Format:
1 online resource (286 pages)
Edition:
1st ed.
ISBN:
9780511725906
Series Statement:
Musical Performance and Reception Series
Content:
Presenting a picture of Beethoven's formative years and early career, this study shows how the composer was influenced by teachers, theorists and instruments. Skowroneck pays special attention to Beethoven's trills and legato, and thoroughly revises the idea that Beethoven treated his pianos roughly and with impatience throughout his career
Note:
Cover -- Half-title -- Series-title -- Title -- Copyright -- Dedication -- Contents -- Acknowledgments -- Abbreviations and conventions -- Introduction -- Part I Beethoven, his playing, and his instruments -- Introduction -- Chapter 1 Beethoven's early training -- Ludwig the elder's and Johann's professional training -- Ludwig van Beethoven's early education -- Beethoven's early lessons - musical considerations -- Van den Eeden, Pfeiffer, and Rovantini -- Beethoven's Clavier -- First success -- Chapter 2 Beethoven the pianist -- Christian Gottlob Neefe: the traditional picture -- A look at Neefe's and Beethoven's calendars -- What Neefe taught Beethoven -- The introduction of fortepianos in Bonn -- A suitable touch - exploring a new instrument -- Spath's and Stein's Klaviere -- Chapter 3 Beethoven's first decade in Vienna -- The first year -- Toward a professional career -- Beethoven on piano playing -- Beethoven on fortepiano sound -- Two Viennese schools of fortepiano building and fortepiano playing -- Beethoven's "own tone" -- Beethoven's pianos around 1800 -- Chapter 4 The 1803 Érard grand piano -- History of the instrument -- Beethoven's Érard and the English and French building tradition -- Why was the Érard's action altered? -- Härtel's and Beethoven's influence on Streicher's change of piano design -- Deafness, impatience and the misuse of instruments -- The first piece for the Érard: the "Waldstein" Sonata -- Extending the keyboard range -- The "Waldstein" Sonata and the French action -- Part II Sound ideal and performance -- Introduction -- Chapter 5 The builder's influence -- Fortepianos good and bad -- Acclaim and criticism of fortepianos around 1800 -- Fortepiano criticism and marketing -- Transition and weak design -- Structural stability and chronology -- Beethoven's sound ideal and modern fortepiano copies
,
Chapter 6 The player's influence -- Reports about Beethoven's playing -- Positive reports, negative reports: an annotated chronology -- A lost element: Beethoven's improvisation -- Composing for the early piano -- The visionary composer and the early piano -- Part III Sound ideal, notation, and stylistic change -- Introduction -- Chapter 7 Common touch and legato -- Conflicting opinions about the detached style -- Türk's principle of a varying keyboard touch -- The development of Beethoven's notated articulation in his early works -- Publishing for the Viennese: expressive notation versus pre-nderstood keyboard touch -- Eighteenth-century touch and separated and meeting slurs -- Superlegato -- Legato in melodies and the split damper pedal -- Conclusion: Beethoven's legato notation revisited -- Chapter 8 The performance of Beethoven's trills -- Beethoven's trills: traditional views -- Beethoven's early notation of trills -- The evolution and the performance of the short trill symbol in Beethoven's work -- The trilled turn and the turn between two notes -- Trill starts, chronology and fingerings -- Beethoven's prescribed trill starts -- Written-out trill textures in Beethoven -- Modern arguments versus the player's intuition -- Conclusion -- Epilog -- Bibliography -- Index
Additional Edition:
Print version Skowroneck, Tilman Beethoven the Pianist Cambridge : Cambridge University Press,c2010 ISBN 9780521119597
Language:
English
Keywords:
Electronic books
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Electronic books
URL:
FULL
((OIS Credentials Required))
URL:
FULL
((OIS Credentials Required))
