Musical Improvisation and Open Forms in the Age of Beethoven

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