Andreas Streicher's Notes on the Fortepiano: Chapter 2: 'On Tone' Author(s): Richard A. Fuller Source: Early Music, Vol.

12, No. 4, The Early Piano I (Nov., 1984), pp. 461-470 Published by: Oxford University Press Stable URL: http://www.jstor.org/stable/3137975 . Accessed: 10/03/2011 04:59
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RichardA.Fuller
Andreas Streicher's
notes
on

the

fortepiano

Chapter2: 'Ontone'
during her father's final illness. The family's arrivalin Vienna marked the real beginning of the Streicher piano-making firm, which was to continue under various names until 1896.1 They quickly established themselves as artists and artisans of the first rank. As des WienundPrag early as 1796 the Jahrbuch Tonhunst: named 'Madame Streicher' as one of the three great Viennese piano makers (the others were Walter and Schanz). It reports further that 'it is quite certain that we have at the same time two original instrument makers, namely Walter and Streicher; all the rest follow either one or the other'.2 The earliest Streicherinstruments resembled those of J. A. Stein: they were lightly constructed, fiveoctave instruments typical of the period 1785-95. However, by 1809, if not earlier, a change may be discerned in the size and tonal quality of the Streicher pianos. In one of his 'confidential letters' (dated 7 writesabout a performFebruary1809),J. F. Reichhardt ance in the home of Nicholas von Zmeskall in which Dorthea von Ertmannperformed a fantasia by Beethoven: We had the good fortuneto hearFrau Ertmann a von play whichhada strength, soul and greatfantasiaby Beethoven whichdelighted of us. Itis notpossibleto hear all perfection moreperfectly thanon thisperfect instrument. It something wasa beautiful Streicher such an fortepiano, aswouldinspire 1 Andreas Streicher. Bust by Christian Mayer. entireorchestra. Streicher abandoned softness,light has the touchandyielding, tone of the otherViennese repercussive Following the death of J. A. Stein (1728-1792), in 1794 instruments, afterBeethoven's and wishesand advice,has AndreasStreicher(1761-1833) and his wife, the former madehis instruments with morekeyboard resistanceand Anna Maria (Nanette) Stein (1769-1833), moved the tonal flexibilityso that the virtuosowho can play with elder Stein's renowned workshop from Augsburg to strengthand convictionhas it more within his powerto Vienna. Up to that time, Streicher had been an ex- sustainthe sound as well as to controlthe fine points of and the perienced if unsettled pianist, teacher and composer. pressing releasing keys.His workis also of a good, Nanette, who at the age of eight had played the key- worthyand durablequalityseldomseen.3 board in front of Mozart, and who later advanced In their early years in Vienna (c1794-1801) it was sufficiently to attemptBeethoven's op.106 Sonata,had Nanette who handled the workshop and the business, also been schooled thoroughly in her father's trade; while Andreas devoted himself almost exclusively she had even assumed responsibility, perhaps as early (with great success) to piano teaching. However, the as 1791, for the running of the Augsburg workshop firm must have grown rapidly. The following excerpt
............................ .WK ....... .........

EARLYMUSIC NOVEMBER1984

461

from Streicher's lengthy obituary describes his transition from pedagogue to piano maker: Eventually the piano business demanded more and more until Nanette could no longer manage it alone. Andreas graduallywithdrewfrom teaching in order to assist his wife by actively participatingin the business. Although he was already in his 40th year (1801) when he threw himself with characteristiczeal into this hitherto now unknown craft, it was not long before he had penetratedand profoundly understood the mechanical art of piano making. His intimate acquaintance (as a player) with the treatment and requirements of an instrument on which he had performedand taught for many years soon enabled him, in collaboration with his wife, to endow his instrumentswith a genuine musical superiority which was cherished by connoisseurs and which other makers sought to imitate.4 Here we have a brief picture of Streicher as an instrument builder. But what sort of teacher was he?

training?-or, rather,if I am anxious about her progress?Forwithout wishing to flatter you, I must say that I know of nothing more or better to tell her than that you should supervise her progress and encourage her on my behalf.Well now, all good wishes, dear St[reicher],and continue to be my friend, just as I am wholly your sincere friend
L. V. BEETHOVEN

I hope to be able to visit you soon in person and then I will also let you have the number of my lodgings. Give my greetings to your dear wife.5

iuber das His KurzeBemerhungen

Erhalten der Fortepiano gives a fairly clear picture of his pianistic ideals; and it is also notable that he received the praise and support of Beethoven, who in 1796 wrote to Streicher:
MOSTEXCELLENT STREICHER!

Stimmenund Spielen.

[Vienna, 1796]

Indeed I must humbly beg your pardonfor replyingso tardily to your very obliging letter... When I tell you that my work, which is nearly overwhelming me, has prevented me from doing so, I am certainlynot telling a lie. Yourlittle pupil, dear apartfrom the fact that when playing my Adagio St[reicher], she drewa few tears from my eyes, has really astonished me. I congratulate you on being so fortunate as to be able to display through such a talent your own understanding of music; and, moreover,I am delighted that this dear little girl, who is so talented, has you for her teacher. I assure you in all sincerity, dear St[reicher],that this was the first time it gave me pleasure to hear my trio performed; and truly this experience will make me decide to compose more for the with proper string winding; (4) the pianoforte than I have done hitherto. Even if only a few (3) a tuning pin satisfied. Thereis no doubt instrument as a whole; and (5) a damper-rack frontpeople understandme, I shall be that so far as the manner of playing it is concerned, the piece. Chapter 1 discusses the mechanics of the pianoforteis still the least studied and developed of all Viennese action, tone production, tone quality, posture instruments;often one thinks that one is merely listening to for body, arm, hands and fingers, and proper relaxation. a harp.And I am delighted, my dear fellow, that you are one It warns especially against excessively hard playing. of the few who realize and perceive that, provided one can Chapter 2, 'On tone', is of special value to the modern feel the music, one can also makethe pianoforte sing. I hope and transit is of the
that the time will come when the harp and the pianoforte will be treated as two entirely different instruments. By the way, I feel sure that you can let your little pupil play anywhere and that, between ourselves, she will put to shame many of our commonplace but conceited organ-grinders. One thing more. I trust you will not take it amiss, most excellent St[reicher], if I too take a little interest in her 462 EARLY MUSIC NOVEMBER 1984 reproduced early piano; player lated below. Chapters 3 and 4 offer practical suggeston tuning, ions (though not detailed information) as well handling of the piano and string replacement, as general maintenance.

It is especially interesting that, in addition to his other activities, Streicher was an aspiring composer and arrangerwho produced a number of relatively little-known keyboard compositions. Theodore Bolte writes:'It was aroundthis time [the early 1780s]that he composed several ballets, piano sonatas, variations, exercises and sonatas'.6Streicher'spieces show him to be a competent, imaginativeexponent of the late 18thcentury keyboard style. Seen in the light of his Kurze they Bemerhungen illustratehis ideas of how a composer should write for the piano. It is Streicher'scombination of practicalexperience as pianist, teacher, composer and piano maker that its gives his KurzeBemerhungen special importance. The booklet was probablymeant to be presented with each Streicher instrument sold directly through the workshop, and although it does not attempt to be a compendium of 18th-century musical practice, it nevertheless provides a particularly clear and vivid description of how one should or should not attempt to play the piano. This is sometimes done wittily, especially in the comparison of a good and a bad consists of a title-page player. The KurzeBemerhungen followed by four chapters of text. There is one plate (illus.3), illustrating (1) Viennese action; (2) a damper

The publication appears to have been printed first in 1801 and reprinted in 1802.' These dates, together with

remarks the book's illustration,suggest that Streicher's are especially applicable to the smaller Viennese instruments of the five-octave type, though they are doubtless relevantto laterinstrumentsas well. Streicher modestly addresses his suggestions to musical amateurs, but his artistic expectations seem to have been quite high.
'The Streicher firm was first established in Vienna under the name Frere&Soeur Stein (or 'GeschwisterStein'),its title from 1794 to 1802; its subsequent renamings were as follows: 'Nanette Streicher, n6e Stein' (1802-23); 'Nanette Streicher, geb. Stein und Sohn' (1823-33); 'J. B. Streicher'(1833-59); 'J. B. Streicherund Sohn' (1859-96). der 2Jahrbuch TonkunstWien und Prag(Vienna, 1796), p.90 3J. F. Reichardt: Vertraute Briefe,ed. G. Gugitz (Munich, 1915), vol.7, p.311 Zeitung(2 March 1834), p.103 4Allgemeine musikalische of 5E.Anderson, ed. and trans., TheLetters Beethoven,i (London, 1961), pp.25-6 Stein und Streicher 6T. Bolte: Die Musikerfamilien (Vienna, 1917), p.23. I have recently attempted to assemble the piano works of Streicher, and have so far located several sets of variations, the Sonata no.2 in F, a capriccio and a collection of exercies; many of these appear never to have been published. 7The two copies in the Gesellschaft der Musikfreunde, Vienna, carry these respective dates, but are otherwise identical.

Kurze

Bemerkungen
Abet das

Spielen, Stimmen und Erhalten, der Fortepiano,

welch*

/Pc,

Stein in

lien

verfertiget werdea.

nor Ausschlie.rund fuir die Be.itoer disser

Instrumento aufgesjctzt,

4;t " '

2 KurzeBemerkungen... Title page with ms additions made after the name of the firm was changed (see fn.1). The original read welche von Geschwister Stein in Wien. .

Kurze Bemerhungen uiberdas Spielen, Stimmon und Erhalten der Fortepiano, welche von [Nannette Streicher] Stein in Wien [gebomrne] werden. verfertiget Ausschliessend nur ffir Besitzer dieser Instrumente aufgesetzt, [von Andreas Streicher]

Notes on the Playing, Tuning and Maintenance of the Fortepiano manufactured in Vienna by [Nanette Streicher nee] Stein Written exclusively for the owners of these instruments [by Andreas Streicher] On tone
It is very difficult, if not impossible, to agree upon what constitutes a really beautiful instrumental tone since everyone has a more or less different idea about it. For this reason, some prefer a sharp, cutting or shrill tone; others, on the

Vom Tone
wo den InstrumentEs istsehrschwer, nichtunmoglich, schdnsten alton zu bestimmen. JederMensch hat sein eigenes,von einem andern mehroderwenigerverschiedenes Gefihl Diesemmissen wires zuschreiben, einigenurScharfe Schneidende dass grelle" anderehingegenvoile runde molligte Tonelieben.Ohneeiner zu dass, Meinung nahezu treten, hannman aberdochannehmen, wenn so wohl die einzelnenals zusammenIlingendenTonedes odernrdhren sollen;sie sich,so sehr Fortepiano Gefallen erwechen als nur moglich,dem Toneder besten Blasinstrumente ndhern muissen. Ist derToneinesFortepiano anders, sogenannter (ein Silbertort derabersehr Eisenton wird,) bald,besonders starhem bey Spielen, so grenzter schon an das trockene diinne und ist zu magere" weit von der Ahnlichkeit der Menschenstimme, denen mit oder Instrumenten entferntwelche durchihrerunden, ganze Ohr dos so Tone, mdchtigauf unser Gefiihlwirken. ausfiillenden

tone. Without offending contrary,prefer a full, well-rounded

anyone however, it can be assumed that if the tone of the fortepiano is both to move and please the listener, it should, as much as possible, resemble the sound of the best wind instruments. If the tone of a fortepiano is otherwise (a so-called 'silver

becomesan 'irontone'if tone',whichverysoon, however,

played too heavily), it is already on the verge of being dry,thin

ormeagre, is thustoo farremoved resemblance the and in to

human voice, or to those instruments which, through their fullness of sound, fill the ear with tone and strongly affect our feelings. EARLY MUSIC NOVEMBER 1984 463

ist Steinischen The tone of the Stein fortepiano is modelled exclusively Fortepiano der Tonganz nach dem Bey einemrn so schon alles according to this ideal, so that in its keyboard, everything Idealegebildet, wie in seinerTastatur angegebenen zu des vorbereitet was derSpieler jederGattung musihalischen that the player needs for every type of musical performance ist is already prepared. Vortrags braucht. It is the responsibility of the performerto apply carefully Es wirdalso nurnochan Ihm liegen,ob erdas, was obenfiber anwenden what has been said previously about touch,* and thus to den Anschlaggesagt wordenist, mitAufmerksamheit auf sein will,damiter umso leichter Instrument die Artsprechen permithis instrumentto speak in the mannerthatit should.It lassen hann, wie es sprechensoll. Es ist wahr, eine schone is a fact that a beautiful tone production in fast, difficult and und Spielen, full-voiced playing is quite easy and no more impossible schwierigem, vollstimmigen bey Tongebung schnellem, ist ist nichts wenigerals leicht Alleinunmoglicher es dochauch than anything else which one has practisedvery well. Sache,die man vollkommen gut ausuiben nicht,als jedeandere Take, for example, the singer or the wind player. How will manyof them take the troubleto shape theirtone beautifully? zum die Man nehmedie Sdnger, Blasinstrumentisten Muster How manythousands of hours the violinist worksin orderto WievieleMuhegebensich diese,um ihrenTonsch6n zu bilden! escape the reproach that he has a bad tone. Should the um der arbeitet Violinist, demVorwurfe keyboardplayer be excluded from this indispensable study? Stunden wie vieletausend er zu entgehen; habe einen schlechten Ton SolltederClavier- Would he also have so little insight as to think that the Studiumaus- perfect instrument that always gives the correct tone spieler allein sich von diesem unentbehrlichen schliessenwollen?Sollteer so wenigEinsichthabenzu glauben, (whether it is treated well or wrongly) could be created for Mechanikihm ein Instrument him? It is impossible for anyone to have such an opinion. dass auch die vollhommenste Ton den erschaffen h6nne,welchesimmer richtigen gibt,es moge Only a lack of proper instruction could be the reason why, hannjemanddiese occasionally, an amateur fails to handle his fortepiano werden? oderfalsch behandelt gut Unm6glich ist haben.NurderMangeldes Unterrichts daranSchuld, suitably. If he only had the determination and took the Meinung wennhierundda einLiebhabersein Fortepiano nichtzwechmdssig trouble to train his ears, a great deal could be accomplished Man gebe sich nurMiihe,man habe nur den Willen very quickly. behandelt. dazu,man machesein Ohraufmerksam It would not be difficult to cite all the rules which, when daraufso wirdsehr bald unendlichviel gewonnenseyn. followed, produce good tone or, when avoided, produce a Es wdre nicht schwer, alle Regeln, welche so wohl zur bad one. However, it will be of greater value to musical eines eines Hervorbringung guten,als zur Vermeidung schlechten amateurs and make a deeper impression on them if these Alleines wirdwohl rules are illustrated by describing two types of heyboard der Tonesbeytragen, Reihenach anzufuihren. die durch Schilderung playing. Nutzen vongrosserm seyn,wenndieseRegeln von zwey Gattungen des Clavierspielens lebendigdargestellt, Imagine, if you will, a true musical artistwho is before us werden. und dadurchdemMusikliebhaber tiefereingeprdgt now playing the fortepiano publicly or socially. With a der Man denhesich einenwahrenTonhunstler, geradejetzt im demeanour which shows that music gives him pleasure, he zu seats himself at his instrument and at the same time shows oder ist, Fortepiano Begriff offentlich auchin einerGesellschaft, Mit einerMiene,welchezeigt,dass ihm selbst dieMusih us through his bearingthat he knows what constitutes good spielen. und mache,setzt er sich zu seinemInstrumente, gibt playing. Vergnigen zu dass er As he runs his fingers over the keys, the very first notes sogleichdurchdie Haltungseines Korpers erhennen, weiss, was zum guten Spielegeh6rt. which escape his fingers areso lightsolid,neatandso naturally und das Er ubergeht Clavier, schon die erstenToneentfliessen beautifulthat no one is even aware of the artistry. seinen Fingernso leicht, so kernhaft, so nett und doch so In running passages, the position of thearms,thehandand sie dass an dieKunst, so zu geben, niemand the action of the fingers themselves is extremelyquiet. No gar sch6n.r natifirlich movement betraystrouble or strain. The keyboard,under his denht. ist die Haltungdes Arms,der Hand, hands, is a soft, pliant mass fromwhich he can shape tone as Spiele Beyfortlaufendem der Gang der Finger selbst, fusserst ruhig KeineBewegung he wishes. Likethe beautiful lines of a painting,all shades of Die Muhe oder Anstrengung. Tastaturist unterseinen increasing and diminishing notes melt into one another. verrdth Hdndenwie eine He plays with all the ardourof a masculine artist but his willigeMasse, aus der er Tonebilden weiche, sind des hann,wieerwill WiebeyderSchonheitslinie Mahlers alle tone always remains beautiful, becausehe seeks to play forte than through morethrough full-voicedharmonies Schatterungen des wachsenden und abnehmenden Tones in andfortissimo
einander geschmolzen. und immer Er spielt mit allem Feuer des mdnnlichen Kiinstlers, bleibt sein Ton noch schon, weil er das Forte und Fortissimo mehr durch vollstimmige Harmonien, als durch einzelne Tone zu geben sucht Seine starhen Accorte arten nie in das schneidende Geschrey aus, welches nur in Symphonien oder Theaterscenenan seinem Platz ist, eben so wenig suchtersie durch "Inhis first chapter, Streicher discusses the requirements for a good touch: suppleness, a quiet hand, minimal finger action, wellcurved fingers (but strikingonly in the fleshy partof the finger) and precise finger motion. He also warnedrepeatedlyagainstexcessively hard playing. It is clear that Streicher'stechnical approach to the fortepiano at this time (1801-2) is firmly based in harpsichord technique (a comparison with Rameau'sadvice is instructive.)

464

EARLYMUSIC NOVEMBER 1984

notes.His strong chords never resemble a piercing Hauen oder Hacken auf die Tasten,also vielmehrdurch ein individual die nerv6ses Anprellenzu erhalten Mussaberdennoch h6chste cry, which is appropriateonly in symphonies or theatrical so Stdrke gegebenwerden, wird er sie lieberdurchden Bass als pieces. Even here he tries to produce tone less through nicht so viel hacking and chopping at the keyboard;ratherhe produces it weil er dann dem Instrumente Discant bewirken, nicht beschwerlich schadet,und dem Ohreder Zuh6rer through a quick efficientattack. If, however, the greatest fdllt. Sein Piano oder Pianissimo ist in denschnellenso wie in den strength must be used, he prefers to achieve the effect Notenimmerdeutlich. Erweiss,dass nurdiess,aber through the use of the bass as a melodic voice for then the langsamen auch nur diess allein das allerh6chste Vergniugen gewihrt, instrument is not damaged, nor the ears of the listeners too wenn leise Thne auf das genaueste und gewisseste gegeben offended. nicht iber das zweifelhaftist, was er In fast as well as slow passages, his piano orpianissimois werdert und der Zuhorer with dus He schdn!vortrefflich! belohnt reineGefrhl alwaysproper. knows that whenlightnotesareproduced gehorthat Ein bravo! the the utmostexactness certainty, and this aloneaffords and this des Spielersauf derStelle. Das Crescendo,so lang auch derZeitraum den es dauemrnlistenerthegreatestdelight,so that he has no doubt as to what sey, Ton he has heard. 'Bravo','beautiful','excellent' rewardthe pure ob soll, weiss erso zu geben,dass mannie bemerkt, derjetzige stdrkerist als der vorige war Und dennoch wird er uns feeling of the player immediately. He knows how to produce a crescendo unvermerktauf die h6chste Stufe des Fortissimoffihren, so (which should last as wie er auch durch das Decrescendo das gespannte Geffihl long as the time allotted it) so that one never notices whether a note is louder than the one before it. And if he leads us, wieder zur Ruhe bringt. he the to demFortissimotduschteeruns durchdas Hinaufdriicken imperceptibly, thehighestdegree Bey offortissimo, also brings der Dadmpfung, dass wir glaubten, eine Orgel,die Fille eines tensionto a point of rest by means of a decrescendo. zu he Jetztim Pianissimozauberterdurch In a fortissimo, makes us believe that we are hearing an ganzen Orchesters horen. her. eben dieses Mittelden sanften TonderHarmonica organ or the fullness of an entire orchestra through the die lifting of the dampers. In a pianissimo, he conjures up Wierein,wiefl'tenartigklingendieDiscant-T6ne, wadhrend setzt! Wie voll through the same means the gentle sound of the glass linkeHandihnen consonirende Accorde entgegen lautetderTondesBasses,welcher elastisch leicht angeschnellt harmonica. wird Sparsam bringter diese Schonheitan, damit der o6ftere How pure, how flute-like the notes of the treble sound nicht seine Wirkung while the left hand harmonizes with chords. How full the Gebrauch verfehle. Er weiss jeden Ton singen zu lassen, ohne sein Instrument bass notes sound; they are so easily and flexibly articulated. weil anzustrengen; er jeder Taste den geh6rigen Anschlaggibt He employs this beautiful effect sparingly for fear that Die Hauptstimmedringt immer hervor,denndie sie begleit- through too frequent use it will fail to make its effect. entenNotenwerdenmit Vorsicht etwas schwicher He knows how to let every note sing without straining his angegebenr Sollten auch Melodieund Begleitungin der ndhmlichen Hand instrument, because he gives each note its appropriate liegen;so weiss er dennochden Hauptton krftiger als den emphasis. The principal voice is always clearly audible begleitenden auzuschlagen, und macht uns dadurch den because the accompanyingnotes are alwaysplayed carefully Stimmen, das deutlichste and morequietly. Yetshould the melody and accompaniment Gesangmehrerer, auf zugleichgehender hdren. lie in the same hand, he can still play the principalnotes Sein schnelles Staccato, wie leichtist diess!wie ruhigist die strongerthan the accompanyingones; he thus makes the so der Hand,undwie rundlautetdennoch Ton, kurzerauchdauert! melody louder and more distinctly audible than the accomwie schon panying voice. Man hareseine gezogenen (geschleiften) Note" How light is his quick staccato, how quiet the hand, and und sondernsich dochalle ab. hangensie zusammern, wie richtig als bis die folgende ihren how rounded the tone, however brief the note. Kein Finger hebt sich frifiher auf, Hear how beautifully his slurred notes are grouped Anfangnimmt;keinerbleibt linger liegen, wenn die folgende Note schon den Anfang genommen hat together and especially how correctly they are all released. the warumwirallesso klarhoren, warumdie Nofingeris raisedbefore nextoneplays;noneremains Diess ist die Ursache, past the the next note. Tdneso fliessend daherrollen. of beginning This is the reason why we hear everything so clearly and Rein, den gleichstenPerlendhnlich,ist sein Triller;weil er keinen Fingerh6her als den andern hebt dadurch hannerihn why the notes flow so fluently. schneller machen; er hann ihn auf den hochsten Grad His trill is pure, like matched pearls, becausehe lifts no
langsamer, anschwellen und wieder ausloschen lassern Wie schon prallen seine Doppelschlaige, Mordenten, oder kurze Triller ab; weil er die Finger nahe zusammen h~ilt,und nicht durch das Herbeyziehen derselben auch nur den kleinsten Theil Zeit verliert Im geschwindesten Tempo schlagt er den nahmlichen Accord schnell und oft nach einander an. Nie versagt ihm ein Ton Man finger higher than another; through this means, he can make it slower or faster. How beautifully his turns, mordents and short trills resound, because he holds his fingers close together and loses not the least bit of time in the finger action. In the fastest tempo he can play the same chord quickly and repeatedly without missing a note. The listener thinks he EARLY MUSIC NOVEMBER 1984 465

dam=
i
-#.

"

rowr

.'.!

,.

3 Kurze . Bemerkungen. . plate Tone ohneUnterbrechunggleich fortdauern stark glaubt dieselben zu horen. ihn istdiess leicht,weilseineHanddieruhigste Fur Lage hat Seine Finger bleibenzwar immerauf den Tasten liegen; dennoch aber heben sie sich so hoch, dass die TastenPlatz gewinnen,wiederin die Hohezu gehen,damitderSchnabeldes Hammers neuenDruche dieTangente in hann. beyjedem eingreifen So wenig er sein Fortepiano ebenso wenig ist er tyrannisirt, auch ein Sclave desselben.Kihn ziberlasst sich demganzen er Feuerder alleinderreineGeschmach die Zigel, halt Begeisterung, und ldsst ihn nie in hassliche Toneausarten. Im weiss beydemAusdruche sanfter, trauriger Gefithle, Adagio, ersoschon,derherrschenden sein Empfindunggemass Instrument sprechenzu lassen. Richtig fihlend, behanntmit derMechanih, diess Geffihl den Tagzu geben,weiss er seine Tonewie Ohl an fliessen zu machen,ohne dass sie schleichern sein Piano so dass es unsereAufmerksamheit fesseln muss Den auszufiihren, Schmerzens wirderniegrell,oderdurchknirrschenden Ausrufdes lieber gemildertausdrichen;denn der Schmerz Ton,sondemrn erwechtbey dem Zuhorer bey dem Zuschauer alsdann wie nur wennerverschdnert, edeldargestellt und wird Gegenempfindung Vor dem rohen Ausdrucke flieht jedermann Der Spieler hdrt endlich auf und lasst die angenehmsten Eindriche in den Zuhorern zurich, welche nie unempfindlich wahre Sch6nheiten sind Wodurcherregteer unser gegen durchwas zwang erunsereBewunderung Nur ab? Wohlgefallen? 466 EARLYMUSIC NOVEMBER 1984 hears one sustained tone because the performer's hands are in the quietest position. His fingers always remain in touch with the keys, although he raises them high enough to permit the key to return to its place, thereby allowing the hammer beak to engage the escapement lever for each new stroke. He neither tyrannizeshis fortepiano, nor is he a slave to it. He boldly abandons himself to the fire of his inspiration; good taste alone holds the reins, never permitting him, through loss of control, to make an ugly sound. He knows how to permit his instrument to express the noble sentiments befitting the gentleness or melancholy of the adagio.If the player is richtig familiar with the fiihlend," action of the instrument and capable of communicating profound feelings, he will know how to make his notes flow like oil, and not creepalong. His piano is so preparedthat it must hold our attention. For the expression of sorrow, he never plays in a shrill or coarse manner,but ratherexpresses it gently; because sorrow, if it is beautified and nobly expressed, arouses in each listener, as in the observer,then, is the opposite feeling. Everyone repulsed crudeexpression. by

the *That his musicalsensibilities correct. are is, Clearly phrase and a both who suggests player understands the musiche is playing the instrument whichit is played. on

des dadurch,dass er die Beschaffenheit Fortepiano uberhaupt When the player has finished, he leaves behind the most dass er das ebenso gut hennt,was in derNatur pleasant impression on the listeners, who are never ingenau studierte; was ihr unm6glich oderfremdist sensitive to true beauty. How did he excite our pleasure? desselbenliegt als dasjenige, dass er sein GefUhl Grenzen Instruments den des unterzuordnen Through what means does he compel our admiration? hat, gelemrnt und durchdie richtigeKenntnissder mechanischen Because he has studied completely and exactlythe properties ohne der of the fortepiano, he knows perfectly well what lies within its Behandlung, (welchebeyjedemInstrumente, Ausnahme Statt Menschenstimme, findet)nun in den Standgesetzt ist, uns nature, as well as what is impossible or foreign to it. He has alles dos ffihlenzu machen,was er selbst ffihlt. learned to subordinate his feelings to the limits of the Es sey erlaubt, diesemBildeein anderes uberzu stellen, instrument and, through a correct knowledge of mechanical gegen welches zwar nicht nachahmungswzirdig aber wenigstens treatment(which happens in every instrumentincluding the ist doch zur Vermeidung Fehlerhaften des dienenkann. human voice), is now capable of making us to feel what he so Ein Spielermit demRufe:"er spiele ausserordentlich, etwas himself feels. habemanniegeh6rt"setztsich,(oder wirstsich) zum Fortepiano. Allow me to introduce into this picture the opposite type -Schon die erstenAccorde werdenmit einerStadrhe angegeben, of performer,who is indeed unworthyof imitation, but who dass man sich frdgt:ob derSpielertaubsey, oderseine Zuh6rer will serve to illustrate mistakes which should be avoided. seines Leibes, seinerArmeund A player of whom it is reputed, 'He plays extraordinarily, daffirhalte?Durchdie Bewegung scheinterunsbegreiflich machen wollen, zu wieschwerdie such as you have never heard', seats (or rather throws) Hdnde, Arbeitsey, welcheer untemrnommen Ergerdth Feuer, habe. in und himself at the fortepiano. Alreadythe first chords will have behandelt Instrument sein derseinen been played so that one asks oneself whether the player is gleicheinemRachsichtigen, unterden Hdndenhat, und mitgrausamer ihn nun deaf or believes his listeners to be so. Through the Erbfeind Luft will. langsamzu tode martemrn Er will Fortespielen,allein da er movement of his body, arms and hands, it seems he would schon im Anfange Thne die so ubertrieben, kanner keinenhdhern have us understand how difficult the workis which he has Gradvon Stdrkemehrheraus bringen.Er haut also, und hier undertaken. He operates in a fiery manner and handles his verstimmen pl6tzlichdie misshandeiten sich Saiten,dortfliegen instrumentlike someone bent on revenge, someone who has welchesich eiligzurick ziehen,um his arch-enemy in his hands and, with sadistic pleasure, einigeunterdie Umstehenden, ihreAugenin Sicherheit setzen.Bey diesereinzelnen zu Notesteht wants to torturehim to death. If he wants to playforte,he has ein Sforzando!-Glhichlicher Weise hdlt der Hammer, hdlt die already so exceeded it at the beginning that he can produce Saite noch aus. Aber hdren Sie, wie der Ton knirrscht,wie no greaterdegree of volume. Hepoundsso hardthat suddenly schmerzlich dem Ohre er Feuer fdllt!Leidenschaftliches verwandelt the maltreatedstrings are put out of tune; several fly in the er zur Wuth,die sanften Empfindungen er drnickt durchkaltes direction of bystanders who hurriedly retreat to safety in Grad Spielen aus-Da eralles auf einenh6hemrn spannt,so ist es order to protect their eyes. Over this note is a sforzando! natfirlich,dass er das Fortepianobey dem Ausdruckedes Luckilythe hammeras well as the stringcan withstand it. But Schmerzensschreyen und heulen ldsst, und beym raschen, hear how the tone grates, and how painfully it falls upon the ear. Ardentpassion he transforms into rage and the gentler lahm schldgt freudigenGangderMusik,Tastenund Hdmmer und Schatten Licht-in einander Wachsen und sentiments he expresses through indifferent playing. Here verschlungenes Abnehmen Tone, fir ihn zu kleinlich: der ist diessgeh6rtnurffir he plays at a higher volume; it is only naturalthat he makes Weiber the fortepiano shriek and howl in the expression of sorrow. Jetzt kommtein Crescendo; Schade,dass man nichts davon In quick, joyful passages, keys and hammers strike lamely. gewahr wird,weil nur die ersteNote schwach,die zweyte aber Light and shade-the intermingling of the increase and schon wiederzu stark war decrease of tone-is too fussy a matterfor him; this is only Doch!-Nun kommt das Adagio!Ndhemrn sich, sch6ne for women. Sie er zu Now comes the crescendo. It is a shame nothing will come Zuh6rerinnen, will mit den Ellenbogen ihnensprechen!SehenSienicht,wieschmachtend sie erdiesegegen ausstrecktwie of it because only the first note was soft; the second was das ubermdichtige sich Geftdhl des LeibesundderArmebemeistert already too loud. hat?Leider! die rickwdrtsSitzenden nichts,von diesemnur Nevertheless, here comes the adagio! Draw nearer my h6ren sichtbaren Ausdruck, auch k6nnen sie sich die undeutlichen, good listeners, he wants to speak to you with his elbows. Can stammelnden Tone nicht erkldren. Aberwarumhat auchdier you not see how tastefully he stretches them out, how he has gar
Spieler ein so eigensinniges Instrument, das nur seinen Fingem, aber nicht seinen Gesticulationen gehorchen will? Warum sind die Krafte der Natur und Kunst zu klein, um so ein machtiges Gefzihliberall hinstromen lassen zu konnen? restrained the overwhelming feeling of the body and the arms? It is a pity the people sitting at the back can hear nothing from this purely visual expression; neither can they hear the inarticulate, faltering notes. But why, too, does the player have such an obstinate instrument that it will only obey his fingers and not his gesticulations? Why is the power of nature and art so small that it cannot express this mighty feeling? EARLY MUSIC NOVEMBER 1984 467

Jetzt spielt er mit derBegleitung Orchesters, gibt sich des und alle Miihe,mit seinem einzelnenFortepiano ibrigenInstrualle menteauch im stirksten Tutti zu uberschreyen. Nun accompagnirt denSdnger! er Wehediesem! KeinTonwird aus seinerKehlekommen, nichteinige dem Notenin den gehachte Weggeworfenwerden. in da Puffwas wardas?ErhatdieDdmpfung dieH6hegehoben; ihm abernichts so geldufigist als Gewalt, hat er sie an das so Clavier aber nachahmen, er gestossen.Jetztwill erdieHarmonika und dissonirende bringtnur herbe Tone heraus:consonirende Accordefliessen unter einander,und wir bekommennur ein widerliches zu Gemengsel h6ren. Kurze Notenst6sst ermitArmundHandzugleichpolternd ab. so sie Soil er Tonezusammenziehen (schleifen), vermischen sich unter zu weil er nie einenFinger rechter aufhebtZeit einander, Sein Spiel gleicht einer Schrift welche man bey noch nicht auswischt Tinte, trochener heinwohlthuendes Piano!muss er es auch einige Manerwarte mit Tactelang spielen,so wirder den angenehmen Eindruck den SpitzenseinergrellenToneschon wiederzu t6dtenwissen. Matt, ersch6pft wie wenn er Eichbaumehdtte ausreissen das wollen,steht er endlichauf und hinterlasst armeFortepiano, in (fir welchessein BelitzerbeyjedemAnschlagegezittert) einem schlimmer welchendie WutheinesBarbaren nichthdtte Zustande, zu machenh6nnen.-Man hat von Gldch sagen,wennmit einem halbenDutzendSaiten dem Schadennoch abzuhelfenist, und nicht abgeschlageneTangentenund Hdmmerzerstreucumher liegen. er auf (wersollte ihn Bemerht die uble Wirhung die Zuh6rer, so ist er artiggenug die Schulddem auch bewundern k6nnen!) sich nichtmit Instrumente schlechten auf beyzumessen, welchem Feuerund Ausdruch spielen lasse. Gewissnicht!Es liessensich Ist dieseSchilderung ibertrieben? wie solche Clavierwfirger, im zu hunderten Beyspiele anffihren, eine sch6nsten, sanftestenAdagioSaitenzerschlagen; ungeheure wollen: Stdrhe einemeinzigen Discant-Tone herausbringen aus wie durch sie in wenigen Stunden das beste Fortepianozu Schanden hann,undsogar,(diessist heineFabel,) gehauenwerden werden. Pedal-Tasten auf der Orgelzertreten Allein es wird unstreitigvon gr6ssermNutzen seyn, etwas daruberzu sagen; woher es eigentlich komme, dass die Fortepiano-Spieler mehr als die fibrigen Instrumentisten den Ton fibertreiben. ist wirdvon sehr wenigenbeobachtet, aber Die wahreUrsache ganz natuirlich. der wdhrend Berihrung AlleSaiten-undBlasinstrumente liegen, des Spielers, dem Ohrenaher,als das Clavier diesemist der Bey mit Spielerin keinerso nahen Verbindung dem Tone,als die

Now he plays with the accompaniment of the orchestra and he takes great pains to play louder than all the other instrumentswith his single fortepiano evenin the loudesttutti passage. Now he accompanies the singer! Woe is he! No note will come from his throat which will not have several hacked-up notes thrown in its path. Puff! What was that? He raised the dampers. For him nothing is so fluent as the force with which he shoves on the piano. Now he wants to imitate the glass harmonica, but he produces only harsh tones; consonances and dissonances flow into one another and we hear only a disgusting hodgepodge of sound. Shortnotes are shoved with the armand hand at the same time, making a racket. If the notes should be slurred together, they are blurredbecause he never lifts a finger at the righttime. His playing resembles a scriptwhich has been smeared before the ink has dried. Expect no soothing piano.Even if he only has to play it for a few bars, the pleasant impression will soon be killed with the very best of his shrill tones. Faint, exhausted, as if he had tried to uproot an oak tree, he finally stands, and leaves behind the poor fortepiano (for which its owner has cringed at every blow) in a condition which the fury of a barbariancould not have made worse. Thankonly good fortune if the damage can be repairedwith just half a dozen strings, and that broken tangents and hammers are not lying scattered about. If he should notice the bad effect upon the listeners (who should also marvel at him), he is so well mannered as to lay the blame on a bad instrument which did not permit him to play with fire and expression. Is this description exaggerated?Certainlynot! A hundred instances could be cited in which'keyboard stranglers'have brokenstringsin the most beautiful,gentle adagio.Enormous force on a single treble note will do it. In this manner, the best fortepiano can be chopped to ruin and (this is no fable) even the pedalboard of an organ will be crushed. It will be of undeniably greater use, however, to say overplays something about this: why is it that thefortepianist his tone morethan otherinstrumentalists? Thetruereason will be apparentfromverylittle observation and is quite natural. During playing, all string and wind instruments are situated nearerthe ear than is the keyboard.Forthis reason, the fortepianist has in no way so close a command of his tone as the other instrumentalists. Rather,he has only the keyboard,which produces the tone not in his direction, near awayfromhim ubrigen Instrumentisten, sondern er hat nur die Tastatur,die den him, but straight out. The soundboard carries ihn selbst aber nicht gibt, nahe bey sichl aber the sound that is actually produced. Ton hervor bringt, In front, the fortepiano has hardly any vibration;everygerade das, was den eigentlichen Tonschafft den Resonnanzboden entfernt von sich. thing goes towardsthe rear.However,the playercannot even
Vorne hat das Fortepiano gar heine Vibration, alle geht rickwdrts. Von dieser hann er aber nicht den vierten Theil h6ren,

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den hear a quarterof this because a high music-desk and dense weil ein hohes Pult und undurchdringliches Notenpapier music-paper block the projection of the tone. Zugangder Tonehindernm. Thisis the reasonthat those who are standing opposite the welche dem Spieler Daher kommt es, dass diefenigen, gegen uber stehen, alles, auch in einer weiten Entfemung,auf das player, even at a distance, can hear everything distinctly, wdhrend deutlichstevemrnehmen, jenerselbst glaubt sein Instru- while the player himself thinks his instrument is producing daherhommtes, dass er in einem hardlyany tone;this is also the reason he hears even less from mentgebe gar keinen Tonr grossenSaale noch wenigervon sich h6rt als in einemZimmer; his playing in a large room than in a small one, because well dortdie entfernten Wdnde den Tonnichtso schnellzurnick distant walls cannot reflect the sound as quickly as those als werfenkdnnen, hierdie ndheren Fzirden Zuh6rer geht aber which are nearer.For the listener, however, nothing is lost. seine Schwingungen darumnichtsverloren. Tonverbreitet Der bis The tone spreads its vibrations to wherever he is and it zu ihm hin, und lautet nicht schwdcher, wohl abersanfterund sounds not weaker, but truly gentler and more beautiful. schoner. Space does not permit a discussion in further detail. For diess weitldufiger einander setzen. the amateurwho does not wish to abuse his instrument and aus zu DerRaumverbiethet dem daran gelegen ist, dass er sein yet will still be heard, particularlyin public playing, I offer Fir den Musikliebhaber, the Instrumentbesondersbey 6ffentlichem Spielennicht iiObertreibe, following: securetouch.If and when aber doch auch immer 1)He should acquire an articulate, geh6rtwerde,stehe nochfolgendes hier. 1) Er mache sich einen sprechenden, sicheren Anschlag this has been acquiredso that it is completely second nature so eigernHat er diesenerworben, wirder ihmso ganz zur andern to him, even the most timid hands will not omit any notes. Natur werden,dass auch den furchtsamenHdndenhein Ton 2) He should often hear concerts held in large halls or ausbleibt theatres. He should observe from different distances the welche in grossen Sdlen oder effects of fortepiano tone. Soon he will be convinced that 2) Er besuche6fters Concerte, gegebenwerden.Hier beobachteer, aus verschiedenen even the softest notes can be heard anywhere if no other Theatemrn die des Bald instruments cover them. Entfemrnungen Wirkung Tonesvon dem Fortepiano. wird er sich iberzeugen,dass dieser, wenn ihn nicht andere 3) Forconcertos, especially those by Mozart,his fortepiano Instrumente bedecken, sey er auch noch so piano,geh6rt should be moved a few feet nearer the listeners than the iberall, werde. orchestra, with only the violins directly behind him. Bass besonders aberbeyMozartischen, 3) Bey Concerten, ricke man and wind instrumentsmust be furtherback, indeed the latter den Zuh6remrn mehrereSchuhe naher,als das more so than the former. sein Fortepiano ist Orchester Zundchsthintersich lasse man nur die Violinen. 4) Before playing, the cover which lies over the dampers BdsseundBlasinstrumente seyn,jedoch and the inner music desk must be removed (if it is not going miissenweiterr'ckwdrts die letzterenmehrals die ersteren. to be used) so that nothing hinders the tone and it is free to Ehe man spielt muss das innere Pult (wenn es nicht reach the listeners. 4) der 5) For the same reason, one cannot tolerate bystanders gebraucht liegt wird)undderDeckel, aufderDdmpfung heraus genommenwerden,damit nichts den Tonhindere, frey zu den near the instrument. They distract the player and stifle the tone. Finally, zu Zuh6remrngelangen. Aus derndhmlichen leideman heineUmstehenden 6) If one is playing without accompaniment, one should Ursache, 5) nahe bey demInstrumente. bedngstigen den Spieler, Sie nur und never begin until everything is absolutely quiet; then the erslickenden Ton.Endlich. first notes, on whichso muchdepends a solo player,will be for spielt so sollte nie angefangen heard clearly and without distraction by the listeners. In a 6) Wennman ohne Begleitung bis werden, nichtallesganz stille ist;damitgleichdie erstenT6ne, concerto, it is preferableto pause at the soloist's entrancefor auf welche bey einem Solo-Spieler so viel ankommt von den a half beat or an entire beat more than is written.Onlyin this werden. way do the instrumentalsounds have time to die awayso that ganz aufgenommen Zuh6remrn reinund ohneZerstreuung Auch bey einem Concert pausire man liebereinen halben oder the soloist will be distinctly heard at the beginning his solo. of nur Zeit Generally,the musician should be very well awarethat when ganzen Tactwideralle Vorschrift damitdieInstrumente und der Tondes Concertisten dem he is performing a concerto, sonata etc, his situation is haben,zur verschallen, bey Anfange seines Solo rechtdeutlichgeh6rtwerde-Uberhaupt comparable to that of an actor. Would he storm and rage aberprdge sich derTonhinstler Ideerechttief ein,dass er bey continuously from the very beginning?Would he expend all die Darstellung eines Concerts,Sonate u. s. w. mit dem Schauspieler in his ardour in the very first scene?. How unsatisfied the gleichem Verhaitniss ist Wird dieser wohl gleich vom Anfang audience would be with him if, towards the end, only stuirmenund toben? Wird er schon in den ersten Scenen all sein shouting were heard or if the expectations raised in the first Feuer verschwenden? Wie ubel wirde der Zuschauer mit ihm scenes were thwarted.
zufr'eden seyn, wenn er ihn gegen das Ende nur schreyen horte, oder sich in der welche die ersten Auftritte in ihm Erwartung, getauscht finden mzisste. erregten,

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und Der Spielermdssigealso Anfangsseinen Ausdruch seine so Hat auchderComponist schlecht ihngesorgt, fiir Lebhaftigkeit oder dass erschonin das erste Passagen, die Stiichdiebrillantesten sch6nstenStellenlegte,so bleibtibm dochnochdas Mittelibrig des dieseSdtzeweniger herauszu heben,unddasganze Interesse auf Vortrags das Ende zu sparen Hier h6rt man raschesSpielgem. Hier gerdthman mit dem Spielerin Feuer Wenn er hier seine Kinste entfaltet,und in einem fortlaufenden Strome alles das h6ren 1iisst,was man auf dem Fortepiano schnell, gliinzend und vollstimmig Beyfall ausdrfickenkann:so wird,so muss ihn deraufrichtigste lohnen. allerseinerZuhorer Anmerhung der Obzwar wohl alles, was hiergesagt worden, die Spielart auf meisten Fortepianomehr oder weniger angewendetwerden Nanette] hann,so betrifftes doch vorziglich die [MSaddition.: Steinischen Instrumente deren Bearbeitung(besondersin durch Hdnde des Rticksicht Tastatur, Tones), der geschiehtwelche und selbst mdchtig auch in des Clavierspieles einemhohenGrade nur dadurchin den Stand gesetzt find, dem Tonkinstlerdas alles was vorzubereiten, ern6thighat ummitgr6ssterLeichtigkeit was oben von dem guten Spiele des machen zu k6nnen, worden. Fortepiano angefiihrt

Thereforethe player should moderate his expression and animation at the beginning. Even if the composer has been so careless as to place the most brilliantor the most beautiful passages in the first portion of the piece, the player should still have the means to subdue the expression of these phrases and thus to sustain interest in the performanceto the very end. Here,one likes to hear fast playing. Here,one catches the fire of his enthusiasm. Here,if he unfolds his art in a surging streamand lets us hearhow he is able to play quickly, brilliantly he andwithfull-voiced expression, will and mustbe rewardedby the most sincere applause of his listeners. Note All that has been said here may be applied moreor less to a variety of fortepianos, but it particularly concerns the which have been crafted exquisite [Nanette]Steininstruments (especially with regard to the keyboard and the tone) by hands skilled in the artof keyboardplaying. The instrument has been preparedfor the musicians so that everything he has to do can be done with the greatest ease and, moreover, lead to good fortepiano playing. A complete translation by Preethi de Silva of Andreas Streicher'sbooklet has just been published by EarlyMusic Facsimiles, Ann Arbor,Michigan, USA, at $9.50. 4 Piano Streicher, Germanisches Nationalmuseum, by Nuremberg

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