Description
Book SynopsisPresents current analytic views by established scholars of the traditional tonal repertoire, with essays on works by Bach, Handel, Haydn, Mozart, Beethoven, Schubert, Chopin, and Brahms. Bach to Brahms presents current analytic views on the traditional tonal repertoire, with essays on works by Bach, Handel, Haydn, Mozart, Beethoven, Schubert, Chopin, and Brahms. The fifteen essays, written by well-established scholars of this repertoire, are divided into three groups, two of which focus primarily on elements of musical design (formal, metric, and tonal organization) and voice leading at multiple levels of structure. The third groupof essays focuses on musical motives from different perspectives. The result is a volume of integrated studies on the music of the common-practice period, a body of music that remains at the core of modern concert and classroom repertoire. Contributors: Eytan Agmon, David Beach, Charles Burkhart, L. Poundie Burstein, Yosef Goldenberg, Timothy L. Jackson, William Kinderman, Joel Lester, Boyd Pomeroy, John Rink, Frank Samarotto, Lauri Suurpää, Naphtali Wagner, Eric Wen, Channan Willner. David Beach is professor emeritus and former dean of the Faculty of Music, University of Toronto. Yosef Goldenberg teaches at the Hebrew University of Jerusalem and at the Jerusalem Academy of Music and Dance, where he also serves as head librarian.
Trade ReviewWINNER of the 2016 Outstanding Multi-Author Publication Award * SOCIETY OF MUSIC THEORY *
Table of ContentsIntroduction Strolling through a Haydn Divertimento with Two Heinrichs Ritornelli or Soli: Which Did Mozart Write First in the Opening Movement of His Violin Concerto K. 207? Outer Form, Inner Form, and Other Musical Narratives in Beethoven's Opus 14, No. 2 Temporal Poise and Oblique Dynamic in the First Movement of Beethoven's "Archduke" Trio Chopin as an Interpreter of Mozart: The Variations Opus 2 and Don Giovanni The First Movement of Brahms's Fourth Symphony Revisited: A Study of the Fanfare and the "Cloud of Mystery" "Capricious Play": Veiled Cyclic Relations in Brahms's Ballades Op. 10 and Fantasies Op. 116 Chopin's Study in Syncopation A Sharp Practice, A Natural Alternative: The Transition into the Recapitulation in the First Movement of Beethoven's "Hammerklavier" Sonata Ernst Oster's Vision of Hidden Repetitions and Motivic Enlargements in J. S. Bach's Short Keyboard Works The "Pseudo-Einsatz" in Two Handel Fugues: Heinrich Schenker's Analytical Work with Reinhard Oppel Formal Fusion and Its Effect on Voice-Leading Structure: The First Movement of Beethoven's Opus 132 Revisited Indistinct Formal Functions and Conflicting Temporal Processes in the Second Movement of Brahms's Third Symphony The Interaction of Structure and Design in the Opening Movements of Schubert's Piano Trios in B-flat Major (D. 898) and E-flat Major (D. 929) The Suspenseful Structure of Brahms's C-Major Capriccio, Op. 76, No. 8: A Schenkerian Hearing List of Contributors Index
