Performance today on either the pianoforte or the fortepiano can be at once joyful, musicianly, expressive, and historically informed. From this point of view, Sandra P. Rosenblum examines the principles of performing the music of Haydn, Mozart, Beethoven, and their contemporaries as revealed in a variety of historical sources: their autographs and letters, early editions of their music, original instruments, and contemporary tutors and journals. She applies these findings to such elements of performance as dynamics, accentuation, pedaling, articulation and touch, technique and fingering, ornaments and embellishments, choice of tempo, and tempo flexibility.Familiarity with the Classic conventions provides a framework for interpretation and an understanding of the choices available within the style, the amount of freedom a performer has, and which areas are ambiguous. Rosenblum's detailed study, copiously illustrated with musical examples, is invaluable for professional and amateur performers, serious piano students and their teachers and students of performance practices by Scarlatti and Clementi."... is and will remain unsurpassed as the study dealing with performance practice as it pertains to keyboard music of the Classical period." -- American Music Teacher"Rosenblum's monumental achievement is thorough, objective, balanced, and imaginative, a compelling blend of love and respect for the solo, chamber, and concerto literature she addresses." -- Journal of Musicological Research"The extent and quality of her research, the depth of her perception, and her musicianship together break new ground in the study of historic performance practice." -- Early Keyboard Journal"Her attention to details is absolutely scrupulous; no stone unturned, no argument unquestioned or unstated." -- The Musical Times"Its importance to thoughtful musicians cannot be overstated." -- Choice"... thoroughly musicological." -- Performance Practice Review"... indispensable... " -- New York Times

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)

Invention and Gradual Acceptance of the Piano

(6)

The Musical Need

(1)

Cristofori's Invention

(2)

The Piano's Ultimate Triumph

(3)

Some Influences on Performance

(8)

Music and Rhetoric

(2)

Empfindsamkeit (Sensibility)

(3)

Sturm und Drang (Storm and Stress)

(1)

Haydn and Mozart

(1)

Beethoven and the Rhetorical Spirit

(1)

Beyond Beethoven

(1)

The Musical Score

(3)

Changes in the Classic Era

(1)

More-Recent Developments

(2)

The Composers and Their Pianism

(12)

Haydn

(2)

Mozart

(3)

Clementi

(3)

Beethoven

(2)

Czerny's Observations on Beethoven Performance

(2)

The Fortepiano circa 1780-1820

General Characteristics of Construction

(2)

Expansion of Keyboard Compass and Instrument Size

(4)

Changes in Range and Construction

(1)

Beethoven's Extension of Range

(1)

The Problem of ``Note Restoration''

(2)

Tone and Touch

(2)

``Mutations'': Hand Stops, Levers, and Pedals

(5)

English Versus Viennese Fortepianos

(5)

Actions and Sounds

(3)

Attempts to Modify the Viennese Action

(2)

Four Classic Composers and Their Fortepianos

(3)

Composer-Performers and Piano Makers

(1)

Haydn, Mozart, and Clementi

(2)

Beethoven

(1)

Instruments Played for This Study

(3)

Viennese Instruments

(1)

German Instruments

(1)

English Instruments

(1)

Personal Observations

(1)

Dynamics and Accentuation

Playing Classic Period Music on a Modern Grand Piano

(1)

Notation and Interpretation of Dynamic Indications

(15)

Introduction

(1)

Orientation to Composers' Notation and Unfamiliar Terms

(3)

The Scope of Forte and Piano

(2)

Concinnity of Dynamics and Form

(1)

Filling in the Missing Dynamics

(5)

Terraced and Graduated Dynamics

(3)

Repeats

(3)

Repeats in Sonata-Allegro Form

(1)

Inner Repeats in the Minuet or Scherzo Da Capo

(1)

Evolution of Calando and Related Terms

(9)

Origin; Use by Haydn and Mozart

(4)

Clementi's Definition and Usage

(2)

Use of Calando by Beethoven, Hummel, and Czerny

(3)

Qualitative (Dynamic) Accents

(7)

Indications for Accents

(3)

Composers' Uses of Accent Indications

(2)

Rinforzando

(2)

Types of Accentuation

(4)

Accentuation in Beethoven's Music; The Annotations to Cramer's Etudes

(5)

The Annotations to Etudes IX and XII

(3)

Schindler and Beethoven

(1)

An Assessment of the Annotations to Cramer's Etudes

(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

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Performance Practices in Classic Piano Music

9780253206800

0253206804

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