Beyer, Ferdinand : Vorschule im Klavierspiel Op.101
Work Overview
Dedicated to：J. P. Gotthard
Instrumentation：Piano Solo
Genre：etude
Copyright：Public Domain
Commentary (2)
Author : Hara, Akiho
Last Updated: March 12, 2018
[Open]
Author : Hara, Akiho
Beyer: 106 Pieces
This work is by Ferdinand Beyer (1806-1863), a German composer, pianist, and music educator.
In Japan, this collection has been a familiar resource for piano learners since its adoption in 1889 (Meiji 13) as piano teaching material by the American music educator L.W. Mason (1818-1896) at the Ongaku Torishirabegakari (Music Investigation Committee), which later became the Tokyo Music School and is now the predecessor of the Faculty of Music, Tokyo University of the Arts.
Author : Makihira, Yuka
Last Updated: March 9, 2019
[Open]
Author : Makihira, Yuka
Ferdinand Beyer's Vorschule im Klavierspiel (Beyer)
The piano textbook commonly known as "Beyer" was published around 1850 by Schott in Mainz, by Ferdinand Beyer (1806–63), a German pianist, composer, and arranger born in the 19th century. It has been translated and published not only in German but also in French, English, Spanish, Russian, Czech, Japanese, and other languages. Its reception in Japan, in particular, is unparalleled worldwide, with numerous editions of "Beyer," revised versions, and supplementary materials still being published by various domestic music publishers today.
Historical Context and Beyer's Motivation
In 19th-century Europe, where Beyer was active, music, which had previously been the domain of the upper classes, rapidly spread to the middle class. Coupled with the popularization of the piano, the number of piano players surged. The emergence of a large number of beginners starting to learn the piano also prompted many composers to create piano method books for novices. Amidst this, Beyer was one of the popular composers of the time, publishing numerous original short pieces as well as arrangements of popular opera works. According to records, Beyer first published sheet music in Mainz in 1838, and it was around 1846, some time later, that he began writing arrangements of German songs and popular opera works for beginners or children. While there might have been easy-to-play pieces before, he started writing scores with explicit titles such as “for children” or “for young (youthful) pianists.” Given that such works were continuously published until around 1850, when "Beyer" was released, it can be inferred that Beyer already had the concept of writing "Beyer" for children and beginners in mind.
Structure and Content of Beyer
According to contemporary publishing catalogs, the title of "Beyer" was announced as Vorschule im Klavierspiel für Schüler des zartesten Alters, enth. 106 zweihändige, dreihändige u. vierhändige Uebungsstücke, Vorübungen, Fingerübungen und Anfangsgründe der Musik (Ecole préliminaire de Piano). op. 101 (Preliminary School of Piano Playing for Students of the Tenderest Age, containing 106 two-hand, three-hand, and four-hand exercises, preliminary exercises, finger exercises, and rudiments of music [music theory]) (Hofmeister: Musikalisch-literarischer Monatsbericht. Band: Januer 1851, page 13 / from the Austrian National Library database). Including the appendix at the end of the score, it is composed of a truly large number of exercises. Upon re-examining the score, it becomes clear that various considerations have been made to allow learners to gradually increase their knowledge of music notation and playing level step by step.
If divided into a first half (up to No. 64) and a second half (from No. 65 onwards), the first half consists of exercises composed of only five notes, while the second half introduces thumb-under exercises for the first time, followed by exercises involving intervals of a sixth or more. Following it from the beginning, one first learns music theory, which is the fundamental knowledge required to read music. Next, preliminary exercises are done playing with only the right hand and then only the left hand, before moving to preliminary exercises for two-hand playing. After practicing movements where the hands mirror each other (both hands moving the same fingers), one proceeds to practice playing the same notes an octave apart with both hands. This staged warm-up, which involves acquiring hand movements that go against natural physiological functions, allows for a smooth transition to the serious playing that follows. The required playing technique gradually increases, and upon entering the second part, thumb-under, which is said to be difficult for beginners, is given as the very first task. This is followed by more challenging exercises such as scales, complex rhythms, ornaments, and chromatic scales, so that by the time "Beyer" is completed, one is prepared to play various pieces. It should also be added that a supplementary textbook for "Beyer," titled Melodienbuch. 100 Erholungen für die Jugend, in kleinen Lectionen über beliebte Motive. Als Anhang zu der Vorschule im Klavierspiel. op.101 bis (Melody Book ~ 100 Recreations for Youth, small lessons on popular motifs. As an appendix to the Preliminary School of Piano Playing), was also published by Beyer either simultaneously or around the same time.
Introduction to Japan and Criticisms
Why did "Beyer," released in Europe around 1850, come to Japan? This was triggered in 1880 (Meiji 13) when American music educator Luther Whiting Mason (1818–96) came to Japan as a teacher. At the Music Investigation Committee of the Ministry of Education, established by the Meiji government, piano education was an urgent necessity for the popularization of shōka (school songs) and their accompanying piano accompaniment. Among the scores that Mason brought with him, having been invited by the Japanese government, was "Beyer." This introduced it to Japan, marking the beginning of "Beyer"'s reception that continues to this day, nearly 140 years later. However, it has been pointed out that "Beyer" has many problems. Commonly cited issues include:
- The prevalence of exercises where the left hand plays accompaniment and the right hand plays the melody.
- The absence of accidentals or key signatures in the exercises for students in the first half (meaning tonality only appears in the second half).
Conclusion and Legacy
"Beyer" is a textbook that allows learners to acquire comprehensive fundamental musical skills and knowledge, encompassing not only playing technique but also solfège. Unfortunately, with the aforementioned problems of "Beyer" being loudly voiced in recent years, its use in lessons has become less frequent. On the other hand, it seems that "Beyer" is once again gaining attention in various ways. Research on Beyer has progressed, and various piano method books have been developed, with a rich variety now available from various music publishers. In these respects, the contributions of "Beyer" to piano education in Japan are significant. "Beyer" is undoubtedly the cornerstone of piano education in Japan.
The score of "Beyer" referenced was the digitized Ecole préliminaire de piano (BnF Galica).
Movements (106)
Arrangements & Related Works(5) <Show>
Obara, Takashi： Beyer, Op.101-78
Total Performance Time: 1 min 10 sec
PTNA & Partner Channel Videos(27items) View More
Sheet MusicView More
Scores List (44)
（株）全音楽譜出版社
（株）全音楽譜出版社
（株）ドレミ楽譜出版社
（株）ドレミ楽譜出版社
(株)学研プラス
(株)学研プラス
(株)学研プラス
(株)学研プラス
（株）全音楽譜出版社
（株）全音楽譜出版社
（株）全音楽譜出版社
（株）全音楽譜出版社
（株）ドレミ楽譜出版社
（株）ドレミ楽譜出版社
カワイ出版
カワイ出版
カワイ出版
カワイ出版
カワイ出版
カワイ出版
カワイ出版
(株)ヤマハミュージックエンタテインメントホールディングス
(株)ヤマハミュージックエンタテインメントホールディングス
(株)ヤマハミュージックエンタテインメントホールディングス
(株)音楽之友社
（株）全音楽譜出版社
（株）ドレミ楽譜出版社
カワイ出版
カワイ出版
（株）全音楽譜出版社
（株）全音楽譜出版社
(株)ヤマハミュージックエンタテインメントホールディングス
カワイ出版
（株）ドレミ楽譜出版社
(株)ヤマハミュージックエンタテインメントホールディングス
(株)ヤマハミュージックエンタテインメントホールディングス
(株)音楽之友社
(株)ヤマハミュージックエンタテインメントホールディングス
ミュッセ
ミュッセ
ミュッセ