Forty-Nine Pieces for Beginners (Handestucke fur angehende Klavierspieler) Cover Image

Forty-Nine Pieces for Beginners (Handestucke fur angehende Klavierspieler): Piano Method

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Forty-Nine Pieces for Beginners (Handestucke fur angehende Klavierspieler): Piano Method

Forty-Nine Pieces for Beginners (Handestucke fur angehende Klavierspieler): Piano Method

Daniel Gottlob Turk

Item: 36-W729291
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Inspired by Phillip Emanuel Bach's 1753 "Versuch ueber die wahre Art das Klavier zu spielen" (Treatise on the correct manner of playing the Clavier), Daniel Gottlob Türk (1750-1813), composer and Director of Music of the University of Halle, created his own school of "Clavier" playing. His main work as a pedagogue were two volumes which appeared in 1792: "60 Handstuecke fur angehende Klavierspieler." Of those 60 pieces, 49 have been selected for the present volume. They are arranged in progressive order and have been copied exactly from the originals, excepting a few dynamic indications, with special attention given to the ornaments, which are written out fully when appearing the first time. While this book is intended for beginners on the piano, it may be used to great advantage by advanced students of the clavichord who wish to learn the touch peculiar to that instrument.

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Additional Details
Series: Well Tempered Press - LudwigMasters
Publisher: Keiser Productions, Inc.
ISBN10: 1-63887-628-2
ISBN13: 978-1-63887-628-1
UPC: 735816289973
SKU: 36-W729291
Instrumentation: Detailed Instrumentation: Solo Piano

More about this title

About the Composer: Daniel Gottlob Turk

Daniel Gottlob Türk (1750, 1813) served as Director of Music at the University of Halle and established himself as one of the most respected keyboard pedagogues of the late 18th century. His two-volume Handstücke für angehende Klavierspieler (1792) emerged from the same lineage as C.P.E. Bach's foundational treatise on keyboard technique, but Türk created a distinctly practical curriculum that balanced pedagogical progression with genuine musical substance.

Türk's approach to composition for students reflected Enlightenment values: clarity of voice-leading, harmonic logic that taught the ear, and ornaments that developed both technical facility and interpretive awareness. His music has proven durable precisely because it never talks down to its players, whether they were beginning pianists in his era or advanced clavier students seeking authentic period technique.

Why we love this

This collection gives you genuine 18th-century keyboard pedagogy without the academic density of a treatise. Each piece builds on the last with musical purpose, not arbitrary difficulty progression, so students are learning repertoire they actually want to play rather than exercises. The attention to ornamentation, particularly the written-out versions on first appearance, is invaluable for students learning how these figures fit into the harmonic fabric.

What to expect

Elegant without being ornate. The language is conversational and direct; you're hearing a skilled musician thinking through voice-leading and phrasing rather than writing for effect. There's real pleasure in the harmonic clarity and the way simple textures create genuine musical architecture.

Who it's for

Beginning piano students ready for short, substantial pieces that sound composed rather than constructed. Also valuable for advanced clavier and harpsichord students seeking authentic pedagogical material rooted in 18th-century keyboard technique.

How to get the most out of it

  • Pay close attention to the ornaments written out in full. These aren't decorations; they show you exactly how Bach's generation shaped phrase beginnings and continuations.
  • Work the hand independence carefully in two-voice textures. Türk's writing exposes uneven voicing immediately, which accelerates the development of balanced tone production.
  • Observe the dynamic markings as period direction, not modern expression marks. They indicate structural weight and harmonic function rather than emotional arc.

How to use it

Assign pieces individually as students progress through lessons, building a familiarity with a single coherent pedagogical approach across a full season. You might also present a recital featuring selections from the collection to show listeners how thoughtfully sequenced difficulty can sound like a program of distinct character pieces.

Skills your students will build

  • Reading ornaments in historical notation (trills, turns, mordents as written figures)
  • Controlling independent hand voices in two-voice textures
  • Recognizing harmonic function and phrase structure in simple sonata forms
  • Interpreting Baroque articulation and style markers
  • Developing touch differentiation on modern pianos for period-appropriate sound

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