The problem of how to perform the early Classical keyboard slur has prompted
perplexity and dissension in generations of thoughtful performers and teachers. While the
mandatory legato indicated by the slur is unquestioned, diversity of opinion centers around
the performance of the last note of the slur, specifically regarding its length. Modern
pedagogy has generally followed a time-honoured principle of an early release for the last
note of a slur, yet many artists seem to disregard this guidance at will. This study attempts
to clarify the issue by examining several treatises of the early Classical period.
A brief history of the slur is included because its origins undoubtedly influenced
how it was later performed. Most of the research, however, focuses on relevant material
found in three treatises written by contemporaries of Wolfgang Mozart, namely, CPE.
Bach, Daniel Turk, and Mozart's father, Leopold. The three components of the slur—the
first note, the notes under the slur, and the last note are treated in turn by presenting
information found in the treatises and providing interpretative commentary. This
information is then applied to slurs found in the keyboard sonatas of Wolfgang Mozart.
Unfortunately, treatises provide no definitive answer to the question of the
performance of the last note of a slur. This lacuna is most likely due to the daunting task
of describing the many musical circumstances involved in performing the last note under a
slur. Solutions to the problem, therefore, cannot simply be founded solely on treatise
instructions regarding the slur. Fortunately, the wealth of descriptive writing on the
general art of effective music-making also provides some important clues to understanding
the principles of performing the last note under a slur. Much of this study focuses on
understanding the three important factors influencing the slur's ending: formal structure,
Classical violin bowing technique and, most important, the musical context in which a slur
is found. When these three aspects of performance are understood, much of the
uncertainty surrounding Wolfgang Mozart's slurs will disappear. / Arts, Faculty of / Music, School of / Graduate
| Identifer | oai:union.ndltd.org:UBC/oai:circle.library.ubc.ca:2429/10917 |
| Date | 05 1900 |
| Creators | Suderman, Betty Louise |
| Source Sets | University of British Columbia |
| Language | English |
| Detected Language | English |
| Type | Text, Thesis/Dissertation |
| Format | 3832294 bytes, application/pdf |
| Rights | For non-commercial purposes only, such as research, private study and education. Additional conditions apply, see Terms of Use https://open.library.ubc.ca/terms_of_use. |
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