Performance Practices in Classic Piano Music

Performance Practices in Classic Piano Music

Their Principles and Applications
Sandra P. Rosenblum, foreword by Malcolm Bilson
Distribution: Global
Publication date: 11/22/1988
Format: Paperback 53 b&w illus.
ISBN: 978-0-253-20680-0
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A Choice Outstanding Academic Book of 1989

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

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Author Bio

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.

Reviews

“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”

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Table of Contents

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