Download Beethoven's Pianoforte Sonatas: A Guide for Students and by Edwin Fischer PDF

By Edwin Fischer

In learning Beethoven 's piano sonatas one encounters problems, questions and difficulties the answer of which constitutes a part of the full creative and human schooling of a musician.
The r ange of the gathering compels us to occupy ourselves with issues of process, shape, concord and te xtual feedback; however the major requirement is an underst anding of the inventive content material. A cautious research of those works will remodel us, for Beethoven turns into our teacher,and lead us to advance our personal personalities and characters.

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Deeply moved by h er playing, I h ad fou nd t he solution to my problems. T he second m ovem ent is a genuine Beethoven Scherzo, of the demonic kind. The motifs derived from t he C mi nor chord scurry ghost -like over the keys. Even if you phrase in two-bar groups, weak to strong , do not h esit at e to discontinue this at the fort e. Beh in d all the music of 6I FOURTH L E CTURE the Vienna classics there lurks the dan ger of monotonous rhythm-what I call t he Viennese wooden fence-that divid es everything off into four-bar phrases.

In bar 12, in the middle part, I play a C instead of a B for the fifth quaver. I can offer no documentary evidenc e but I find it difficult to forgo 6} FOURTH LECTURE t he step from C to C sharp in the middle part. But t hen, the first two pages of t he manuscript are lost . The Allegre tto should not be played too fast, otherwise the m any suspensions from bar 9 onwards will not receive t h eir du e value. To my mind, the t hree accompanying crotch ets in bar 10 should be played wit h t he st r ictest possible staccato in spite of the awkwardness t his in volves.

Knights of t he keyboard ' was how Bach scorn fully du bbed players who were lost without t h eir instrument . Despite t h e trut h of t h e conception on which t his t eaching is based and th e splendid r esults it obtains wit h many students, I cannot h elp feeling critical about the principle it in volves, namely the pur ely m ental assimilat ion of music. I regard it as part of t he r at ional, int ellectual view of t he worl d which attempts to subdue everyth ing to the int ellect and the m ind, the view ofthe world which h as brought about this tech nical age wit h its many admira ble feat ures, bu t which leaves out of its r eckoning t h e whole wide field of th e psychic and emot ional capacities in man .

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