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154 ARTICULATION AND PHRASING Ex. 4.23. Baillot, L'Art du violon, 163 following an appoggiatura and the mute e of the French language. He also commented that where a harmony note occurs on the strong beat at the end of a phrase it should be played ‘neither with hardness, nor with too much softness unless it is at the end of its value, where it is necessary to allow the sound to die away to announce the end of the phrase or piece’. 287 And he made a distinction between endings that required a rallentando and a fading-away of the sound, and those where a vigorous execution with marked articulation between the final notes was needed (Ex. 4.24.) Ex. 4.24. Baillot, L'Art du violon, 164 287 L'Art du violon, 164.
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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. 3.78. Beethoven, String Quartet
Page 286: NOTATION OF ACCENTS AND DYNAMICS 12
Page 290: Ex. 3.83. Liszt, Eine Faust-Symphon
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 340: 156 ARTICULATION AND PHRASING Ex. 4
Page 344: 158 ARTICULATION AND PHRASING ‘ei
Page 348: 160 ARTICULATION AND PHRASING movem
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Page 364: 5 Articulation and Expression The i
Page 368: 170 ARTICULATION AND EXPRESSION In
Page 372: 172 ARTICULATION AND EXPRESSION Tow
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Page 380: 176 ARTICULATION AND EXPRESSION Ex.
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180 ARTICULATION AND EXPRESSION Ex.
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182 ARTICULATION AND EXPRESSION amb
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196 ARTICULATION AND EXPRESSION pra
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198 ARTICULATION AND EXPRESSION str
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6 The Notation of Articulation and
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202 NOTATION OF ARTICULATION AND PH
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260 STRING BOWING FIG. 7.1. Woldema
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262 STRING BOWING were many accepte
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264 STRING BOWING Ex. 7.2. (a) Picc
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266 STRING BOWING Ex. 7.2.cont.
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268 STRING BOWING Dictionary of Mus
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270 STRING BOWING requires the same
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272 STRING BOWING were still oppose
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274 STRING BOWING extremely exact.
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276 STRING BOWING From this and oth
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278 STRING BOWING style was modifie
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280 STRING BOWING often, one violin
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8 Tempo Historical evidence and con
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284 TEMPO tempo when once taken, he
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286 TEMPO Presto of the fourth move
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288 TEMPO different traditions ofte
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290 TEMPO Late Eighteenth-Century a
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292 TEMPO (particularly in England
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294 TEMPO In his discussion of 2/4,
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296 TEMPO the so-called chamber sty
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298 TEMPO 1791. 556 Comparison of T
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300 TEMPO assumes that, in general,
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302 TEMPO Table 8.4. Beethoven's Me
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304 TEMPO courtly dances, the yards
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306 TEMPO Ex. 8.1.Hummel, A Complet
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308 TEMPO Ex. 8.3.Hummel, A Complet
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310 TEMPO fast as smaller notes in
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312 TEMPO composer. We are not accu
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314 ALLA BREVE same problem bedevil
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316 ALLA BREVE true value and is on
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318 ALLA BREVE mixture of antiquari
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320 ALLA BREVE striking. It is like
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322 ALLA BREVE cases, however, move
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324 ALLA BREVE Table 9.2. The Relat
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332 ALLA BREVE R11b Un poco lento
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334 ALLA BREVE passionato ? = 84 ?
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10 Tempo Terms As the connotations
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338 TEMPO TERMS derive from them, h
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340 TEMPO TERMS mark, a tempo term,
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342 TEMPO TERMS Not all musicians,
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344 TEMPO TERMS of semiquavers than
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346 TEMPO TERMS The metronome marks
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348 TEMPO TERMS Ex. 10.1.cont. (b)
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350 TEMPO TERMS ‘andante con moto
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352 TEMPO TERMS slower than ‘anda
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354 TEMPO TERMS In Rossini's music,
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356 TEMPO TERMS than that indicated
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358 TEMPO TERMS gave metronome mark
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360 TEMPO TERMS and usually regarde
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362 TEMPO TERMS note a small gap oc
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364 TEMPO TERMS Maestoso Löhlein c
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366 TEMPO TERMS Allegretto Reichard
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368 TEMPO TERMS useful to consider
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370 TEMPO TERMS there was a very ma
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372 TEMPO TERMS seem faster. Wagner
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374 TEMPO TERMS Cantabile ‘Cantab
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376 TEMPO MODIFICATION certain spec
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378 TEMPO MODIFICATION (b) There ca
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380 TEMPO MODIFICATION Ex. 11.2. T
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382 TEMPO MODIFICATION remarking th
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384 TEMPO MODIFICATION a nicety in
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386 TEMPO MODIFICATION the middle c
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388 TEMPO MODIFICATION regards regu
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390 TEMPO MODIFICATION surpasses it
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392 TEMPO MODIFICATION noted for hi
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394 TEMPO MODIFICATION Conservatoir
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396 TEMPO MODIFICATION Modication o
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398 TEMPO MODIFICATION Türk had st
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400 TEMPO MODIFICATION Ex. 11.8. (a
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402 TEMPO MODIFICATION Ex. 11.9.con
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404 TEMPO MODIFICATION Ex. 11.9.con
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406 TEMPO MODIFICATION Ex. 11.12. B
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408 TEMPO MODIFICATION Ex. 11.14.co
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410 TEMPO MODIFICATION Ex. 11.16.co
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412 TEMPO MODIFICATION Ex. 11.17. C
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414 TEMPO MODIFICATION case, like a
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416 EMBELLISHMENT, ORNAMENTATION, I
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456 APPOGGIATURAS, TRILLS, TURNS fo
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458 APPOGGIATURAS, TRILLS, TURNS Ex
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460 APPOGGIATURAS, TRILLS, TURNS th
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462 APPOGGIATURAS, TRILLS, TURNS 6)
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464 APPOGGIATURAS, TRILLS, TURNS On
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470 APPOGGIATURAS, TRILLS, TURNS De
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476 APPOGGIATURAS, TRILLS, TURNS co
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486 APPOGGIATURAS, TRILLS, TURNS sl
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490 APPOGGIATURAS, TRILLS, TURNS Fr
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492 APPOGGIATURAS, TRILLS, TURNS st
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494 APPOGGIATURAS, TRILLS, TURNS
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496 APPOGGIATURAS, TRILLS, TURNS Jo
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498 APPOGGIATURAS, TRILLS, TURNS fi
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504 APPOGGIATURAS, TRILLS, TURNS fa
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516 APPOGGIATURAS, TRILLS, TURNS wh
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518 VIBRATO also have been applied
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520 VIBRATO Ex. 14.2.Lussy, Musical
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522 VIBRATO vibrato in singing (for
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524 VIBRATO Studies of wind instrum
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526 VIBRATO whether the adagio is p
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528 VIBRATO Such views, though perh
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530 VIBRATO gives the sound of the
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532 VIBRATO by this great fault. Th
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534 VIBRATO At about the same time
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536 VIBRATO have sounded quite diff
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538 VIBRATO most solo players. 1023
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540 VIBRATO Ex. 14.9.Lasser, Vollst
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542 VIBRATO mentioned. For the flut
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544 VIBRATO flute methods. It is di
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546 VIBRATO Indications of a change
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548 VIBRATO Ex. 14.20.Löhlein, Anw
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550 VIBRATO and in his later flute
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552 VIBRATO Ex. 14.27.Baillot, L'Ar
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554 VIBRATO would have been expecte
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556 VIBRATO Ex. 14.33.Weber, Der Fr
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15 Portamento The term ‘portament
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560 PORTAMENTO Whatever the words u
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562 PORTAMENTO like the Bourgeois G
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564 PORTAMENTO And he went on to ad
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566 PORTAMENTO and close parallels
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568 PORTAMENTO Not only could the
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570 PORTAMENTO Ex. 15.10.García, N
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572 PORTAMENTO Ex. 15.13.Bériot, M
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574 PORTAMENTO This ornament is eff
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576 PORTAMENTO Ex. 15.17.Dotzauer,
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578 PORTAMENTO Ex. 15.21.Spohr, Vio
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580 PORTAMENTO Ex. 15.25.Bériot, M
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582 PORTAMENTO Ex. 15.28.Meyerbeer,
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584 PORTAMENTO Ex. 15.34.Berwald Vi
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586 PORTAMENTO Ex. 15.37.cont. Towa
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The Fermata 16 Paralipomena The fer
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590 PARALIPOMENA 1. ‘Each embelli
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592 PARALIPOMENA Ex. 16.4. D. Corri
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594 PARALIPOMENA Ex. 16.7. Haydn, S
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596 PARALIPOMENA Ex. 16.10. Weber,
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598 PARALIPOMENA Ex. 16.12. HÄser,
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600 PARALIPOMENA The recitatives of
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602 PARALIPOMENA keyboard instrumen
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604 PARALIPOMENA Ex. 16.18. Meyerbe
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606 PARALIPOMENA he implied that or
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608 PARALIPOMENA Ex. 16.20. Meyerbe
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610 PARALIPOMENA Ex. 16.22. Clement
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612 PARALIPOMENA Ex. 16.24. P. A. C
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614 PARALIPOMENA written equal pair
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616 PARALIPOMENA Ex. 16.30. Haydn,
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618 PARALIPOMENA Ex. 16.34. Schuber
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620 PARALIPOMENA Ex. 16.35.cont. fi
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622 PARALIPOMENA Violinspielen posi
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624 PARALIPOMENA Ex. 16.41. Mozart,
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626 PARALIPOMENA Ex. 16.43. Schuber
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628 PARALIPOMENA of its systematize
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630 PARALIPOMENA [Takttheile] (beat
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632 PARALIPOMENA musicians might se
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634 BIBLIOGRAPHY AUER, LEOPOLD, Vio
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636 BIBLIOGRAPHY CRUTCHFIELD, WILL,
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638 BIBLIOGRAPHY HABENECK, FRANÇOI
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640 BIBLIOGRAPHY MARTIN, DAVID, ‘
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642 BIBLIOGRAPHY SASLOV ISIDOR, ‘
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644 BIBLIOGRAPHY WEIPPERT, JOHN ERH
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646 INDEX appogiando , seearpeggiat
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648 INDEX cadenza 158, 420, 543, 54
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650 INDEX fermata ; pause 588, 591;
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652 INDEX Joachim, Joseph 258, 268,
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654 INDEX mezza voce 61 mezzo forte
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656 INDEX portato 129, 130, 131, 20
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658 INDEX Schumann, Robert Alexande
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660 INDEX terms of tempo and expres
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662 INDEX Weber, Carl Maria von ; E
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