Beethoven the Pianist (Musical Performance and Reception) by Tilman Skowroneck

By Tilman Skowroneck

The commonly held trust that Beethoven used to be a coarse pianist, impatient together with his tools, isn't altogether exact: it really is encouraged through anecdotes relationship from while deafness had started to impair his enjoying. providing a brand new, certain biography of Beethoven's adolescence, this ebook studies the composer's early occupation, outlining how he was once inspired by way of lecturers, theorists and tools. Skowroneck describes the advance and decline of Beethoven's pianism, and can pay targeted realization to early pianos, their building and their significance for Beethoven and the fashionable pianist. The ebook additionally contains new discussions of legato and Beethoven's trills, and a whole annotated evaluation of eyewitnesses' stories approximately his taking part in. Skowroneck offers a revised photo of Beethoven which lines his improvement from an impetuous younger musician right into a virtuoso in control of many musical assets.

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By Tilman Skowroneck

The commonly held trust that Beethoven used to be a coarse pianist, impatient together with his tools, isn't altogether exact: it really is encouraged through anecdotes relationship from while deafness had started to impair his enjoying. providing a brand new, certain biography of Beethoven's adolescence, this ebook studies the composer's early occupation, outlining how he was once inspired by way of lecturers, theorists and tools. Skowroneck describes the advance and decline of Beethoven's pianism, and can pay targeted realization to early pianos, their building and their significance for Beethoven and the fashionable pianist. The ebook additionally contains new discussions of legato and Beethoven's trills, and a whole annotated evaluation of eyewitnesses' stories approximately his taking part in. Skowroneck offers a revised photo of Beethoven which lines his improvement from an impetuous younger musician right into a virtuoso in control of many musical assets.

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81 Thus a typical eighteenth-century situation in the Beethoven household was accepted early on in German Beethoven scholarship. Elsewhere, it took a long time for a full acceptance of the idea that the clavichord or the harpsichord had some relevance for the young Beethoven. The various English translations of “Clavier,” for example, remained conservative for a long time. ” But even the Beethoven entry in the 1980 edition of The New Grove Dictionary of Music and Musicians puts “piano” in place of Clavier.

On the other hand, it is slightly confusing that Neefe does not name Beethoven in his autobiography when he speaks of his “Vikar” in September 1782, having taught him perhaps for the best part of a year. In his letter to Cramer’s Magazin from early 1783, he is full of praise for Beethoven. So why did he, half a year earlier, merely refer to a “Vikar”? There is no certain answer to this question, but the formulation rather suggests that at that point Beethoven did not yet have a prominent place in Neefe’s life.

Familie Beethoven im kurfürstlichen Bonn, 68, orig. 38, and 73–4, orig. 42. , 79–80, orig. 46. 92 We do not know what kind of instrument Johann van Beethoven’s Klavier was. 93 Johann van Beethoven most likely inherited this very instrument. For a court singer and private music teacher there would have been no real reason to buy a large new instrument when he already owned a keyboard instrument, at a time when the fortepiano was not yet universally accepted. 94 The title of Beethoven’s first surviving work (the Dressler variations, WoO 63 from 1782): “Variations pour le Clavecin sur une Marche de Mr.

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