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JONATHANDUNSBY
GUEST EDITORIAL:
PERFORMANCE AND ANALYSIS OF MUSIC
I
Even withinrelativelysmall, tentative,isolated areas of music-analytical
truein thearea
and thisis certainly
thereis muchthatis contentious,
activity,
forinstance,bythe
viewson 'analysis'- analysisas represented,
ofperformers'
and analysisof musicis
journalsof thatdiscipline.*The area of performance
examinedhere withinthe confinesof Western-Europeantonal music and
modernWestern-Europeananalyticalresponsesto it. Withoutapologyfor
dealingonlywithold music,and fordealingonlywitha received,Germanic
mustbe admitted.Thereare ofcoursesenses
viewofanalysis,thenarrowness
inwhichthechallengesofperforming
music,whichmustbe a central
post-tonal
modern preoccupation,are differentin kind, just as there are other,
is
sophisticatedmusical societiesin whichthe veryconceptof performance
- societiesin whichthereis no notation,societiesin whichwhatwe
different
is in factmore a sortof game, societiesin which
would call a performance
is
a
everyone performer.
circlesof the
There seems to be a growingawarenessin music-theoretical
of
the
connections
between
for
contemplating
potential deeper investigation
musicand actuallypresenting
it. Indeed a numberofrecentpublicationshave
rushedin- wheremosttheorists
have,in therecentpast,fearedto tread- with
littleovertattentionto underlying
issues, especiallytheissue of theextentto
and analysisis even desirable,let alone
whicha unifiedfocusin performance
then,thisbriefdiscussionbegins
possible.Withina narrowframeofreference,
and proceedswitha
withsomeoftheseedsofourthinking
aboutperformance,
fewcase-studiesin non-technical
language.Finally,thereis modestcomment
on a moralto be drawnfrom'authentic',historicist
performance
practice.
MUSIC ANALYSIS
8:1-2, 1989
JONATHAN
DUNSBY
II
and music-analytical
Many will assume that the greatestmusic-theoretical
impact on present-dayperformancepractices has emanated from the
Schenkerianschool,of whichmorewill be said in due course. Yet it can be
argued thatat least as much has been inheritedfromthose whose musical
educationstemmeddirectlyor indirectly
fromArnoldSchoenberg;forit is a
of the
Schoenbergianassumptionthata thoroughconceptualunderstanding
musical score is the prerequisiteof adequate performance.The course of
music has surelyshown this to be true in the area of
twentieth-century
music.
dodecaphonic
DespitetheinsistenceoftheSecond-Viennese
composers
thatitis howthemusicsoundswhichmatters,nothowitwas made,everybody
now acceptsthata sensitiveperformance
ofthesepost-tonalscores,especially
of
is
to
unlesstheperformer
is thoroughly
occur
Webern's,
perhaps
unlikely
familiarwiththeintervalpropertiesofthetonerowor rowsand therhythmic
structureof their presentation.Every detail of the score and all the
are consideredvital studyforthe performer.'It is hardly
interrelationships
surprisingthatthisbeliefin the essentialrole of analysisas preparationfor
performanceof new music became the byword among Schoenbergians
was neworold, and thatthiswidecircleof
regardlessofwhethertherepertoire
inworld
performance
ideologyhasincludedmanyofthemostinfluential
figures
musicofrecenttimes.
The positionis stateddirectlyby violinistRudolfKolisch,who maintained
thatthestudyofa score
thanusualstructural
Ithastopenetrate
hastoreachmuchfurther
analysis.
so deeply,thatwe arefinally
abletoretrace
processofthe
everythought
such
a
will
enable
us
to
readthesigns
examination
composer.
Only
thorough
and to definetheobjective
to theirfullextentandmeaning
performance
thosereferring
tophrasing,
andinflection,
elements,
punctuation
especially
thespeechlike
elements.2
An equallystringent
realizationofthisapproachis to be foundin ErwinStein's
in whichwe are toldthat
bookFormandPerformance,
ofthemusic;
istorealizethecharacter
concern
Theperformer's
paramount
He shouldnotbeginwith
itis thepurpose
forwhichthemusicwaswritten.
butseekthe
tobe expressed,
ideasaboutmoodsoremotions
preconceived
ofthemusic,
features.
It is thestructure
in themusic'sformal
character
anddynamic
from
itsmelodic,
components,
harmonic,
rhythmical
resulting
atthesametime.Thecharacter
isgiven
form
andcharacter
thatdetermines
he
will
the
butby
the
second
In
structure.
the
first,
convey
fully
realizing
by
both.He musttakeaccountofthe
pullingthemusicabouthewillcontort
ofthestructure
features
them,decidetheirprecedence
and,incombining
ofbalance.3
andjudgement
tohissenseofproportion
according
6
MUSIC
ANALYSIS
8:1-2, 1989
PERFORMANCE
AND ANALYSIS
ANALYSIS
8:1-2,
1989
JONATHAN
DUNSBY
MUSIC
ANALYSIS
8:1-2, 1989
PERFORMANCE
AND ANALYSIS
III
Somequestionsofinterpretation
areeasilyresolvedby 'analysis'ofone formor
another.Whentheyarenot,itmaybe thattheanalysisis poor,butitis equally
is askingill-considered
is a
possiblethattheperformer
questions.The following
simplecase in point.In thethirdsectionofBrahms'sFantasieOp. 116,No. 2,
we hear new, contrasting
material,the openingand middlesectionin minor
givingwaytomajor-mode
melodywithno down-beatrepeatednotes(see Ex. 1).
The performer
betweenthesetwomelodies?
mightask: whatis therelationship
The answeris that,withcharacteristic
ingenuity,Brahmsis usingthe longdoublecounterpoint
at theoctave,as Ex.
standingtechniqueofvariedtwo-part
2 illustrates.
Yet thereis no seriousproblemfortheperformer
in anycase in the
ofthesethemes.The melodiesareclearlydesignedtocontrast,
and
presentation
theunderlying
unitymaynotevenneedtobe perceiveddirectly
bythelistener:
any pointing-uphereby the pianist,forinstanceby bringingout the middle
voice of the opening in order to show the derivationof the subsequent
theme,wouldhardlybe appropriate;itwoulddestroythebalanceof
contrasting
contrastand unityto whichBrahmshas,as always,givencarefulcompositional
thought.
Some kinds of problem-solving
are, on the other hand, necessaryand
effective.An interestingcase is that of Maurizio Pollini's one-timeinterpretationofthefirstmovementofBeethoven'sWaldstein
Sonata,in whichthe
second themewas offeredin the expositionwith an unusual dull tone, the
chordsin eachhandmoreor lessequallyweighted;yetin the
mostlythree-note
reprisethethemewasplayedwiththeluminously
singingtoplinethatis usually
forbeingperformed
ina
expectedofa masterpianist.This was doublyeffective
wheresuchdevicesofcontrastareespeciallynoticeable.The
largeauditorium,
problem Pollini was thus solving, consciously or unconsciously,was
presumablyone of harmony.The second themein the expositionis in the
mediantmajor,E major,following
theC majoropening.The firstrepriseofthis
MUSIC
ANALYSIS
8:1-2,
1989
JONATHAN
DUNSBY
Ex. 1 Brahms,
Intermezzo,
Op. 116,No. 2
Andante
E,,
.. .
-c
a
,.it mr
... . .rI Ir
Por
]
,--l
i i
P!l'I.I
Ex. 2
10
MUSIC
ANALYSIS
8:1-2,1989
PERFORMANCE
AND ANALYSIS
Ex. 1 cont.
G
A
I
IAre
I*-
ITIMMi
Ex. 2 cont.
IV
It is appropriateat thisstageto introducesome concrete,thoughnecessarily
betweenanalyticalinterpretation
tentative,
examplesofthespecificinteraction
and actualperformance,
illustrated
fromthePreludein G minor,Op. 28, No.
22, of Chopin. To provide some initial orientation,Ex. 3 presentstwo
summariesof the firsttwenty-four
bars. System1 showsa simplerhythmic
reductionof this music: the rhythmicreductionis hardlycontroversial
in
that
the
is
in
an
elaborated-chorale
its
lead
general,given
piece
style,taking
fromthefamousTwentiethPreludeinC minor,whichis an unelaborated
mockchorale.System2 is a transcription
of the informalreductionin Schenkerian
voice-leadingnotation- it is not reallynecessaryto be familiarwith the
ofthisnotationinordertofollowtheperceptions
itrecordsaboutthe
symbology
music.
MUSIC ANALYSIS 8:1-2,1989
11
DUNSBY
JONATHAN
1.
fI..H.15L
k -I;-j
'v'
'voiceleading
JTIj
1-
,j
NIN
howsomeofthedetails
fromtheverybeginning
It is probablyall-too-obvious
For instance,thereis a
of Ex. 3 may impingeupon an ideal interpretation.
ofvoicingin thetempestuousand forceful
opening.The neighbourdifficulty
note figureG-F#-G in the left-handmelody,and the leading-note-to-tonic
motionoftheupperline,bothtendtotricktheearintohearingthesecondbaras
a tonicharmony(see Ex. 4).
Ex. 4
0000
WE@@
ti
ft
in Ex. 5, however,
The harmonicskeletonoftheopeningillustrated
Ex. 5
G)~
0000
E
3
12
MUSIC ANALYSIS
1989
8:1-2,
PERFORMANCE
AND
ANALYSIS
Ex. 3 cont.
15
'aT
6
[ocoJ 6 Voo1 6f+0
x0
T+8IIi6
[+801 I
II
+80]
SJ'
Ex.
6
Ex. 6
>-sf
thebestactualtechnicalsolutionfortheE6 is probablytoplay
Parenthetically:
it fractionally
beforethe othernotes of the righthand - but the particular
solutiondependson whichstyleofpianoplayingtheperformer
represents.
Furtherinto the piece anotherkind of problem-solving
is possible, hard
thoughitis to describeverbally.The mainmelodyis in thebass, buttherighthandmelodyis also activethroughout
mostofthefirstsection.In bs 15and 16,
to be heardas an awkward
however,therighthandsettleson E6 and threatens
patch in the melodicinvention.The bracketsmarked'x' on Ex. 3 indicate,
though,thatChopinis usinga familiarconnectivedevice to move the music
fromsectionA intothecontrasting
middlesection:once theE6 is heardin this
as
a
melodic
tense,forward-moving
way,
upbeatin themotionto A6 in b. 18 notas a melodicvacuum,butas a prolongation
heldin checkthatis straining
to
continueto its immediategoal - there is no longerany problemhere in
The analysisestablishes,as it were,beliefin whatChopinhas
performance.
ifthiswerenecessary- thoughtherearemanythought-provoking
cases
written,
ofsuchnecessity,
ofwhicha further
in due course.The
examplewillbe offered
consciousoftheconnectionunderdiscussionwillinstinctively
performer
place
MUSIC ANALYSIS
8:1-2, 1989
13
JONATHAN
DUNSBY
of
and voiceF in therighthandofb. 17tomakeitsound,notonlythebeginning
a newsection,butalso partofan ongoingline.9
The connectinglinearpatternsbetweensectionsA and B of the Twentyof the entireshape of the
Second Prelude can determinethe interpretation
middlesection.The bracketsmarked'y' on Ex. 3 showthattheintervalof a
sixth,filledby stepwisemotion,is importantin the motivicmenu of the
composition.The intervalof a sixthappearsbelow thelevelof theimmediate
in a longprolongation
peak
movingfromb. 13,whichis theregistral
foreground
ofthelefthandofthewholepiece,towhatcan be consideredthegesturalclimax
ofsectionB, theoctave-spacedBbs in bs 22 and 23. Each precedingnoteofthis
withitssuccessor,andthegapthat
overallmotionofa sixthis connecteddirectly
inexposingthefinalstep
of
b.21
is
at
the
beginning
especiallyeffective
opensup
frommiddleC to B . Fromthepointofviewofvoice-leading
theory,it should
in shapingthe
whichmightguidetheperformer
be notedthatthisprogression,
ofthepiece.In
levelofthestructure
middlesection,is partofthemiddleground
tothedominant,in bs 24, then32,34 andthe
theory,theinevitablemovements
forthetonalcoherenceof
bar, are perhapsofdeepersignificance
penultimate
an earlierpoint,thatwe shouldnotexpecta
thePrelude.And thisexemplifies
completeoverlapbetweentheoryand practice.A theoryof whichthe central
aim is to demonstratetonal coherencemay be of greatimportanceto the
is concernedwithmuchelse besides.
but theperformer
performer,
V
It may well be thatthe problem-solving
potentialof analysishas been least
in the area of musicaltime- in questionsof proportion,metreand
effective
These ineffable
qualitiesofmusicarelikelytobe theleastamenableto
rhythm.
and
conceptualscrutiny, mattersthathave been illuminatedverylittleeven
throughthe musicologist'smicroscopecan barelybe touchedupon in this
What analysisseems so littleable to captureis that
particularcommentary.
- timing- whichsubsumesso manyfactorssuch as
secretof the performer
rubato,structuralarticulationand expressiveemphasis,and whichis such a
ofalmostanycomposition.
powerfulelementin thepresentation
It is perhapsin the area of musical timingthatthe sharpestideological
Consider
becomesclearin thegoalsoftheanalystandtheperformer.
distinction
fineline betweenpointedarticulationand cheap, theatrical
the performer's
in Ex. 7, wherethesecondG, markedwithan asterisk,mustbe heardas:
effect
memberofa dottedan upbeatto thefollowingnote;thesubsidiaryrhythmic
note figure;the filling-inof an unattackedfirstbeat aftera busy two-beat
with
It is a noteoverburdened
functions.
anacrusis;and as havingmanyfurther
convenient
the
by
meanings,mostof whichcan be resolvedin performance
ofan unscripted
introduction
bar,
pauseon thethirdbeatofthefirstincomplete
ofa perceptionofmetricalorderin the
thelargerestablishment
thusdestroying
firstphrase.
14
MUSIC
ANALYSIS
8:1-2, 1989
PERFORMANCE
AND ANALYSIS
Ex. 7 Berg,Sonata,Op. 1
Missig bewe
accel.
p
'n
rit.
I ft
/
8:1-2, 1989
15
JONATHAN
DUNSBY
Ex. 8 Brahms,
ViolinSonata,Op. 108/I
7'17
ofs
PV77..
Iw"
Ir
P.
',
l0
I,
10
If:IMv-',,
" f?
,
l I
-1i
practicalhelp, forBrahmsneveralteredtheplatesforsubsequentprintingof
historical
evidencethathe actuallymeantthe
Op. 108,and thereis no surviving
to
be
revised.'0
passage
VI
If thereis a subtexthere,it is thatourproblemsare muchmorewiththepast,
thanmaybe casuallyassumedoreven
ratherthanthepresentand near-present,
tenaciouslyclaimed. For this reason a path has been carved throughthe
twentiethcenturyobservingthe bordersonlyof Schoenbergand Schenker,
bordermightbe calledStravinskyism,
further
suspendingothers:an important
where'execution'- in whichthedeathis celebrated,notoftheauthor,butof
16
PERFORMANCE
,1"
A
-nr
As
tof -it 7\
p-1
-I
....
AND ANALYSIS
t 1
-10)
_ rIn
- supplantsinterpretation;
the 'performer'
anothermightbe called 'taste',
a questionwhich
posingthequestion'forwhomis theperformer
performing?',
has not yetaccruedquite the awesomesense of overthrow
experiencedin its
current European counterpart:'for whom nowadays is the composer
composing?'. Such sins of omission must be minor. For instance, the
'execution'ideology,whethermodern,orold in the'sewing-machine'
approach
to thelateBaroque,has no avowedneedofanalysishoweverbroadlyconceived,
even ifpretendedexecutioncan nevertrulyhide its lack ofneutrality.
As for
of
there
is
no
that
these
are
questions
reception,
implication
relatively
'unimportant',only that any discussionmust see its own boundariesand
recognizeitsownovertor covertprovisionality.
Those who findthepastless troublesomethanthepresentmustsympathize
littlewiththosewhodon't,andviceversa(thoughtheviceversamayoftenentail
a touchof future-conscience
in thosewho worryabout the past overmuch).
MUSIC ANALYSIS 8:1-2,1989
17
JONATHAN
DUNSBY
VII
Eitherway,thebottomline - even in thehallowedgroundofhow to present
musictoothers-is thatthereis no escapefromtheoryingeneralorinparticular,
aboutittoomuch,
needtoescapefromthinking
thoughwe mayeachsometimes
18
MUSIC
ANALYSIS
8:1-2, 1989
PERFORMANCE
AND ANALYSIS
and some need to escape always, even though thereis no escape. 'Performance
and Analysis' people know it does not feelquite like thiswhen you are on stage
- thus, again, the 'partial overlap'. Yet there is no epistemological reason for
analysis and its theoriesto work in fearof what it feels like on stage.
NOTES
1. For an excellentdiscussionofthesematters,see Christopher
Wintle,'Webern's
ConcertoOp. 24/II', Music Analysis,Vol. 1, No. 1 (March 1982), pp.74-81:
'Performing'.
Portrait
2. Quoted in JoanAllenSmith,Schoenberg
andHis Circle:A Viennese
(New
York: Schirmer,1986), pp.105-6. See also Rudolf Kolisch, Zur Theorieder
Vol. 29/30(January1983).
Musik-Konzepte,
Auffiihrung,
3. FormandPerformance
(London: Faber, 1962),p.20.
4. A wide-ranging
pictureof thisartist'sviews can be foundin The GlennGould
Reader,ed. Tim Page (London: Faber, 1987).
5. A concise and well-documentedstudyof this aspect of Schenker'swork is
published in William Rothstein,'Heinrich Schenker as an Interpreterof
Beethoven'sPiano Sonatas',Nineteenth-Century
Music,Vol. 8, No. 1 (Summer
1984),pp.3-28.
6. WilliamA. Pastille,'HeinrichSchenker,Anti-Organicist',
in Nineteenth-Century
Vol.
No.
that
thereare continuing
1 (Summer1984),pp.29-36,argues
Music,
8,
in
Schenker's
of
the
'Meisterwerk'
and
concludeswiththe
challenges
concept
'If
fundamental
Schenker's
question:
theoryproperlyappliesonlyto theworksof
how
does
it
relate
to
the
works
ofnon-geniuses?'
geniuses,
(myitalics)- thephrase
'works of genius' would have been more felicitousfora numberof obvious
reasons,and Pastille'sturnof phraseheremayyethelp to perpetuatethevery
trendhe is arguingagainst.CharlesBurkhartmuseson whethertherewas indeed
a process of developmentbut subsequentretractioneven in the fieldof the
betweendynamicand
masterpiecein Schenker'sthinkingabouttherelationship
levels- whichat one timeSchenkersupposedmustcorrespond,
pitch-structural
though'one wondersifperhapsit was notan idea that[he] eventually
dropped':
see 'Schenker's Theory of Levels and Musical Performance',in Aspectsof
Schenkerian
ed. David Beach (New Haven: Yale University
Theory,
Press,1983),
pp.95-112(p. 112n).
7. For a briefdiscussionofthehistoryand currentstateofeditionsofBeethoven's
piano sonatas,see WilliamDrabkin, 'The BeethovenSonatas',Musical Times,
Vol. 126,No. 1706(April1985),pp.216-20.
8. The Waldstein
repriseis discussedbyKonradWolffinSchnabel'sInterpretation
of
Piano Music(London: Faber, 1979),witha different
solutionto thesameissue:
'The modulation. . . is . . . a major structuralevent. This becomes clear
accordingto Schnabel,ifthethemehereis moresimply- thatis, lessexpressively
- presented;somewhatin the styleof an improvisedmodulationon theorgan
. '(p.134).
MUSIC
ANALYSIS
8:1-2,
1989
19
JONATHAN
DUNSBY
12. Ibid.,p.168.
13. Ibid.,p.181.
14. Ibid., p.214.
20
MUSIC
ANALYSIS
8:1-2,
1989