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TEMPO TERMS 347 Ex. 10.1.(a) DvoŘák, String Quartet op. 96/ii (Berlin, Simrock, 1894); (b) DvoŘák, String Quartet op. 51/iii (Berlin, Simrock, 1879)
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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
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 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
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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
Page 1352:
662 INDEX Weber, Carl Maria von ; E
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