The Keyboard Concertos in the 18th Century: �A Historically Informed Approach
Dr. Tung Nguyen
Oregon State University
KEYBOARD/PIANO CONCERTOS IN STANDARD REPERTOIRE?
J.S. Bach
Mozart
Beethoven
Chopin
Schumann
Grieg
Brahms
Tchaikovsky
Rachmaninoff
PERFORMANCE PRACTICE
“The Pianoforte however has not only the principal part, but it must also to a certain extent be independent, and the orchestra only enters, as a combined mass, in the tutti, where the pianist rests. The single parts of the same (particularly the wind instruments) may likewise receive little solos, whilst the Pianoforte accompanies, or co-operates with passages.”
Carl Czerny, The School of Practical Composition, Op. 600 (London, 1846)
“During the Tutti (of a concerto, &c.) the Player should at most, only touch the instrument softly along with the orchestra at the Fortissimo passages; or what is still better, he should abstain from playing at all.”
Carl Czerny, Pianoforte-School, Op. 500 (London, 1839)
Johann Sebastian Bach, Brandenburg Concerto No. 5 in D major, BMW 1050 (Holographic manuscript, 1721)
Carl Phillip Emanuel Bach, Keyboard Concerto in E-flat Major, H.446 (partially holographic manuscript, 1759)
Johann Christian Bach, Concerto for Harpsichord No. 4, Op. 13, Solo keyboard part (London, ca. 1777)
Joseph Haydn, Keyboard Concerto in D Major, Hob.XVIII:11, solo keyboard part (Journal de pieces de clavecin par differens auteurs, No.7, Paris: Mr Boyer, Mme Le Menu, n.d.[1784])
Joseph Haydn, Keyboard Concerto in D Major, Hob.XVIII:1I, solo keyboard part (Amsterdam: J. Schmitt, n.d.[1786])
Wolfgang Amadeus Mozart, Piano Concerto No.12 in A major, K.414/385p, Holograph manuscript, 1782
Wolfgang Amadeus Mozart, Piano Concerto No.12 in A major, K.414/385p, solo piano part (First edition, Vienna: Artaria, n.d.[1785])
REASONS BEHIND THE CHANGE?
The rise of the amateur musicians
The development of printing
The shift in the music market and patronage
The development of instruments and the modern orchestra
Johann Nepomuk Hummel,. Piano Concerto No.3, Op.89, (Leipzig: C.F. Peters [1821])
Ferdinand Ries, Piano Concerto No.9, Op.177, solo piano part, (Leipzig: Fr. Kistner, n.d.[1834])
OTHER ASPECT OF PERFORMANCE PRACTICE
Cadenza???
Improvisation?!
URTEXT
Definitive editions
Contains critical notes and important prefaces
Trusted by musicians
Closest reconstruction of the composers’ intention
PERFORMANCE PRACTICE IN URTEXT EDITION?
Henle
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Bärenreiter
HOW DO WE APPROACH THESE WORKS?
We have to acknowledge that these stylistic debates exist, and they both have valid arguments.
In addition to playing musically, every keyboardist should learn to improvise and to realize figured bass.
Consult musicological research beyond urtext editions.
Decide your interpretation based on all these information.
“…By extemporizing we are to understand, that the Performer, on the impulse of the moment, without preparation, and often too without reflection, plays something, which if we may say so, comes spontaneously under his fingers, and which nevertheless possesses to a certain degree, all the properties of a written Composition, and in which, consequently, Melodies - and brilliant passages alternate in a tasteful or elaborate manner…”
“…It is not only allowed, but it is even considered as an Ornament and an additional charm in extemporizing, when the Player, at the proper moment, interweaves foreign ideas and melodies, and develops them in any manner which is usual in music. For this purpose, he must choose such known melodies as enjoy the favour of the public…”
Carl Czerny, Pianoforte-School, Op. 500 (London, 1839)
Carl Czerny, Pianoforte-School, Op. 500 (London, 1839)
Thank you for your attention!