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FOREWORD BY MALCOLM BILSON PREFACE: ABOUT PERFORMANCE PRACTICESACKNOWLEDGMENTS SOURCES OF FIGURES INTRODUCTION: USING THIS BOOKABBREVIATIONS I. Background for the Study Point of View Invention andGradual Acceptance of the Piano The Musical Need CristoforiOs InventionThe PianoOs 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 CzernyOsObservations on Beethoven Performance II. The Fortepiano circa 1780-1820General Characteristics of Construction Expansion of Keyboard Compass andInstrument Size Changes in Range and Construction BeethovenOs Extension ofRange The Problem of ONote RestorationO Tone and Touch OMutationsO: 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 InstrumentsGerman Instruments English Instruments Personal Observations III.Dynamics and Accentuation Playing Classic Period Music on a Modern GrandPiano Notation and Interpretation of Dynamic Indications IntroductionOrientation to ComposersO Notation and Unfamiliar Terms The Scope of Forteand Piano Concinnity of Dynamics and Form Filling in the Missing DynamicsTerraced and Graduated Dynamics Repeats Repeats in Sonata-Allegro FormInner Repeats in the Minuet or Scherzo Da Capo Evolution of Calando andRelated Terms Origin: Use by Haydn and Mozart ClementiOs Definition andUsage Use of Calando by Beethoven, Hummel, and Czerny Qualitative (Dynamic)Accents Indications for Accents ComposersO Uses of Accent IndicationsRinforzando Types of Accentuation Accentuation in BeethovenOs Music; TheAnnotations to CramerOs Etudes The Annotations to Etudes IX and XIISchindler and Beethoven An Assessment of the Annotations to CramerOs EtudesIV. Use of the Pedals The Damper Pedal: Introduction Types of PedalingRhythmic Pedaling Syncopated or Legato Pedaling Stylistic Use of the DamperPedal Contemporary Descriptions and Uses Planning Appropriate Pedaling TheDevelopment of Pedal Indications and Their Ambiguities England and FranceGermany and Austria Special Effects by Beethoven, Dussek, Clementi, andOthers Indications that Create Distinctive Timbres Indications thatHighlight Form The OMoonlightO Sonata Adjusting Early Pedal Indications tothe Pianoforte The Una Corda Pedal V. Articulation and Touch IntroductionNonlegato, 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 SlurThe Expressivity of Short Slurs Longer Legato Goups and Slurs Do All SlursIndicate Attack and Release? Dot, Stroke and Wedge VI. HistoricalTechnique and Fingering Point of View Specific Functions of Technique Roleand Position of the Arm and Hand Finger Technique How to Practice StaccatoTouches Playing the Incise Slur Repeated Notes, Octaves, and GlissandosSummary Increasing Technical Demands ClementiOs Introduction and GradusBeethovenOs Exercises and Other Fragments Fingerings by Clementi andBeethoven VII. Ornaments Introduction Appoggiaturas and Other One-NoteOrnaments Identification The Short Appoggiatura The Long AppoggiaturaAfternotes 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 OQuickO Turn HaydnOs Notation of Turns and Mordents Interpretationof HaydnOs Turn Oover the DotO Early and Anticipatory Turn RealizationBeethovenOs Ambiguous Placement of the Turn Sign The Inverted Turn TheTrilled Turn The Double Appoggiatura The Slide The Arpeggio ImprovisedOrnamentation VIII. OMixed MetersO 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 BeethovenOs Metronomizations UniversalProblems of Metronomization The OHammerklavierO Sonata Six Metronomizationsof BeethovenOs Sonatas The Haslinger Gesamtausgabe; Czerny and Moscheles asMetronomizers The Gesamtausgabe and CzernyOs Other Metronomizations ComparedTempo Trends in Europe CzernyOs Metronomizations of the 1840s and 1850sMoschelesOs Metronomizations; Comparison with CzernyOs Conclusion Fast andOModerateO Minuets BeethovenOs OModerateO Minuets: His Metronomizations,Extrapolated Tempos, and Present Practice Extrapolation of Other Tempos ForBeethoven For Clementi Appendix A: Theoretical Tempos of Quantz and TurkAppendix B: Six Sets of Metronomizations for BeethovenOs Piano Sonatas X.Flexibility of Rhythm and Tempo Introduction Rhetorical Accentuation byAgogic Means Agogic Accentuation of Notes Rhetorical Rests The FermataRitardando and Accelerando Sectional Change of Mood and TempoEighteenth-Centry Tempo Rubato Freely Shifting Contrametric RubatoContrametric 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 ClementiAgogic Rubato in the Piano Works of BeethovenOs Piano Music XI. PerformingBeethovenOs 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 NOTESSELECTED BIBLIOGRAPHY INDEX PLATES AND CHARTS PLATE I Two FortepianosPlayed for This Study PLATE II Excerpt from the Holograph of BeethovenOsSonata Op. 53, Rondo PLATE III Excerpt from the Holograph of BeethovenOsSonata Op. 111/ii PLATE IV Excerpt from the Holograph of BeethovenOs 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 orKnee Lever in the Classic Period CHART II Likely Choice of Touch forHarpsichord, Clavichord, and Fortepiano Music until about 1790 CHART IIIComparison of Four Metronomizations of BeethovenOs Piano Sonatas