Beethoven's Piano Playing: With an Essay on the Execution of the Trill (Dover Books on Music and Music History) by Franz Kullak

Author:Franz Kullak [Kullak, Franz]
Language: eng
Format: epub
Publisher: Dover Publications
Published: 2013-09-19T03:00:00+00:00

The Art of Phrasing.

The idea is rather old; for Türk says, in his Pianoforte-Method *: “Just as the words Er verlor das Leben nicht nur sein Vermögen, etc. [He lost his life, not only his property] bear a wholly different sense according as a comma is set after nicht [not] or Leben [life], precisely so indistinct, or rather wrong, does the delivery of a musical idea become through incorrect punctuation.” To indicate the punctuation, he employs the sign //, e.g.,

Now-a-days, the comma, borrowed from written language, is often used; and in instructive editions its utility is unquestioned, as it admonishes the pupil to take his finger from the key (the “lift”). But music has its own signs of punctuation, such as rests,† holds, staccato-marks, and slurs. At the rests and staccatos, and likewise at the holds (fermate), the lifting of the finger is a matter of course; it is only the slurs that often vex both player and editor. As may be seen from the example in the footnote, and from that next following, one cannot always identify the end of a slur in Beethoven with a “lift,” or musical comma. The beginning of the second theme in the C-minor Concerto, according to the Original Edition published “A Vienne au Bureau d’Arts et d’Industrie,” No. 289, and also in our own, is marked for the first time with the following slurs:

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