fleubis wrote:To my aged eyes the Khachaturian Toccata does seem rather primitive, yet this is the first toccata of any type I ever performed in public (too many decades ago), so a bit of nostalgia for me.
One suspects that your eyes are no worse than mine, and likewise I've been playing the Khachaturian Toccata for many years and it was the first toccata of any type I performed in public. But I always find something in it that I've never found before and that keeps it fresh for me.
Miniatury fortepianowe 36. ed. Woytowicz
Moszkowski etincelles
(Thank you Mr. W. for bringing our attention to Busoni's
fingering for chromatic scales!)
Miniatury fortepianowe 39. ed. Woytowicz
Debussy reflets dans l'eau
Miniatury fortepianowe 44. ed. Rieger
Mendelssohn piesn weneckiego gondoliera
alfor scans
Moszkowski etincelles MF36.pdf
Debussy reflets dans l'eau MF39.pdf
Mendelssohn piesn weneckiego gondoliera MF44.pdf
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Best regards, Alfor S. Cans
Music is a higher revelation than wisdom and philosophy (Beethoven)
Now about the fingering: Do you mean that the rather unusual fingering of Etincelles on p.5, 7 etc. is a Busoni innovation? I must confess to have never seen anything like that before, and marked it into the Chiu edition that I use.
Now about the fingering: Do you mean that the rather unusual fingering of Etincelles on p.5, 7 etc. is a Busoni innovation? I must confess to have never seen anything like that before, and marked it into the Chiu edition that I use.
To my knowledge the fingering 1-2-3 / 1-2-3-4 / 1-2-3-4-5
for the chromatic scale (r.h. upwards starting from E,
l.h. downwards starting from C) is a Busoni invention.
I spontaneously recall some more use of it in the last mvt. of
Chopin's Sonata op. 58, „Paderewski“ edition.
Best regards, Alfor S. Cans
Music is a higher revelation than wisdom and philosophy (Beethoven)
Now about the fingering: Do you mean that the rather unusual fingering of Etincelles on p.5, 7 etc. is a Busoni innovation? I must confess to have never seen anything like that before, and marked it into the Chiu edition that I use.
To my knowledge the fingering 1-2-3 / 1-2-3-4 / 1-2-3-4-5
for the chromatic scale (r.h. upwards starting from E,
l.h. downwards starting from C) is a Busoni invention.
I spontaneously recall some more use of it in the last mvt. of
Chopin's Sonata op. 58, „Paderewski“ edition.
Alfred, I didn't know this was a Busoni innovation, but I do not recollect seeing that in the Chopin. In fact early in the 1st movement there is an opportunity to use this fingering but it's not specified. Many years ago I needed to play some scalar passage work in something by Liszt, and the fingering was 1-2-3-4-5 / 1-2-3-4-5 and was I quite astonished. Somewhere here I've got a Method book suggesting playing all scales like that.
alfor wrote:...in something by Liszt, and the fingering was 1-2-3-4-5 / 1-2-3-4-5 and was I quite astonished. Somewhere here I've got a Method book suggesting playing all scales like that.
Liszt: Rhapsodie espagnole (famous spot, but NOT a chromatic scale!!)
To verify Busoni as the inventor of the 123 / 1234 / 12345 fingering
we should look into his „Klavierübung“, his edition of WTC part I
and maybe we can also find an example in his Piano Concerto.
Best regards, Alfor S. Cans
Music is a higher revelation than wisdom and philosophy (Beethoven)
Alfred, I got a little curious about this and looking at some dates.....
Clearly in the Klavierbung, pg.1 there it is the 1-2-3-4-5 // 1-2-3-4-5 fingering. Liszt wrote Rhapsodie Espanole in 1863, Busoni arranged it for orchestra in 1894 and also for 2 pianos. IMSLP states the 1st edition was published in 1867 - Leipzig by C.F.W. Siegel. I could find an early example of the 1-2-3-4-5 // 1-2-3-4-5- fingering there, but for the most part this edition is un-fingered. While this fingering smay be be an original concept of Liszt, it certainly seems that it was Busoni who codified (Klavierubung).
P.S.: Thanks for the Albeniz...after Iberia, my favorite piece of his.
Thanks a lot Alfor. I love Navarra ever since I heard the Rubinstein recording and have then performed in thrice (once with the Bolcom ending). This is a very difficult piece and the PWM edition is good in its fingering suggestions and some places of re-distribution.
