După publicarea acestui articol, autorul acestui video m-a contactat personal și, după ce am avut un scurt dialog pe mail, l-am rugat să trimită mai multe date și explicații despre experieța sa și istoricul acestei intreprinderi.
Iată textul care a rezultat.
A new day is dawning on the world of classical piano, and your readers should take note. More accurately, what is happening should be referred to as a rebirth.
After twelve years of research, I have discovered that the way I was taught to play the piano is all wrong. Accordingly, the current and recent past piano performance of the music of the 18th, 19th, and early 20th centuries is grossly in error. This includes the manner in which pedagogues have taught this music, the way modern performers have played this repertoire, as well as the printed scores.
The issue, briefly stated, is twofold. When a person is taught to play a chord, an octave, or double notes at the piano, they are taught to strike all of the keys at the same time. It is assumed that because the notes on the printed score are all lined up vertically on the note stem that those keys are to be struck simultaneously.
My research has shown me that all of the composers of the Classical, Romantic, and Impressionist Periods regularly rolled their chords, octaves, and double notes. This was done commonly in the left hand, and also very often in the right hand.
Further, they also employed a performance technique known as asynchronization. This is where the bass note is played slightly ahead of the soprano note in order to enhance the melodic line.
It is most important to note that this is in no way a question of musical style. It is, instead, a reality of substance. It has nothing to do with tempi, dynamics or phrasing. One either plays all of the notes at the same time, or they do not.
This conclusion, in part, is based on the re-recordings of music initially issued early in the 20th century. It includes newly recorded digital stereo CD’s of the Welte-Mignon piano rolls, as well as re-mastered analog recordings issued shortly thereafter.
Kenneth Caswell’s digital piano roll recordings, “Debussy, Composer As Pianist,” and „Maurice Ravel, The Composer as Pianist,” along with the four volume Richard Simonton Welte-Mignon set, all exhibit arpeggiation and asynchronization. The six CD analog recording, „Pupils of Clara Schumann Play Schumann,” additionally shows the same.
Then there are the recordings of the pianist George Copeland, as well as the pianist Marguerite Long, who were both personal friends and students of Claude Debussy. Although very different in style, they both show extensive use of this method of performance.
Also, Carl Friedberg, who was a student of both Brahms and Clara Schumann, proves this unequivocally in his live Julliard recital recordings, where he taught until 1946.
In addition to the recorded sources, there is the book „After The Golden Age,” by Kenneth Hamilton. Dr. Hamilton relates in his book that those who matriculated at the piano in the 19th century were commonly taught to arpeggiate their chords, and to also asynchronize their melodic lines when appropriate.
Further, he states, in that everyone played in an arpeggiated style, the score was never meant to be more than a basic guide to the beginning pianist. Franz Liszt’ scores prove this conclusively, as further documented by Kenneth Caswell’s recent recording, „Students of Liszt Play Liszt.”
Another more recent source is the new book by Dr. Neal Peres Da Costa of the Sydney Conservatorium, which is entitled “Off the Record: Performing Practices in Romantic Piano Playing” published recently by Oxford University Press. There is a companion website www.oup.com/us/offtherecord.
He has a whole chapter on Unnotated Arpeggiation, and his first chapter is entitled “Early Recordings As Evidence.”
Music history in the making is not too strong a phrase to be used here. This, in my opinion, is a major classical music news story.
Finally, enclosed is my video “Your Piano Teacher Taught You Wrong,” as well as a video of a live performance of Dr. Peres Da Costa playing the Brahms Cello Sonata.
It is important to note that with the exception of certain music conservatory pedagogues in the UK, the rest of the piano teachers of this world do not want this information known to the general public, much less the average pianist.
Everyone has the right to know how these compositions were originally performed and taught for many generations. Hopefully, together we can eventually bring the true joy, color, warmth, beauty, and spirituality of this great music to the public, as it once commonly existed throughout the world.