Considering the development of the pianoforte, its various makers, and composer/pianist preferences, I thought more seriously about the use of period instruments than I have in the past. On p. 41, both passages from Haydn's letters indicate that a Schanz fortepiano is best for a particular sonata and that he composed this piece with this instrument's capabilities in mind. However, the practice of designating pieces for both pianoforte and harpsichord among other practicalities indicate that composers at the time wouldn't or couldn't be strict about instrument choice.
In chapter 4 I hoped to find more detail about how Mozart's playing was received outside Vienna. Without personally knowing how significant the differences were between the Viennese and the English pianos and assuming that Mozart's style was preferable, I wonder if at the duel Clementi was at a disadvantage similar to the difference described about harpsichord players who practiced clavichord and those who did not. Clementi acknowledges that the English pianos inhibited legato playing and that improvements in their construction was a contributing factor to his change in technique (p. 57). Thus, it is possible that Mozart's approach to technique would have been different if he had only had an English piano, and the "what if's" could continue from there.
Regardless of the type of piano and its touch, it is evident that these early pianists spent a lot of time getting to know their instrument and how to achieve the sound they wanted -- an achievement worth emulating.
Subscribe to:
Post Comments (Atom)
Allison--I agree with your opening comment about whether to play pieces on the harpsichord or the fortepiano. I had thought about how many advocate playing pieces on period instruments for which they were written. Since Beethoven had written his first piano sonatas indicating either harpsichord or fortepiano, why then, would it not be possible for Bach to have felt the same way. Even though (if my memory serves me) Bach indicates "for the Well-Tempered Clavier" with regards to the Preludes and Fugues, I do not understand why, if composers could not decide which instrument was best, why some performers today feel they have the right to designate specific pieces for specific instruments. Besides, Bach meant clavier as a general term, not specifically the harpsichord...right?
ReplyDeleteI absolutely agree with the idea of spending more time getting to know our instrument. It is really interesting to think that a specific piece could be written for a particular type of piano. Sonata by Meara Oberdieck for Yamaha Baby Grand ONLY, Hah! Now more than ever I feel as though I should be practicing my Mozart and Scarlatti on period instruments, before I sit down to play at the piano.
ReplyDeleteAnd it is quite stimulating to know that composers indeed allowed their pieces being played on different keyboards, knowing how diverse the outcomes could be. This definitely leaves us more choices when we come to make a decision on how we interpret. Whether playing on an authentic instrument or not very much based on one's performing philosophy. I believe there's no definite answer for this.
ReplyDeleteComposers spending time at certain instruments: I think it is important to be aware each composer's favorite keyboard instrument. It seems obvious that the keyboard was the main instrument used in composing several other genres such as the string quartet and larger symphonic settings. Thus the keyboard instrument at hand must have influenced the style of a composer's oevre to some extent. Can one say that the timbre of the harpsichord had more of an influence over the legato sound of the violin? That might leave some room for thought. Mozart was surely familiar with both of these instruments.
ReplyDelete