LEADER 02306nam 2200373 450 001 9910477127803321 005 20230219080401.0 035 $a(CKB)5470000000568664 035 $a(NjHacI)995470000000568664 035 $a(EXLCZ)995470000000568664 100 $a20230219d2019 uy 0 101 0 $ager 135 $aur||||||||||| 181 $ctxt$2rdacontent 182 $cc$2rdamedia 183 $acr$2rdacarrier 200 04$aDas Flu?chtige Werk $ePianistische Improvisationen der Beethoven-Zeit /$fedited by Michael Lehner, [and three others]. 210 1$aSchliengen, Germany :$cEdition Argus,$d2019. 215 $a1 online resource (270 pages) $cillustrations 330 $aThe goal of this volume is to examine and describe the manifold improvisational culture around 1800. Therefore, different viewpoints are brought together, the focus lies, besides traditional source analysis, on methods and approaches of historical performance practice und historically informed music theory. What were the different esthetical viewpoints on pianistic improvisation? What were the standard models and conventional designs of improvised piano music of that time? How was improvisation taught? How can the conflict between generic approaches and the ideal of unmistakable individuality of the performer be described? Therefore, a variety of sources is examined by the contributors to this volume: italian partimenti, composed music that is guided by improvisational thinking (like Fantasia and Capriccio) textbooks, teaching documents, concert reports etc ... Besides the outstanding significance of Beethoven as improviser (already noted and admired by his contemporaries), this anthology tries to give a fuller picture by sheding light on then well-known figures like Ciacomo Tritto, Carl Czerny, Joseph Preindl, Joseph Lipavsky, Justin Heinrich Knecht and others. 517 $aFlüchtige Werk 517 $aFlüchtige Werk 606 $aCriticism, interpretation, etc 606 $aPiano music 615 0$aCriticism, interpretation, etc. 615 0$aPiano music. 676 $a262.0011092 702 $aLehner$b Michael 801 0$bNjHacI 801 1$bNjHacl 906 $aBOOK 912 $a9910477127803321 996 $aDas Flu?chtige Werk$93018218 997 $aUNINA