In this performance workshop we reconstruct faded origins of Schenker’s interpretive practice to pursue a synthesis of interpretive and physiological concerns relevant to the artist’s work. Applying theory and techniques from field research in progress, we depart from an established school of thought that frames the art of performance as an “analytical communication.” More interested in the distant resonances of analysis and performance than any “correspondences,” we explore how the work’s subsurface structures serve as igniters of the timbral imagination, amplifiers of the expressive range, hints at technical solutions, and “litmus tests” for the coherent transmission of musical intentions.
Workshop participants normally have at least two years of formal harmony training. Basic skills in thoroughbass realization would also come helpful, but no expertise in Schenker’s analytical technique is expected. Drawing inspiration from his own fragmentarily documented studio practice, we call forth his analytical metaphors and eloquent notation with minimal recourse to terminology, and only as warranted by the musical circumstances. In line with Schenker’s explicit pedagogic guidelines (Free Composition ¶49) we investigate interpretive ideas aurally, kinesthetically, and visually, alternating between the instrument and video-projected graphic analysis, some of it notated live from the piano bench on a digital tablet.
A technical summary is available on request.
During these sessions we consider how a confident grasp of the Etudes’ harmonic-contrapuntal structure blurs (but does not entirely eradicate) the distinction between the “interpretive” and the “technical.” With “diminution,” “recomposition,” and “reduction” as primary tools of pianistic work, we reveal convergences of tonal design and ergonomic motion that help dismantle persistent difficulties, occasionally with the surprising facility of a slip-knot. Might Heinrich Schenker’s adage about free composition—“always the same but in a different way”—apply equally to universal pianistic principles, which unify the uncountable varieties of free motion and touch?
Duration: 30–60mins per Etude.