Eduard Steuermann als Schönberg-Interpret

Zu den Tondokumenten der Sechs kleinen Klavierstücke op. 19

Abstract

This article examines the performance practice of the pianist Eduard Steuermann (1892–1964) on the basis of his recordings of Arnold Schönberg’s Six Little Piano Pieces, Op. 19. Steuermann’s playing is characterised by a balance between structural clarity and tonal colour. Through analyses of tempo variations in several recordings from 1949 to 1963, the article demonstrates how Steuermann develops a consistent, faithful interpretation despite seemingly subjective fluctuations in tempo. Particular attention is paid to his ability to clearly distinguish musical phrases and characters through agogic nuances, whilst simultaneously maintaining the unity of the tempo. Steuermann’s approach, which Schönberg himself recognised as authoritative, combines analytical rigour with expressive depth and is thus exemplary of the performance practice of the Vienna School.