Interpreting Historical Keyboard Music: Sources, Contexts and Performance

Contents

• Introduction
• I: Renaissance Keyboard Music
• 1: Some Aspects of P-Cug, MM 242
• 2: Making Connections
• 3: William Byrd's My Ladye Nevells booke (1591)
• II: Seventeenth-Century Keyboard Music
• 4: Giovanni Maria Trabaci and the New Manner of Inganni
• 5: Places of Memory and Invention
• 6: The Libro di Fra Gioseffo da Ravenna
• 7: A Discourse of Styles
• III: Performance Practice
• 8: Questions of Keyboard Temperament in the Sixteenth Century 1
• 9: Seventeenth-Century Harpsichords
• 10: ‘In playing those bells, his amazing dexterity raised my wonder much higher'
• 11: Dynamics and Orchestral Effects in Late Eighteenth-Century Portuguese Organ Music
• 12: Czerny and the Organ: Pragmatism, Prestige and Performance Practice 1
• IV: Perspectives on Eighteenth-Century Repertoire
• 13: Some Reflections on François Couperin's ‘New and diversified character'
• 14: Music for Connoisseurs and Amateurs: C.P.E. Bach and the Keyboard 1
• 15: João Cordeiro da Silva (1735–1808?): A Portuguese Galant Keyboard Composer
• V: The Nineteenth-Century Piano and Repertoire
• 16: Grand and Grander
• 17: Left-Hand Techniques in Carl Czerny's Pedagogical Piano Works and Nineteenth-Century Pianism
• 18: In the Footsteps of Jean Paul
• 19: A Forgotten Repertoire