Le (presunte) improvvisazioni simulate di Friedrich Kalkbrenner

Recent studies have raised questions about the improvisational talent of virtuoso pianist Friedrich Kalkbrenner (1785-1849). Despite limited direct evidence, several scholars suggest that he simulated his improvisations (Gooley 2018, 23), possibly to conceal what has been described as a "handicap" (La Grandville 2014, 120). This hypothesis is mainly supported by two anecdotal accounts: one suggests that Kalkbrenner presented his performance of the Fantasia Effusio Musica at the Mendelssohn house as extemporaneous (Hiller 1884, 117–18), and another that he passed this practice on to his son Arthur to boost his reputation as a child prodigy (Berlioz 1842).
This presentation aims to contextualize and moderate the controversy surrounding the alleged lack of improvisational ability of one of the most influential pianists and pedagogues of his era. In his Traité d’harmonie du Pianiste (1849), Kalkbrenner focused on teaching improvisation, offering practical, instrument-specific frameworks. Unpublished sources, including letters and reviews from non-musical journals, provide further insight into his improvisational practices. During his stay in London (1814–1824), Kalkbrenner frequently performed improvisations, which were often compared to those of Mozart and Beethoven in terms of skill. Concert reviews from 1824 in Ireland and Scotland offer valuable material for analysis, occasionally presenting contrasting perspectives on the same performances. Some accounts further support the theory of simulation or memorization, such as a reviewer who described one of Kalkbrenner’s improvisations as "the best-studied piece" (Dublin Evening Mail 1824). His correspondence reveals additional insights into his personal approach to improvisation, characterizing it as both complex and unpredictable, and susceptible to errors. In one letter, he notes that even Chopin's improvisations could be undermined by trivial details, such as "the color of a flower in a lady's hat in the audience" (Letter from Kalkbrenner to an unknown recipient, [1849]). These sources raise broader questions about the evolution of the concept of improvisation, while also linking it back to late 18th-century practices.