{"id":181,"date":"2009-11-05T21:57:42","date_gmt":"2009-11-05T19:57:42","guid":{"rendered":"https:\/\/www.annapetrova.com\/en\/?p=181"},"modified":"2009-11-06T13:58:45","modified_gmt":"2009-11-06T11:58:45","slug":"friedrich-kalkbrenner-5","status":"publish","type":"post","link":"https:\/\/www.annapetrova.com\/en\/2009\/11\/05\/friedrich-kalkbrenner-5\/","title":{"rendered":"Friedrich Kalkbrenner (1785-1849) – Part 5"},"content":{"rendered":"

One could assume that Kalkbrenner\u2019s \u201cM\u00e9thode de piano\u201d based on the practice only for the fingers were of no use for the new generation pianists yet not lesser than Liszt wrote: \u201c\u2026.Dank meinem eifrigen Studium der Kalkbrenner\u2019schen Klaviermethode\u2026<\/em>\u201d, \u201c\u2026thanks to my zealous study of Kalkbrenner\u2019s piano method\u2026<\/em>\u201d Did Charles-Louis Hanon<\/a>, whose exercises are still played by the beginners today, know and use Kalkbrenner\u2019s method? Without any doubt – how else to explain this striking resemblance?<\/p>\n

Kalkbrenner:
\n\"kalkbrenner<\/a><\/p>\n

Hanon:
\n\"Hanon<\/a><\/p>\n

Kalkbrenner:
\n\"kalkbrenner<\/a><\/p>\n

Hanon:
\n\"Hanon<\/a><\/p>\n

Kalkbrenner:
\n\"Pages<\/a><\/p>\n

Hanon:
\n\"Pages<\/a><\/p>\n

And so on and so on\u2026
\nAmazing is also the similarity with some of Alfred Cortot\u2019s exercises, written a century later:<\/p>\n

Kalkbrenner:
\n\"Pages<\/a><\/p>\n

Cortot:
\n\"Pages<\/a><\/p>\n

Another interesting aspect of the \u201cM\u00e9thode\u201d points D. Rowland in his important book \u201cA history of a pianoforte pedaling\u201d: \u201dIn general, however, pianists of the post-Beethoven and London school era regarded the una corda pedal with some suspicion. Only one tutor speaks wholeheartedly in favour of it: the M\u00e9thode of Friedrich Kalkbrenner, a pupil of Louis Adam who spent most of his performing life in Paris: “(The una corda) produces a marvelous effect in all diminuendo passages, and may be used when a composer has marked a diminuendo, morendo, or pianissimo<\/em>.\u201d A large number of markings for una corda are found in Kalkbrenner\u2019s music- far more than in that of any of his better-known contemporaries.<\/em>\u201d<\/p>\n","protected":false},"excerpt":{"rendered":"

One could assume that Kalkbrenner\u2019s \u201cM\u00e9thode de piano\u201d based on the practice only for the fingers were of no use for the new generation pianists yet not lesser than Liszt wrote: \u201c\u2026.Dank meinem eifrigen Studium der Kalkbrenner\u2019schen Klaviermethode\u2026\u201d, \u201c\u2026thanks to my zealous study of Kalkbrenner\u2019s piano method\u2026\u201d Did Charles-Louis Hanon, whose exercises are still played […]<\/p>\n","protected":false},"author":1,"featured_media":0,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":[],"categories":[5],"tags":[],"_links":{"self":[{"href":"https:\/\/www.annapetrova.com\/en\/wp-json\/wp\/v2\/posts\/181"}],"collection":[{"href":"https:\/\/www.annapetrova.com\/en\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/www.annapetrova.com\/en\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/www.annapetrova.com\/en\/wp-json\/wp\/v2\/users\/1"}],"replies":[{"embeddable":true,"href":"https:\/\/www.annapetrova.com\/en\/wp-json\/wp\/v2\/comments?post=181"}],"version-history":[{"count":3,"href":"https:\/\/www.annapetrova.com\/en\/wp-json\/wp\/v2\/posts\/181\/revisions"}],"predecessor-version":[{"id":242,"href":"https:\/\/www.annapetrova.com\/en\/wp-json\/wp\/v2\/posts\/181\/revisions\/242"}],"wp:attachment":[{"href":"https:\/\/www.annapetrova.com\/en\/wp-json\/wp\/v2\/media?parent=181"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/www.annapetrova.com\/en\/wp-json\/wp\/v2\/categories?post=181"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/www.annapetrova.com\/en\/wp-json\/wp\/v2\/tags?post=181"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}