Over the next few weeks, I’ll be uploading performances of Daniel Gottlob Türk’s two volumes of “60 Pieces for Aspiring Players.” The books were written in 1792 and 1795 and, along with the 1789 Klavierschule, represent his pedagogical output for piano.
Türk’s pedagogical volumes came at an interesting time. They fall between the works of two other pedagogical giants. C.P.E. Bach’s Versuch über die wahre Art das Clavier zu spielen arrived in 1753 and exerted tremendous influence in the latter half of the 18th century. The 19th century was dominated by Carl Czerny, whose teaching and pedagogical works ushered in the age of the virtuoso. In the meanwhile, Mozart had just been prematurely silenced, Haydn was getting ready to write his last three sonatas (1794), and Beethoven was about to publish his first three (1795.)
I find Türk’s pieces fascinating because they offer unique insight into what musical training was like for young pianists in the age of Beethoven. Looking at Türk’s choice of pieces, we can see what he felt was important for a young pianist to learn.
First, students were required to learn counterpoint. The first 30 pieces are in two parts, and very few of the pieces have chordal accompaniments. Even at the height of classicism, species counterpoint was still king.
It was also very important for students to develop a feel for the musical styles of the day. In Türk’s collections, we find character pieces, dances (polonaises, minuets, ballet pieces), an assortment of songs, etudes and solfeggiettos, and even liturgical music. #46 is titled “Like a solemn and dignified chorale”, and #53 is an overture worthy of Handel’s Judas Maccabeus.
Türk also achieves a balance of old and new. Some of the pieces would be right at home in Bach’s Anna Magdalena Notebook, while others could just as easily belong to Schumann’s Album for the Young (which wouldn’t be written for another 56 years!)
Finally, students were encouraged to make good use of their vivid imaginations. Titles like “I am so dull and ill” and “Song of a knight in a darkening wood” are not uncommon, and while we don’t usually consider Türk to be a “Romantic” composer, the sensibility is certainly there.
To help explore the riches of Türk’s collections, I’d suggest the complete edition edited by Howard Ferguson and published by ABRSM. It’s wonderful music, and Ferguson offers a variety of helpful notes regarding performance practice and explaining the meanings of some of the stranger titles.
Enjoy the videos!
