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Autorenporträt
DANIEL TONG is a pianist who performs, records and teaches. He is Head of Piano in Chamber Music at the Royal Birmingham Conservatoire and Head of Performance at the Junior Department of the Royal Academy of Music.
Inhaltsangabe
List of figures Acknowledgements Introduction The performer-analyst Music revealed in time 1. The Op. 12 Sonatas: Humour and Innovation Sonata in D, Op. 12 No. 1. Allegro Performing an analysis 'Final' presentation of reading Op. 12 No. 1, variations Op. 12 No. 1, finale Sonata in E¿, Op. 12 No. 3. A piano concerto in the making Adagio con molta espressione Allegro molto 2. A Case study in the comic: Sonata in A, Op. 12 No. 2 Meaning and authenticity A laughing Beethoven? Is wit comedy? Is comedy funny? Notions of humour and comedy The contemporary pianist-comedian The comic within Op. 12 No. 2 Mapping the 'material' trace A final reading of the opening Allegro Vivace from Beethoven's Op. 12 No. 2 Opera Buffa and the Andante from Op. 12 No. 2 3. Separated at Birth. Sibling Sonatas: Opp. 23 and 24 Op. 23: The Black Sheep of the Family Beethoven, 'the most virile of all musicians' 'Gender Trouble' in Op. 23 Op. 23, Allegro Molto. An anti-finale Opp. 23 and 24: A single opus? Coda 4. Man and artist. The Op. 30 Sonatas 1802: Anxiety and the Heiligenstadt Testament Disability in music 'Middle period' Beethoven Sonata in A Major, Op. 30 No. 1. Late music from a young man A Narrative of disability lived The Original finale: Disability overcome Sonata in C Minor, Op. 30 No. 2. Revolutionary fever and despair Sonata in G, Op. 30 No. 3. Visionary escapism 5. Sonata in A (Minor?), Op. 47 A hybrid sonata In the style of a concerto? Presto. Brilliance and bravado 'The commonplace variations' 6. Sonata in G, Op. 96. Fantasy and arabesque Divining the messages within the score Pierre Rode, Archduke Rudolph and the Immortal Beloved Signs, games and messages A correspondence through the score A poet's love Romanticism, Schlegel and the arabesque The allure of late style Afterword Select Bibliography
List of figures Acknowledgements Introduction The performer-analyst Music revealed in time 1. The Op. 12 Sonatas: Humour and Innovation Sonata in D, Op. 12 No. 1. Allegro Performing an analysis 'Final' presentation of reading Op. 12 No. 1, variations Op. 12 No. 1, finale Sonata in E¿, Op. 12 No. 3. A piano concerto in the making Adagio con molta espressione Allegro molto 2. A Case study in the comic: Sonata in A, Op. 12 No. 2 Meaning and authenticity A laughing Beethoven? Is wit comedy? Is comedy funny? Notions of humour and comedy The contemporary pianist-comedian The comic within Op. 12 No. 2 Mapping the 'material' trace A final reading of the opening Allegro Vivace from Beethoven's Op. 12 No. 2 Opera Buffa and the Andante from Op. 12 No. 2 3. Separated at Birth. Sibling Sonatas: Opp. 23 and 24 Op. 23: The Black Sheep of the Family Beethoven, 'the most virile of all musicians' 'Gender Trouble' in Op. 23 Op. 23, Allegro Molto. An anti-finale Opp. 23 and 24: A single opus? Coda 4. Man and artist. The Op. 30 Sonatas 1802: Anxiety and the Heiligenstadt Testament Disability in music 'Middle period' Beethoven Sonata in A Major, Op. 30 No. 1. Late music from a young man A Narrative of disability lived The Original finale: Disability overcome Sonata in C Minor, Op. 30 No. 2. Revolutionary fever and despair Sonata in G, Op. 30 No. 3. Visionary escapism 5. Sonata in A (Minor?), Op. 47 A hybrid sonata In the style of a concerto? Presto. Brilliance and bravado 'The commonplace variations' 6. Sonata in G, Op. 96. Fantasy and arabesque Divining the messages within the score Pierre Rode, Archduke Rudolph and the Immortal Beloved Signs, games and messages A correspondence through the score A poet's love Romanticism, Schlegel and the arabesque The allure of late style Afterword Select Bibliography
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