Despite most pianists' claims of historical deference and creative agency, their performances of Brahms's piano works are nothing like the early-recorded performances of the composer and his... Show moreDespite most pianists' claims of historical deference and creative agency, their performances of Brahms's piano works are nothing like the early-recorded performances of the composer and his students: gaps that are mediated by understandings of Brahms's Classical canonic identity, the performance norms that protect that identity, and those norms' underlying aesthetic ideology of control. This predication of Brahmsian identity on restraint leaves the composer and his students in a precarious situation, as their recordings evidence an approach that is governed by the inhibitions typically associated with Romanticism. This volume seeks to problematize understandings of Brahms's identity: by investigating the origins and vestiges of the aesthetic ideology of control; by analysing and copying the recordings of pianists in the composer's inner circle; and by applying these pianists' styles in ways that are just as disruptive to modern notions of Brahmsian identity as their early-recorded models. In so doing, a thoroughly Romantic performance style emerges that catalyses a fundamental shift in understanding as related to Brahms's identity; thereby opening up a new palette of expressive and technical resources, and both elucidating and narrowing persistent gaps between modern and early-recorded Brahms style, as well as between what performers believe, know, and ultimately do. Show less
So-called "extended techniques" have suffered a consistent lack of understanding from a theoretical, historical and practical point of view. Although most of them __ e.g. playing directly on the... Show moreSo-called "extended techniques" have suffered a consistent lack of understanding from a theoretical, historical and practical point of view. Although most of them __ e.g. playing directly on the strings, cluster- and glissando-techniques __ exist in a substantial part of the repertoire for the piano and have done so for more than a couple of centuries now, the use of the techniques on stage still sparks off negative reactions by audiences, composers, performers and tuners as well as owners of pianos. Any one-sided approach towards appreciation has proven to be inadequate: academic analyses do not succeed in handling the matter satisfactorily, endeavors by musicians to teach and advise on the "proper" use of the techniques have come short of applying an in-depth and a historically informed perspective. A comprehensive and exhaustive survey of the extended techniques as a whole can serve to alleviate the risk that the relevant repertoire sinks into oblivion, contributing to a reassessment of the subject, in turn benefitting contemporary professional performance practice, concert programming, composers__ interest and musical as well as music-historical education. The subject and its related terminology are scrutinized and (re)defined where necessary. The acoustical properties of the techniques are explained from the perspective of the performer to ensure proper insight in the way they produce sound. Over 16.000 compositions have been considered to write the history of improper piano playing, comparing manuscripts with first and subsequent editions of solo as well as chamber and concerto music, original compositions as well as transcriptions, from the "classical" as well as the "entertainment" sector. Original preparations collected by John Cage were tracked down and described in minute detail so that alternatives can be considered on the basis of professional information. Historical recordings as well as personal experiences and interviews with composers are used to pinpoint historical performance practices. To help the pianist prepare for concerts with the relevant repertoire, measurements of the internal layout of the most common grand pianos are listed in order to anticipate possible problems in advance. Show less
