The Future of Schubert Interpretation: What Is Really Needed? Author(s): Malcolm Bilson Reviewed work(s): Source: Early Music, Vol. 25, No. 4, 25th Anniversary Issue; Listening Practice (Nov., 1997), pp. 715-722 Published by: Stable URL: http://www.jstor.org/stable/3128415 . Accessed: 01/12/2012 20:37

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This content downloaded by the authorized user from 192.168.82.215 on Sat, 1 Dec 2012 20:37:16 PM All use subject to JSTOR Terms and Conditions Observations Malcolm Bilson

The futureof Schubertinterpretation: what is reallyneeded?

URING the 1991Mozart Conferenceat Lincoln aries.' In an age when most mainstream perfor- Center in New York City1 a recording was mances are very far from the kind of creative,ima- played of Serge Rachmaninoffperforming the first ginative playing of which in the case of SergeRach- movement of Mozart's A major sonata, K331.2To maninoff we have direct witness and in the case of describe Rachmaninoff'sperformance as not heed- Wolfgang Mozart well-founded suppositions, such ing the text would be superfluous;it was so free in thinking can only be detrimental.Our principalgoal this regard that the penultimate Adagio variation should be to get into the passion and emotion of the was actuallyfaster than the Allegro that followed it. music as deeply and richly as possible. This is not This gave rise to a great deal of controversyamong merely a romantic notion; it is what every late 18th- the participants;there were those who were outraged and early19th-century treatise known to me stresses at the 'utter lack of respectfor the composer and the above all else (see below). To me the study of perfor- text', while others proclaimed,'But who today plays mance practice always promised More from the as flexiblyand gorgeouslyas Rachmaninoff?' greatestworks, not Less.The subjectof study is, to be Indeed, who does play the piano today as gor- sure, to ascertainjust what kind of More (i.e. the os- geously as Rachmaninoff, according to some the tensible differences between what Mozart would greatestpianist of his generation?Yet if Mozart,pos- have played and what we have from Rachmaninoff). sibly the greatest keyboard player of his day, had Montgomery's article addressestwo main issues: made a recording of that movement on his own the appropriateness(or lack thereof) of adding free Walter , it would have been equally as ornamentationto Schubert'sinstrumental composi- wonderfulas Rachmaninoff's,equally as flexible,but tions, and the proper use of giving way in tempo, very different.My own goals as a pianist and musi- commonly called rubato. Montgomery admits that cian have alwaysbeen to glean as much information none of the tutors of Schubert'stime list him as one as I can from the pertinent sources, and then hope of the 'approved'composers for whom the particu- that I can transform that information into some- lar treatisemight be applicable,as Schubert'spublic thing as imaginativeand creativeas did Rachmani- publishing and performinglife was far too short to noff, albeit of a differentnature. make any impact until quite a few years after his Many aspects of David Montgomery's article death.Nevertheless,says Montgomery, by studying 'Modern Schubertinterpretation in the light of the as many treatises as possible from the period one pedagogicalsources of his day' in Earlymusic, xxv/1 should be able to arrive at some understandingof (Feb 1997)fill me with dismay.Such an articlerepre- general performance practices of the time, and sents a recent kind of performancepractice scholar- should thereforebe able to correlatethese to a par- ship that leads us in just the opposite direction from ticularcomposer living at that time and in that place. the one I think we should be taking.It says:'Find out I am in complete agreementwith this concept. what was permitted,and don't exceed those bound- The protagonist and apparent impetus for

MalcolmBilson has beenfocusing on the Viennesefortepiano repertory for 30 years,and is currently recordingall the Schubertsonatas for Hungaroton.

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This content downloaded by the authorized user from 192.168.82.215 on Sat, 1 Dec 2012 20:37:16 PM All use subject to JSTOR Terms and Conditions Montgomery'sarticle is pianist RobertLevin, who in [Hethen quotes the 'most esteemed music director Ttlrk']... a recording of Schubert's A minor sonata, D537 Whoeverpresents a pieceof musicso thatthe affect [charac- in it is Vivarte, SK53364)introduced a few variants ter] accuratelyexpressed in everypassage, and where (Sony thetones are turned into a the of that and lead-ins. cites an earlierreview of 'languageof emotions', Montgomery manwe say,he hasa goodVortrag.8 this CD by Susan Kagan, who was so offended by Levin's accretions that she suggested that a WARN- Virtually every treatise known to me proffers a ING! label might well have been affixedto the cover similar First Rule. These invariably come before of the CD.3 Montgomery is equally affronted by those passages that instruct us on the proper use Levin'sfreedoms, and has taken the trouble to write of the bow, rendition of unmarked notes, tempo them out (occupying in all half a page). It must be rubato,etc. To put it in the simplestterms: the player pointed out that neither Susan Kagan nor David must be himself moved, and must be able, through Montgomery offer any precise critique of how and his art, to make manifest that which moves him what Levinactually plays; their common objectionis through his execution. The 'language of the emo- that he takes such libertiesat all!4 tions' is basic and central.9 Now, the PerformancePractice Movement is sup- But I was intrigued by the rather fascinating posedly interestedin 'how it was or might have been notion that WARNING! labels might be affixed to ideally'.Yet all over the world young musicians are CDs and concert programmes. To quote Susan being taught,from the best Urtext editions, the art of Kagan:'Perhaps the most importantissue here is the Thoushalt not: 'Thou shalt not departfrom the writ- obligation of Levin, in making such additions and ten text.' (Evenwhen we know from the treatisesand changes, to inform his audience. An unsuspecting other sources that this is precisely what was ex- listener who is not familiar with the original score pected.) 'Thou shalt observe stylistic differences.' cannot have the slightestidea that what he is hearing (Eventhough it is tabu to investigatewhat those dif- is not what Schubertcomposed. This recordneeds a ferencesmay have been.) WARNING! label ...,'o Most treatises of the time, Montgomery quotes me as saying: 'I believe that including those quoted by Montgomery,"1tell us, every measure of every piece in this repertoire with regard to such free extemporizing, that there (Schubert) has to be understood and interpreted.' should be very little of it and that it must be appro- Later on the same page: 'Robert Levin, Malcolm priateto the characterof the composition and intro- Bilson and Paul Badura-Skodaare not alone in the duced at the proper place. The most we get from opinion that Schubert'smusic requiresconsiderable Kaganis that Levin'sembellishments 'trivialize' the personal interpretation.'sNote that the word 'per- music; there are no specific critiques of particular sonal' has been added by Montgomery,but I gladly passages she considers awkwardor non-Schubert- take it on. I believe that personal interpretationis ian. In a 66- minute disc Levinhas some 20 seconds intrinsic to the First Rule of every treatise (in all of free ornamentation;is this the kind of 'excess'the following excerptsthe italics are mine): treatisesspeak out against? But if such WARNING! labels are indeed LeopoldMozart: One must take pains to discoverthe affect appro- intendedby the composer,and executeit correctly.Because priate, to what of kind of performancesmight they the sorrowfuloften alternates with the joyous,so one mustas- be applied? siduouslyendeavour to performeach accordingto its man- I recentlyheard on the radio a performanceof the ner. In a word, one must everythingin such a way that play SchubertB6 Piano Sonata, D960, by one of our lead- one is oneselfmoved by it.6 ing mainstreamperformers, on modern piano.This Ttirk:Whoever performs a composition so that the affect is a noted Schubert and Beethoven player, is most faith- pianist (character,etc.), even in everysingle passage, and his have interna- (made and thatthe tonesbecome recordings garnered many fullyexpressed perceptible) I listened and would venture at the sametime a languageof feelings, of this personit is said tional prizes. carefully, that he is a to that one bar of what he was cor- good executant.7 say hardly playing to what Schuberthad notated, Starke: Strong and weak, and all the different nuances, are responded carefully for our senses as the moon is for the tides of the sea. accordingto every late 18th- and early 19th-century

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This content downloaded by the authorized user from 192.168.82.215 on Sat, 1 Dec 2012 20:37:16 PM All use subject to JSTOR Terms and Conditions source known to me. LeopoldMozart and others tell of Mozart's specific performanceinstructions were us that all notes under a slur are to be played dimin- followed;everything was playedsmoothly and legato uendo, that is, gently tapering.Thisparticular pianist in a dynamic rangebetween piano and mezzo-piano; played every bar crescendo, as is the common mod- fulminating, bubbling, brilliant virtuosity was ern way, in order to promote the famous 'long line'. changed into gentle, angelic sweetness.Where were (This long line principle is heard to even greateref- the WARNING! labels for these performances?Thus, fect from string players and singers with their con- a WARNING! label for 20 seconds out of 66 minutes tinuous rich .)12Once again,Leopold Mozart: of what Kagancalls 'tamperingwith the music', but 'One must take pains to discover the affectintended no WARNING! labelsfor performancesthat severely by the composer, and executeit correctly.'Can the misrepresentthe composerand the workfrombegin- true affect of any passagebe renderedby an execu- ning to end? tion contraryto that indicatedby the composer? The reader might counter that I am being too Lest anyone object that Leopold Mozart is too extreme;after all, the notes on the page (and Kagan early for Schubert,it should be noted that Brahms refers to good, respected editions) are sacrosanct; still taught the same rule of slur = diminuendo,even other matters are a question of taste. I say No: the quite late in his life.13In this regardI recentlyheard, words of the play are not sacrosanct;the meaningof in a live concert, a very distinguishedand famous pi- the wordsin proper context is, and this is what every anist play the BrahmsB minor Rhapsody,op.79 no.1. musical treatise tells us (see the quotations above). If one follows this slur = dim. rule, here in the left A rendering of Macbeth, with every word intact hand heavily reinforced by the off-beat octave en- and beautifully pronounced, that turns it into a trances,marked by Brahms'Agitato', the work takes light comedy, is for me no worse than the Jeune- on a desperate,lunging character,basic to its very homme concerto turned into a kind of china-doll nature (ex.1). Our pianist played all quavers com- saccharinity. pletely evenly-to my mind not coming up to what I Backto Schubert:Montgomery writes that would consider a minimum requirementfor a reas- onable rendition of this piece. Acquaintanceswrote that his (Schubert's)singing was clear Or the live concert I heard a few months a and unaffected,that in the performanceof liederhe believed ago by in strict he would to have famous of the Mozart 'Jeunehomme' maintaining tempo.... appear sung very pianist somewhatin the styleof one of his finestinterpreters, the Frei- a who is now piano concerto, K271, pianist recording herr Karlvon Schonstein(1797-1876), who was known for a the entire set for an important label. Virtuallynone smooth, non-ornamentedapproach to Schubert'ssongs. On

Ex.i Brahms,Rhapsody in B minor, op.79 no.l, beginning Agitato

And . J "E"l? • , I.\ • _• FA% i

ad I0 sLLI I I I • : . "-mll-. •-

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This content downloaded by the authorized user from 192.168.82.215 on Sat, 1 Dec 2012 20:37:16 PM All use subject to JSTOR Terms and Conditions the other hand, we know JohannMichael Vogl, Schubert's to excess by those players whose Vortragwas not most famousinterpreter, for a theatricallyextroverted embell- consideredto be isher... Schuberthimself wrote exemplary.17 proudlythat he andVogl per- But let's examine more formed'as one' whichadmission would make him an accom- closely one oft-quoted of Schubert's plice, willing or not[??],to Vogl's liberties.Fundamentally, description playing and singing, writ- however,only one of theseportraits of FranzSchubert can be ten in 186o by his friend Leopold Sonnleitner true.'[italics mine]14 (mentioned by Montgomery): I believe, quite to the contrary, that both can and Schubertalways indicated whenever he wished or allowed must be true-even indispensable-in understand- any kind of hesitation, acceleration,or free performance ing and Schubert'smusic. [Vortrag].Where he indicatednothing he would not allow interpreting the not the Two mannersof are referred slightestarbitrary intervention, slightestgiving general performance way of tempo.Even if this werenot shown the to easily through here, which we might describeas the 'simple, un- ample testimonyof Schubert'scontemporaries, it would be affected,direct' approachon the one hand, and the obvious to any music-loverjust by observingthe figuresin 'dramatic,fluctuating' approach, on the other. The the accompaniments.A gallopinghorse doesn't allow itself to be out of time;a wheel can indeedbe one remains in tempo, adds little if to the put spinning stopped, anything but when the maid, and is sensitiveto the com- only spinning grippedby passion,forgets text, changingexpressive for a moment to drive it-it cannot,however, run fast one of ponents the music without lending them what we second and then slow the next, bar by bar;-a live, beating might call dramaticexaggeration. The other stresses heartcannot suddenly stop (unlessstruck by an apoplexy)in the dramatic (drama = gesture), leaning on more orderthat the singercan remainon his high A, at the words 'Dein ist mein Herz,und wird es to let us important notes, perhaps even them, hur- ewig bleiben',just delaying hearhis true emotion ... such miserableexcesses, that we are over less notes, variants rying important inserting forced to hear again and again, can only serve as small and lead-ins, etc. We can easilyunderstand these two examples, yet such a senseless mode of expression has currentsin the music of the time (or indeed of many becomethe rule.8 different times). Czerny, for example, refers to the If such a 'senseless mode of had 'be- difference between Beethoven and Hummel in the expression' come the rule' late 181osin Vienna: by 186o,it can hardlybe claimed that such a manner of singing is in vogue today. When Hummel'sadvocates reproached Beethoven for mistreating has anyone last heard a singer that would hold the that he lacked and fortepiano,claiming clarity precision, the A of 'DEIN ist mein Herz?',while a that he forth a noise the high hapless brought only confusing through wrestles to make sense out of the overuse of the pedal, and that his compositions were pianist rhythm? On the recherch6,unnatural and irregular,lacking true melodies. contrary, what characterizesour age most On the other hand,the Beethovenistsasserted that Hummel dramatically is the utter regularityof expression lacked all genuine imagination;his playingwas as mono- providedby most 'mainstream'performers. And it is tonous as a hurdy-gurdy... and his compositions were to note that what is described Sonnleit- but of and important by nothing reworkings Haydnesque Mozartian ner are Lieder with motives.15 regular accompaniments;it is perhaps no coincidence that Winterreisewas more Note that according to Czerny (and others), Vogl's (the dramaticsinger) cycle than Sch6nstein's Hummel was a smooth and elegant player,yet it is (the simple, unaffected one); there are not many just Hummel's treatise that Montgomery cites for 'spinning-wheel'or 'horse-galloping'accompanying playing he considers to be opposite of Schubert's. figuresto be found in Winterreise. 'To my knowledge, Hummel is the only Viennese But I have other problems, or at least questions, pedagogueof this period to discussvoluntary giving- with regard to Sonnleitner. What is 'simple and way in pace.'16 Not at all: in his Vollstandigeund direct',and what does 'would not toleratethe slight- PraktischeKlavierschule Czerny has seven detailed est giving way in tempo unless it was marked'really pieces of music showing preciselysuch retardingand mean? There are many composers and performers accelerating, in even greater detail than Hummel's. who claim to play in what they call 'strict tempo' Such playing belonged very much to the standard whose recordings, on examination, are anything but practice of the time, and must have been often done strict. A 'simple, direct' performance is most likely

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This content downloaded by the authorized user from 192.168.82.215 on Sat, 1 Dec 2012 20:37:16 PM All use subject to JSTOR Terms and Conditions one in which good balancebetween heavy and light, Werktreue,and even in those cases where we can strong and weak, long tones vs. short tones, etc. know how the composer performed (Stravinsky, seems 'natural'to the listener;such performancesal- Bart6k,etc.)? And if it is not, then is the whole area most alwayscontain considerablesmall fluctuations. of PerformancePractice just up for grabs-anything But these slight changes do not impinge themselves goes? On what can we base our search for 'Mozart as dramatic occurrences.Sonnleitner's remarks are ratherthan Rachmaninoff? those of one friend 30 years after Schubert'sdeath.19 Tfirktells us (in 1789)and Starkerepeats (in 1819) Would these remarksapply as well to such music as the following directions for achievinggood Vortrag: the middle section of the second movement of the (1) a previously developed facility in playing and A major piano sonata, D959 (called most aptly by note-reading,security in rhythm,a good knowledge Alfred Brendela 'paroxysm')? of thoroughbass and of the piece itself that one is RichardTaruskin has broughtthe word Werktreue playing, and then especially;(2) clarityin execution; ('faithfulness to the work') into our general con- (3) expressionof the prevailingcharacter; (4) proper sciousness.2"For Taruskinthe word can have both application of ornaments and other such devices; good and bad connotations; to me it means in its (5) a proper feeling for every passion and emotion simplest and most direct sense that I would hope to expressed in the music.22 I believe that Rachmani- be able to be inspired in a similarway that the com- noffs Mozart passes nos.1 and 2, but then veers off poser was inspired. The concept of Werktreue,how- radicallyin nos.3-5. ever, seems to be giving way in many circles (see I have translated the German word richtig as Kagan and Montgomery) to something we might 'proper'; but there might be an 'unrichtig' or call Komponistentreue('faithfulness to the com- improper manner of execution as well. Justhow can poser');Montgomery wants us to play it the way the we know what is richtigand what unrichtig?Proper composer playedit.21 I believethat the question must execution must alwaysbe derived from our under- be asked: is the composer's performance the best standingof the meaning of the music;again to quote possible one of the work? Or is it indeed the only Starke:'Whoever presents a piece of music so that valid performanceof the work, even if we believe in the affect (character)in it is accuratelyexpressed in

Ex.2 Schubert, Sonata in A major, D959/i, bars 1-16 oJIL J J JJ.P. , f fz f ----- •

7 A

12

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This content downloaded by the authorized user from 192.168.82.215 on Sat, 1 Dec 2012 20:37:16 PM All use subject to JSTOR Terms and Conditions every passage, and wherethe tonesare turnedinto a these a la Sonnleitner, very smoothly, not leaning, "languageof theemotions", of that man we say,he has for example, on the first note (d"') of the descent. a good Vortrag.' Bar8 must have some sort of characteristicrhythmic Let's look at a specific example (ex.2), with my snap in proper (richtig)relation to bar 7. The triplets own annotations in the manner of Hummel and from bar 11build up in excitement (otherwise why Czerny. The opening bars represent a fanfare, and did Schubertwrite the crescendo?),perhaps acceler- are, I believe,to be overdottedand playedsomewhat ating (imperceptibly,of course) to bar 13, where a sharply.23 Now, many pianists play these quavers slight leaning on the first triplet could show the long, but I am not familiarwith any kind of fanfare dramatic highpoint, further suggested by the forte that has such a rhythm;to me it sounds unnatural. and dim. markings. (Unnaturalis the opposite of 'simple, unaffected',as Such descriptions seem quite mechanical to me perceived personally by me.) But furthermore, if and are not the type of thing in which I am happy to Schubert had really wanted genuine quavers here, indulge. And I am not saying that one must lean on he would not have written dotted rhythmsin bar 341 the first quaverin bar 13,and that one may not lean in the coda (ex.3)-is the last note of bar 342 really on the first quaverof bar 7. I do claim, however that twice as long as the last note in bar 341?24 every such expressivedevice has a direct emotional Bars 5 and 6 present long chords-these halt the bearingon the meaning of the music, and in the best forwardmotion of the fanfare-likemusic and should Vortragall these matters are infinitely connected. therefore be played slightly longer than written. These are our tools: they are mentioned by every Most sources do mention playinglong notes slightly source but rarelydiscussed in concrete terms. What slower than written, and fast grupetti (second half is offered instead, however, and is implicit in both of bar 4) slightly faster. Of course, we are told, this Montgomery'sand Kagan'sremarks, is: 'Get an Ur- effect must not be exaggerated;it must be 'imper- text, follow it closely and don't allow yourself liber- ceptible.'At the end of bar 5,there will be some kind ties.' What I have mentioned in my description of of punctuation-one player might consider it a these few bars are not liberties, they are readingsby semi-colon, another a question-mark,still another which 'the affect (character)is accuratelyexpressed an exclamationpoint, but to run into bar 7 with no in everypassage.' They are personal (thankyou, Mr. perceivablearticulation of any kind would be quite Montgomery) readings of what I perceive to be on unrichtig,I believe. (Starke:... proper punctuation the page. and proper separatingof one musical period from Montgomery:'Many artists within the historical the movement have now translatedtheir di- other... )25 arguments At bar 7 triplets begin. These are based on very rectly into recordedsound, often with no commen- generalmaterial, and their function is to bring in the tary-asking us, in effect, to accept a number of opposite sentiment of the sharpfanfare-like rhythm non-notated practiceson faith.' And further along: of the opening. As such it would not seem appropri- 'Bilson ... supportsa "lost notation"theory (includ- ate to play them in exactly the same tempo as the ing the assimilation of dotted figures to triplets)- opening fanfare.(Starke: 'Whoever presents a piece which calls upon a few insightful people to render of music so that the affect [character]in it is accu- intelligibleto others what Schubertreally meant to rately expressedin everypassage ...') I would play write, but didn't.'26 This suggests that notation is

Ex.3Schubert, Sonata in A major,D959/i, bars 339-43

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This content downloaded by the authorized user from 192.168.82.215 on Sat, 1 Dec 2012 20:37:16 PM All use subject to JSTOR Terms and Conditions reallyfixed, and that such gesturesas dotted rhythms almost completely died out in favour of a more are alwaysto be executedidentically, in some precise Lisztianmanner of playing. fashion. But we know that music notation is any- SusanKagan: 'Can one imagine addingembellish- thing but precise;27I would challenge Montgomery ments, changingnotes, or improvisingin the 'Ham- to find any good treatise that doesn't endeavour to merklavier'Sonata?' 29 Well, I and six of my former explainhow to rendermusical (i.e. slightlyuneven) a students have played and recordedall the Beethoven notation that cannot possibly show those slight devi- sonatas;I don't play the 'Hammerklavier',but I do ations that bring it alive. Montgomery may be right play op.109 and I certainly do embellish the right about the triplet assimilation,or I may be right, but hand in the first variation of the third movement.30 saying 'what Schubertmeant to write, but didn't' is This is highly decorated, free-sounding coloratura no less absurdthan saying 'He reallymeant to write that would seem 'unnatural'played exactlythe same "nife",but unfortunatelywrote "knife";the proper way twice. Indeed, I believe all the players in the pronunciation of the word is intelligible only to a series vary some repeats.In spite of Beethoven'sad- few insightfulpeople.' monitions he variesthem when he rewritesthem, so A further, rather amazing statement reads: 'One shouldn't we when he only provides repeatmarks? 31 thing is certain:had Schubertlived long enough to One could counter that 'Quod licet Jovis non licet see his last three sonatas into print-dedicated, as Bovis' ('What is permitted to Zeus is not permitted they were intended to be, to Hummel-and had the cow'), but Jovis (the composer) is no longer with Hummel deigned to play them (mostly, he played us, and the work must be brought to life by some- his own music), Schubert'sfresh and direct musical one! Robert Levin or I or anyone else can be criti- manner might have been lost forever.' [italics cized for 'missing the mark' on any interpretative mine]28 Hummel's playing, from all sources known matter accordingto the opinion of the reviewer;re- to me, is reputed to have been very much on the viewersshould develop personaltaste, just as players straight side (see the comparison to Beethoven should. But critics who constantly set upon every above). But even if Hummel's playing had indeed player who endeavours to be creative are going to been so different from Schubert's(of which we ad- driveour all-to-often aridmusic-making still further mittedly know very little), would that really have into the dust. We have to begin to understandthat made Schubert'sstyle 'lost forever?'We have a great the great masterworks of the past must not be deal of documentation,for example,about Chopin's treated as dead museum pieces but rather as living, piano playing and teaching, which was widely passionateworks of art, as describedin the FirstRule known and admired;yet many of us concernedwith of every treatise of the period. My name may be Chopin performancepractice feel that his style has Bovis, but I'm all I've got!

1 Conference, 'Performing Mozart's 5 D. Montgomery, 'Modern Schubert virtually everywhere in writings of the Music', Juilliard School, New York interpretation in the light of the peda- time, not just in reference to musical City, 19-24 May 1991.The papers pre- gogical sources of his day', Early music, matters, e.g. the painter Casper David sented at this conference were pub- xxv/1 (1997), p.102. Friedrich in 1817in UberKunst und lished in Nov Early music, 1991,Feb Kunstgeist ('On art and the spirit of 6 Mozart Leopold, A treatiseon the 1992 and May 1992 issues. art'): 'Look with own and as fundamental principles of playing, your eye, the objects appear to you, so should 2 RCA Victor Gold Seal 09026-61265-2, 2nd edn, trans. E. Knocker (London, you reproduce them; the effect that disc lo, track 12 1951), pp.255-6 they have on you should be given back 7 Daniel Gottlob School of in ... To each 3 Fanfare, Nov/Dec 1995, pp.362-3. Tfirk, your painting! person clavierplaying (1789), trans. R. Haagh nature makes itself manifest in a differ- 4 I might mention here that Levin's (Lincoln, NE, 1982), p.321. ent way, for that reason noone can ossia at bar 298 of the third movement make his theories and rules valid for 8 Friedrich Starke, WienerPiano-forte was so convincing that I have adopted another as immutable laws. Noone can Schule, part 2 (Vienna, 1819),p.15 it in my own performance; I can hardly be a yardstick for another, only for imagine it any longer without. 9 Such points of view are to be found himself and souls congenial to his

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This content downloaded by the authorized user from 192.168.82.215 on Sat, 1 Dec 2012 20:37:16 PM All use subject to JSTOR Terms and Conditions own.' CasparDavid Friedrich in Briefen 19 One cannotbut wonderhow we In Trondheim, undBekenntnissen, ed. S. Hinz mightperceive of Stravinksy'smusic Norway (Munich, 1974), p.83. if all the recordingswere lost and we July 21.- July 29. 1998 only had RobertCraft's remarks on 1o S. Kagan,review in Fanfare,xix/2 how that wantedhis music Near the composer (Nov/Dec 1995), pp.362-3. played,what he wouldand would not THE RINGVE end of her reviewKagan offers 'Those have tolerated ... interestedin Schubert'sSchubert may MUSEUMXXI turn to Schnabel ... Goode ... Gothoni 20 R. Taruskin,Text and act (Oxford, ... or for fortepianoenthusiasts ... 1995), INTERNATIONAL Seth The hereis p.lo. Carlin.' supposition 21 We can that if it couldbe that if one does not alterthe precise presume SUMMER COURSE text one will have'Schubert's shownthat Schubertadded Einginge and embellishmentsin a similarfash- Schubert'.There is no questionof ion to both andMont- whichof theseplayers knows how to Levin, Kagan readthe text or or gomerywould then changetheir correctly, may may minds. not haveany real affinity for Schubert's sense ... deeper 22 Starke,Wiener Piano-forte Schule, 2, 11 See Montgomery,'Modern Schubert part p.15. interpretation',p.0o9, quotingAugust 23 Fora detaileddiscussion of the var- Music Theorieder Early Swoboda,Allgemeine ious possibleways playsuch dotted Tonkunst to Performance Practice (1826). figures,see Tfirk,School of clavierplay- 12 In a recentmaster class I askeda ing, pp.350-51. MasterClasses & studentwho was the playing opening 24 A similarinstance seems to prove Ensemble Playing barsof Beethoven'sSonata in A6, the oppositein the firstmovement of Attentionon Music op.11o,to observethe two-noteslur at the MozartPiano Quartet in G minor, English the to the secondnote beginning, play K478.I wondered,at one point, if the as a releaseof the first,and not equally quaversin bari mightnot be intended FACULTY: loud. She replied'Oh, but then I will to be overdotted.But if Mozarthad the line.'This manner of lose long intendedthem to be sharper,he would Ian is so universalthat it is Partridge playing hardly havenotated semiquavers in bars for me to mentionthe name voice necessary 244ff., thus the quavers in bar must the B6Sonata: out i of the pianistplaying indeedbe solidquavers. Mary Collins of ten recordingsof thatwork one renaissance/baroquedance wouldbe luckyto find one that does 25 Starke,Wiener Piano-forte Schule, not operateaccording to this 'longline' part 2, p.14. Marion Verbruggen principle. recorder 26 Montgomery,'Modern Schubert 13 SeeR. Pascall,Playing Brahms; interpretation', pp.o101-2. Lucy van Dael a studyin 19thcentury performance baroque violin of 27 SeeTiirk, School of clavierplaying, practice(University Nottingham, for Laurence 1991), p.18 example. Dreyfus 28 Montgomery,'Modern Schubert viola da gamba/baroquecello 14 Montgomery,'ModernSchubert interpretation', p.111. Ketil interpretation',p.o104. Haugsand 15 Carl aus 29 Kagan, p.365. harpsichord Czerny,Erinnerungen Hans Olav Gorset meinemLeben (R/Baden-Baden, 1968), 30 As I do in similarpassages in my p.19. traversalof the completeSchubert chambermusic coordinator& PianoSonatas for Classic, 16 Montgomery,'Modern Schubert Hungaroton flute currentlyabout half-way to comple- interpretation',p.111. tion. Seethe referenceto and a For furtherdetails: 17 Czerny Beet- fine annotatedmusical in G. 31 ClavesRecords, The complete example hoven sonatas the THE ST.OLAV FESTIVAL Barth,The pianist as orator(Cornell keyboard (including threeBonn sonatas), Tom Beghin, Mal- P.O.Box 2045 University Press, 1992), P.75. colm Bilson, David Breitman, Ursula N-7001 Trondheim,Norway 18 Leopold Sonnleitner, in Erinner- Dtitschler, Zvi Meniker, Bart van Oort, Tel.: 7392 9470 seiner Freunde, ed. Deutsch Andrew Willis; on nine period pianos, (47) ungen O.E. Fax: 7350 3866 (Leipzig, 1957), p.98. release date September 1997. (47) http://www.pd.uwa.edu.au/Keith/ringve.html

722 EARLY MUSIC NOVEMBER 1997

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