Chapters in this book

1. Frontmatter i
2. Contents v
3. Acknowledgments ix
4. Introduction 1
5. Part One: Johann Sebastian Bach
6. 1 Fugue and Its Discontents 5
7. 2 Fugues, Form, and Fingering: Sonata Style in Bach’s Preludes and Fugues 14
8. Part Two: Haydn and Mozart
9. 3 Notational Irregularities as Attributes of a New Style: The Case of Haydn’s “Sun” Quartet in F Minor, Op. 20, no. 5 27
10. 4 The Fugal Moment: On a Few Bars in Mozart’s Quintet in C Major, K. 515 39
11. Part Three: Beethoven
12. 5 A Tale of Two Quintets: Mozart’s K. 452 and Beethoven’s Opus 16 55
13. 6 Vestas Feuer: Beethoven on the Path to Leonore 78
14. 7 Sonority and Structure: Observations on Beethoven’s Early and Middle-Period Piano Compositions 100
15. 8 Recomposing the Grosse Fuge: Beethoven and Opus 134 130
16. Part Four: The Romantic Generation
17. 9 Schubert, the Tarantella, and the Quartettsatz, D. 703 163
18. 10 On the Scherzando Nocturne 172
19. 11 Chopin’s Modular Forms 185
20. Part Five: Italian Opera
21. 12 The Hot and the Cold: Verdi Writes to Antonio Somma about Re Lear 207
22. Part Six: The Modernist Tradition
23. 13 The Ironic German: Schoenberg and the Serenade, Op. 24 227
24. 14 Words for the Surface: Boulez, Stockhausen, and “Allover” Painting 247
25. Part Seven: Criticism and the Critic
26. 15 Rosen’s Modernist Haydn 283
27. 16 Facile Metaphors, Hidden Gaps, Short Circuits: Should We Adore Adorno? 291
28. 17 The Music of a Classical Style 303
29. 18 Montaigne hors de son propos 311
30. Three Tributes
31. Une culture vraiment intimidante 321
32. Charles Rosen for His Eightieth Birthday 322
33. Charles Rosen: A Personal Appreciation by a Contemporary 324
34. Appendices
35. Appendix 1: A Discography of the Recordings of Charles Rosen 329
36. Appendix 2: A Bibliography of the Writings of Charles Rosen 346
37. List of Contributors 365
38. Index 369
39. About the Author 381