Gerig: Chapters 3 & 4

It seems as if the pianist’s occupation has developed solely into that of performer/teacher. We have already mentioned in class the emerging dichotomy of pianist and composer towards the end of the nineteenth century, and I think there is also a parallel with the pianist as a separate entity from piano manufacturer. Even the first piano maker, Cristofori, was employed as a harpsichord player; Stein played the clavier; and of course, Clementi was a renowned performer. Perhaps I am being nostalgic for a time period I never even lived in, but with most of piano manufacturing mechanized today I think something may be lost… Most exceptions, such as Steinway & Sons are different too, as the majority of these employees are not also pianists.

What I thought was most interesting about Mozart’s “technique” was his philosophy on practicing, on page 55. He mentions that “I too had to work hard, so as not to have to work hard any longer.” On the preceding page he mentions how important it is to be able to play scales, trills, mordents, etc. in each hand alone. These ideas seem similar to something I read about Liszt’s philosophy, that the pianist must practice enough so it sounds as if the music exists naturally. In other words, in order to attain organic phrasing, or evenness of tone, etc., it is necessary to “work hard” and acquire the supporting technique. Only then will a piece sound purely musical.

Also..… I had no idea some pianos were made with drums or bells and other things added... Hilarious.