Musical Improvisation and Open Forms in the Age of Beethoven

Contents

• Introduction, Gianmario Borio and Angela Carone ;
• Part I Improvisation and music theory ;
• 1. Formal elements of instrumental improvisation: evidence from written documentation, 1770-1840, Angela Carone ;
• 2. Musical form in improvisation treatises in the age of Beethoven, Jan Philipp Sprick ;
• 3. 'La solita cadenza'? Vocal improvisation, embellishments and fioriture in opera from the late eighteenth to the first half of the nineteenth century, Torsten Mario Augenstein ;
• 4. 'Free forms' in German music theory and the Romantic conception of time, Gianmario Borio ;
• Part II From improvisation to composition ;
• 5. Fantastical forms: formal functionality in improvisational genres of the Classical era, William E. Caplin ;
• 6. Four piano fantasias by Hummel: improvisation, motivic processing, harmonic enterprise and the 'memory function', Rohan H. Stewart-MacDonald ;
• 7. A step to the 'Wanderer'. Schubert's early Fantasia-Sonata in C Minor (D. 48), Pieter Berge ;
• 8. Didacticism and display in the capriccio and
• prelude for violin, 1785-1840, Catherine Coppola ;
• Part III Freedom as a tool for musical form ;
• 9. 'Quasi una fantasia'? The legacy of improvisational practice in Ludwig van Beethoven's piano sonatas, Hans-Joachim Hinrichsen ;
• 10. Improvisation practices in Beethoven's Kleinere Stucke , Marco Targa ;
• 11. The fate of the antepenultimate: fantasy and closure in the Classical style, Scott Burnham ;
• 12. 'Ad arbitrio dei cantanti': vocal cadenzas and ornamentation in early nineteenth-century opera, Giorgio Pagannone