Between Performance and Notation: How did Carl Reinecke understand Mozart’s piano concerto No.26 K.537?

Mako Kodama

About this exposition

　Carl Reinecke (1824-1910) was a German composer, pianist, conductor of the Leipzig Gewandhaus Orchestra, and professor at the Leipzig Conservatory. His piano performances were admired by Felix Mendelssohn, Robert Schumann and Franz Liszt, and he was reputed as "the greatest and most sincere Mozart player of his time."However, you may be surprised on listening for the first time to his performances preserved on piano rolls, since there is noticeable use of expressive practices such as manual asynchrony, unnotated arpeggiation, and rubato (flexibility of rhythm and tempo), which is quite far from the kind of performance style that is considered good today. 　This research clarifies the features of the performance practices audible in early piano rolls, such as those by Reinecke. It focuses on how he arranged and notated the Larghetto from Mozart's Piano Concerto No.26 K.537 for piano solo, how he performed it on piano roll (1905), and how he described the performance of the movement in his book Zur Wiederbelebung der Mozart'schen Clavier-Concerte (1891). The discrepancies between the three source materials give an insight into the implied performance practices of Reinecke’s time and his tacit knowledge. The research culminates with personal experimentation and reflection on how these performance practices can expand the freedom and possibilities of the author’s performances.

type	research exposition
keywords	performance practice, fortepiano, early recordings, rubato, dislocation, arpeggiation, Wolfgang Amadeus Mozart
date	19/11/2023
published	27/05/2024
last modified	27/05/2024
status	published
share status	public
copyright	Mako Kodama
license	CC BY-NC-ND
url	https://www.researchcatalogue.net/view/2388267/2388268
doi	https://doi.org/10.22501/koncon.2388267
published in	KC Research Portal
portal issue	1. Master Research Projects

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name	Subject
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name	C.Reinecke-1890
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license	Public domain
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name	Ployer
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name	Schumann Fantasie
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name	Clara's piano
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name	1828 piano
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name	Reinecke's plays Reinecke
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name	Reinecke's piano roll
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name	Kalkbrenner
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name	CPE Bach
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name	as written
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name	unnotated arpeggios
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name	dislocation
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name	earlier rubato
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name	later rubato
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name	imitation
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name	mako's way
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name	CamScanner 02-24-2024 09.57n_1
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name	CamScanner 02-24-2024 10.00n_1
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name	CamScanner 02-24-2024 10.00n_2
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Between Performance and Notation: How did Carl Reinecke understand Mozart’s piano concerto No.26 K.537? (2024)

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