Bel Canto Piano Playing - Reviving the Golden Age
Tempo: Golden Age & Today
I. Bel Canto Piano Playing. Reviving the Golden Age.
"Bel Canto on a "Percussion Instrument?" is an article published by Peter in 1982. We are going to clarify several features of the Bel Canto style using historical examples of singers and piano players.
II. Tempo: Golden Age & Today
Using an explorative method, we research the whole beat theory according to which certain tempo markings of composers have to be read at half speed.
I. Bel Canto Piano Playing
Reviving the Golden Age
Bel canto style piano playing in the Golden Age is characterized by an emphasis on singing tone and lyrical expressiveness, drawing inspiration from vocal techniques.
Here are some key characteristics:
1. Singing Tone and Legato Phrasing
2. Expressive Phrasing, Colour and Dynamics
3. Ornamentation
4. Cadenza, improvisation
5. Transparency and Clarity
6. Use of Rubato
7. Conclusion
1. Singing Tone and Legato Phrasing
The piano is used to emulate the smooth, connected lines of a singer. Players focus on creating a warm, rounded tone that “sings” through the music with seamless legato passages.
The melody is treated as the primary “voice,” with the accompaniment supporting and enhancing the lyrical quality rather than competing with it. This balance creates clarity and highlights the song-like quality of the performance.
Kathleen Ferrier (1947-53) (contralto)
https://youtu.be/y1qM_YPJ4_E?si=qz93l0YnR6JP6lIz&t=50
Shura Cherkassky
https://youtu.be/KPISCkrXK-0
2. Expressive Phrasing, Colour and Dynamics
Much like a vocalist interprets a song, pianists in this style use subtle changes in dynamics and nuanced rubato to shape phrases and convey emotion. The phrasing is often long and breath-like, giving the impression of vocal lines.
Montserrat Caballé (1990)
https://youtu.be/RxZSP1Dc78Q?feature=shared&t=142
Ignaz Friedman
https://youtu.be/JdU3ydwIZdc
Alfred Cortot
https://youtu.be/CNmf7_ixqQI
3. Ornamentation, embellishments
Bel canto piano playing often incorporates delicate ornamentation—trills, mordents, and appoggiaturas—to embellish melodic lines in a way that enhances the expressive quality of the music.
Luisa Tetrazzini (1907)
https://youtu.be/mBWRvbEeX7o?feature=shared&t=137
Lily Pons (1936)
https://youtu.be/cOmM2U502HQ?si=VP1AanTGr7bAXQdB&t=186
Moritz Rosenthal (1937)
https://youtu.be/0guCq2J_JCE?feature=shared&t=46
https://youtu.be/aUUC3aqHfH0?feature=shared&t=236
4. Cadenza, improvisation
Ferrucio Busoni (1922)
https://youtu.be/e3O1yygAEc0
Isaac Albeniz (1903)
https://youtu.be/q6otO85ATRY?si=Lc36-hvmA2U5SbGe
5. Transparency and Clarity
The technique emphasizes clarity of articulation and transparency in texture. The goal is for each note to be heard cleanly, so that the melodic line remains prominent and expressive.
Ingeborg Hallstein (1965)
https://youtu.be/3lKC3z6PGcI?feature=shared&t=136 (+ 3’15)
Benno Moiseiwitch (1939)
https://youtu.be/RWj7QR1XgCU?si=2-q4Had1cwBHT1Ko&t=183
6. The art of rubato
The art of singing rubato is that the voice must remain within the sinuses of the head, not projected forward, otherwise you just get an extended note. Holding the voice 'back' like this, is a characteristic of bel canto singing. Callas was incredibly good at this.
Bellini/Thalberg
https://youtu.be/PWuK_aupet0
7. Conclusion
These characteristics not only define the Bel Canto approach on the piano but also reflect the broader ideals of the Romantic era, where emotion, expressivity, individuality and a deep connection to the vocal tradition were highly valued in musical performance.
8. Quiz !
No Bel Canto…
Vladimir Ashkenazy
https://youtu.be/EsyGQYnvkMc?feature=shared&t=25
Maurizio Pollini
https://youtu.be/nMM6h9Yf348
Ahhh! Bel Canto!
Vladimir de Pachmann
https://youtu.be/Ta6EL4T2v_M
II. Tempo: Golden Age & Today
Pendulum theory - Lorenz Gadient & Wim Winters
Modern reading of metronome: 1 click = 1 beat
Historical performance 19th century: 2 clicks = 1 (whole) beat —> half tempo
Explorative research (1a)
Carl Czerny (1791-1857): In his Pianoforte-Schule Op.500 (1839) he writes: “Each musical piece produces only its proper effect when it is played in the exact, according tempo, prescribed by the composer. A small difference can eliminate the feeling, beauty and understanding of the piece.”
Kunst der Fingerfertigkeit Op.740
Beethoven Waldstein: I. Allegro con brio - metronome marking: 88 (double echappement)
Beethoven Hammerklavier: I. Allegro - metronome marking: 138 (unplayable)
—> Conclusion: Pendulum theory makes sense for Beethoven and Czerny
(Contemporaries: Kalkbrenner, Moscheles, Ries, Alkan, Thalberg, Schumann…)
Explorative research (1b)
Hans von Bülow (1830-1894)
His tempi in his edition of the Beethoven sonatas is much faster than Czerny’s if you read them in single beat (modern way) = the number is lower.
Beethoven Hammerklavier: I. Allegro - metronome marking: 112 (Beethoven marking: 138)
—> Conclusion: Bülow was familiar with Czerny's tempi and teachings. Did von Bülow start reading the metronome in the modern way?
Explorative research (2)
Fr. Chopin: Op.10 No.1 - metronome marking: 176 (Pollini = +/- 168)
Vl. de Pachmann: Enormous tempo flexibility, average, around - metronome marking: 128
R. Schumann: Carnaval Op.9 - metronome marking by Clara Schumann:
"Preambule" 138
"Pierrot" 168 etc.
—> Conclusion: Clara’s tempi just don’t fit for the Carnaval but, pendulum neither (!). Fast tempi are almost unplayable, also physically. Cortot’s tempi are perfect.
⬇️
Schumann most likely did not have a double escape mechanism in 1835.
Erard invented it in 1822 —> "Reconnaissance" - metronome marking: 100
Explorative research (3b)
Which tempo suits the music best according to you, as a pianist and musicians?
Maurizio Pollini - 142
https://youtu.be/-AqkCEXdwE4?si=gf9EVJZJXPE5ZuG1
Grigory Sokolov - 106
https://youtu.be/IXnh2wotF4E?si=5VIdFYUn7zKfG6_9
First edition (Breitkopf & Härtel):
Hans von Bülow:
Explorative research (3c)
Fugue:
- musical form based on counterpoint
- intellectual and structural composition technique
- famous in the works of J.S. Bach
- often serious, abstract, and intricate, rather than rhythmically driven like a dance.
❌ Not a dance:
- It does not have fixed steps or rhythms like a minuet, sarabande, gigue, or courante.
- Although some fugues may be written with lively or rhythmic energy, that doesn't make them dance forms.
Explorative research (4)
Franz Liszt: “Good music doesn’t require tempo marking. It’s clear from the music itself.” —> Bach, Mozart, von Weber, etc.
Later in life, he realised the necessity of being clearer how his music should be played for next generations. —> editors da Motta, Stavenhagen, Siloti etc.
Science: Tempo feeling is based on heart rate. —> stage freight etc.
“Thought is the enemy of FLOW.” - Mihaly Csikszentmihalyi
Pendulum theory is not applicable for opera. ( Thank God 🙏 )
—> Conclusion: do your own research and enjoy the process!