Eminent music scholar Newman, whose three-volume history of the sonata idea is a landmark work in musicology, has brought together his interests in Beethoven and piano playing in this important study of performance practice in Beethoven's piano music. Newman aims to discover how Beethoven actually intended his music to be played. Relying on autograph scores, early editions, Beethoven's letters, and eyewitness accounts of his performances, plus a vast and comprehensive array of source materials, Newman explores all the major issues affecting performance practice. Always fair and judicious, he presents the evidence, sometimes contradictory, and allows the reader to draw conclusions. The value of this book, both as historical study and practical guide, cannot be overstated. Susan Kagan, Hunter Coll., CUNY
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