Index 296 II. Names anp Suayects, accaccatur, 80; vs. grace note, ST ‘Agricola, Johann Friedrich: appogg.. 7-8, 152-83; ferm.emb, 181; rec appogg. in scale formu “Ammerhaver, Josephine, 4 Andre, Johan Anton, be Angleber Jean Henry @ arpa, 165 ‘Authlag: namie pater, 9 ale Bach, "CPE Roch etn anichlagnds Vorchlag. Se appoggitura ‘can dla naa See Rag Sppoggiaura, ch 2-8 and 12-15; before Pinay notes, 16,40; in eadenial formula, 40,76; definition of long vs short 6. dovrnvard leaping, 2,30, 35-26, 63,70; ‘dramatic se of 21-28; and emotional tone of work, 26-27, 30; on feminine endings, 204,209; va. grace note 8, 11~ 15, 28°30, 87, 40-41; improvised, 179, 182-108, 204-205, 208,211, 214-215; long, 6-8, 11, 14, 16-27, 81-36, 40, 80; on masculine endings 204, 209-210; mewic Value of, 78, 115 16-16, 22, 80-38, 40, nd NMA, 76,78, 191,204,206, 209-215; pert guided by: ace, 208-211, diction, S07, expresin, 208-207, 208, 212-215, word meaning, 208, 206, 209-210, 212, 315; and pitch reption, 206, 211-213, 214; before repeated noes, 12,52: before rest, 8,16, 20°21, 31 0; rising, 207-208, 210,215; shor invariable, 6, 21-29, = 41,82 (reo Lombard sh) sy toblied, 67, 1-12, 15-10, 31-30, 52- 53,65, 204, 209-210, before ternary oie 12, 16-18, 22,31, 40: in teree ‘cule conte, 9, 77-78; befor tes, 8 16, 20-21, 31, 40; before el, 31; vocal 8716-80, 80; writen out, 31, 89-40, 32 53,65, 204-205, 207-211. Sie ab Agr cola: Bach, CP. Badura-Skoda Canis Clementi: Doberciner: Galeass, Gem ini Fillers Kalkbrenner; Koc Later LLohlein: Mancini Marparg, Milchmeyer, Mozart L; Maller; Pets, Plath; Quant, {eetative appoggiatura, Re, Reichardt Schubert: Sephich; Tari Tk; Vorc aria embellishment ch. 15; and improvised appogg., 183, 189, 204,289; in repeats, 255, 275-280; represented in NMA, 233 284; role in Mozart's musi, 230, 283-234, 289; writen out, 280-238, 231-293. See ako Badura Skoda; fermata embelish- ‘ment; Kunze; Melkus; Mosel arpeggio, ch. 11: bea placement of, 165~ 175:and coordination of parallel lines, 169, 173-174; and dynamic markings, 166, 173-174; imerval spans of, 167; Keyboard, 165, 167, 172,175; and NMA, 171, 173; nonsustained, 168, 175; and ‘orn’ tables, 165,175; perf. guided by hharmony, 168, 172, by melody, 167,172, 175uby rhythm, 167~168, 171-172, 175: in ree. ace, 168; and string instrs, 171— 172; sustained, 165,175; symbolized, 165, 175: and voice leading, 173: written out, 165, 168, 174-175, Ser aio Anglebert, ‘Badura-Skoda; Chambonnitres; Cle ‘ment Couperin; Milchmeyer; Saint Lambert side; Turk; Vorclag Antaris (publishing house), 4 370, 62n, 121, 238 Arteaga, Stefano: on ferm, emb., 181 Bach, C.PE., 106; Anschlog, 9; on antici ‘pated orn, 10, 18: appogg., 7-8, 11, 39, 152-83, emb. in repeats, 275-276: in uence on 18th-centuryinterp., 3,85 interbeat orns, 10-11: 11; pertinence to Mozart's music, 4 39; trill 104, 118n, 133; turn, 186-159, 145, 158, 163; Vg 8, 10,82. Bach, Johann Christian: arias with ferm ‘emb. added by Mozart, 216; grace note, 11, 15; influence on Mozart, 4; slide, 97; tel, 104; ern, 149; Vig 1 Bach, Johann Sebast 04 ‘Badura-Skoda, Paul and Eva:on L. Mozart's short Vg, 8-10, 39; on Morar’: appoge., 6,37-40, aria em, 298, arpg., 168-170, 174, coordination of vocal and inst lines, 25, Eingang, 266-267, 273, emb in piano concertos, 240, 243-244, 246, 251-252, 285,258, grace notes, 9, 37,44, 59,71, improvised emb., 241, Lombard rhythm, 39, eri, 85, 111, 114-115, 118, 123-124, 128,180, £32, carn, £41142, 146-147, 155, 157, «urn formula, 85, violin aden. 235, 260-261, Vig, 37-88 Balin, August, 22 Beethoven, Ludwig van, 110; adenzas for “Mozart's piano concerto (K 466), 259; slide, in Symphonies nos. 8 and 7, 108n, ist Belin, Vincenzo: drum rhythmsin Norma, 103m Benda, Franz: emb. in repeats 275 ‘Bene, Adriana Ferrarese del. See Ferrarese ‘del ene, Adriana Beyschiag, Adolf: on L. Mozart's us of Vg, Tarn, 156-187 Bisch Jean tril 110; Ve, 14 Blume, Friedrich, 82 Bonynge, Richard: and interp. of Mozart's wel, 123 Bordoni, Faustina: improvised emb.in per, 180 Broder, Nathan: on Mozar's tills, 111 cadenzas inst), ch. 17; and historical pert, 258-250; impr of, 259; inst music, 183, 257-261; length of, 259-261; modula- tions in, 258-260; and multiple slo in str. 260; for piano, 257-260; placement (of, 387; substitutions for Mozat's, 258 technical demands in, 259-261; and thematic integration, 257-261: will end. ings of, 259,261; fr violin, 260-261; for twin instrs., 261; writen out by: Badura- Skoda, 258,261, Beethoven, 239, Flo-thuis, 259,261-263, Hoffmann, 259, Hummel, 259, Mozart, 257-261, Soulima Stravinsky, 260, Teri, 260. See abo Girdlestone; Levin; Mancini: piano con- certos; Wolft cadenzas (vocal). See fermata embellishment jn haseppe:appons. 1 pace not, Cardon, Jean Gullain: appogg., 8; il, 109 Cavalier, Caterina, 280 cecar dla not, 53 Chambonnieres, Jacques Champion de arp. 165 (Cherubini Luigi, 180 Gimarosa, Domenico, 180, 182 Clement, Muzio 5: appogg. 8: arpg. 165; impr. in pert, 181; remblement li, 05, trill, 703} turn, 137-158 concertos, piano, Se piano concertos Continuo, im Mozarts piano concertos, 253 255 Corti, Domenico: improvised emb., 180; re appogg.. 188-190; urn, 149 ‘Couperin, Francois: arpg., 165; tremblement ‘continu, 105; el, 130 dal Prato, Vincenzo Se Prato, Vincenzo dal ‘TanglebertJean Henry Ser Anglebert, ‘jen Henryd Dinnreuther Edvard: Vii scale and turn Tormulay, 66,89 Dauscher, Andres: til 170 det Bene, Adriana Ferraree. Ser Ferrarese ‘del Bene, Adriana Ditersdor, Rar iter von, 8:on impr. raced by keyboard players 181-182, Bes DDoberiner, Christian: appoe nscale and turn formule Doles Johann Friedrich: Vin scale or- mula 8 Donets, Gaetano: tril chin, 130 Dopp. Ser rm aethgeondrVoehlg Se grace note Busse (Dusched), Franz Xaver Vin cle formula 8 87-88; Vig bers, Car Friedrich: trill, 107-108 Enngeng lead-in) ch. 18, 179, 183,204, 258 260; length of, 264, 270-271, 274; NMA suggestions for, 264-266, 268,270; non- thematic character of, 264, 271; pert fuided by fermatas, 964-970, 72-973, Rarmonic movement, 264, 267. 271,273, thematic transition, 265-274; placement of, 264-266, 270-271: role of 268-267, 270-271, 278; in rondo movements, 264 267-269, 273; writen out, 267, 269-273. See alio Badura Shoda: Reeser; Rosen Engel, Hans, 2550 Esser, Cart Michael Riter von, 294 fermata embellishment, ch. 14,179,183, 204: at end of aia, 215,220; evidence of, in Morart’s music, 216-217: functions of, 217,299: length of, 218, 228-294, 229, 283; in mid-avia. 218; NMA interp. of 222-227, 229; pert guided by: context, 218-221, 220, broad fermata symbol, 218-221, 229, words, 218-220, 229; role in Mozart's muse, 229, 230,289; written cout, 217. Seco Agricola: Arteaga Fine ther; Giegling: Hearts, Kunse; Mancini Path; Rehm: Taghavini, Tos Ferrarese del Bene; Adriana, 217,219 Finscher, Ludwig ugeted erm bs. in "gore 224-235 Fucher Edwin, 259 Facher goaz Ludwig, 259, 260n cher Kurt on, 73. Poth, Mariue cadenza suggestions for 297 ‘Mozar’s works, 259,261~263; on Mo» zarts impr. in perf, 256; on role of con {inuoin plano conceros, 258 Frederick the Great: improvised ems in ert 180 Index glans style, 81,97, 182 Galeaze, Francesco: appogg.. 8 Garcia, Manuel (on): and Donets til chains, 130; and Mozart's rec, 190-191 Geminian, Francesco: appogg. 7: embs. in ‘repeats, 275 Geofiroy-Dechaume, Antoine: on misuse of ‘orn tables, 3, 165, Gervasoni, Carlo: grace note, 1-15; tr 109; Vg 14 Giegling, Walter: suggested ferm. embs.in ‘NMA; 222 Giordani, “Tommaso: rec. appogg. in Art i PORE: Girdlestone, Cuthbert on improvised embs. in Mozart's piano concertos, 246,251; on substitution for Mozart’ cadenzas, 258 Gluck, Christoph Willibald: Mozart's insert for Aleste, 201, rec. appogg.in Ofe, 190, 204; slides in Orfeo, 99n: 20g and N'gin Aleese, 94 Gouiron, Adam; on Mozart's improvised cembs. 247 grace note, ch. 4, 6-15; vs. azcaecatua, 37 before an appogg.. 4244; and articula tion, 12-18; at beginnings of phrases, 58, 70; in cadential formula, 76; before dated "hythms, 56-58; before even binary notes, 4$2,46-49; and dynamics, 9,14; and impr. 10, 179: before a mordent, 58-60: endorsed by NMA, 9, 12-13, 42, 44,46 47, 49-50, 52, 55-58, 60,68, 66-70, 75— 76,78, 131; notation of, 67, 10-12, 16: before repeated notes. 42. 51-52, 64 following rests, 58, 70: and rhythm, 10, 12-13; rising ahalf-step, 42. 51,93: vs short appogg.8, 11-14, 28,30,37-41; before single notes, 42, 50-51: before staccato notes, 42,44, 49-50, 72, 75,78: before syncopations, 55: in ecescoulées context, 10,38, 76-78; before triplets, 2, ‘44-46; upward leaping. 42.53, 60-75; Zoig character of, 16, See also aeciaceature: Bach, JC: Badura-Skoda: Cajani; Gerva: soni: Haycn: Klein; Koch, Lohlein: Mar- Milchmeyer: Mozart. L ‘lag: Quante; Reichardt ‘Ricci: Schubert; Tartini; Turk: Za chenchlog _gidels) to perf of rns. inace., 89, 190, 208-211; articulation, 60,68, 75,101 context, 18, 6, 91-95, 6, 18-221, 290: diction, 18-19, 23-24, 28, 80,42, 53-54, 65, 90, 185,189, 191, 197,207; dynamics, 8-10, 14, 42,47, 54-55, 65,87, 92,94, 99,Index 298 (eontied) 100-101, 126, 134, 143, 150-151, 153— 154, 195; expression, 31,35, 40,42, 65- 64, 77-78, 80, 87, 92,95, 99-101, 103, 187-189, 191, 195-196, 199, 203, 09, 212-215; harmony, 20,40, 42-48, 66-68, 78, 87-88, 111, 127-198, 140, 168,172, 264, 267-208, 271, 273; melody, 42,47, 62-68, 65, 78-75, 38, 87,91, 94-95, 100, 141-143, 155, 165, 167,172, 175; rhythm, 42,4, 47, 55-62, 65, 91-98, 95, 167-168, 171-172, 175; speech melody, 185, 191, 198, 203; tempo, 46,56, 60,62, 65, 70, 177-78,87,89, 03-98, 95,145, 150, 158 159, 195; thematic rhythm, 100-101; word meaning, 20, 28-25, 28, 0,52, 204, 206, 208-210, 218-920, 229 Gulda, Frederick: improvised emb. in perf (on Pear record) of C major concerto (K 467), 253, Hasse, Johann Adolf improvised emb.in ‘Cire, 180 Hawking, John, 180 Hayao, Prone) Joueph: grace note, 1415, improvised ess 180,182, crt, 140n, 113; Vin scale and tara formulas, 81 Hearts, Danie: suggested ferme in “domonee, 225 Heusiner, Hort, 2850 Hiller, Johann Adam appogg 82-83, 187; improvised embs, 277; Vg scale and tu formulas, 82-83, 89 Hofer, Josepha, 230 Hofimann, Heinrich Anton, 247 Hofimann, Philipp Cal suggested embs. for Morat’sprano concertos, 247.258, 255-256 Hoffmeister (publishing house), 4 Hullmandel, Nicolas Josep: rl, 106-107 Himmel, Jobann Nepontek, 259; sug. td embs. for Morarts piano concertos, 48-250, 258, 255-256, 269, wil, 110- ur improvisation, 179-188; 18th-ceneury pracices, 119-180, 253-254 instr, 181— 12, 185,275; lalla practices, 179180, 132,204, 275; late Baroque vocal prac- tees, 236; and music of Cherubini, 180, Cimarosa, 160,182, Haydn 180,192, Martin y Soler 180182, Pueslo, 180, 182, Rossin, 181 Sali, 180,182, Set fan, 180, Vignt, 180, Winer 180, performed by: Bordon, 180, Clement ISI, Frederick the Great, 180, Morar. 11, 182,240, 257-256, 375, 278 in repeats 273-281; role in Mozaes music, 170-186, 182.204.241.278, 277-279, 28); vod), 180-183, 280 Se abo ara ‘mbelishment; Ateaga: Bach, C:PEs ‘denzas Cori; Ditersdor, Koch Levin; Mancini Mozart, piano concertos Quantereetave; Tos, Turks and names afspecfcorns. eg. appogyiatur: grace not side, turns a) instrumental ornaments: guidance of ex pression, 3: idiomatic demands, 1; Inpredhion of orn pert, 76,87, 89 Inmet, Oto von interp. of Moca 112, 126,118, 20-122, 126-127 Ihalan morden"See mordent Joachim, Joseph, 89 Kalkbrenner, Friedrich: appogg.7 Klein, Johann Joseph grace note, 14-15; ar Knecht, Justin Heinrich til, 107-108; Vg, i Koch, Heinrich Christoph: Anshlag, 149; race not, 9, 13-15, 82, 44;amprovised ‘tbs, 183: ong appogs. 7: ree appoRR. 187718; slide, 97°98; il, 18-10P, turn, 49 Kunze! Stefan: on cmb. in Mozart’ arias, 222-295, 254, 259, Landon, H.C. Robbin, Ma Laser, johann Baptist "alin mordent, 138-189; long appogg, 7; rec. appoge.. 188-189; wil, 108; tr, 138-140, gin scale forma, 85,89 Levin, Robert Don improvised embs.in Mozar's musi, 256; on substations for Morar’ eadentas, 258 Liat Din, 259 Lsersani, Giuseppe: til, 109 Lohlein, Georg Simon: grace note, 10; long appoue.,7 Lombard thythm, 9,37-40,77-78, 84. See ‘ae appoggiatua, short Lips, 108. Mancini, Giambatista: cadens: appogg. 189,204,212, Manfreani, Vincenzo: ec appogg. 189 Marpurg, Fiedrich Wilhelm: spo, 7 race mote, 10; ec ppogs., 66-187, foe pees Martea, Henri, 89 rertlimcnt See Sealer Martensen, €- interp.of Morar’ til, 112, 116,120,130 Martini, Giovanni Batista (Pade): grace ‘note 10; influence on Mozart “Martin y Sole, Vicente! improvised embs, 180, 182 Matheson Johann, 5 Melkis, Eduard om improvised embs.inda topo arias, 230 Merch, Joseph Bernard: tril, 109 Milchmeyer Johann Peter arp, 148-149, 165-166; grace note 1-12 15-15, 42, 44; long appogg 7 11-12, Schnell, 19, 108; tar 148149, Vig 1 18 mordent: beat placement of, 89; inverted (Gee Sebel aan,” 5, 138-199, 16; mulkiple, 109; notation of, 60-68, 109; preceded by Vg 58-60; n ree. 187; ss. turn, 60-62. See aio Gervasons, ire ser: Livers ei tara orden, 137, 194-155, Ser ale mordent ‘Mozart, Ls Tarn tarn Mose, gna: on aria eb, 258-259 Morare Leopold: sppogg 6-8, 30; embs. in repeat 275-2761 grace note, 9-10, 13, 15,89: influence on Mozart, orden, 187, 154-155: torn, 138,148 20 90 Mozart, Wolfgang Amadeus: application of TBth-century res 4, 21-28, 42 auto graphs ix 4,33, Sim, 40,47, 54-55, 6, 2m, 66, 8, $2, 95, 99-102, 124, 125, 194, 136, 145, 147,152, 154,165, 173, 216 218, 288,290, 254258, 258, 208.275,278-279; aversion toemb. excesses, 234, 238, 248, 277; concessions to singers, 280, 284, 288; first editions, vi, 4, 978,620, 121, 275; gusto ax principle in musical perf. 5,18; impr, vi, 179, 182,204,275, 277-978, and writen-out embs, 183, 277, 280-281, in his pert, 181-182, 240,357 258,275,278; influences of: J.C. Bach, 4, Italian sje, 21,179, late Baroque vocal practices, 280, Martini, 4, L. Mozart 4,21 Instr music, 8, 3141, 54 75 eters, 4-5, 217,280, 234, 240-241, 248, 258; sources used in interp,, 3-5, 21-23: tempos, 155: ‘vocal music, coordination with instr ace, 22, 25,28, 80 ‘Maller, August Eberhard: grace note, 12~ 13, 15,44; long appogg..7 [Nackclog, 11,58, 90; compared 1 Ze, 90 ‘See alio grace noe; ornaments, iterbeat wichehlog [Neve Mozart ucgabe (NMA) articulation ‘marks 47, as souree, coordination of ithinat ine, 24-25; dynamic ‘markings, 39; interpretation of appogg. 76,7, 191, 204, 200, 209-215, ari em, 235-254, arpg, 171,178, Einginge, 204. 266,268,270; emb-in piano concerto, 240,248, 246, erm. mb 292-227, 299, race notes, 9 1213, 42, 44, 40-47, 49" 50,52, 55-56, 8, 60:63, 69°70, 75-76, 78,181, rec appogg, 184, 190-192, 204, side, 10, 1 151, 155-156, Vg, 10, 18-19, 22,26, 3, 35-36, 37m, 87, 66-69, 2g, 90, 02-98 Niemetachek, Franz on Mozart's vocal sl 238 Nopitich, Christoph Friedrich With ‘ill 105-107 ‘ornaments, and thematic rhythm, 44, 56: “anticipated, 10-11, 14-15 (se also grace rotes): in rec. 187, 1895 instr imprect sion of pert, 76,87, 89; interbeat, 10-11; symbolized vs. wrtten-out, 24. Se also improvisation; and names of specific orn. ornament tables: and appogg trl, 104-105; and arpg., 165,175; dangers of, 3,5, 165. Seealie Geoffrdy-Dechaurme overlong appoggtatura. See appoggiaura: before rests belore tes Paesiello, Giovanni improvised embs, 180, 182 Paradis, Maria Theresia, 246 ‘passage, 180-181, Se ali improvisation Pets, Johann Samuel: appogg.. 7: side, 97 Vigin scale and turn formulas, 82-83,89 piano concertos, improvisation in, ch. 16; ‘nd 18th-century pert practices 253: and Mozar's continvo, 253-255: and Mozart's fragmentary piano notation, 340-241, 258; and works written for Mozart's use 240-241; and works writen for other performers, 241-244, 246; and works tertten for publication, 241, 244: com- pared with Solo piano works, 242,246 B47; guidance of ae, 242-243, 255-256; performed by: Gulda, 253, Mozart, 246 247, 252-253; in rondos, 280-281: in slow ‘movements, 246-247 in tut passages, 255; writen-out suggestions by: Badura- Skoda, 240, 243-244, 246, 251, 255,259, Beethoven, 258, Flothuis, 259, Girdles: tone, 251, Hoffmann, 247, 258, 255-256, 259, Hummel, 248-250, 958, 255-256, 259, Mozart, 241-242, 54, 257-259, [NMA editors, 240, 244,246, Ployer, 251 252, 255-256, Rehm, 244, Reinecke, 246- 247 Seealo Badura-Skod cadenza; Ein. gong; Engel; Girdlestone; Heussner; Lev- fn; Reinecke; Rosen 209) Plath, Wolfgang, 82,280, 251; on impro- ‘ised appoggs.in Mozart's closed num. bers 204, 214; erp of Morante, suggested ferm. embs, in Dom Gira asa51 Pleyel, Ignaz: appogg. 8; tril, 106; Vgin seale formula, 84, 89 Ployer, Barbara, 246; suggested emb. 10 iano concerto (K 488), 251-253, Index orpora, Nola, 149 porlamente, 83, 73, See alte grace note, up ward leaping side Pralllr, 104,106, See also til Prato, Vincenzo dal, 217 ‘Quantz, Johann Joachim: appogg.. 7-8: temb. in repeais, 275-276; grace note, 10, 13,15, ¢2jimpr. 181; cura, 138; V4, 2, 2 Rameau, Jean Philippe il, 125 eta scmpapts:definin, 185 Feeitativeappogetatua, ch 12: n accom ‘agnato passages, 185, 189-191, 198, 202 1thcentary conventions, 184-185; on feminine ending, 184-190, 192, 196, guidance of: ace, 190, articulation, 195, Shicion, 185, 189,19, 197, dynamics expression, 186-189, 191-193, 195-196, 190"200, 202 speech melody, 185,191, 193,203, tempo 185, word meaning, 1917195, 199,203; leaian influences, 185-189; on masculine endings, 194 186-187, 191, 196; Nita, 184, 190-192, 195-201; and pith repetition, 198-202 inquesions, 16-197 rising, 186,189 151, 195-197, 202-203, role of in Mos ars music, 14, 202-203; nse pa. ‘ages, 185, 189-190, 202: writen ob, 194 Seralo Agricola; Core, Gluck; Garcia (Gon): Hiller: Koch Laser: Mancini Manredini Marpurg: Relay Schubert Schuls Stegich: Ielemann: Tos rechative, sc: definiion, 185 ‘eiative empl, See reckative sco. Redlich, Hans, 156m Reeser Eduard, 270 Rehm, Wolfgang: on improvised appogg. in ‘Motartscloved numbers, 204,214 interp ot Morar’ tll 150; suggested em. nb fat plano concerto (K 598) 244; sug gested ferm em in Don Giovanni 325- fr Reichardt, Johann Friedrich: grace ote, 1, 15; long appogg. 11 Reinecke, Caron improvised embs.in Mozar's piano concertos 242, 46-218 Reliab, Johann Carl Friedrich: anticipated ‘rma, 10-11, 15; ree. ppogg 188 Rech, F Pasquale: grace note 11, 15;side, ‘97>, LO tore, 149; 11 5,Index 300 Riemann, Hugo: on forgotten conventions, 179 Rosen, Charles, 255-256, 266 Rossini, Gioacchino: improvised embs, 191 Sabbatini, Luigi Antonio: will, 107-108 Saechini, Antonio Maria Gaxparo: rec. ‘ppogs. in Perse, 190 Saint Lambert, Michel de: arpg., 165 Salieri, Antonio: improvised embs., 180, 182 scale formula definition, 81 Schenker, Heinrich: turn, 145n, 157-158, 181 Schleifer. See slide Schmiez, Hans-Peter, 78 Sehnaler, 104-106, 109, 113, 116, 118,129, 163; symbol, 113, 139, 144; vs. cl, 129, 144 See also Milchmeyer, till; tura ‘Scholz, Heinz and Robert: interp. of Mo artes, 12 Schubert, Johann Friedrich: grace note, 14 : improvised embs. 182: long appogs., ree appogg, 1882189; will, 104: cur, 138-140 Schule, J. A. P, 1805 ree. appogg., 186-188 Scotch snap, See Lombard thythim Senn, Walter, 64,72 shake, Sete slide, ch. 7,78; anapest form, 97-101, 103; beat placement of, 97-99, 108; dacty form, 97; guidance of: articulation, 101, dynamic markings, 99-101, expression, ‘99-101, 103, melody, 100, thematic rhythm, 100-101; and impr. 179; Lom: bard form, 97-98, 100, 108; notation of, 97-98, 108. See ali arpeggio: Bach, J.C: Beethoven; Gluck; Koch; Petri: Rice slide-tril; Vorsclag, upward leaping, stide-tril, 104,111, 114, 124, 188 ‘Spontini, Gasparo’ drum rhythmsin La ‘wstale, 1081 Stadler, Maximilian, 168 ‘Steffan, Agostino: improvised embs, 180 Steglich, Rudolf, 22: on improvised ap- ‘oggs. in Don Giovanni's Canzennetia, 206 Inerp. of Mozart's ree. appogg., 194: on Mozart's tril, 1; Vig in seae formula, 86-87, 89, Survisy, Souima 260 Sussmeyer, Franz, “Taglasni, Luigi Ferdinand: suggested {erm embs.1n NMA, 22 “Tantn, Guseppe: grace note (oppogriatura 1 pasaggio), 10, 12-13, 15, 4,40: long SPpoge (apbogriata lange ota sxe a), 7, 10; mardeie, 199, 154-155; short appogg. 8: turn, 138,148 “Telemann, Georg Philipp: re. appos. 185,180 “Tents, Lionel, 260 thorough-bass accompaniment, 183 ‘eres cous, 76-81; as conten or grace Totes, 10,39, 77-98; as context for short appar. 39 “Toricella (publishing house), 4 “Tosi Pierfrancesco: erm. em, 180-181; rec, 189 trembloment contin, 105, See ao el tremblement bi 105-106, See als ti trl chs. 8-9: i ac, 126; appors, ill, 104-106, 111, 114-116, 123, 131,134; at beginnings of pieces/ections, 117: caden- tial, 106-108, 110, 114,124, 130,259, 261; compound, 106, {14, 138-134; [8uh- century practices, 104, 111; ona fermata, 107-108; grace-note till, 104,110, 115~ 118, 129-134; guidance in starting, 13-114, 117, 134-135; guidance of dynamics, 126, 184, harmony, 111, 127— 124; and impr,, 179; on leading tone, 123; ‘main-note wil, 104-112, 114, 116-198, 134; NAFA, 136; in orn, tables, 106-105; fon pitch of preceding note, 181; in rec, 187; following ress, 117; and scalewise moving figures, 111, 120-124; vs. Schme. ley, 128; suffix, 113, 120, 185; symbols, 6, 109, 113, 129; and thematic figures, 117122, 127 ill chains, 111, 123598 turn, 85-86, 144; vocal, 190. See alto Abert; Albrechisberger; Bach,C. PE: Bach, J.C Bach, JS. Badura-Skods, Bisch: Broder: Cardo; Clement Couperin; Dauscher: Ebers; Gael Gervasoni; Hullmandel; Hummel emer: Knecht; Koch; Lasser; Livertiani; Man ‘ini, Marpurg: Martiensen; Merchi; Milchmeyer: Nopitsch; Path; Pleyel: rally; Rameau; Reh; Riel Sab- hatin Seller; Schole; Schubert slide will: Steglich; Turk; turn-tril; Weismann ‘Tromiitz, Johann Georg: ura, 137-138, 148, 160, Tatk, Daniel Gotob: appogg.,7-8, 189; arpg., 165-169, 175; embs in repeats, 277-378; grace note, 9, 14-15; ull 104 105, 133; turn, 137-138, 149-150, 160; Vig 10,84, 89 turn, ch. 10; beat placement of, 189-144, 146, 148-158, 164; qnd binary notes, 138, 145, 158-159; and dowed nots, 136, 138, 145-148, 159-161, 168; embedded, 136 139, 145-148, 151152, 157-158, 163— 164: in ensembles, 146; four-note vs Uhree-note, 196-140, 142, 145-146, 148, 157-158, 160-161, 163-164; guidance of: ace, 39, dynamics, 142-143, 150-151 158°154, harmony, 140, melody, 14 142,155, 168, chythm, 141,188, 155-157, 161-168, cempo, 145,150, 158-159; and impr. 179; in inst music, 163; vs. mor dent, 60-62; and NMA, 144, 151, 155~ 156; inverted (ascending), 136, 148149, 163: metric value, 186-138, 145-146, 158-161; prenote, 186-144, 147-148, 163-164; and repeated notes, 141-143, 156; before naceato notes, 142, 153; standard (descending), 136, 148149, 151-152, 168; symbolized, 89,136, 138 139, 143-148, 157-158, 161, 163-164; before thematic figures, 152-153, 156, 161; ¥s. till, 85-86, 144: following t suffix, 149; vocal nuances, 149: and voice leading 187: nd WAM. Mw (60-62, 196, 138, 145-149, 151, 157— 163-164. Seals Albrechtsberger: Bach, C.P.E.; Bach, J. C; Badura Shoda Beyschlag: Clementi Corsi; Haydn: Irmer; Koch; Lasser; Milchmeyer; mor dent; Mozart, L Quanta; Schenker Sehneler; Schubert slide-rill; Tartini; ‘Tromltz; Turk; turm-trillturn formula: definition, 81 turn-ril, 104,106, 111,124, 198-134 Verdi, Giuseppe: drum rhythms in Il rove tare and Les Veprssiiennes, 1031 \Vignat, Giuseppe: improvised em. 180, Vershlag, ch. I: beat placement of 8-10, 14,97, 42; in cademtial formula, 76; coor ddinated with arpg in parallel lines, 173; ‘denomination of, 16, 18-20, 0-38, 4, 50-51, 59, 5, 57-58, 62, 64-70, 75,77_ 78,80; downward leaping, 35-36, 62-63; ‘equalization applied to turn and scale Formulas, 81-80; guidance of articula- tion, 60, 68,75, context, 18, 86, diction, 18-19, 23-24, 38, 30, 42, 58-54, 65, c namie, 8-10, 14, 4, 47, 54-55, 65,87 expression, 18-19, 23, 31,35, 40,42, 63— 64,77-78, 80, 87, harmony, 20,40, 42-43, 173,87-88, melody, 42,47, 62-63, 65,73, 74-75, 78,87, rhythm, 42,44, 47,55-62, 65, tempo, 48, 60,62, 65,70, 77-78, 87, 39, word meaning, 20, 23-25, 28, 30, 93; metric value, 11, 14, 18-19, 32-88, 40; scale and turn formulas, 81-89; befor Saceato notes, 42, 44,47, 49,72, 75,78, 82; symbolized, 16, 1-84, 53, 63, 66-68, 171,74, 78; in trees coules context, 39, 76 BL; vs. Zu 90; upward leaping, $6, 73, 75, written out, 2-38, 66, 71,85, See also accacctura; Agricola; appoggiaturas Bach, C.P.E.; Bach, J.C; Bisch; Dan- preuther; Doles; Dussek; Gervasoni; grace pote; Haydn: Hille; Klein: Knecht; Lasser, Milchmeyer; Petri Pleyel; Quantz; Ricci: slide; Steglch; Turk; Zuschenchlag Index W.A.Mosarts Werke(W.A.M.): coordination ‘of vocal and instr lines, 24-25: Lombard thythm, 38; as source, x: turns, 147; Zu » 6 301 Wagner, Richard: on Mozart's tempos, 155 Wartensee, Xaver Schnyder von, 247, Weber, Aloysia, 291,234 Weinmann, Alexander, 4 Weismann, Wilhelm: interp. of Mozart's 16, 120, 130 Winter, Peter: improvised em, 180 Wolf, Christoph, 244, 254, 257-258 Zuischenschlag, ch. 6,76; uidance of: con text, 91-93, 96, dition, 90, dynamics, 2, 94, expression, 92,95, melody, 91, 94-98, rhythm, 91-98, 95, tempo, 92-93, 95; ‘NMA, 90, 92-95; before nonharmonic ‘notes, 95, 96; notation, 91-92, 94-95; repeated within even notes, 95, 9: before single notes, 95-96; before staccato notes, {92,861 before syncopation, 91,98: before thematie rhythm, 92,95; before triplets, 92,96; WAM. 92Library of Congress Cataloging in Publication Data Neumann, Frederick. ‘Ornamentation and improvisation in Mozart. Bibliography: p. Includes index. fozart, Wolfgang Amadeus, 1756~1791— Criticism and interpretation. 2. Embellishment (Music) 3. mprovisation(Music) I. Tide. ML410.49N26 1985 780'.92'4 85-42694 ISBN 0-691-09130-7 (alk. paper)