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sweetening(s) , see vibrato Süssmayr, Franz Xaver 103, 107; Der Spiegel von Arkadien 510 syncopation 38–41, 398, 475 tactus 290 Tans'ur, William 519 Tartini, Giuseppe 175, 259, 277–8, 464; G major Sonata 163; school 277 Taylor, Franklin 34, 466, 496, 520, 532, 533, 540 Tchaikovsky, Pyotr Ilyich 43, 132, 198, 284, 322, 479; Symphony no. 6 op. 74 (‘Pathétique’) 198 tempo 200, 215; Chronometric 282, 286, 297, 310, 337, 339, 340, 369; flexibility , see tempo modification; giusto 11, 291, 292, 294, 303, 338, 366, 386 tempo a cappella 321 tempo modification: ; accelerando 377, 379, 384, 386, 388, 389, 392, 410; flexibility 375, 390; rallentando 154, 386, 388, 389, 410; ritardando 377, 378, 384, 386, 388, 394, 595; tardando 379, 380; temps dérobé 399; tempo rubato 39, 54, 55, 376, 377, 384, 389, 396, 397, 398, 399, 400, 405, 409–10, 439, 449 tempo terms , see terms of tempo and expression tenuta , see tenuto tenuto 130, 170, 258, 591, 603; tenuta 628 terms of tempo and expression 290, 299, 372; adagio 292, 293, 297, 309, 339, 340–8, 388; adagio sostenuto 374; adirato 340; affetuoso 338; allargando 373; allegretto 338, 361, 363, 366, 367; allegro 292, 297, 301, 309, 336, 338, 367, 369–72, 388; allegro agitato 372; allegro agitato espressivo 371; allegro amoroso agitato 372; allegro assai 338, 367, 370, 371; allegro assai appassionato 371; allegro assai mosso 371; allegro assai vivo 371; allegro con brio 301, 368, 370, 372; allegro con fuoco 371; allegro con spirito 371; allegro di molto 338, 367; allegro e con brio 367; allegro e con fuoco 367; allegro e con resoluto 367; allegro e con spirito 367; allegro furioso 338; allegro giusto 371; allegro ma non tanto 67; allegro ma non troppo 367; allegro ma non troppo ma con energia 371; allegro maestoso 351, 361, 362, 364, 365, 367, 369; allegro moderate 338, 361–3, 365, 366, 367, 369; allegro molto 370, 371; allegro molto vivace 368; allegro nobile 370, 371; allegro non troppo 292; allegro vivace 368, 370, 371; allegro vivace assai 371; allegro vivo 371; amoroso 371, 372; andante 309, 336, 337, 338, 365, 388; andante amoroso 372; andante cantabile 374; andante espressivo sostenuto 373; andante grave 365; andante maestoso 364, 365; andante molto 282, 357; andante mosso 354; andante sostenuto 372, 373; andante sostenuto assai 373; andantino 338 INDEX 659
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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
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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
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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 1342: 625; Petite messe solennelle; ‘Cr
Page 1348: 660 INDEX terms of tempo and expres
Page 1352: 662 INDEX Weber, Carl Maria von ; E
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