Chapter 3 and 4

The various quotes presented in the opening of chapter three are rather intriguing. Mozart writes in reaction to Stein's pianoforte, "It is true that he [Stein] does not sell a pianoforte of this kind for less than three hundred gulden, but the trouble and labour which Stein puts into the making of it cannot be paid for." If most pianists are like myself, they have specific characteristics they look for in a piano. Some may like a harder touch or a brighter sound, and while it is possible to produce beautiful sounds on different instruments, we still have our preferences. There is something exciting about finding the perfect piano, when creating sound and facilitating around the keyboard seems effortless. Like Mozart the quality that each individual finds in a instrument is invaluable to them.

I enjoyed the passage that discusses how Haydn's Fantasia in C Major employs both the sound world of the orchestra and technique of a pianist. It enforces the idea that the pianoforte, due to the range of sounds it is possible to produce, can imitate the orchestra. More importantly, that it is possible to created such sounds in a pianistic manner. Specific motives, articulations, range, and keys are associated with various orchestral instrument. Pianists experience too often difficulties playing orchestral reductions or accompaniments that are not pianistic. While there is a purpose to be served and something to be learned by "fixing" these pieces ourselves in order to make them playable, we may obscure the intentions of the composer which could have been avoided had the composer been thinking pianistically.

It is mentioned that Mozart's Viennese technique rules out "unnecessary movements." As pianists we have to be efficient in our movements. Expressive movement does have it's place, but any noticeable, extraneous movements can potentially hinder a performance. Not to mention that if we are inefficient in our movements at the piano we create bad habits and can possibly injure ourselves. It is interesting that as the instruments changed over time and the technical demands changed/increased, the approach to technique remained relatively the same. Yes, technique once centered around agile fingers and advanced to whole arm technique, but I feel many of the past sentiments continue to exist today.

I am somewhat disappointed that as a pianist, I have not played much Clementi; only as a child or a young adolescent. It was surprising to me to learn that Clementi lived longer than both Mozart and Beethoven. Not only did that fact surprise me, but I then contemplated why the two composers who lived shorter lives than Clementi are more prolific in today's music world. I suppose that even though Clementi lived a long life, does not necessarily mean that his output should have been better or larger. However, it is surprising that he is not included in many history books of Western music. Considering Clementi was a composer, a well-known pedagogue, and even owned a piano manufacturing firm, I think he should be worth mentioning in such history book whose authors chose to leave him out.

The title of Chapter 4, "Mozart and the Early Piano Technique" is somewhat of a deceiving title. I expected the content to be about Mozart and his piano technique. There was some small mention of his technique, but most of the quotes seemed to emphasize what a prodigy Mozart was, commenting on his ability to play anything put in front of him, improvise for hours, and the high quality of his playing at a young age. While it was interesting to hear Mozart's story though primary quotes of the period, I think it is a story that to some degree is known by most pianists. The "early piano technique" was emphasized in the passages about Clementi and Cramer. I find it interesting to learn that Beethoven did not like the music of Mozart, but rather Clementi, whose sonatas were studied by Beethoven's nephew.

I think Gerig's book is important in presenting many ideas to pianists today. We learn much through our professors and music history classes, but it is exciting that there are books devoted specifically to the history of "Famous Pianists and Their Technique." Such reading can provide students perspective, help to conceptualize music they are playing, and kindle inspiration to explore new ideas in their music making.