内容

目次

Foreword by Malcolm Bilson; Preface: About Performance Practices;Acknowledgments; Sources of Figures; Introduction: Using This Book;Abbreviations I. Background for the Study Point of View; Invention andGradual Acceptance of the Piano; The Musical Need; Cristofori's Invention;The Piano's Ultimate Triumph; Some Influences on Performance; Music andRhetoric; Empfindsamkeit (Sensibility); Sturm und Drang (Storm and Stress);Haydn and Mozart; Beethoven and the Rhetorical Spirit; Beyond Beethoven; TheMusical Score; Changes in the Classic Era; More-Recent Developments; TheComposers and Their Pianism; Haydn; Mozart; Clementi; Beethoven; Czerny'sObservations on Beethoven Performance II. The Fortepiano circa 1780-1820General Characteristics of Construction; Expansion of Keyboard Compass andInstrument Size; Changes in Range and Construction; Beethoven's Extension ofRange; The Problem of 'Note Restoration'; Tone and Touch; 'Mutations': HandStops, Levers, and Pedals; English Versus Viennese Fortepianos; Actions andSounds; Attempts to Modify the Viennese Action; Four Classic Composers andTheir Fortepianos; Composer-Performers and Piano Makers; Haydn, Mozart, andClementi; Beethoven; Instruments Played for This Study; Viennese Instruments;German Instruments; English Instruments; Personal Observations III. Dynamicsand Accentuation Playing Classic Period Music on a Modern Grand Piano;Notation and Interpretation of Dynamic Indications; Introduction; Orientationto Composers' Notation and Unfamiliar Terms; The Scope of Forte and Piano;Concinnity of Dynamics and Form; Filling in the Missing Dynamics; Terracedand Graduated Dynamics; Repeats; Repeats in Sonata-Allegro Form; InnerRepeats in the Minuet or Scherzo Da Capo; Evolution of Calando and RelatedTerms; Origin: Use by Haydn and Mozart; Clementi's Definition and Usage; Useof Calando by Beethoven, Hummel, and Czerny; Qualitative (Dynamic) Accents;Indications for Accents; Composers' Uses of Accent Indications; Rinforzando;Types of Accentuation; Accentuation in Beethoven's Music; The Annotations toCramer's Etudes; The Annotations to Etudes IX and XII; Schindler andBeethoven; An Assessment of the Annotations to Cramer's Etudes IV. Use ofthe Pedals The Damper Pedal: Introduction; Types of Pedaling; RhythmicPedaling; Syncopated or Legato Pedaling; Stylistic Use of the Damper Pedal;Contemporary Descriptions and Uses; Planning Appropriate Pedaling; TheDevelopment of Pedal Indications and Their Ambiguities; England and France;Germany and Austria; Special Effects by Beethoven, Dussek, Clementi, andOthers; Indications that Create Distinctive Timbres; Indications thatHighlight Form; The 'Moonlight' Sonata; Adjusting Early Pedal Indications tothe Pianoforte; The Una Corda Pedal V. Articulation and Touch Introduction;Nonlegato, Legato, and the Prolonged Touch; Nonlegato, Tenuto, and the Heavyand Light Execution; A Shift toward More Legato; Legato and LegatissimoTouches Described in Tutors; The Prolonged Touch; The Language of the Slur;The Expressivity of Short Slurs; Longer Legato Goups and Slurs; Do All SlursIndicate Attack and Release?; Dot, Stroke and Wedge VI. Historical Techniqueand Fingering Point of View; Specific Functions of Technique; Role andPosition of the Arm and Hand; Finger Technique; How to Practice; StaccatoTouches; Playing the Incise Slur; Repeated Notes, Octaves, and Glissandos;Summary; Increasing Technical Demands; Clementi's Introduction and Gradus;Beethoven's Exercises and Other Fragments; Fingerings by Clementi andBeethoven VII. Ornaments Introduction; Appoggiaturas and Other One-NoteOrnaments; Identification; The Short Appoggiatura; The Long Appoggiatura;Afternotes and Grace Notes; Afternote and Anticipatory Performance of OtherShort Ornaments; The Trill; Overview; Evolution of the Trill Start; The TrillStart in Works of Haydn, Mozart, and Their Contemporaries; The Trill Start inWorks of Beethoven; The Short Trill and the Schneller; The Mordent; The Turnand the 'Quick' Turn; Haydn's Notation of Turns and Mordents; Interpretationof Haydn's Turn 'over the Dot'; Early and Anticipatory Turn Realization;Beethoven's Ambiguous Placement of the Turn Sign; The Inverted Turn; TheTrilled Turn; The Double Appoggiatura; The Slide; The Arpeggio; ImprovisedOrnamentation VIII. 'Mixed Meters' and Dotted Rhythms Mixed Meters; TheTheory; Application of the Theory IX. Choice of Tempo Elements in TempoChoice; Interaction of Meter, Note Values, and Tempo Headings; PracticalResults of These Customs; Additional Elements in Tempo Choice; The BasicTempo Groups; Contemporary Descriptions; Which Was the Slowest Tempo?;Diminutive Terms; Andante and Andantino; The Changing Allegro; The Meaning ofAssai; Increasing Individualization of Tempo; The Metronome; Beethoven andthe Metronome; Problems Related to Beethoven's Metronomizations; UniversalProblems of Metronomization; The 'Hammerklavier' Sonata; Six Metronomizationsof Beethoven's Sonatas; The Haslinger Gesamtausgabe; Czerny and Moscheles asMetronomizers; The Gesamtausgabe and Czerny's Other MetronomizationsCompared; Tempo Trends in Europe; Czerny's Metronomizations of the 1840s and1850s; Moscheles's Metronomizations; Comparison with Czerny's Conclusion;Fast and 'Moderate' Minuets; Beethoven's 'Moderate' Minuets: HisMetronomizations, Extrapolated Tempos, and Present Practice; Extrapolation ofOther Tempos; For Beethoven; For Clementi Appendix A: Theoretical Tempos ofQuantz and Turk; Appendix B: Six Sets of Metronomizations for Beethoven'sPiano Sonatas X. Flexibility of Rhythm and Tempo Introduction; RhetoricalAccentuation by Agogic Means; Agogic Accentuation of Notes; Rhetorical Rests;The Fermata; Ritardando and Accelerando; Sectional Change of Mood and Tempo;Eighteenth-Centry Tempo Rubato; Freely Shifting Contrametric Rubato;Contrametric Rubato by Uniform Displacement; Contrametric Rubato in the PianoWorks of Mozart, Haydn, and Beethoven; Descriptions of Contrametric Rubato inFrench Tutors; Tempo Flexibility as Tempo Rubato; Early Evidence of AgogicRubato; Agogic Rubato in the Piano Works of Haydn, Mozart, and Clementi;Agogic Rubato in the Piano Works of Beethoven's Piano Music XI. PerformingBeethoven's Bagatelle Op. 126, No. 5 Use of the Instrument; Dynamics andAccentuation; Slurs, Articulation, and Fingering; Pedaling; Tempo Choice andTempo Flexibility; Repeat of the Middle Section; Critical Report Notes;Selected Bibliography; Index Plates and Charts Plate I Two FortepianosPlayed for This Study; Plate II Excerpt from the Holograph of Beethoven'sSonata Op. 53, Rondo; Plate III Excerpt from the Holograph of Beethoven'sSonata Op. 111/ii; Plate IV Excerpt from the Holograph of Beethoven's SonataOp. 26/i, Var. 2; Plate V Ludwig van Beethoven, Bagatelle in G major, Op.126, No. 5, First edition Chart I Apparent Uses of the Damper Pedal or KneeLever in the Classic Period; Chart II Likely Choice of Touch forHarpsichord, Clavichord, and Fortepiano Music until about 1790; Chart IIIComparison of Four Metronomizations of Beethoven's Piano Sonatas