Kenneth Drake is Professor Emeritus of Piano at the University of Illinois and author ofThe Sonatas of Beethoven as He Played and Taught Them. He is active as a performer on period pianos.Cover illustration: The Beethoven Broadwood fortepiano. Courtesy of the Hungarian National Museum. Photo by Sheila Rock, Thorn EMI London.

" ... one of the most interesting, useful and even exciting books on the process of musical creation." --American Music Teacher " ... noteworthy contribution ... with plenty of insight into interpretation ... remarkable as an insider's account of the works in an individual perspective." --European Music Teacher "... one of the most interesting, useful and even exciting books on the process of musical creation." --Marilyn Neeley, American Music Teacher "This book is a highly worthwhile addition for every serious pianist's library and to the scholarship on Beethoven. It is lavishly illustrated with examples from the scores." --William Race, Notes "In [this book's] blend of pianistic, analytical and aesthetic issues, the author breaks new ground, encouraging a more holistic interpretative approach." --Malcolm Miller, European Music Teacher

• Preface1. The First Raptus, and All Subsequent Ones*The Sounds of Involvement2. Technique as Touch3. Tempo and the Pacing of Musical Ideas4. Dynamic Nuance and Musical Line5. The Role of Silence6. Sound as Color*The Sonatas7. Descriptive Music: Op.81a, Op.138. Motivic Development: Op.2 No.1, Op.57, Op.1109. Quasi una Fantasia: Op.27 Nos.1 and 2, Op.2610. Line and Space: Op. 2 No.2, Op 10111. Movement as Energized Color: Op.5312. The Moment of Creation: Op.28, Op.31 Nos.2 and 313. Facing Two Directions: Op.49 Nos.1 and 2, Op.54, Op. 78, Op. 9014. The Enjoyment of Fluency: Op.10 Nos.2 and 3, Op. 14 No. 2, Op.22, Op.31 No.1, Op.7915. The Cosmopolitan Impostor: Op.2 No.3, Op.14 No.116. Embracing the Dachstein: Op. 7, Op. 10617. A Higher Revelation: Op.10 No.1, Op.109, Op.11118. The Witness Tree*Notes

Kenneth Drake is Professor Emeritus of Piano at the University of Illinois and author ofThe Sonatas of Beethoven as He Played and Taught Them. He is active as a performer on period pianos.Cover illustration: The Beethoven Broadwood fortepiano. Courtesy of the Hungarian National Museum. Photo by Sheila Rock, Thorn EMI London.

" ... one of the most interesting, useful and even exciting books on the process of musical creation." --American Music Teacher " ... noteworthy contribution ... with plenty of insight into interpretation ... remarkable as an insider's account of the works in an individual perspective." --European Music Teacher "... one of the most interesting, useful and even exciting books on the process of musical creation." --Marilyn Neeley, American Music Teacher "This book is a highly worthwhile addition for every serious pianist's library and to the scholarship on Beethoven. It is lavishly illustrated with examples from the scores." --William Race, Notes "In [this book's] blend of pianistic, analytical and aesthetic issues, the author breaks new ground, encouraging a more holistic interpretative approach." --Malcolm Miller, European Music Teacher

• Preface1. The First Raptus, and All Subsequent Ones*The Sounds of Involvement2. Technique as Touch3. Tempo and the Pacing of Musical Ideas4. Dynamic Nuance and Musical Line5. The Role of Silence6. Sound as Color*The Sonatas7. Descriptive Music: Op.81a, Op.138. Motivic Development: Op.2 No.1, Op.57, Op.1109. Quasi una Fantasia: Op.27 Nos.1 and 2, Op.2610. Line and Space: Op. 2 No.2, Op 10111. Movement as Energized Color: Op.5312. The Moment of Creation: Op.28, Op.31 Nos.2 and 313. Facing Two Directions: Op.49 Nos.1 and 2, Op.54, Op. 78, Op. 9014. The Enjoyment of Fluency: Op.10 Nos.2 and 3, Op. 14 No. 2, Op.22, Op.31 No.1, Op.7915. The Cosmopolitan Impostor: Op.2 No.3, Op.14 No.116. Embracing the Dachstein: Op. 7, Op. 10617. A Higher Revelation: Op.10 No.1, Op.109, Op.11118. The Witness Tree*Notes