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Classic musicians are now trained to play music accurately to the composers’ intention，such as following the right tempo and expressing the right meaning of the marks. Consequently， performers not only need to have brilliant technique and confidence to pieces well， they might have to analyze the background of the play pieces and play them as intended by the composers.
This essay is going to analyze differing interpretations of articulation in Schubert’s Impromptu Op.90 No.2（1827）， which focus on the fp （shortened from forte piano） and accentuation marking “>”. In this section，there will be some comparisons of interpretations among different pianists：the musicians before the 1960s and the modern pianists （after the 1990s）. Due to the different ways to interpret the pieces， it is much obvious to notice the diversities.
After making comparisons， it will discuss view of how to play them more historically informed.
Articulation is the style in which a work’s notes are performed. Its use is written with articulation marks， and the effect alters the sound of the notes and creates relationships between them. When the performers play the music， they can notice various kinds of articulation marks in the editions， which mean that they might try their best to make the sound more changeable.
As a result， in order to make dramatic melodies， there are some common marks in Schubert’s piano music. For example， in the Impromptu Op.90 No.1， there are quite a lot of accentuation marks such as “>”，which are written either above or below the note or chord and loud and then immediately soft marks fp.
Additionally， these marks have different meanings. “>”means the marked notes have an emphasized beginning and then taper off rather quickly. Classically trained musicians correctly know this mark as “marcato”， though it is usually simply referred to as an accent. fp is an indication to play loudly in forte， followed immediately by piano. As Montgomery （2003：143） described：” Clearly， a strong dynamic follows it immediately further into the same note.” What is more， as Halford （1977） said that the signs fp， sf and fz are obviously exchangeable， and they are written differently in various early editions. They show that a chord which is to be performed louder than chords marked “>”. Actually the “>” sign only indicates an accent， and is neither related to nor derived from the signs that are of a roughly similar shape （Rosenblum， 1991：434-439）. In the Impromptu Op.90 No.2， the marks of fp and “>” are used rhythmically. As Fig.1 shows， the fp and the “>”were in the second beats--the minim notes，which shape the dramatic and clear melody lines.
Furthermore， in performing these markings， different players have their own ways. More specifically， the pianists before the 1960s tend to play fp the same as “>”. For instance， Krystian Zimerman （1941），considered to be one of the finest living pianists. In the Impromptu Op.90 No.2， the bars 37 to 41， are marked “>” and fp in the minim notes， shapes the melody line （Fig.1）. According to Zimerman’s recording， these two marks sound the same. By contrast， the modern pianists tend to perform dissimilarly. They perform more distinctly and with more contrast.
Actually， in Schubert’s music， it generally shows the rhythmic-motivic development and these articulations are temporal. As Frisch （1986：122） analyzed：” It is the group binds these segments into musical-rhythmic figures. The constructive element of the bar group thus fulfills simultaneously a time measuring and a time-articulating function. Because of the compound gesture and because of the way it is transformed， the bar group has a distinct character of motion as a rhythmic-musical figure in the piece.” Consequently， the structure of the articulations seem to be described in a particular style of the motion in Schubert’s music.
Due to the characteristic of the Viennese piano being different to the modern piano， the sound of the fp and “>” are dissimilar as well. According to Baylor （1987：1）， the feature of Schubert’s music might be characterized between classic and romantic. Besides composing lieder， Schubert used the Viennese piano to write numerous piano solos and duets as well. However， this kind of fortepiano was not like a modern piano， as it only had six octaves in all. For instance， in the Kunstnistorische Museum in Vienna， there is a properly maintained piano that Schubert once owned. The keys are shallow， causing lively tempos. What’s more， compared with the modern piano， the Viennese piano is bright， silvery and attractive， especially in the upper octave， but the sound disappears quickly （Baylor， 1987：1）.
Considering the characteristics of Schubert’s piano outlined above， this kind of piano is for the home， instead of the concert hall. And the fp and the “>” will perhaps be lighter and less dramatic. As Rosenblum described before， the “>” sign has a different sound to the fp， which only indicates an accent and the fp has a dynamic decrease next to the marked note. Halford also indicates that fp should be played louder than the “>”. Compared with this， as Bilson （1980：270） explained， the kind of piano Schubert used was under less tension， with little reinforcement， therefore the tone of the piano is “light， silvery and bright”. Consequently， the fp and “>”marks cannot be played much stronger and heavier. They might change a little and both be much lighter. That is to say that they are almost sound the same as in the 19th century.
References：
[1]Apel，W.（1969）Harvard Dictionary of Music.New York：Harvard College Copyright.
[2]Balyor，M（1987）Schubert Impromptus Opus.90 For the Piano.New York：Alfred Publishing Limited.
[3]Bilson，M.（1980）Schubert’s Piano Music and the Pianos of His Time.Princeton：Princeton University Press.
[4]Bohm，J.（1820）“Viennese Grand Piano in the 19th century”.
[5]Available at：http：//www.metmuseum.org
[6]Halford，M.（1977）Schubert：An Introduction to His Piano Works.New York：Alfred Publishing.
[7]Montgomery，D.（2003）Franz Schubert’s Music in Performance： Historical Realities.
[8]Monographs in Musicology，No.11：Library of Congress Catologuing- in-Publication Data.
[9]Rosenblum，P.（1991）Performance Practice in Classic Piano Music： Their Principles and Applications.London：Oxford University Press.
【作者簡介】成书婷（1989.4- ），女，广东连县人，广东第二师范学院，硕士研究生，助教，研究方向：钢琴表演，视唱练耳。
This essay is going to analyze differing interpretations of articulation in Schubert’s Impromptu Op.90 No.2（1827）， which focus on the fp （shortened from forte piano） and accentuation marking “>”. In this section，there will be some comparisons of interpretations among different pianists：the musicians before the 1960s and the modern pianists （after the 1990s）. Due to the different ways to interpret the pieces， it is much obvious to notice the diversities.
After making comparisons， it will discuss view of how to play them more historically informed.
Articulation is the style in which a work’s notes are performed. Its use is written with articulation marks， and the effect alters the sound of the notes and creates relationships between them. When the performers play the music， they can notice various kinds of articulation marks in the editions， which mean that they might try their best to make the sound more changeable.
As a result， in order to make dramatic melodies， there are some common marks in Schubert’s piano music. For example， in the Impromptu Op.90 No.1， there are quite a lot of accentuation marks such as “>”，which are written either above or below the note or chord and loud and then immediately soft marks fp.
Additionally， these marks have different meanings. “>”means the marked notes have an emphasized beginning and then taper off rather quickly. Classically trained musicians correctly know this mark as “marcato”， though it is usually simply referred to as an accent. fp is an indication to play loudly in forte， followed immediately by piano. As Montgomery （2003：143） described：” Clearly， a strong dynamic follows it immediately further into the same note.” What is more， as Halford （1977） said that the signs fp， sf and fz are obviously exchangeable， and they are written differently in various early editions. They show that a chord which is to be performed louder than chords marked “>”. Actually the “>” sign only indicates an accent， and is neither related to nor derived from the signs that are of a roughly similar shape （Rosenblum， 1991：434-439）. In the Impromptu Op.90 No.2， the marks of fp and “>” are used rhythmically. As Fig.1 shows， the fp and the “>”were in the second beats--the minim notes，which shape the dramatic and clear melody lines.
Furthermore， in performing these markings， different players have their own ways. More specifically， the pianists before the 1960s tend to play fp the same as “>”. For instance， Krystian Zimerman （1941），considered to be one of the finest living pianists. In the Impromptu Op.90 No.2， the bars 37 to 41， are marked “>” and fp in the minim notes， shapes the melody line （Fig.1）. According to Zimerman’s recording， these two marks sound the same. By contrast， the modern pianists tend to perform dissimilarly. They perform more distinctly and with more contrast.
Actually， in Schubert’s music， it generally shows the rhythmic-motivic development and these articulations are temporal. As Frisch （1986：122） analyzed：” It is the group binds these segments into musical-rhythmic figures. The constructive element of the bar group thus fulfills simultaneously a time measuring and a time-articulating function. Because of the compound gesture and because of the way it is transformed， the bar group has a distinct character of motion as a rhythmic-musical figure in the piece.” Consequently， the structure of the articulations seem to be described in a particular style of the motion in Schubert’s music.
Due to the characteristic of the Viennese piano being different to the modern piano， the sound of the fp and “>” are dissimilar as well. According to Baylor （1987：1）， the feature of Schubert’s music might be characterized between classic and romantic. Besides composing lieder， Schubert used the Viennese piano to write numerous piano solos and duets as well. However， this kind of fortepiano was not like a modern piano， as it only had six octaves in all. For instance， in the Kunstnistorische Museum in Vienna， there is a properly maintained piano that Schubert once owned. The keys are shallow， causing lively tempos. What’s more， compared with the modern piano， the Viennese piano is bright， silvery and attractive， especially in the upper octave， but the sound disappears quickly （Baylor， 1987：1）.
Considering the characteristics of Schubert’s piano outlined above， this kind of piano is for the home， instead of the concert hall. And the fp and the “>” will perhaps be lighter and less dramatic. As Rosenblum described before， the “>” sign has a different sound to the fp， which only indicates an accent and the fp has a dynamic decrease next to the marked note. Halford also indicates that fp should be played louder than the “>”. Compared with this， as Bilson （1980：270） explained， the kind of piano Schubert used was under less tension， with little reinforcement， therefore the tone of the piano is “light， silvery and bright”. Consequently， the fp and “>”marks cannot be played much stronger and heavier. They might change a little and both be much lighter. That is to say that they are almost sound the same as in the 19th century.
References：
[1]Apel，W.（1969）Harvard Dictionary of Music.New York：Harvard College Copyright.
[2]Balyor，M（1987）Schubert Impromptus Opus.90 For the Piano.New York：Alfred Publishing Limited.
[3]Bilson，M.（1980）Schubert’s Piano Music and the Pianos of His Time.Princeton：Princeton University Press.
[4]Bohm，J.（1820）“Viennese Grand Piano in the 19th century”.
[5]Available at：http：//www.metmuseum.org
[6]Halford，M.（1977）Schubert：An Introduction to His Piano Works.New York：Alfred Publishing.
[7]Montgomery，D.（2003）Franz Schubert’s Music in Performance： Historical Realities.
[8]Monographs in Musicology，No.11：Library of Congress Catologuing- in-Publication Data.
[9]Rosenblum，P.（1991）Performance Practice in Classic Piano Music： Their Principles and Applications.London：Oxford University Press.
【作者簡介】成书婷（1989.4- ），女，广东连县人，广东第二师范学院，硕士研究生，助教，研究方向：钢琴表演，视唱练耳。