I think the invention of the pianoforte has contributed to popularization of the music. Clavichord and Chembalo were the most popular keyboard instruments before 1709, but the Clavichord and Chembalo had limited tones. Thus, these were played for chamber music. However, Pianoforte makes a big and strong sound because it develops sound through the hammer that hits the strings. Pianoforte could be played in concert or ensemble (in large place) so that many people could hear the music.
First of all, I would like to know how Mozart could get a good music education from their father as a mom....
In my opinion, the Mozart's keyboard music shows difference of dynamic and brilliant sound. Pianoforte could make Mozart's keyboard music more effectively and dramatically because Pianoforte could express the intention of Mozart such as remarkable dynamic or brilliant and deep sound. Mozart might know well the characteristics of Pianoforte so he could compose beautiful keyboard pieces.
Sunday, January 31, 2010
Saturday, January 30, 2010
Mozart and the Pianoforte
I agree with Philip James. This may seem an odd statement to begin with, considering that the man was barely mentioned in the third chapter of Famous Pianists and Their Technique, but I do agree with him. As was mentioned in passing, James thought that the name of the instrument commonly known as a "piano" should instead have been "forte." I have always wondered why the name "pianoforte" was shortened to just "piano;" piano means soft, and didn't we already have a soft instrument in the clavichord? I'll admit, saying "pianist" sounds much better than "fortist" (or would it be "forteist"?). But still, the appeal of the new instrument back in the early 18th century was the fact that it could be played both very softly and very loudly. Think of it; much melodic music attempts to imitate the human voice, and now there was a keyboard instrument with not only the capability in range of the human voice, but also the capability in dynamics. The pianoforte placed at the fingertips of keyboardists the closest thing one person could get to playing a symphony by themselves.
Many fine musicians did take advantage of the benefits of playing the pianoforte well, and none at an earlier age than Wolfgang Amadeus Mozart. Beginning keyboard study of his own volition at the age of three, Mozart is perhaps the greatest argument there is in favor of introducing music to children early on. Were it not clear that Mozart was a special case, a child with a seemingly one track mind, and a passion for music in the extreme, the judgment of Leopold Mozart in taking his two young children on a concert tour could perhaps be questioned. Even with the thought of the young Mozart's genius in mind, questions arise, questions such as; "if young Wolfgang had not seen what a sensation he was early on, would he have been such an insufferably stuck up prig about his keyboard skills in later life?" But right on the heals of that question must come; "would he indeed have been such a good keyboardist in later life, were it not for the training he received on the road?" While throwing a child of seven into the concert circuit might seem a bit extreme, the value of his education and practice in accompaniment, transposition, improvisation, and mere technique must have been incredible. It makes me wonder if we shouldn't try teaching some of these skills to our young students today. And then I wonder, how would we teach them?
Mozart did become a master at all those skills, and they no doubt contributed to his prowess as a composer. His ideas on touch and movement at the keyboard, however, were very interesting. The idea of a non-legato sound, and a fingery technique must have been easier to carry out on the early pianofortes, with their lighter touch. Mozart's ridicule of the girl who used her arm to stress notes is telling; why did Mozart feel that motion of the arm was such a laughable idea? Perhaps because he did not need it. However, just because Mozart did not need it does not mean we don't. After all, we were not all child prodigies, either.
Mozart also laughed at Clementi, who thought of the next generation, when he prepared method books, and foreshadowed it with his virtuosic style. Although Gradus ad Parnassum may be an object of some jokes (Debussy parodied it, for one), Clementi should be noted for not only writing a method of technique for young players, but also for including pieces of music written by others than himself. Certainly, he understood the value of a well rounded musical education, and of learning from others. And in pedagogy, what could be more important?
Many fine musicians did take advantage of the benefits of playing the pianoforte well, and none at an earlier age than Wolfgang Amadeus Mozart. Beginning keyboard study of his own volition at the age of three, Mozart is perhaps the greatest argument there is in favor of introducing music to children early on. Were it not clear that Mozart was a special case, a child with a seemingly one track mind, and a passion for music in the extreme, the judgment of Leopold Mozart in taking his two young children on a concert tour could perhaps be questioned. Even with the thought of the young Mozart's genius in mind, questions arise, questions such as; "if young Wolfgang had not seen what a sensation he was early on, would he have been such an insufferably stuck up prig about his keyboard skills in later life?" But right on the heals of that question must come; "would he indeed have been such a good keyboardist in later life, were it not for the training he received on the road?" While throwing a child of seven into the concert circuit might seem a bit extreme, the value of his education and practice in accompaniment, transposition, improvisation, and mere technique must have been incredible. It makes me wonder if we shouldn't try teaching some of these skills to our young students today. And then I wonder, how would we teach them?
Mozart did become a master at all those skills, and they no doubt contributed to his prowess as a composer. His ideas on touch and movement at the keyboard, however, were very interesting. The idea of a non-legato sound, and a fingery technique must have been easier to carry out on the early pianofortes, with their lighter touch. Mozart's ridicule of the girl who used her arm to stress notes is telling; why did Mozart feel that motion of the arm was such a laughable idea? Perhaps because he did not need it. However, just because Mozart did not need it does not mean we don't. After all, we were not all child prodigies, either.
Mozart also laughed at Clementi, who thought of the next generation, when he prepared method books, and foreshadowed it with his virtuosic style. Although Gradus ad Parnassum may be an object of some jokes (Debussy parodied it, for one), Clementi should be noted for not only writing a method of technique for young players, but also for including pieces of music written by others than himself. Certainly, he understood the value of a well rounded musical education, and of learning from others. And in pedagogy, what could be more important?
Thursday, January 14, 2010
Welcome Students
In this semester we will be discussing, researching, and reading about the History of Piano Pedagogy and Technique. Our main reading will be Reginald Gerig's Famous Pianists and Their Technique. Each week you will post a blog. This "journal entry" should consist of your thoughts, criticisms, and related information as it pertains to your readings. Additionally you will be required to posts comments on at least two of your classmates blogs.
Please remember when you are writing that everything you write will be able to be read by anyone in the world with access to the internet.
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