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Beethoven’s tempo indications have been the subject of much scholarly debate, but a coherent understanding of his intended tempos has not yet emerged. There are several reasons for this. Firstly, some of the discussion has been based on unreliable sources, or an unrepresentative sample of sources. Secondly, the substantial differences between tempo preferences in the early nineteenth century and now has made these tempo indications difficult to approach for musicians in the twentieth and twenty-first centuries. Thirdly, discussions of Beethoven’s tempo have typically focussed on works in one particular genre. This thesis overcomes these limitations by incorporating all of Beethoven’s works, and rooting the whole research in a wide variety of sources from the eighteenth and nineteenth century that have a plausible relationship with Beethoven’s practice. In particular the metronome marks by Beethoven, as well as those from his close contemporaries Carl Czerny, Ignaz Moscheles, and Karl Holz, provide great insight into the composer’s sense of tempo. By using as many sources on Beethoven’s tempo as possible, this approach makes reasonable estimations of the actual speeds that Beethoven had in mind for his works. Furthermore, it also allows an exploration of the musical intuitions that are the root cause of these speeds.
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The piano trio in London from 1791 to 1800
1981
The late piano trios of Joseph Haydn, which were published in London during his two trips there in 1791 and 1794, are neglected and misunderstood works. This study examines Haydn's late trios in the light of other works of the same type which were published for the same audience in order to gain a clearer perspective of this repertoire. A variety of cultural and economic factors influenced the music considered in this study. In particular, the pres ence in London of a large class of affluent but relatively unsophisticated musical amateurs provided a lucrative outlet for composers who could satisfy the public's demand for new music. The accompanied sonata, that is, the sonata for key board with accompaniment for other instruments, especially violin and cello, was a popular genre with London amateurs. Two varieties of accompanied sonata are found in the music studied: 1) the sonata with optional accompaniments, and 2) the concertante sonata, in which at least one of the acco...
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