Did Classical Music Composers Consider Playability in Their Works?

Classical music has a rich history filled with groundbreaking compositions that challenge the very limits of musicianship. But did these composers consider the playability of their works? Interestingly, the answer is more complex than one might imagine.

The Art of Editing in the 1960s

During the 1960s, before the advent of copying machines and digital software, composers had to be incredibly meticulous with their manuscripts. A single mistake could mean hours of manual correction. My own experience, for instance, involved no computer backups or digital tools. Errors were corrected using liquid paper, scissors, and even scraps of paper to patch up a bad section. This rigorous process ensured that each piece was played flawlessly from the first draft. A composer was thus highly motivated to write a piece that was both beautiful and playable in a single sitting.

Stretching the Limits

Leading composers often pushed the boundaries of what was possible with music. For example, the trio sonatas of some composers like [fill in composer's name] posed significant challenges, even in later years when the composer's body was less flexible. Similarly, some organ pieces defied what was literally possible; they relied on the acoustics of 19th-century churches and demanded rapid key slapping to produce impossible runs. The music would be played to seemingly

Some works were so demanding that they sparked anger. Beethoven's series of seven high C’s is a notable example, as was Handel's frustration with a soprano who struggled with his high notes. One anecdote, attributed to an old biography, even suggests that Beethoven threatened to throw a soprano out of a window in anger. While I cannot verify this claim, the intensity of such moments highlights the real tension between technical feasibility and artistic vision.

Deconstructing Impossibility

Not all composers were deeply concerned with strict playability. Some works were so intricate and challenging that they bordered on the impossible. For instance, Jascha Heifetz once complained to Arnold Schoenberg that his Violin Concerto was unplayable, requiring an extra finger. Schoenberg's response, "I can wait," illustrates his dedication to his craft. Despite his innovations in 12-tone composition, Schoenberg remained a highly skilled composer who understood the limits of the human performer.

The Harsh Reality of Playability

Most composers are not romantic dreamers who simply doodle melodies with the hope that someone will find them later. They are highly disciplined professionals with a deep understanding of their craft. This includes the study of instrument writing and a keen knowledge of the limitations of different performers. This discipline often involves constant collaboration and contact with professional musicians who can offer valuable feedback on the playability of new works.

Examples of Unplayable Works

Many works, particularly those by Beethoven and other early Romantic composers, were initially considered unplayable. For instance, Beethoven’s Third Symphony, the “Eroica,” was described by critics as unplayable. This was often due to both the length and complexity of the pieces. While some of these complaints stemmed from the sheer length, others reflected genuine technical challenges that musicians faced.

History is replete with examples of composers who challenged musicians with works that seemed technically impossible. Nonetheless, musicians are remarkable problem solvers. They often find ways to adapt and even enhance these pieces, turning them into memorable performances. One example of this is the works of Conlon Nancarrow, a composer who posed extreme technical demands on his performers. Few musicians were capable of performing his works satisfactorily in the Mexican musical environment of the time.

Ultimately, the solution to the technical challenges of Nancarrow’s music lay in the player piano. This instrument enabled the production of complex rhythmic patterns at speeds far beyond human capabilities, offering Nancarrow a way to realize his visions. These stories demonstrate that even in the era of groundbreaking technologies, the human spirit of musicians continues to find new ways to push the boundaries of what is possible.

Thus, while composers may not always have considered playability as an absolute necessity, their works have often inspired musicians to find innovative solutions, adapting and even surpassing the original intentions. This rich history of musical innovation and adaptation is a testament to the enduring spirit of composers and performers alike.