This article addresses the discrepancy between Schenker’s lifelong devotion to performance and the limited treatment of performance issues in the secondary literature on Schenker — a discrepancy exacerbated by the delayed publication of his performance manual The Art of Performance (2000). This study helps to ameliorate the discrepancy by examining his analysis of the Chopin Berceuse op. 57 in D-flat major in Das Meisterwerk II (1926) in comparison to his own annotated score of the piece, with the ultimate goal of creating a clearer picture of how Schenker’s conception of performance intersects with his theories. Following Rings 2011, the article develops a Lewinian transformational model of conceptual tension based on Schenker’s understanding of retention and anticipation in passing motions, and applies it to the rather complex intentional structure of finger choice (the finger chosen at various critical junctures in piano performance). Given the epistemological separation between Schenker’s Berceuse analysis and his annotated score, the article refers to The Art of Performance to formulate a “neo-Schenkerian” legato fingering (“neo” in that it represents my own performance values and participates in the modernist project of American Schenker reception) for the Berceuse theme that serves as a backdrop for understanding not only the conceptual tension of that fingering (according to the transformational model) as it relates to his analysis, but also the conceptual tension of his own fingering, taken from his personal copy of the piece. However, Schenker’s fingering largely ignores his own recommendations for legato and, unlike the underlying voice leading and neo-Schenkerian fingering, does not sustain conceptual tension throughout the theme. Nevertheless, it engages the bodily core in a manner that—in light of the large-scale push to the subdominant (G major) later on in the piece, and the bodily actions associated with playing almost exclusively in the black-key plane—serves the organic coherence of the Berceuse as a whole. This coherence, which arises from the performer’s physical actions, also resonates with some of Schenker’s comments regarding the relationship of The Art of Performance with his mature theory, and his appreciation for what he called Chopin’s “particular

中文翻译：

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三个 Schenkers 的故事

这篇文章解决了 Schenker 终生致力于表演与 Schenker 的二级文献中对表演问题的有限处理之间的差异——由于他的表演手册《表演的艺术》（2000 年）的延迟出版，这种差异更加严重。这项研究有助于通过检查他对肖邦 Berceuse op 的分析来改善这种差异。57 在 Das Meisterwerk II (1926) 的降 D 大调中与他自己的作品注释得分相比，最终目标是更清晰地描绘 Schenker 的表演概念如何与他的理论相交。继 Rings 2011 之后，该文章基于 Schenker 对传球动作中的保持和预期的理解，开发了一个概念张力的 Lewinian 转换模型，并将其应用于相当复杂的手指选择结构（在钢琴演奏的各个关键时刻选择的手指）。鉴于 Schenker 的 Berceuse 分析和他的注释乐谱在认识论上的分离，文章参考 The Art of Performance 来制定“neo-Schenkerian”连奏指法（“neo”，因为它代表了我自己的表演价值观，并参与了American Schenker 招待会）作为 Berceuse 主题的背景，不仅可以理解指法的概念张力（根据转换模型），因为它与他的分析有关，而且还可以理解他自己的指法的概念张力，取自他的该作品的个人副本。然而，申克的指法很大程度上忽略了他自己对连奏的建议，与潜在的声音引导和新申克式指法不同，在整个主题中没有维持概念上的张力。然而，它以一种方式吸引身体核心——考虑到作品稍后大规模推向次主调（G 大调），以及与几乎完全在黑键平面上演奏相关的身体动作——服务于Berceuse 整体的有机连贯性。这种源于表演者身体动作的连贯性，也与申克关于表演艺术与其成熟理论的关系的一些评论以及他对他所谓的肖邦“特殊”的欣赏产生共鸣。它以一种方式与身体核心接触——鉴于在这首曲子后期大规模推动次要（G大调），以及与几乎完全在黑键平面上演奏相关的身体动作——服务于有机Berceuse 整体的连贯性。这种源于表演者身体动作的连贯性，也与申克关于表演艺术与其成熟理论的关系的一些评论以及他对他所谓的肖邦“特殊”的欣赏产生共鸣。它以一种方式与身体核心接触——鉴于在这首曲子后面大规模推动次要（G大调），以及与几乎完全在黑键平面上演奏相关的身体动作——服务于有机Berceuse 整体的连贯性。这种源于表演者身体动作的连贯性，也与申克关于表演艺术与其成熟理论的关系的一些评论以及他对他所谓的肖邦“特殊”的欣赏产生共鸣。