Examines the principles of performing the music of Haydn, Mozart, Beethoven, and their contemporaries as revealed in a variety of historical sourcesHinweis: Dieser Artikel kann nur an eine deutsche Lieferadresse ausgeliefert werden.
Sandra P. Rosenblum has lectured widely on performance practices at universities, schools of music, and both national and international conferences. The author of numerous journal articles and of editions of sonatas by Scarlatti and Clementi, Ms. Rosenblum holds degrees from Wellesley College and Harvard University. She has been the recipient of fellowships from the American Council of Learned Societies and the Radcliffe Institute. Her present research is on the music of Chopin.
Inhaltsangabe
Foreword by Malcolm Bilson Preface: About Performance Practices Acknowledgments Sources of Figures Introduction: Using this Book Abbreviations I. Background for the Study II. The Fortepiano circa 1780-1820 III. Dynamics and Accentuation IV. Use of the Pedals V. Articulation and Touch VI. Historical Technique and Fingering VII. Ornaments VIII. "Mixed Meters" and Dotted Rhythms IX. Choice of Tempo X. Flexibility of Rhythm and Tempo XI. Performing Beethoven's Bagatelle Op. 126, No. 5 Notes Selected Bibliography Index
Foreword by Malcolm Bilson Preface: About Performance Practices Acknowledgments Sources of Figures Introduction: Using this Book Abbreviations I. Background for the Study II. The Fortepiano circa 1780-1820 III. Dynamics and Accentuation IV. Use of the Pedals V. Articulation and Touch VI. Historical Technique and Fingering VII. Ornaments VIII. "Mixed Meters" and Dotted Rhythms IX. Choice of Tempo X. Flexibility of Rhythm and Tempo XI. Performing Beethoven's Bagatelle Op. 126, No. 5 Notes Selected Bibliography Index
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