Session/Séance 2h: MusCan Panel 2 Hammered (I): Piano, Classical, Viennese

Session/Séance 2h: MusCan Panel 2. Thursday/jeudi 25 May 2017. 2:00PM-3:30PM, EJB 224.
Hammered (I): Piano, Classical, Viennese
     Chair: SOPHIE STÉVANCE (Université Laval) 

 

1. Les sonates pour piano de Mozart en tant que récit: une approach narratologique de la performance pianistique. Le cas de la sonate K.457
     Anne-Marie Bélanger, Université Laval

D’une manière générale, l’association de tessitures à des types de personnages et des sentiments précis demeure une caractéristique importante des opéras de Mozart. Si la psychologie de ses personnages lui permet de placer l’histoire au cœur de ses opéras, utilise-t-il des procédés similaires dans ses sonates pour piano afin de mettre en valeur des expressions particulières ? Une comparaison avec le traitement des personnages d’opéra ferait-elle ressortir des éléments musicaux des sonates en vue de renouveler leur interprétation ? À priori, les sonates pour piano de Mozart font l’objet d’analyses structurelles (Swinkin 2007) ou comparatives (Jones 1985 ; Hager 1986 ; Keefe 2005 ; Irving 2010 ; Klorman 2013) et leur performance practice est souvent traitée (Badura-Skoda 1980 ; Levin 1992 ; Ogata 2012). Toutefois, ces études n’offrent pas de pistes de réflexion permettant de renouveler le jeu pianistique. C’est donc dans la perspective selon laquelle dans la sonate K.457 : « The material is of narrative, even dramatic kind. This is evident from the beginning, which presents a dialogue suggestive of two radically conflicting characters, [...] » (Irving 2010,99) que nous l’aborderons en tant que « récit » au sens de Grabócz (2009a). Méthodologiquement, nous procéderons à l’analyse des correspondances structurelles entre les stratégies d’écriture présentes dans certains opéras de Mozart et dans la sonate K.457. Nous présenterons ensuite deux interprétations (une manière « traditionnelle », et celle obtenue à la suite de nos recherches) de la sonate lors d’un récital-commenté afin de recueillir les perceptions du public.

 

2. The Keyboard Trios of Joseph Haydn: Transformed Gender Ideals of the Female Performer
     Tegan Niziol, University of Toronto

The keyboard was a prominent fixture in Joseph Haydn’s prolific musical output, inspiring approximately sixty solo sonatas, a dozen divertimentos and concertinos, and over forty keyboard trios with violin and cello (Fillion, 2005). Despite their designation as trios, many scholars have noted that Haydn’s keyboard trios are adequately defined as accompanied keyboard sonatas owing to the significant emphasis they place on the role of the keyboard (Rosen, 1972; Sutcliffe, 1987). In the later trios of the 1790s, the dominance of the keyboard part is further accentuated by the style of musical material Haydn employs. These works incorporate virtuosic and improvisatory keyboard passages that highlight the keyboardist’s physicality, and, despite their intended performance venue of the private salon, they contain characteristics common to public genres, such as grand fanfare openings and orchestral sound effects. In essence, the skill and virtuosity of the keyboardist constitute the focal points of this repertory. Notably, these striking keyboard parts were most often performed by women (Fillion, 2005). Although music making was a necessary female accomplishment, danger existed in musical excess; thus, women were expected to perform only simple music with grace and subtlety (Leppert, 1993). As Haydn's trios highlight the skill and mastery of the keyboardist, I argue that Haydn’s keyboard trios demonstrate a resistance to the culturally-enforced passivity and subordination of women.

 

3. Beethoven’s Piano Sonata Op. 90: The Evolution of the Text Through Its Editorial Life
     Carlotta Marturano, McGill University

The success of Beethoven’s piano sonatas developed a complex and tangled textual tradition that produced differences and discrepancies between the various editions. Notwithstanding this rich tradition, the philological scholarship preferably aims either to understand the instability of the creative process or to define stability through a critical edition. This paper, instead, will provide a thorough analysis of the evolution of a Beethoven work through its editorial life, namely the modalities and oscillations of the outcomes of the text transmission within its publishing tradition. In order to observe the transmission of a text right from its composition, Ladenburger’s work on the autograph (Ladenburger 1993) makes Sonata Op. 90 a perfect case study. This paper is a comparative study of sources and a dozen of editions, divided up into “primarily performing” (such as the editions by Moscheles and Schnabel,) and “primarily scientific” (such as Reineke and Wallner’s editions.) On the one hand, this allows us to pinpoint exactly the generations of errors and interpolations. On the other hand, this comparative work allows us to reconstruct with greater precision the principles and textual conditions that guided the editors in their respective editions, suggesting at the same time several considerations about the historical performance and interpretation of Beethoven’s piano sonatas. I will discuss one example from the second movement. This will demonstrate how Beethoven’s layered interventions on the autograph engendered interpretive confusion that has carried over throughout the editorial tradition of the sonata, from the author-endorsed first edition to the present day.

 

Thursday Schedule | Programme - jeudi
(Session 2 | Séance 2)

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