By Heinrich Schenker; Heribert Esser (ed.)

Trans. Irene Schreier Scott

Heinrich Schenker's The artwork of Performance indicates this nice song theorist in a brand new mild. whereas his theoretical writings helped rework tune conception within the 20th century, this booklet attracts on his adventure as a musician and instructor to suggest a pointy reevaluation of ways musical compositions are learned in functionality. jam-packed with concrete examples and diverse feedback, the publication will curiosity either tune theorists and practising performers.

Schenker's procedure is predicated on his argument that a lot of latest functionality perform is rooted within the nineteenth-century cult of the virtuoso, which has led to an overemphasis on technical show. To counter this, he proposes particular how one can reconnect the composer's intentions and the musician's functionality.

Schenker starts through displaying how performers can reap the benefits of knowing the legislation of composition. He demonstrates how a literal interpretation of the composer's symptoms will be self-defeating, and he offers a full of life dialogue of piano approach, together with feedback for pedal, sound colour, orchestral results, and stability. He devotes separate chapters to non-legato, legato, fingering, dynamics, pace, and rests. as well as the examples for pianists, Schenker covers a few themes, resembling bowing process, that may turn out precious for different instrumentalists and for conductors. The publication concludes with an aphoristic and occasionally lyrical bankruptcy on training.

After Schenker's demise, his scholar Oswald Jonas ready the textual content for book from Schenker's notes, ultimately leaving the manuscript to his stepdaughter, Irene Schreier Scott, who entrusted the paintings of organizing and enhancing the disparate fabric to Jonas's pal and scholar Heribert Esser. She later translated it into English. This version is the 1st book in any language of this amazing paintings.

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6 Chopin, Mazurka op. 30, no. 1, mm. 7 Chopin, Mazurka op. 24, no. 2, mm. 8 Brahms, Waltz op. 39, no. 3, mm. 1-6 (see Plate 2) Proximity of the Piano to the Orchestra Pedal No matter how much has been written and taught about this special mechanism of the piano, its true nature has remained concealed. One can best understand it by comparing the piano with the orchestra. Since the piano cannot provide all sustaining voices as the orchestra can, pedal gives it the possibility of compensating for these missing parts.

Later developments such as chordal writing, multivoiced spreadout reaches, specifically indicated legato (which often because of the many voices cannot be carried out strictly), and pedal technique force us to use similarly free fingering today. Similar freedom, different cause. The free mobility of the "soul" of a work of art ever will demand total freedom of fingering. The normal hand position, centralizing the fingers 1-5, is always the point of departure. " Larger reaches—the spreading out of the fingers—must be based on the synthesis or at least on a technical need.

24, var. 6. Likewise, dissembling of a lower order includes the legato of double notes or chords. In such cases, it is entirely sufficient to use a legato fingering in the upper or, where appropriate, lower voice of the interval in question. At any rate, this "one-sided" legato will simulate legato in all voices, benefiting also those notes that were not played legato. Where it is impossible to use such a one-sided fingering, a mere gesture of the hand can substitute for a true legato. In this succession of tones, for instance, the hand must "dig into" the D, from there moving on to f tt with a faint motion; the held-over sound thus provides the legato.

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