This study focuses on Hummel's Piano Etudes, Op. 125 (1833), his final works for piano solo. Hummel's etudes and his piano treatise Ausführliche theoretisch-practische Anweisung zum Piano-Forte Spiel (A Complete Theoretical and Practical Course on the Art of Pianoforte Playing) are his two monumental pedagogical works on the art of playing the piano, and together represent the sum total of his considerable expertise. The treatise, published in 1828 and copiously illustrated with examples and exercises, is primarily theoretical: its purpose is to explain the entire technique of piano playing. The etudes, which draw upon the essence of the ideas set forth in the treatise and which represent musical renderings of a variety of musical and technical problems, are entirely practical. In this study I analyze all twenty-four etudes and assess their importance in the context of the repertoire of piano pedagogy in general. Each etude is examined for its technical objectives, fingering, articulation, touch, dynamics, pedaling, and tempo. Whenever possible, the technical problems presented by an etude are directly correlated with Hummel's piano treatise. In passages where Hummel's instructions cannot produce the desired effect on the modern piano, an informed, alternative approach is suggested. These analyses will help the modern performer to develop a deeper understanding of Hummel's technique and a greater interpretative insight into his piano etudes.
|Advisor:||Kahan, Sylvia, Kramer, Richard|
|Commitee:||Basquin, Peter, Erickson, Raymond|
|School:||City University of New York|
|School Location:||United States -- New York|
|Source:||DAI-A 73/07(E), Dissertation Abstracts International|
|Keywords:||Austria, Etudes, Hummel, Johann Nepomuk, Piano, Piano Etudes Op. 125|
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