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Table 9.6. <strong>The</strong> Relationship of ♯ and c Metre in Wagner's Music ALLA BREVE 331 Metronome marks are taken from Rienzi (R), the Rienzi ballet music (RB), Der fliege HollÄnder (H), and TannhÄuser (T). In Rienzi and TannhÄuser the opera succession of numbers which run continuously throughout; TannhÄuser is divided into acts and scenes. Very many sections include some tremolando in the strings. This has been ignored in calculating the fastest functional note values, as have ornamental flourishes; nev-ertheless the fluid nature of Wagner's music makes this factor debatable in many cases. In some instances the metre is not clear, either because Wagner has not indicated a change from a previous section with four crotchets in the bar, or for another reason, but in some cases an intended change has been assumed because of the note content; these sections are marked with a dagger. ♯ ♯ Work Tempo term MM Fastest notes Work Tempo term MM Fastest notes TIII,2 Moderato ? = 46 TIII,1 Andante assai lento ? = 50 ? H2 Sostenuto ? = 50 TIII,3 Lento ? = 50 ? TIII,3 Lento maestoso ? = 50 ? H8 Andante ? = 50 ? TI,4 Lento ? = 54 ? TII,4 Andante ? = 56 ? TII,4 Adagio ? = 58 ? R4c Andante energico1' ? = 60 ? R1f Moderato e maestoso ? = 66 ? H2 Moderato ? = 66 ? R6e Un poco sostenuto‡ ? = 66 ? RovMolto sostenuto e maestoso ? = 66 ? R13 Lento ? = 66 H3 Lento ? = 66 ? H6 Sostenuto ? = 66 ? H5 Sostenuto ? = 69 ? R9d Maestoso ? = 69 ? R9b Andante ? = 69 ? TIII,3 Maestoso ? = 69 ? R4d Maestoso‡ ?=72 TII,4 Andante‡ ? = 72 ? R4b Maestoso‡ ? = 72 ? R10h Grave ? = 72 TI,4 Andante ? = 76 TII,3 Andante ? = 76 ?
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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
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 692: 332 ALLA BREVE R11b Un poco lento
Page 696: 334 ALLA BREVE passionato ? = 84 ?
Page 700: 10 Tempo Terms As the connotations
Page 704: 338 TEMPO TERMS derive from them, h
Page 708: 340 TEMPO TERMS mark, a tempo term,
Page 712: 342 TEMPO TERMS Not all musicians,
Page 716: 344 TEMPO TERMS of semiquavers than
Page 720: 346 TEMPO TERMS The metronome marks
Page 724: 348 TEMPO TERMS Ex. 10.1.cont. (b)
Page 728: 350 TEMPO TERMS ‘andante con moto
Page 732: 352 TEMPO TERMS slower than ‘anda
Page 736: 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
Page 1348:
660 INDEX terms of tempo and expres
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662 INDEX Weber, Carl Maria von ; E
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