Composers are sometimes casual in making a clear distinction between staccato dots and
staccatissimo wedges. This problem sometimes appears in the piano music of Mozart,
Beethoven and Liszt. In most cases it does not matter very much as the context would be
a sufficient guide. Editors and publishers very often assimilate the two markings to a dot
but there are occasions where the composer intended a distinction. There are several
examples of this in Beethoven’s piano sonatas where his autograph manuscript clearly
shows a distinction. A particular example occurs in the first movement of his Sonata in E
flat major opus 33 no. 2.
Mezzo staccato
Mezzzo staccato is a touch between staccato and non legato. The notes are slightly
detached and are indicated by staccato dots combined with a legato slur above them. On
the piano when the notes are the same they are usually pedalled through and this is done
because, on one view, they are treated as notes to be played legato. One reasoning
behind this view is that when there are two notes, and they are the same, it is necessary to
add the dots otherwise the slur might be thought of as a tie not a legato slur.
In piano music of the romantic period, even when the notes are not the same, they are
often also pedalled through if there is an underlying harmonic support, or each note is
given a legato pedalling. The practice is not uniform, however, and one should heed any
marking by the composer. Beethoven marked pedal through the mezzo-staccato notes of
the descending piano melody in the slow movement of his ‘Emperor’ piano concerto.
His aim apparently was to achieve an individual bell-like quality for each note.
Liszt said at one particular masterclass that the mezzo staccato notes of the particular
piano composition being played were ‘not staccato’ and that the wrist should drop down
with each note.
TRADITIONS
Liszt’s interpretations of Chopin were overtly expressive and flamboyant, while the
interpretations of Clara Schumann and Hans von Bülow were more restrained and
intellectual, if we can go by contemporary accounts.
Chopin pupil Mikuli taught Michalowski, Rosenthal and Koczalski, and the next
generation in the Mikuli line was Neuhaus, Sofronitsky and Rosen.
Chopin pupil Mathias taught Philipp, Pugno and Carreño, and the next generation in the
Mathias line was Magaloff and Novaes.
Liszt pupils were Tausig, Sauer and Bülow.
Leschetizky pupils were Friedman, Paderewski and Moiseiwitsch.