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| Preface | |
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| Orientations | |
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| Definitions and Elaborations | |
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| The Scope and Plan of This Study | |
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| Some Background Information on Beethoven's Career | |
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| Beethoven's Output for Piano | |
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| The Sources of Information for This Book | |
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| Some Relevant Philosophies and Perspectives | |
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| Source Manuscripts and Editions | |
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| Sketches and Autographs | |
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| Early Editions | |
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| Trends in Editing Beethoven Since Beethoven | |
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| Beethoven and the Piano: His Options, Preferences, Pianism, and Playing | |
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| First, Some Conclusions | |
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| A Consensus on Differences between Pianos Then and Now | |
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| A Prevailing View About Beethoven's Preferences | |
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| Beethoven's Pianos Summarized Chronologically | |
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| Actual Preferences and Ideals | |
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| The Range of Beethoven's Pianos | |
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| Piano Actions--English, French, and Viennese | |
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| The Pedals Available on Beethoven's Pianos | |
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| The Pianism of Beethoven Compared with That of Haydn, Mozart, and Schubert | |
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| Beethoven as a Performing Pianist | |
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| Tempo: Rate and Flexibility | |
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| Its Elusiveness, Even with the Metronome | |
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| Some Previous Studies of Beethoven Tempo (Beck) | |
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| Four Other Studies of Beethoven Tempo | |
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| Applying Beck's "Rhythmic Character" to Moderate and Slower Tempos | |
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| Extending the Meaning of "Rhythmic Character" | |
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| Flexibility in the Pulse Rate | |
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| Structural and Historical Aspects of Beethoven Tempo | |
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| Articulation: The Demarcation and Characterization of Beethoven's Musical Ideas | |
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| Means, Uses, and Ways | |
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| Problems in Reading and Interpreting Beethoven's Slurs | |
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| Seven Tentative Explanations for Beethoven's Slurring | |
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| Pauses as Further Demarcators and Characterizers | |
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| Problems in Distinguishing and Interpreting Beethoven's Staccato Signs | |
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| Can Editors Help to Resolve the Ambiguity of Beethoven's Staccato Signs? | |
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| Beethoven's Signs and Uses for Accents | |
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| The Incise and Phrase as Guides to Rhythmic Grouping and Dynamic Direction | |
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| The Meaning of Incise | |
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| The Evolution of the Incise in Theoretical Writings | |
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| Beethoven's Supposed Annotations in Twenty-One Cramer Etudes | |
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| Rhythmic Grouping and Dynamic Direction as Revealed in Beethoven's Incises and Phrases | |
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| Realizing Beethoven's Ornamentation | |
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| Types, Evidence, and Studies | |
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| About Beethoven's Trills | |
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| Beethoven's Turns and Freer Short Embellishments | |
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| Short and Long Appoggiaturas | |
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| Further Expressive Factors | |
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| Legato and Tone Production | |
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| Beethoven's Use of the Pedals | |
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| Summary of Beethoven's Use of Dynamics and Agogics | |
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| Some Broad, Structural Considerations | |
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| Taking Larger Views Within a Movement | |
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| Interrelationships Among Movements of a Cycle | |
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| Keyboard Techniques as Both Clues and Consequences | |
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| Beethoven's Own Technical Endowments and Attributes | |
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| His Use of the Basic Touches | |
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| His Exploitation of Idiomatic Techniques | |
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| Beethoven's Original Fingerings | |
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| A Few Afterthoughts | |
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| Bibliography | |
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| Beethoven's Works for Piano | |
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| Index | |