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etween expression and the manner in which the portamento might be applied(Ex. 15.37.) <strong>The</strong> starting positions of some of the portamento signs, especially in the second and fourth examples, suggest that Bériot may sometimes have expected the portamento to begin at a lower pitch than the preceding note, in the manner of Corri's ‘leaping grace’, though he gave no explicit instructions to that effect. <strong>The</strong>re is no evidence that what he indicates for the example from Mozart's G minor Quintet represents anything that Mozart might have envisaged, but it certainly resembles the effects that can still be heard on some recordings of the work from the first half of the twentieth century. Ex. 15.37.Bériot, Méthode, 241 PORTAMENTO 585
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Classical and Romantic Performing P
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Classical and Romantic Performing P
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To Dorothea, who will not read this
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Preface This is the book we have be
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Acknowledgements This book is the r
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Contents INTRODUCTION 1 1ACCENTUATI
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16 PARALIPOMENA 588 The Fermata 588
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Introduction A comprehensive study
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INTRODUCTION 3 supremacy with vario
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INTRODUCTION 5 crescendo or diminue
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1 Accentuation in Theory Accentuati
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and wished to replace it with a cre
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Similar hierarchical principles wer
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Ex. 1.4. Löhlein, Anweisung zum Vi
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CATEGORIES OF ACCENTUATION 15 thems
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CATEGORIES OF ACCENTUATION 17 in th
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aspects of accentuation, however, t
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eats, for the accentual relationshi
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Ex. 1.12. Mozart, Violin Sonata K.
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Ex. 1.15. Türk, Klavierschule, I,
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Ex. 1.16. Sulzer, Allgemeine Theori
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2 Accentuation in Practice In his d
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INDICATIONS OF ACCENT 31 already be
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Ex. 2.2.Türk, Klavierschule, VI,
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and in playing them a considerable
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makes evident the tonality must rec
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Syncopation was, however, often des
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Ex. 2.17.Baillot, L'Art du violon,
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Ex. 2.19.Callcott, Musical Grammar,
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Ex. 2.22.Weber, Mass in E flat J. 2
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INDICATIONS OF ACCENT 47 Ex. 2.24.(
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Ex. 2.27.Garcia, New Treatise, 52 E
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INDICATIONS OF ACCENT 51 all strong
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the first note must not only be mad
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Some revealing examples of this typ
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ass voice by the most distant of hi
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3 The Notation of Accents and Dynam
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Reichardt's assumption that perform
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large number of works where the abs
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Ex. 3.5. Schumann, Violin Sonata op
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NOTATION OF ACCENTS AND DYNAMICS 67
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Ex. 3.11. Bennett, The Naiads Forte
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Ex. 3.13. Haydn, String Quartet op.
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interesting use of fp by Mozart occ
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Ex. 3.21. Schumann, Fourth Symphony
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Ex. 3.28. Beethoven, String Quartet
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Ex. 3.31. Cherubini, Requiem in C m
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Ex. 3.33. Spohr, String Quartet op.
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marking may have been seen as havin
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Ex. 3.43. Brahms, Piano Trio op. 8/
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The number of signs introduced duri
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separation between notes would also
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Ex. 3.54. Schumann, Album für die
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Ex. 3.63. Haydn, Symphony no. 104/i
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Ex. 3.66. Meyerbeer, Les Huguenots,
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occurs not only in piano contexts,
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stronger attack followed immediatel
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Ex. 3.70.cont. (c) NOTATION OF ACCE
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Ex. 3.72. Schumann, Album für die
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Ex. 3.76. Bruckner, Third Symphony,
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Ex. 3.83. Liszt, Eine Faust-Symphon
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Ex. 3.91. Marx, Universal School, 1
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ARTICULATION AND PHRASING 139 phras
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ARTICULATION AND PHRASING 141 The d
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phrase divisions very clear, it was
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Ex. 4.7. Türk, Klavierschule, VI,
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ARTICULATION AND PHRASING 147 Ex. 4
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Ex. 4.12. D. Corri, A Select Collec
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noting, however, that this advice s
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ARTICULATION AND PHRASING 153 that
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From the mid-nineteenth-century sin
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Ex. 4.26. García, New Treatise, 48
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Ex. 4.30. García, New Treatise, 49
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manner, perhaps illustrating a more
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notes as dotted notes this sweet so
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Ex. 4.39. Joachim and Moser, Violin
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ARTICULATION AND PHRASING 167 As a
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STACCATO, LEGATO, AND NON-LEGATO 16
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touch and the staccato. 308 Türk g
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as well as the musicians with whom
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Ex. 5.11. Weber, Der Freischütz, n
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Ex. 5.13. Weber, Mass in E flat J.
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Ex. 5.19. Paisiello, La Passione, P
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Ex. 5.22. (a) Spontini, La Vestale
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Ex. 5.28. Bruch, Violin Concerto in
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Ex. 5.33. Tchaikovsky, Symphonie pa
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sound and to have staccato or non-l
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DOTS AND STROKES 201 Knecht (1803,)
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Ex. 6.1. Weber, Der Freischütz, no
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Ex. 6.3. Rossini, Semiramide, overt
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interpret), but there appears to be
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Ex. 6.6. Beethoven, Violin Sonata o
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Ex. 6.8. Mozart, String Quartet K.
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Ex. 6.10. Schumann, Second Symphony
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For keyboard, in the second half of
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Interestingly, Fröhlich (or rather
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amount of persuasive evidence for p
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Ex. 6.21. Mozart, ‘Dalla sua pace
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DOTS AND STROKES 223 The signs avai
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Ex. 6.24. Weber, Der Freischütz, o
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Ex. 6.27. Mendelssohn, String Quart
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Ex. 6.28. Sterndale Bennett, Fantas
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The Nuanced Slur and the Slur as Le
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eighteenth and nineteenth century.
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Ex. 6.37.Brahms, String Quartet op.
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Ex. 6.39.Beethoven, Violin Sonata o
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Ex. 6.41.Mendelssohn, Lieder ohne W
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DOTS AND STROKES 241 With what righ
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DOTS AND STROKES 243 the string; fo
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DOTS AND STROKES 245 used in string
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Ex. 6.45.Rossini Semiramide, Act. I
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DOTS AND STROKES 249 Ex. 6.48. Mosc
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ecause in 1800 he used strokes unde
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Ex. 6.53.Schubert, String Quartet o
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Ex. 6.55.Spohr, Fourth Symphony Die
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Ex. 6.59.Meyerbeer, Les Huguenots,
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7 String Bowing An understanding of
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STRING BOWING 261 the button [screw
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takes triplets for these separate b
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STRING BOWING 265 on the string wit
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STRING BOWING 267
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STRING BOWING 269 probably used the
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Ex. 7.5. Schubert, Piano Trio D. 89
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STRING BOWING 273 about the perform
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STRING BOWING 275 so brauchte man j
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STRING BOWING 277 strokes were an i
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STRING BOWING 279 On string instrum
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STRING BOWING 281 players in simila
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lessened. But, as becomes apparent
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Such assimilations of past music to
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CHOICE OF TEMPO 287 the music was p
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CHOICE OF TEMPO 289 articulated, or
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CHOICE OF TEMPO 291 A few eighteent
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CHOICE OF TEMPO 293 be performed un
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CHOICE OF TEMPO 295 case, in practi
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CHOICE OF TEMPO 297 for a given tem
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though in the case of the slower te
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Table 8.3. The Influence of Fast-Mo
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The Impact of the Metronome CHOICE
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metronome as a matter of course was
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Ex. 8.2.Metronome scale CHOICE OF T
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presto illustrations in ♩ metre g
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CHOICE OF TEMPO 311 Vierteln)’ (r
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9AllaBreve The question of what Cla
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ALLA BREVE 315 In the fifth edition
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ALLA BREVE 317 Playing the Harpsich
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ALLA BREVE 319 ? when ? would seem
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ALLA BREVE 321 movement of the firs
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Table 9.1. The Relationship of ♯
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ALLA BREVE 325 29 Allegro ? = 138 ?
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a Time signature printed as ♯! b
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ALLA BREVE 329 non troppo ? = 144 ?
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Table 9.6. The Relationship of ♯
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ALLA BREVE 333 H3 Moderato ? = 60 ?
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R10i Allegro molto ? = 116 ? R16 Mo
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TEMPO TERMS 337 suggest that, in so
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Sadness: Mesto, sad [traurig] Adagi
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TEMPO TERMS 341 These comments from
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TEMPO TERMS 343 A. F. C. Kollmann c
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TEMPO TERMS 345 In Euryanthe Weber
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TEMPO TERMS 347 Ex. 10.1.(a) DvoŘ
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Larghetto TEMPO TERMS 349 ‘Larghe
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59; all three movements have semiqu
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TEMPO TERMS 353 argued that Mozart
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TEMPO TERMS 355 fastest grade of th
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ambiguous manner in relation to ‘
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TEMPO TERMS 359 2/4 Andante cantabi
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Ex. 10.4.Wagner, Der fliegende Holl
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TEMPO TERMS 363 between the two ter
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TEMPO TERMS 365 ‘maestoso’ seem
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Fast Tempo Terms Löhlein and Reich
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Allegro TEMPO TERMS 369 At the begi
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TEMPO TERMS 371 504 to 836 npm. Spo
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TEMPO TERMS 373 seems to have been
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11 Tempo Modication A degree of dev
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TYPE OF TEMPO MODIFICATION 377 Bach
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Türk's consideration of tempo modi
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Ex. 11.4. Türk, Sechs leichte Klav
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TYPE OF TEMPO MODIFICATION 383 Loui
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TYPE OF TEMPO MODIFICATION 385 spec
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TYPE OF TEMPO MODIFICATION 387 musi
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TYPE OF TEMPO MODIFICATION 389 Natu
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TYPE OF TEMPO MODIFICATION 391 Howe
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TYPE OF TEMPO MODIFICATION 393 Ex.
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TYPE OF TEMPO MODIFICATION 395 aspe
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TYPE OF TEMPO MODIFICATION 397 One
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TYPE OF TEMPO MODIFICATION 399 kind
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TYPE OF TEMPO MODIFICATION 403
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Ex. 11.11. Mozart, Rondo K. 511 TYP
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Ex. 11.13. Liszt, Canzona napolitan
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TYPE OF TEMPO MODIFICATION 409 Sivi
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at the last bar but one, instead of
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Ex. 11.18. Viotti, Violin Concerto
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12 Embellishment, Ornamentation, an
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EMBELLISHMENT, ORNAMENTATION, IMPRO
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Complaints about embellishment from
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Ex. 12.5. Salieri, Venti otto diver
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13 Appoggiaturas, Trills, Turns, an
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APPOGGIATURAS AND GRACE-NOTES 457 E
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APPOGGIATURAS AND GRACE-NOTES 459
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Ex. 13.3. Türk, Klavierschule, III
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Ex. 13.4. Türk, Klavierschule, III
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Ex. 13.7. Mozart, String Quartet K.
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Ex. 13.14. Schubert, Fierrabras, no
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Neither Haydn nor Mozart seems to h
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on the final note (which represents
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Ex. 13.28. Türk, Klavierschule, II
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APPOGGIATURAS AND GRACE-NOTES 479 i
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Ex. 13.34. Fétis and Moscheles, Co
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(1810) provide good examples of the
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APPOGGIATURAS AND GRACE-NOTES 485
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Ex. 13.41. (a) Schumann, Noveletten
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Ex. 13.45. Beethoven, Violin Sonata
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Ex. 13.47. If further repetitions o
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When a perfect shake is obtained th
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APPOGGIATURAS AND GRACE-NOTES 495 o
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absence of firm information about a
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Ex. 13.58. P. A. Corri, L'anima di
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In general, however, it seems likel
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Ex. 13.68. Löhlein, Anweisung zum
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have been generally accepted that t
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APPOGGIATURAS AND GRACE-NOTES 507 (
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Ex. 13.75 Ex. 13.76 Ex. 13.77. Hayd
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Ex. 13.82. Mozart, Violin Sonata K.
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manuscript sources). Cartier, in L'
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Ex. 13.92. Beethoven, Chorfantasie
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14 Vibrato The term ‘vibrato’ h
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VIBRATO 519 the term vibrazione di
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einforcement of the note’. 968 Ta
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VIBRATO 523 It is noteworthy that A
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VIBRATO 525 along with other types
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VIBRATO 527 wore on. In the 1790s t
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VIBRATO 529 mention vibrato at all.
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In Germany, Spohr, who freely ackno
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VIBRATO 533 which revealed lack of
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Kreisler's own account is broadly c
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Ex. 14.5.Alonso, Le virtuose modern
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Ex. 14.8.Baillot et al., Méthode,
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consist in an uniformly continued s
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Ex. 14.14.Altenburg, Versuch, 118 V
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Ex. 14.16.Clinton, A School or Prac
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Ex. 14.18.L. Mozart, Versuch, XI,
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Ex. 14.22.L. Mozart, Versuch, XI,
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use left-hand vibrato is rarely fou
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Ex. 14.28.(a) Mendelssohn, String Q
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Ex. 14.32.Elgar, Second Symphony op
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VIBRATO 557 particularly strong in
Page 1146: PORTAMENTO 559 There is abundant ev
Page 1150: Ex. 15.1.L. Mozart, Versuch, VIII,
Page 1154: PORTAMENTO 563 that Mestrino was on
Page 1158: Yes, one could call him unsurpassed
Page 1162: descending, drop the Grace into the
Page 1166: The extensively annotated pieces in
Page 1170: PORTAMENTO 571 Ex. 15.12.(a) Rossin
Page 1174: Oboists, clarinettists, bassoonists
Page 1178: Ex. 15.16.Clinton, A School or Prac
Page 1182: Ex. 15.18.Spohr, Violin School: (a)
Page 1186: Ex. 15.23.Haydn String Quartet op.
Page 1190: fingerings in his op. 33 string qua
Page 1194: Ex. 15.31.Rode, Violin Concerto no.
Page 1200: 586 PORTAMENTO Ex. 15.37.cont. Towa
Page 1204: The Fermata 16 Paralipomena The fer
Page 1208: 590 PARALIPOMENA 1. ‘Each embelli
Page 1212: 592 PARALIPOMENA Ex. 16.4. D. Corri
Page 1216: 594 PARALIPOMENA Ex. 16.7. Haydn, S
Page 1220: 596 PARALIPOMENA Ex. 16.10. Weber,
Page 1224: 598 PARALIPOMENA Ex. 16.12. HÄser,
Page 1228: 600 PARALIPOMENA The recitatives of
Page 1232: 602 PARALIPOMENA keyboard instrumen
Page 1236: 604 PARALIPOMENA Ex. 16.18. Meyerbe
Page 1240: 606 PARALIPOMENA he implied that or
Page 1244: 608 PARALIPOMENA Ex. 16.20. Meyerbe
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610 PARALIPOMENA Ex. 16.22. Clement
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612 PARALIPOMENA Ex. 16.24. P. A. C
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614 PARALIPOMENA written equal pair
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616 PARALIPOMENA Ex. 16.30. Haydn,
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618 PARALIPOMENA Ex. 16.34. Schuber
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620 PARALIPOMENA Ex. 16.35.cont. fi
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622 PARALIPOMENA Violinspielen posi
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624 PARALIPOMENA Ex. 16.41. Mozart,
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626 PARALIPOMENA Ex. 16.43. Schuber
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628 PARALIPOMENA of its systematize
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630 PARALIPOMENA [Takttheile] (beat
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632 PARALIPOMENA musicians might se
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634 BIBLIOGRAPHY AUER, LEOPOLD, Vio
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636 BIBLIOGRAPHY CRUTCHFIELD, WILL,
Page 1304:
638 BIBLIOGRAPHY HABENECK, FRANÇOI
Page 1308:
640 BIBLIOGRAPHY MARTIN, DAVID, ‘
Page 1312:
642 BIBLIOGRAPHY SASLOV ISIDOR, ‘
Page 1316:
644 BIBLIOGRAPHY WEIPPERT, JOHN ERH
Page 1320:
646 INDEX appogiando , seearpeggiat
Page 1324:
648 INDEX cadenza 158, 420, 543, 54
Page 1328:
650 INDEX fermata ; pause 588, 591;
Page 1332:
652 INDEX Joachim, Joseph 258, 268,
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654 INDEX mezza voce 61 mezzo forte
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656 INDEX portato 129, 130, 131, 20
Page 1344:
658 INDEX Schumann, Robert Alexande
Page 1348:
660 INDEX terms of tempo and expres
Page 1352:
662 INDEX Weber, Carl Maria von ; E
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