischer-scholar.
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