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Chapter Five. Chopin as an Interpreter of Mozart: The Variations Opus 2 and Don Giovanni
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Eytan Agmon
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Kapitel in diesem Buch
- Frontmatter i
- Contents vii
- Introduction 1
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Part One. Structure and Design I
- Chapter One. Strolling through a Haydn Divertimento with Two Heinrichs 9
- Chapter Two. Ritornelli or Soli: Which Did Mozart Write First in the Opening Movement of His Violin Concerto K. 207? 23
- Chapter Three. Outer Form, Inner Form, and Other Musical Narratives in Beethoven’s Opus 14, No. 2 45
- Chapter Four. Temporal Poise and Oblique Dynamic in the First Movement of Beethoven’s “Archduke” Trio 57
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Part Two. Focus on Motive
- Chapter Five. Chopin as an Interpreter of Mozart: The Variations Opus 2 and Don Giovanni 71
- Chapter Six. The First Movement of Brahms’s Fourth Symphony Revisited: A Study of the Fanfare and the “Cloud of Mystery” 97
- Chapter Seven “Capricious Play” Veiled Cyclic Relations in Brahms’s Ballades Op. 10 and Fantasies Op. 116 115
- Chapter Eight. Chopin’s Study in Syncopation 132
- Chapter Nine. A Sharp Practice, A Natural Alternative: The Transition into the Recapitulation in the First Movement of Beethoven’s “Hammerklavier” Sonata 143
- Chapter Ten. Ernst Oster’s Vision of Hidden Repetitions and Motivic Enlargements in J. S. Bach’s Short Keyboard Works 157
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Part Three. Structure and Design II
- Chapter Eleven. The “Pseudo-Einsatz” in Two Handel Fugues: Heinrich Schenker’s Analytical Work with Reinhard Oppel 173
- Chapter Twelve. Formal Fusion and Its Eff ect on Voice-Leading Structure: The First Movement of Beethoven’s Opus 132 Revisited 204
- Chapter Thirteen. Indistinct Formal Functions and Confl icting Temporal Processes in the Second Movement of Brahms’s Third Symphony 225
- 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
- Chapter Fifteen. The Suspenseful Structure of Brahms’s C-Major Capriccio, Op. 76, No. 8 A Schenkerian Hearing 259
- Contributors 279
- Index 283
Kapitel in diesem Buch
- Frontmatter i
- Contents vii
- Introduction 1
-
Part One. Structure and Design I
- Chapter One. Strolling through a Haydn Divertimento with Two Heinrichs 9
- Chapter Two. Ritornelli or Soli: Which Did Mozart Write First in the Opening Movement of His Violin Concerto K. 207? 23
- Chapter Three. Outer Form, Inner Form, and Other Musical Narratives in Beethoven’s Opus 14, No. 2 45
- Chapter Four. Temporal Poise and Oblique Dynamic in the First Movement of Beethoven’s “Archduke” Trio 57
-
Part Two. Focus on Motive
- Chapter Five. Chopin as an Interpreter of Mozart: The Variations Opus 2 and Don Giovanni 71
- Chapter Six. The First Movement of Brahms’s Fourth Symphony Revisited: A Study of the Fanfare and the “Cloud of Mystery” 97
- Chapter Seven “Capricious Play” Veiled Cyclic Relations in Brahms’s Ballades Op. 10 and Fantasies Op. 116 115
- Chapter Eight. Chopin’s Study in Syncopation 132
- Chapter Nine. A Sharp Practice, A Natural Alternative: The Transition into the Recapitulation in the First Movement of Beethoven’s “Hammerklavier” Sonata 143
- Chapter Ten. Ernst Oster’s Vision of Hidden Repetitions and Motivic Enlargements in J. S. Bach’s Short Keyboard Works 157
-
Part Three. Structure and Design II
- Chapter Eleven. The “Pseudo-Einsatz” in Two Handel Fugues: Heinrich Schenker’s Analytical Work with Reinhard Oppel 173
- Chapter Twelve. Formal Fusion and Its Eff ect on Voice-Leading Structure: The First Movement of Beethoven’s Opus 132 Revisited 204
- Chapter Thirteen. Indistinct Formal Functions and Confl icting Temporal Processes in the Second Movement of Brahms’s Third Symphony 225
- 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
- Chapter Fifteen. The Suspenseful Structure of Brahms’s C-Major Capriccio, Op. 76, No. 8 A Schenkerian Hearing 259
- Contributors 279
- Index 283