Schnabel’s Interpretation of Piano Music
I first discovered the book in 1980, and it has been an invaluable resource ever since.
The book was originally titled, “The Teachings of Artur Schnabel,” my guess is that it was retitled to avoid any religious or spiritual connotations.
There’re 13 chapters in the book.
For me, the most instructive chapters are those on Melodic, Harmonic, Metric, and Rhythmic articulation.
Chapter Four—Melodic articulation, is especially useful in understanding linear phrasing.
The terminology, ‘linear phrasing’ is never used in the chapter, (because it’s something I came up with myself) but the concept is very clearly explained in the section on Melodic Directions.
The word ‘Directions’ here describes forward linear motion rather than static metrical phrasing.
To indicate this forward motion, Wolff uses an arrow symbol to mark the direction.
The second paragraph on page 39 is especially instructive:
“Melodic direction normally begins with the first and ends with the last. It should not be disturbed, especially not by accents on top notes…”
I would add that it should also not be disturbed by a persistent emphasis on the metrical beat.
Here are pages 38-39 of the book.
Schnabel-Page 38-39
The final points of reference are of course in his recordings.
Listen to how and when he pushes a line forward, or when he slightly holds it back or when he keeps it steady, all to create specific effects.
Finally, two quotes from the book are particularly relevant in these times of extreme dogmatism in guitar pedagogy and attempts at literal (and unimaginative) interpretation.
Page 25
“Schnabel did not impose his way of playing on pupils whose technique, though different, enabled them to have musical and technical control. He looked at his pupils’ hands only when something went wrong.”
Page 26
“Unwritten rules govern subtle nuances of dynamics and rhythm. There are no symbols that would make notation of these subtleties possible…”