Musical improvisation and open form in the age of Beethoven

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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