[Footnotes]

[Footnotes]
pp. 210-12

Notes

Notes
2
Essays in Musical Analysis, vol. III: Concertos (London, 1936), p. 80ff.
80
III
Essays in Musical Analysis
1936
3
Gesam- melte Schriften von Franz Liszt [Leipzig, 1910], IV, 23-31
23
IV
Gesammelte Schriften von Franz Liszt
1910
4
Neal Zaslaw, in "Mozart's Tempo Conventions," Interna- tional Musicological Society Congress Report 11 (Copenha- gen, 1972), 720-33
Zaslaw
Mozart's Tempo Conventions
720
11
International Musicological Society Congress Report
1972
p. 722
5
London CS 6856, recorded in 1973.
6
Czerny, On the Proper Performance of All Beethoven's Works for the Piano (London, n.d.) facs. edn., ed. Paul Ba- dura-Skoda (Vienna, 1970), p. 110
Czerny
110
On the Proper Performance of All Beethoven's Works for the Piano
1970
7
Franz Liszts Musikalische Werke (Leipzig, 1908), I, 2 (Sym- phonische Dichtungen No. 4)
2
I
Franz Liszts Musikalische Werke
1908
8
fn. 3
9
Abraham Veinus, The Concerto (New York, 1945), p. 138
Veinus
138
The Concerto
1945
11
Czerny, p. 60 fn.
60
12
David Fallows's article "Adagio" in The New Grove Dictionary of Music and Musicians (London, 1980), vol. 1, pp. 88-89
Fallows
88
1
The New Grove Dictionary of Music and Musicians
1980
13
Source Readings in Music History, ed. Oliver Strunk (New York, 1950), p. 738.
Strunk
738
Source Readings in Music History
1950
14
Czerny, p. 110.
110
15
Kurt Dorfmiiller, Beitrilge zur Beethoven-Bibliographie (Munich, 1978), p. 315 (regarding the genesis of op. 58)
Dorfmiiller
315
Beitrilge zur Beethoven-Bibliographie
1978
16
Alice Mitchell's article on Czerny in The New Grove, vol. 5, pp. 138-41
Mitchell
138
5
The New Grove
18
Gluck und die Oper (Berlin, 1863), I, 297ff.
297
I
Gluck und die Oper
1863
19
Ludwig van Beethoven, Leben und Schaffen (Leipzig, 1902; 1st edn., 1859), II, 77ff.1
II
Ludwig van Beethoven, Leben und Schaffen
1902
21
Anton Mayer, Wiens Buchdrucker-Geschichte, 1482- 1882 (Vienna, 1887), II, 109-16.
Mayer
109
II
Wiens Buchdrucker-Geschichte, 1482-1882
1887
23
Frank T. Brechka, Gerhard van Swieten and His World, 1700-1772 (The Hague, 1970), p. 124ff.
Brechka
124
Gerhard van Swieten and His World, 1700-1772
1970
24
Abbê Antoine Banier (1673-1741)
25
A German transl. by August Rode, 1794
a German transl. by J. H. Voss, 1799
the original Latin text, pub. by J. V. De- gen, 1803
a satirical version in doggerel verse by Gottlieb Mülller, 1804-07
the Latin text, ed. by Fr. X. Schonberger, 1805
26
Beethoven, mm. 69-70
Beethoven, m. 72
28
Thayer's Life of Beethoven, rev. 2nd edn., ed. Eliot Forbes (Princeton, 1964), p. 1061.2
1061
Thayer's Life of Beethoven
1964
29
Thayer-Forbes, p. 80.
30
Cramer's Magazin der Musik for 1783 (1:1)
1
1
Cramer's Magazin der Musik
1783
Thayer-Forbes, p. 65ff
p. 598ff.
fn.27 above
31
Maga- zin der Musik 2:2 (1786), 1085-145
2
1085
2
Magazin der Musik
1786
Library of Congress, Schatz 7053
pp. V-XVIII
Magazin der Musik 2:1[1784], 458-81
1
458
2
Magazin der Musik
1784
32
Her- mann Ullrich, "Beethovens Freund Friedrich August Kanne," Oesterreichische Musik Zeitung 29 (1974), 75-80
Ullrich
75
29
Oesterreichische Musik Zeitung
1974
33
Imogen Fellinger, "Friedrich August Kanne als Kritiker Beethovens," in Bericht über den internationalen mu- sikwissenschaftlichen Kongreß Bonn 1970, ed. Carl Dahlhaus, etc. (Kassel, 1972), pp. 383-86.
Fellinger
Friedrich August Kanne als Kritiker Beethovens
383
Bericht über den internationalen musikwissenschaftlichen Kongrefé Bonn 1970
1972
34
"New Roads to Old Ideas in Beethoven's Missa Solemnis," in The Creative World of Beethoven, ed. Paul Henry Lang (New York, 1970), pp. 163-99
New Roads to Old Ideas in Beethoven's Missa Solemnis
163
The Creative World of Beethoven
1970
Kanne is on p. 198ff.
35
Wilhelm Hitzig, "Aus dem Briefen Griesingers an Breitkopf & Härtel entnommene Notizen uiber Beethoven," Der Bär 4 (1927), 31.
Hitzig
31
4
Der Bir
1927
36
Ullrich, p. 75.
75
37
Thayer-Forbes, pp. 425-27
38
Theodor Frimmel, Beethoven-Handbuch (Leipzig, 1926), II, 247.
Frimmel
247
II
Beethoven-Handbuch
1926
39
pp. 13, 14, 16, 18, 19, 23, 24, 25, 28, 29, 38, 39, and 40
41
Schindler, Beethoven As I Knew Him, ed. Donald W. MacArdle, trans. Constance S. Jolly (Chapel Hill, 1966), p. 406
Schindler
406
Beethoven As I Knew Him
1966
42
Georgics, book IV, lines 491-93
Georgics
Virgil, Georgics, ed. H. R. Fairclough (Cambridge, 1935)
Virgil
Georgics
1935
43
J. T. Hermés (Bres- lau, 1786)
Carl Krebs, Dittersdorfiana (Berlin, 1900; rpt. 1972), pp. 177-79
Krebs
177
Dittersdorfiana
1900
fns. 27 and 30
45
Rachel Wade, "Beethoven's Eroica Sketchbook," Fontes Artis Musicae 24 (1977), 254-89, esp. p. 271
Wade
254
24
Fontes Artis Musicae
1977
Der Bär 4 [1927], 63
63
4
Der Biir
1927
48
Virgil (Georgics IV, 464)
Virgil
464
IV
Georgics
50
Robert E. Smith (Somerville, Mass.), 1976-78
Sebastian Hen- sel, The Mendelssohn Family, 1729-1847 (New York, 1882), II, 119ff.
Hensel
119
II
The Mendelssohn Family, 1729-1847
1882
51
Thomas Graves, The Greek Myths (Baltimore, 1955), I, 112ff.
Graves
The Greek Myths
1955
Die Zauber- geige (1809)
Die Zaubergeige
1809
Die Zauberharfe (1820; music by Schubert)
Die Zauberharfe
1820
Das Zauberglöckchen (1821)
Das Zauberglöckchen
1821
Das Zauberhorn (1824)
Das Zauberhorn
1824
Die Zaubermandoline (1827)
Die Zaubermandoline
1827
52
"Formen musikalischer Aussage im zweiten Satz des G- Dur Konzertes von Beethoven," Beethoven-Jahrbuch, 2nd ser., 9 (1973-77), 201-16.
Formen musikalischer Aussage im zweiten Satz des GDur Konzertes von Beethoven
201
9
Beethoven-Jahrbuch
1973
53
book X, 48-49
Ovid: "Hic, ne deficeret, metuens avi- dusque videndi flexit amans oculos." (book X, 55-56.)
Ovid
55
Hic, ne deficeret, metuens avidusque videndi flexit amans oculos
54
Czemy, p. 60fn.
56
Schindler, p. 406.
406
57
Harmonia Mundi HM 20347
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