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625; Petite messe solennelle; ‘Crucifixus’ 428; Semiramide 204; Le Siège de Corinthe 344, 354, 357, 370 Rousseau, Jean Jacques 13, 341, 353, 362, 526 rubato , see tempo modification Rubini, Giovanni Battista 533 Rubinstein, Joseph 516 Sacchini, Antonio Maria Gaspare 79, 187, 591; Enea e Lavinia 148; Perseo 151; Rinaldo 149 Saint-Lambert, Michel de 314 Saint-Saëns, Charles Camille 287; Danse macabre op. 40 194 Salieri, Antonio 73, 298, 422, 560, 563, 565; Axur 390, 630; La cifra 630; Der Rauchfangkehrer 63, 73, 229, 510; Venti otto divertimenti vocali 423 sarabande 291 Sarasate, Pablo de 535 Saslov, Isidor 343 Sauret, Emile 101 sautillé 258, 261, 262, 263, 270, 273, 279 Scheibe, Johann Adolf 289 Schenk, Erich 529 Schetky, Johann Georg Christoph 602; Practical and Progressive Lessons for the Violoncello 602 Schilling, Gustav201, 315, 486; Encyclopädie der gesammten musikalischen Wissenschaften 90, 278–9, 462, 484 Schindler, Anton 285, 386, 387, 392 Schneller 353 Schönberg, Arnold 104; Serenade op. 24 104 Schröder, Hermann 258, 277, 579; Die Kunst des Violinspiels 273, 276, 536 Schubart, Christian Daniel Friedrich 276, 277, 352; Ldeen zu einer Ästhetik der Tonkunst 273 Schubert, Franz Peter 43, 75, 86, 107, 111, 113, 114, 195, 198, 202, 233, 252, 253, 269, 279, 319, 355, 362, 368, 370, 465, 616; Alfonso undEstrella 114, 288, 320, 356, 357, 362, 368, 370, 625; Claudine von Villa Bella 356; Fierrabras 204, 356, 465; Die Freunde von Salamanka 356; Impromptu in G flat D. 899 no. 3 315; Moment musical in A flat op. 94 480; Octet in F D. 803 253; Piano Sonata op. 164 356; Piano Trio op. 99 270; Piano Trio op. 100 271, 616; String Quartet op. 125 no. 2 253; String Trio D. 581 43; Symphony No. 6 253; ‘Trout’ Quintet op. 114 253; Winterreise 616 Schubert, Johann Friedrich 14, 16, 17, 36, 37, 48, 53, 98, 117, 198, 460, 566, 567, 572, 591, 600, 622, 629; Neue Singe- Schule 53, 98, 296 Schubert, Louis: ; Violinschule 100, 130 Schulz, Johann Abraham Peter 7, 9, 11, 12, 26, 36, 40, 42, 59, 62, 99, 141, 142, 143–4, 145, 146, 153, 291, 293, 294, 295, 301, 314, 318, 322, 339, 396, 455, 599, 600, 628 Schumann, Clara Josephine 286 Schumann, Robert Alexander 27, 43, 64, 74, 75, 86, 89, 104, 117, 122, 126, 129, 143, 193, 205, 212, 228, 268, 269, 285, INDEX 657 292, 309, 318, 321, 359, 391, 449, 486, 552, 616; Album für die Jugend 104, 122, 129; Genoveva 318, 359; Drei Gesänge op. 31 321; ‘Die Löwenbraut’ op. 31 no. 1 315; Manfred 360; Myrthen op. 25 321; Noveletten op. 21 405; Overture, Scherzo, and Finale op. 52 359; Piano Quintet op. 44 193; Symphony no. 1 (‘Spring’) op. 38 75, 122; Symphony no. 2 op. 61 122, 212; Symphony no. 3 (‘Rhenish’)op.97 75, 104, 122, 129
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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. 13.14. 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
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PORTAMENTO 559 There is abundant ev
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Ex. 15.1.L. Mozart, Versuch, VIII,
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PORTAMENTO 563 that Mestrino was on
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Yes, one could call him unsurpassed
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descending, drop the Grace into the
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The extensively annotated pieces in
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PORTAMENTO 571 Ex. 15.12.(a) Rossin
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Oboists, clarinettists, bassoonists
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Ex. 15.16.Clinton, A School or Prac
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Ex. 15.18.Spohr, Violin School: (a)
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Ex. 15.23.Haydn String Quartet op.
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fingerings in his op. 33 string qua
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Ex. 15.31.Rode, Violin Concerto no.
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etween expression and the manner in
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Ex. 15.39.Elgar, Violin Concerto op
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etc.’ Other things being equal, T
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THE FERMATA 591 note of fermatas wi
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Ex. 16.11. (a) Baillot, L'Art du vi
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energy and pathos of expression, eq
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The necessity to modify the text of
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THE FERMATA 603 In England the prac
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THE FERMATA 605
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instructed: ‘In the accompanied r
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Arpeggiation Various notations were
Page 1250:
Ex. 16.23. P. A. Corri, L'anima di
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THE FERMATA 613 been less happy to
Page 1258:
Ex. 16.28. Haydn, String Quartet op
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Ex. 16.32. Beethoven, String Quarte
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THE FERMATA 619 Ex. 16.35. (a) Mend
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Ex. 16.36. Bellini, La sonnambula,
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G op. 40 no. 1 a dot lengths the no
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THE FERMATA 625 assimilation of the
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Ex. 16.44. Wagner, Parsifal, rehear
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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 1338: nocturne 388 non legato 129, 210, 2
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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