andreas streicher's notes on the forte piano

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Andreas Streicher's Notes on the Fortepiano: Chapter 2: 'On Tone'Author(s): Richard A. FullerSource: Early Music, Vol. 12, No. 4, The Early Piano I (Nov., 1984), pp. 461-470Published by: Oxford University PressStable URL: http://www.jstor.org/stable/3137975 .

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RichardA.FullerA n d r e a s Streicher's n o t e s o n t h e fortepianoChapter2:'On one'

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1 Andreas Streicher. Bust by ChristianMayer.Followingthe death of J.A.Stein(1728-1792), in 1794AndreasStreicher 1761-1833) and his wife,the formerAnna Maria(Nanette) Stein (1769-1833), moved theelder Stein's renowned workshop from AugsburgtoVienna. Up to that time, Streicher had been an ex-perienced if unsettled pianist, teacher and composer.Nanette, who at the age of eight had played the key-board in front of Mozart, and who later advancedsufficiently to attemptBeethoven'sop.106 Sonata,hadalso been schooled thoroughly in her father's trade;she had even assumedresponsibility,perhapsas earlyas 1791, for the running of the Augsburgworkshop

duringher father's final illness. Thefamily'sarrival nVienna marked the real beginning of the Streicherpiano-making firm, which was to continue undervarious names until 1896.1They quickly establishedthemselves as artists and artisansof the first rank.Asearlyas 1796 the Jahrbuch es Tonhunst:WienundPragnamed 'Madame Streicher'as one of the three greatViennese piano makers (the others were WalterandSchanz). It reportsfurtherthat 'it is quite certain thatwe have at the same time two original instrumentmakers, namely Walter and Streicher; all the restfollow either one or the other'.2The earliest Streicher nstrumentsresembledthoseof J. A. Stein: they were lightly constructed, five-octave instruments typical of the period 1785-95.However, by 1809, if not earlier, a change may bediscerned in the size andtonal qualityof the Streicherpianos. In one of his 'confidential letters' (dated 7February1809),J. F.Reichhardtwritesabout aperform-ance in the home of Nicholas von Zmeskall in whichDorthea von Ertmannperformeda fantasia by Beet-hoven:Wehad the goodfortune o hearFrau on Ertmannlayagreat antasiabyBeethovenwhichhada strength,oulandperfectionwhichdelighted ll ofus. It snotpossible ohearsomethingmoreperfectlyhanonthisperfectnstrument.twasa beautiful treicherortepiano,uchaswouldnspire nentireorchestra. treicher asabandonedhesoftness, ighttouchandyielding, epercussiveone of the otherVienneseinstruments,nd afterBeethoven'swishesandadvice,hasmadehis instrumentswithmorekeyboard esistanceandtonal flexibilityso that the virtuosowho can play withstrengthand convictionhas it morewithinhis power osustainthe soundas well as to control he fine pointsofpressing ndreleasinghekeys.Hiswork s alsoof agood,worthyanddurablequality eldomseen.3In their early years in Vienna (c1794-1801) it wasNanette who handled the workshopandthe business,while Andreas devoted himself almost exclusively(with great success) to piano teaching. However,thefirm must have grown rapidly.The following excerpt

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from Streicher's lengthy obituary describes his trans-ition from pedagogue to piano maker:Eventually the piano business demanded more and moreuntil Nanette could no longer manage it alone. Andreasgraduallywithdrewfromteaching in order to assist his wifeby actively participating n the business.Althoughhe was alreadyin his 40th year(1801)when hethrew himself with characteristiczeal into this hitherto nowunknowncraft,it was not long before he hadpenetratedandprofoundlyunderstoodthe mechanical artof piano making.His intimate acquaintance (as a player)with the treatmentand requirements of an instrument on which he hadperformedand taught for many years soon enabled him, incollaborationwith his wife, to endow his instrumentswith agenuine musical superioritywhich was cherished by con-noisseurs and which other makers sought to imitate.4

Here we have a brief picture of Streicher as aninstrument builder. But what sort of teacher was he?His KurzeBemerhungenuber as Spielen.Stimmenund

ErhaltenderFortepiano gives a fairly clear picture of hispianistic ideals; and it is also notable that he receivedthe praise and support of Beethoven, who in 1796wrote to Streicher:

[Vienna, 1796]MOSTEXCELLENTTREICHER!IndeedImusthumbly beg your pardon orreplyingso tardilyto yourveryobliging letter... WhenI tell you that mywork,which is nearly overwhelmingme, has prevented me fromdoingso, Iamcertainlynot telling alie. Your ittlepupil,dearSt[reicher], partfrom the fact that when playingmy Adagioshe drewa few tearsfrommy eyes, has reallyastonished me.I congratulateyou on being so fortunate as to be able todisplay through such a talent your own understandingofmusic;and,moreover,I amdelightedthatthis dear littlegirl,who is so talented,has youforherteacher.I assureyou in allsincerity,dearSt[reicher], hat this was the first time it gaveme pleasure to hear my trio performed; and truly thisexperience will make me decide to compose more for thepianoforte than I have done hitherto. Even if only a fewpeople understandme, I shall be satisfied. There s no doubtthat so far as the manner of playing it is concerned, thepianoforte s still the least studied and developed of allinstruments;often one thinksthat one is merelylistening toa harp.AndI amdelighted, mydearfellow, thatyou are oneof the few who realize and perceive that, providedone canfeel the music, one can also makethe pianofortesing. Ihopethat the time will come when the harp and the pianoforte willbe treated as two entirely different instruments. By the way, Ifeel sure that you can let your little pupil play anywhere andthat, between ourselves, she will put to shame many of ourcommonplace but conceited organ-grinders.One thing more. I trust you will not take it amiss, mostexcellent St[reicher], if I too take a little interest in her

training?-or, rather, f I am anxious about her progress?-Forwithout wishing to flatteryou, I must say that I knowofnothing more or better to tell her than that you shouldsupervise her progressand encourage her on my behalf.-Well now, all good wishes, dearSt[reicher],and continue tobe my friend, just as I am wholly your sincere friendL. V. BEETHOVENI hope to be able to visit you soon in person and then I willalso let you have the number of my lodgings.Give my greetings to your dear wife.5

It is especially interesting that, in addition to hisother activities, Streicher was an aspiring composerand arrangerwho produced a number of relativelylittle-known keyboardcompositions. Theodore Boltewrites: Itwas aroundthis time [theearly 1780s]that hecomposed several ballets, piano sonatas, variations,exercises and sonatas'.6Streicher'spieces show himtobe acompetent, imaginativeexponent of the late 18th-century keyboardstyle. Seen in the light of his KurzeBemerhungenhey illustratehis ideas of howacomposershould write for the piano.It is Streicher'scombination of practicalexperienceas pianist, teacher, composer and piano maker thatgives his KurzeBemerhungents special importance.Thebooklet was probablymeant to be presented witheach Streicher instrument sold directly through theworkshop, and although it does not attempt to be acompendium of 18th-century musical practice, itnevertheless provides a particularlyclear and vividdescription of how one should or should not attemptto play the piano. This is sometimes done wittily,especially in the comparison of a good and a badplayer.TheKurzeBemerhungenonsists of a title-pagefollowed by four chapters of text. There is one plate(illus.3), illustrating (1)Viennese action; (2) a damper(3) a tuning pin with proper string winding; (4) theinstrument as a whole; and (5) a damper-rack front-piece. Chapter 1 discusses the mechanics of theViennese action, tone production, tone quality, posturefor body, arm, hands and fingers, and proper relaxation.It warns especially against excessively hard playing.Chapter 2, 'On tone', is of special value to the modernplayer of the early piano; it is reproduced and trans-lated below. Chapters 3 and 4 offer practical suggest-ions (though not detailed information) on tuning,handling of the piano and string replacement, as wellas general maintenance.

The publication appears to have been printed first in1801 and reprinted in 1802.' These dates, together with462 EARLY MUSIC NOVEMBER 1984


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the book's illustration,suggest that Streicher's emarksare especially applicable to the smaller Vienneseinstruments of the five-octave type, though they aredoubtlessrelevant o later nstrumentsas well.Streichermodestly addresses his suggestions to musical ama-teurs, but his artisticexpectations seem to have beenquite high.

'The Streicher firm was first established in Vienna under thename Frere& SoeurStein (or'GeschwisterStein'), ts title from 1794to 1802; its subsequent renamings were as follows: 'NanetteStreicher,n6e Stein' (1802-23); 'Nanette Streicher,geb. Stein undSohn'(1823-33); 'J.B. Streicher' 1833-59); 'J.B. Streicherund Sohn'(1859-96).2Jahrbuch erTonkunstWien undPrag(Vienna, 1796), p.903J. F. Reichardt:Vertraute riefe,ed. G. Gugitz (Munich, 1915),vol.7, p.3114Allgemeine usikalischeZeitung 2 March 1834), p.1035E.Anderson, ed. and trans., TheLetters f Beethoven, (London,1961), pp.25-66T.Bolte: Die Musikerfamilientein und StreicherVienna, 1917),p.23. I have recently attempted to assemble the piano works ofStreicher, and have so far located several sets of variations, theSonata no.2 in F, a capriccio and a collection of exercies; many ofthese appearnever to have been published.7The two copies in the Gesellschaft der Musikfreunde, Vienna,carrythese respective dates, but are otherwise identical.

Kurze BemerkungenAbet das

Spielen, StimmenundErhalten,der Fortepiano,welch*

, /Pc- Stein in lienverfertigetwerdea.

Ausschlie.rund orfuir die Be.itoer disserInstrumento aufgesjctzt, 4;t" '

2 KurzeBemerkungen .. Titlepage with ms additions made afterthe name of the firm was changed (see fn.1). The original read.welche von GeschwisterStein in Wien.

Kurze BemerhungenuiberdasSpielen, Stimmon und Erhaltender Fortepiano,welche von [Nannette Streicher]

[gebomrne]tein in Wienverfertiget erden.Ausschliessend nur ffir Besitzer dieserInstrumente aufgesetzt, [von Andreas Streicher]

Vom ToneEsistsehrschwer,wonichtunmoglich,enschdnsten nstrument-alton zu bestimmen. ederMensch hat sein eigenes,von einemandernmehr oderwenigerverschiedenesGefihl Diesemmissenwireszuschreiben, asseinigenurScharfe Schneidende grelle"anderehingegenvoile runde molligte Tone ieben.OhneeinerMeinung u nahezu treten, annman aberdochannehmen, ass,wennso wohldie einzelnenals zusammenIlingendenTonedesFortepianoGefallen rwechen dernrdhrenollen; ie sich,so sehrals nur moglich,dem Toneder besten Blasinstrumente dhernmuissen.Ist derTon inesFortepianonders,ein ogenannter ilbertortderabersehrbald,besonders eystarhem pielen,Eisentonwird,)so grenzter schon an das trockene diinne magere" ndist zuweit von der Ahnlichkeitmit derMenschenstimme,derdenenInstrumentenntferntwelche durch hrerunden, osganze OhrausfiillendenTone, o mdchtigauf unserGefiihlwirken.

Noteson thePlaying, Tuning and Maintenanceof the Fortepianomanufactured

in Viennaby [Nanette Streichernee] SteinWrittenexclusively for the owners of theseinstruments [by AndreasStreicher]On tone

It is very difficult, if not impossible, to agree upon whatconstitutes a really beautiful instrumental tone since every-one has a more or less different idea about it. For this reason,some prefer a sharp, cutting or shrill tone; others, on thecontrary,prefera full,well-roundedone. Withoutoffendinganyone however, it can be assumed that if the tone of thefortepiano is both to move and please the listener, it should,as much as possible, resemble the sound of the best windinstruments.

If the tone of a fortepiano is otherwise (a so-called 'silvertone',whichverysoon, however,becomesan'iron one' fplayed too heavily), it is already on the verge of being dry,thinormeagre,nd s thus toofarremovednresemblanceo thehuman voice, or to those instruments which, through theirfullness of sound, fill the ear with tone and strongly affectour feelings.

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Bey einemrnteinischenFortepianost der Tonganz nach demangegebenendealegebildet,o wie in seinerTastaturchonallesvorbereitetst was derSpieler ujederGattung esmusihalischenVortrags raucht.Es wirdalso nurnochan Ihmliegen,oberdas,was obenfiberden Anschlaggesagtwordenst,mitAufmerksamheitnwendenwill,damiter umso leichterein Instrumentuf die Art prechenlassen hann, wie es sprechensoll. Es ist wahr, eine schoneTongebungey chnellem,chwierigem,ndvollstimmigenpielen,ist nichtsweniger ls leichtAlleinunmoglicherst es doch auchnicht,alsjedeandereSache,die man vollkommengut ausuibenwillMan nehmedie Sdnger, ie Blasinstrumentistenum MusterWievieleMuhegeben ichdiese,um ihrenTon ch6n zu bilden!wie viele ausendStunden rbeitet erViolinist, m demVorwurfezu entgehen;r habe einen schlechten Ton Sollteder Clavier-spieler allein sich von diesem unentbehrlichen tudiumaus-schliessenwollen?Sollteer so wenigEinsichthabenzu glauben,dass auch die vollhommensteMechanikihm ein Instrumenterschaffen 6nne,welches mmerdenrichtigenTon ibt,es mogegut oder alschbehandeltwerden?Unm6glichann emanddieseMeinung aben.NurderMangeldes UnterrichtsstdaranSchuld,wennhierundda einLiebhaberseinortepianoichtzwechmdssigbehandelt.Mangebesich nurMiihe,man habenur den Willendazu,manmache ein Ohr ufmerksamaraufso wird ehrbaldunendlich ielgewonnenseyn.Es wdre nicht schwer, alle Regeln,welche so wohl zurHervorbringunginesguten,als zur VermeidunginesschlechtenTonesbeytragen,erReihenachanzufuihren.lleines wirdwohlvongrosserm utzen eyn,wenndieseRegeln urch ieSchilderungvon zwey Gattungendes Clavierspielenslebendigdargestellt,und dadurchdemMusikliebhaberiefereingeprdgt erden.

Mandenhe ich einenwahrenTonhunstler,ergerade etzt imBegriffst,offentlich derauch n einerGesellschaft,ortepianouspielen.MiteinerMiene,welchezeigt,dass ihm selbst dieMusihVergnigenmache, etzt er sich zu seinemInstrumente,ndgibtsogleichdurchdie Haltung eines Korpersu erhennen, ass erweiss,was zumgutenSpielegeh6rt.Er ubergeht as Clavier, ndschondieerstenTone ntfliessenseinen Fingern o leicht, so kernhaft, so nett und doch sonatifirlichch6n.r assan dieKunst, ie so zugeben, arniemanddenht.Beyfortlaufendempiele st die Haltungdes Arms,derHand,der Gang der Fingerselbst, fusserst ruhig KeineBewegungverrdthMuheoderAnstrengung. ie Tastatur st unterseinenHdndenwie eine weiche,willigeMasse,aus der er Tonebildenhann,wieerwill WiebeyderSchonheitslinieesMahlersindalleSchatterungen des wachsenden und abnehmenden Tones ineinander geschmolzen.Erspielt mit allem Feuerdes mdnnlichen Kiinstlers,und immerbleibt sein Ton noch schon, weil er das Forte und Fortissimomehr durch vollstimmige Harmonien, als durch einzelneTone zu geben sucht Seine starhen Accorte arten nie in dasschneidende Geschrey aus, welches nur in Symphonien oderTheaterscenenan seinem Platz ist, ebenso wenig suchtersie durch

The tone of the Stein fortepiano is modelled exclusivelyaccording to this ideal, so that in its keyboard,everythingthat the playerneeds for everytype of musical performanceis alreadyprepared.It is the responsibility of the performer o apply carefullywhat has been said previously about touch,* and thus topermithis instrumentto speak in themanner hat tshould. Itis a fact that a beautiful tone productionin fast, difficultandfull-voiced playing is quite easy and no more impossiblethan anything else which one has practisedverywell.

Take, for example, the singer or the wind player. Howmanyof themtake the trouble o shapetheir tone beautifully?Howmanythousands of hours the violinist works n order oescape the reproach that he has a bad tone. Should thekeyboardplayerbe excluded fromthis indispensable study?Would he also have so little insight as to think that theperfect instrument that always gives the correct tone(whetherit is treated well or wrongly)could be created forhim? It is impossible for anyone to have such an opinion.Onlya lack of properinstruction could be the reason why,occasionally, an amateur fails to handle his fortepianosuitably. If he only had the determination and took thetrouble to trainhis ears, a greatdeal could be accomplishedvery quickly.It would not be difficult to cite all the rules which, whenfollowed, produce good tone or, when avoided, produce abad one. However, it will be of greater value to musicalamateursand make a deeper impression on them if theserules are illustrated by describing two types of heyboardplaying.

Imagine,if you will, a true musical artistwho is before usnow playing the fortepiano publicly or socially. With ademeanourwhich shows that music gives himpleasure, heseats himself at his instrumentand at the same time showsus throughhis bearingthat he knows what constitutes goodplaying.As he runs his fingers over the keys, the very first noteswhichescape his fingersareso lightsolid,neatand o naturallybeautiful hat no one is even aware of the artistry.Inrunningpassages, the position of thearms, he handandthe action of the fingers themselvesis extremelyquiet. Nomovementbetraystroubleorstrain.Thekeyboard,under hishands, is a soft, pliantmass fromwhich he can shape tone ashe wishes. Likethe beautiful lines of apainting,all shades ofincreasing and diminishing notes melt into one another.He plays with all the ardour of a masculine artistbut histone alwaysremains beautiful, becausehe seeks toplayforteandfortissimomore hroughull-voicedharmonieshanthrough

"Inhis first chapter, Streicherdiscusses the requirementsfor agood touch: suppleness, a quiet hand, minimalfinger action, well-curvedfingers(butstrikingonly in the fleshy partof the finger)andprecisefingermotion.He also warnedrepeatedlyagainstexcessivelyhard playing. It is clear that Streicher's echnical approach to thefortepiano at this time (1801-2) is firmly based in harpsichordtechnique (a comparison with Rameau'sadvice is instructive.)464 EARLYMUSIC NOVEMBER1984


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Hauen oder Hacken auf die Tasten,also vielmehrdurcheinnerv6ses Anprellenzu erhalten Mussaberdennoch ieh6chsteStdrke egebenwerden, o wirder sie lieberdurchden Bass alsDiscant bewirken,weil er dann dem Instrumente icht so vielschadet,und dem OhrederZuh6rernicht beschwerlichfdllt.Sein Pianooder Pianissimoist in denschnellen o wie in denlangsamenNoten mmer deutlich.Erweiss,dassnurdiess,aberauch nur diess allein das allerh6chste Vergniugen ewihrt,wenn leise Thne auf das genaueste und gewisseste gegebenwerdert undder Zuhorernicht iberdas zweifelhaft st, was ergehorthat Ein bravo!chdn!vortrefflich!elohntdusreineGefrhldes Spielersauf der Stelle.Das Crescendo,so langauch derZeitraumey,den es dauemrnsoll,weisserso zugeben,dassman niebemerkt,bderjetzigeTonstdrker st als der vorigewar Und dennoch wird er unsunvermerktauf die h6chste Stufe des Fortissimoffihren, sowie er auch durch das Decrescendo das gespannte Geffihlwieder zur Ruhe bringt.Beydem Fortissimotduschte r uns durchdasHinaufdriickender Dadmpfung,ass wir glaubten,eine Orgel,die Fille einesganzenOrchestersu horen. etzt m Pianissimo zaubert rdurchebendieses MitteldensanftenTonder Harmonica er.Wierein,wiefl'tenartigklingendieDiscant-T6ne,wadhrendielinke Hand hnenconsonirende ccorde ntgegenetzt! Wie volllautetderTondesBasses,welcher elastisch leicht angeschnelltwird Sparsambringter diese Schonheitan, damit der o6ftereGebrauch icht seine Wirkung erfehle.Er weiss jeden Tonsingen zu lassen, ohne sein Instrumentanzustrengen;eil erjederTaste den geh6rigenAnschlag gibtDie Hauptstimmedringtimmerhervor,denndie sie begleit-entenNoten werdenmitVorsicht twas schwicher angegebenrSollten auch Melodieund Begleitungn der ndhmlichenHandliegen; o weiss er dennochden Hauptton krftiger als denbegleitenden auzuschlagen, und macht uns dadurch denGesangmehrerer,ugleichgehendertimmen, ufdas deutlichstehdren.

Sein schnelles Staccato,wie leicht st diess!wie ruhigst dieHand,undwie rund autetdennoch erTon,o kurz rauchdauert!Manhareseine gezogenen (geschleiften) Note" wieschonhangen ie zusammern,nd wierichtig ondern ich dochalle ab.KeinFingerhebt sich frifiher uf, als bis die folgende ihrenAnfangnimmt;keinerbleibt linger liegen, wenn die folgendeNote schon den Anfang genommen hatDiess ist dieUrsache,warumwirallesso klarhoren,warumdieTdne o fliessenddaherrollen.Rein,dengleichstenPerlendhnlich, st sein Triller;weil erkeinen Fingerh6her als den andernhebt dadurch anner hnlangsamer, schneller machen;er hann ihn auf den hochsten Gradanschwellen und wieder ausloschen lassernWie schon prallen seine Doppelschlaige, Mordenten, oderkurze Triller ab; weil er die Finger nahe zusammen h~ilt,undnicht durch das Herbeyziehen derselben auch nur denkleinsten Theil Zeit verliert

Im geschwindesten Temposchlagt er den nahmlichen Accordschnell und oft nach einander an. Nie versagt ihm ein Ton Man

individual otes.His strongchords never resemble a piercingcry, which is appropriateonly in symphonies or theatricalpieces. Even here he tries to produce tone less throughhackingandchopping at the keyboard; atherhe producesitthrough a quick efficientattack. If, however, the greateststrength must be used, he prefers to achieve the effectthroughthe use of the bass as a melodic voice for then theinstrumentis not damaged,nor the ears of the listeners toooffended.In fast as well as slow passages, hispianoorpianissimo salwaysproper.He knows thatwhen ightnotesareproduced iththeutmostexactness ndcertainty,hisandthis aloneaffordshelistener hegreatestdelight, o that he has no doubt as to whathe has heard.'Bravo', beautiful', excellent'reward he purefeeling of the player immediately.He knows how to produceacrescendowhichshould last aslong as the time allottedit)so thatone nevernotices whethera note is louder than the one before it. Andif he leads us,imperceptibly,othehighestdegree ffortissimo, ealsobringshetension to a pointof restby meansof a decrescendo.

In afortissimo,he makesus believe thatwe arehearinganorgan or the fullness of an entire orchestra through thelifting of the dampers. In a pianissimo,he conjures upthrough the same means the gentle sound of the glassharmonica.How pure, how flute-like the notes of the treble soundwhile the left hand harmonizes with chords. How full thebass notes sound;they areso easily andflexiblyarticulated.He employs this beautiful effect sparingly for fear thatthrough too frequent use it will fail to make its effect.He knows how to let everynote singwithout straininghisinstrument, because he gives each note its appropriateemphasis. The principal voice is always clearly audiblebecause the accompanyingnotes arealwaysplayedcarefullyandmorequietly.Yetshould the melodyandaccompanimentlie in the same hand, he can still play the principalnotesstrongerthan the accompanyingones; he thus makes themelody louder and more distinctly audible than the accom-panying voice.How light is his quick staccato, how quiet the hand, andhow rounded the tone, however brief the note.Hear how beautifully his slurred notes are groupedtogether and especially how correctlythey are all released.Nofinger s raisedbeforehenextoneplays;noneremains astthebeginning f the nextnote.This is the reason why we hear everythingso clearly andwhy the notes flow so fluently.His trill is pure, like matched pearls, becausehe lifts nofinger higher than another;through this means, he can make itslower or faster.

How beautifully his turns, mordents and short trillsresound, because he holds his fingers close together andloses not the least bit of time in the finger action.In the fastest tempo he can play the same chord quicklyand repeatedlywithout missing a note. The listener thinks heEARLY MUSIC NOVEMBER 1984 465


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i -#..

" dam=

. ,.'.!rowr

3 KurzeBemerkungen. . plateglaubtdieselbenTone hneUnterbrechunggleichtarkfortdauernzu horen. ur hn istdiessleicht,weilseineHanddieruhigsteLagehat Seine Fingerbleibenzwar immerauf den Tasten iegen;dennochaber heben sie sich so hoch, dass die TastenPlatzgewinnen,wieder n dieHohezu gehen,damitderSchnabeldesHammers eyjedem euenDruchen dieTangenteingreifenann.So wenigersein Fortepiano yrannisirt,ben so wenigist erauch ein Sclave desselben.Kihn ziberlasst r sich demganzenFeuerderBegeisterung,llein derreineGeschmachalt dieZigel,und ldsst ihn nie in hasslicheToneausarten.ImAdagio, eydemAusdrucheanfter, rauriger efithle, eissersoschon,derherrschendenmpfindunggemasseinInstrumentsprechen u lassen.Richtig ihlend, behanntmitderMechanih,diess Geffihl n den Tagzu geben,weiss erseine Tonewie Ohlfliessen zu machen,ohne dass sie schleichern sein Piano soauszufiihren, ass es unsereAufmerksamheitesseln muss DenAusrufdesSchmerzenswirderniegrell,oderdurchknirrschendenTon,sondemrniebergemildertausdrichen;denn der Schmerzerwechtbey demZuhorerwie bey demZuschauernuralsdannGegenempfindungennerverschdnert,nd edeldargestelltwirdVor dem rohen Ausdruckeflieht jedermannDer Spielerhdrt endlich auf und lasst die angenehmstenEindrichein den Zuhorernzurich, welche nie unempfindlichgegen wahre Sch6nheiten sind Wodurcherregteer unserWohlgefallen?urchwaszwangerunsereBewunderungb?Nur

hears one sustained tone because the performer'shands arein the quietest position. His fingers alwaysremain in touchwiththe keys,althoughhe raises themhigh enough to permitthe key to return to its place, thereby allowingthe hammerbeak to engage the escapement lever for each new stroke.He neithertyrannizeshis fortepiano,noris he a slave to it.He boldly abandons himself to the fire of his inspiration;good taste alone holds the reins, never permitting him,through loss of control, to make an ugly sound.He knows how to permit his instrument to express thenoble sentiments befitting the gentleness or melancholy ofthe adagio.If the playeris richtig iihlend,"amiliar with theaction of the instrument and capable of communicatingprofound feelings, he will knowhow to makehis notes flowlike oil, and not creepalong.His pianois so prepared hat itmust hold our attention. For the expression of sorrow, heneverplaysin a shrillorcoarse manner,but ratherexpressesit gently; because sorrow, if it is beautified and noblyexpressed, arouses in each listener, as in the observer,then,the opposite feeling. Everyones repulsed ycrude xpression.

*Thats, his musical ensibilities recorrect.Clearlyhephrasesuggests playerwhounderstandsoth hemusiche isplaying ndthe instrument n which t is played.466 EARLYMUSIC NOVEMBER1984


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dadurch,dass er die Beschaffenheit es Fortepianouberhauptgenaustudierte; ass er das ebenso gut hennt,was in derNaturdesselben iegt als dasjenige,was ihrunm6glich der remd stdass er sein GefUhl en Grenzen es Instruments nterzuordnengelemrntat,und durchdie richtigeKenntnissdermechanischenBehandlung,welchebey edemInstrumente,hneAusnahme erMenschenstimme,tatt indet)nun in denStandgesetzt ist,unsalles dosffihlenzu machen,was erselbstffihlt.

Es sey erlaubt, iesemBildeein anderes egenuberzu stellen,welches zwar nicht nachahmungswzirdigst aber wenigstensdoch zur Vermeidunges Fehlerhaften ienenkann.EinSpielermitdemRufe:"er pieleausserordentlich,o etwashabe manniegeh6rt"setztsich,(oderwirstsich)zumFortepiano.-Schon die erstenAccordewerdenmit einerStadrhengegeben,dass mansichfrdgt:ob derSpieler aubsey, oderseine Zuh6rerdaffirhalte?DurchdieBewegung einesLeibes, einerArmeundHdnde,cheinterunsbegreiflich achen u wollen,wieschwerdieArbeit ey, welcheeruntemrnommenabe.ErgerdthnFeuer, ndbehandelt einInstrumentleicheinemRachsichtigen, erseinenErbfeind nterdenHdndenhat,undmitgrausamerLuft hn nunlangsamzu todemartemrnill.Erwill Forte pielen,allein da erschon imAnfangedieThneubertrieben,o kannerkeinenhdhernGradvon Stdrkemehrherausbringen.Er haut also, und hierverstimmenich pl6tzlichdie misshandeiten aiten,dort liegeneinigeunterdieUmstehenden,elche icheiligzurickziehen,umihreAugenn Sicherheitu setzen.Beydieser inzelnenNotestehtein Sforzando!-GlhichlicherWeise hdlt derHammer,hdlt dieSaite noch aus. Aber hdrenSie, wie der Ton knirrscht,wieschmerzlich rdemOhredllt!Leidenschaftlicheseuer erwandelterzur Wuth,die sanftenEmpfindungenrnicktr durchkaltesSpielen aus-Da er allesaufeinenh6hemrnradpannt, o ist esnatfirlich,dass er das Fortepianobey dem AusdruckedesSchmerzensschreyen und heulen ldsst, und beym raschen,freudigenGangderMusik,TastenundHdmmerahmschldgtSchattenundLicht-in einander erschlungenesWachsenundAbnehmen erTone,st fir ihn zu kleinlich: iessgeh6rtnurffirWeiberJetzt kommtein Crescendo;chade,dass man nichts davongewahrwird,weil nur die erste Noteschwach,die zweyte aberschon wiederzu starkwarDoch!-Nun kommt das Adagio!Ndhemrnie sich, sch6neZuh6rerinnen,r will mit den Ellenbogen u ihnensprechen!-SehenSienicht,wieschmachtendrdiesegegen ieausstrecktwiedas ubermdichtigeeftdhlich desLeibesund derArmebemeisterthat?Leider!h6rendierickwdrtsSitzendennichts,vondiesemnursichtbaren Ausdruck, uch k6nnen sie sich die undeutlichen,stammelndenTone ar nichterkldren. berwarumhat auchdierSpieler ein so eigensinniges Instrument, das nur seinen Fingem,aber nicht seinen Gesticulationen gehorchen will? Warumsinddie Krafte der Natur und Kunst zu klein, um so ein machtigesGefzihl berall hinstromen lassen zu konnen?

When the playerhas finished, he leaves behind the mostpleasant impression on the listeners, who are never in-sensitive to truebeauty.How did he excite our pleasure?Through what means does he compel our admiration?Because he has studiedcompletelyandexactlythe propertiesof the fortepiano,he knowsperfectlywell what lies withinitsnature,as well as what is impossible orforeignto it. He haslearned to subordinate his feelings to the limits of theinstrumentand, througha correctknowledgeof mechanicaltreatment(whichhappens in everyinstrument ncludingthehuman voice), is now capable of makingus to feel what hehimself feels.Allowme to introduce into this picture the opposite typeof performer,who is indeed unworthyof imitation,but whowill serve to illustrate mistakes which should be avoided.A playerof whom it is reputed, 'He plays extraordinarily,such as you have never heard', seats (or rather throws)himself at the fortepiano. Already he first chords will havebeen played so that one asks oneself whether the player isdeaf or believes his listeners to be so. Through themovement of his body, arms and hands, it seems he wouldhave us understand how difficult the work s which he hasundertaken.He operates in a fiery manner and handles hisinstrument ike someone bent on revenge,someone whohashis arch-enemy in his hands and, with sadistic pleasure,wantsto torturehim to death. Ifhe wantsto playforte,he hasalreadyso exceeded it at the beginning that he can produceno greaterdegree of volume.Hepounds o hard hatsuddenlythe maltreatedstrings are put out of tune; several fly in thedirection of bystanders who hurriedlyretreat to safety inorder to protect their eyes. Over this note is a sforzando!Luckily he hammeras well as the stringcan withstand t.Buthear how the tone grates,andhow painfullyit falls upon theear. Ardentpassion he transformsinto rage and the gentlersentiments he expresses through indifferent playing. Herehe plays at a highervolume;it is only natural hat he makesthe fortepiano shriek and howl in the expression of sorrow.In quick, joyful passages, keys and hammersstrike lamely.Light and shade-the interminglingof the increase anddecrease of tone-is too fussy a matter or him;this is onlyfor women.Nowcomes the crescendo. It is a shamenothingwill comeof it because only the first note was soft; the second wasalreadytoo loud.Nevertheless, here comes the adagio! Draw nearer mygood listeners, he wants to speakto you withhis elbows. Canyou not see how tastefullyhe stretches them out,how he hasrestrained the overwhelming feeling of the body and thearms? It is a pity the people sitting at the back can hearnothing from this purely visual expression; neither can theyhear the inarticulate, faltering notes. But why, too, does theplayer have such an obstinate instrument that it will onlyobey his fingers and not his gesticulations? Why is the powerof nature and art so small that it cannot express this mightyfeeling?

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Jetztspielter mitderBegleitung es Orchesters,ndgibtsichalle Miihe,mitseinemeinzelnenFortepiano lle ibrigen nstru-menteauch im stirksten Tuttizu uberschreyen.Nunaccompagnirtr denSdnger!Wehediesem!KeinTonwirdausseinerKehlekommen, emnichteinige ehachteNoten n denWeggeworfenwerden.Puffwas wardas?Erhat dieDdmpfungn dieH6hegehoben;aihmaber nichts so geldufig st als Gewalt, o hat ersie an das

Clavierestossen. etztwillerdieHarmonikaachahmen,bererbringtnur herbe Tone heraus:consonirende nd dissonirendeAccorde liessen unter einander,und wir bekommennur einwiderlichesGemengselu h6ren.KurzeNotenst6sster mitArmundHandzugleichpolterndab.Soil erTone usammen iehen(schleifen),o vermischenie sichuntereinander,weiler nie einenFinger u rechter eitaufhebt-Sein Spiel gleicht einer Schrift welche man bey noch nichttrochener inte, uswischtManerwarte ein wohlthuendes iano!musser es aucheinigeTacteang spielen, o wirderdenangenehmen indruckmit denSpitzenseinergrellenTone chon wiederzu t6dtenwissen.

Matt, ersch6pft wie wenn er Eichbaumehdtte ausreissenwollen, teht er endlichauf undhinterlasst as armeFortepiano,(fir welches einBelitzerbey edemAnschlagegezittert)n einemZustande,welchendieWuth inesBarbaren ichthdttechlimmermachenh6nnen.-Man hatvonGldch u sagen,wenn mit einemhalbenDutzendSaitendem Schadennoch abzuhelfen st, undnicht abgeschlageneTangentenund Hdmmer erstreucumherliegen.

Bemerht rdie uble Wirhung uf die Zuh6rer,wersollte ihnauch bewundernk6nnen!) o ist er artiggenug die Schulddemschlechten nstrumenteeyzumessen,ufwelchem ich nichtmitFeuerund Ausdruchpielenlasse.Ist dieseSchilderungbertrieben? ewissnicht!Es liessensichBeyspiele u hundertenanffihren,wiesolcheClavierwfirger,msch6nsten, anftestenAdagioSaitenzerschlagen;ineungeheureStdrhe useinemeinzigen Discant-Toneherausbringenwollen:wie durch sie in wenigenStundendas beste Fortepiano uSchandenehauenwerden ann,und ogar, diess stheineFabel,)Pedal-Tastenauf der Orgelzertretenwerden.Allein es wird unstreitigvon gr6ssermNutzen seyn, etwasdaruberzu sagen; woher es eigentlich komme, dass dieFortepiano-Spielermehr als die fibrigen Instrumentistenden Ton fibertreiben.Die wahreUrsachewirdvon sehrwenigenbeobachtet,st aber

ganz natuirlich.AlleSaiten-undBlasinstrumenteiegen,wdhrend erBerihrungdesSpielers, em Ohrenaher,als das ClavierBeydiesem stderSpieler n keinerso nahen Verbindungmit dem Tone,als dieubrigenInstrumentisten,sondern er hat nur die Tastatur,die denTon hervorbringt, hn selbst aber nicht gibt, nahe bey sichl abergeradedas, was den eigentlichenTon chafft den Resonnanzbodenentfernt von sich.

Vorne hat das Fortepiano gar heine Vibration, alle gehtrickwdrts. Vondieser hann er aber nicht den vierten Theilh6ren,

Now he plays with the accompaniment of the orchestraand he takes great pains to play louder than all the otherinstrumentswith his single fortepianoeven ntheloudest uttipassage.Now he accompanies the singer!Woe is he! No note willcome fromhis throatwhich will not have severalhacked-upnotes thrown in its path.Puff! What was that? He raised the dampers. For himnothingis so fluent as the force withwhich he shoves on thepiano. Now he wants to imitate the glass harmonica,but heproduces only harsh tones; consonances and dissonancesflow into one anotherand we hearonly a disgusting hodge-podge of sound.Short notes areshoved withthe armand hand at the sametime, making a racket. If the notes should be slurredtogether, they are blurredbecause he never lifts a finger atthe righttime. Hisplayingresembles a scriptwhichhas beensmeared before the ink has dried.

Expectno soothingpiano.Evenif he only has to playit fora few bars,the pleasant impression will soon be killed withthe very best of his shrill tones.Faint,exhausted, as if he had tried to uprootan oak tree,he finally stands, and leaves behind the poorfortepiano (forwhich its owner has cringed at every blow) in a conditionwhich the fury of a barbariancould not have made worse.Thankonly good fortune if the damagecan be repairedwithjust half a dozen strings, and that broken tangents andhammers are not lying scattered about.If he should notice the bad effect upon the listeners (whoshould also marvelat him),he is so well mannered as to laythe blame on a bad instrument which did not permithim toplay with fire and expression.

Is this description exaggerated?Certainlynot!A hundredinstances could be cited in which'keyboardstranglers'havebrokenstrings n the mostbeautiful,gentleadagio.Enormousforce on a single treble note will do it. In this manner, thebest fortepianocan be chopped to ruin and (this is no fable)even the pedalboardof an organ will be crushed.It will be of undeniably greater use, however, to saysomething about this: why is it thatthefortepianist verplayshis tone more han other nstrumentalists?The true reasonwill be apparent romvery ittle observationand is quite natural.During playing, all string and wind instruments aresituatednearerthe earthan is the keyboard.For his reason,the fortepianist has in no way so close a command of histone as the other instrumentalists. Rather,he has only thekeyboard,which producesthe tone not in his direction,nearhim, but straightout. The soundboardcarries wayfromhimthe sound that is actually produced.In front, the fortepiano has hardly any vibration;every-thinggoes towards he rear.However, he playercannot even

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weil ein hohes Pult und undurchdringlichesotenpapierdenZugangderTonehindernm.Daher kommt es, dass diefenigen,welche demSpieler egenuberstehen, alles, auch in einer weiten Entfemung,auf dasdeutlichstevemrnehmen,dhrendenerselbstglaubt sein Instru-mentgebe gar keinen Tonrdaherhommtes, dass er in einemgrossenSaale nochwenigervon sich h6rt als in einemZimmer;welldortdieentfernten Wdndeden Tonnichtso schnellzurnickwerfenkdnnen, ls hierdie ndheren FzirdenZuh6rereht aberdarumnichtsverloren. erTonverbreiteteineSchwingungeniszu ihmhin,und lautet nichtschwdcher,wohl abersanfterundschoner.DerRaumverbiethet iessweitldufigerus einanderu setzen.Fir den Musikliebhaber,em darangelegen ist, dass er seinInstrumentbesondersbey6ffentlichem pielennichtiiObertreibe,aberdochauch immer eh6rtwerde, tehe nochfolgendeshier.1) Er mache sich einen sprechenden, sicheren AnschlageigernHat er diesenerworben,o wirderihmsoganzzurandernNatur werden,dass auch den furchtsamenHdndenhein Tonausbleibt

2) Er besuche6ftersConcerte,welche in grossenSdlen oderTheatemrnegebenwerden.Hier beobachte r,aus verschiedenenEntfemrnungenie Wirkung es Tonesvon demFortepiano. aldwird er sich iberzeugen,dass dieser,wenn ihn nicht andereInstrumenteedecken,iberall, ey erauch noch so piano,geh6rtwerde.3)BeyConcerten,esonders berbeyMozartischen,rickemansein Fortepianoden Zuh6remrnehrereSchuhenaher,als dasOrchesterst Zundchsthintersich lasse man nur die Violinen.BdsseundBlasinstrumentemiissenweiterr'ckwdrts eyn, edochdie letzterenmehrals die ersteren.4) Ehe man spielt muss das innerePult (wenn es nicht

gebrauchtwird)undderDeckel, eraufderDdmpfungiegtherausgenommenwerden,damit nichts den Tonhindere, rey zu denZuh6remrnu gelangen.5)Aus derndhmlichenUrsache,eidemanheineUmstehendennahebeydemInstrumente. ie bedngstigen urdenSpieler,underslickenden Ton.Endlich.

6) Wennman ohneBegleitung pielt so sollte nie angefangenwerden, isnichtallesganzstilleist;damitgleichdie erstenT6ne,auf welche bey einem Solo-Spielerso viel ankommtvon denZuh6remrnanz reinundohneZerstreuungufgenommen erden.Auch bey einem Concert ausireman liebereinen halben oderganzenTactwideralle Vorschrift urdamitdieInstrumente eithaben,zur verschallen, nd der Tondes Concertisteney demAnfange seines Solo rechtdeutlichgeh6rtwerde-Uberhauptaberprdge ich derTonhinstler ieIdeerecht iefein,dass erbeyDarstellung eines Concerts,Sonate u. s. w. mit demSchauspieler ingleichem Verhaitniss ist Wird dieser wohl gleich vom Anfangstuirmenund toben? Wird er schon in den ersten Scenen all seinFeuer verschwenden? Wie ubel wirde der Zuschauer mit ihmzufr'eden seyn, wenn er ihn gegen das Ende nur schreyen horte,oder sich in der Erwartung, welche die ersten Auftritte in ihmerregten,getauscht finden mzisste.

hear a quarterof this because a high music-desk and densemusic-paperblock the projection of the tone.This s thereason hat those who arestandingopposite theplayer, even at a distance, can hear everything distinctly,while the playerhimself thinks his instrument is producinghardly nytone; his is also the reason he hearseven less fromhis playing in a large room than in a small one, becausedistant walls cannot reflect the sound as quickly as thosewhich are nearer.Forthe listener, however, nothing is lost.The tone spreads its vibrations to wherever he is and itsounds not weaker, but truly gentler and more beautiful.Space does not permita discussion in furtherdetail. Forthe amateurwho does not wish to abuse his instrumentandyet will still be heard, particularly n public playing,I offerthe following:1)He should acquireanarticulate,ecure ouch. f andwhenthis has been acquiredso that it is completely second natureto him, even the most timid hands will not omit any notes.2) He should often hear concerts held in large halls ortheatres. He should observe from different distances theeffects of fortepiano tone. Soon he will be convinced thateven the softest notes can be heard anywhere if no otherinstruments cover them.

3)Forconcertos,especially those byMozart,his fortepianoshould be moved a few feet nearer the listeners than theorchestra, with only the violins directly behind him. Bassand windinstrumentsmust be furtherback,indeed the lattermore so than the former.

4) Before playing, the cover which lies over the dampersand the inner music desk must be removed(if it is not goingto be used) so that nothing hinders the tone and it is free toreach the listeners.5) For the same reason, one cannot tolerate bystandersnear the instrument.They distractthe playerand stifle thetone. Finally,6) If one is playing without accompaniment,one shouldnever begin until everything is absolutely quiet; then thefirst notes, on whichso muchdependsora soloplayer,will beheard clearly and without distraction by the listeners. In aconcerto, it is preferable o pause atthe soloist's entrance fora halfbeatoran entire beat more than is written.Only n thiswaydo the instrumentalsounds havetime to die awayso thatthe soloist will be distinctly heardat thebeginning fhissolo.Generally, he musician should be verywell aware hatwhenhe is performing a concerto, sonata etc, his situation iscomparableto that of an actor. Would he storm and ragecontinuously fromthe verybeginning?Wouldhe expend allhis ardour in the very first scene?. How unsatisfied theaudience would be with him if, towards the end, onlyshouting were heard or if the expectations raised in the firstscenes were thwarted.

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DerSpielermdssigealso Anfangs einen Ausdruch nd seineLebhaftigkeit atauch derComponisto schlechtfiirihngesorgt,dass erschon n das ersteStiichdie brillantestenassagen, derdiesch6nstenStellen egte, o bleibtibmdochnochdas MittelibrigdieseSdtzeweniger eraus u heben,unddasganzeInteresse esVortragsuf das Ende zu sparenHier h6rtman raschesSpielgem. Hiergerdthman mit demSpieler n Feuer Wenner hier seine Kinste entfaltet,und ineinem fortlaufenden Stromealles das h6ren 1iisst,was manauf dem Fortepiano schnell, gliinzend und vollstimmigausdrfickenkann: o wird, o muss ihn deraufrichtigsteeyfallallerseinerZuhorerohnen.

AnmerhungObzwar wohlalles,was hiergesagtworden, ufdieSpielart ermeistenFortepianomehr oder weniger angewendetwerdenhann,so betrifft s doch vorziglichdie [MSaddition.: anette]Steinischen Instrumente deren Bearbeitung besonders nRticksicht erTastatur,esTones), urchHdnde eschiehtwelchedes Clavierspielesn einemhohenGradeelbstmdchtig ndauchnur dadurch n den Standgesetzt find, dem Tonkinstlerdasvorzubereiten,as ern6thighat ummitgr6ssterLeichtigkeitllesmachen zu k6nnen, was oben von dem guten Spiele desFortepianongefiihrtworden.

Therefore he playershould moderate his expression andanimationat the beginning. Even if the composer has beenso careless as to place the most brilliantorthe most beautifulpassages in the first portion of the piece, the playershouldstill have the means to subdue the expression of thesephrasesandthus to sustain interestin the performance o theveryend.Here,one likes to hear fast playing.Here,one catches thefire of his enthusiasm.Here, f he unfolds his artina surgingstreamand lets us hearhow he is abletoplay quickly,brilliantlyandwith ull-voiced xpression,e will and mustbe rewardedbythe most sincere applause of his listeners.

NoteAll that has been said here may be applied moreorless to avariety of fortepianos, but it particularly concerns theexquisite [Nanette]Stein nstruments hich have been crafted(especially with regard to the keyboard and the tone) byhands skilled in the art of keyboardplaying.The instrumenthas been preparedfor the musicians so that everythinghehas to do can be done with the greatestease and, moreover,lead to good fortepiano playing.A complete translation by Preethi de Silva of AndreasStreicher'sbooklet has just been published by EarlyMusicFacsimiles, Ann Arbor,Michigan, USA,at $9.50.

BURNETT & SIMEONELTDAntiquarian and Secondhand

MUSIChave now moved to:

138 STEPHENS ROADTUNBRIDGE WELLSKENT TN4 9QATel: Tunbridge Wells (0892) 37464

Visitors by appointment onlyPleasewrite fyou would ike to be onourmailing-list.

4 PianobyStreicher,Germanisches ationalmuseum,uremberg

470 EARLYMUSIC NOVEMBER1984

andreas streicher's notes on the forte piano

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