Rosenblum, Sandra P.

Performance Practices in Classic Piano Music : Their Principles and Applications

Foreword xiii Malcolm Bilson Preface: About Performance Practices xvii Acknowledgments xix Sources of Figures xxiii Introduction: Using This Book xxv Abbreviations xxvii Background for the Study Point of View 1(1) Invention and Gradual Acceptance of the Piano 2(6) The Musical Need 2(1) Cristofori's Invention 3(2) The Piano's Ultimate Triumph 5(3) Some Influences on Performance 8(8) Music and Rhetoric 8(2) Empfindsamkeit (Sensibility) 10(3) Sturm und Drang (Storm and Stress) 13(1) Haydn and Mozart 14(1) Beethoven and the Rhetorical Spirit 14(1) Beyond Beethoven 15(1) The Musical Score 16(3) Changes in the Classic Era 16(1) More-Recent Developments 17(2) The Composers and Their Pianism 19(12) Haydn 19(2) Mozart 21(3) Clementi 24(3) Beethoven 27(2) Czerny's Observations on Beethoven Performance 29(2) The Fortepiano circa 1780-1820 General Characteristics of Construction 31(2) Expansion of Keyboard Compass and Instrument Size 33(4) Changes in Range and Construction 33(1) Beethoven's Extension of Range 34(1) The Problem of ``Note Restoration'' 35(2) Tone and Touch 37(2) ``Mutations'': Hand Stops, Levers, and Pedals 39(5) English Versus Viennese Fortepianos 44(5) Actions and Sounds 44(3) Attempts to Modify the Viennese Action 47(2) Four Classic Composers and Their Fortepianos 49(3) Composer-Performers and Piano Makers 49(1) Haydn, Mozart, and Clementi 49(2) Beethoven 51(1) Instruments Played for This Study 52(3) Viennese Instruments 52(1) German Instruments 53(1) English Instruments 53(1) Personal Observations 54(1) Dynamics and Accentuation Playing Classic Period Music on a Modern Grand Piano 55(1) Notation and Interpretation of Dynamic Indications 56(15) Introduction 56(1) Orientation to Composers' Notation and Unfamiliar Terms 57(3) The Scope of Forte and Piano 60(2) Concinnity of Dynamics and Form 62(1) Filling in the Missing Dynamics 63(5) Terraced and Graduated Dynamics 68(3) Repeats 71(3) Repeats in Sonata-Allegro Form 72(1) Inner Repeats in the Minuet or Scherzo Da Capo 73(1) Evolution of Calando and Related Terms 74(9) Origin; Use by Haydn and Mozart 74(4) Clementi's Definition and Usage 78(2) Use of Calando by Beethoven, Hummel, and Czerny 80(3) Qualitative (Dynamic) Accents 83(7) Indications for Accents 83(3) Composers' Uses of Accent Indications 86(2) Rinforzando 88(2) Types of Accentuation 90(4) Accentuation in Beethoven's Music; The Annotations to Cramer's Etudes 94(5) The Annotations to Etudes IX and XII 95(3) Schindler and Beethoven 98(1) An Assessment of the Annotations to Cramer's Etudes 99(3) Use of the Pedals The Damper Pedal: Introduction 102(2) Types of Pedaling 104(5) Rhythmic Pedaling 104(2) Syncopated or Legato Pedaling 106(3) Stylistic Use of the Damper Pedal 109(5) Contemporary Descriptions and Uses 109(3) Planning Appropriate Pedaling 112(2) The Development of Pedal Indications and Their Ambiguities 114(4) England and France 114(2) Germany and Austria 116(2) Special Effects by Beethoven, Dussek, Clementi, and Others 118(20) Indications that Create Distinctive Timbres 119(7) Indications that Highlight Form 126(10) The ``Moonlight'' Sonata 136(2) Adjusting Early Pedal Indications to the Pianoforte 138(3) The Una Corda Pedal 141(3) Articulation and Touch Introduction 144(5) Nonlegato, Legato, and the Prolonged Touch 149(9) Nonlegato, Tenuto, and Heavy and Light Execution 149(2) A Shift toward More Legato 151(1) Legato and Legatissimo Touches Described in Tutors 152(3) The Prolonged Touch 155(3) The Language of the Slur 158(14) The Expressivity of Short Slurs 158(5) Longer Legato Groups and Slurs 163(9) Do All Slurs Indicate Attack and Release? 172(11) Dot, Stroke and Wedge 183(7) Historical Technique and Fingering Point of View 190(2) Specific Functions of Technique 192(11) Role and Position of the Arm and Hand 192(2) Finger Technique 194(1) How to Practice 195(2) Staccato Touches 197(2) Playing the Incise Slur 199(2) Repeated Notes, Octaves, and Glissandos 201(1) Summary 202(1) Increasing Technical Demands 203(6) Clementi's Introduction and Gradus 203(1) Beethoven's Exercises and Other Fragments 204(5) Fingerings by Clementi and Beethoven 209(7) Ornaments Introduction 216(2) Appoggiaturas and Other One-Note Ornaments 218(16) Identification 218(1) The Short Appoggiatura 219(5) The Long Appoggiatura 224(2) Afternotes and Grace Notes 226(8) Afternote and Anticipatory Performance of Other Short Ornaments 234(5) The Trill 239(20) Overview 239(2) Evolution of the Trill Start 241(4) The Trill Start in Works of Haydn, Mozart, and Their Contemporaries 245(5) The Trill Start in Works of Beethoven 250(5) The Short Trill and the Schneller 255(4) The Mordent 259(1) The Turn and the ``Quick'' Turn 260(22) Haydn's Notation of Turns and Mordents 268(3) Interpretation of Haydn's Turn ``over the Dot'' 271(3) Early and Anticipatory Turn Realization 274(8) Beethoven's Ambiguous Placement of the Turn Sign 282(1) The Inverted Turn 282(1) The Trilled Turn 283(1) The Double Appoggiatura 284(1) The Slide 285(1) The Arpeggio 285(2) Improvised Ornamentation 287(6) ``Mixed Meters'' and Dotted Rhythms Mixed Meters 293(6) The Theory 293(3) Application of the Theory 296(3) Double-dotting and Overdotting 299(6) The Theory 299(2) Application of the Theory 301(4) Choice of Tempo Elements in Tempo Choice 305(7) Interaction of Meter, Note Values, and Tempo Headings 305(3) Practical Results of These Customs 308(3) Additional Elements in Tempo Choice 311(1) The Basic Tempo Groups 312(9) Contemporary Descriptions 312(1) Which Was the Slowest Tempo? 313(2) Diminutive Terms; Andante and Andantino 315(3) The Changing Allegro 318(2) The Meaning of Assai 320(1) Increasing Individualization of Tempo 321(2) The Metronome 323(6) Beethoven and the Metronome 323(1) Problems Related to Beethoven's Metronomizations 324(2) Universal Problems of Metronomization 326(2) The ``Hammerklavier'' Sonata 328(1) Six Metronomizations of Beethoven's Sonatas 329(9) The Haslinger Gesamtausgabe; Czerny and Moscheles as Metronomizers 329(2) The Gesamtausgabe and Czerny's Other Metronomizations Compared 331(2) Tempo Trends in Europe 333(3) Czerny's Metronomizations of the 1840s and 1850s 336(1) Moscheles's Metronomizations; Comparison with Czerny's 337(1) Conclusion 337(1) Fast and ``Moderate'' Minuets 338(1) Beethoven's ``Moderate'' Minuets: His Metronomizations, Extrapolated Tempos, and Present Practice 339(9) Extrapolation of Other Tempos 348(6) For Beethoven 348(3) For Clementi 351(3) Appendix A: Theoretical Tempos of Quantz and Turk 354(1) Appendix B: Six Sets of Metronomizations for Beethoven's Piano Sonatas 355(7) Flexibility of Rhythm and Tempo Introduction 362(2) Rhetorical Accentuation by Agogic Means 364(5) Agogic Accentuation of Notes 365(1) Rhetorical Rests 366(2) The Fermata 368(1) Ritardando and Accelerando 369(3) Sectional Change of Mood and Tempo 372(1) Eighteenth-Century Tempo Rubato 373(9) Freely Shifting Contrametric Rubato 373(4) Contrametric Rubato by Uniform Displacement 377(2) Contrametric Rubato in the Piano Works of Mozart, Haydn, and Beethoven 379(2) Descriptions of Contrametric Rubato in French Tutors 381(1) Tempo Flexibility as Tempo Rubato 382(5) Early Evidence of Agogic Rubato 382(1) Agogic Rubato in the Piano Works of Haydn, Mozart, and Clementi 383(1) Agogic Rubato in the Piano Works of Beethoven 384(3) Schindler and Czerny on Tempo Flexibility in Beethoven's Piano Music 387(6) Performing Beethoven's Bagatelle Op. 126, No. 5 Use of the Instrument 393(1) Dynamics and Accentuation 394(1) Slurs, Articulation, and Fingering 394(1) Pedaling 395(1) Tempo Choice and Tempo Flexibility 396(1) Repeat of the Middle Section 397(1) Critical Report 397(4) Notes 401(86) Selected Bibliography 487(10) Index 497