Beethoven the Pianist: Abbreviations and conventions

This submission for the PhD degree at the Elder Conservatorium of Music, University of Adelaide, made in two volumes in the form of a portfolio of recorded performances supported by an explanatory exegesis, presents the first complete set of recordings of all fifty solo keyboard sonatas by Leopold Koželuch. While a great deal of scholarly research and recorded performance has been devoted to the keyboard music of Haydn, Mozart, Beethoven and Schubert, and these composers have deservedly come to represent the pinnacle of the late eighteenth and early nineteenth-century Viennese keyboard tradition, many of their contemporaries have suffered unjustifiable neglect. One such Kleinmeister is the Bohemian Leopold Koželuch. In the latter part of the eighteenth-century Koželuch was a celebrated composer throughout Europe and an esteemed member of the Viennese musical elite, often ranked above Mozart and considered the first fortepianist of the imperial city. Yet, until 2011, only a small number of his 50 surviving solo keyboard sonatas had been available in modern editions. This dearth of editions had resulted in a paucity of recordings; prior to the present study only a handful of the sonatas had been commercially available. However, in 2011 a whole new world began to open up for the Koželuch scholar-performer, with the gradual publication (by Bärenreiter) of Christopher Hogwood’s new complete edition of the Koželuch keyboard sonatas. The purpose of this research has been to take the next logical step from Christopher Hogwood’s impeccable scholarship and make the first complete recording of Koželuch’s 50 solo keyboard sonatas. These performances have been based on prepublication copies of the new edition and the completion of this recording project has come before the publication of the final volume of the Hogwood edition. This comprehensive corpus of recordings makes a major contribution to Koželuch scholarship and to the understanding of his works in relation to the repertoire of late eighteenth and early nineteenth-century keyboard music. The Koželuch scholar (and a wider audience) will now be able to follow the development of the classical sonata in Koželuch’s hands over a period of nearly four decades (1773 -1810). It will also be possible to enter into the multilayered sound-world of the late eighteenth and early nineteenth-century fortepiano. Original and reproduction instruments have been used throughout the recording process with each instrument chosen to match the appropriate stylistic phase.

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The début recording of Leopold Koželuch’s 50 Solo Keyboard Sonatas: portfolio of recorded performances and exegesis.

L'objet de cette these est de s'interesser aux relations entre le compositeur allemand et la Grande-Bretagne. A premiere vue, cette idee peut paraitre surprenante. En effet, Beethoven, compositeur allemand ne en 1770, ne foula jamais le sol anglais a l’inverse d’autres compositeurs comme Haydn, Weber et Mendelssohn. Pourtant, ce travail s'efforcera de demontrer qu’une relation veritable s’etait etablie, qu’elle portait sur de nombreux aspects et qu’elle etait mue par un sentiment d'admiration reciproque. En premier lieu, cette these s'attachera a definir, d'une part, les origines de l'enthousiasme du compositeur allemand pour la Grande-Bretagne et, d'autre part, les aspects de la culture britannique qui plurent tant au compositeur. Ainsi, la politique, le systeme parlementaire, la litterature et la musique anglaise furent autant d’elements sur lesquels Beethoven portait son admiration. Aussi, nous retrouvons le temoignage de cette affection a travers certaines de ses œuvres et inspirations musicales. Ensuite, ce travail de recherche mettra en lumiere les mecanismes qui permirent de faire de Beethoven un compositeur celebre dans tout le Royaume-Uni jusqu’a l’eriger en un nouveau heros musical britannique. Par consequent, ce travail analysera la programmation et la reception des œuvres du compositeur dans tout le royaume et mettra en evidence le role du reseau beethovenien a Londres dans la promotion de sa musique. En effet, Beethoven put jouir de l’aide precieuse de deux reseaux : un premier reseau compose d’amis viennois ou etrangers residant a Londres comme Clementi, Salomon, von Haring, Ries qui le mirent en relation avec un second reseau, compose de Britanniques comme les musiciens Smart, Neate ou l’editeur Birchall. Ces deux lobbies se retrouverent dans l’outil principal de promotion de Beethoven, la Societe Philharmonique de Londres, creee en 1813. La these demontrera egalement l'importance des differents aspects contextuels – social, historique et esthetique – favorables a la domination de Beethoven sur la scene musicale britannique. Enfin, ce travail montrera comment la presse fit du compositeur allemand un « citoyen » britannique. Pour terminer, au fil des pages, ce travail tentera de combler une lacune dans les etudes beethoveniennes, a savoir, l’explication des raisons qui pousserent Beethoven a abandonner ses projets de visite, pourtant nombreux, en Grande-Bretagne.

https://hal.univ-lorraine.fr/tel-01752390/document

Beethoven et la Grande-Bretagne du vivant du compositeur : une fascination réciproque aux multiples facettes

Theme, Harmony, and Texture in Classic-Romantic Descriptions of Concerto First-Movement Form

OF DISSERTATION COMPOSITIONAL MODELING: A CLASSICAL IMITATIVE PEDAGOGY FOR THE MODERN ERA Students of composition develop two skills simultaneously: craft and creativity. Since students are more naturally inclined to focus on one of these skills over the other, finding the proper balance is an educational challenge. An effective pedagogical system for composition cultivates both of these necessary skills. Imitation was a preferred pedagogical approach during the Classical period. In his 1848 book School of Practical Composition, Carl Czerny instructs his readers to apply the extensive rules of composition by strictly following a compositional model. Although this methodology lost favor during the nineteenth century, the imitative techniques presented by Czerny are flexible enough for learning to compose in musical styles beyond the Classical period. Through model-centered instruction, students learn to solve compositional problems by discovering how eminent composers overcame comparable difficulties. By engaging in the process of imitation, students create and test theories of composition based on their understanding of the model works they are studying. From developmental writing to establishing thematic unity, compositional modeling provides students with a practical method to engage with the most challenging aspects of composition. This study addresses various approaches towards choosing an appropriate compositional model, including the artistic opportunities available when imitating programmatic music. Another feature of this study involves surveying multiple works that belong to the same compositional lineage and searching for a variety of possible extended family connections. Finally, this dissertation presents a tutorial on incorporating two model works into a composition with a more modern musical style. This demonstration displays compositional modeling’s ability to create a unique blend of disparate models and help the student find a distinctive compositional voice. This dissertation reveals the pedagogical power of compositional modeling by demonstrating its ability to reunite craft and creativity and unlock those mysterious aspects of artistry resistant to being analyzed and distributed in a modern academic setting. Compositional modeling creates a timeless bond between the teacher and the student, and it is this kind of enduring apprenticeship that can pass on the mastery of technique and inspire the creativity needed to lead student composers to reach for the excellence of their models and beyond.

Compositional Modeling: A Classical Imitative Pedagogy for the Modern Era

N THE COURSE of a broader study of performance practices in Beethoven's piano music, knotty questions have kept arising as to what pianos Beethoven actually used, when he used them, which ones he preferred, and what his ideal really was in a piano action and sound. Unlike similar problems in the keyboard music of J. S. Bach and Mozart, this problem has enjoyed surprisingly little attention and that little largely emphasizes what now seems least important about the problem. Although new documentary evidence is hard to discover in the oft-combed sources for Beethoven, re-examining the known evidence does suggest certain conclusions quite contrary to those usually stated. It will serve the present discussion best to start by stealing its own thunder, so to speak-that is, by summarizing at least its main conclusions at the outset-and then to go on to such arguments and defenses as can be adduced. The chief among the few discussions to date that concentrate on Beethoven's pianos are two short articles, "Von Beethovens Klavieren" by Theodore von Frimmel, and "Beethovens Klaviere-Der Klavierbau und Beethovens kiinstlerische Reaktion" by Keisei Sakka.2 Both articles give main space to the three of Beethoven's pianos that are still extant today-the French Plrard in the Vienna Kunsthistorisches Museum, the English Broadwood in the Budapest National Museum, and the Austrian Graf in the Bonn Beethovenhaus. One conclusion reached here is that

Beethoven's Pianos versus His Piano Ideals

Letter from William S. Newman

The Performance of Beethoven's Trills

Review: The New Oxford History of Music. Vol. VII: The Age of Enlightenment, 1745-1790 by Egon Wellesz, Frederick Sternfeld

sical personages was Venice. There, in a milieu of illustrious natives that included Vivaldi, Albinoni, Lotti, Pollaroli, A. M. Bononcini, and B. Marcello, Alessandro Scarlatti and Handel won outstanding operatic triumphs, Handel met Domenico Scarlatti and possibly Corelli, Tartini heard Veracini. There, too, passed such musical notables as Heinichen, Leo, Porpora, and Faustina Bordoni-Hasse. Thus Venice

William S. Newman

Papers

Beethoven's Pianos versus His Piano Ideals

Letter from William S. Newman

The Performance of Beethoven's Trills

Review: The New Oxford History of Music. Vol. VII: The Age of Enlightenment, 1745-1790 by Egon Wellesz, Frederick Sternfeld

The Sonatas of Albinoni and Vivaldi