From the Ineffable to the Industrial: The Changing Face of the Virtuoso Pianist in the Early Nineteenth Century 从不可言喻到工业化：十九世纪早期天才钢琴家的变迁
Author: Andrew Ward 作者：安德鲁-沃德安德鲁-沃德
Supervisors: Associate Prof. Allan Badley; Prof. Nancy November 导师Allan Badley 副教授、Nancy November 教授
Date of enrolment: 01/01/2023 注册日期01/01/2023
Expected date of completion: 31/12/2025 预计完工日期31/12/2025
School of Music 音乐学院
University of Auckland 奥克兰大学
INTRODUCTION 引言
Although, as the title above implies, this thesis is predominantly concerned with music and performances of the nineteenth century, I will begin with some contemporary comparison. I refer to excerpts of a recent review of a concert given at the Royal Albert Hall in London by the celebrity virtuoso pianist Lang Lang, with the Royal Philharmonic Orchestra: 尽管如上文标题所示，本论文主要关注的是十九世纪的音乐和表演，但我还是要从一些当代的比较开始。我参考了最近一篇关于著名钢琴演奏家郎朗与皇家爱乐乐团在伦敦皇家阿尔伯特音乐厅举行的音乐会的评论摘录：
The notes poured out by the fistful in Saint-Säens’ Piano Concerto No.2, from industrial-scale opening chords, to passages where Lang’s fingers skimmed the keys apparently without effort, the melodic tumult glinting like priceless gems qquad\qquad .Mostly though, this was a showcase of virtuoso pianism as sonic warfare. ^(1){ }^{1} 在圣桑的《第二钢琴协奏曲》中，从工业规模的开头和弦，到郎朗的手指在琴键上不费吹灰之力就能弹奏出的段落，音符纷至沓来，就像无价之宝闪闪发光。 ^(1){ }^{1}
The use of descriptions in this review such as “industrial-scale” and “sonic warfare” is telling, in framing the music in a military context. The same reviewer goes on to contextualise other pianistic fireworks witnessed, during the rest of the concert programme: 这篇评论使用了 "工业规模 "和 "声波战争 "等描述，将音乐置于军事背景中，很有说服力。这位评论家还对音乐会其余节目中的其他钢琴焰火进行了分析：
This was, without question or apology, a one-pianist concert. Yet it was the RPO’s piano-free performance of Ravel’s Mother Goose Suite, a hiatus amid the emphatic pianism, that was most musically satisfying. ^(2){ }^{2} 毫无疑问，这是一场只有一位钢琴家的音乐会。然而，皇家管弦乐团无钢琴演奏拉威尔的《鹅妈妈组曲》才是最令人满意的音乐。 ^(2){ }^{2}
This review provides an evocative demonstration of how virtuoso pianism has often been characterized. When a nascent culture of virtuosity was first beginning to emerge, during the early years of the nineteenth century, its early exponents were often compared to the great military heroes of the age, such as Napoleon and Wellington. ^(3){ }^{3} This would eventually reach an apotheosis in the figure of Franz Liszt. ^(4){ }^{4} Yet virtuosity, and the totemic figure of the virtuoso himself (they were almost always men) became progressively more under attack as the nineteenth century wore on. There are a variety of reasons for this, among them the accusation that virtuosity constituted display for its own sake, and that the showmanship of the virtuoso could overwhelm the intentions of the composer whose work they were performing. ^(5){ }^{5} These critical trends often reflect a tendency, to favour composition over performance. The scholar Žarko Cvejić suggests that one of the reasons this trend developed was because virtuosity came to be seen as "inherently inimical to Werktreue, the 这篇评论以令人回味的方式展示了钢琴演奏家的特点。十九世纪初叶，当新生的精湛技艺文化刚刚开始萌芽时，人们常常将其早期的表现者与拿破仑和威灵顿等伟大的军事英雄相提并论。 ^(3){ }^{3} 这种情况最终在弗朗茨-李斯特（Franz Liszt）身上得到了神化。 ^(4){ }^{4} 然而，随着19世纪的到来，精湛的技艺和演奏家本人（他们几乎都是男性）的图腾形象受到了越来越多的攻击。原因有很多，其中包括有人指责演奏家的技艺是为了炫耀而炫耀，演奏家的炫技可能会压倒他们所演奏作品的作曲家的意图。 ^(5){ }^{5} 这些批评趋势往往反映了一种倾向，即偏重作曲而非演奏。学者Žarko Cvejić认为，形成这种趋势的原因之一是演奏家的演奏技巧被视为 "本质上与Werktreue--即'音乐'--相悖"。
guiding ideal of late nineteenth-century performance practice. ^(16){ }^{16} This is a theme which will be explored during the course of this thesis. My main intention is to examine the evolution of virtuosity during the early nineteenth-century, with a particular focus upon improvisation. This will be achieved, in the first instance, through examining contemporary sources notably observations made by individuals who witnessed public improvisation by virtuosi, but I will also analyse the approaches taken by composers in the creation of their published virtuoso works, and how techniques of improvisation can be detected in them. I will then frame my findings within the wider culture of virtuoso pianism, considering the symbolic representation of the virtuoso and the various ways in which they operated in a rapidly expanding commercial marketplace. 十九世纪晚期表演实践的指导理想。 ^(16){ }^{16} 本论文将探讨这一主题。我的主要意图是研究 19 世纪早期演奏技巧的演变，尤其侧重于即兴演奏。首先，我将通过研究当代资料，特别是目睹演奏家公开即兴演奏的个人所做的观察来实现这一目标，但我还将分析作曲家在创作其已出版的演奏家作品时所采取的方法，以及如何从这些作品中发现即兴演奏的技巧。然后，我将把我的研究结果纳入更广泛的钢琴演奏家文化中，考虑钢琴演奏家的象征意义以及他们在迅速扩张的商业市场中的各种运作方式。
There were three main centres of virtuoso pianism in Europe during the early nineteenth century: London, Paris and Vienna. Vienna will be the principal focus of my study, although the other cities will also play their part. The reason for this is that I wish to concentrate on the activities of four particular composers - Johann Nepomuk Hummel, Ferdinand Ries, Ignaz Moscheles and Carl Czerny all of whom spent significant portions of their careers living and working in Vienna. ^(7){ }^{7} My rationale for choosing these composers, is that, with the exception of Czerny, they were all hailed during their careers as celebrated composer-pianists, who were also great public improvisers. In order to carry out a systematic and effective study on early nineteenth-century virtuosity, case studies are of vital importance, so the achievements of Hummel, Ries and Moscheles will act as illustrative examples. 十九世纪初，欧洲有三大钢琴大师中心：伦敦、巴黎和维也纳。维也纳将是我研究的主要重点，尽管其他城市也将发挥各自的作用。这样做的原因是，我希望集中研究四位作曲家的活动--约翰-尼波穆克-胡梅尔、费迪南德-里斯、伊格纳茨-莫舍莱斯和卡尔-车尔尼，他们职业生涯的大部分时间都在维也纳生活和工作。 ^(7){ }^{7} 我选择这些作曲家的理由是，除了车尔尼之外，他们在职业生涯中都被誉为著名的作曲家兼钢琴家，同时也是伟大的公共即兴演奏家。为了对十九世纪早期的精湛技艺进行系统而有效的研究，个案研究至关重要，因此胡梅尔、里斯和莫舍莱斯的成就将作为例证。
Something else which is also important is that these three men were as different in character, as they were in their working practices. Each represents a different aspect of the early virtuoso culture. Their personal and professional lives have much to tell us about the way in which the early virtuosi operated, and how their performances were critically received, by both the press and the public. They were essentially Romantic figures, seen often as being representative of the new bourgeoisie, an autonomous individual now untethered from full reliance upon aristocratic patronage, due to the fallout from political events such as the French Revolution. There is, of course, already a significant body of published research on these composers but much remains unknown. Ries, for example, is still to receive his own dedicated biography. However, the point of difference in this thesis will be its strong focus upon the techniques of improvisation. Virtuosity was, above all, a performative exercise, and improvisation was an integral component of this phenomenon. 还有一点也很重要，那就是这三个人的性格和他们的工作方式都各不相同。他们各自代表了早期演奏家文化的不同方面。他们的个人生活和职业生涯可以让我们了解早期演奏家的工作方式，以及媒体和公众对他们演奏的评价。他们本质上是浪漫主义人物，通常被视为新资产阶级的代表，由于法国大革命等政治事件的影响，他们是独立自主的个体，现在已不再完全依赖贵族的资助。当然，关于这些作曲家的研究成果已经大量出版，但仍有许多未知。例如，雷斯至今仍没有自己的专门传记。然而，本论文的与众不同之处在于它对即兴演奏技巧的强烈关注。德艺双馨首先是一种表演活动，而即兴演奏则是这一现象不可或缺的组成部分。
Whilst the public were enthralled by the daring and creativity of virtuosi, critics were more concerned with understanding the imagination of the composer. As the nineteenth century progressed, a putative musical hierarchy based upon prestige and the concept of Werktreue developed, in which composition became elevated to the highest position. ^(8){ }^{8} Consequently, performance and improvisation, as professional musical activities, have become undervalued, something which writers such as Samson have noted. ^(9){ }^{9} This study will look at some of the ways in which improvisation was associated indelibly with the figure of the virtuoso, and how the virtuosi came to be seen as emblems of a rapidly changing society. How did improvisation act almost as a musical cipher, in the way that it expressed aesthetic, social and even political freedoms, through the medium of instrumental music? How was public improvisation interpreted and received, by audiences and critics? How did the virtuoso public improviser come to embody the ideals of Romanticism, and the aesthetic of the ineffable? 公众为演奏家的胆识和创造力所陶醉，而评论家则更关注了解作曲家的想象力。随着 19 世纪的发展，一种基于声望和 Werktreue 概念的音乐等级制度逐渐形成，其中作曲被提升到最高地位。 ^(8){ }^{8} 因此，作为专业音乐活动的表演和即兴创作的价值被低估了，萨姆森等作家也注意到了这一点。 ^(9){ }^{9} 本研究将探讨即兴演奏是如何与演奏家的形象紧密联系在一起的，以及演奏家是如何被视为快速变化的社会的象征的。即兴演奏是如何通过器乐表达美学、社会甚至政治自由的？观众和评论家是如何解读和接受公共即兴演奏的？精湛的即兴演奏家是如何体现浪漫主义理想和不可言传的美学的？
This thesis, however, is not simply concerned with the questions detailed above. As its title implies, it also seeks to understand how the phenomenon of virtuosity could encompass both the industrial and the ineffable, arguably two irreconcilable concepts. This conflict of aesthetics will be explored with particular reference to the music of Carl Czerny. Czerny is an often-maligned figure, one whose achievements as a composer been largely overshadowed by his reputation as a pedagogue. However, he occupies an important place in the history of virtuosity and improvisation. He was one of the first musicians to apply repetitive, mechanized working practices - to composition. It could be argued that he is actually a representation of anti-Romanticism, in that he seems to have made it his life’s work to decode and demystify the act of creation. This desire extended also to improvisation. ^(10){ }^{10} As such, I argue that Czerny’s work represents a watershed in the history of virtuosity, in that he created a bridge between instinct and method. His acts of deconstruction lifted the veil of mystique which surrounding virtuoso pianism, and in doing so, perhaps promulgated the idea that virtuosi were not necessarily born - but could be made. A methodology of virtuosity though, is arguably in conflict with the aesthetics of Romanticism, in its heralding of artistic genius and spontaneous expression. This is a philosophical debate which will be examined during this thesis. Improvisation as a part of public performance began to decline during the second half of the 然而，本论文不仅仅关注上述问题。正如论文题目所暗示的，它还试图理解演奏技巧现象如何同时包含工业和不可言喻这两个可以说是不可调和的概念。在探讨这种美学冲突时，将特别参考卡尔-车尔尼（Carl Czerny）的音乐。车尔尼是一个经常受到诽谤的人物，他作为作曲家的成就在很大程度上被他作为教育家的声誉所掩盖。然而，他在演奏技巧和即兴演奏史上却占有重要地位。他是最早将重复性、机械化的工作方法应用于作曲的音乐家之一。可以说，他实际上是反浪漫主义的代表，因为他似乎将解码和揭开创作行为的神秘面纱作为毕生的事业。这种愿望也延伸到了即兴创作。 ^(10){ }^{10} 因此，我认为车尔尼的作品代表了演奏史上的一个分水岭，因为他在本能和方法之间架起了一座桥梁。他的解构行为揭开了围绕钢琴演奏家的神秘面纱，并由此宣扬了 "钢琴演奏家不一定是天生的，但可以后天培养 "的理念。然而，演奏技巧的方法论可以说与浪漫主义美学相冲突，因为浪漫主义美学推崇艺术天才和自发表达。本论文将对这一哲学争论进行研究。即兴表演作为公开演出的一部分，在二十世纪下半叶开始衰落。
nineteenth century, to the point where it rarely, if at all was, heard in concert programmes. Whether or not the work of Czerny contributed, significantly or otherwise, to this decline is another feature of this thesis. 十九世纪，音乐会节目中很少能听到（如果有的话）。切尔尼的作品是否在很大程度上导致了这种衰落，是本论文的另一个特点。
To summarise, this thesis will examine the culture of virtuoso pianism which evolved during the early nineteenth-century, partially through the lens of public improvisation. I will analyse and drawn conclusions on improvisatory practices from published works of the early nineteenth-century, alongside other forms of documentation. Selected works by the composer-pianists Hummel, Ries, and Moscheles, will underpin this study. I will also explore the question of why public improvisation, having been previously synonymous with the figure of the heroic virtuoso, became neglected to the point where it largely ceased to be cultivated by virtuosi. I will argue that the inexorable rise of mechanized working practices during the nineteenth century, in tandem with the aesthetic triumph of the concept of Werktreue, are two of the main reasons which led to the decline of public improvisation The work of Carl Czerny and other contemporaries will support this area of my study. 总之，本论文将研究十九世纪早期发展起来的钢琴演奏家文化，部分内容是通过公开即兴演奏的视角进行研究的。我将分析十九世纪早期出版的作品以及其他形式的文献资料，并从中得出即兴演奏实践的结论。我将选取作曲家兼钢琴家胡梅尔（Hummel）、里斯（Ries）和莫舍莱斯（Moscheles）的部分作品作为研究的基础。我还将探讨这样一个问题，即公开即兴演奏以前曾是英雄演奏家形象的代名词，为何后来却被忽视，以至于演奏家们基本上不再培养这种演奏方式。卡尔-车尔尼（Carl Czerny）和其他同时代人的作品将支持我在这一领域的研究。
RESEARCH QUESTIONS 研究问题
What were the economic circumstances from/into which the virtuoso pianist emerged? 钢琴大师是在怎样的经济环境中脱颖而出的？
From the second half of the eighteenth century, the role of the musician in society underwent a remarkable transformation. Originally, many musicians still relied upon the posts provided of members of the aristocracy, royalty and the church for their income and stable employment, and were therefore beholden, to a greater or lesser degree, to their employers. This was by no means always an exclusive arrangement however, and many musicians often actively pursued freelance engagements, alongside their commitments to their employers. This model of working practice did not mean that musicians could be described yet as being completely independent, although many of them now supplemented their income regularly by touring, performing, and teaching, as well as by fulfilling commissions for compositions from private enterprises such as concert societies, publishers and private patrons. In this way, they had now become semi-independent commercial operators, in that they offered a service to interested customers and then negotiated a fee for the appropriate services. The gradual untethering of musicians’ financial reliance upon bastions of the European aristocracy, alongside the development of an increasingly industrialised society during the nineteenth century, is a subject which will occupy a significant part of this thesis. It will also consider how the virtuoso performer, notably the virtuoso pianist, came to symbolise this change. ^(11){ }^{11} 从十八世纪下半叶开始，音乐家在社会中的角色发生了显著的转变。最初，许多音乐家仍然依靠贵族、皇室和教会成员提供的职位获得收入和稳定的工作，因此或多或少都要听从雇主的安排。然而，这并不总是一种排他性的安排，许多音乐家在履行对雇主的承诺的同时，还经常积极地从事自由职业。这种工作模式并不意味着音乐家可以完全独立，尽管他们中的许多人现在经常通过巡回演出、表演、教学以及完成音乐会协会、出版商和私人赞助人等私人企业的委托创作来补充收入。这样，他们就成了半独立的商业经营者，向感兴趣的客户提供服务，然后就相应的服务谈妥收费。随着 19 世纪工业化社会的发展，音乐家逐渐摆脱了对欧洲贵族堡垒的经济依赖，这将是本论文的一个重要主题。本论文还将探讨演奏家，尤其是钢琴演奏家如何成为这一变化的象征。 ^(11){ }^{11}
2) How did aestheticians and philosophers of the early nineteenth century position themselves, with regard to virtuosi? 2) 十九世纪初的美学家和哲学家是如何看待演奏家的？
Alongside this economic transformation, there was a development in the way that music was viewed by philosophers and aestheticians. Enlightenment and post-enlightenment philosophers such as Immanuel Kant and Georg Friedrich Hegel speculated that music was paradigmatic to the concept of the autonomous freedom of the subject. This was representative of Idealist thinking, in that the work of musical art, specifically that of instrumental music, was essentially a phenomenal and nonrepresentational entity, one which provided a model of true freedom, as well as being endowed with the absolute. ^(12){ }^{12} In this utopian interpretation, music had no transactional value, instead operating on 在经济转型的同时，哲学家和美学家对音乐的看法也发生了变化。伊曼纽尔-康德和格奥尔格-弗里德里希-黑格尔等启蒙运动和启蒙运动后的哲学家认为，音乐是主体自主自由概念的典范。这是唯心主义思想的代表，因为音乐艺术作品，特别是器乐作品，本质上是一种现象性和非再现性的实体，是真正自由的典范，并被赋予了绝对性。 ^(12){ }^{12} 在这种乌托邦式的解释中，音乐没有交易价值，而是在以下方面发挥作用
a transcendental level above that of mere economics. As a consequence of this development, the relatively recent rise of the virtuoso instrumentalist began to be viewed with an increasing amount of hostility, due to the way in which it exposed the flaws in this philosophical position. Cvejić refers to this concept as “the irreducible bodily grounding and social contingency not only of music, but also of the human subject.” Put simply, virtuoso performers represented cold reality: they were autonomous operators in an increasingly transactional European marketplace. They were also performative musicians, which rubbed up uneasily against the developing school of thought on the subject of Werktreue. Thus, the conflict between the role of the virtuoso and the composer in the early nineteenth century also acts as a contextual basis for this thesis. 在这一发展过程中，近来兴起的器乐演奏家开始受到越来越多的敌视，因为它暴露了这一哲学立场的缺陷。由于这一发展，最近兴起的器乐演奏家开始受到越来越多的敌视，因为它暴露了这一哲学立场的缺陷。Cvejić 将这一概念称为 "不仅是音乐的不可还原的身体基础和社会偶然性，而且是人类主体的不可还原的身体基础和社会偶然性"。简而言之，演奏家代表着冷酷的现实：他们是日益交易化的欧洲市场中的自主操作者。他们同时也是表演性音乐家，这与正在发展中的 "音乐家"（Werktreue）思想流派产生了冲突。因此，十九世纪早期演奏家与作曲家角色之间的冲突也是本论文的背景基础。
A main objective, therefore, is to examine how the changing world of the first half of the nineteenth century was reflected in the rise of the virtuoso pianist, and its attendant reception. I want to carry this out with a particular focus upon virtuoso composer-pianists who were active during this period and, whose music is less well-represented in the professional repertory. This category includes musicians such as Johann Nepomuk Hummel, Ferdinand Ries, Ignaz Moscheles and Carl Czerny. The posthumous reputations of all four of these highly accomplished composer-pianists have suffered considerably, perhaps as a consequence of their close historical association with giants of the classical canon, notably Hummel with Mozart, and Ries with Beethoven. It is not my intention to investigate what the reasons for this comparative neglect are per se, but rather to examine how the model of the virtuoso pianist gradually transformed from being the expression of a burgeoning Romantic aesthetic, into one based upon reproducibility and industrial principles ^(13){ }^{13} 因此，我们的一个主要目标是研究十九世纪上半叶世界的变化是如何反映在钢琴演奏家的崛起以及随之而来的接受程度上的。我想特别关注这一时期活跃的作曲家兼钢琴演奏家，他们的音乐在专业曲目中的代表性较低。这类音乐家包括约翰-内波穆克-胡梅尔（Johann Nepomuk Hummel）、费迪南德-里斯（Ferdinand Ries）、伊格纳兹-莫舍莱斯（Ignaz Moscheles）和卡尔-车尔尼（Carl Czerny）。这四位成就卓著的作曲家兼钢琴家的后世声誉都受到了很大影响，这也许是他们与古典音乐巨匠（尤其是胡梅尔与莫扎特、雷斯与贝多芬）的密切历史渊源造成的。我无意探究造成这种比较性忽视的原因，而是想研究演奏家钢琴家的模式是如何从新兴浪漫主义美学的表现形式逐渐转变为以可复制性和工业原则为基础的模式的 ^(13){ }^{13} 。
3) Improvisation was considered a natural activity for early nineteenth-century virtuosi. Why did this begin to recede, and how, in consequence, did the nature of virtuosity change? 3) 即兴演奏被认为是十九世纪早期演奏家的一种自然活动。为什么这种现象开始消退，演奏技巧的性质又因此发生了怎样的变化？
A major factor in the characterisation of the early Romantic virtuoso was performative improvisation, a skill for which Hummel, Ries and Moscheles, along with others such as Daniel Steibelt and of course, Beethoven, were particularly renowned. To be a great public improviser, in the early nineteenth century, was seen as being the pinnacle of artistic achievement. Erin Helyard summarises this as follows: 即兴演奏是早期浪漫主义演奏家特征的一个重要因素，胡梅尔、里斯、莫舍莱斯以及丹尼尔-斯泰贝尔特等人，当然还有贝多芬，都以即兴演奏而闻名。在十九世纪早期，成为一名伟大的公开即兴演奏家被视为艺术成就的顶峰。Erin Helyard 对此总结如下：
A pianist improvising before the public could not only display courage in the face of indisputable danger, but could also bid for recognition of his spontaneous originality, an attribute awarded a high priority by Romantic audiences. ^(14){ }^{14} 在公众面前即兴演奏的钢琴家不仅可以在无可争议的危险面前展示勇气，还可以争取自发原创性的认可，而这正是浪漫主义听众高度重视的特质。 ^(14){ }^{14}
For twenty-first century virtuosi however, improvisation has little if any part to play in their careers. This indicates that over the last two hundred years, there has been a decisive shift in emphasis away from improvising in public, to a recital culture which only admits the interpretation of other composers’ works. ^(15){ }^{15} I wish to investigate where, when and how this shift might have begun to take place. The evidence suggests that this has much to do with the increasing application of industrial principles to art, techniques of composition, performance and education, something which Kerry Murphy describes as a “cult of mechanization”. ^(16){ }^{16} This is where the figure of Carl Czerny is pivotal, for the case can certainly be made that he exerted huge influence on this phenomenon. Much of the focus of my research will concern his work, in order to determine the level of this influence, and how much symbolic responsibility might be attributed to him, in the cultural evolution of virtuosity. 然而，对于二十一世纪的演奏家来说，即兴演奏在他们的职业生涯中几乎没有任何作用。这表明，在过去的两百年中，演奏家的工作重心发生了决定性的转变，不再是在公开场合即兴演奏，而是转向了只接受对其他作曲家作品进行诠释的独奏会文化。 ^(15){ }^{15} 我希望研究这种转变开始的时间、地点和方式。有证据表明，这与越来越多地将工业原则应用于艺术、作曲技术、表演和教育有很大关系，凯瑞-墨菲将这种现象称为 "机械化崇拜"。 ^(16){ }^{16} 卡尔-切尔尼（Carl Czerny）在这方面的作用举足轻重，因为可以肯定的是，他对这一现象产生了巨大的影响。我的研究重点将主要集中在他的作品上，以确定这种影响的程度，以及他在演奏技巧的文化演变中应承担多少象征性责任。
Such an approach invites secondary areas of investigation including how growing commercial demands, and potential for rewards, affected the kind of genres and styles which virtuosi cultivated as performers and composers. It is striking, for example, just how clearly the dichotomy between the social, philosophical and aesthetic principles of the enlightenment, and the growing emphasis upon subjective individualism during the early nineteenth century, can be represented, dialectically, by composers’ exploration of the sonata and other genres, such as the Fantasia and the Operatic Paraphrase. ^(17){ }^{17} A study along these lines therefore needs to consider the reception of the works and then, by default, the ontological relationship between the composer-pianists and their audiences - both in the public and private spheres. This study will also incorporate aspects of amateur music-making, as part of the broader consideration of how social and commercial factors influenced the creative endeavours of the composer-pianists. 这种研究方法还涉及其他领域，包括日益增长的商业需求和潜在回报如何影响演奏家作为演奏家和作曲家所培养的流派和风格。例如，作曲家对奏鸣曲和其他体裁（如幻想曲和歌剧改编曲）的探索，辩证地体现了启蒙运动的社会、哲学和美学原则与 19 世纪早期日益强调主观个人主义之间的对立，这一点非常引人注目。 ^(17){ }^{17} 因此，按照这一思路进行的研究需要考虑作品的接受情况，进而考虑作曲家-钢琴家与听众之间的本体论关系--无论是在公共领域还是在私人领域。这项研究还将纳入业余音乐创作的各个方面，作为社会和商业因素如何影响作曲家-钢琴家的创作努力这一更广泛考虑的一部分。
Why undertake a study such as this? During the early nineteenth century, there was a relatively short period (1800 - 1820, roughly), when the position and perception of music in society underwent a radical shift. This phenomenon was hardly coincidental, seeing as this was also an era of 为什么要进行这样的研究？十九世纪初，在一个相对较短的时期内（大致为 1800-1820 年），音乐在社会中的地位和观念发生了翻天覆地的变化。这一现象的出现绝非偶然，因为这也是一个
extreme political turmoil, embodied by the French Revolution and the Napoleonic Wars which then followed. During these years, aestheticians, philosophers and musicians all conducted a reassessment of music as an art form, as well as its place in society. One manifestation of this was the evolution of early musical Romanticism. However, this period also coincided with the dawn of mechanization, after which musical culture changed irrevocably. A deeper understanding of why this change occurred, and how all musicians adapted to these changes, will help us to gain a more informed appreciation of how we might do justice to their work. 法国大革命和随后的拿破仑战争引发了极端的政治动荡。在这些年里，美学家、哲学家和音乐家都对音乐作为一种艺术形式及其在社会中的地位进行了重新评估。其中一个表现就是早期音乐浪漫主义的演变。然而，这一时期也恰逢机械化的黎明，此后音乐文化发生了不可逆转的变化。深入了解这一变化发生的原因，以及所有音乐家如何适应这些变化，将有助于我们更明智地欣赏他们的作品。
There is one composer from this time whose reputation has come to tower above all others, and whose achievements are therefore routinely used to represent almost all of the changes described above - even if it might be better to use other examples. This figure is Beethoven. In my view, the inflationary nature of the modern culture which surrounds Beethoven is deeply problematic, as irrespective of the brilliance and enduring worth of his works, it distorts a wider picture. Beethoven, like all true geniuses, is sui generis, and cannot therefore represent the age, even if many elements in his works are found in varying degrees in those of his contemporaries. A richer and more nuanced understanding of this period is only possible, potentially, if we are prepared to consider a musical world from which Beethoven was largely absent. 在这一时期，有一位作曲家的声誉超过了其他所有作曲家，因此，人们经常用他的成就来代表上述几乎所有的变化--即使用其他例子可能更好。这个人物就是贝多芬。在我看来，围绕着贝多芬的现代文化的膨胀性质是很成问题的，因为无论他的作品有多么辉煌和经久不衰的价值，它都扭曲了更广阔的图景。贝多芬与所有真正的天才一样，自成一格，因此不能代表一个时代，即使他作品中的许多元素在不同程度上存在于他同时代人的作品中。只有当我们准备考虑贝多芬在很大程度上缺席的音乐世界时，才有可能对这一时期有更丰富、更细致的理解。
The Importance of this Research Topic 本研究课题的重要性
A selection of reasons why I believe this topic to be of importance are discussed below. This selection is not comprehensive; the intention, rather, is to show what kind of subjects will be explored in the broader approach of the thesis. To that end, an outline of the structure, including provisional chapter titles, is provided at the end of this section. 下文讨论了我认为这一主题具有重要意义的部分原因。这个选题并不全面，而是为了说明在论文的更广泛方法中将探讨哪些主题。为此，本节末尾提供了论文结构大纲，包括暂定章节标题。
The historical tyranny of genius 天才的历史暴政
The idea of a world without the music of Beethoven, or for that matter, any other of the composers whose music forms the backbone of the performance repertory, is perhaps unthinkable for many. Yet the same attitude may not always be in evidence when applied to the music of less famous figures. There can be no doubt that Haydn, Mozart, and Beethoven, along with other established names, rightfully occupy their places in the canon due to their respective genius, but this does not have to mean that the work of those with less transcendent gifts should be sidelined, or worse, consigned to obscurity. It is, in fact, of vital importance that the personal and professional lives of less well-known figures are explored. The ways in which some of the major canonical composers conducted their business does not always represent a true portrayal of what life was like for the average professional composer. Beethoven, with his eventual complete reliance on aristocratic patronage, is a classic case in point. ^(18){ }^{18} By examining the life of a musician such as Ferdinand Ries however, one is far more likely to gain a clearer understanding of what the life of a composer-pianist was actually like, during the early nineteenth century. Research of this nature has been more prevalent in recent years, but much still remains to uncover. 一个没有贝多芬音乐的世界，或者说一个没有其他作曲家音乐的世界，也许对许多人来说是不可想象的。然而，对于那些名气较小的作曲家的音乐，人们可能并不总是持同样的态度。毫无疑问，海顿、莫扎特和贝多芬以及其他著名音乐家因其各自的天才而理所当然地在音乐典籍中占有一席之地，但这并不意味着那些天赋不那么出众的音乐家的作品就应该被排挤到一边，或者更糟糕的是，被置于默默无闻的境地。事实上，对知名度较低的人物的个人和职业生活进行探讨至关重要。一些著名作曲家的工作方式并不总是普通职业作曲家生活的真实写照。贝多芬最终完全依赖贵族赞助，就是一个典型的例子。 ^(18){ }^{18} 然而，通过研究费迪南德-雷斯等音乐家的生平，人们更有可能清楚地了解 19 世纪早期作曲家兼钢琴家的实际生活状况。近年来，这种性质的研究越来越多，但仍有许多东西有待发掘。
The loss of an art form 一种艺术形式的消失
Virtuosity went through a radical transformation during the first half of the nineteenth century. This transformation entailed a move from the mysterious and inexpressible, to something which was mechanized, quantifiable, and based upon a syntactical vocabulary which could be learned systematically, like that of a language. Why this argument is important is that during this transformation, the roles of the composer and the pianist, having been fully symbiotic, began to separate. By later on the century, this gradual uncoupling resulted in the two roles being accepted 十九世纪上半叶，"美德 "经历了彻底的转变。这种转变意味着从神秘莫测、难以表达的事物转变为机械化、可量化的事物，并以一种可以系统学习的句法词汇为基础，就像语言一样。这一论点之所以重要，是因为在这一转变过程中，作曲家和钢琴家的角色从完全共生到开始分离。到本世纪晚期，这种逐渐分离的结果是，这两种角色被人们所接受
completely by audiences and critics as distinct occupations. I intend to connect this strand of research to one of the more universal principles of my argument. The act of public improvisation, having been one of the most prestigious of artistic practices, became a major casualty of this separation, to the extent that it was no longer displayed by virtuosi. 观众和评论家完全将其视为不同的职业。我打算将这方面的研究与我的论点中一个更具普遍性的原则联系起来。公开即兴表演曾是最负盛名的艺术实践之一，但在这种分离中却成为了主要的牺牲品，因为它不再由演奏家来展示。
During the early nineteenth century, public improvisation represented a pinnacle of the composer-pianist’s art. This is why, for example, their improvisations were generally left until the end of a concert programme, so that their audience would remain at the venue to hear them happen. It is well-documented, for example, how Hummel was feted for his improvisatory flair, and how audiences would respond rapturously to his seemingly effortless creative spontaneity. ^(19){ }^{19} There was even an implicit, and accepted understanding that musicians such as Hummel were born, rather than made; this position is clearly linked with Romantic aesthetic ideals such as poetic inspiration and the sublime, as well as the inexpressible essence of the genius/hero. By the middle of the century though, both virtuosity and improvisation, as musical disciplines, had become more quantified and had had pedagogical methods applied to them. It is after this time that public improvisation began to decline, and the idea of the virtuoso began to become based around technical and interpretative prowess, as opposed to that of improvisational flair. 十九世纪初，公开即兴演奏代表着作曲家兼钢琴家艺术的巅峰。这也是为什么他们的即兴演奏通常要留到音乐会节目的最后，以便观众留在现场聆听。例如，胡梅尔因其即兴演奏的天赋而备受赞誉，观众对他看似毫不费力的即兴创作反应热烈，这些都是有据可查的。 ^(19){ }^{19} 甚至有一种隐含的、公认的观点认为，像胡梅尔这样的音乐家是天生的，而不是后天造就的；这种观点显然与浪漫主义的美学理想有关，如诗意的灵感和崇高，以及天才/英雄难以表达的本质。到了本世纪中叶，演奏技巧和即兴演奏这两门音乐学科都变得更加量化，并采用了教学方法。在此之后，公众即兴演奏开始衰落，演奏家的概念开始以技术和诠释能力为基础，而不是即兴演奏的天赋。
Virtuosi and the Werktreue 维塔士和 Werktreue
Czerny’s work can be interpreted a culmination of an era of early Romantic pianism, before the commencement of a more mechanized one. Evidence of this, for example, can be seen by the fact that Hummel himself wrote a treatise of his own on the art of improvisation, published in 1828. ^(20){ }^{20} One aspect of my argument seeks to discover whether the art of public improvisation contained, in some way, the seeds of its own downfall. Was it so transcendent and irrational as an art, that musicians sought to define it as a rational concept, so that it eventually could be more easily understood? Alternatively, was this mainly an issue of aesthetics, in that the spontaneity of performative improvisation contradicted the desire for musical works to be based upon principles of formal cohesion? Virtuosity in pianism maybe also jarred with the emerging aesthetic theories of the period, in that instrumental music, lacking text, had the power to express the inexpressible. When expounding these theories though, Idealist philosophers, were referring to the instrumental genres 车尔尼的作品可以被解释为早期浪漫主义钢琴时代的顶峰之作，在机械化时代开始之前。例如，胡梅尔本人就写过一篇关于即兴艺术的论文，发表于1828年，这就是一个证据。 ^(20){ }^{20} 我的论点之一是想探究公共即兴艺术是否在某种程度上包含了其自身衰落的种子。作为一门艺术，它是否如此超凡脱俗、非理性，以至于音乐家们试图将其定义为理性概念，以便最终更容易理解？或者，这是否主要是一个美学问题，即兴表演的自发性与音乐作品建立在形式凝聚力原则基础上的愿望相矛盾？钢琴演奏中的精湛技艺或许也与当时新兴的美学理论相抵触，因为当时的美学理论认为，缺乏文字的器乐音乐有能力表达无法表达的东西。理想主义哲学家在阐述这些理论时，指的是器乐体裁
and styles cultivated by composers such as Haydn, Mozart and Beethoven, especially in prestigious genres such as the sonata and string quartet. Evidence suggests that they did not have instrumental improvisations in mind, along with the notated genres which were associated with them, such as Preludes, Fantasias, and Capriccios, when they were outlining these stances. This is an area which certainly needs further consideration 海顿、莫扎特和贝多芬等作曲家，尤其是在奏鸣曲和弦乐四重奏等著名体裁方面，培养出了自己的风格。有证据表明，他们在概述这些立场时，并没有考虑到器乐即兴演奏以及与之相关的记谱体裁，如前奏曲、幻想曲和随想曲。这无疑是一个需要进一步研究的领域
Virtuosity refashioned 重塑美德
A rather simplistic summation of the thesis’s sub-title is that improvisation, in the imagination of the public, experienced a fall from being the pinnacle of the virtuoso’s art, being replaced instead a display of technical brilliance. It is certainly true that the latter, fundamentally a mechanical process, is something which has become indelibly associated with modern virtuosity. The acquisition of a formidable technique is considered essential for any aspiring virtuoso, should they wish to stand a chance of making a successful career in a fiercely competitive marketplace. Any suggestion that the decline of public improvisation was due to the advent of a more mechanically orientated brand of virtuosity, needs to be considered carefully, however. In this thesis therefore, I intend initially to examine the two main strands of this argument in isolation. If we understand the art of improvisation as an expression of the ineffable, then it is clear that this aspect of my argument must incorporate a reasonably broad range of aesthetic, social and political issues, alongside those both musical and philosophical. To this end, the parallels and differences between music and other forms of artistic expression, such as poetry and painting, will be discussed. Examples of this might include the improvvisatore, Italian poets of the Romantic era, ^(21){ }^{21} or the landscape sketches of the English artist William Gilpin (1724 - 1804). ^(22){ }^{22} Critiques and reviews of public improvisation will also help to determine how these displays were received and perceived by audiences. 对论文副标题的一个相当简单化的概括是，即兴演奏在公众的想象中已经从演奏家艺术的顶峰跌落，取而代之的是技术才华的展示。当然，后者从根本上说是一种机械过程，与现代精湛技艺有着不可分割的联系。任何有抱负的演奏家要想在竞争激烈的市场中获得成功，掌握高超的技巧是必不可少的。然而，任何认为公众即兴演奏的衰落是由于出现了一种更加机械化的精湛技艺的说法，都需要慎重考虑。因此，在这篇论文中，我首先打算孤立地研究这一论点的两个主要方面。如果我们将即兴艺术理解为一种不可言说的表达方式，那么很显然，我的论点必须包含相当广泛的美学、社会和政治问题，以及音乐和哲学问题。为此，我们将讨论音乐与其他艺术表现形式（如诗歌和绘画）之间的相似之处和不同之处。这方面的例子可能包括即兴演奏家、浪漫主义时期的意大利诗人、 ^(21){ }^{21} 或英国艺术家威廉-吉尔平（William Gilpin，1724 - 1804 年）的风景素描。 ^(22){ }^{22} 对公共即兴表演的评论和评论也将有助于确定观众是如何接受和看待这些表演的。
Industrialisation heralded a new age of economic prosperity, one in which pianos found their way into the homes of middle-class owners, who were able to afford the relatively expensive instrument. Did this assist either the decline of improvisation or the growth of emphasis upon mastering technique? The early period of virtuosity is bookended by European political events of major significance: the French Revolution of 1789, and the attempted 1848 revolutions in wider Europe. The ramifications of these events will be taken into account, as they can add an important social dimension to the overall scope and background of this thesis. 工业化预示着经济繁荣的新时代，钢琴进入了中产阶级的家庭，他们有能力购买相对昂贵的乐器。这是否导致了即兴演奏的衰落或对精湛技艺的重视？在早期的精湛技艺时期，欧洲发生了一些重大的政治事件：1789 年的法国大革命和 1848 年欧洲各国的未遂革命。我们将考虑这些事件的影响，因为它们可以为本论文的整体范围和背景增添一个重要的社会维度。
The Hegemony of Interpretation 解释的霸权
If one of the most insistent priorities for pianists is to acquire a reliable and healthy technique, then another is knowing how to interpret works with a relative degree of confidence. This may mean a great deal of focused practice on such matters such as style, articulation, the kind of sound required and so forth. At no point though, is a pianist likely to be required to improvise, at least certainly not when learning music written in the nineteenth century. Although the subtleties which a composer intends to convey through a performance of their work can never be fully encoded in the printed score, the pianist’s role is to follow and interpret the notation and performance directions as faithfully as possible. A culture of interpretation began to be established from approximately the middle of the nineteenth century, and it might be argued that its inexorable rise was inversely proportionate to the decline of public improvisation. As virtuosi began to construct their concert programmes around a core of canonic works by J.S. Bach, Haydn, Mozart, and Beethoven, the perception of the pianist as artist began to alter at the same time. This is because the composition, rather than the performance, now became the most important element of artistic expression, which aligned with the ideals of the Werktreue. ^(23){ }^{23} As Cvejic describes: 如果说钢琴家最坚持的首要任务之一是掌握可靠而健康的技巧，那么另一个首要任务就是知道如何相对自信地诠释作品。这可能意味着要在风格、发音、所需音色等方面进行大量有针对性的练习。不过，钢琴家在任何时候都不可能被要求即兴演奏，至少在学习十九世纪的音乐作品时肯定不会。虽然作曲家在演奏其作品时想要表达的微妙之处不可能完全写在印刷的乐谱上，但钢琴家的职责是尽可能忠实地遵循并诠释乐谱和演奏指导。大约从十九世纪中叶开始，诠释文化开始形成，可以说，诠释文化的兴起与公开即兴演奏的衰落成反比。随着演奏家们开始围绕巴赫、海顿、莫扎特和贝多芬的经典作品构建他们的音乐会曲目，人们对钢琴家作为艺术家的看法也同时开始改变。这是因为作曲而非演奏现在成为艺术表现的最重要元素，这与 Werktreue 的理想不谋而合。 ^(23){ }^{23} 正如 Cvejic 所描述的那样：
Virtuosity’s sheer performativity and sensous ephemerality put it at loggerheads with the aesthetic valorisation of interiority, inherent in the notion of aesthetic autonomy and the work concept as its exponent. ^(24){ }^{24} 美德的纯粹表演性和感官短暂性使其与审美自主性概念中固有的内部性美学价值以及作为其表达者的作品概念相冲突。 ^(24){ }^{24}
The overt displays of fiery pianism from virtuosi were now beginning to become disliked by critics, as the definition of artistry changed to one which prioritised interiority - the "soul of the composer’ over exhibitionism by the performer. This did not mean that the performer could not be feted for their technique; indeed, this technique was essential in order to do justice to the work. It was improvisation that suffered, because this was an art which was both performative and came directly from the “soul of the performer”. I argue that this art was, therefore, in direct conflict with the ideals of the Werktreue, and it was the latter which triumphed. 随着对艺术性的定义转变为注重内在性--"作曲家的灵魂"，而非演奏者的炫技，演奏家公开展示的火热钢琴技艺开始受到评论界的反感。但这并不意味着演奏家的技巧就不能受到赞誉；事实上，要想演奏出完美的作品，技巧是必不可少的。受影响的是即兴创作，因为这种艺术既是表演性的，又直接来自 "表演者的灵魂"。因此，我认为，这种艺术与 Werktreue 的理想直接冲突，而后者取得了胜利。
Reproducibility 重现性
In an age of reproducibility, where printers and publishers churned out reams of piano arrangements and pot pourris for domestic use, in ever-increasing quantities, the metaphysical identity of improvisation began to present problems. A public improvisation could not be recorded - 在这个可复制的时代，印刷商和出版商越来越多地出版成册的钢琴曲和家庭用壶，即兴创作的形而上特性开始出现问题。公开的即兴演奏无法被录制下来。
it could only be witnessed, then remain in the memory of listeners, who would, of course, all have differing recollections. ^(25){ }^{25} A composition, however, having been written down, could be printed, reproduced and widely disseminated. If the printing and distribution of compositions represented a powerful form of industrialism, the ephemeral nature of improvisation could be interpreted as antithetical to this form. To rephrase perhaps, if one of the main goals of industrialism was mass reproduction, then unique and spontaneous musical ideas, which existed only in the moment and then could not be reproduced, did not fit in with this goal. I intend to ask why this was, and whether or not it was inevitable that technological progress would result in the loss of improvisation from the virtuoso tradition. ^(25){ }^{25} 但写下来的作品却可以印刷、复制和广泛传播。 ^(25){ }^{25} 然而，作品一旦被写下来，就可以印刷、复制和广泛传播。如果说作曲的印刷和发行代表了一种强大的工业主义形式，那么即兴创作的短暂性则可以被解释为与这种形式背道而驰。换句话说，如果工业主义的主要目标之一是大规模复制，那么仅存在于当下且无法复制的独特和自发的音乐理念就与这一目标不符。我想问的是，为什么会出现这种情况，技术进步是否必然导致即兴演奏从演奏家传统中消失。
Re-imagining piano pedagogy 重新构想钢琴教学法
The eventual hegemony of interpretation for pianists, against that of improvisation, has had far-reaching consequences on pedagogy. Improvisation and personal creativity are now marginalised arts for classical pianists. ^(26){ }^{26} This is where the work of Carl Czerny becomes interesting. Characterised as the arch-pedagogue, he may be considered as the progenitor of the mechanical virtuoso, in terms of prioritising technical excellence above all other facets of pianism. ^(27){ }^{27} We might describe this as an industrialisation of process, rather than ideas. He also contributed to the support of Werktreue, through his fastidious championing of the works of Beethoven. ^(28){ }^{28} Yet Czerny was also a composer of serious works, and wrote a whole treatise on improvisation. ^(29){ }^{29} Clearly, he considered personal creativity just as valid as technical expertise and interpretative skill. His concept of a fully rounded pianist-musician seems very different to ours, and this thesis will look to examine some of the reasons for this. In this way, I hope that it might help to contribute to debate around pianism, improvisation, and how we might encourage future generations of pianists to explore their own creativity more deeply. 对钢琴家而言，诠释与即兴的最终霸权对教学产生了深远的影响。对于古典钢琴家来说，即兴演奏和个人创造力已成为被边缘化的艺术。 ^(26){ }^{26} 卡尔-切尔尼的作品正是在这一点上引起了人们的兴趣。卡尔-车尔尼被称为 "大教育家"，他可以被视为 "机械演奏家 "的鼻祖，将精湛的技术置于钢琴艺术的所有其他方面之上。 ^(27){ }^{27} 我们可以将其描述为过程的工业化，而非理念的工业化。他对贝多芬作品的极力推荐，也为支持Werktreue做出了贡献。 ^(28){ }^{28} 然而，车尔尼也是一位严肃作品的作曲家，他写了整整一篇关于即兴演奏的论文。 ^(29){ }^{29} 显然，他认为个人创造力与专业技术和诠释技巧同样重要。他对全面发展的钢琴家-音乐家的概念似乎与我们大相径庭，本论文将探讨其中的一些原因。我希望这篇论文能有助于围绕钢琴、即兴演奏以及如何鼓励后代钢琴家更深入地探索自己的创造力展开讨论。
CHAPTER PLANS 章节计划
Introduction - Outline of principal topics, issues and aims. 导言 - 主要专题、问题和目标的概述。
Chapter Titles 章节标题
The aesthetics of virtuosity and improvisation around 1800. 1800 年前后的精湛技艺和即兴演奏美学。
A discussion of the philosophical ideas which were appearing in print. 讨论印刷品中出现的哲学思想。
Did early concepts of the Werktreue complement or conflict with aesthetic theories of Romanticism? 早期的 Werktreue 概念与浪漫主义美学理论是互补还是冲突？
Enlightened Romanticism: Early Virtuosi and the art of “learned” improvisation. 启蒙浪漫主义：早期演奏家与 "博学的 "即兴演奏艺术。
Early virtuosi were feted for their improvisational ingenuity. However, suspicion began to be cast, over time, as to whether or not improvisations were genuinely spontaneous, or just rehearsed. 早期的演奏家因其即兴创作的独创性而备受推崇。然而，随着时间的推移，人们开始怀疑即兴演奏究竟是真正的即兴创作，还是排练出来的。
Were virtuosi born or made? 演奏家是天生还是后天培养的？
Heroes of the Bourgeois: Virtuosi as iconoclasts. 资产阶级的英雄作为偶像破坏者的维塔士。
How were virtuosi portrayed as representations of a new bourgeoisie? 演奏家如何被描绘成新资产阶级的代表？
What was the critical reception like towards virtuosi, and how did they respond? Was criticism towards virtuosi always justified, and what agendas lay behind the opinions of critics? 评论界对演奏家的评价如何，他们又是如何回应的？对演奏家的批评是否总是合理的？
Was there a general critical consensus towards virtuosi? If so, did this enable the move from an emphasis on improvisation, to displays of technical brilliance? 评论界是否对演奏家达成了普遍共识？如果是，这是否促成了从强调即兴创作到展示技术才华的转变？
Prophets or Profiteers? Virtuosi as artists and businessmen. 先知还是暴发户？作为艺术家和商人的艺术大师。
Virtuosi were as much businessmen as artists. How did their commercial activities dovetail with their musical ones, and can virtuosi be seen as reflective of industrialism? 演奏家既是艺术家，也是商人。他们的商业活动与音乐活动是如何结合的？
5. Truly spontaneous? Czerny and the taxonomy of improvisation. 5.真正的即兴？切尼与即兴创作分类法
Carl Czerny is a pivotal figure in the history of pianism. Were his industrial methods beneficial, or did they help to usher in an age of reproductivity, along with a more homogeneous approach towards pianism in general? 卡尔-车尔尼是钢琴史上举足轻重的人物。他的工业化方法是有益的，还是助长了复制时代的到来，以及钢琴演奏方法的单一化？
Did his efforts to quantify and define techniques of improvisation actually hasten its decline? 他量化和定义即兴演奏技巧的努力是否加速了即兴演奏的衰落？
Conclusion - The end of an era: mechanization of virtuosity and decline of improvisation. 结论 - 一个时代的终结：精湛技艺的机械化和即兴创作的衰落。
Virtuosity today and how improvisation might be reclaimed. 当今的 "美德 "以及如何重拾即兴演奏。
Literature Review 文献综述
Treatises 论文
There are several key treatises to consult on the subject of improvisation and free playing. Several are authored by some of the most well-known exponents, meaning that they have become essential in enabling us to understand better the practices which they employed. Hummel’s treatise The Art of playing the Pianoforte can be considered a touchstone in this regard, as he was one of the first great touring public improvisers of the nineteenth century. ^(30){ }^{30} Interestingly, although the treatise was first published simultaneously in German and English, the English version did not include the section Hummel wrote on free improvisation. Mark Kroll and Traute M. Marshall have translated and edited this section so that an English version now exists and can be accessed freely. ^(31){ }^{31} Why did this section not make it into the original English edition? Perhaps either Hummel, his publisher Boosey, or both, felt that his English subscribers would prefer to read something more didactic in tone, in terms of acquiring basic techniques, something which may have been due to the fact that the market for amateur playing in London was then expanding remarkably rapidly. Improvisation may have been considered by Hummel to be only achievable by the more advanced player. Moreover, Hummel had not spent much time in London since his studies with Clementi which he undertook when he was much younger, so he is unlikely to have been as closely acquainted with the contemporary London musical landscape as others who were resident there. ^(32){ }^{32} Erin Helyard has shown how London was the most active and powerful commercial centre of the late eighteenth/early nineteenth centuries, in terms of both music publishing and piano manufacturing. He has highlighted how for composers such as Clementi and Hummel, the gaining of commercial success was respected just as much as that of their artistic achievements. In contrast, he shows how the Romantic idea that great composers were supposed to “suffer” for their art only took hold later on in the nineteenth century. Put simply, commercial considerations alone may have been responsible for the choices which were made by Hummel and his contemporaries, when releasing new publications. A letter written by Ferdinand 关于即兴演奏和自由演奏，有几本重要的论文可供参考。其中有几本是由一些最著名的演奏家撰写的，这意味着它们对于我们更好地理解他们的演奏方法至关重要。胡梅尔（Hummel）的论文《钢琴演奏的艺术》（The Art of playing the Pianoforte）可以说是这方面的试金石，因为他是 19 世纪第一批伟大的巡回公开即兴演奏家之一。 ^(30){ }^{30} 有趣的是，虽然这本论文的德文版和英文版同时出版，但英文版中并没有胡梅尔所写的自由即兴部分。马克-克罗尔（Mark Kroll）和特劳特-马歇尔（Traute M. Marshall）对这一部分进行了翻译和编辑，因此现在有了英文版，可以免费查阅。 ^(31){ }^{31} 为什么这部分内容没有出现在英文原版中？也许是胡梅尔或他的出版商博西，或者是两者都认为，他的英国订户更喜欢读一些说教意味更浓的书，学习基本技巧，这可能是因为当时伦敦的业余演奏市场正在迅速扩大。胡梅尔可能认为，即兴演奏只有更高级的演奏家才能做到。此外，胡梅尔年轻时曾师从克莱门蒂，此后在伦敦的时间并不长，因此他不可能像其他在伦敦居住的人那样熟悉当代伦敦的音乐风貌。 ^(32){ }^{32} 艾琳-赫利亚德（Erin Helyard）指出，伦敦是十八世纪末十九世纪初最活跃、最强大的商业中心，在音乐出版和钢琴制造方面都是如此。 他强调了克莱门蒂和胡梅尔等作曲家如何将商业成功与艺术成就同等看待。与此形成鲜明对比的是，他说明了伟大作曲家应该为艺术 "受苦 "的浪漫主义观念是如何在十九世纪后期才逐渐形成的。简而言之，商业因素可能是胡梅尔及其同时代人在发行新出版物时做出选择的唯一原因。斐迪南写的一封信
Ries, from around 1813, in which he surveys the state of the contemporary English market for music, is especially revealing: 1813 年左右出版的《里斯》一书中，他对当代英国音乐市场的状况进行了调查，尤其具有启发性：
It will be very difficult to get good German music into circulation here, or to enter into a significant relationship with a secure local house, for the following reasons. 由于以下原因，要想让优秀的德国音乐在这里流传，或者与当地可靠的音乐家建立重要的合作关系，将非常困难。
The tolls are terrible. 收费太可怕了。
The Englishman does not buy music where he does not already know or has heard the name of the composer as a very famous man. 英国人不会购买不知道或没听说过作曲家大名的音乐。
The number of small, wretched piano players, who unfortunately all believe that one must only write down notes in order to compose well, flood England with things that they impose on their pupils without mercy-they do not protect anything new and good, because this would be the first to perish. 许多卑鄙的小钢琴演奏家都认为，只有写下音符才能谱出好曲子，他们毫不留情地把这些东西强加给学生，充斥着整个英格兰--他们不保护任何新的和好的东西，因为这将是最先消亡的。
They have no taste for good music here, of which the newer compositions of Cramer are proof, which are selling like hot cakes-and his earlier, beautiful works are not selling as well. ^(33){ }^{33} 在这里，他们对好音乐没有品味，克拉默的新作品就是证明，这些作品卖得很火，而他早期的优美作品却卖得不好。 ^(33){ }^{33}
Ries’ ensuing works are perhaps proof of how he looked to adapt his style, in order to meet the demands of this market which he critiqued so witheringly in his letter. In doing so, he also shows how composers were often required to adopt a pragmatic approach in order to survive. Only the most fortunate could rely on the continued beneficence of aristocratic patrons, thus enabling them to compose works almost exclusively for the connoisseur, rather than the amateur. This, of course, was the case in Vienna for Ries’ teacher, Beethoven, with whom Ries has so often had to suffer invidious comparison. 里斯随后的作品或许证明了他是如何调整自己的风格，以满足他在信中严厉批评的市场需求。在此过程中，他还展示了作曲家为了生存往往需要采取务实的态度。只有最幸运的作曲家才能得到贵族赞助人的持续资助，从而使他们能够创作出几乎完全面向鉴赏家而非业余爱好者的作品。当然，在维也纳，里斯的老师贝多芬就是这种情况，里斯经常不得不与他进行令人反感的比较。
More evidence to support this can also be gleaned from Joel Sachs’ exhaustive work on Hummel’s touring activities. Sachs shows how the consequences of the Napoleonic wars, which resulted in Great Britain’s political isolation from the European continent during many of the prime 乔尔-萨克斯（Joel Sachs）对胡默尔巡回演出活动的详尽研究也为这一观点提供了更多证据。萨克斯展示了拿破仑战争的后果，拿破仑战争导致英国在许多黄金时期在政治上与欧洲大陆隔绝。
years of Hummel’s career, meant that his reputation as a composer there only began to grow again from 1818 onwards. ^(34){ }^{34} His music was then reviewed regularly in English periodicals, and performances of his works took place with increasing frequency. ^(35){ }^{35} His relative lack of public profile, due to his absence from the London concert platforms, may have led to the conclusion that there was little point in including a section on free improvisation in the English edition, seeing as few in England would, by then, have had knowledge of his close association with the craft. Thomas Boosey may have advised Hummel that he was best to aim the English edition of his treatise at younger players and amateurs, in order to maximise sales - in which case the section on free improvisation, something which was more relevant to aspiring professionals, would perhaps have been considered expendable. Either way, thanks to Kroll and Marshall, modern researchers now have access to the omitted section in English translation. 在胡梅尔职业生涯的最后几年，他作为作曲家的声誉从 1818 年起才开始恢复。 ^(34){ }^{34} 此后，英国期刊定期对他的音乐进行评论，他的作品也越来越频繁地上演。 ^(35){ }^{35} 由于他没有出现在伦敦音乐会的舞台上，他在公众中的知名度相对较低，这可能使他得出这样的结论：在英文版中加入自由即兴部分没有什么意义，因为当时在英国很少有人知道他与自由即兴的密切关系。托马斯-博西（Thomas Boosey）可能建议胡梅尔最好将英文版的论文针对年轻演奏家和业余爱好者，以便最大限度地提高销量，在这种情况下，关于自由即兴演奏的部分可能会被认为是可有可无的，因为它与有抱负的专业人士更为相关。无论如何，多亏了克罗尔和马歇尔，现代研究人员现在可以看到被删掉的部分的英译本了。
Another influential publication is “A Systematic Introduction to Improvisation on the Pianoforte”, Op.200, by Carl Czerny. ^(36){ }^{36} The lack of an English edition when the treatise was first published may have been for similar reasons to that of Hummel, in that Czerny was resident in Vienna for his entire career, and only visited England once, in 1837.^(37)1837 .{ }^{37} Czerny had lessons with Hummel as a young player, and like his teacher, Czerny’s wish to pursue a life as a concert pianist may have been somewhat disrupted by the turmoil of the Napoleonic Wars. To compensate perhaps, he proceeded to concentrate the majority of his efforts on teaching and composition. It seems as if he was a rather modest character, someone who was not overly concerned with self-aggrandizement, whereas most of the great virtuosi realised the need for vigorous self-promotion, in order to stand out in the marketplace. ^(38){ }^{38} Czerny is a curious figure in terms of musical history, in that his incredible industry and innovative thinking within the realm of technical methodology actually resulted in his reputation as a composer being overlooked or even maligned. ^(39){ }^{39} His championing of Beethoven’s music, after the older composer’s death, probably did not help in this regard either. Ingrid Fuchs has shown how Czerny’s playing as a youngster so impressed Beethoven that he became his pupil for a 另一本颇具影响力的出版物是卡尔-车尔尼（Carl Czerny）的《钢琴即兴演奏系统入门》（作品 200）。 ^(36){ }^{36} 这篇论文首次出版时没有英文版，可能是出于与胡梅尔类似的原因，因为车尔尼整个职业生涯都居住在维也纳，只在 1837.^(37)1837 .{ }^{37} 年访问过英国一次。车尔尼在年轻时曾师从胡梅尔，与他的老师一样，车尔尼追求音乐会钢琴家生活的愿望也可能因拿破仑战争的动荡而受到一定影响。为了弥补这一遗憾，他将大部分精力放在了教学和作曲上。他似乎是一个相当谦虚的人，不过分注重自我标榜，而大多数伟大的演奏家都意识到需要大力进行自我宣传，以便在市场上脱颖而出。 ^(38){ }^{38} 车尔尼在音乐史上是一个奇特的人物，因为他在技术方法领域令人难以置信的勤奋和创新思维，实际上导致他作为作曲家的声誉被忽视甚至被诋毁。 ^(39){ }^{39} 在老作曲家贝多芬去世后，他对贝多芬音乐的拥护可能也不利于这方面的发展。英格丽德-福克斯（Ingrid Fuchs）指出，车尔尼年轻时的演奏给贝多芬留下了深刻印象，以至于他在贝多芬去世后的一段时间里成为贝多芬的学生。
while, and that in December 1805, Beethoven signed a testimonial which was intended to support Czerny in his ambition to become a virtuoso. ^(40){ }^{40} Yet although he clearly possessed the ability to do so, Czerny may, in the end, have simply been too self-effacing a character to become a career performer. Some of his comments on his own playing show just how stratospherically high a standard he expected of himself. In 1824, he turned down a personal request from Beethoven to perform excerpts from the “Emperor” concerto, on the grounds that he would not be able to do the work justice (this despite having performed Beethoven’s concertos on occasion, in the past). ^(41){ }^{41} Czerny’s instincts for performance and composition appear to have been sublimated in favour of his devotion to developing a quasi-scientific approach to pianistic instruction - at least, this is what the prevailing historical narrative would have us believe. In recent times though, this narrative has been challenged, and Czerny’s entire body of work has now undergone a thorough critical reassessment. This has taken place through the work of researchers such as David Gramit, as well as eminent performers. T distinguished English virtuoso Howard Shelley, for example, has been prepared to learn and record selections of Czerny’s “brilliant” published compositions, such as the piano concertos. ^(42){ }^{42} Michael Saffle has written on how Czerny’s work on improvisation was a powerful influence on Thalberg and Liszt, and how Czerny’s apparent humility led to his self-description as being merely a “proficient” improviser, when compared to Beethoven and Hummel. ^(43){ }^{43} Again, it seems as if he preferred to allow others to take the limelight, rather than craving adulation for himself. To invoke a sporting metaphor, we might consider him as being the selfless team player of nineteenth-century pianistic culture, whose achievements nevertheless had a major influence. 1805年12月，贝多芬签署了一份推荐信，旨在支持车尔尼成为演奏家。 ^(40){ }^{40} 然而，尽管车尔尼显然具备这样的能力，但他最终可能只是过于自我，无法成为一名职业演奏家。从他对自己演奏的一些评价中可以看出，他对自己的要求有多高。1824年，他拒绝了贝多芬个人提出的演奏 "皇帝 "协奏曲选段的请求，理由是他无法演奏好这部作品（尽管他过去曾偶尔演奏过贝多芬的协奏曲）。 ^(41){ }^{41} 车尔尼对演奏和作曲的本能似乎被升华了，他致力于发展一种准科学的钢琴教学方法--至少，这是流行的历史叙事让我们相信的。然而，这种说法在近代受到了挑战，车尔尼的全部作品现在都经历了彻底的批判性重新评估。戴维-格拉米特（David Gramit）等研究人员以及著名演奏家的研究成果对此进行了重新评估。例如，杰出的英国演奏家霍华德-雪莱（Howard Shelley）已准备学习并录制车尔尼 "辉煌 "的已出版作品选段，如钢琴协奏曲。 ^(42){ }^{42} 迈克尔-萨弗尔（Michael Saffle）曾撰文介绍了车尔尼的即兴创作如何对塔尔贝格和李斯特产生了强大的影响，以及车尔尼表面上的谦逊如何导致他自称与贝多芬和胡梅尔相比只是一个 "熟练 "的即兴演奏家。 ^(43){ }^{43} 同样，他似乎更愿意让别人成为众人瞩目的焦点，而不是为自己渴求赞美。 借用体育运动的比喻，我们可以认为他是十九世纪钢琴文化中无私的团队成员，但他的成就却产生了重大影响。
The work of Czerny therefore has a critical role to play in my thesis. Whilst his destiny was not to become a front-and-centre virtuoso, he was an important composer-pianist whose work acts as a strong pedagogical bridge between instinct and methodical industry. The Romantic ideal of the compositional/pianistic genius might be seen as one which interprets the musicianship of pianists to be based purely on natural instincts, which no amount of industry can compensate for. ^(44){ }^{44} Czerny seems to have set out to prove otherwise, by being one of the first figures to really break down the 因此，车尔尼的作品在我的论文中起着至关重要的作用。虽然他的命运并不是成为一名前沿和中心的演奏家，但他是一位重要的作曲家兼钢琴家，他的作品在本能和有条不紊的工业之间架起了一座强有力的教学桥梁。浪漫主义对作曲/钢琴天才的理想，可以被看作是对钢琴家音乐素养的一种诠释，认为钢琴家的音乐素养纯粹基于天生的本能，这是任何工业都无法弥补的。 ^(44){ }^{44} 车尔尼似乎想证明这一点，他是第一批真正打破 "天才 "概念的人之一。
separate aspects of pianism and then create suitable methods to help aspiring players improve. An element of mystery surrounded the herculean technical feats of the greatest professional virtuosi, but this only applied to a select few. In this way, Czerny’s achievements form a key element of the tradition of virtuosity, in the demystification of instrumental technique and other facets of pianism. The new music which was being performed and published by virtuosi could still be extremely challenging for the amateur, even if it was specifically aimed at them in terms of graded difficulty. Czerny sought to deconstruct these challenges, in the hope that it would enable keen players to go at least some way towards emulating their idols. Brahms’ comment about composition being “ten percent inspiration, ninety percent perspiration” might just have easily been applied to Czerny’s attitudes and philosophy towards the art of pianism. ^(45){ }^{45} It is his role within the pianism of the new industrial age which I intend to examine, and in doing so, help to reassess where he might be placed suitably, within the culture of virtuosity. 将钢琴演奏的各个方面分开，然后创造出合适的方法来帮助有抱负的演奏家提高演奏水平。最伟大的职业演奏家的高超技艺被神秘色彩所笼罩，但这只适用于少数人。因此，车尔尼的成就构成了精湛技艺传统的关键因素，揭开了器乐技巧和钢琴演奏其他方面的神秘面纱。演奏家们演奏和出版的新音乐对业余爱好者来说仍然极具挑战性，即使这些音乐在难度上是专门针对他们的。车尔尼试图解构这些挑战，希望能让热衷于此的演奏者至少在某种程度上模仿他们的偶像。勃拉姆斯曾说过，作曲 "百分之十的灵感，百分之九十的汗水"，车尔尼对钢琴艺术的态度和理念也许正是如此。 ^(45){ }^{45} 我打算研究的正是他在新工业时代钢琴艺术中所扮演的角色，这样做有助于重新评估他在高超技艺文化中的位置。
Czerny also waxed lyrical on the art of improvised preluding. ^(46)He{ }^{46} \mathrm{He} was not the first composer to do this, as Valerie Woodring Goertzen has shown. ^(47){ }^{47} Other writers, such as Hamilton and Nicholas Temperley have shown how preluding was considered to be de rigeur for any virtuoso, and remained so for some time into the twentieth century. ^(48){ }^{48} Thus, we are more fortunate, in terms of evidence which actually exists concerning the art of improvised preluding, than with that which pertains to the Free Fantasia. In terms of the nature of this evidence, there are many representative accounts, often written by virtuosi themselves, regarding their own treatment of preluding as well as personal reports of how they heard it treated by other performers. ^(49){ }^{49} Yet preluding could be framed as an example of an improvisational genre, which eventually became usurped by the written composition. Western canonization practices have been partly responsible for this, along with publishers’ desires to market “sets” of pieces to consumers, and composers’ wishes to get their works into print and profit from them. Besides some of the most well-known sets of keyboard preludes, such as those by Bach and Chopin, many other composer-pianists also published their own collections. For example, Clementi, Corri, Ries, Hummel and Moscheles all did so, which would have surely widened the market for learning and playing published Preludes, rather than improvising them. Thus, the Prelude 车尔尼还抒写了即兴前奏的艺术。正如瓦莱丽-伍德林-戈尔岑（Valerie Woodring Goertzen）所言， ^(46)He{ }^{46} \mathrm{He} 并不是第一位这样做的作曲家。 ^(47){ }^{47} 其他作家，如汉密尔顿（Hamilton）和尼古拉斯-滕佩利（Nicholas Temperley），也曾指出前奏如何被认为是任何演奏家的必修课，并一直持续到二十世纪。 ^(48){ }^{48} 因此，与《自由幻想曲》相比，我们更幸运地获得了有关即兴前奏艺术的实际证据。就证据的性质而言，有许多具有代表性的描述，通常由演奏家自己撰写，涉及他们自己对前奏的处理，以及他们听到其他演奏家如何处理前奏的个人报告。 ^(49){ }^{49} 然而，前奏曲可被视为即兴体裁的一个范例，最终被书面作品所取代。西方的正统做法是造成这种情况的部分原因，出版商希望向消费者推销 "成套 "作品，而作曲家则希望将自己的作品付梓并从中获利。除了一些最著名的键盘前奏曲集，如巴赫和肖邦的作品，许多其他作曲家也出版了自己的作品集。例如，克莱门蒂、科里、里斯、胡梅尔和莫舍莱斯都出版了自己的前奏曲集，这无疑扩大了学习和演奏已出版前奏曲的市场，而不是即兴演奏。因此，前奏曲
is a good example of a genre which can reveal much about the motives of composers during the nineteenth century, as to whether they were prophets, profiteers, both, or otherwise (Czerny may qualify in this last category). Again, much like the Free Fantasia, much of the work here resides in studying written treatises and scores, and then trying to ascertain what genuine improvised preludes may have sounded like, along with conducting an assessment of how they were integral to the rise of the virtuoso during the early nineteenth century. 这是一个很好的例子，从这种体裁中可以看出十九世纪作曲家的动机，他们是先知先觉者、暴发户、两者兼而有之，还是另有隐情（车尔尼可能属于最后一类）。同样，与《自由幻想曲》一样，这部作品的大部分工作也在于研究书面论文和乐谱，然后试图确定真正的即兴前奏曲听起来可能是什么样子，同时对它们如何成为十九世纪早期演奏家崛起的组成部分进行评估。
An early nineteenth-century virtuosi who has still not received a dedicated biography of his own is Ferdinand Ries. His close association with Beethoven is often still cited as a reason for his general lack of representation in the canon, and this link has certainly not been to the benefit of his posthumous reputation. ^(50){ }^{50} Yet Ries can be regarded as one of the most important virtuosi of his time, and there have been valiant efforts made over the past thirty years or so to give him his dues. Staves has conducted research on Ries’ sets of variations for example, as part of her thesis which also looks at variation sets by Dussek, Hummel and Moscheles. This is a worthy effort to highlight these composers, as it was written when this approach was perhaps considered less fashionable. However, this is also reflected in her adherence to orthodox canonic thinking - especially with regard to Ries, who in her eyes, remains firmly in the shadow of Beethoven. John Carnelley’s biography of George Smart illustrates how Ries was a leading figure in many aspects of London musical life, during his time living there; the composer is certainly no bit-part player in Carnelley’s work, at least. ^(51){ }^{51} Cecil Hill is, of course, one of Ries’s champions. ^(52){ }^{52} Yet Ries’s career and creative works still deserve far more attention than they have currently received. Much like Czerny, my aim is to situate him in the virtuoso tradition, as well as assessing the significance of his achievements as a composer-improviser. 费迪南德-雷斯（Ferdinand Ries）是十九世纪早期的一位演奏家，但至今仍没有为他专门立传。他与贝多芬的密切关系常常被认为是他的传记缺乏代表性的一个原因，而这种关系肯定不利于他的后世声誉。 ^(50){ }^{50} 然而，里厄斯可以被视为他那个时代最重要的演奏家之一，在过去的三十多年里，人们一直在为他付出应有的努力。例如，斯塔夫斯对雷斯的变奏曲集进行了研究，这是她论文的一部分，她的论文还研究了杜塞克、胡默尔和莫舍莱斯的变奏曲集。这篇论文值得一读，因为在她写作这篇论文时，这些作曲家的作品可能还不太流行。然而，这也反映在她对正统规范思想的坚持上--尤其是对雷斯的坚持，在她眼中，雷斯仍然牢牢地处于贝多芬的阴影之下。约翰-卡内利（John Carnelley）为乔治-斯马特（George Smart）所作的传记说明了雷斯在伦敦生活期间是如何在伦敦音乐生活的许多方面发挥主导作用的；至少在卡内利的作品中，这位作曲家肯定不是小角色。 ^(51){ }^{51} 当然，塞西尔-希尔是里斯的拥护者之一。 ^(52){ }^{52} 然而，雷斯的职业生涯和创作仍应得到比现在更多的关注。与车尔尼一样，我的目的是将他置于演奏家的传统中，并评估他作为作曲家-改良者所取得的成就。
Secondary Sources 二手资料
Much of the literature relevant to this study focuses upon the subject of European nineteenthcentury musical life. In particular, this body of research encompasses the role and ontology of improvisation, along with the rise of the virtuoso pianist. The volume of scholarship to date which concerns these areas is comparatively smaller than that which deals with the lives and careers of composers, especially those whose works form the bulk of the canonic repertory. More recently 与本研究相关的大部分文献都集中在十九世纪欧洲音乐生活这一主题上。尤其是即兴演奏的作用和本体论，以及钢琴演奏家的崛起。与研究作曲家的生活和职业生涯的文献相比，迄今为止涉及这些领域的文献相对较少，尤其是那些其作品构成大部分正统曲目的作曲家。最近
however, there have been efforts made to address this, as those looking to challenge orthodox thinking have begun to examine these areas in more detail. Much of this has stemmed from the awareness of how beholden Western musical culture remains to nineteenth-century canonic ideals, and important work has been carried out by scholars such as William Weber, James Parakilas and Katherine Bergeron. ^(53){ }^{53} Mark Evan Bonds has written extensively on the nature of instrumental music and how it came to function as the nucleus of canon formation, especially in the prestigious genres of the symphony, sonata and string quartet. ^(54){ }^{54} Zarkan Cvejic has carried out a thorough study on the different modes of nineteenth-century critical reception towards virtuosity, whilst Jim Samson has argued, persuasively, that the history of performance and virtuosity deserves to be studied as much as that of composition. ^(55){ }^{55} None of these writers, however, deals explicitly with improvisation. One contemporary writer who has done so is Dana Gooley, whose work covers free improvisational playing, and its relationship to the development of the virtuoso tradition. ^(56)His{ }^{56} \mathrm{His} first book concentrates on the life and work of Liszt, but his second, more recent book is a revealing survey of the work of less well-known composer-pianists. Gooley’s work is impressive, in that it demonstrates not just a dedication to highlighting the career achievements of composer-performers who might otherwise be consigned to obscurity - he writes an entire chapter on the German virtuoso Carl Loewe (1796 - 1869), for example - but he also treats the subject of improvisation and its dissemination across European “musical subspheres” with the utmost consideration. In doing so, he also acknowledges the importance of the organist in preserving the art of improvisation, an area of study which remains underserved. Gooley’s book focuses on the whole of the nineteenth century however, whereas this thesis will focus predominantly on the first half. Furthermore, whilst the author does touch on the subject of economics, he generally looks at public improvisation within artistic and social, rather than commercial contexts. Overall, the themes of this recent book tie in well with several key aspects of my proposal, and the book serves as an effective model for the kind of work which I would like to achieve. 然而，随着那些希望挑战正统思想的人开始对这些领域进行更详细的研究，人们已经在努力解决这一问题。这在很大程度上源于人们意识到西方音乐文化依然受制于十九世纪协奏曲的理想，而威廉-韦伯、詹姆斯-帕拉基拉斯和凯瑟琳-伯杰隆等学者已经开展了重要的工作。 ^(53){ }^{53} 马克-埃文-邦兹（Mark Evan Bonds）著述颇丰，论述了器乐音乐的性质，以及器乐音乐如何成为规范形成的核心，尤其是在交响乐、奏鸣曲和弦乐四重奏等著名体裁中。 ^(54){ }^{54} Zarkan Cvejic对19世纪评论界对演奏技巧的不同接受模式进行了深入研究，而Jim Samson则有说服力地指出，演奏和演奏技巧的历史与作曲的历史一样值得研究。 ^(55){ }^{55} 然而，这些作家都没有明确论述即兴演奏。一位当代作家达纳-古利（Dana Gooley）这样做了，他的作品涉及自由即兴演奏及其与演奏家传统发展的关系。 ^(56)His{ }^{56} \mathrm{His} 他的第一本著作集中介绍了李斯特的生平和作品，而他最近出版的第二本著作则对一些不太知名的作曲家-钢琴家的作品进行了深入的研究。Gooley的作品令人印象深刻，因为它不仅展示了他致力于突出作曲家和演奏家的职业成就，否则这些人可能会默默无闻--例如，他用整整一章的篇幅介绍了德国演奏家Carl Loewe (1796 - 1869)--而且他还对即兴演奏及其在欧洲 "音乐次领域 "的传播进行了深入的探讨。 在此过程中，他还承认了管风琴演奏家在传承即兴演奏艺术方面的重要性，而这一研究领域目前仍未得到充分重视。然而，Gooley 的著作关注的是整个十九世纪，而本论文将主要关注上半叶。此外，虽然作者确实谈到了经济问题，但他一般是在艺术和社会而非商业背景下研究公共即兴表演。总之，这本新书的主题与我的提案中的几个关键方面非常吻合，而且这本书也是我希望实现的工作类型的有效范本。
Another important text is Annette Richards’ book “The Free Fantasia and the Musical Picturesque”. In this book, Richards looks at improvisation as a flight of the imagination, and how free playing of the late-eighteenth/early-nineteenth centuries could be inspired by extramusical 另一本重要著作是安妮特-理查兹（Annette Richards）的《自由幻想曲与音乐画卷》（The Free Fantasia and the Musical Picturesque）。在这本书中，理查兹将即兴演奏视为一种想象力的飞跃，并探讨了十八世纪末十九世纪初的自由演奏如何从外部音乐中获得灵感。
imagery, whether visual or encoded in literary texts, particularly poetic texts ^(57){ }^{57} Her main argument is that improvisation was a natural phenomenon, one which could be inspired by the surrounding world. Richards does not approach the subject of the virtuoso though, and correspondingly, her work does not tend to discuss much with regard to industrial principles, either. However, she does write extensively about the emerging concept of genius - a singular Romantic preoccupation - and how public free playing, as an aesthetic enterprise, was seen as one of the most effective and prestigious of media through which a musician could communicate with an audience. Ideas regarding what was thought to constitute and represent artistic genius, will be a feature of this thesis, along how virtuoso players sold themselves to their audiences, as they sought to fashion their individual public images in an marketplace which was becoming increasingly crowded. One scholar who has already attempted to cover ground such as this is Kenneth Hamilton, in “After the Golden Age”. ^(58){ }^{58} Hamilton takes the piano virtuoso as his starting point, and discusses their cultural impact from differing perspectives. This is an extremely fluent and entertaining book to read, and the author does a terrific job in evoking the flavour of the nineteenth-century cultural milieu in which the virtuosi functioned. Hamilton seeks to make his narrative as relevant to the modern day as much he discusses the past, so consequently, there is only a certain amount in it which relates directly to the early nineteenth century. The real strength of this book, however, is in its discussion of performance practices, and therefore, improvisation is covered at length; there is a whole chapter on preluding, for example. The author is also keen to champion less glamorous figures such as Czerny, although, perhaps inevitably, the careers of more popular names such as Liszt and Rachmaninov eventually become the dominant focus. Nevertheless, this book is another important source for my thinking, especially in terms of provided context for performance practices, rather than just composition. ^(57){ }^{57} 她的主要论点是，即兴演奏是一种自然现象，可以从周围的世界中获得灵感。虽然理查兹没有涉及演奏家的主题，相应地，她的作品也没有过多地讨论工业原理。不过，她确实大篇幅地论述了新出现的天才概念--浪漫主义的独特关注点--以及公众自由演奏作为一项美学事业，如何被视为音乐家与听众交流的最有效、最有声望的媒介之一。关于什么被认为是艺术天才的构成和代表，以及演奏家如何向听众推销自己，他们如何在日益拥挤的市场中塑造个人的公众形象，将是本论文的一个特色。肯尼思-汉密尔顿（Kenneth Hamilton）在《黄金时代之后》一文中已经尝试过这方面的研究。 ^(58){ }^{58} 汉密尔顿以钢琴演奏家为出发点，从不同角度探讨了他们的文化影响。这本书读起来非常流畅、有趣，作者出色地唤起了演奏家们所处的十九世纪文化环境的韵味。汉密尔顿试图让他的叙述与现代相关，就像他讨论过去一样，因此，书中只有一部分内容与十九世纪早期直接相关。然而，这本书的真正优势在于对演奏实践的讨论，因此，即兴演奏也被详细论述；例如，书中有整整一章是关于前奏的。 尽管李斯特和拉赫玛尼诺夫等更受欢迎的人物的职业生涯最终不可避免地成为了本书的主要关注点，但作者也热衷于为车尔尼等不那么耀眼的人物鼓与呼。尽管如此，这本书仍是我思考的另一个重要来源，尤其是在为演奏实践而不仅仅是作曲提供背景方面。
The third category of improvisation which I shall be approaching is the opera paraphrase. This is a genre which came in for a considerable amount of opprobrium from critics during the nineteenth century, and - apart, perhaps, from the works which Liszt contributed to the genre - it has certainly still not received anywhere near as much serious attention as it might. Scholars such as Thomas Christensen have shown how critics feared that the advent of both the pot pourri and the paraphrase, which not uncoincidentally happened in tandem with the rise of the piano as a domestic instrument, would result in poorer listening habits amongst musicians, as well as a deterioration in standards of musical education. ^(59){ }^{59} Yet the fact that amateur musicians who owned pianos were now able to experience opera through the purchasing of transcriptions, meant that this was a significant 第三类即兴创作是歌剧改编曲。这种体裁在十九世纪受到了评论家们的大量抨击，或许除了李斯特为这一体裁所创作的作品之外，它至今仍未受到应有的重视。托马斯-克里斯滕森（Thomas Christensen）等学者指出，评论家们担心，随着钢琴作为家用乐器的兴起，陶笛和仿乐曲的出现会导致音乐家的听觉习惯变差，以及音乐教育水平下降。 ^(59){ }^{59} 然而，事实上，拥有钢琴的业余音乐家现在可以通过购买转录作品来体验歌剧，这意味着这是一个重要的机遇。
historical development in the democratization of music. Opera was now potentially available to all, or at least the members of the middle-classes who were able to afford pianos - Hausmusik, as Christensen refers to this. ^(60){ }^{60} The intense popular demand for opera transcriptions meant that publishing houses came to rely on them as a means of commercial profit, which often resulted in a myriad of different arrangements for music from one single opera alone. The industrialisation of the publishing industry therefore enabled an ever-greater volume of music to be produced at everaccelerating speeds - which led to ever-increasing demand for composers and arrangers to provide material. When taking an overview of an industrial phenomenon like this, therefore, it begins to become apparent how the creators of this material - musicians such as Franz Hünten and Carl Czerny, for example - may have chosen to adopt repetitive, “reproduceable” working practices. This utilitarian development in Western musical culture also starts to bring into question what we might define as a work of musical art, and whether or not all music, in some way, might be the product of industrial principles - even if this is subconscious on the part of the producer. This returns to the idea of the “work-concept”, as espoused by Goehr, Helyard and others, and can challenge what our overall pre-conceptions of art might be. ^(61){ }^{61} Other scholars, such as Suttoni and Rivera, have made concerted efforts to look at this phenomenon, with a particular concentration placed upon the concert paraphrase and the virtuosi who performed them. ^(62){ }^{62} Rivera tends to focus predominantly on the work of the established canonic figures of Chopin and Liszt, although as a CPR dissertation, his work serves as a good model to work from. The work of Suttoni is particularly impressive in terms of its comprehensive scope and depth of analysis, along with the clear intention of the author to highlight the work of less well-known figures. Finally, William Lockhart has made a systematic survey of the entries made in the publishing catalogues of Friedrich Hofmeister, leading to the calculation that 30 percent of all music for piano published from 1829 to 1900 was made up of arrangements. Moreover, during the mid-1830s, this percentage peaked at 47 percent. The majority of these arrangements were drawn from the operatic repertoire, proof that there was voracious demand for these types of works all through the second half of the nineteenth century. Indeed, it took another revolution in new technology, in the shape of recording, to dampen this demand and eventually change completely the way music was reproduced and experienced in the home. Not for nothing did George Bernard Shaw, in 1894, refer to the piano as “the most important of all musical instruments”, as well as “the domestic music machine”. ^(63){ }^{63} This was in tribute to the musical knowledge and 音乐民主化的历史性发展。现在，所有人，至少是买得起钢琴的中产阶级--克里斯滕森称之为 "Hausmusik"--都有可能欣赏到歌剧。 ^(60){ }^{60} 大众对歌剧改编曲的强烈需求意味着出版社开始依赖歌剧改编曲来获取商业利润，这往往导致仅一部歌剧的音乐就有无数种不同的编曲。因此，出版业的工业化使得音乐的生产量越来越大，速度越来越快，这也导致对作曲家和编曲家提供素材的需求越来越大。因此，当我们对这样一种工业现象进行概述时，就会发现这些素材的创作者--例如弗朗茨-胡恩滕和卡尔-切尔尼等音乐家--是如何选择采用重复性的、"可复制 "的工作方式的。西方音乐文化的这种功利性发展也开始让我们质疑音乐艺术作品的定义，质疑是否所有音乐在某种程度上都可能是工业原则的产物--即使制作者是下意识的。这又回到了戈尔、赫里亚德等人所主张的 "作品概念"，并可能对我们对艺术的总体先入之见提出挑战。 ^(61){ }^{61} 其他学者，如萨托尼和里维拉，也对这一现象进行了深入研究，尤其关注音乐会中的改编曲和演奏这些改编曲的演奏家。 ^(62){ }^{62} 里维拉倾向于主要关注肖邦和李斯特这些公认的经典人物的作品，尽管作为一篇CPR论文，他的作品可以作为一个很好的范本。萨托尼的作品在分析的广度和深度方面尤其令人印象深刻，同时作者还明确表示要突出不太知名的人物的作品。最后，威廉-洛克哈特（William Lockhart）对弗里德里希-霍夫迈斯特（Friedrich Hofmeister）的出版目录中的条目进行了系统的调查，计算出1829年至1900年间出版的所有钢琴音乐中，有30%是改编曲。此外，在19世纪30年代中期，这一比例达到了47%的高峰。这些改编曲大多取材于歌剧曲目，这证明在整个十九世纪下半叶，人们对这类作品的需求都非常旺盛。事实上，新技术的另一场革命，即录音技术的出现，才抑制了这种需求，并最终彻底改变了音乐在家庭中的再现和体验方式。1894 年，萧伯纳将钢琴称为 "所有乐器中最重要的乐器 "以及 "家庭音乐机器"，这并非没有道理。 ^(63){ }^{63} 这是对他们的音乐知识和艺术成就的致敬。
experience which he had gained through playing keyboard arrangements of large-scale works, of which a considerable amount were opera paraphrases and pots pourris, based on popular works by composers such as Donizetti, Verdi, Bellini and others. ^(64){ }^{64} However, his use of the word “machine” is perhaps most revealing, as this could certainly be seen as a reference to the industrial practices which, towards the end of the nineteenth century when Shaw was writing, had been adopted increasingly by the wider musical community. 这是他在演奏大型作品的键盘编曲时获得的经验，其中有相当一部分是根据多尼采蒂、威尔第、贝里尼等作曲家的流行作品改编的歌剧改编曲和音乐剧。 ^(64){ }^{64} 不过，他对 "机器 "一词的使用也许最能说明问题，因为这无疑是指19世纪末萧伯纳写作时的工业实践，而这种实践已越来越多地被更广泛的音乐界所采用。
Methodology 方法
The types of methodology which will be mainly employed as a part of this study, will be historical research/performance research, musical-analytical, and technical-analytical. ^(65){ }^{65} There will also be a significant element of organology present. Each method is discussed separately below. 本研究将主要采用历史研究/表演研究、音乐分析和技术分析等方法。 ^(65){ }^{65} 其中还将包含重要的管风琴学元素。下文将分别讨论每种方法。
Historical Research/Performance Research 历史研究/表演研究
In her article “Reflections on Aladdin’s Lamp: Developing a Framework for Creative Practice Research in-and-through Historically Informed Performance”, Imogen Morris considers some of the interpretative dilemmas with which both performing musicians and creative practice researchers may find themselves confronted, when dealing with the thorny issue of historically informed performance, or HIP for short. Morris’ stated goal is to develop “a rigorous theoretical framework for conducting Creative Practice Research (CPR) in and through HIP” and having established this model, her conclusion is that although performance is, and indeed will always remain an important and necessary part of the explorative process, the best CPR discoveries are likely to be made in the practice studio. Taken at face value, my brief summary of Morris’ work may not do justice exactly to the depth of her rigour and insight, and this is obviously something that can only be fully appreciated by reading the entire article for oneself. However, I have cited this author’s work for an important reason, since much of my research can be viewed as inhabiting the HIP sphere, and there are also other parallels. For example, Morris states that any sound HIP model "should allow close analysis of the way the musician interprets these materials (eg. notated music, in the form of facsimiles and/or modern editions) to produce “a performance that balances historical fidelity, artistic identity, and external demands and expectations”. ^(66){ }^{66} This is an intention which I share. In order to discover more about the intersection of musical instinct and industry as part of a Romantic culture of virtuosity, then the need to identify and then use an effective CPR model, as Morris has done, is of great importance. In her case, she has taken Coessen’s web of artistic practice and reshaped it to meet the methodological requirements of her research. ^(67){ }^{67} I propose something similar, with one main difference. Morris herself states, from the outset, that her approach is to be one of reflection, as befits an experienced HIP musician. Whilst this type of methodology certainly should, and indeed will feature as part of my CPR, much of my work will also involve compositional analysis - something which in itself does not necessarily have to correspond to the act of performance. However, seeing 伊莫金-莫里斯在她的文章 "阿拉丁神灯的反思：伊莫金-莫里斯（Imogen Morris）在文章 "阿拉丁神灯的反思：在有历史依据的表演中和通过有历史依据的表演开展创作实践研究的框架 "中，探讨了表演音乐家和创作实践研究人员在处理有历史依据的表演（简称 HIP）这一棘手问题时可能面临的一些解释性困境。莫里斯的既定目标是 "为在 HIP 中并通过 HIP 开展创作实践研究（CPR）建立一个严谨的理论框架"，在建立了这一模型之后，她得出的结论是，尽管表演是，而且事实上将永远是探索过程中重要而必要的一部分，但最佳的 CPR 发现很可能是在实践工作室中取得的。就表面价值而言，我对莫里斯作品的简短总结可能无法完全体现她的严谨和洞察力的深度，这显然只有通过亲自阅读整篇文章才能充分领会。不过，我引用这位作者的作品有一个重要原因，因为我的许多研究可以被视为栖息于 HIP 领域，而且还有其他相似之处。例如，莫里斯指出，任何健全的 HIP 模型 "都应允许对音乐家诠释这些材料（例如，以传真和/或现代版本形式出现的记谱音乐）的方式进行仔细分析，以制作出 "兼顾历史真实性、艺术特性以及外部要求和期望的表演"。 ^(66){ }^{66} 我也有同样的想法。为了更深入地了解作为浪漫主义精湛技艺文化一部分的音乐本能与工业的交汇点，就需要像莫里斯所做的那样，确定并使用有效的 CPR 模型，这一点非常重要。 在她的案例中，她采用了科森的艺术实践之网，并对其进行了重塑，以满足她的研究在方法论上的要求。 ^(67){ }^{67} 我的建议与此类似，但有一个主要区别。莫里斯本人从一开始就表示，她的研究方法将是一种反思的方法，与经验丰富的 HIP 音乐家相匹配。这种方法当然应该，而且确实会成为我的 CPR 的一部分，但我的大部分工作还将涉及作曲分析--这本身并不一定要与表演行为相对应。然而，看到
as a major aspect of this thesis will involve the examination of potential relationships between notated music and its improvisational origins, then something along the lines of a more forensic style of analysis will be required. The details and merits of both approaches are therefore discussed, and compared, below. 由于本论文的一个主要方面是研究记谱音乐与其即兴创作起源之间的潜在关系，因此需要采用一种更具法医风格的分析方法。因此，下文将对这两种方法的细节和优点进行讨论和比较。
Musical - analytical 音乐--分析
Since the advent of the piano recital in during the mid-nineteenth century, concert programming in the Western classical tradition has been mainly geared towards the interpretation of works written or arranged by others. Improvisation has been sidelined or else seen as something only for use within non-western styles. This interpretative-only performance culture has developed alongside the consolidation of the Western canon, and exponents of the new musicology have sought to address and interrogate various issues which have arisen from this. I have discussed these ideas elsewhere in my proposal, but it is worth another brief summary here, in order actually to mention the positive benefits of focusing on interpretation. Addressing the many challenges of engaging repertoire with a good teacher is something which only encourages the process of reflection, a process which becomes instinctive with practice and can open up new and exciting artistic pathways for the musician and person. A reflective methodological approach, therefore, will always have a role to play in a thesis such as mine. However, if one’s goal is to learn and practice the techniques of improvisation, as it might have sounded during the early-to-mid nineteenth century, then a historically informed approach must rely on printed materials, such as scores, treatises, and critical reports from witnesses, in order to hopefully head in the “right direction”. The quotation marks are necessary here, because in the absence of any actual recorded evidence, we can only speculate as to what this direction actually might entail. ^(68){ }^{68} This is where the employment of musical analysis becomes crucial. If one can examine and identify improvisational flourishes within a Hummel Fantasia, then there may be an improved chance of knowing how Hummel himself actually sounded, in the moment of inspiration. Moreover, the frequency of certain figures, flourishes and sequences, across a number of works by the same or different composers, will undoubtedly help to reveal more clues. This methodology has been used successfully by jazz scholars, when looking to deconstruct the methods of famously inspired virtuoso improvisers such as the alto saxophonist Charlie Parker. 自十九世纪中叶钢琴独奏音乐会问世以来，西方古典传统音乐会的节目编排一直以演绎他人创作或编排的作品为主。即兴演奏一直被边缘化，或者被视为只能在非西方风格中使用。这种只注重诠释的表演文化是伴随着西方经典的巩固而发展起来的，新音乐学的倡导者们试图解决和质疑由此产生的各种问题。我已在提案的其他部分讨论过这些观点，但在此值得再做简要总结，以切实提及注重诠释的积极益处。与优秀教师一起应对演奏曲目中的诸多挑战，只会促进反思过程，而反思过程会在实践中成为一种本能，并能为音乐家和个人开辟新的、令人兴奋的艺术道路。因此，反思的方法论在我这样的论文中将始终发挥作用。然而，如果我们的目标是学习和练习即兴演奏的技巧，就像十九世纪早期至中期的即兴演奏那样，那么，一种有历史依据的方法就必须依靠印刷材料，如乐谱、论文和见证人的评论报告，这样才有希望朝着 "正确的方向 "前进。这里的引号是必要的，因为在没有任何实际记录证据的情况下，我们只能猜测这个方向究竟会带来什么。 ^(68){ }^{68} 这就是运用音乐分析的关键所在。 如果我们能够研究并识别胡梅尔幻想曲中的即兴表现，那么就有可能更好地了解胡梅尔本人在灵感迸发时的实际音色。此外，在同一作曲家或不同作曲家的多部作品中，某些乐段、乐句和乐序的出现频率无疑有助于揭示更多线索。爵士乐学者在解构中音萨克斯演奏家查理-帕克（Charlie Parker）等著名即兴演奏家的演奏方法时，曾成功地使用过这种方法。
The identification of recurring ideas which may stem from the art of improvisation can also act as a method of finding more mechanical, stereotypical patterns, many of which found their way into virtuoso showpieces. Erin Helyard has written on the idea of music being increasingly "churned 从即兴艺术中找出重复出现的想法，也可以作为一种方法，找到更机械、更刻板的模式，其中许多模式被纳入演奏家的表演作品中。艾琳-赫利亚德（Erin Helyard）曾撰文指出，音乐正日益 "被搅碎"。
out" during the nineteenth century, and I intend to look carefully at the way in which industrial principles, so much a feature of nineteenth-century life, were beginning to be applied to music. Czerny’s treatise on improvisation, along with examples of his own music, are invaluable in this regard, especially as he is one of the figures who is probably most closely associated with pianistic mechanics. He is almost the antithesis of the Romantic composer in some ways - yet his achievements are flanked by those of Beethoven, his teacher and Liszt, his student. It is his work which may prove most significant, when attempting to investigate the intersection between inspiration and industry in piano music of the early Romantic Age. 我打算仔细研究一下工业原理是如何开始应用于音乐的。在这方面，车尔尼关于即兴演奏的论文以及他自己的音乐作品都非常有价值，尤其是他可能是与钢琴力学关系最密切的人物之一。在某些方面，他几乎是浪漫主义作曲家的对立面，但他的成就却与他的老师贝多芬和学生李斯特并驾齐驱。在试图研究浪漫主义早期钢琴音乐中灵感与工业之间的交集时，他的作品可能被证明是最重要的。
Technical-analytical 技术分析
Czerny classified his works under three different, marked categories: the pedagogical, the serious and the ‘brilliant’. An extract from one of his ‘brilliant’ works is below: 车尔尼将自己的作品分为三个不同的明显类别：教学类、严肃类和 "精彩 "类。下面摘录了他的一部 "杰出 "作品：
Extract 1 - b.76 - 79 from Czerny’s Fantasie et Variations Brilliantes sur la Marche favourite de l’Opera: Moise de Rossini, Op.504. ^(69){ }^{69} 采自切尔尼的《歌剧最爱进行曲幻想曲与精彩变奏曲》选段 1 - b.76 - 79：罗西尼的莫伊兹》，作品 504。 ^(69){ }^{69}
This work is based on material from Rossini’s opera “Moses in Egypt”, which was first performed in 1818. The enormous level of popularity enjoyed by Rossini’s operas meant that they would often be used as vehicles for virtuoso showpieces. This particular opera came in for this treatment from several different performers, notably Henri Herz and Sigismund Thalberg. Czerny’s work was first published in 1838, and the level of technical expertise required, demonstrated in this excerpt, shows that he intended this work as a professional virtuoso display piece. These four bars reveal much 这部作品取材自罗西尼于 1818 年首演的歌剧《摩西在埃及》。罗西尼的歌剧广受欢迎，这意味着它们经常被用作演奏家的表演工具。这部特别的歌剧曾被几位不同的演奏家采用过，特别是亨利-赫兹（Henri Herz）和西吉斯蒙德-塔尔贝格（Sigismund Thalberg）。切尔尼的这部作品于 1838 年首次出版，从这段选段所展现的专业技术水平可以看出，他有意将这部作品作为专业演奏家的表演曲目。这四个小节显示了
about his thinking, when composing in this style. The LH is tasked with the most undemanding of roles; that is, to outline the tonic and dominant of Eb major with the use of LH bass octaves on the first beat of each bar, followed by broken-chordal patterns which sustain the harmony throughout. The attention of the listener is clearly meant to be drawn to the acrobatics of the RH , which involve scalic runs, arpeggiated flourishes, chromatic thirds and broken octaves. This is material that clearly is meant to sound improvised, yet really, these patterns are all only examples of formulaic embellishments. A pianist can approach these examples of passagework very methodically, by practising them in isolation, treating them to transpositions, and then transferring them to another tonal setting. ^(70){ }^{70} The descending RH chromatic thirds, in the third bar of the extract, are open in particular to overly promiscuous use, due to their ability to be used in almost any harmonic context. If we then accept these as “stock” phrases, ones to be learnt, in a similar fashion to how one would linguistic vocabulary, and then “churned” out at the appropriate time, the logical development is that performers who carry this out might end up sounding just like each other. Erin Helyard talks about the concept of “reproducibility”, as something that became inexorably more influential in Western musical culture during the nineteenth century. ^(71){ }^{71} This had been an increasingly powerful phenomenon in the publishing and piano manufacturing industries for a while, and now it was beginning to apply to performers as well. This is not to say that spontaneous performative improvisation did not continue to occur. However, thanks to musicians such as Czerny, there were now a variety of methods which could be followed and meticulously rehearsed, in order to give the illusion of spontaneity, at the chosen moment. This can be described as an industrialisation of instrumental performance styles, one which I argue is antithetical to the aesthetic characteristics of true musical Romanticism. It is no coincidence perhaps, that as the mid-nineteenth century approached, the roles of composer and performer gradually became delineated more separately, as opposed to earlier in the century when they were always one and the same. ^(72){ }^{72} The ineffable now existed, uneasily, next to the industrial, and it is here also that we can see the roots of modern Western classical performance culture - a culture in which improvisation, regrettably, seems still to have very little part to play. 他在以这种风格作曲时的想法。低音提琴的任务是扮演最简单的角色，即在每小节的第一拍使用低音八度低音，勾勒出降E大调的调性和主音，随后使用断和弦音型来维持整个和声。听众的注意力显然会被 RH 的杂技表演所吸引，其中包括音阶跑音、琶音华彩、半音三度和断八度。这些音乐素材听起来显然是即兴创作的，但实际上，这些音型都只是公式化装饰的例子。钢琴家可以非常有条不紊地处理这些乐段范例，将它们单独练习，进行转调处理，然后将它们转移到另一个调性环境中。 ^(70){ }^{70} 选段第三小节中的降RH半音三度，由于几乎可以在任何和声背景中使用，因此特别容易被过度滥用。如果我们将这些乐句视为 "库存 "乐句，像学习语言词汇一样学习，然后在适当的时候 "汹涌 "而出，那么合乎逻辑的发展是，演奏者在演奏这些乐句时，最终听起来可能会彼此相似。艾琳-赫利亚德（Erin Helyard）谈到了 "可再现性 "这一概念，她认为这一概念在 19 世纪的西方音乐文化中具有不可阻挡的影响力。 ^(71){ }^{71} 这种现象在出版业和钢琴制造业中日益强大，现在也开始适用于演奏者。这并不是说自发的即兴表演没有继续出现。 然而，由于车尔尼等音乐家的出现，现在有了多种方法可以遵循，并经过精心排练，以便在选定的时刻给人以自发的错觉。这可以说是器乐演奏风格的工业化，我认为这与真正的音乐浪漫主义的美学特征是背道而驰的。随着 19 世纪中叶的临近，作曲家和演奏家的角色逐渐变得更加分工明确，而不是像本世纪初那样总是合二为一，这或许并非巧合。 ^(72){ }^{72} 不可言传的东西现在不安地存在于工业的旁边，也正是在这里，我们可以看到现代西方古典表演文化的根源--令人遗憾的是，即兴表演在这种文化中的作用似乎仍然很小。
Organology 组织学
By learning how the music was played in the past, do we give up the freedom to create in the present? ^(73){ }^{73} 通过学习过去音乐的演奏方式，我们是否放弃了现在创作的自由？ ^(73){ }^{73}
In his recent book on some of the issues facing modern pianists and their relationship with period instruments, David Breitman advocates strongly for the need for pianists to find a deeper understanding of the kinds of instruments which were actually being used by composers during their careers. As he puts it: 大卫-布莱特曼（David Breitman）最近出版了一本关于现代钢琴家面临的一些问题以及他们与古代乐器的关系的书，他在书中强烈主张钢琴家需要更深入地了解作曲家在其职业生涯中实际使用的乐器种类。正如他所说
For some, those instruments are just museum pieces and the idea of playing one elicits only bemusement or sympathy. But they can be powerful tools for making sense of old scores and historical treatises. ^(74){ }^{74} 对有些人来说，这些乐器只是博物馆里的摆设，一想到要演奏它们，就只会觉得好笑或心生同情。但是，它们可以成为理解古乐谱和历史论著的有力工具。 ^(74){ }^{74}
Breitman’s work is part of an increasing body of research which has been carried out on the nature of historical performance practices, and the fortepianos which were available for use during the early nineteenth century. As scholars who specialise in this area suggest, it should perhaps be incumbent for pianists who are studying repertoire from this period to practice and perform whilst using instruments manufactured at the time of composition. This may help to provide a far more nuanced understanding of the repertoire, as well as alerting the pianist to key technological differences between fortepianos and more modern instruments. ^(75){ }^{75} The piano itself can be viewed as a potent symbol of industrial manufacturing practices. Therefore, an organological-based research method might concentrate upon how mechanical standardisation and the achievement of greater precision and reliability with regard to actions, began to be reflected in the work of virtuosi. How much did the industrialisation of piano manufacture contribute to the growing dominance of reproducibility in musical culture, and how did this affect performance, composition, and improvisation? Questions such as these can be answered more effectively and in greater depth, through the study of organology. 布雷特曼的研究是对历史演奏实践的性质以及 19 世纪早期可使用的强力古钢琴进行的越来越多的研究的一部分。正如该领域的专业学者所言，研究这一时期曲目的钢琴家或许有义务使用作曲时制造的乐器进行练习和演奏。这可能有助于对曲目有更细致入微的理解，并提醒钢琴家注意强力古钢琴与更现代乐器之间的关键技术差异。 ^(75){ }^{75} 钢琴本身可被视为工业制造实践的有力象征。因此，以风琴学为基础的研究方法可以集中于机械标准化和实现更高精度和可靠性的演奏，如何开始在演奏家的作品中得到体现。钢琴制造的工业化在多大程度上促进了可复制性在音乐文化中的主导地位，以及这对演奏、作曲和即兴创作产生了怎样的影响？通过对管风琴学的研究，我们可以更有效、更深入地回答诸如此类的问题。
Performance Plans 绩效计划
In order to demonstrate the principles of my written work, it will be necessary to mount performances of relevant repertoire, whilst using an instrument appropriate to what is an HIP task. The School of Music’s Graf fortepiano, built by Paul Downie, will be my principal instrument of choice, although I may explore the possibility of using another instrument as well, for purposes of comparison. These performances will take the form of lecture-recitals and the programmes (provisional at this stage) will be as follows: 为了展示我的写作原则，有必要演奏相关曲目，同时使用与 HIP 任务相适应的乐器。音乐学院由保罗-唐尼（Paul Downie）制作的格拉夫古钢琴将是我的主要乐器选择，但我也可能探索使用其他乐器的可能性，以便进行比较。这些演出将以讲座音乐会的形式进行，节目单（现阶段暂定）如下：
Lecture-Recital One 讲座--第一场音乐会
This concert will highlight some of the main genres of improvisation, such as the Prelude, Free Fantasia, and Opera Paraphrase. I will programme written works in these genres by composers such as Ries, Hummel and Moscheles, and discuss their links with improvisation alongside the performances. I may also include my own improvisation/s in the programme. 这场音乐会将突出即兴创作的一些主要类型，如前奏曲、自由幻想曲和歌剧比喻。我将安排作曲家（如雷斯、胡默尔和莫舍莱斯）创作的这些体裁的书面作品，并在演出的同时讨论它们与即兴的联系。我还可能在节目中加入自己的即兴创作。
Lecture-Recital Two 讲座--第二场音乐会
This concert will focus exclusively on the work of Carl Czerny, and examine the main focal point of my thesis - the intersection between inspiration and industrial principles, in virtuoso repertoire. I will perform examples of his different compositional styles and show how they specifically relate to my argument. I will also perform an improvisation of my own, guided by Czerny’s own treatise on the subject, the purpose of which will be to determine whether the methods which he espouses are indeed effective. 本场音乐会将专门关注卡尔-车尔尼的作品，并研究我论文的主要焦点--演奏曲目中灵感与工业原则的交集。我将演奏他不同作曲风格的作品，并展示这些作品与我的论点之间的具体联系。我还将以车尔尼自己的相关论文为指导，表演一段自己的即兴演奏，目的是确定他所推崇的方法是否确实有效。
I will also be performing in a concert of music with Michael Tsalka, which will include four-handed repertoire by early Romantic composers such as the ones I have already mentioned. This will be greatly beneficial in terms of developing my HIP experience and the ideas in the thesis. 我还将与迈克尔-察尔卡（Michael Tsalka）一起在一场音乐会上表演，其中包括我已经提到的早期浪漫主义作曲家的四手联弹曲目。这将对我的 HIP 经验和论文观点的发展大有裨益。
Use of the Graf Fortepiano 格拉夫福特钢琴的使用
There is obviously a certain kind of keyboard specialisation which must be acquired if one is to use an instrument such as the Graf to its full potential. I admit freely that I have, at this point in my career, not had as much experience as I might like of playing historical instruments. This then, presents a wonderful opportunity to deepen my knowledge of organology, and to gain further versatility as a keyboard player. Put more generally, stepping out of one’s comfort zone is more appealing at this stage, rather remaining inside it. I have already had assistance from Erin Helyard in terms of the workings of the Graf, along with some technical advice. I will be working with Stephen De Pledge 要想充分发挥像格拉夫这样的乐器的潜力，显然必须掌握一定的键盘专业技能。我坦率地承认，在我职业生涯的这个阶段，我在演奏历史乐器方面的经验并不丰富。因此，这为我提供了一个绝佳的机会，让我加深对管风琴学的了解，并获得作为键盘乐器演奏者的更多才多艺。更广义地说，在这个阶段，走出自己的舒适区比停留在舒适区内更有吸引力。艾琳-赫利亚德（Erin Helyard）已经向我介绍了格拉夫的工作原理，并提供了一些技术建议。我将与 Stephen De Pledge
regularly during Years Two and Three, as well as Michael Tsalka, on whose recommendation the commissioning of the Graf was undertaken. 在第二和第三年期间，他定期与迈克尔-察尔卡（Michael Tsalka）会面，格拉夫号就是在他的建议下投入使用的。
Editing 编辑
On a recent trip to Vienna, I visited several sheet music shops, situated within a small radius within the Hofburg area. ^(76){ }^{76} There were no editions of music by non-canonic composers to be found anywhere. ^(77){ }^{77} It is axiomatic that the music of Mozart, Beethoven and Schubert should be incredibly well-represented in the city where they lived and worked, but I was, nonetheless, surprised that I could not find at least some editions of works by other great pianist-composers, ones whose careers were just as closely linked with Vienna as those, and other great names. Thus, there is clearly a need for good editions of works by composers who are nowhere near as well-represented in the catalogue as they should be. My intention is to work with my supervisor on acquiring skills of editing, and then applying them to some lesser-known works which deserve to be more widely heard and played. The results of this work will then form a section of the thesis. 最近一次维也纳之行，我走访了霍夫堡地区小范围内的几家乐谱店。 ^(76){ }^{76} 到处都找不到非卡农作曲家的音乐版本。 ^(77){ }^{77} 不言而喻，莫扎特、贝多芬和舒伯特的音乐在他们生活和工作过的城市里应该有令人难以置信的代表性，但令我感到惊讶的是，我竟然找不到至少一些其他伟大钢琴家作曲家作品的版本，而这些作曲家的职业生涯与维也纳有着同样密切的联系。因此，显然有必要为那些在作品目录中没有得到充分反映的作曲家的作品提供良好的版本。我打算与我的导师合作，学习编辑技巧，然后将其应用于一些鲜为人知的作品，这些作品值得被更广泛地聆听和演奏。这项工作的成果将成为论文的一部分。
Recording 录音
A project I would like to pursue is the studio recording of some of my chosen works, from both the editing and performance tasks which I have outlined here. This will complement the thesis and act as a professional demonstration of the principles which I am seeking to uncover and outline. 我想开展的一个项目是在录音室录制我所选择的一些作品，包括我在这里概述的编辑和表演任务。这将是对论文的补充，也是对我试图揭示和概述的原则的专业展示。
Ethical Considerations 伦理方面的考虑
There are no ethical considerations, as such, which need addressing in my research. There may be some copyright issues to be aware of, when using excerpts from repertoire, but these should hopefully be covered under the umbrella policy of the university. 在我的研究中，不存在需要解决的伦理问题。在使用曲目节选时，可能需要注意一些版权问题，但希望这些问题能在大学的总体政策下得到解决。
Analysis of Information 信息分析
Some questions to consider here might be as follows: 这里需要考虑的一些问题如下：
Patterns in music - frequency, how many different keys, and in which sections of pieces are they being used? 音乐中的模式--频率、有多少种不同的调式以及在乐曲的哪些部分使用？
If the same patterns can be identified on multiple occasions, what conclusions can be drawn about their use, in terms of industrial principles? 如果在多个场合都能发现相同的模式，那么从工业原理的角度来看，可以对这些模式的使用得出什么结论？
As the century progresses, do we find certain patterns and figures proliferating more? 随着世纪的发展，我们是否发现某些模式和人物越来越多？
Are they less prevalent in earlier works, meaning that these works are more inspired? What does this tell us in terms of the piano as an instrument, and attitudes towards technique? 它们在早期作品中是否不那么普遍，是否意味着这些作品更有灵感？这对钢琴这种乐器以及对技巧的态度有何启示？
Baumol, William J. and Hilda. “On the Economics of Musical Composition in Mozart’s Vienna.” Journal of Cultural Economics 18, 3, (1994): 171 - 198. Baumol, William J. and Hilda."论莫扎特维也纳音乐创作的经济学》。Journal of Cultural Economics 18, 3, (1994)：171 - 198.
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Czerny, Carl. Fantasie et Variations Brilliantes sur la Marche favourite de l’Opera: 卡尔-车尔尼Fantasie et Variations Brilliantes sur la Marche favourite de l'Opera：
Moise de Rossini, Op.504. Bonn: Simrock, 1838. 《罗西尼的莫伊兹》，作品 504。波恩：Simrock，1838 年。 https://imslp.org/wiki/Fantaisie sur ‘Mos%C3%A8 in Egitto’%2C Op. 504 (Czerny%2C Carl) https://imslp.org/wiki/Fantaisie sur 'Mos%C3%A8 in Egitto'%2C Op. 504 (Czerny%2C Carl)
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Rivera, Lino Rivera. “Transcriptions, Arrangements, Paraphrases and Metamorphoses for Solo Piano.” D.M.A., University of Maryland at College Park, 1997. 里维拉，利诺-里维拉"钢琴独奏曲的改编、编曲、转述和变形"。马里兰大学学院帕克分校文学博士，1997 年。 http://ezproxy.auckland.ac.nz/login?url=https://www.proquest.com/dissertations-
theses/transcriptions-arrangements-paraphrases/docview/304356727/se-2?accountid=8424 thesis/transcriptions-arrangements-paraphrases/docview/304356727/se-2?accountid=8424
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Sachs, Joel. Kapellmeister Hummel in England and France. USA: Detroit, Information Coordinators, Inc., 1977. Sachs, Joel.Kapellmeister Hummel in England and France.美国：底特律，信息协调员公司，1977 年。
Saffle, Michael. “Czerny and the Keyboard Fantasy: Traditions, Innovations, Legacy.” In Beyond the Art of Finger Dexterity: Reassessing Carl Czerny, ed. David Gramit, 202 - 228. Rochester, NY: University of Rochester Press, 2008. Saffle, Michael."车尔尼与键盘幻想曲：传统、创新、遗产"。见《超越手指灵巧的艺术》：重新评估卡尔-车尔尼》，编辑：大卫-格拉米特，第 202 - 203 页。David Gramit, 202 - 228.纽约州罗切斯特：罗切斯特大学出版社，2008 年。
Samson, Jim. Virtuosity and the Musical Work: The Transcendental Studies of Liszt. Cambridge:CUP, 2003. Samson, Jim.美德与音乐作品：李斯特的超验研究》。Cambridge:CUP, 2003.
Scherer, F.M… Quarter Notes and Bank Notes - the Economics of Music Composition in the Eighteenth and Nineteenth Centuries. NJ: Princeton University Press, 2004. Scherer, F.M... Quarter Notes and Bank Notes - the Economics of Music Composition in the Eighteenth and Nineteenth Centuries.新泽西州：普林斯顿大学出版社，2004 年。
Temperley, Nicholas. “Preluding at the Piano.” In Musical Improvisation: Art, Education, Society, Gabriel Solis and Bruno Nettl, eds., 323 - 341. Urbana: University of Illinois Press, 2009. Temperley, Nicholas."钢琴前奏曲"。音乐即兴》：艺术、教育、社会》，Gabriel Solis 和 Bruno Nettl 编辑，323 - 341 页。乌尔班纳：伊利诺伊大学出版社，2009 年。
Weber, William. “The History of Musical Canon.” In Rethinking Music, Nicholas Cook and Mark Everist, eds., 336 - 355. Oxford: OUP, 1999). Weber, William."音乐典范的历史"。反思音乐》，尼古拉斯-库克和马克-埃弗里斯特编，第 336-355 页。Oxford：OUP，1999 年）。
Wilson, Flora. “Lang Lang/RPO/Wigglesworth review virtuosic pianism as sonic warfare.” The Guardian, 22/11/2023. Wilson, Flora."郎朗/RPO/维格尔斯沃斯评述作为声波战争的钢琴演奏技巧"。卫报》，2023 年 11 月 22 日。 https://www.theguardian.com/music/2023/nov/22/lang-lang-royal-philharmonic- orch-wigglesworth-review-saint-saens-royal-albert-hall
^(1){ }^{1} Flora Wilson, “Lang Lang/RPO/Wigglesworth review virtuosic pianism as sonic warfare,” www.guardian.com, November, Wed 22 ^("nd "),2023{ }^{\text {nd }}, 2023https://www.theguardian.com/music/2023/nov/22/lang-lang-royal-philharmonic-orch-wigglesworth-review-saint-saens-royal-albert-hall Accessed 23/11/2023. ^(1){ }^{1} Flora Wilson，"Lang Lang/RPO/Wigglesworth review virtuosic pianism as sonic warfare"，www.guardian.com，11 月，周三 22 ^("nd "),2023{ }^{\text {nd }}, 2023 https://www.theguardian.com/music/2023/nov/22/lang-lang-royal-philharmonic-orch-wigglesworth-review-saint-saens-royal-albert-hall Accessed 23/11/2023。 ^(2){ }^{2} Wilson. ^(2){ }^{2} 威尔逊。 ^(3){ }^{3} For example, see Maiko Kawabata, "Virtuoso Codes of Violin Performance: Power, Military Heroism and ^(3){ }^{3} 例如，见 Maiko Kawabata，"小提琴演奏的美德代码：权力、军事英雄主义和 ^(4){ }^{4} See Dana Gooley, “Warhorses: Liszt, Weber’s Konzertstück, and the cult of Napoléon,” 19 ^("th- "){ }^{\text {th- }} Century Music 24, 1 (2000): 62 - 88. ^(4){ }^{4} 见 Dana Gooley，"Warhorses：李斯特、韦伯的 Konzertstück 和对拿破仑的崇拜》，19 ^("th- "){ }^{\text {th- }} Century Music 24, 1 (2000)：62 - 88. ^(5){ }^{5} Žarko Cvejić, “Introduction,” in The Virtuoso as Subject: The Reception of instrumental Virtuosity, c. 1815 -c. 1850 (Newcastle upon Tyne: Cambridge Scholars Publishing, 2016), 1. ^(5){ }^{5} Žarko Cvejić, "Introduction," in The Virtuoso as Subject：The Reception of instrumental Virtuosity, c. 1815 -c. 1850 (Newcastle upon Tyne: Cambridge Scholars Publishing, 2016), 1.
^(6){ }^{6} Cvejić, 1. ^(7){ }^{7} In Czerny’s case, he spent his entire career in Vienna, despite entreaties from his former pupil Liszt, to join him in Paris. See Stephan D. Lindeman and George Barth, “Czerny, Carl,” Oxford Music Online, January 20, 2001, https://doi-org.ezproxy.auckland.ac.nz/10.1093/gmo/9781561592630.article.07030. ^(7){ }^{7} 就车尔尼而言，他的整个职业生涯都在维也纳度过，尽管他以前的学生李斯特曾恳求他到巴黎与自己会合。见 Stephan D. Lindeman 和 George Barth，"Czerny, Carl"，Oxford Music Online，2001 年 1 月 20 日，https://doi-org.ezproxy.auckland.ac.nz/10.1093/gmo/9781561592630.article.07030。
^(8){ }^{8} See Lydia Goehr, The Imaginary Museum of Musical Works: Essays in the Philosophy of Music (Oxford: Clarendon Press, 1992), as well as Erin Helyard, Clementi and the Woman at the Piano: Virtuosity and the Marketing of Music in Eighteenth-Century London (Liverpool: Liverpool University Press, on behalf of the Voltaire Foundation, University of Oxford, 2022). ^(8){ }^{8} 参见 Lydia Goehr, The Imaginary Museum of Musical Works：Essays in the Philosophy of Music (Oxford: Clarendon Press, 1992), 以及 Erin Helyard, Clementi and the Woman at the Piano：十八世纪伦敦的音乐美德与营销》（利物浦：利物浦大学出版社，代表利物浦大学出版社出版）：利物浦：利物浦大学出版社，代表牛津大学伏尔泰基金会，2022 年）。 ^(9){ }^{9} Jim Samson, Virtuosity and the Musical Work: The Transcendental Studies of Liszt (Cambridge:CUP, 2003), 4, cited in Cvejić, 6. ^(9){ }^{9} Jim Samson, Virtuosity and the Musical Work：李斯特的超验研究》（剑桥：CUP，2003 年），第 4 页，转引自 Cvejić，第 6 页。 ^(10){ }^{10} Carl Czerny, A Systematic Introduction to Improvisation on the Pianoforte, Op. 200 (Vienna, 1829); modern translation by Alice Mitchell (New York: Longman, 1983). ^(10){ }^{10} 卡尔-车尔尼：《钢琴即兴演奏系统导论》，作品 200（维也纳，1829 年）；爱丽丝-米切尔现代译本（纽约：朗文，1983 年）。
^(11){ }^{11} See F.M. Scherer, Quarter Notes and Bank Notes - the Economics of Music Composition in the Eighteenth and Nineteenth Centuries (NJ: Princeton University Press, 2004); also, Hilda and William J. Baumol, “On the Economics of Musical Composition in Mozart’s Vienna,” Journal of Cultural Economics 18, 3, (1994): 171 - 198. ^(11){ }^{11} 参见 F.M. Scherer，《四分之一纸币和银行券--18 世纪和 19 世纪音乐创作的经济学》（新泽西州：普林斯顿大学出版社，2004 年）；另见 Hilda 和 William J. Baumol，《论莫扎特维也纳音乐创作的经济学》，《文化经济学杂志》18，3，（1994 年）：171 - 198. ^(12){ }^{12} Georg W.F. Hegel, Aesthetics. Volume 1: Lectures on Fine Art (translation by T.M Knox, Oxford: Clarendon Press, 2010); Andrew Bowie, “Modern Philosophy and the emergence of Aesthetic Theory: Kant,” in Aesthetics and Subjectivity 2^("nd ")2^{\text {nd }} Edition (Manchester: Manchester University Press, 2003), 16 - 48. ^(12){ }^{12} Georg W.F. Hegel，《美学》。第 1 卷：美术讲座》（T.M. 诺克斯译，牛津：克拉伦登出版社，2010 年）；安德鲁-鲍伊，《现代哲学与美学理论的出现：Kant," in Aesthetics and Subjectivity 2^("nd ")2^{\text {nd }} Edition (Manchester: Manchester University Press, 2003), 16 - 48.
^(13){ }^{13} Kerry Murphy, “Liszt and Virtuosity in Paris in the 1830s: The Artist as Romantic Hero,” in Essays in Honour of David Evatt Tunley, ed. Frank Callaway (Nedlands, WA: University of WA, 1995), 94. Also see Erin Helyard, “Clementi and the Enlightenment,” in Clementi and the Woman at the Piano (Liverpool: LUP, 2022), 15, and James Parakilas, “1820 to 1870s: The Piano calls the Tune,” in Piano Roles: Three Hundred Years of Life with the Piano ed. James Parakilas (New Haven, Yale University Press, 2001), 151 - 156. ^(13){ }^{13} Kerry Murphy，"19 世纪 30 年代巴黎的李斯特与美德：The Artist as Romantic Hero," in Essays in Honour of David Evatt Tunley, ed.. Frank Callaway (Nedlands, WA: University of the WA, 1995), 94.Frank Callaway (Nedlands, WA: University of WA, 1995), 94。另见 Erin Helyard，"克莱门蒂与启蒙运动"，载于《克莱门蒂与钢琴前的女人》（利物浦：LUP，2022 年），第 15 页，以及 James Parakilas，"1820 至 1870 年代：James Parakilas，"1820 至 1870 年代：钢琴在调子中的作用"，收录于《钢琴的角色》：詹姆斯-帕拉基拉斯（James Parakilas）："1820 至 1870 年代：钢琴在调子中的作用"，《钢琴角色：三百年的钢琴生活》（Piano Roles: Three Hundred Years of Life with the Piano ed.James Parakilas 编辑（纽黑文，耶鲁大学出版社，2001 年），151 - 156 页。
^(14){ }^{14} Helyard, XIII. ^(14){ }^{14} 《赫利亚德》，第十三卷。 ^(15){ }^{15} Later generations of composer-pianists, including Camille Saint-Saëns, Sergei Prokofiev and Sergei Rachmaninov played their own works in concert, but did not improvise. ^(15){ }^{15} 后几代作曲家兼钢琴家，包括卡米尔-圣桑、谢尔盖-普罗科菲耶夫和谢尔盖-拉赫玛尼诺夫，在音乐会上演奏自己的作品，但不即兴演奏。 ^(16){ }^{16} Murphy, “Liszt and Virtuosity in Paris in the 1830s: The Artist as Romantic Hero,” in Cvejić, 16. ^(16){ }^{16} 墨菲，"19 世纪 30 年代巴黎的李斯特与美德：作为浪漫主义英雄的艺术家"，见 Cvejić，第 16 页。 ^(17){ }^{17} Cvejić, “Introduction,” in The Virtuoso as Subject: The Reception of instrumental Virtuosity, c. 1815 -c. 1850, 22. ^(17){ }^{17} Cvejić, "Introduction," in The Virtuoso as Subject：1815 -c. 1850，22。
^(18)A{ }^{18} \mathrm{~A} similar case is that of Wagner, fortunate enough later in his career, to be entirely bankrolled by King Ludwig II of Bavaria. ^(18)A{ }^{18} \mathrm{~A} 类似的例子还有瓦格纳，他在职业生涯后期幸运地得到了巴伐利亚国王路德维希二世的全部资助。
^(19){ }^{19} See Dana Gooley, “The Kapellmeister Network and the performance of Community: Hummel, Moscheles and Mendelssohn,” in Fantasies of Improvisation: Free Playing in Nineteenth-Century Music (New York: Oxford University Press, 2018), 62 - 79; Martin Kaltenecker, “The ‘Fantasy Principle’: Improvisation between Imagination and Oration in the Eighteenth Century,” in Beyond Notes: Improvisation in Western Music of the Eighteenth and Nineteenth Centuries, ed. Rudolf Rasch (Turnhout:Brepols, 2011), 17 - 35. ^(19){ }^{19} 见 Dana Gooley，"卡佩尔梅斯特网络和社区表演：Hummel, Moscheles and Mendelssohn," in Fantasies of Improvisation：十九世纪音乐中的自由演奏》（纽约：牛津大学出版社，2018 年），62 - 79；马丁-卡尔特内克：《"幻想原则"：十八世纪想象与演说之间的即兴演奏》，收录于《音符之外》：十八世纪和十九世纪西方音乐中的即兴演奏》，Rudolf Rasch 编辑（特纳出版社）。Rudolf Rasch (Turnhout:Brepols, 2011), 17 - 35。 ^(20){ }^{20} Johann Nepomuk Hummel, A Complete Theoretical and Practical Course of Instructions on the Art of playing the Pianoforte (London: J.Boosey & Co., 1828). ^(20){ }^{20} 约翰-内波穆克-胡梅尔，《钢琴演奏艺术理论与实践全教程》（伦敦：J.Boosey & Co.，1828 年）。
^(21){ }^{21} Angela Esterhammer, Romanticism and Improvisation, 1750 - 1850 (Cambridge: CUP, 2008),3. ^(22){ }^{22} Annette Richards, “The Picturesque Sketch,” in The Free Fantasia and the Musical Picturesque (Cambridge: CUP, 2001), 80 - 83. ^(22){ }^{22} Annette Richards, "The Picturesque Sketch," in The Free Fantasia and the Musical Picturesque (Cambridge: CUP, 2001), 80 - 83.
^(23){ }^{23} Samson, Virtuosity and the Musical Work: The Transcendental Studies of Liszt in Cvejić, 7-9. ^(23){ }^{23} 萨姆森，《美德与音乐作品》：李斯特在 Cvejić 中的超验研究》，7-9。 ^(24){ }^{24} Cvejić, 8.
^(25){ }^{25} Annette Richards, “The Picturesque Sketch,” in The Free Fantasia and the Musical Picturesque, 76 - 77. ^(25){ }^{25} Annette Richards，"The Picturesque Sketch"，载于《The Free Fantasia and the Musical Picturesque》，76 - 77。 ^(26){ }^{26} Improvisation remains one of the core skills for jazz pianists and organists though. ^(26){ }^{26} 尽管如此，即兴演奏仍然是爵士钢琴家和管风琴家的核心技能之一。 ^(27){ }^{27} For a full and varied debate on the work of Czerny, see David Gramit, ed., Beyond the Art of Finger Dexterity: Reassessing Carl Czerny (Rochester, NY: University of Rochester Press, 2008). ^(27){ }^{27} 有关切尔尼作品的全面而丰富的讨论，请参阅大卫-格拉米特编著的《超越手指灵巧的艺术》（Beyond the Art of Finger Dexterity：重新评估卡尔-车尔尼》（纽约州罗切斯特：罗切斯特大学出版社，2008 年）。 ^(28){ }^{28} Ingrid Fuchs, “Carl Czerny: Beethoven’s Ambassador Posthumous,” in Gramit, ed., Beyond the Art of Finger Dexterity: Reassessing Carl Czerny, 82 - 107. ^(28){ }^{28} 英格丽德-福克斯：《卡尔-车尔尼：贝多芬的遗作大使》，收录于格拉米特主编的《超越手指灵巧的艺术》：重新评估卡尔-车尔尼》，82 - 107页。 ^(29){ }^{29} See note 10. ^(29){ }^{29} 见注 10。
30 Mark Kroll, “Hummel and his students: ‘A Complete Course of Instructions’,” in Johann Nepomuk Hummel: A musician’s life and world (Lanham: MD, Scarecrow Press, 2007), 241 - 275. 30 马克-克罗尔："胡梅尔和他的学生：音乐家的生活与世界》（马里兰州兰哈姆，稻草人出版社，2007 年），241 - 275 页：一个音乐家的生活和世界》（马里兰州，Lanham: MD, Scarecrow Press, 2007 年），241 - 275 页。 ^(31){ }^{31} Mark Kroll, “A Complete Theoretical and Practical Course of Instructions on the Art of playing the Piano, Part III, Johann Nepomuk Hummel: an annotated facsimile with commentary by Mark Kroll,” in Howard Schott ed., The Historical Harpsichord: A monograph series in honour of Frank Hubbard, Volume 6 (Hillsdale: NY, Pendragon Press, 1984). ^(31){ }^{31} 马克-克罗尔（Mark Kroll）："钢琴演奏艺术理论与实践指导全书，第三部分，约翰-内波穆克-胡梅尔（Johann Nepomuk Hummel）：附有马克-克罗尔注释的摹本"，收录于霍华德-肖特（Howard Schott）编著的《历史上的大键琴》（The Historical Harpsichord）：纪念弗兰克-哈伯德的专著系列，第 6 卷》（希尔斯代尔：纽约，Pendragon Press，1984 年）。
32 Kalkbrenner tried to persuade Hummel to visit London in 1821, to take up an invitation from the Philharmonic society. Hummel was already committed to other tours, his duties as Kapellmeister at Weimar, and ironically, the work on his treatise. Therefore, he turned down the offer. See Joel Sachs, Kapellmeister Hummel in England and France (USA: Detroit, Information Coordinators, Inc., 1977), 17. 32 1821 年，卡尔布伦纳试图说服胡梅尔接受爱乐协会的邀请访问伦敦。胡梅尔当时已忙于其他巡演、在魏玛担任卡佩尔梅尔的职务，而具有讽刺意味的是，他还在撰写自己的论文。因此，他拒绝了邀请。见 Joel Sachs, Kapellmeister Hummel in England and France (USA: Detroit, Information Coordinators, Inc., 1977), 17。
33 "Deütsche gute Musikalien hier in Gang zubringen oder in bedeütende Verhältnisses mit einem sichern hiesigen Hause zu kommen, wird sehr schwer seyn-durch folgende Gründe- 33 "由于以下原因，在这里很难得到优秀的德国音乐作品，也很难与当地可靠的音乐家建立令人满意的关系
Die Abgaben bey der Mauthe sind fürchterlich. 过路费太可怕了。
Der Engländer kauft keine Musik, wo er den Namen des Compositors nicht schon als einen sehr berühmten Mann kennt oder gehört hat. 英国人不买音乐，除非他已经知道或听说过作曲家的大名。
Die Anzahl kleiner erbärmlicher Klavierspieler, die leider alle glauben, man darf nur Noten niederschrieben, um auch gut (zu) componieren; überschwemmen England mit Sachen, die sie Ihren Schülerinnen ohne Barmherzigkeit aufdringen - diese protegieren gar nichts Neues Gutes, weil dies dadurch am ersten zu Grunde gehen würden. 有许多可悲的小钢琴演奏家，不幸的是，他们都认为只有写下音符才能谱出好曲子，他们毫不留情地强加给学生的东西充斥着整个英格兰--这些人不喜欢任何新的和好的东西，因为他们会最先灭亡。
Geschmack für gute Musik haben sie hier keinen, von welchem Ihnen die neuern Cramerischen Compositionen überzeügen, die einen ganz rasenden Absatz haben - und seine frühere zo schönen Werke, verkaufen lange nicht so gut". 这里的人不喜欢好音乐，克拉默里安的新作品会让你信服，这些作品卖得很火，而他的早期作品太美了，卖得并不好"。
^(34){ }^{34} Sachs, Kapellmeister Hummel in England and France, 37 - 41. ^(34){ }^{34} Sachs，Kapellmeister Hummel in England and France，37 - 41。 ^(35){ }^{35} Sachs tells us that Hummel’s music was included regularly in the programs of the Philharmonic Society, although curiously, only the first Septet Op. 74 and two of his piano concertos (unspecified which ones) were performed during the 1820s, until the composer arrived for a tour in 1830. See Sachs, 40. ^(35){ }^{35} 萨克斯（Sachs）告诉我们，胡梅尔的音乐经常被列入爱乐乐团的节目单，但奇怪的是，在作曲家于 1830 年来华巡演之前，19 世纪 20 年代只演奏过他的第一首七重奏作品 74 和两首钢琴协奏曲（未说明是哪两首）。参见 Sachs, 40。
36 See note 30. 36 见注 30。 ^(37){ }^{37} Jeremy Nicholas, “Carl Czerny,” Hyperion, September 9th, 2017, https://www.hyperion-records.co.uk/c.asp?c=C155 ^(37){ }^{37} 杰里米-尼古拉斯：《卡尔-切尔尼》，Hyperion，2017 年 9 月 9 日，https://www.hyperion-records.co.uk/c.asp?c=C155 ^(38){ }^{38} Regarding the growth and expansion of the marketplace for early virtuosi, see Erin Helyard, “Clementi in the Marketplace and the Conservatoire,” in Clementi and the Woman at the Piano, 195 - 239. ^(38){ }^{38} 关于早期演奏家市场的发展和扩大，见 Erin Helyard，"Clementi in the Marketplace and the Conservatoire"，载于《Clementi and the Woman at the Piano》，195 - 239。 ^(39){ }^{39} John Field’s unflattering description of Czerny as an “inkpot”, in reference to Czerny’s seemingly inexhaustible powers of industry, has probably not helped in this regard. Also see David Gramit, “The Fall and Rise of “Considerable Talent”: Carl Czerny and the Dynamics of Musical Reputation,” in Beyond the Art of Finger Dexterity": Reassessing Carl Czerny, 229 - 244. ^(39){ }^{39} 约翰-菲尔德（John Field）将车尔尼形容为 "墨水瓶"，这是对车尔尼似乎取之不尽、用之不竭的创造力的不恰当描述。另见大卫-格拉米特（David Gramit）：《"杰出人才 "的衰落与崛起》（The Fall and Rise of "Considerable Talent"）：Carl Czerny and the Dynamics of Musical Reputation," in Beyond the Art of Finger Dexterity"：重新评估卡尔-车尔尼》，229 - 244页。
^(40){ }^{40} Ingrid Fuchs, “Carl Czerny: Beethoven’s Ambassador Posthumous,” in Gramit, ed., Beyond the Art of Finger Dexterity: Reassessing Carl Czerny, 83. ^(40){ }^{40} Ingrid Fuchs，"卡尔-车尔尼：贝多芬的遗作大使"，收录于格拉米特编著的《超越手指灵巧的艺术》：重新评估卡尔-车尔尼》，83 页。 ^(41){ }^{41} Fuchs, 85. ^(42){ }^{42} Carl Czerny, “The Romantic Piano Concerto Vol.71: Piano Concerto in F major Op.28, Piano Concerto in A Minor Op.214, Rondo Brilliant in Bb major, Op.233.” https://www.hyperion-records.co.uk/dc.asp?dc=D_CDA68138 ^(42){ }^{42} 卡尔-切尔尼，"浪漫主义钢琴协奏曲第 71 卷：F大调钢琴协奏曲作品28、A小调钢琴协奏曲作品214、降B大调辉煌回旋曲作品233" https://www.hyperion-records.co.uk/dc.asp?dc=D_CDA68138 ^(43){ }^{43} Michael Saffle, “Czerny and the Keyboard Fantasy: Traditions, Innovations, Legacy,” in Gramit ed., Beyond the Art of Finger Dexterity: Reassessing Carl Czerny, 204. ^(43){ }^{43} 迈克尔-萨弗尔：《车尔尼与键盘幻想曲：传统、创新、遗产》，收录于格拉米特编：《超越手指灵巧的艺术》：重新评估卡尔-车尔尼》，204 页。 ^(44){ }^{44} Improvisation was often thought to be the highest of artistic achievements in the early Romantic era, to the extent where it could not be taught or learnt. See Alice Mitchell, “Translator’s Foreword,” in Carl Czerny A Systematic Introduction to Improvisation on the Pianoforte, Op.200, VIII. ^(44){ }^{44} 在早期浪漫主义时代，即兴演奏往往被认为是最高的艺术成就，甚至到了无师自通的地步。见爱丽丝-米切尔，"译者前言"，载于卡尔-切尔尼《钢琴即兴演奏系统入门》，作品 200，第八章。
^(45){ }^{45} This has been attributed erroneously to Brahms, in terms of its origin; it is generally accepted that Thomas Edison was the first to coin this phrase. ^(45){ }^{45} 就其起源而言，这句话被错误地归功于勃拉姆斯；一般认为，托马斯-爱迪生是第一个创造这句话的人。 ^(46){ }^{46} Carl Czerny, The Art of Preluding as applied to the Pianoforte, Op. 300 (London: R.Cocks & Co.,1833). ^(46){ }^{46} 卡尔-车尔尼：《钢琴前奏艺术》，作品 300（伦敦：R.Cocks & Co.，1833 年）。 ^(47){ }^{47} Valerie Woodring Goertzen, “By Way of Introduction: Preluding by 18^("th ")18^{\text {th }} and Early Nineteenth/Century Pianists,” The Journal of Musicology, 14, 3 (1996): 301. ^(47){ }^{47} 瓦莱丽-伍德林-戈尔岑，《引言： 18^("th ")18^{\text {th }} 和十九世纪早期钢琴家的序曲》，《音乐学杂志》，14，3（1996 年）：301. ^(48){ }^{48} Nicholas Temperley, “Preluding at the Piano,” in Gabriel Solis and Bruno Nettl, eds., Musical Improvisation: Art, Education, Society (Urbana: University of Illinois Press, 2009), 323 - 341; Kenneth Hamilton, “A Suitable Prelude,” in After the Golden Age: Romantic Pianism and Modern Performance (Oxford: OUP, 2008), 101 - 138. ^(48){ }^{48} Nicholas Temperley，"钢琴前奏曲"，载于 Gabriel Solis 和 Bruno Nettl 编辑的《音乐即兴演奏》：艺术、教育、社会》（乌尔班纳：伊利诺伊大学出版社，2009 年），323 - 341；肯尼斯-汉密尔顿，《合适的前奏曲》，收录于《黄金时代之后》：浪漫主义钢琴与现代表演》（牛津：OUP，2008 年），101 - 138 页。 ^(49){ }^{49} Hamilton covers this ground extensively, particularly in “Great Tradition, Grand Manner, Golden Age”, 3-32. ^(49){ }^{49} 汉密尔顿在《伟大的传统，伟大的方式，黄金时代》3-32 中对此有大量论述。
^(50){ }^{50} This link was made others during the composer’s lifetime as well. Some researchers have made sound efforts to examine his music and career on their own terms. See Staves, “Variation Sets for Solo Piano of the Early Nineteenth Century,” 110-153 and also Eklund, “Ferdinand Ries and the Concerted Fantasy.” (Master’s Thesis, 2010). ^(50){ }^{50} 在作曲家生前，这种联系也被其他人建立起来。一些研究者已经做出了不懈的努力，对他的音乐和职业生涯进行了深入的研究。参见 Staves，"19 世纪早期钢琴独奏变奏曲集"，110-153；以及 Eklund，"Ferdinand Ries and the Concerted Fantasy"。(硕士论文，2010 年）。 ^(51){ }^{51} John Carnelley, George Smart and Nineteenth-Century London Concert Life (Woodbridge, Suffolk, UK: The Boydell Press, 2015). ^(51){ }^{51} 约翰-卡内利：《乔治-斯马特与十九世纪伦敦音乐会生活》（英国萨福克伍德布里奇：博伊德尔出版社，2015 年）。 ^(52){ }^{52} Cecil Hill, Ferdinand Ries: A Thematic Catalogue (Armidale, N.S.W: University of New England, 1977). ^(52){ }^{52} 塞西尔-希尔，《费迪南德-里斯》：A Thematic Catalogue》（Armidale, N.S.W：University of New England，1977 年）。
53 William Weber, “The History of Musical Canon,” in Nicholas Cook/Mark Everist eds., Rethinking Music (Oxford: OUP, 1999), 336 - 355. James Parakilas, “The Power of Domestication in the Lives of Musical Canons,” Repercussions 4, 1 (1995), 5 - 25. Katherine Bergeron and Philip V. Bohlman eds., Disciplining Music: Musicology and its Canons (Chicago: Chicago University Press, 1992). 53 William Weber，"The History of Musical Canon," in Nicholas Cook/Mark Everist eds., Rethinking Music (Oxford: OUP, 1999)，336 - 355。James Parakilas，"The Power of Domestication in the Lives of Musical Canons，" Repercussions 4，1 (1995)，5 - 25。Katherine Bergeron 和 Philip V. Bohlman 编辑，《音乐学科》：音乐学及其教规》（芝加哥：芝加哥大学出版社，1992 年）。
54 Mark Evan Bonds, Music as Thought: Listening to the Symphony in the Age of Beethoven (Princeton N.J.: Princeton University Press, 2006). 54 Mark Evan Bonds，《音乐即思想：贝多芬时代的交响乐聆听》（新泽西州普林斯顿：普林斯顿大学出版社，2006 年）。
55 See note 9. 55 见注 9。
56 See note 19. 56 见注 19。
^(57){ }^{57} See note 22. ^(57){ }^{57} 见注 22。 ^(58){ }^{58} See notes 49 and 50. ^(58){ }^{58} 见注释 49 和 50。 ^(59){ }^{59} Thomas Christensen, “Soundings Offstage” in Helen Greenwald ed., The Oxford Handbook of Opera (NY: OUP, 2015), 912. ^(59){ }^{59} 托马斯-克里斯滕森：《台下的声音》，载于海伦-格林沃尔德编：《牛津歌剧手册》（纽约：OUP，2015 年），第 912 页。
^(60){ }^{60} Christensen, 902. ^(60){ }^{60} 克里斯滕森，902。 ^(61){ }^{61} Other later artistic movements have also tackled these ideas, such as the pop artists Warhol and Lictenstein, along with musical minimalists such as Glass, Reich and Nyman. ^(61){ }^{61} 后来的其他艺术运动也涉及到了这些观点，如波普艺术家沃霍尔和利克滕斯坦，以及格拉斯、赖奇和奈曼等极简主义音乐家。 ^(62){ }^{62} Suttoni, “Piano and Opera: A Study of the Piano Fantasies written on Opera themes in the Romantic era,” and Rivera, “Transcriptions, Arrangements, Paraphrases and Metamorphoses for Solo Piano.” ^(62){ }^{62} 萨托尼："钢琴与歌剧：苏托尼："钢琴与歌剧：浪漫主义时期歌剧题材钢琴幻想曲研究"，以及里维拉："钢琴独奏曲的改编、改编、改写和变形"。 ^(63){ }^{63} George Bernard Shaw, Music in London, 1890 - 94 Vol. 1 (London: Constable & Co., 1932) cited in ^(63){ }^{63} 萧伯纳，《伦敦音乐，1890 - 94 年》第一卷（伦敦：Constable & Co.
Lockhart, “Listening to the Domestic Music Machine”, 1 -2. 洛克哈特：《聆听国内音乐机器》，1 -2 页。 ^(64){ }^{64} Lockhart, 1 -2. ^(64){ }^{64} 洛克哈特，1 - 2。
^(65){ }^{65} To clarify, I am referring to the analysis of particular techniques which were used by virtuosi, in the types of works which they performed. ^(65){ }^{65} 澄清一下，我指的是对演奏家在他们演奏的作品类型中使用的特定技巧的分析。 ^(66){ }^{66} Imogen Morris, “Reflections on Aladdin’s Lamp: Developing a Framework for Creative Practice Research in-and-through Historically Informed Performance,” in Nancy November ed., (title and publishing details TBC), 159. ^(66){ }^{66} 伊莫金-莫里斯，"阿拉丁神灯的反思：通过历史表演开发创意实践研究框架"，南希-十一月编，（标题和出版细节待定），159。 ^(67){ }^{67} Morris, 163 - 164. ^(67){ }^{67} 莫里斯，第 163 - 164 页。
^(68){ }^{68} Richard Taruskin, “The Limits of Authenticity: A Contribution,” in Text and Act: Essays on Musical Performance (NY: OUP, 1995), 67 - 82, cited in Morris, 159 - 160. ^(68){ }^{68} 理查德-塔鲁什金，《真实性的局限：A Contribution," in Text and Act：关于音乐表演的论文》（纽约：OUP，1995 年），67 - 82，引自 Morris，159 - 160。
^(69){ }^{69} Extract taken from edition first published by N. Simrock. ^(69){ }^{69} 节选自 N. Simrock 首次出版的版本。
^(70){ }^{70} Thomas Christensen, “Soundings Offstage” in Helen Greenwald ed., The Oxford Handbook of Opera, p. 914 918. ^(70){ }^{70} 托马斯-克里斯滕森：《台下的声音》，载于海伦-格林沃尔德编：《牛津歌剧手册》，第 914 918 页。
71 This idea was discussed at length during personal conversations, when Erin Helyard conducted a seminar at the University of Auckland on October 9-11, 2023. Christensen (917-918) also alludes to this through Walter Benjamin, “The Work of Art in the Age of Mechanical Reproduction,” in Illuminations, ed. and translated by Hannah Arendt (NY: Harcourt, Brace and World, 1968), 217 - 252. 71 2023 年 10 月 9 日至 11 日，艾琳-赫利亚德在奥克兰大学举办了一场研讨会，在个人谈话中详细讨论了这一观点。克里斯滕森（917-918）还通过沃尔特-本雅明（Walter Benjamin）的《机械复制时代的艺术作品》（"The Work of Art in the Age of Mechanical Reproduction"）暗指这一点，该文收录于《照明》（Illuminations），汉娜-阿伦特（Hannah Arendt）编译（纽约：Harcourt, Brace and World, 1968年），第217-252页。
72 For a perceptive commentary on this phenomenon, see Mary Hunter, ““To Play as if from the Soul of the Composer”: The Idea of the Performer in Early Romantic Aesthetics,” Journal of the American Musicological Society, 58, 2 (2005), 357 - 398. 72 关于这一现象的敏锐评论，见 Mary Hunter，""演奏仿佛来自作曲家的灵魂"：The Idea of the Performer in Early Romantic Aesthetics," Journal of the American Musicological Society, 58, 2 (2005), 357 - 398。
^(73){ }^{73} David Breitman, Piano Playing Revisited - What Modern Players can learn from Period Instruments, (NY: University of Rochester Press, 2021), 169. ^(73){ }^{73} 戴维-布赖特曼，《重温钢琴演奏--现代演奏家可从古乐器中学到什么》，（纽约：罗切斯特大学出版社，2021 年），第 169 页。 ^(74){ }^{74} Breitman, xix. ^(75){ }^{75} For example, see Bruce Haynes, The End of Early Music: A Period Performer’s History of Music for the TwentyFirst Century, (NY:OUP, 2007). Also Donna Louise Gunn, Discoveries from the FortePiano: A Manual for Beginners and Seasoned Performers (NY:OUP, 2016) and Sandra Rosenblum, Performance Practices in Classic Piano Music: their Principles and Applications (Bloomington: Indiana University Press, 1988). ^(75){ }^{75} 例如，见 Bruce Haynes, The End of Early Music：一个时期演奏家的二十一世纪音乐史》，（纽约：OUP，2007 年）。另见 Donna Louise Gunn，《FortePiano 的发现》：初学者和经验丰富的演奏家手册》（A Manual for Beginners and Seasoned Performers）（纽约：OUP，2016 年）和桑德拉-罗森布鲁姆（Sandra Rosenblum）：《古典钢琴音乐的演奏实践：原理与应用》（Performance Practices in Classic Piano Music: Their Principles and Applications）（布卢明顿：印第安纳大学出版社，1988 年）。
^(76){ }^{76} There are four excellent ones within a one-kilometre radius, within the city centre, which was incredibly refreshing in an age where one has to resort increasingly to purchasing anything online. ^(76){ }^{76} 在市中心一公里范围内有四家极好的餐厅，这在人们不得不越来越多地在网上购买任何东西的时代令人耳目一新。 ^(77){ }^{77} I did manage to find a book of Czerny Studies Vol.II, ER2378, ed. Mugellini (Milan: Ricordi) in a bargain bin! ^(77){ }^{77} 我设法在廉价商店里找到了一本《车尔尼研究》第二卷，ER2378，Mugellini 编（米兰：Ricordi）。Mugellini）（米兰：Ricordi）！
