Tradition and Craft in Piano-Playing PDF
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0 2 TILLY FLEISCHMANN-SWERTZ MUNICH 1910 3 T C RADITION AND RAFT IN P -P IANO LAYING BY T F ILLY LEISCHMANN with the collaboration of ALOYS FLEISCHMANN Professor of Music, University College, Cork Edited by Ruth Fleischmann and John Buckley Introduced by Patrick Zuk Musical Examples Played by Gabriela Mayer 4 TO SIR ARNOLD BAX 5 Tilly Fleischmann Tradition and Craft in Piano-Playing Edited by Ruth Fleischmann and John Buckley Musical Examples played by Gabriela Mayer ©2014 Digital Edition Copyright: Fleischmann Estate ©2014 Digital Edition Recordings Copyright: Gabriela Mayer Typesetting: Ruth Fleischmann and John Buckley Cover design: Max Fleischmann Digital photography: Max Fleischmann Print edition with DVD by Carysfort Press Dublin, published 7 May 2014 ISBN Case Bound: 978-1-909325-53-1 Price: €50 ISBN Paperback: 978-1-909325-52-4 Price: €30 Can be ordered by post or through the internet from the printer: Eprint Bookstore 35 Coolmine Industrial Estate, Blanchardstown, Dublin 15, Republic of Ireland, Tel. +353(1)827 8860 http://www.eprint.ie and from: Books Unlimited, St Patrick’s College, Drumcondra, Dublin http://www.booksunlimited.ie 6 CONTENTS Ruth Fleischmann Preface to the 2014 Edition and Acknowledgements 10 John Buckley Preface to the Musical Examples 13 Gabriela Mayer Preface to the Recordings of the Musical Examples 15 Josef Focht Preface to the Digital Edition 17 Patrick Zuk Introduction: An Irish Treatise on the Lisztian 19 Tradition of Pianism TILLY FLEISCHMANN FOREWORD 26 TECHNIQUE AND PRACTICE CHAPTER 1 TECHNICAL EXERCISES 31 Klopfübung 32 Scales 34 Arpeggios 37 Thumb-Stretching Exercise 37 Finger-Stretching Exercise 38 Wrist, Arm and Finger Staccato 38 Wrist Octaves 39 Arm Octaves 39 Skipping Octaves and Chords 39 Repeated Octaves 41 Broken Octaves 42 Glissando Scales and Octaves 42 Trills 43 CHAPTER 2 TOUCH AND TONE 45 CHAPTER 3 PRACTICE: GENERAL METHOD 47 Use of Emphasis 49 Rhythmic Problems 49 Daily Routine 52 Before Performance 54 CHAPTER 4 FINGERING 56 CHAPTER 5 PEDALLING: TECHNICAL ASPECT 63 Position and Movement of the Feet 63 Effect on Tone Quality and Volume 63 Use in Legato Playing 66 Una Corda Pedal 67 7 CHAPTER 6 MEMORISING 68 CHAPTER 7 SIGHT READING 70 INTERPRETATION CHAPTER 8 PHRASING 72 CHAPTER 9 DYNAMICS 83 CHAPTER 10 RUBATO 89 CHAPTER 11 RHYTHMIC SHAPING AND GROUPING 98 CHAPTER 12 PEDALLING: INTERPRETATIVE ASPECT 108 CHAPTER 13 INTERPRETATION AND THE TEXT 120 Textual Accuracy 120 Misprints 120 Variant Readings 124 CHAPTER 14 GENERAL EDITING 140 Dynamics and Phrasing 143 Pedalling 148 Fingering 154 Metronome Marks 154 CHAPTER 15 ORNAMENTS 157 Acciaccatura 157 Inverted Turn and Slide 161 Upper Mordent 163 Arpeggio 168 Trill 173 INTERPRETATION AND TRADITION CHAPTER 16 CHALLENGE TO TRADITION 183 CHAPTER 17 BEETHOVEN 189 Sonata in C sharp minor, Op. 27 No. 2 (The ‘Moonlight’) 189 Sonata in F minor, Op. 57 (The ‘Appassionata’) 195 CHAPTER 18 SCHUMANN 198 Papillons, Op. 2 198 CHAPTER 19 CHOPIN 205 24 Preludes, Op. 28 205 Study in E Major, Op. 10, No. 3 209 Nocturne in B major, Op. 32, No. 1 212 8 Nocturne in C sharp minor, Op. 27, No. 1 214 Waltz in A flat major, Op. 42 216 Waltz in C sharp minor, Op. 64, No. 2 218 Impromptu in F sharp, Op. 36 220 Fantasy Impromptu in C sharp minor, Op. 66 222 Scherzo in B minor, Op. 20 223 Scherzo in B flat minor, Op. 31 226 Four Ballades 228 Ballade No. 1 in G minor, Op. 23 229 Ballade No. 2 in F major, Op. 38 232 Ballade No. 3 in A flat, Op. 47 232 Ballade No. 4 in F minor, Op. 52 236 Fantasy in F minor, Op. 49 236 Sonata in B flat minor, Op. 35 241 CHAPTER 20 LISZT 247 Grosse Paganini Etüden, Bk. II, No. 5 in E major 248 Valse Impromptu 250 Liebesträume, Notturno No. 3 251 Two Concert Studies: 254 Waldesrauschen 254 Gnomenreigen 255 Ballade No.2 in B minor 256 Années de pèlerinage 261 Les jeux d’eau de la Villa d’Este 261 2 Legends: 263 St. François d’Assise La prédication aux oiseaux 263 St. François de Paule marchant sur les flots 265 CONCLUSION 269 APPENDICES 270 Appendix A List of Musical Examples by Chapter 270 Appendix B List of Musical Examples by Composer 280 LITERATURE CITED 289 TILLY FLEISCHMANN 1882-1967 292 LITERATURE ON TILLY FLEISCHMANN 294 BIOGRAPHICAL NOTES 2014 EDITION 296 INDEX 297 9 ILLUSTRATIONS Cover: Franz Liszt with his pupil Bernhard Stavenhagen, London April 1886 Photograph: W. & D. Downey Frontispiece: Tilly Fleischmann-Swertz 2 Munich 1910 Berthold Kellermann 25 Professor of Piano at the Royal Academy of Music, Munich Photograph: Hilsdorf Munich Tilly Fleischmann-Swertz, 1929 30 Photograph: Arthur Leupold, Cork Bernhard Stavenhagen 181 Director of the Royal Academy of Music, Munich Photograph: Friedrich Müller, Munich Ladies of the Stavenhagen Piano Master Class 182 Royal Academy of Music, Munich 1903 Beethoven playing for a blind girl (‘Moonlight Sonata’) 188 Painting by Wenzel Ulrik Tornøe Bornholms Kunstmuseum, Gudhjem, Denmark Robert Schumann 197 Lithography by Josef Kriehuber, Vienna 1839 Fryderyk Chopin 204 Painting by Eugène Delacroix, Musée du Louvre, Paris Franz Liszt 245 Marble bust by Max Klinger 1904, Hochschule für Musik und Theater, Leipzig Liszt Valse Impromptu in A flat 246 Painting by Harry Clarke Images from the Tilly Fleischmann Papers Fleischmann Collection, Archives, University College Cork 10 RUTH FLEISCHMANN PREFACE TO THE 2014 EDITION Tradition and Craft in Piano-Playing is now published for the first time in its original unabridged form, sixty-two years after it was written. The author, Tilly Fleischmann née Swertz, was born in Cork in 1882 to German parents. Her father sent her at the age of nineteen to study at the Royal Academy of Music in Munich with the pianists Bernhard Stavenhagen and Berthold Kellermann, both pupils and close associates of Franz Liszt; she graduated there in 1905. Her years in that great centre of continental culture left an indelible impression, her experiences constituting the foundation for her long career as performer and pedagogue. It was the composer and folk music collector Herbert Hughes who suggested she ought to write a book documenting what she had learnt in Munich about the Liszt tradition of piano-playing. After Hughes’s unexpected death in 1937, she resolved to follow his advice; by 1940 she had started the work, and completed it before the death of Arnold Bax in 1953, to whom the book is dedicated. That year her son began a long and unsuccessful quest for a publisher. Ireland was at that time an impoverished country in which the arts generally and music in particular were deplorably neglected. The Arts Council had only just been founded, with a budget of a mere £10,000 per annum; there was no prospect of securing funding for such a book. The London literary agent Curtis Brown failed to find a publisher in Britain and the USA, as did Aloys Fleischmann’s musician friends and contacts. It was a cause of grief to him and to his mother that the years of work on the book had been in vain. Shortly before her death in 1967, she remarked sadly to one of her students that perhaps in a hundred years’ time somebody might come across the manuscript in a drawer somewhere and might then be able to find a publisher for it. But partial publication, at least, was to come very much sooner. Four years after Tilly Fleischmann’s death, her student Michael O’Neill decided to try again. As before, the publishers to whom the typescript was sent were impressed by the content but dismayed by its size and by the number of costly music illustrations. O’Neill then abridged it, but still to no avail. So in the early 1980s, he began organising a private publication of the edited version entitled Aspects of the Liszt Tradition. He wrote to hundreds of people; undertook the music engraving himself and had 350 copies printed in 1986, the centenary of Liszt’s death. In 1991 the Wendover music publisher, Kenneth Roberton, reissued the book together with the Theodore Presser Company of Pennsylvania. A decade later, while doing research for an exhibition in Dachau, the Bavarian town whence the Fleischmanns had come to Cork, the music historian Josef Focht and the director of the District Museum, Ursula Nauderer, discovered the family.1 Aspects of the Liszt Tradition had been presented to the director of the Bavarian State Library in 1986 and included in its exhibition 1 The exhibition ‘Musik in Dachau’, held at the town’s District Museum, served as a pilot study for Josef Focht’s major project, Bavarian Musicians Lexicon Online (BMLO) undertaken for the University of Munich in cooperation with the Bavarian State Library. See: http://www.bmlo.lmu.de/
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