Beethoven Sonatas and the Creative Experience

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