The Short

More documents

Recommendations

Info

334 ALLA BREVE passionato ? = 84 ? TII,4 Allegro ? = 84 ? H8 Molto agitato ? = 84 ? R14b Con spirito ? = 84 ? H5 Allegro con fuoco ? = 84 ? R10c Agitato ? = 88 ? TII,1 Allegro ? = 88 R1a Allegro animato ? = 88 ? R11c Allegro‡ ?=88 H Act Allegro III molto intro. ? = 88 ? R2d Allegro con brio ? = 88 ? R8a Molto agitato ? = 88 ? H ov. Vivace ? = 92 H8 Feroce ? = 92 R6f Allegro agitato ? = 92 ? R9e Vivace ? = 92 ? R12C Allegro molto ? = 96 ? R15a Con impeto ? = 96 ? H6 Allegro molto ? = 96 ? TII,4 Allegro‡ ?=100 ? TII,2 Allegro ? = 100 ? H7 Molto vivace ? = 100 ? H4 Prestissimo possibile ? = 100 ? R4a Allegro con fuoco ? = 104 R10e Allegro molto ? = 104 ? R9a Molto agitato ? = 104 TI,4 Allegro ? = 108 ?
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 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,
Page 740: 356 TEMPO TERMS than that indicated
Page 744: 358 TEMPO TERMS gave metronome mark
Page 748:
360 TEMPO TERMS and usually regarde
Page 752:
362 TEMPO TERMS note a small gap oc
Page 756:
364 TEMPO TERMS Maestoso Löhlein c
Page 760:
366 TEMPO TERMS Allegretto Reichard
Page 764:
368 TEMPO TERMS useful to consider
Page 768:
370 TEMPO TERMS there was a very ma
Page 772:
372 TEMPO TERMS seem faster. Wagner
Page 776:
374 TEMPO TERMS Cantabile ‘Cantab
Page 780:
376 TEMPO MODIFICATION certain spec
Page 784:
378 TEMPO MODIFICATION (b) There ca
Page 788:
380 TEMPO MODIFICATION Ex. 11.2. T
Page 792:
382 TEMPO MODIFICATION remarking th
Page 796:
384 TEMPO MODIFICATION a nicety in
Page 800:
386 TEMPO MODIFICATION the middle c
Page 804:
388 TEMPO MODIFICATION regards regu
Page 808:
390 TEMPO MODIFICATION surpasses it
Page 812:
392 TEMPO MODIFICATION noted for hi
Page 816:
394 TEMPO MODIFICATION Conservatoir
Page 820:
396 TEMPO MODIFICATION Modication o
Page 824:
398 TEMPO MODIFICATION Türk had st
Page 828:
400 TEMPO MODIFICATION Ex. 11.8. (a
Page 832:
402 TEMPO MODIFICATION Ex. 11.9.con
Page 836:
404 TEMPO MODIFICATION Ex. 11.9.con
Page 840:
406 TEMPO MODIFICATION Ex. 11.12. B
Page 844:
408 TEMPO MODIFICATION Ex. 11.14.co
Page 848:
410 TEMPO MODIFICATION Ex. 11.16.co
Page 852:
412 TEMPO MODIFICATION Ex. 11.17. C
Page 856:
414 TEMPO MODIFICATION case, like a
Page 860:
416 EMBELLISHMENT, ORNAMENTATION, I
Page 864:
Page 868:
Page 872:
Page 876:
Page 880:
Page 884:
Page 888:
Page 892:
Page 896:
Page 900:
Page 904:
Page 908:
Page 912:
Page 916:
Page 920:
Page 924:
Page 928:
Page 932:
Page 936:
Page 940:
456 APPOGGIATURAS, TRILLS, TURNS fo
Page 944:
458 APPOGGIATURAS, TRILLS, TURNS Ex
Page 948:
460 APPOGGIATURAS, TRILLS, TURNS th
Page 952:
462 APPOGGIATURAS, TRILLS, TURNS 6)
Page 956:
464 APPOGGIATURAS, TRILLS, TURNS On
Page 960:
Page 964:
Page 968:
470 APPOGGIATURAS, TRILLS, TURNS De
Page 972:
Page 976:
Page 980:
476 APPOGGIATURAS, TRILLS, TURNS co
Page 984:
Page 988:
Page 992:
Page 996:
Page 1000:
486 APPOGGIATURAS, TRILLS, TURNS sl
Page 1004:
Page 1008:
490 APPOGGIATURAS, TRILLS, TURNS Fr
Page 1012:
492 APPOGGIATURAS, TRILLS, TURNS st
Page 1016:
494 APPOGGIATURAS, TRILLS, TURNS
Page 1020:
496 APPOGGIATURAS, TRILLS, TURNS Jo
Page 1024:
498 APPOGGIATURAS, TRILLS, TURNS fi
Page 1028:
Page 1032:
Page 1036:
504 APPOGGIATURAS, TRILLS, TURNS fa
Page 1040:
Page 1044:
Page 1048:
Page 1052:
Page 1056:
Page 1060:
516 APPOGGIATURAS, TRILLS, TURNS wh
Page 1064:
518 VIBRATO also have been applied
Page 1068:
520 VIBRATO Ex. 14.2.Lussy, Musical
Page 1072:
522 VIBRATO vibrato in singing (for
Page 1076:
524 VIBRATO Studies of wind instrum
Page 1080:
526 VIBRATO whether the adagio is p
Page 1084:
528 VIBRATO Such views, though perh
Page 1088:
530 VIBRATO gives the sound of the
Page 1092:
532 VIBRATO by this great fault. Th
Page 1096:
534 VIBRATO At about the same time
Page 1100:
536 VIBRATO have sounded quite diff
Page 1104:
538 VIBRATO most solo players. 1023
Page 1108:
540 VIBRATO Ex. 14.9.Lasser, Vollst
Page 1112:
542 VIBRATO mentioned. For the flut
Page 1116:
544 VIBRATO flute methods. It is di
Page 1120:
546 VIBRATO Indications of a change
Page 1124:
548 VIBRATO Ex. 14.20.Löhlein, Anw
Page 1128:
550 VIBRATO and in his later flute
Page 1132:
552 VIBRATO Ex. 14.27.Baillot, L'Ar
Page 1136:
554 VIBRATO would have been expecte
Page 1140:
556 VIBRATO Ex. 14.33.Weber, Der Fr
Page 1144:
15 Portamento The term ‘portament
Page 1148:
560 PORTAMENTO Whatever the words u
Page 1152:
562 PORTAMENTO like the Bourgeois G
Page 1156:
564 PORTAMENTO And he went on to ad
Page 1160:
566 PORTAMENTO and close parallels
Page 1164:
568 PORTAMENTO Not only could the
Page 1168:
570 PORTAMENTO Ex. 15.10.García, N
Page 1172:
572 PORTAMENTO Ex. 15.13.Bériot, M
Page 1176:
574 PORTAMENTO This ornament is eff
Page 1180:
576 PORTAMENTO Ex. 15.17.Dotzauer,
Page 1184:
578 PORTAMENTO Ex. 15.21.Spohr, Vio
Page 1188:
580 PORTAMENTO Ex. 15.25.Bériot, M
Page 1192:
582 PORTAMENTO Ex. 15.28.Meyerbeer,
Page 1196:
584 PORTAMENTO Ex. 15.34.Berwald Vi
Page 1200:
586 PORTAMENTO Ex. 15.37.cont. Towa
Page 1204:
The Fermata 16 Paralipomena The fer
Page 1208:
590 PARALIPOMENA 1. ‘Each embelli
Page 1212:
592 PARALIPOMENA Ex. 16.4. D. Corri
Page 1216:
594 PARALIPOMENA Ex. 16.7. Haydn, S
Page 1220:
596 PARALIPOMENA Ex. 16.10. Weber,
Page 1224:
598 PARALIPOMENA Ex. 16.12. HÄser,
Page 1228:
600 PARALIPOMENA The recitatives of
Page 1232:
602 PARALIPOMENA keyboard instrumen
Page 1236:
604 PARALIPOMENA Ex. 16.18. Meyerbe
Page 1240:
606 PARALIPOMENA he implied that or
Page 1244:
608 PARALIPOMENA Ex. 16.20. Meyerbe
Page 1248:
610 PARALIPOMENA Ex. 16.22. Clement
Page 1252:
612 PARALIPOMENA Ex. 16.24. P. A. C
Page 1256:
614 PARALIPOMENA written equal pair
Page 1260:
616 PARALIPOMENA Ex. 16.30. Haydn,
Page 1264:
618 PARALIPOMENA Ex. 16.34. Schuber
Page 1268:
620 PARALIPOMENA Ex. 16.35.cont. fi
Page 1272:
622 PARALIPOMENA Violinspielen posi
Page 1276:
624 PARALIPOMENA Ex. 16.41. Mozart,
Page 1280:
626 PARALIPOMENA Ex. 16.43. Schuber
Page 1284:
628 PARALIPOMENA of its systematize
Page 1288:
630 PARALIPOMENA [Takttheile] (beat
Page 1292:
632 PARALIPOMENA musicians might se
Page 1296:
634 BIBLIOGRAPHY AUER, LEOPOLD, Vio
Page 1300:
636 BIBLIOGRAPHY CRUTCHFIELD, WILL,
Page 1304:
638 BIBLIOGRAPHY HABENECK, FRANÇOI
Page 1308:
640 BIBLIOGRAPHY MARTIN, DAVID, ‘
Page 1312:
642 BIBLIOGRAPHY SASLOV ISIDOR, ‘
Page 1316:
644 BIBLIOGRAPHY WEIPPERT, JOHN ERH
Page 1320:
646 INDEX appogiando , seearpeggiat
Page 1324:
648 INDEX cadenza 158, 420, 543, 54
Page 1328:
650 INDEX fermata ; pause 588, 591;
Page 1332:
652 INDEX Joachim, Joseph 258, 268,
Page 1336:
654 INDEX mezza voce 61 mezzo forte
Page 1340:
656 INDEX portato 129, 130, 131, 20
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
show all

The Short

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

Delete template?

Save as template?