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Alfred Cortot - Rational Principles of Pianoforte Technique - 1928 PDF
Alfred Cortot - Rational Principles of Pianoforte Technique - 1928 PDF
117}, Brelade, Fugues and Allegro‘ £5, Major. Féntasy in C. Minor (generous and expressive articulation Than) A Goldberg Varitionen (complete technique). - Fugue from the Capricela on the Departure of «Fron ‘clearness of playin). Toten F {evenein, rlh ‘Toceate in D. Major (Fantasy aed a Polyphonic playing) * Sean a; Chapters Raa. ralnal Ba laal laa nal rd] BRR 2 Be 2 al ral eg ee ec 2a OE Ba ae rd eal aenk oe nalWell-tempered clavichord (Preludes Ist bool) Xe Mevenness, smooth playing) Re 2 (eens: aril bat bundy Re 3 (lightness, suppleness of the wrist) Ne 5 (evenness of the weak fingers) Ne 6 (evenness eh end Nr 17 (evennens of fingert, lightness of wrist) N° 14 Cevenners of both hands) N: 55 Clemens. evenness. (Pealudes 3nd book) "M(evenness, neatnens of attack) 6 (evenness, crossed hands) Xe 8 Greaens, independence of fingess) Nar = crosed hands) (regularity of laying} (tis Superflgous fo recommend the study of all thal fugues of both books. Thi constitates the chert and most varied insteuetion in polyphoric.playing| snd independence of fingers) J. F. HAENDEL 1685-1559 Sigue (elasticity of the wrist. evennens x fingers) 5rd Suite ~ Prelude, Fugue. Air and Variation (even hess. polyphonic playing. grace notes) Harmonfour Blacksmith, (evenness, inde} pendence of Singer) Pagsacagin ith variation (ler atic ition) Sth Suite — (eleatness, independence of fingers) ith Suite — Gavotte with varations(ranning execution, ‘evenness) ©. H, GRAUN 1701-1759 Gigue in Bb Minor (evenness. crossed hands) Sih Suite Sth Suite 2. - Transition from the harpsichord to the pianoforte W. FRIED, BACH 1710-1784 Capriccio in D, Mino (wrist evenness polyphonic playing) ©. Minor vee Toga laying) © in E Minor (oolyaome jilaying, extensions) hiiep Ducand edi PH. EMMANUEL BACH 1714-1788 Aliegro in A. Major (west evenness) Wortenberg sonata in AA. oy? (evenness, expressive slave) Wartenbere sonata ‘in’ B. shiner (evenness, expressive hisinet T. P. KIRNBERGER 1721-1783 Luque in 2 voices in D. major (evenness) Fugue in 3.voiges in D. minor (extension, evenness alyohoric playing) i Gourante in Ab major (evenness, both hands) Alegra for dhe Singubr (cation) (evenness stretches. JOM. CHRISTIAN BACH 1735-1782 Prelude ang fugue in C. minor... 9 Finale sonata tv Bb major (erennc) JOSEPH HAYDN 1732-1809 The, dy. f all the Haydn Son Ton “Leta ower ‘ous for exerising the finger (eters edition) following numbers ral Sonata a! I (in- its entirety ; expressive and running| ecution. pee eal eal ed ne J Adasio (expressive, grace nots). te 4 Allegro (evenness, shythme precision) 18 lin ae entirely. sally, evenness). 8 9 Finale Cightness of the wis) Sonate n? 12 Presto (lthtnes, suppleness af wrist) Sonate a 19 (inte eoticetr. precision. lightness evenness 1° 23 Finale (ightgets of fingers and wis). Andante with variations in F- minor (evenness, grace notes oned hands) Anetta con varaioni (linger technique) Fantasia in C. major (evenness, writ) W. A. MOZART 1756-1791 ati fumed scoring the Pele itn Bop C Gout snereineen te 3 in B rll ln anon nice NP nF nts aca. nes) B98 Ae ler asta) tosis. es NE ie © maori, ‘lin, ‘evened NET mgr Y ive Tuyea") brio, rhythm) ” ¢ NTS te'O jar Ube cari, evenness Ne 17 in B &. (allegro) (evenness, elegant playing) (or the aabtgl aeay af thse oon we co svt George Spores cs) Renda Avior Ueenres sorts i) Rondo For race nt sremer) Fey Edy soa deh Fant with fo itu fn 'Co nr (ott spleen clears gnc M, CLEMENTI 1752-1832 Gradus and Parnassum (selections to be made by the teacher: complete hnger techugu fon: 5 (oroken octaves, evennees, tossing fon. 47, Finale fevennes, broken thirds) bet edition of Clement's sonatas i that of Cas tous: Senor! 6th Canon in two parts (suppleness of wrist subst{ tution of finger) (BI. Sela's edition) nd J. L, DUSSEK 1761-1812 Sonata «The return to Paris» (varied technique) 3. - The Pianoforte When the pianoforte became universally adopted hoard technique underwent tadieal in. The variety of rentiments expressed by a Broader {power iatraeml ssedemanded not Sly Aiversity of means for their translation, but also the tise of multiple combination af writing in a sna piece In therefore becomes difficult from Beethaven onwards to'sesigo « dehnite place to the works whore class ation we have undertaken, in a prowramme oj rady based on the specialisation of thete difculties shall cherefore, at ties, only retain certain salir pvees in thete works i order to ends thei nt ‘one of other of the chapters ofthis volume, legit. ate. "It ‘does not follow fom this, that thera ments of the same, work are not worthy of simile or that they cannot be the abjects of work Wi eve othe pei Ther, the completion of such. parts of ou] ‘inevitably rudimentary limited as we ar] By" considerations of & purely technical order. L. VAN BEETHOVEN 1770-1827_ a al2)3}4]s 1 3fafsr |2\3|4]5) fz] sya _ . sa) Op. 30,85 (rene, let hand aled op. ie . 5 ile ' . lesiet| Op. “2, in? 3 (extensions, eccompaniment shared by both| ila eal ee UA) nS hs § Dawe (eprive ars stoic), a) — op. 13 known as the Pathe its entirety). | rd} rd] Op. 53, n° 3 (evenness in ext eae ird| ie 2... + +=§6§6=6hr te eet St iia) || Tome ee eit] a] = Pe ene, OP ahr 2 ‘op. a ‘Allegro i ralnd| ceceneainet ‘and expressive Bets dela) Srey Geer te eo nascar fp prada at OR Ferrets (eveesssfigtness) << [a [a[" | vied! = oe we ur dird) |ral Op. 85, 8 arent eer . | d ird) oo SP A Alege ace re), : a (ale = BM MLR ie nto: "Ie | 8) Chae hn mot ep. econ ra les a ae aid), la/a] Sst Fr aaa] 25 afet’lafiy xeric wie ee ll eee | ae ahajalala] SS tds tied 4] @| 4 op. 101 valvalvd) fe 4 (evenness, running srecution) ae “8 d d re ry _ palate) S67 fyinee Set Stat allel" 28 PERE ee ie reas ° wo \valval died en 9. n° 2, Scherzo (lights ale ‘| ere 4 oF iio ei waa. SLAY | a Nee dee ese | fal fea oe lal “lal [a ge enema ln ans fed di Wane on 35 ei faa [a] aes em amare ayia tay een Dita Cig eI J] Ree le rie, se Leal rte ererr rrr PgRSaya/a) Fepiom seams ge 8 Cooed ete? sincuesi| a] $d] | ah ~ tons in Scherzo of the sonata op. 106 lek sage Ke) . | : d al Aaa Peet MEMOS To Cute ie in EB, op. 1B. al alah ala { oe I — { oe & a LDLr—S—C—sss—sesesesese Bont {ine se fee rupley item alalal la fepetiaiy impose upon ourselves, Forces up only * rte comm ple eee - G/ 4 [fala] ile nur th cy ino robe SHS eich seca dala] siete ' jo the Finale. ++ 4 /edlrdl dlyd) ei Glscoath of the fingers, extension). a|_lval a Momento capricioso, op. 12 (wrist double tee). ald] Ne 2 independence and evenness of the weak fingers).| |vdjva) a) al Revere cree eae Gattattoreta). «| [aed Ne 2 (adap vada FEE Salen i aS wel 9)" [|] Men ead Imitation to waltz (brio, poetry, vitality ‘of executions} d|d) fala] Ne ium ot te open ; HF Hl © Sey sata een dan a soe 3 "ies ep gts oa tls ee ind rea ae anatg 2 ve lla) | a Sr r————i“C=#"”wCtiCtisdzs_C ald jaa Ss onto w) Scheer sine Teal fog) Se 2 {cnc igh ech ina 2 ca fron" De Winder ite nud ail af] 3 Gee al tnd’ heir | Simao. et et a TR) rec “ina a) lala a alal [al |S 3 feee'samaten" eens) aaah SEED (ROMORSR LR i, chars! )9) 8) | NG ERED iltpndre arene of rein a} ale al eo Sit crs Sik |] ad erent led jal |S ae cin “dla ue EYAL Tal Np dette aus, a rience : aja) 07 I ee Tat sen ga) ‘lal 8 ©: CEERNY 1701-1857 alaledea| | Sl Sehcenet tend nt boar mej) Pele) : flee) “ees ld) ala , i" N® | op. 23 in G. minor (complete technique) . . | vd vd ; oie & mines (compe mh: alee F, MENDELSSOBN 1098-1807 Beek ee ‘eee wed Sony iho wore: NAS SE cette ’ SS AS ton smn avn) || |] Meme va Fendt ein eae Be sts—S—s 4 Se Bie deena eine eins) | IA gla] GE otter, ind 2222 AerChapters 1[2]3]415 Op 51 (eauali jews oe. Jal afedl a Irmprompta Fan ‘veins, slociy dla ines sherzos Six concert studies op. {0 (after Op. 38 exten alal frala ence of finger Se 3 + 3} 4) a) deal 19 Frauen Wien > Halliemsicn) SF. 39 (ern broken formate. afa{2 {ata egaattg of Boece, wre tupplenen)s Op. 54 ighinesy of execution, win) dfrald| a] Symnhony stuier 13 chord and wet cnn Fluuny op: 4 {complete technique), :] aval dal eerie op. Preludes op, 2 NT erent togeneenonsrenlnen of wi lal aleal No 3 (Gast anicltion, suprlenee of wnat) : a Ne 3 (arength of fingers fa apid emvsvion) 3 (Grenneey | lightness left hand) dl val Ne 8 (finger independence, wrist suppleness) § Gretchen evenness playing) aa). fea Fantasy op. 17 Bnd pan (chord technique, wrist play) 8 Usependonce and ree ‘Jralval [4a] Humoreque op 20 Reais techngue) 12 (hmpess of fi YG a] fea] "Noweete op 21: NS 14 (evennens of bol han aja NEP tenth ners, suppleness of writ lee ai Nig Enya, a nd tieulton ba “) lela] | ea] NO (octaves wit play. NP17 (chord technique, ‘extensions), didid Ne 8 (varied technique) Ne 18 Goes ection, fre 08 ily” Sonata op. 22 : : val val a] Ist movement (extensions, strength of fingers, volubility Ne'19 ighines, continuous fa) fool] Rondo erat aupleneny enn of finger. Ne 23 (thumb. tranamision, Bo 34 (Son eal eveson) a lava Jala Airs "hogs claticity of wri) Op, 64 n° 1 evenness velocity, lghtnen).. . . «a /a fotermesto (cromed hands: evennes, buoyancy). Polonare: Hinde Gthsey neat relator) Oe fl had echoes bint btn | a) a] a] Romane om D8 oT Cehange ef bands evenncee Smacin) a|“}a14] Romance af the op. 52 (evenness end” independence of BF 33 (chord and erat technique, octave let hand) Ja] | alealeal “writ movemens) tasy (polyphonic playing, chord technique) . |vd] d | vd] Fuguettes op. 126 att 4 and 6 (arcane, petra Gesande der Frike (Morsing 307 Op BEE (qrace-nter, extemsions sight hand)... fla] |afed] trbution’cfmeldy in bot hand ia Ob: 37, we 2 (expressive double notes) a) fel | Op. 48, n® | (octave and chord techniques). . oa |vd wal Op 8, Iphone plying seething Wt hand Ja] al FR, LISZT 1 ' "Br Tat movement (chord and extention technique) | wal dla a i On aerate appenen loclensea son coors] _[lral'd fea] mah bore revere be pre saris i _ Finule (veomergnnen, velocity ofboth hand valwdl | (a pee ae ee | Op. 58, Ist movement (extension technique) = al dlyald ion that election becomer diffest. We shall onl} | | Scherzo (velociny, Hightness}.. =... . - + -[vdivd ‘mention the most significant of his works, counting! = fil Compt tec 12 fala} a foal nthe profeors for heamendment according to thet Bereeue (renner, Huidy, supplenen) alalala tersonl preereces ofthe cohntrs omanons we se Barearle {polyphonic playing. double nots lvalval dle Et i ‘Brel rilavey sation cares ‘afrala Tee a ies i Concert ailearo (Complete techniaue). afr a) eT "Fader sng of tne, eneson | led | Studies fr the Moncheler method Neb fn'AS minor (ortt sopplenen,stenae plying) | dvd idl NOE Gr wie aa) a] Ne 3 Lanta etpiesne tecoue a double nts ae 3 (olyphonic playing, articulation, precision); <