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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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NOTATION OF ACCENTS AND DYNAMICS 75
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Ex. 3.21. Schumann, Fourth Symphony
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NOTATION OF ACCENTS AND DYNAMICS 79
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Ex. 3.25. Haydn, String Quartet op.
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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. 3.38. Haydn, String Quartet op.
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NOTATION OF ACCENTS AND DYNAMICS 93
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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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NOTATION OF ACCENTS AND DYNAMICS 99
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NOTATION OF ACCENTS AND DYNAMICS 10
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separation between notes would also
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Ex. 3.54. Schumann, Album für die
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NOTATION OF ACCENTS AND DYNAMICS 10
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NOTATION OF ACCENTS AND DYNAMICS 10
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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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NOTATION OF ACCENTS AND DYNAMICS 11
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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
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NOTATION OF ACCENTS AND DYNAMICS 12
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Ex. 3.83. Liszt, Eine Faust-Symphon
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NOTATION OF ACCENTS AND DYNAMICS 13
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NOTATION OF ACCENTS AND DYNAMICS 13
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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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STACCATO, LEGATO, AND NON-LEGATO 17
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STACCATO, LEGATO, AND NON-LEGATO 17
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as well as the musicians with whom
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STACCATO, LEGATO, AND NON-LEGATO 17
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STACCATO, LEGATO, AND NON-LEGATO 18
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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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STACCATO, LEGATO, AND NON-LEGATO 18
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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. 5.25. Beethoven, String Quartet
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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
- Page 462:
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
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ALLA BREVE 321 movement of the firs
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Table 9.1. The Relationship of ♯
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ALLA BREVE 325 29 Allegro ? = 138 ?
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a Time signature printed as ♯! b
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ALLA BREVE 329 non troppo ? = 144 ?
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Table 9.6. The Relationship of ♯
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ALLA BREVE 333 H3 Moderato ? = 60 ?
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R10i Allegro molto ? = 116 ? R16 Mo
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TEMPO TERMS 337 suggest that, in so
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Sadness: Mesto, sad [traurig] Adagi
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TEMPO TERMS 341 These comments from
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TEMPO TERMS 343 A. F. C. Kollmann c
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TEMPO TERMS 345 In Euryanthe Weber
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TEMPO TERMS 347 Ex. 10.1.(a) DvoŘ
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Larghetto TEMPO TERMS 349 ‘Larghe
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59; all three movements have semiqu
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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 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
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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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418 EMBELLISHMENT, ORNAMENTATION, I
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420 EMBELLISHMENT, ORNAMENTATION, I
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422 EMBELLISHMENT, ORNAMENTATION, I
- Page 876:
424 EMBELLISHMENT, ORNAMENTATION, I
- Page 880:
426 EMBELLISHMENT, ORNAMENTATION, I
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428 EMBELLISHMENT, ORNAMENTATION, I
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430 EMBELLISHMENT, ORNAMENTATION, I
- Page 892:
432 EMBELLISHMENT, ORNAMENTATION, I
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434 EMBELLISHMENT, ORNAMENTATION, I
- Page 900:
436 EMBELLISHMENT, ORNAMENTATION, I
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438 EMBELLISHMENT, ORNAMENTATION, I
- Page 908:
440 EMBELLISHMENT, ORNAMENTATION, I
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442 EMBELLISHMENT, ORNAMENTATION, I
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444 EMBELLISHMENT, ORNAMENTATION, I
- Page 920:
446 EMBELLISHMENT, ORNAMENTATION, I
- Page 924:
448 EMBELLISHMENT, ORNAMENTATION, I
- Page 928:
450 EMBELLISHMENT, ORNAMENTATION, I
- Page 932:
452 EMBELLISHMENT, ORNAMENTATION, I
- Page 936:
454 EMBELLISHMENT, ORNAMENTATION, I
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456 APPOGGIATURAS, TRILLS, TURNS fo
- Page 944:
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
- Page 960:
466 APPOGGIATURAS, TRILLS, TURNS Ex
- Page 964:
468 APPOGGIATURAS, TRILLS, TURNS Ex
- Page 968:
470 APPOGGIATURAS, TRILLS, TURNS De
- Page 972:
472 APPOGGIATURAS, TRILLS, TURNS Ex
- Page 976:
474 APPOGGIATURAS, TRILLS, TURNS Ex
- Page 980:
476 APPOGGIATURAS, TRILLS, TURNS co
- Page 984:
478 APPOGGIATURAS, TRILLS, TURNS Ex
- Page 988:
480 APPOGGIATURAS, TRILLS, TURNS Ex
- Page 992:
482 APPOGGIATURAS, TRILLS, TURNS Ex
- Page 996:
484 APPOGGIATURAS, TRILLS, TURNS Ex
- Page 1000:
486 APPOGGIATURAS, TRILLS, TURNS sl
- Page 1004:
488 APPOGGIATURAS, TRILLS, TURNS Ex
- 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:
500 APPOGGIATURAS, TRILLS, TURNS Ex
- Page 1032:
502 APPOGGIATURAS, TRILLS, TURNS Ex
- Page 1036:
504 APPOGGIATURAS, TRILLS, TURNS fa
- Page 1040:
506 APPOGGIATURAS, TRILLS, TURNS Ex
- Page 1044:
508 APPOGGIATURAS, TRILLS, TURNS Ex
- Page 1048:
510 APPOGGIATURAS, TRILLS, TURNS Ex
- Page 1052:
512 APPOGGIATURAS, TRILLS, TURNS Ex
- Page 1056:
514 APPOGGIATURAS, TRILLS, TURNS Ex
- 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