This blog was first published by Oxford University Press: http://blog.oup.com/2016/12/the-viennese-sigh-classical-music/
For all pianists,
regardless of the instrument, to “get to the point” utilize a simple practice: Each slur is a gesture
from more to less with the wrist initiating the lift.
Whether speaking in simple conversation, acting dramatically
on stage, singing in the shower, or performing on a musical instrument in a
recital hall, the common goal is to “get to the point” in some way or another. In Classical Era music, a tool that
facilitates getting to the point is the use of small gestures that are
designated with a slur.
The small
slur — a stepwise appoggiatura figure — is the cornerstone to expressing the
musical point. This type of slur is a sign of clarity, not a phrase mark. A two-
to four-note group under a slur simply indicates “we belong together.” The slur
gives intentional direction — gestures; much like a painter’s small brush
strokes. It provides guidance for
rhythmic groupings and dynamic direction. It allows the performer to articulate
or set aside important or new ideas. The slur indication enlivens and gives
energy to the music by lightly ending one gesture and clearly articulating the
next. The point is to make the music more interesting! In combination, small
slurred gestures create phrases that are built, one upon another, to clearly
define the larger structure. This type
of expression originated in Vienna in the eighteenth century and became so
popular that it was trademarked “The Viennese Sigh.”
With this
expressive tool at our disposal the possibilities are boundless. It is discussed
specifically and extensively by Leopold Mozart in his pedagogical writings. In
his Violinschule, he provides an example of three measures in triple
time with thirty-three different possibilities for accentuation. He then
proclaims: “Now this changes indisputably the whole style of performance.”[i]
This
fundamental eighteenth-century indicator is a quite simple and natural concept
based on Classical Era stringed instruments that used a convex bow which
naturally creates a diminuendo. The first note under a slur is
accentuated more strongly because of the natural tendency of the bow with a
slackening of volume on the remaining notes. This practice is also a natural
vocal tendency. Take a moment to verbalize any number of two-syllable words
that contain a first-syllable accent to easily understand the concept.
Likewise, due to the rapid decay on the fortepiano (the eighteenth-century
piano), the first note under a slur is
accentuated while the remaining notes under the slur create a diminuendo.
Properly
executing these markings is what makes the message comprehensible. Notes under
the slur should be played on the piano in a single impulse without making any
movement of the hand. Beethoven teaches, “This will be achieved if it [the
hand] is always placed firmly on the first of the two slurred notes and is
lifted almost vertically as the second note is touched.”[ii] Notice
that it is the hand, led by the wrist, that initiates the release.
Following this advice will prevent hopping off the key to avoid a choking,
unmusical staccato, or pushing off the key to avoid that terrible clunker — the
undesired accent.
The slur
indicates attack and release. The first note of a slur and the first note after
a slur (which may well be a new slur grouping) is articulated or set-off
through a clean attack (with varying degrees of emphasis), a clean release
(with varying degrees of lightness), and a separation of sound (with varying
degrees of time) between the two gestures. The extent of articulation depends
on influencing traits derived from affekt (expression).
Eighteenth-century
style is closed related to expository speaking. (The Classical sonata with its
exposition, development, and recapitulation blossomed during this time).
Articulate, “clean-speaking” execution is of utmost importance and is done so
with clean articulation of the downbeat. Therefore, eighteenth-century slurs
almost never continue over the bar line.
Not
only does following slur markings create an articulate sound it also creates an
extremely intimate, complex, and beautiful affekt
that can be realized beautifully on the fortepiano. Follow the link to hear an example from Beethoven, Six Minuets, WoO 10, No. 2,
Trio on fortepiano. Copyright 1990
by G. Henle Verlag, Munich.
And
with careful attention to subtleties in the wrist it can be pleasingly achieved
on the modern piano:
There are
some understood rules regarding eighteenth-century notational practices of the
slur. It is customary to indicate only the first few sets of accentuation in
prolonged successions of detached or legato notes. Succeeding tones follow suit
until another kind of mark intervenes.
In the Beethoven
example, articulation begins with two-note slurs in ms. 47. It is understood that this grouping will
continue through mm. 48–49 until the articulation is changed in ms. 50. Incidentally, it is common practice for the
accompanying part to follow suit with the designated articulation. Therefore, in this example, the left hand may
play two-note slurs along with the right hand.
Beethoven,
Bagatelle in G Minor, Op. 119, No. 1, mm. 47-52. Copyright (1978) G. Henle
Verlag, Munich.
This
practice is clearly and cleanly heard on fortepiano:
and, again, can be achieved
with aesthetically pleasing results on the modern piano:
