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Chapter Five. Chopin as an Interpreter of Mozart: The Variations Opus 2 and Don Giovanni

  • Eytan Agmon
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Bach to Brahms
Ein Kapitel aus dem Buch Bach to Brahms
© 2015, Boydell and Brewer

© 2015, Boydell and Brewer

Kapitel in diesem Buch

  1. Frontmatter i
  2. Contents vii
  3. Introduction 1
  4. Part One. Structure and Design I
  5. Chapter One. Strolling through a Haydn Divertimento with Two Heinrichs 9
  6. Chapter Two. Ritornelli or Soli: Which Did Mozart Write First in the Opening Movement of His Violin Concerto K. 207? 23
  7. Chapter Three. Outer Form, Inner Form, and Other Musical Narratives in Beethoven’s Opus 14, No. 2 45
  8. Chapter Four. Temporal Poise and Oblique Dynamic in the First Movement of Beethoven’s “Archduke” Trio 57
  9. Part Two. Focus on Motive
  10. Chapter Five. Chopin as an Interpreter of Mozart: The Variations Opus 2 and Don Giovanni 71
  11. Chapter Six. The First Movement of Brahms’s Fourth Symphony Revisited: A Study of the Fanfare and the “Cloud of Mystery” 97
  12. Chapter Seven “Capricious Play” Veiled Cyclic Relations in Brahms’s Ballades Op. 10 and Fantasies Op. 116 115
  13. Chapter Eight. Chopin’s Study in Syncopation 132
  14. Chapter Nine. A Sharp Practice, A Natural Alternative: The Transition into the Recapitulation in the First Movement of Beethoven’s “Hammerklavier” Sonata 143
  15. Chapter Ten. Ernst Oster’s Vision of Hidden Repetitions and Motivic Enlargements in J. S. Bach’s Short Keyboard Works 157
  16. Part Three. Structure and Design II
  17. Chapter Eleven. The “Pseudo-Einsatz” in Two Handel Fugues: Heinrich Schenker’s Analytical Work with Reinhard Oppel 173
  18. Chapter Twelve. Formal Fusion and Its Eff ect on Voice-Leading Structure: The First Movement of Beethoven’s Opus 132 Revisited 204
  19. Chapter Thirteen. Indistinct Formal Functions and Confl icting Temporal Processes in the Second Movement of Brahms’s Third Symphony 225
  20. Chapter Fourteen. The Interaction of Structure and Design in the Opening Movements of Schubert’s Piano Trios in B-fl at Major (D. 898) and E-fl at Major (D. 929) 239
  21. Chapter Fifteen. The Suspenseful Structure of Brahms’s C-Major Capriccio, Op. 76, No. 8 A Schenkerian Hearing 259
  22. Contributors 279
  23. Index 283
Heruntergeladen am 8.10.2025 von https://www.degruyterbrill.com/document/doi/10.1515/9781580468770-006/html
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