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Index
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Index acoustics, effect on tempo and articulation, 62n14, 149–150 articulatory silences, 62, 64, 124, 138, 149–150 Bach, Carl Phillip Emanuel, 47, 54, 55, 150n3, 152 Bach, Johann Sebastian, 19, 48, 57, 122–135, 136, 154, 156, 161, 171, 188; Magni¤cat in D Major, BWV 243, 122–135, 136, 169, 177; a cappella insertions, 122, 126, 128, 131, 133; concertist singers, 123, 124 (see also concertino); editions, 123–124; keyboard options, 122–123; movement-ending ritards, 126; overall design, 122, 123, 124; performance forces, 123; tonus peregrinus, 133; Magni¤cat in E-®at Major (original version ), 123 balance problems, 42–43 Baroque Era performance practice, 47–57 basses. See contrabasses (under orchestra: characteristics of the instruments; transposing instruments) or tuba (under orchestra: characteristics of the instruments) basso continuo, 48–49, 62, 137, 149 baton technique: accelerandos, 37; choral vs. instrumental, 34–37; concerto accompanying, 185; cueing attacks and releases, 37–38; delivery of the beat, 35–36; economy of motion, 38; fermatas, 37, 184–185; preparation of the initial beat, 35; preparatory beats in recitatives, 54–56; reviewing your technique, 4, 34; ritards, 36 Beyer, Franz, 170, 173 Beethoven, Ludwig van, 60, 149, 151, 152, 158, 159, 161, 165, 169, 171, 177–188; Ah, per¤do [scene and aria], op. 65, 178, 179; (Choral) Fantasia, op. 80: early performances, 178, 180; editions, 179–180; Ninth Symphony, in®uence of, 177, 182–183; overall design, 178, 180–183, 185, 186; performance forces, 179; piano soloist, 177, 180, 183n15; tempo choices, 183, 185, 186, 187; Fantasia (see (Choral) Fantasia, op. 80, above); Fidelio, op. 72, 178, 179; in®uence of Beehoven’s piano sonatas, 178nn1,2; Leonore Overture, No. 3, op. 72, 165; life and circumstances, 177; linking structure and style, 186; Mass in C Major, op. 86, 177, 178, 179; Missa solemnis, op. 123, 154, 177, 178; Ninth Symphony (Symphony No. 9 in D Minor ), op. 125, 177, 182–183; Piano Concerto No. 4 in G Major, op. 58, 178, 185; Symphony No. 1 in C Minor, op. 21, 178; Symphony No. 5 in C Minor, op. 67, 178, 182; Symphony No. 6 (“the Pastoral”) in F Major, op. 68, 178; Symphony No. 9 in D Minor, op. 125, 177, 182–183; Theatre an der Wien, Vienna, 178; works written during the Fantasia period, 177–178 bowing: accent and separation, 14–15; attacks and connections, 14–15; avoidance of term staccato, 14; basic strokes, 13–14; central concepts, 12–13, 63n19, 71n26, 86–87, 90n35, 94n37, 127, 187; full bows, 14; hooked bowing, 63n16; off-the-string strokes, 13; on-the-string strokes, 13–14; staggered bowing, 17; uniform and non-uniform bowing, 71; vibrato in bowing, 8, 15–16, 57, 159 bowing conferences, 29–31 Brahms, Johannes, 60 Burney, Charles, 59–60 C clefs, 9 cellos. See violoncellos (under orchestra: characteristics of the instruments) chalumeau, 19 col legno, 8–9 concertino, 52–53, 81, 123, 166 concertmaster, 6 conductor: basic needs, 5; conducting recitatives, 54; determining tempos, 56–57; hemiolas, handling of, 144–145; judging players’ abilities, 32; at the keyboard, 54; leadership qualities, 34; marking bowings, 16–17, 24–25, 29–31, 66; observing other orchestras, 25; score marking, 27–29, 31, 119n46, 180n9, 183n16; score preparation, 26–29; score study, 25–29; teaching phrasing, 66, 150–151 continuo. See basso continuo divisi, 8, 10 double stops, 8, 10 double-dotting, 63, 142 Eisenstadt, 150n1, 153, 156, 156n17 Esterhazy princes and princesses: Marie Hermenegild, wife of Nicholas II, 153, 154, 155; Nicholas “the Magni¤cent,” 152, 153; Nicholas II, 153, 154, 155, 156; Paul Anton, 152, 154 Eszterhaza Palace, 153 frog (of the bow), 12 Griesinger, G. A., 155 Grob, Therese, 169, 170 guiding pulse, 150, 158, 174n16, 183, 186 hand positions, 8 Handel, George Frideric, 48, 50, 59, 60, 61, 155, 156, 166n36, 169, 171, 188; articulation in the winds, 64; balance in the orchestra, 64; cuts and continuity, 101, 109, 115; early performances, 59; editions, 61–62; Messiah, 47–121, 145; overall design, 61, 90, 111–112; performance forces, 60–61, 62 harmonics, 16 harpsichord, 50–51, 137 Haydn, Franz Joseph, 67–68, 149–167, 169, 173, 176, 177, 178, 179, 188; “art of motion,” 160; Bergkirche in Eisenstadt, 149; The Creation, 153, 154, 155; Eisenstadt, 150n1, 153, 156, 156n17; Esterhazy princes and princesses: Marie Hermenegild, wife of Nicholas II, 153, 154, 155; Nicholas “the Magni¤cent,” 152, 153; Nicholas II, 153, 154, 155, 156; Paul Anton, 152, 154; Eszterhaza Palace, 153; Handel concerts in...