more keyboard perspectives

…and a call for contributions

 

© Tilman Skowroneck 2014

In my previous post I introduced my new article about Beethoven’s Broadwood piano in Keyboard Perspectives Vol. V. The next following volume of Keyboard Perspectives, of which I am the guest editor, is rolling out of the press as we speak. A table of contents and the full text of my introduction can be found here. The volume can be ordered using the form on this page.

Next year’s issue of Keyboard Perspectives, Volume VII, will be “a special issue devoted to a selection of topics that are, in one way or another, connected to Beethoven’s Sonata, op. 106 (“Hammerklavier”), and the question of why it became so problematically emblematic of nineteenth-century pianism.” It includes “six essays, complementing one another, originate from a seminar taught at McGill University by Tom Beghin, who will also be guest editor of the volume.” (excerpt from the Westfield Newsletter Volume xxv/2, p. 4)

I will return as guest editor in Keyboard Perspectives Volume VIII.

This issue will give special attention to the combination instrument of the late eighteenth century (such as the combination of organ and harpsichord, and organ and fortepiano), and such keyboard instruments that had a place in their time, even if they perhaps did not make it into the pantheon of mainstream keyboard culture: various subspecies of the budding fortepiano, for instance (such as the Clavecin Royal, or the Tangentenflügel, to name but two examples). Why were these instruments made, who financed their manufacture, who played them, in what musical contexts?
Contributions that address this topic area are especially welcome, but please do not hesitate to submit proposals that address other keyboard-related topics as well. Proposals can be sent to me via the address provided on the contact page. They should reach me no later than the end of September 2014.

beethoven’s broadwood

 

© Tilman Skowroneck 2014

My book Beethoven the Pianist ends (more or less) where Beethoven’s piano music arguably becomes most interesting for many people: his late period. So there was no place to discuss his famous Broadwood grand from 1817 in it. I have now published a new article about this instrument: how Beethoven used (or did not use) it, its state of repair (or disrepair), its modernity (or lack thereof) and the various ways that Viennese instrument makers interacted with the instrument and its owner.

In my article, I offer a thorough investigation of the available sources and sort out a number of contradictory claims of the secondary literature. I try to give credit, especially, to the piano maker André Stein for putting the piano back in order rather more frequently, and apparently in a more sympathetic spirit, than a casual glance at the documentation suggests. I include a discussion about Beethoven’s late work and the problem of conflicting keyboard compasses.

The article “A Brit in Vienna: Beethoven’s Broadwood Piano” with a postscript by Tom Beghin “Beethoven’s Broadwood: A Construction Project” can be found in the Yearbook of the Westfield Center for Historical Keyboard Studies,

Keyboard Perspectives Vol. V/2012, pp. 41–82

The volume can be ordered on the website of the Westfield Center.

 

 

 

Martin Skowroneck 1926-2014

© Tilman Skowroneck 2014. Last update to this post 2 July 2014.

Martin Skowroneck, December 24, 2013. Photo © Jessica Skowroneck

It is my sad duty to announce that my father Martin Skowroneck, flautist and maker of harpsichords, recorders and baroque flutes, passed away this morning due to complications after heart surgery. He had been in hospital for four and a half difficult weeks. We, his nearest family, were able to say goodbye to him, and my mother was staying with him for the last two days and nights.

My mother and I would like to thank you for your overwhelming response, via various internet media, e mail, phone calls and ordinary mail. It means very much to us to know how he is remembered.

In sadness

Tilman Skowroneck

 

M. Marais Tombeau pour Mr. de Ste. Colombe

Wieland Kuijken viola da gamba, Tilman Skowroneck harpsichord. Recorded live 30 January 2005

The funeral service was on Tuesday, May 27, 2014, 12:00 at the

Kirche zu Oberneuland, Hohenkampsweg 6, 28355 Bremen

 

anton walter and the una corda shift

© Tilman Skowroneck 2014

The following text represents a snippet of authentic research, too small to warrant a printed article, but too important not to share. It is fully referenced, and may be used in a scholarly context. Please make sure to identify this blog as the source.

This short article is about a passage at the beginning of a letter dated Vien d: 5. junii 1802, from the Swedish diplomat Fredrik Samuel Silverstolpe to his superior, Jacob de la Gardie (1768-1842). De la Gardie was the Swedish envoy in Vienna between 1799 and 1801. At the time of writing, Silverstolpe was still in Vienna; among other things, he bought two fortepianos for de la Gardie. Silverstolpe’s letter is of interest because it provides some detailed information about the nature and construction of the second one of these instruments.

The passage in question helps us to date the earliest known experiments in Vienna with the so-called una corda stop, or rather the keyboard shift (in this case, as we will see, it allows for striking two or three unison strings), made by Anton Walter. Because of a well known letter by Beethoven from November of the same year 1802, we have, in fact, always wondered whether Walter made pianos with the una corda in 1802. In his letter, Beethoven instructs his friend Nikolaus Zmeskall to ask Walter for an instrument with that same feature, which he, we believe, knew from an Erard grand piano that Joseph Haydn owned 1). However, the earliest surviving Walter piano with an una corda is believed to date from c. 1810, that is, full eight years later than Beethoven’s letter. Beethoven may have been mistaken about Walter’s construction, and his letter has not always been taken seriously. 2)

Silverstolpe’s letter, written in Swedish, shows that Walter in fact was building instruments with the una corda in 1802. It was previously only known in an excerpt, translated into German and published in the appendix of a dissertation by C.-G. Stellan Mörner from 1952. 3) The passage in question has remained unknown to organologists for a long time. When it finally was acknowledged in an organological context in 2000, Stellan Mörner’s German translation was used and not in the the original Swedish source. 4) In my own discussion of Beethoven’s above-mentioned letter, 5) I referred to that same German version. After a few fruitless attempts over the years to locate the original letter, I  finally found out that the entire collection of Silverstolpe’s letters to de la Gardie is preserved in the De la Gardieska arkivet in Lund. A single e-mail request finally provided me with a beautiful scan of the original. 6)

The short passage about Walter’s fortepiano stands at the very beginning of the letter (which otherwise contains a lot of other information, but little about pianos. We can, for example, read some of the gossip of the day: someone experimented with gunpowder in his house and blew himself up, returning to the earth in “thousand pieces”). As it turns out, Stellan-Mörner’s German translation is very good, and the date of the letter is correct.

Below I will first reproduce my own transcription of the passage about Walter’s piano from the Swedish original, followed by an English translation and a short discussion.

strings from waterloo

© Tilman Skowroneck 2013

I have mentioned this before. I am not convinced that a given harpsichord can be substantially improved by putting up some new strings.

In fact I am rather convinced of the opposite, which is that random changes to a given design (and the stringing of a harpsichord belongs, or should belong, to its maker’s design choices) not normally result in a major shift toward a better tone. The expectation that a harpsichord can be optimized by applying a number of relatively simple tricks, or by experimenting with some new string material, is usually rewarded by some kind of disappointment. In my experience, a truly noticeable shift in a harpsichord’s quality often goes in the other direction: it happens when the instrument is being neglected. Improvement is a much more hard-won thing, especially when the instrument is assembled and ready to be used.

So what I will discuss here below should be seen as an exception, as I am about to introduce an exceptionally well-suited string material which actually does, within reasonable limits, improve the tone and tuning properties of a harpsichord:

Over the past decade or so, Stephen Birkett  of the University of Waterloo, Canada, has researched the properties of historical iron strings, and has come up with a formula to produce iron wire with very similar properties. This so-called P-wire is now becoming available (here is some more information about it), and I have had the chance to test it in three quite different harpsichords with a Flemish-French mixed scaling (brass in the bass, and iron from the tenor upward).

teachers and students: transmission versus copying

© Tilman Skowroneck 2013

Gustav Leonhardt’s transcription of J.S. Bach’s Ciaccona

Musical transmission is a well-explored topic in the history of Western music. In a rare filmed appearance, pianist Edwin Fischer recited, more than explained, how it works: “Beethoven instructed Czerny how to play the Well-tempered Clavier; Czerny taught it to Liszt; Liszt taught it to Eugène d’Albert.” The clip is part of the documentary “The Art of Piano” (found at 1:07:31 of this YouTube video). To complete the lineage for the benefit of readers of our time: d’Albert taught Fischer, who was endorsing his then-new recording of Bach’s WTC.

In addition to being a great-great-grandpupil of Beethoven, Fischer was also a celebrated teacher. His statement about the musical lineage that authenticated his way of playing Bach can be seen as a statement about pedagogy rather than a display of vanity. It tells us that by the mid-20th century, the idea of a student imitating the example of his teacher was considered more than just valuable in a general sense.

To Fischer, the transmission of skills, knowledge and values from teacher to student in an unbroken tradition was profoundly meaningful: the essence of why one became a pupil, or later a teacher. This idea is not new. In France in the 1670s, J.L. Le Gallois suggested the same pedagogy of learning by imitation in his famous praise of Chambonnière’s way of playing: “in order to learn the pieces of each master, it is necessary to study them with the same masters who have composed them, or with their best pupils.”

For a student of harpsichord in Amsterdam in the 1980s, however, learning by imitation was not normally considered an option. On the contrary.

oiling quills: new findings

© Tilman Skowroneck 2012

Denzil Wraight has now published his findings about the wear pattern of quill, the best technique for oiling quill, and recommended oils for this purpose in one short article and a rather longer one with extensive explanations at:

http://www.denzilwraight.com/quilling.htm

This should be seen as a complement, and in some ways a correction, to my own article about voicing which I published earlier on this blog (a link to the PDF version is here). I am presently testing oiling the quills (with Ballistol) in two of my instruments according to Denzil’s recommendations (including the French Double that takes the brunt of my practicing) and my initial experience is positive (see my most recent thoughts in the third comment added to this post).