Musical improvisation and open form in the age of Beethoven

Introduction, Gianmario Borio and Angela Carone
  Part I Improvisation and music theory
 1. Formal elements of instrumental improvisation: evidence from written documentation, 1770-1840, Angela Carone
  2. Musical form in improvisation treatises in the age of Beethoven, Jan Philipp Sprick
  3. `La solita cadenza\'? Vocal improvisation, embellishments and fioriture in opera from the late eighteenth to the first half of the nineteenth century, Torsten Mario Augenstein
  4. `Free forms\' in German music theory and the Romantic conception of time, Gianmario Borio
  Part II From improvisation to composition
  5. Fantastical forms: formal functionality in improvisational genres of the Classical era, William E. Caplin
  6. Four piano fantasias by Hummel: improvisation, motivic processing, harmonic enterprise and the `memory function\', Rohan H. Stewart-MacDonald
  7. A step to the `Wanderer\'. Schubert\'s early Fantasia-Sonata in C Minor (D. 48), Pieter Berge
  8. Didacticism and display in the capriccio and prelude for violin, 1785-1840, Catherine Coppola
  Part III Freedom as a tool for musical form
  9. `Quasi una fantasia\'? The legacy of improvisational practice in Ludwig van Beethoven\'s piano sonatas, Hans-Joachim Hinrichsen
  10. Improvisation practices in Beethoven\'s Kleinere Stucke, Marco Targa
  11. The fate of the antepenultimate: fantasy and closure in the Classical style, Scott Burnham
  12. `Ad arbitrio dei cantanti\': vocal cadenzas and ornamentation in early nineteenth-century opera, Giorgio Pagannone