By Donald Francis, Sir Tovey
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Additional resources for A Companion to Beethoven's Pianoforte Sonatas: Complete Analyses
1O Hipkins," p. 7 Our modern pianos, with their vast sonority, are equally different in their touch from the pianos of Chopin's time. The large, heavy hammers, the depth of touch, almost double that of the pianos of r845, demand to-day a totally different strength, suppleness and training. Schelling,12 p. 69 [Chopin] could not bear too loud a sound on the piano, and called it 'a dog barking'. But according to Mikuli it does not follow that we have to avoid stronger gradations and accents when interpreting Chopin nowadays.
93 As regards style, one should follow that of Pasta/5 of the great Italian school of singing. 76 Lenz, VB, p. 297 Chopin questioned me as to [my previous training], and I told him I had learned more from listening to singing than anything else. ' And truly in his hands the piano did sing, and in many tones. Anonymous Scottish lady/Hadden, p. 159 Musical style 45 To Madame Rubio he said: 'You must sing if you wish to play'; and he made her take lessons in singing. Rubio/Niecks, II, p. 187 During lessons Chopin would repeat indefatigably: 'II faut chanter avec les Gretsch/Grewingk, p.
Ro/n, Nocturne op. 48/r). 34 35 36 examples; the small groups of added grace notes, falling like tiny drops of speckled dew over the melodic figure. To this kind of ornamentation, previously modelled solely upon the fioritura of the great old Italian school of singing, he gave an unexpectedness and a variety beyond the reach of the human voice, which had hitherto been slavishly copied by the piano in embellishments that eventually became stereotyped and monotonous. He invented those wonderful harmonic progressions which would enhance with a serious aspect even those pages which, considering the lightness of their subject, did not seem to aspire to such importance' (Liszt, pp.
A Companion to Beethoven's Pianoforte Sonatas: Complete Analyses by Donald Francis, Sir Tovey