Pianoforte

It is aimed at a variety of profiles:

– un claveciniste diplômé désireux d’étendre par exemple son répertoire à une virtuosité typique du XIXème siècle, ou d’approfondir une recherche sur une certaine période charnière du XVIIIème siècle (au croisement des deux familles d’instruments)

– un organiste désireux de pratiquer un clavier sensible et léger nécessitant l’usage de la pédale forte, ou désireux de mieux comprendre les parallèles possibles entre ces instruments pratiqués de fait en parallèle par les compositeurs concernés

– un pianiste ayant fait des études habituelles en classe de piano, désireux d’approfondir ses connaissances historiques de façon pratique et appliquée sur des claviers extrêmement différents et exigeants. Là, l’aspect nécessaire de recherche permanente le conduira par définition vers une approche très personnelle du développement de ses aptitudes et donc l’aidera à acquérir un profil artistique professionnel très riche.

Engaging in fortepiano practice within the institution can guide a musician towards a deliberate career choice and open up enhanced professional opportunities. Comprehensive training also empowers them to align their path based on personal affinities, whether as a soloist, chamber musician, or continuo performer in opera, all while cultivating a genuine understanding of instruments specific to each period and the corresponding playing styles.

The period piano, commonly known as the pianoforte, underwent rapid, intricate, and exponential development, especially from the late 18th century to the mid-19th century. Constructive structures, materials, and aesthetic concepts evolved within short intervals, often resulting in markedly different outcomes. Playing a 5-octave keyboard requires a distinct technique from playing a 6-octave keyboard, and likewise for a 7-octave keyboard. The weight distribution in the keyboard varies, incorporating knee pads and pedals. Each element holds significance in the musician's artistic approach, deftly employed by composers of the time. Exploring the interplay between instrument, composer, and performer empowers students to reconstruct an artistic approach through research. For example, a student delving into the music of composer J.G. Eckard (1735-1809), situated at a crossroads among the harpsichord, clavichord, and pianoforte, grapples with questions about the most suitable instrument for Eckard's compositions. Details like his journey to Paris with Stein become crucial elements in this investigation. The student's inquiry extends to understanding how Eckard's career aligns with the contemporaneous development of the pianoforte and the specific playing techniques he employed on different keyboards. This process of questioning and research guides the student toward a personalized and conscientious approach in presenting their findings.

The practice of instruments within the institution already showcases the significant divergence in knowledge of styles, such as C.P.E. Bach, Haydn, Mozart, in contrast to Chopin and Mendelssohn. While fundamental rhetorical elements persist in both the 18th and 19th centuries, their contextual application, musical interpretation, and implications for ornamentation necessitate meticulous and focused examination. For instance: Defining the direction and climax of a phrase in Haydn's music involves considering rhetorical, rhythmic (linked to tempo), and contextual elements, taking into account its position within the overall structure. Selecting the appropriate ornament becomes a careful process, recognizing that the speed of a mordant may differ in a slow movement compared to an Allegro. Managing rubato in Chopin demands a nuanced approach based on phrasing and direction, influenced by bel canto inspiration, all while maintaining a judicious understanding of the placement of ornaments.

An introduction to pianoforte tuning technique serves to cultivate a more nuanced listening experience and heightened concentration. The intricate nature of the sound, enriched by numerous higher harmonics resulting from the simultaneous striking of three or two strings by a hammer, encourages students to delve deeper into the quality of the sound they produce while playing. This exploration unveils the manifold possibilities inherent in the instrument. Simultaneously, an enhanced understanding of temperament is pivotal for any keyboardist. It prompts them to think in intervals rather than isolated 'notes,' fostering a more conscious approach to the harmonic structure of a composition. This skill becomes particularly beneficial in ensemble settings, such as chamber music, where the keyboardist comprehends how intervals contribute to the overall intonation quality of the ensemble. The development of this listening acuity plays a fundamental role in the artistic growth of the future musician, shaping the quality of their concentration and furnishing them with the keys to independence beyond their formal training.

Special focus will be given to the textual aspects and the common challenges encountered in various editions. For instance, when faced with contradictions in different editions regarding a musical connection or ornamentation, decisions must be carefully considered. This involves recontextualizing the passage, understanding the significance of rhetorical figures, considering traditions of the relevant period (German, French, English schools), and taking into account the specific characteristics of the instrument involved.
Playing with the score will be cultivated with a consistent emphasis on readability and attention to detail. The specialized techniques associated with this form of playing, including rapid movements, jumps, and mastery of the keyboard without visual reference, will be imparted as foundational elements for fostering a relaxed and efficient technique. This approach, in turn, facilitates the development of a liberated interpretation that encourages musical risk-taking.