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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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NOTATION OF ACCENTS AND DYNAMICS 75
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Ex. 3.21. Schumann, Fourth Symphony
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NOTATION OF ACCENTS AND DYNAMICS 79
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Ex. 3.25. Haydn, String Quartet op.
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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. 3.38. Haydn, String Quartet op.
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NOTATION OF ACCENTS AND DYNAMICS 93
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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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NOTATION OF ACCENTS AND DYNAMICS 99
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NOTATION OF ACCENTS AND DYNAMICS 10
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separation between notes would also
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Ex. 3.54. Schumann, Album für die
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NOTATION OF ACCENTS AND DYNAMICS 10
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NOTATION OF ACCENTS AND DYNAMICS 10
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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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NOTATION OF ACCENTS AND DYNAMICS 11
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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. 3.78. Beethoven, String Quartet
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NOTATION OF ACCENTS AND DYNAMICS 12
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Ex. 3.83. Liszt, Eine Faust-Symphon
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NOTATION OF ACCENTS AND DYNAMICS 13
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NOTATION OF ACCENTS AND DYNAMICS 13
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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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STACCATO, LEGATO, AND NON-LEGATO 17
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STACCATO, LEGATO, AND NON-LEGATO 17
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as well as the musicians with whom
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STACCATO, LEGATO, AND NON-LEGATO 17
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STACCATO, LEGATO, AND NON-LEGATO 18
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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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STACCATO, LEGATO, AND NON-LEGATO 18
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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. 5.25. Beethoven, String Quartet
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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
- Page 458:
For keyboard, in the second half of
- Page 462:
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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Ex. 11.9. Haydn, String Quartet op.
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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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EMBELLISHMENT, ORNAMENTATION, IMPRO
- Page 870:
Complaints about embellishment from
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Ex. 12.5. Salieri, Venti otto diver
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EMBELLISHMENT, ORNAMENTATION, IMPRO
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EMBELLISHMENT, ORNAMENTATION, IMPRO
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EMBELLISHMENT, ORNAMENTATION, IMPRO
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EMBELLISHMENT, ORNAMENTATION, IMPRO
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EMBELLISHMENT, ORNAMENTATION, IMPRO
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EMBELLISHMENT, ORNAMENTATION, IMPRO
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EMBELLISHMENT, ORNAMENTATION, IMPRO
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EMBELLISHMENT, ORNAMENTATION, IMPRO
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EMBELLISHMENT, ORNAMENTATION, IMPRO
- Page 914:
EMBELLISHMENT, ORNAMENTATION, IMPRO
- Page 918:
EMBELLISHMENT, ORNAMENTATION, IMPRO
- Page 922:
EMBELLISHMENT, ORNAMENTATION, IMPRO
- Page 926:
EMBELLISHMENT, ORNAMENTATION, IMPRO
- Page 930:
EMBELLISHMENT, ORNAMENTATION, IMPRO
- Page 934:
EMBELLISHMENT, ORNAMENTATION, IMPRO
- Page 938:
13 Appoggiaturas, Trills, Turns, an
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APPOGGIATURAS AND GRACE-NOTES 457 E
- Page 946:
APPOGGIATURAS AND GRACE-NOTES 459
- Page 950:
Ex. 13.3. Türk, Klavierschule, III
- Page 954:
Ex. 13.4. Türk, Klavierschule, III
- Page 958:
Ex. 13.7. Mozart, String Quartet K.
- Page 962:
Ex. 13.14. Schubert, Fierrabras, no
- Page 966:
Neither Haydn nor Mozart seems to h
- Page 970:
APPOGGIATURAS AND GRACE-NOTES 471 E
- Page 974:
APPOGGIATURAS AND GRACE-NOTES 473 E
- Page 978:
on the final note (which represents
- Page 982:
Ex. 13.28. Türk, Klavierschule, II
- Page 986:
APPOGGIATURAS AND GRACE-NOTES 479 i
- Page 990:
Ex. 13.34. Fétis and Moscheles, Co
- Page 994:
(1810) provide good examples of the
- Page 998:
APPOGGIATURAS AND GRACE-NOTES 485
- Page 1002:
Ex. 13.41. (a) Schumann, Noveletten
- Page 1006:
Ex. 13.45. Beethoven, Violin Sonata
- Page 1010:
Ex. 13.47. If further repetitions o
- Page 1014:
When a perfect shake is obtained th
- Page 1018:
APPOGGIATURAS AND GRACE-NOTES 495 o
- Page 1022:
absence of firm information about a
- Page 1026:
Ex. 13.58. P. A. Corri, L'anima di
- Page 1030:
In general, however, it seems likel
- Page 1034:
Ex. 13.68. Löhlein, Anweisung zum
- Page 1038:
have been generally accepted that t
- Page 1042:
APPOGGIATURAS AND GRACE-NOTES 507 (
- Page 1046:
Ex. 13.75 Ex. 13.76 Ex. 13.77. Hayd
- Page 1050:
Ex. 13.82. Mozart, Violin Sonata K.
- Page 1054:
manuscript sources). Cartier, in L'
- Page 1058:
Ex. 13.92. Beethoven, Chorfantasie
- Page 1062:
14 Vibrato The term ‘vibrato’ h
- Page 1066:
VIBRATO 519 the term vibrazione di
- Page 1070:
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
- Page 1094:
VIBRATO 533 which revealed lack of
- Page 1098:
Kreisler's own account is broadly c
- Page 1102:
Ex. 14.5.Alonso, Le virtuose modern
- Page 1106:
Ex. 14.8.Baillot et al., Méthode,
- Page 1110:
consist in an uniformly continued s
- Page 1114:
Ex. 14.14.Altenburg, Versuch, 118 V
- Page 1118:
Ex. 14.16.Clinton, A School or Prac
- Page 1122:
Ex. 14.18.L. Mozart, Versuch, XI,
- Page 1126:
Ex. 14.22.L. Mozart, Versuch, XI,
- Page 1130:
use left-hand vibrato is rarely fou
- Page 1134:
Ex. 14.28.(a) Mendelssohn, String Q
- Page 1138:
Ex. 14.32.Elgar, Second Symphony op
- Page 1142:
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 1198: etween expression and the manner in
- Page 1202: Ex. 15.39.Elgar, Violin Concerto op
- Page 1206: etc.’ Other things being equal, T
- Page 1210: THE FERMATA 591 note of fermatas wi
- Page 1214: Ex. 16.6. Haydn, String Quartet op.
- Page 1218: Ex. 16.8. Mozart, String Quartet K.
- 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
- Page 1248: 610 PARALIPOMENA Ex. 16.22. Clement
- Page 1252: 612 PARALIPOMENA Ex. 16.24. P. A. C
- Page 1256: 614 PARALIPOMENA written equal pair
- Page 1260: 616 PARALIPOMENA Ex. 16.30. Haydn,
- Page 1264: 618 PARALIPOMENA Ex. 16.34. Schuber
- Page 1268: 620 PARALIPOMENA Ex. 16.35.cont. fi
- Page 1272:
622 PARALIPOMENA Violinspielen posi
- Page 1276:
624 PARALIPOMENA Ex. 16.41. Mozart,
- Page 1280:
626 PARALIPOMENA Ex. 16.43. Schuber
- Page 1284:
628 PARALIPOMENA of its systematize
- Page 1288:
630 PARALIPOMENA [Takttheile] (beat
- Page 1292:
632 PARALIPOMENA musicians might se
- Page 1296:
634 BIBLIOGRAPHY AUER, LEOPOLD, Vio
- Page 1300:
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,
- Page 1336:
654 INDEX mezza voce 61 mezzo forte
- Page 1340:
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