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Beethoven's Piano-playing: With an Essay on the Execution of the Trill
Franz Kullak,Theodore Baker
No preview available - 2009
Beethoven's Piano-Playing: With an Essay on the Execution of the Trill ...
No preview available - 2015
accented according Adagio after-beat Agricola Allegro Andante appeared appog appoggiatura Artaria Bach Bach's beats Beethoven play Berlin Biogr Biography Breitkopf & Hartel C-major Concerto C-minor Cadence caesura cantilena Cappi Carl Czerny Clavierschule Clementi Comp composer composer's compositions Cramer Czerny's Diabelli dissonance double trill earlier Editeurs editor example execution fingering further giatura grace-note hand heard Herr higher auxiliary Hummel improvisations indicated instruction interpretation kolon Kunst des Vortrags later legato Leipzig likewise Ludwig van Beethoven marked Marpurg Maurice Schlesinger measure method metronome metronome-marks minor second movement Mozart Musique Neefe Nohl Nottebohm ordinary trill original edition passages pianists piano piano-playing piano-works Pianoforte Pianoforte-Method player Pralltriller preceding principal note probably publ published pupil quarter-notes register-number rhythmic Ries Rondo Royal Library says Schindler Schlesinger short slur Sonata staccato style Symphony tempo rubato tempo-mark Thayer theme theory tion tone Tosi Tremblement trill begins trill-note Vienna Wolffl
Page 4 - ... disrespect for the niceties, would swarm all over the piano with complete confidence and freedom, storming the most distant keys, swinging through the most abstruse modulations. His originality was hailed from the very beginning. Carl Ludwig Junker in 1791 pointed out that Beethoven's playing "differs greatly from the usual method of treating the piano, that it seems as if he had struck out an entirely new path for himself.
Page 12 - ... played it as well as he. On this day I had a lesson which lasted nearly two hours. If I made a mistake in passages or missed notes and leaps which he frequently wanted emphasized he seldom said anything; but if I was faulty in expression, in crescendos, etc., or in the character of the music, he grew angry because, as he said, the former was accidental while the latter disclosed lack of knowledge, feeling, or attentiveness. The former slips very frequently happened to him even when he was playing...
Page 7 - Cramer himself said in later years that all in all " Beethoven was, if not the greatest, certainly one of the greatest and most admirable pianists that he ever heard, both as regards expression and dexterity.
Page 10 - Hence it came that Hummel's pearly and brilliant style, so well adapted to the times, was, of course, much more intelligible and attractive to the general public. But Beethoven's playing of the Adagio and Legato in the strict style exercised a wellnigh magic influence on every hearer, and has never, so far as I know, been surpassed by any one
Page 13 - As a player he is, to be sure, inferior to many others in elegance and technical accomplishments; besides, being hard of hearing, he played rather loud. But one lost sight of these defects when the master disclosed the depths of his soul.
Page 5 - True, an important difference was apparent in the style of these two; the roundness, tranquillity, and delicacy of Mozart's style were foreign to the new virtuoso; on the other hand, his enhanced vigor and fiery expression affected every listener.
Page 87 - ... Beethoven, who heard him play and at once offered to teach him. Czerny made rapid progress, and devoted himself especially to the study of the works of his master, whose friendship for him became quite paternal. Czerny also profited much by his acquaintance with Prince Lichnowsky, Beethoven в patron ; with Hummel, whose playing opened a new world to him ; and with Clementi, whose method of teaching he studied.
Page 34 - Concertos, we still feel obliged to declare that even with an exact observance of all dynamic expression-marks a " soulful" interpretation is not arrived at. As long as nothing more is done, the interpretation will usually prove stiff and void of expression; and the hearer may well say, " The performance did not move me.
Page 7 - His playing was but little cultivated, not seldom violent, like himself, but always full of spirit.
Page 6 - ... peculiar characteristics of the great pianists of the Continent. In Vienna he renewed his intercourse with Haydn, whose prime favorite he had been in England, and at once became extremely intimate with Beethoven. Cramer surpassed Beethoven in the perfect neatness, correctness and finish of his execution; Beethoven assured him that he preferred his touch to that of any other player; his brilliancy was astonishing; but yet taste, feeling, expression, were the qualities which more eminently distinguished...