The Short

More documents

Recommendations

Info

654 INDEX mezza voce 61 mezzo forte 59, 61 mezzo-grupetto , seeturn mezzo sforzando 86 mfp , see forte-piano Mies, Paul 108, 201 Milchmeyer, Johann Peter 13, 17, 32, 82, 90, 93, 172, 341; Die wahre Art das Pianoforte zu spielen 479 Miller, Edward 341, 343 Millico, Giuseppe 418 minuet 291 Monn, Georg Matthias 383 Molique, Bernhard 268, 533 mordent , seeturn morendo 62 Moreschi, Alessandro 427, 567, 570 Moscheles, Ignaz 31, 231, 248, 354; Studies op. 70 248 Moser, Andreas 139, 163, 222, 268, 269, 271, 272, 481, 485, 486, 494, 495, 531, 578; Violinschule , seeJoachim Mozart, Leopold 12, 16, 21, 36, 37, 38, 39, 41, 52, 99, 200, 214, 242, 243, 245, 250, 259, 261, 275, 277, 290, 341, 342, 352, 368, 381, 396, 464, 470, 477, 482, 484, 501, 504, 517, 519, 525, 526, 529, 546, 548; Violinschule 39, 52, 381, 560 Mozart, Wolfgang Amadeus 22, 25, 70, 75, 79, 106, 146, 180, 198, 201, 210, 211, 220, 226, 233, 251, 261, 262, 268, 272, 275, 276, 284, 289, 292, 296, 297, 319, 320, 344, 349, 353, 364, 366, 369, 374, 383, 385, 388, 400, 421, 422, 423, 425, 468, 496, 504, 532, 539, 546, 609, 622, 630; Adagio and Fugue K. 546623; La clemenza di Tito 382; Così fan tutte 422; Davidde penitente K. 469349; Die Enführung aus dem Serail 421; ‘Die ihr einem neuen Grade’ K. 468 349; Don Giovanni 73, 102, 155, 220, 297, 298, 607, 630; Duo for violin and viola K. 423 487; ‘Haffner’ Symphony K. 385 189; Le nozze di Figaro 357, 421, 607, 630; ‘Voi che sapete’ 436; Piano Sonata K. 332 400; Rondo in A minor K. 511 400; ‘Spiegarti non poss'io’ K. 489 349; String Quartet K. 421 160; String Quartet K. 458 295, 313; String Quartet K. 465 374; String Quartet K. 575 210, 251, 464; String Quartet K. 589 297, 319; String Quintet K. 516 585; String Quintet K. 593 349; Symphony no. 41 (Jupiter) K. 551 102, 197; Violin Concerto K. 211 251; Violin Sonata K. 304 469; Violin Sonata K. 306 507, 609; Violin Sonata K. 379 503; Die Zauberflöte 421; ‘Ach ich fühl's’ 297; ‘In diesen heil'gen Hallen’ 421 Müller, August Eberhardt 45, 88, 89, 200, 202, 460, 542 Müller, Wenzel: ; Das Sonnenfest der Braminen 510 musical clocks 486, 494 mz. sf , seemezzo sforzando Nachschlag (Nachschläge) 458, 480, 489, 498 Neefe, Christian Gottlob 61 Neubauer, Franz Christoph: ; Fernando und Yariko 180 Neue Zeitschrift für Musik 391 Neukomm, Sigmund 298 Neumann, Frederick 421, 481, 483, 484, 493, 495, 497, 595 New German School 376 New Instructions for Playing the Harpsichord Pianoforte, or Organ 215, 316, 374 Nicholson, Charles 544, 549; Preceptive lessons for the Flute 549; School for the Flute 544 Nikisch, Artur 625 Niemecz, Joseph 486, 495
Page 2:
Classical and Romantic Performing P
Page 6:
Classical and Romantic Performing P
Page 10:
To Dorothea, who will not read this
Page 14:
Preface This is the book we have be
Page 18:
Acknowledgements This book is the r
Page 22:
Contents INTRODUCTION 1 1ACCENTUATI
Page 26:
16 PARALIPOMENA 588 The Fermata 588
Page 30:
Introduction A comprehensive study
Page 34:
INTRODUCTION 3 supremacy with vario
Page 38:
INTRODUCTION 5 crescendo or diminue
Page 42:
1 Accentuation in Theory Accentuati
Page 46:
and wished to replace it with a cre
Page 50:
Similar hierarchical principles wer
Page 54:
Ex. 1.4. Löhlein, Anweisung zum Vi
Page 58:
CATEGORIES OF ACCENTUATION 15 thems
Page 62:
CATEGORIES OF ACCENTUATION 17 in th
Page 66:
aspects of accentuation, however, t
Page 70:
eats, for the accentual relationshi
Page 74:
Ex. 1.12. Mozart, Violin Sonata K.
Page 78:
Ex. 1.15. Türk, Klavierschule, I,
Page 82:
Ex. 1.16. Sulzer, Allgemeine Theori
Page 86:
2 Accentuation in Practice In his d
Page 90:
INDICATIONS OF ACCENT 31 already be
Page 94:
Ex. 2.2.Türk, Klavierschule, VI,
Page 98:
and in playing them a considerable
Page 102:
makes evident the tonality must rec
Page 106:
Syncopation was, however, often des
Page 110:
Ex. 2.17.Baillot, L'Art du violon,
Page 114:
Ex. 2.19.Callcott, Musical Grammar,
Page 118:
Ex. 2.22.Weber, Mass in E flat J. 2
Page 122:
INDICATIONS OF ACCENT 47 Ex. 2.24.(
Page 126:
Ex. 2.27.Garcia, New Treatise, 52 E
Page 130:
INDICATIONS OF ACCENT 51 all strong
Page 134:
the first note must not only be mad
Page 138:
Some revealing examples of this typ
Page 142:
ass voice by the most distant of hi
Page 146:
3 The Notation of Accents and Dynam
Page 150:
Reichardt's assumption that perform
Page 154:
large number of works where the abs
Page 158:
Ex. 3.5. Schumann, Violin Sonata op
Page 162:
NOTATION OF ACCENTS AND DYNAMICS 67
Page 166:
Ex. 3.11. Bennett, The Naiads Forte
Page 170:
Ex. 3.13. Haydn, String Quartet op.
Page 174:
interesting use of fp by Mozart occ
Page 178:
Page 182:
Ex. 3.21. Schumann, Fourth Symphony
Page 186:
Page 190:
Page 194:
Ex. 3.28. Beethoven, String Quartet
Page 198:
Ex. 3.31. Cherubini, Requiem in C m
Page 202:
Ex. 3.33. Spohr, String Quartet op.
Page 206:
marking may have been seen as havin
Page 210:
Page 214:
Page 218:
Ex. 3.43. Brahms, Piano Trio op. 8/
Page 222:
The number of signs introduced duri
Page 226:
Page 230:
Page 234:
separation between notes would also
Page 238:
Ex. 3.54. Schumann, Album für die
Page 242:
Page 246:
Page 250:
Ex. 3.63. Haydn, Symphony no. 104/i
Page 254:
Ex. 3.66. Meyerbeer, Les Huguenots,
Page 258:
occurs not only in piano contexts,
Page 262:
stronger attack followed immediatel
Page 266:
Page 270:
Ex. 3.70.cont. (c) NOTATION OF ACCE
Page 274:
Ex. 3.72. Schumann, Album für die
Page 278:
Ex. 3.76. Bruckner, Third Symphony,
Page 282:
Page 286:
Page 290:
Ex. 3.83. Liszt, Eine Faust-Symphon
Page 294:
Page 298:
Page 302:
Ex. 3.91. Marx, Universal School, 1
Page 306:
ARTICULATION AND PHRASING 139 phras
Page 310:
ARTICULATION AND PHRASING 141 The d
Page 314:
phrase divisions very clear, it was
Page 318:
Ex. 4.7. Türk, Klavierschule, VI,
Page 322:
ARTICULATION AND PHRASING 147 Ex. 4
Page 326:
Ex. 4.12. D. Corri, A Select Collec
Page 330:
noting, however, that this advice s
Page 334:
ARTICULATION AND PHRASING 153 that
Page 338:
From the mid-nineteenth-century sin
Page 342:
Ex. 4.26. García, New Treatise, 48
Page 346:
Ex. 4.30. García, New Treatise, 49
Page 350:
manner, perhaps illustrating a more
Page 354:
notes as dotted notes this sweet so
Page 358:
Ex. 4.39. Joachim and Moser, Violin
Page 362:
ARTICULATION AND PHRASING 167 As a
Page 366:
STACCATO, LEGATO, AND NON-LEGATO 16
Page 370:
touch and the staccato. 308 Türk g
Page 374:
Page 378:
Page 382:
as well as the musicians with whom
Page 386:
Page 390:
Page 394:
Ex. 5.11. Weber, Der Freischütz, n
Page 398:
Ex. 5.13. Weber, Mass in E flat J.
Page 402:
Page 406:
Ex. 5.19. Paisiello, La Passione, P
Page 410:
Ex. 5.22. (a) Spontini, La Vestale
Page 414:
Page 418:
Ex. 5.28. Bruch, Violin Concerto in
Page 422:
Ex. 5.33. Tchaikovsky, Symphonie pa
Page 426:
sound and to have staccato or non-l
Page 430:
DOTS AND STROKES 201 Knecht (1803,)
Page 434:
Ex. 6.1. Weber, Der Freischütz, no
Page 438:
Ex. 6.3. Rossini, Semiramide, overt
Page 442:
interpret), but there appears to be
Page 446:
Ex. 6.6. Beethoven, Violin Sonata o
Page 450:
Ex. 6.8. Mozart, String Quartet K.
Page 454:
Ex. 6.10. Schumann, Second Symphony
Page 458:
For keyboard, in the second half of
Page 462:
Interestingly, Fröhlich (or rather
Page 466:
amount of persuasive evidence for p
Page 470:
Ex. 6.21. Mozart, ‘Dalla sua pace
Page 474:
DOTS AND STROKES 223 The signs avai
Page 478:
Ex. 6.24. Weber, Der Freischütz, o
Page 482:
Ex. 6.27. Mendelssohn, String Quart
Page 486:
Ex. 6.28. Sterndale Bennett, Fantas
Page 490:
The Nuanced Slur and the Slur as Le
Page 494:
eighteenth and nineteenth century.
Page 498:
Ex. 6.37.Brahms, String Quartet op.
Page 502:
Ex. 6.39.Beethoven, Violin Sonata o
Page 506:
Ex. 6.41.Mendelssohn, Lieder ohne W
Page 510:
DOTS AND STROKES 241 With what righ
Page 514:
DOTS AND STROKES 243 the string; fo
Page 518:
DOTS AND STROKES 245 used in string
Page 522:
Ex. 6.45.Rossini Semiramide, Act. I
Page 526:
DOTS AND STROKES 249 Ex. 6.48. Mosc
Page 530:
ecause in 1800 he used strokes unde
Page 534:
Ex. 6.53.Schubert, String Quartet o
Page 538:
Ex. 6.55.Spohr, Fourth Symphony Die
Page 542:
Ex. 6.59.Meyerbeer, Les Huguenots,
Page 546:
7 String Bowing An understanding of
Page 550:
STRING BOWING 261 the button [screw
Page 554:
takes triplets for these separate b
Page 558:
STRING BOWING 265 on the string wit
Page 562:
STRING BOWING 267
Page 566:
STRING BOWING 269 probably used the
Page 570:
Ex. 7.5. Schubert, Piano Trio D. 89
Page 574:
STRING BOWING 273 about the perform
Page 578:
STRING BOWING 275 so brauchte man j
Page 582:
STRING BOWING 277 strokes were an i
Page 586:
STRING BOWING 279 On string instrum
Page 590:
STRING BOWING 281 players in simila
Page 594:
lessened. But, as becomes apparent
Page 598:
Such assimilations of past music to
Page 602:
CHOICE OF TEMPO 287 the music was p
Page 606:
CHOICE OF TEMPO 289 articulated, or
Page 610:
CHOICE OF TEMPO 291 A few eighteent
Page 614:
CHOICE OF TEMPO 293 be performed un
Page 618:
CHOICE OF TEMPO 295 case, in practi
Page 622:
CHOICE OF TEMPO 297 for a given tem
Page 626:
though in the case of the slower te
Page 630:
Table 8.3. The Influence of Fast-Mo
Page 634:
The Impact of the Metronome CHOICE
Page 638:
metronome as a matter of course was
Page 642:
Ex. 8.2.Metronome scale CHOICE OF T
Page 646:
presto illustrations in ♩ metre g
Page 650:
CHOICE OF TEMPO 311 Vierteln)’ (r
Page 654:
9AllaBreve The question of what Cla
Page 658:
ALLA BREVE 315 In the fifth edition
Page 662:
ALLA BREVE 317 Playing the Harpsich
Page 666:
ALLA BREVE 319 ? when ? would seem
Page 670:
ALLA BREVE 321 movement of the firs
Page 674:
Table 9.1. The Relationship of ♯
Page 678:
ALLA BREVE 325 29 Allegro ? = 138 ?
Page 682:
a Time signature printed as ♯! b
Page 686:
ALLA BREVE 329 non troppo ? = 144 ?
Page 690:
Table 9.6. The Relationship of ♯
Page 694:
ALLA BREVE 333 H3 Moderato ? = 60 ?
Page 698:
R10i Allegro molto ? = 116 ? R16 Mo
Page 702:
TEMPO TERMS 337 suggest that, in so
Page 706:
Sadness: Mesto, sad [traurig] Adagi
Page 710:
TEMPO TERMS 341 These comments from
Page 714:
TEMPO TERMS 343 A. F. C. Kollmann c
Page 718:
TEMPO TERMS 345 In Euryanthe Weber
Page 722:
TEMPO TERMS 347 Ex. 10.1.(a) DvoŘ
Page 726:
Larghetto TEMPO TERMS 349 ‘Larghe
Page 730:
59; all three movements have semiqu
Page 734:
TEMPO TERMS 353 argued that Mozart
Page 738:
TEMPO TERMS 355 fastest grade of th
Page 742:
ambiguous manner in relation to ‘
Page 746:
TEMPO TERMS 359 2/4 Andante cantabi
Page 750:
Ex. 10.4.Wagner, Der fliegende Holl
Page 754:
TEMPO TERMS 363 between the two ter
Page 758:
TEMPO TERMS 365 ‘maestoso’ seem
Page 762:
Fast Tempo Terms Löhlein and Reich
Page 766:
Allegro TEMPO TERMS 369 At the begi
Page 770:
TEMPO TERMS 371 504 to 836 npm. Spo
Page 774:
TEMPO TERMS 373 seems to have been
Page 778:
11 Tempo Modication A degree of dev
Page 782:
TYPE OF TEMPO MODIFICATION 377 Bach
Page 786:
Türk's consideration of tempo modi
Page 790:
Ex. 11.4. Türk, Sechs leichte Klav
Page 794:
TYPE OF TEMPO MODIFICATION 383 Loui
Page 798:
TYPE OF TEMPO MODIFICATION 385 spec
Page 802:
TYPE OF TEMPO MODIFICATION 387 musi
Page 806:
TYPE OF TEMPO MODIFICATION 389 Natu
Page 810:
TYPE OF TEMPO MODIFICATION 391 Howe
Page 814:
TYPE OF TEMPO MODIFICATION 393 Ex.
Page 818:
TYPE OF TEMPO MODIFICATION 395 aspe
Page 822:
TYPE OF TEMPO MODIFICATION 397 One
Page 826:
TYPE OF TEMPO MODIFICATION 399 kind
Page 830:
Page 834:
TYPE OF TEMPO MODIFICATION 403
Page 838:
Ex. 11.11. Mozart, Rondo K. 511 TYP
Page 842:
Ex. 11.13. Liszt, Canzona napolitan
Page 846:
TYPE OF TEMPO MODIFICATION 409 Sivi
Page 850:
at the last bar but one, instead of
Page 854:
Ex. 11.18. Viotti, Violin Concerto
Page 858:
12 Embellishment, Ornamentation, an
Page 862:
EMBELLISHMENT, ORNAMENTATION, IMPRO
Page 866:
Page 870:
Complaints about embellishment from
Page 874:
Ex. 12.5. Salieri, Venti otto diver
Page 878:
Page 882:
Page 886:
Page 890:
Page 894:
Page 898:
Page 902:
Page 906:
Page 910:
Page 914:
Page 918:
Page 922:
Page 926:
Page 930:
Page 934:
Page 938:
13 Appoggiaturas, Trills, Turns, an
Page 942:
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:
Page 962:
Ex. 13.14. Schubert, Fierrabras, no
Page 966:
Neither Haydn nor Mozart seems to h
Page 970:
Page 974:
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
Page 1074:
VIBRATO 523 It is noteworthy that A
Page 1078:
VIBRATO 525 along with other types
Page 1082:
VIBRATO 527 wore on. In the 1790s t
Page 1086:
VIBRATO 529 mention vibrato at all.
Page 1090:
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:
Page 1218:
Page 1222:
Ex. 16.11. (a) Baillot, L'Art du vi
Page 1226:
energy and pathos of expression, eq
Page 1230:
The necessity to modify the text of
Page 1234:
THE FERMATA 603 In England the prac
Page 1238:
THE FERMATA 605
Page 1242:
instructed: ‘In the accompanied r
Page 1246:
Arpeggiation Various notations were
Page 1250:
Ex. 16.23. P. A. Corri, L'anima di
Page 1254:
THE FERMATA 613 been less happy to
Page 1258:
Ex. 16.28. Haydn, String Quartet op
Page 1262:
Ex. 16.32. Beethoven, String Quarte
Page 1266:
THE FERMATA 619 Ex. 16.35. (a) Mend
Page 1270:
Ex. 16.36. Bellini, La sonnambula,
Page 1274:
G op. 40 no. 1 a dot lengths the no
Page 1278:
THE FERMATA 625 assimilation of the
Page 1282:
Ex. 16.44. Wagner, Parsifal, rehear
Page 1286: THE FERMATA 629 Türk's treatment o
Page 1290: Mendel's Lexikon considered that pe
Page 1294: BIBLIOGRAPHY ABBIATI, FRANCO, Giuse
Page 1298: BIBLIOGRAPHY 635 BROWN, HOWARD MAYE
Page 1302: BIBLIOGRAPHY 637 ESCUDIER (frères)
Page 1306: BIBLIOGRAPHY 639 —— Musikalisch
Page 1310: BIBLIOGRAPHY 641 PETRI, JOHANN SAMU
Page 1314: BIBLIOGRAPHY 643 Peter Kirnberger a
Page 1318: INDEX Abschnitt 139, 141 abstossen
Page 1322: 392; Symphony no. 5 op. 67 212, 237
Page 1326: David, Giacomo 418 decrescendo 62,
Page 1330: Gunn, John: ; The Art of Playing th
Page 1334: marcatissimo 194 marcato 223 Marpur
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
show all

The Short

You also want an ePaper? Increase the reach of your titles

Delete template?

Save as template?