The Short

More documents

Recommendations

Info

662 INDEX Weber, Carl Maria von ; Euryanthe 284, 321, 345, 350, 362, 365, 371, 390; Der Freischütz 111, 113, 202, 223, 263, 511, 555, 596; E flat Mass 68, 182, 195; Konzertstück 350 Weber, Dionys 394 Weber, Gottfried 15, 46, 51, 297, 303, 305, 309, 317, 353, 520, 603, 606; Versuch einer geordneten Theorie der Tonsetzkunst 309 wedge , see staccato mark Weippert, John Erhardt: ; The Pedal Harp Rotula 216 wind: ; instruments 223; playing 201, 242; music 235; writing 238 Wiener allgemeine musikalische Zeitung 519 Wieniawsky, Henri 534 Winram, J.: ; Violin Playing and Violin Adjustment 533 Witthauer, Johann Georg 31, 315, 460, 469 Woldemar, Michel 259, 278, 372, 470, 525, 529, 562, 581; Grande méthode 274, 561; Méthode de violon par L. Mozart 562, 563 Wolf, Georg Friedrich 98, 117, 353, 378; Unterricht 98 Wood, Sir Henry 533; The Gentle Art of Singing 521 Wragg, J.: ; The Flute Preceptor 316 Ysaye, Eugene 534 Zelter, Carl Friedrich 309, 552; Lieder 474 Ziehen , see portamento Zimbalist, Efrem 523
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 1338: nocturne 388 non legato 129, 210, 2
Page 1342: 625; Petite messe solennelle; ‘Cr
Page 1346: sweetening(s) , see vibrato Süssma
Page 1350: unslurred staccato , see staccato u
show all

The Short

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

Delete template?

Save as template?