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Carl Reinecke's performance of Mozart's "Larghetto" and the nineteenth-century practice of quantitative accentuation

Kataloginformation
Feldname	Details
Verfasser	Hill, Robert
T I T E L	Carl Reinecke's performance of Mozart's "Larghetto" and the nineteenth-century practice of quantitative accentuation
Verfasserangabe	Robert Hill
Erscheinungsjahr	2008
Quelle	In: About Bach / ed. by Gregory G. Butler ... - Urbana, Ill. [u.a.], 2008. - S. 171 - 180
Klassifikation	HL 82
Schlagwörter	Reinecke, Carl
Kurzbeschreibung	The Welte piano roll of Carl Reinecke (1824–1910) playing his own transcription of the Larghetto from Mozart’s piano concerto in D Major, K.537, offers a window into performance-practice traditions current in mid-19th century European art music, when Reinecke would have become a fully trained musician. While musicians today favor qualitative, not quantitative, methods for accentuation, analysis of Reinecke’s piano roll suggests this bias has probably been firmly in place only since the early 20th century. In Reinecke’s performance, quantitative differences in length between the complementary units of a metric pair occur about 71% of the time in the 210 pairs analyzed at the quarter-, half-, and whole-measure levels. Even though the asymmetry is highly unpredictable, Reinecke’s use of quantitative accentuation is analytical in nature. The degree of asymmetry is a function of the local musical context and acts concurrently at several levels of the metric hierarchy (RILM)