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<TABLE CELLSPACING=0 CELLPADDING=0><TR><TD>Preface</TD><TD WIDTH=40></TD><TD VALIGN=TOP>vii</TD><TD></TD></TR><TR><TD>Acknowledgments</TD><TD WIDTH=40></TD><TD VALIGN=TOP>xiii</TD><TD></TD></TR><TR><TD>Second Edition</TD><TD WIDTH=40></TD><TD VALIGN=TOP>xiv</TD><TD></TD></TR><TR><TD>Contributors</TD><TD WIDTH=40></TD><TD VALIGN=TOP>xv</TD><TD></TD></TR><TR><TD><TABLE CELLSPACING=0 CELLPADDING=0><TR><TD WIDTH=40></TD><TD>The Instruments</TD></TR></TABLE></TD><TD WIDTH=40></TD><TD VALIGN=TOP>1</TD><TD VALIGN=TOP>(32)</TD></TR><TR><TD><TABLE CELLSPACING=0 CELLPADDING=0><TR><TD WIDTH=100></TD><TD>Laurence Libin</TD></TR></TABLE></TD></TR><TR><TD><TABLE CELLSPACING=0 CELLPADDING=0><TR><TD WIDTH=60></TD><TD>Idioms and Instruments</TD></TR></TABLE></TD><TD WIDTH=40></TD></TR><TR><TD><TABLE CELLSPACING=0 CELLPADDING=0><TR><TD WIDTH=60></TD><TD>Social Contexts</TD></TR></TABLE></TD><TD WIDTH=40></TD></TR><TR><TD><TABLE CELLSPACING=0 CELLPADDING=0><TR><TD WIDTH=60></TD><TD>The Industry Construction, Mechanisms, Ranges</TD></TR></TABLE></TD><TD WIDTH=40></TD></TR><TR><TD><TABLE CELLSPACING=0 CELLPADDING=0><TR><TD WIDTH=60></TD><TD>The Harpsichord The Clavichord</TD></TR></TABLE></TD><TD WIDTH=40></TD></TR><TR><TD><TABLE CELLSPACING=0 CELLPADDING=0><TR><TD WIDTH=60></TD><TD>The Piano</TD></TR></TABLE></TD><TD WIDTH=40></TD></TR><TR><TD><TABLE CELLSPACING=0 CELLPADDING=0><TR><TD WIDTH=60></TD><TD>The Organ</TD></TR></TABLE></TD><TD WIDTH=40></TD></TR><TR><TD><TABLE CELLSPACING=0 CELLPADDING=0><TR><TD WIDTH=60></TD><TD>Carillons and Other Keyboard Instruments</TD></TR></TABLE></TD><TD WIDTH=40></TD></TR><TR><TD><TABLE CELLSPACING=0 CELLPADDING=0><TR><TD WIDTH=40></TD><TD>Aspects of Performance Practice</TD></TR></TABLE></TD><TD WIDTH=40></TD><TD VALIGN=TOP>33</TD><TD VALIGN=TOP>(35)</TD></TR><TR><TD><TABLE CELLSPACING=0 CELLPADDING=0><TR><TD WIDTH=100></TD><TD>Eva Badura-Skoda</TD></TR></TABLE></TD></TR><TR><TD><TABLE CELLSPACING=0 CELLPADDING=0><TR><TD WIDTH=60></TD><TD>Problems of Text and Notation</TD></TR></TABLE></TD><TD WIDTH=40></TD></TR><TR><TD><TABLE CELLSPACING=0 CELLPADDING=0><TR><TD WIDTH=60></TD><TD>Tempo</TD></TR></TABLE></TD><TD WIDTH=40></TD></TR><TR><TD><TABLE CELLSPACING=0 CELLPADDING=0><TR><TD WIDTH=60></TD><TD>Rhythm</TD></TR></TABLE></TD><TD WIDTH=40></TD></TR><TR><TD><TABLE CELLSPACING=0 CELLPADDING=0><TR><TD WIDTH=60></TD><TD>Ornaments Improvised Embellishments</TD></TR></TABLE></TD><TD WIDTH=40></TD></TR><TR><TD><TABLE CELLSPACING=0 CELLPADDING=0><TR><TD WIDTH=60></TD><TD>Authenticity and ``Original'' Sound Early Use of the Cembalo con martelli</TD></TR></TABLE></TD><TD WIDTH=40></TD></TR><TR><TD><TABLE CELLSPACING=0 CELLPADDING=0><TR><TD WIDTH=60></TD><TD>Good Execution: Music as Language and Rhetoric</TD></TR></TABLE></TD><TD WIDTH=40></TD></TR><TR><TD><TABLE CELLSPACING=0 CELLPADDING=0><TR><TD WIDTH=40></TD><TD>Johann Sebastian Bach</TD></TR></TABLE></TD><TD WIDTH=40></TD><TD VALIGN=TOP>68</TD><TD VALIGN=TOP>(56)</TD></TR><TR><TD><TABLE CELLSPACING=0 CELLPADDING=0><TR><TD WIDTH=100></TD><TD>Robert L. Marshall</TD></TR></TABLE></TD></TR><TR><TD><TABLE CELLSPACING=0 CELLPADDING=0><TR><TD WIDTH=60></TD><TD>The Repertoire</TD></TR></TABLE></TD><TD WIDTH=40></TD></TR><TR><TD><TABLE CELLSPACING=0 CELLPADDING=0><TR><TD WIDTH=60></TD><TD>Bach's Instruments</TD></TR></TABLE></TD><TD WIDTH=40></TD></TR><TR><TD><TABLE CELLSPACING=0 CELLPADDING=0><TR><TD WIDTH=60></TD><TD>The First Decade, ca. 1703-1713: Apprenticeship and Early Mastery</TD></TR></TABLE></TD><TD WIDTH=40></TD></TR><TR><TD><TABLE CELLSPACING=0 CELLPADDING=0><TR><TD WIDTH=60></TD><TD>The First Synthesis: 1713-1723</TD></TR></TABLE></TD><TD WIDTH=40></TD></TR><TR><TD><TABLE CELLSPACING=0 CELLPADDING=0><TR><TD WIDTH=60></TD><TD>The Second Synthesis: Leipzig, 1726-1741</TD></TR></TABLE></TD><TD WIDTH=40></TD></TR><TR><TD><TABLE CELLSPACING=0 CELLPADDING=0><TR><TD WIDTH=60></TD><TD>The Final Decade</TD></TR></TABLE></TD><TD WIDTH=40></TD></TR><TR><TD><TABLE CELLSPACING=0 CELLPADDING=0><TR><TD WIDTH=40></TD><TD>French Masters</TD></TR></TABLE></TD><TD WIDTH=40></TD><TD VALIGN=TOP>124</TD><TD VALIGN=TOP>(30)</TD></TR><TR><TD><TABLE CELLSPACING=0 CELLPADDING=0><TR><TD WIDTH=100></TD><TD>Mark Kroll</TD></TR></TABLE></TD></TR><TR><TD><TABLE CELLSPACING=0 CELLPADDING=0><TR><TD WIDTH=60></TD><TD>Elements of the Style</TD></TR></TABLE></TD><TD WIDTH=40></TD></TR><TR><TD><TABLE CELLSPACING=0 CELLPADDING=0><TR><TD WIDTH=60></TD><TD>The Keyboard Genres</TD></TR></TABLE></TD><TD WIDTH=40></TD></TR><TR><TD><TABLE CELLSPACING=0 CELLPADDING=0><TR><TD WIDTH=60></TD><TD>History to about 1750 After Mid-Century</TD></TR></TABLE></TD><TD WIDTH=40></TD></TR><TR><TD><TABLE CELLSPACING=0 CELLPADDING=0><TR><TD WIDTH=60></TD><TD>Influence and Legacy</TD></TR></TABLE></TD><TD WIDTH=40></TD></TR><TR><TD><TABLE CELLSPACING=0 CELLPADDING=0><TR><TD WIDTH=40></TD><TD>Domenico Scarlatti</TD></TR></TABLE></TD><TD WIDTH=40></TD><TD VALIGN=TOP>154</TD><TD VALIGN=TOP>(37)</TD></TR><TR><TD><TABLE CELLSPACING=0 CELLPADDING=0><TR><TD WIDTH=100></TD><TD>Frederick Hammond</TD></TR></TABLE></TD></TR><TR><TD><TABLE CELLSPACING=0 CELLPADDING=0><TR><TD WIDTH=60></TD><TD>The Career</TD></TR></TABLE></TD><TD WIDTH=40></TD></TR><TR><TD><TABLE CELLSPACING=0 CELLPADDING=0><TR><TD WIDTH=60></TD><TD>The Sources of the Scarlatti Sonatas</TD></TR></TABLE></TD><TD WIDTH=40></TD></TR><TR><TD><TABLE CELLSPACING=0 CELLPADDING=0><TR><TD WIDTH=60></TD><TD>Scarlatti's Instruments</TD></TR></TABLE></TD><TD WIDTH=40></TD></TR><TR><TD><TABLE CELLSPACING=0 CELLPADDING=0><TR><TD WIDTH=60></TD><TD>Aspects of Performance Practice in Scarlatti</TD></TR></TABLE></TD><TD WIDTH=40></TD></TR><TR><TD><TABLE CELLSPACING=0 CELLPADDING=0><TR><TD WIDTH=60></TD><TD>The Sources of Scarlatti's Keyboard Style</TD></TR></TABLE></TD><TD WIDTH=40></TD></TR><TR><TD><TABLE CELLSPACING=0 CELLPADDING=0><TR><TD WIDTH=60></TD><TD>The Structure of the Scarlatti Sonata</TD></TR></TABLE></TD><TD WIDTH=40></TD></TR><TR><TD><TABLE CELLSPACING=0 CELLPADDING=0><TR><TD WIDTH=60></TD><TD>The Development of Scarlatti's Style</TD></TR></TABLE></TD><TD WIDTH=40></TD></TR><TR><TD><TABLE CELLSPACING=0 CELLPADDING=0><TR><TD WIDTH=40></TD><TD>Carl Philipp Emanuel Bach</TD></TR></TABLE></TD><TD WIDTH=40></TD><TD VALIGN=TOP>191</TD><TD VALIGN=TOP>(39)</TD></TR><TR><TD><TABLE CELLSPACING=0 CELLPADDING=0><TR><TD WIDTH=100></TD><TD>David Schulenberg</TD></TR></TABLE></TD></TR><TR><TD><TABLE CELLSPACING=0 CELLPADDING=0><TR><TD WIDTH=60></TD><TD>Bach's Keyboard Style</TD></TR></TABLE></TD><TD WIDTH=40></TD></TR><TR><TD><TABLE CELLSPACING=0 CELLPADDING=0><TR><TD WIDTH=60></TD><TD>Organization and Editions of Bach's Keyboard Works</TD></TR></TABLE></TD><TD WIDTH=40></TD></TR><TR><TD><TABLE CELLSPACING=0 CELLPADDING=0><TR><TD WIDTH=60></TD><TD>Bach's Keyboard Works</TD></TR></TABLE></TD><TD WIDTH=40></TD></TR><TR><TD><TABLE CELLSPACING=0 CELLPADDING=0><TR><TD WIDTH=40></TD><TD>Johann Christian Bach and the Early Classical Italian Masters</TD></TR></TABLE></TD><TD WIDTH=40></TD><TD VALIGN=TOP>230</TD><TD VALIGN=TOP>(40)</TD></TR><TR><TD><TABLE CELLSPACING=0 CELLPADDING=0><TR><TD WIDTH=100></TD><TD>Daniel E. Freeman</TD></TR></TABLE></TD></TR><TR><TD><TABLE CELLSPACING=0 CELLPADDING=0><TR><TD WIDTH=60></TD><TD>The Repertory</TD></TR></TABLE></TD><TD WIDTH=40></TD></TR><TR><TD><TABLE CELLSPACING=0 CELLPADDING=0><TR><TD WIDTH=60></TD><TD>Social Function, Social Status</TD></TR></TABLE></TD><TD WIDTH=40></TD></TR><TR><TD><TABLE CELLSPACING=0 CELLPADDING=0><TR><TD WIDTH=60></TD><TD>The Founders of the Venetian Tradition: Marcello, Alberti</TD></TR></TABLE></TD><TD WIDTH=40></TD></TR><TR><TD><TABLE CELLSPACING=0 CELLPADDING=0><TR><TD WIDTH=60></TD><TD>Early Classical Style Contemporaries of Marcello and Alberti</TD></TR></TABLE></TD><TD WIDTH=40></TD></TR><TR><TD><TABLE CELLSPACING=0 CELLPADDING=0><TR><TD WIDTH=60></TD><TD>Mid-Century Developments</TD></TR></TABLE></TD><TD WIDTH=40></TD></TR><TR><TD><TABLE CELLSPACING=0 CELLPADDING=0><TR><TD WIDTH=60></TD><TD>The Italian Keyboard Sonata Abroad</TD></TR></TABLE></TD><TD WIDTH=40></TD></TR><TR><TD><TABLE CELLSPACING=0 CELLPADDING=0><TR><TD WIDTH=60></TD><TD>The Accompanied Sonata</TD></TR></TABLE></TD><TD WIDTH=40></TD></TR><TR><TD><TABLE CELLSPACING=0 CELLPADDING=0><TR><TD WIDTH=60></TD><TD>Johann Christian Bach</TD></TR></TABLE></TD><TD WIDTH=40></TD></TR><TR><TD><TABLE CELLSPACING=0 CELLPADDING=0><TR><TD WIDTH=40></TD><TD>Haydn's Solo Keyboard Music</TD></TR></TABLE></TD><TD WIDTH=40></TD><TD VALIGN=TOP>270</TD><TD VALIGN=TOP>(38)</TD></TR><TR><TD><TABLE CELLSPACING=0 CELLPADDING=0><TR><TD WIDTH=100></TD><TD>Elaine Sisman</TD></TR></TABLE></TD></TR><TR><TD><TABLE CELLSPACING=0 CELLPADDING=0><TR><TD WIDTH=60></TD><TD>The Early Works</TD></TR></TABLE></TD><TD WIDTH=40></TD></TR><TR><TD><TABLE CELLSPACING=0 CELLPADDING=0><TR><TD WIDTH=60></TD><TD>The Late 1760s and Early 1770s</TD></TR></TABLE></TD><TD WIDTH=40></TD></TR><TR><TD><TABLE CELLSPACING=0 CELLPADDING=0><TR><TD WIDTH=60></TD><TD>Three Sets of Six, 1773-1780</TD></TR></TABLE></TD><TD WIDTH=40></TD></TR><TR><TD><TABLE CELLSPACING=0 CELLPADDING=0><TR><TD WIDTH=60></TD><TD>The 1780s</TD></TR></TABLE></TD><TD WIDTH=40></TD></TR><TR><TD><TABLE CELLSPACING=0 CELLPADDING=0><TR><TD WIDTH=60></TD><TD>The Last Works</TD></TR></TABLE></TD><TD WIDTH=40></TD></TR><TR><TD><TABLE CELLSPACING=0 CELLPADDING=0><TR><TD WIDTH=40></TD><TD>Mozart's Solo Keyboard Music</TD></TR></TABLE></TD><TD WIDTH=40></TD><TD VALIGN=TOP>308</TD><TD VALIGN=TOP>(42)</TD></TR><TR><TD><TABLE CELLSPACING=0 CELLPADDING=0><TR><TD WIDTH=100></TD><TD>Robert D. Levin</TD></TR></TABLE></TD></TR><TR><TD><TABLE CELLSPACING=0 CELLPADDING=0><TR><TD WIDTH=60></TD><TD>Compositional Fundamentals: Improvisation and Variation Early Keyboard Compositions</TD></TR></TABLE></TD><TD WIDTH=40></TD></TR><TR><TD><TABLE CELLSPACING=0 CELLPADDING=0><TR><TD WIDTH=60></TD><TD>Munich, 1775: Six Sonatas Mannheim and Paris, 1777-1778</TD></TR></TABLE></TD><TD WIDTH=40></TD></TR><TR><TD><TABLE CELLSPACING=0 CELLPADDING=0><TR><TD WIDTH=60></TD><TD>The Middle Period, 1783-1784</TD></TR></TABLE></TD><TD WIDTH=40></TD></TR><TR><TD><TABLE CELLSPACING=0 CELLPADDING=0><TR><TD WIDTH=60></TD><TD>The Threshold to the Late Period: Three Rondos</TD></TR></TABLE></TD><TD WIDTH=40></TD></TR><TR><TD><TABLE CELLSPACING=0 CELLPADDING=0><TR><TD WIDTH=60></TD><TD>The Late Piano Compositions</TD></TR></TABLE></TD><TD WIDTH=40></TD></TR><TR><TD><TABLE CELLSPACING=0 CELLPADDING=0><TR><TD WIDTH=60></TD><TD>The Duo-Piano Works</TD></TR></TABLE></TD><TD WIDTH=40></TD></TR><TR><TD><TABLE CELLSPACING=0 CELLPADDING=0><TR><TD WIDTH=60></TD><TD>Impact</TD></TR></TABLE></TD><TD WIDTH=40></TD></TR><TR><TD><TABLE CELLSPACING=0 CELLPADDING=0><TR><TD WIDTH=60></TD><TD>Epilogue: Practical Issues</TD></TR></TABLE></TD><TD WIDTH=40></TD></TR><TR><TD><TABLE CELLSPACING=0 CELLPADDING=0><TR><TD WIDTH=40></TD><TD>Mozart's Keyboard Concertos</TD></TR></TABLE></TD><TD WIDTH=40></TD><TD VALIGN=TOP>350</TD><TD VALIGN=TOP>(44)</TD></TR><TR><TD><TABLE CELLSPACING=0 CELLPADDING=0><TR><TD WIDTH=100></TD><TD>Robert D. Levin</TD></TR></TABLE></TD></TR><TR><TD><TABLE CELLSPACING=0 CELLPADDING=0><TR><TD WIDTH=60></TD><TD>The Concerto Principle: Formal and Aesthetic Premises</TD></TR></TABLE></TD><TD WIDTH=40></TD></TR><TR><TD><TABLE CELLSPACING=0 CELLPADDING=0><TR><TD WIDTH=60></TD><TD>The Early Period, 1767-1779</TD></TR></TABLE></TD><TD WIDTH=40></TD></TR><TR><TD><TABLE CELLSPACING=0 CELLPADDING=0><TR><TD WIDTH=60></TD><TD>The Three Concertos of 1782-1783</TD></TR></TABLE></TD><TD WIDTH=40></TD></TR><TR><TD><TABLE CELLSPACING=0 CELLPADDING=0><TR><TD WIDTH=60></TD><TD>The Twelve Great Concertos (1): 1784</TD></TR></TABLE></TD><TD WIDTH=40></TD></TR><TR><TD><TABLE CELLSPACING=0 CELLPADDING=0><TR><TD WIDTH=60></TD><TD>The Twelve Great Concertos (2): 1785</TD></TR></TABLE></TD><TD WIDTH=40></TD></TR><TR><TD><TABLE CELLSPACING=0 CELLPADDING=0><TR><TD WIDTH=60></TD><TD>The Twelve Great Concertos (3): 1786</TD></TR></TABLE></TD><TD WIDTH=40></TD></TR><TR><TD><TABLE CELLSPACING=0 CELLPADDING=0><TR><TD WIDTH=60></TD><TD>The Final Concertos</TD></TR></TABLE></TD><TD WIDTH=40></TD></TR><TR><TD><TABLE CELLSPACING=0 CELLPADDING=0><TR><TD WIDTH=40></TD><TD>Early Beethoven</TD></TR></TABLE></TD><TD WIDTH=40></TD><TD VALIGN=TOP>394</TD><TD VALIGN=TOP>(31)</TD></TR><TR><TD><TABLE CELLSPACING=0 CELLPADDING=0><TR><TD WIDTH=100></TD><TD>William Drabkin</TD></TR></TABLE></TD></TR><TR><TD><TABLE CELLSPACING=0 CELLPADDING=0><TR><TD WIDTH=60></TD><TD>Sources</TD></TR></TABLE></TD><TD WIDTH=40></TD></TR><TR><TD><TABLE CELLSPACING=0 CELLPADDING=0><TR><TD WIDTH=60></TD><TD>Texture in the Early Piano Music</TD></TR></TABLE></TD><TD WIDTH=40></TD></TR><TR><TD><TABLE CELLSPACING=0 CELLPADDING=0><TR><TD WIDTH=60></TD><TD>Genres</TD></TR></TABLE></TD><TD WIDTH=40></TD></TR><TR><TD><TABLE CELLSPACING=0 CELLPADDING=0><TR><TD WIDTH=60></TD><TD>The Piano Sonata</TD></TR></TABLE></TD><TD WIDTH=40></TD></TR><TR><TD><TABLE CELLSPACING=0 CELLPADDING=0><TR><TD WIDTH=60></TD><TD>The Variation Set</TD></TR></TABLE></TD><TD WIDTH=40></TD></TR><TR><TD><TABLE CELLSPACING=0 CELLPADDING=0><TR><TD WIDTH=60></TD><TD>Toward the Middle Period</TD></TR></TABLE></TD><TD WIDTH=40></TD></TR><TR><TD>Index</TD><TD WIDTH=40></TD><TD VALIGN=TOP>425</TD><TD></TD></TR></TABLE>

1 v. (XVI-443 p.) : illustrations ; 23 cm

Eighteenth-century keyboard music