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Between improvisation, composition, and sound research
Introduction
Table of contents
Bibliography
Nortesur
Introduction
1st part. Piano writing and composing activity
Chapter 1. Beethoven and the piano
Writing, notes, handwriting
The piano in Beethoven’s training
The twenty years of Beethoven
Beethoven’s hand
A new legacy
Beethoven’s pianos and his technical exercises
The sound investigation
A “totally different” method
Chapter 2. New paths of composition
The years in Bonn
The case of Venni Amore
To Vienna
A concert that would last two decades
Composing from the keyboard
Chapter 3. Analysing the writing
The double meaning of the concept of “theme”
Genius, brilliance and piano writing
Many forms of accompaniment
Writing as an element of formal cohesion
Performance and structural elements
2nd part. The investigation of technique
Chapter 4. Musicology in Beethoven’s keyboard exercises
Keyboard exercises and sketchbooks
A little history
Three typologies
The concept of “keyboard exercises”: in search of a definition
Functionality above all
A brief overall picture
The Kafka and Fischhof miscellanies
“Unidentified fragments”
Chapter 5. Piano technique and the age of the Revolution
Technique and European society between the 18th and 19th centuries
Material and spirit
Professionalising to be projected in history
Breaking conventions
Chapter 6. Movements and piano writing
Exercising … what?
The study of movements
i. Finger action
ii. Hand mobility and wrist action
iii. Lateral, longitudinal and axial arm movements
The study of technique from writing
Chapter 7. Technical investigation and sound investigation
The interest in dynamics
To silence
The pedal: a new frontier
Impossible sounds
Chapter 8. New ways to study
Extraordinary split octaves
Flexibility above all
Reaching the limit
Three in one
In all tones
3rd part. Open works
Chapter 9. Between composition and improvisation
Improvisation and extemporisation
Many forms of improvising
Fascination for the fantastic
Fantasia op. 77 and the youth miscellanea
“Gestures” and “models”
“Improvisations on paper”?
Chapter 10. A flexible text
Two attitudes apparently counter posed
Scores in the mind
Slippery terminology
“Just an outline”
Beethoven and the basso continuo: between art and trade
A flexible relationship with text
Piano writing and Concerto op. 61
Overall balances
Five areas of performance
Chapter 11. Spectacularity and experimentation: the Fourth Concerto according to manuscript GdM A82b
The sources
A problem of dates and new documentary proof
Transforming the writing
Performance and theatrality
Stressing the contrasts
Why?
A question of ideology
This unforgettable night …
4th part. The text as truth and text as a stimulus
Chapter 12. “Completing”…
Chopin’s double problem
The eternal review
The liking of the unfinished and the need to complete
Recomposing fragments
Completing… or not
Chapter 13. Is For Elise a forgery?
The facts
Desperately seeking Elise
Problems of dates
Power struggle
Three arguments raising suspicions
Returning to the manuscript
And even so …
Chapter 14. Beethoven after Beethoven: homage to Frederic Rzewski
The regression
Beethoven: a classic
Fear of the ephemeral
Music as an object
A future of improvisation?
Frederic Rzewski, con and senza Beethoven
Epilogue
Bibliography
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