The Fingerings of J. Brahms Focusing on the thumb in his piano solo works and “51 Übungen für Klavier” WoO 6

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  • J. ブラームスの運指―ピアノ独奏曲と《51の練習曲》WoO 6での第一指に注目して―

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This paper traces the piano fingerings by Johannes Brahms（1833-1897）focusing on the usage of the thumb in his piano works. The author has examined ‘Variationen über ein eigenes Thema’ （op.21-1, 1862）, “4 Klavierstücke” No.3 ‘Intermezzo’（ op.119-3, 1893）, and “51 Übungen für Klavier”（ WoO 6, 1893）. The analysis makes it clear that Brahms was continuously using the thumb and second finger pattern, and the finger sliding technique of the thumb, throughout his life. Brahms's fingerings in his piano works are characterized by three points. First, his fingerings are efficient, which require minimal movement of the fingers and hands. Second, Brahmsʼs fingerings often highlight the melodic line and the important notes in the accompaniment voice. Third, by using the thumb, he emphasizes the meter and pulse, thus facilitating performance effects, such as legato and leggiero. On the contrary, since “51 Übungen” is composed for training purposes, it includes the same finger patterns but also uses rarely encountered movements and hand positions. Brahms was apparently aiming for a natural piano technique through the deliberately directed fingerings in his piano works.

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  • 人間文化創成科学論叢

    人間文化創成科学論叢 24 39-48, 2022-03-31

    お茶の水女子大学大学院人間文化創成科学研究科

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