Try the real way of playing the piano

from Wikipedia, the free encyclopedia

The attempt on the true way of playing the piano is a music pedagogical textbook by Carl Philipp Emanuel Bach . The first, independent part appeared in Berlin in 1753 , the second part followed in 1762. Together with Quantz 's attempt at an instruction to play the flute traversiere and Leopold Mozart's attempt at a thorough violin school , Bach's textbook is the most important source of information for historical performance practice and for questions of taste in the middle of the 18th century. With Clavier today is not piano meant, but, as Bach executes in the introduction to the second part, all the former keyboard instruments such as the organ of the wings, the fortepiano and the Clavicord . In the linguistic usage at the time, harpsichords were called "wings", while Bach usually means the clavichord by "clavier". The fortepiano learned Bach until the 1780s know, with the just developing instruments were playing poorly and were very expensive - he has never owned one.

Historical background

Bach's piano music cannot be separated from his didactic writing. Around the middle of the 18th century there were more and more amateurs making music to an extent that would previously have been hard to imagine. The demand for textbooks increased , especially in Berlin, where King Frederick the Great gave a leading example as a flute player. In 1750 Friedrich Wilhelm Marpurg had published a small handbook entitled The Art of Playing the Clavier , which proved so successful that it was reprinted the following year. Bach's textbook is one of the most important musical textbooks of the 18th century, but is also the first comprehensive piano school in German, far more extensive and detailed than François Couperin's famous “ L'art de toucher le clavecin ” (The Art of Harpsichord Playing ) by 1716 .

Classification

First part

The first, self-contained part, published in Berlin in 1753, published by Auctoris , begins with a preface and an introduction to 25 paragraphs, followed by the three main parts.

The first main piece consists of 99 paragraphs and is entitled Von der Finger-Setzung . The correct fingering is of the greatest importance for Bach, because, as he says in § 4, since ... the correct use of the fingers has an inseparable connection with the whole variety, one loses more with incorrect finger placement than one loses through can replace any art and good taste.

The second main piece is entitled From the manners , which means ornamentation . In turn, it is divided into nine departments:

  1. Of manners in general (29 paragraphs)
  2. Of the proposals (26 paragraphs)
  3. From the trills (36 paragraphs)
  4. From the double blow (37 paragraphs)
  5. From the murderers (15 paragraphs)
  6. From the posting (11 paragraphs)
  7. From the sanders (13 paragraphs)
  8. From the faster (4 paragraphs)
  9. From the ornaments of the fermatas (6 paragraphs)

The third main piece consists of 31 paragraphs and is entitled Vom Vorrage , which means the musical interpretation . The good presentation is for the author (in § 2) in nothing other than the skill, musical Gedancken at its true content and affect to make singing or playing the hearings sensitive.

26 (or 31) copper plates follow as an appendix

  • Example six tables of figures 97 (with up to 14 sub-figures) etc. partly examples to ornaments, with finger sets or numbering provided.
  • Rehearsal pieces : Six sonatas (1753) with the tempo sequence fast-slow-fast. The third edition contains a further six new keyboard pieces (1787) in two sonatas.

Second part

The second part, also self-published in Berlin in 1762, is almost twice as long as the first. It deals mainly with the continuo - accompaniment ( basso -Teaching) to keyboard instruments. After a preface, a table of contents and an introduction with 44 paragraphs, 41 chapters follow:

  1. Of the intervals and the signatures (80 paragraphs)
  2. From the harmonic three cycle tones (two sections, 37 and 13 paragraphs)
  3. From the Sexten Accord (two sections, 22 and 14 paragraphs)
  4. Of the improper diminished three-cycle (7 paragraphs)
  5. From the improperly enlarged Dreyklange (6 paragraphs)
  6. From the sixth fourth accord (two sections, 15 and 6 paragraphs)
  7. From the third fourth accord (two sections, 9 and 12 paragraphs)
  8. From the sixth fifth accord (two sections, 10 and 6 paragraphs)
  9. From the Secundenaccord (two sections, 15 and 4 paragraphs)
  10. From the second-fifth accord (7 paragraphs)
  11. From the second quintquartenaccord (5 paragraphs)
  12. From the Secundterzaccord (5 paragraphs)
  13. From the Seventh Accord (two sections, 20 and 6 paragraphs)
  14. From the sixth-seventh accord (8 paragraphs)
  15. From the fourth seventh accord (15 paragraphs)
  16. From the major seventh chord (two sections, 10 and 5 paragraphs)
  17. From the Nonenaccord (two sections, 9 and 2 paragraphs)
  18. From the sextnone accord (3 paragraphs)
  19. From the fourth note accord (7 paragraphs)
  20. From the seventh-ninth accord (7 paragraphs)
  21. From the Quintquartenaccord (8 paragraphs)
  22. From Einklange (10 paragraphs)
  23. From the unanimous accompaniment with the left hand alone (9 paragraphs)
  24. From the organ point (6 paragraphs)
  25. From the proposals (19 paragraphs)
  26. Of moving notes (4 paragraphs)
  27. From the punctured notice (10 paragraphs)
  28. From the punctured grinder (4 paragraphs)
  29. From the lecture (26 paragraphs)
  30. From the final cadences (12 paragraphs)
  31. From the Fermatas (6 paragraphs)
  32. Of certain delicacies of the Accompagnement (12 paragraphs)
  33. From imitation (7 paragraphs)
  34. Some precautions when accompanying you (4 paragraphs)
  35. The necessity of numbering (4 paragraphs)
  36. Of continuous notes (14 paragraphs)
  37. Proposing with the right hand (4 paragraphs)
  38. From the recitative (9 paragraphs)
  39. From the bill of exchange (4 paragraphs)
  40. From the bass theme (5 paragraphs)
  41. From the free fantasy (13 paragraphs)

A list of printing errors is followed by a copper plate with an Allegro (fantasy) in D major.

expenditure

  • First part , Wq.254, H.868
    • 1st edition 1753, 8 + 135 p., 6 plates "Exempel", 20 plates "Sample pieces", Berlin: self-published, printed by Christian Friedrich Henning.
    • 2nd edition 1759, 8 + 118 pages, 26 plates, Berlin: Self-published, printed by George Ludewig Winter.
    • Edition 1780, Leipzig: in the Schwickert publishing house. Remaining copies of the 1759 edition with a new title page.
    • 3rd edition 1787, 8 + 103 p., 6 plates "Exempel", 25 plates "Sample pieces", Leipzig: published by Schwickert Verlag; referred to as "third edition increased with additions and six new keyboard pieces".
  • Second part , Wq.255, H.870
    • 1st edition 1762, 10 + 342 p., 1 plate, Berlin: Self-published, printed by George Ludewig Winter.
    • Edition 1780, Leipzig: in the Schwickert publishing house. Remaining copies of the 1762 edition with a new title page.
    • 2nd edition 1797, 8 + 280 pages, 1 plate, Leipzig: published by Schwickert; referred to as "Second edition improved by the author and enlarged with additions".

Examples and test pieces

  • The examples consist of 6 panels with 97 figures
  • The eighteen rehearsal pieces in Six Sonatas (written in Berlin in 1753), Wq.63 / 1-6, H.70-75, for the 1753 edition:
    • 1. C major. Allegretto tranquillamente. Andante ma innocentemente. Tempo di minuetto con tenerezza.
    • 2nd in D minor. Allegro con spirito. Adagio sostenuto. Presto.
    • 3. A major. Poco allegro ma cantabile. Andante lusingando. Allegro.
    • 4. B minor. Allegretto grazioso. Largo maestoso. Allegro siciliano e scherzando.
    • 5. E flat major. Allegro di molto. Adagio assai mesto e sostenuto. Allegretto arioso ed amoroso.
    • 6th in F minor. Allegro di molto. Adagio affettuoso e sostenuto. Fantasia: Allegro moderato.
  • The six new piano pieces [in two sonatas] (written in Hamburg in 1786), "Sonatine Nuove", Wq.63 / 7-12, H.292-297, added to the 3rd edition in 1787:
    • 7. Allegro in G major.
    • 8. Largo in E major.
    • 9. Allegretto in D major.
    • 10. Allegretto in B flat major.
    • 11. Andante in F major.
    • 12. Prestissimo in D minor.
  • Part two contains as an appendix: Fantasia , Allegro in D major (1763), Wq.117/14, H.160

Newer editions

  • Carl Philipp Emanuel Bach: Trying to find the true way to play the piano. Reprint , ed. by Walter Niemann (ed.). Kahnt, Leipzig 1906. Niemann published a critically revised reprint after the unchanged but improved second edition of the original Berlin in 1759 and 1762 . Five editions appeared by 1925. He left out Bach's entire teaching on basso continuo (2nd part, chapters 2–21) and the sometimes essential additions by the author in the later editions.
  • Essay on the true art of playing keyboard instruments , transferred from William J. Mitchell. Norton, New York 1949. First edition in English
  • Carl Philipp Emanuel Bach: Trying about the true way of playing the piano. First and second part. Facsimile reprint of the 1st edition, Berlin 1753 and 1762, with the additions of later editions, published by Lothar Hoffmann-Erbrecht (referred to as "4th edition"). Breitkopf & Härtel, Leipzig 1958, etc. (1992: "7th, improved edition")
  • Attempt on the true way of playing the piano , with modern keyed music examples and extensive register, facsimile reprint of the editions of Part I, Berlin 1753 (with the additions to the Leipzig 1787 edition) and Part II, Berlin 1762 (with the additions to the Leipzig 1797), edited and provided with a detailed register by Wolfgang Horn. - Bärenreiter, Kassel 1994 (3rd edition 2008). - Without the rehearsal sonatas.

Digital copies

Wikisource: Trying about the real way to play the piano  - sources and full texts

Individual evidence

  1. ^ New Grove Dictionary of Music and Musicians , Second Edition 2001, Volume 2, p. 395.
  2. ↑ C. Ph. E. Bach: Attempt on the true way of playing the piano. Zweyter Theil, p. 1.
  3. ↑ See the chapter on keyboard instruments: harpsichord, clavichord, hammer and bow clavier in Siegbert Rampe: Carl Philipp Emanuel Bach und seine Zeit , Laaber 2014, pp. 189–201.
  4. ^ Grove, Vol. 2, p. 394.
  5. ↑ C. Ph. E. Bach: Attempt on the true way of playing the piano. Afterword by Lothar Hoffmann-Inheritance Law
  6. ↑ C.Ph.E. Bach: Try about the true way of playing the piano. First part, p. 16.
  7. ↑ C.Ph.E. Bach: Try about the true way of playing the piano. First part, p. 117.
  8. ↑ The complete title: An attempt on the true way of playing the piano // explained with examples and eighteen sample pieces in six sonatas / by Carl Philipp Emanuel Bach, / Königl. Prussia. Cammer musicians. // Berlin, in relocation of the Auctoris. // Printed by the royal. Court printer Christian Friedrich Henning. / 1753 . The complete title of the notes: Examples and eighteen sample pieces in Six Sonatas / on Carl Philipp Emanuel Bachs / Attempts on the true way of playing the piano / on XXVI. Copper plates.
  9. ↑ The complete title: Carl Philipp Emanuel Bachs / Attempt on the true way of playing the piano // explained with examples and eighteen rehearsal pieces in six sonatas. / First part. / Second edition. // In relocation of the Auctoris. // Berlin, 1759 / Printed by George Ludewig Winter.
  10. ↑ The complete title: Carl Philipp Emanuel Bachs / Kapellmeister of the Princess Amalia von Preussen and Music Director in Hamburg / Attempt on the true way of playing the piano // explained with examples and eighteen rehearsal pieces in six sonatas. / First part. // Third edition increased with additions and six new keyboard pieces // Leipzig, / im Schwickertschen Verlage / 1787. The complete title of the notes: Exempel and eighteen sample pieces in six sonatas / for Carl Philipp Emanuel Bach / Attempts on the true Way of playing the piano / increased with six new keyboard pieces / on XXXI. Copper plates.
  11. ↑ The complete title: Carl Philipp Emanuel Bachs / Attempt on the true way of playing the piano // Second part, in which the doctrine of the Accompagnement and the free fantasy is dealt with. / Along with a copper plate. // In relocation of the Auctoris. // Berlin, 1762 / Printed by George Ludewig Winter.
  12. ↑ The complete title: Carl Philipp Emanuel Bachs / former Kapellmeister of Princess Amalia von Preussen and Music Director in Hamburg / Attempt on the true way of playing the piano // Second part, in which the teaching of the Accompagnement and the free fantasy is dealt with. / Along with a copper plate. // Second edition improved by the author and enlarged with additions. // Leipzig / in the Schwickert publishing house 1797.
  13. ↑ The complete title: Exempel and eighteen rehearsal pieces in Six Sonatas / on Carl Philipp Emanuel Bachs / Attempts on the true way of playing the piano / on XXVI. Copper plates.

GND 4420634-3