4 Voice-Leading Procedures in Galant Expositions

Chapters in this book

1. Frontmatter i
2. Contents v
3. Preface vii
4. Part One: Eighteenth Century
5. 1 A Letter about the C-Major Fugue from The Well-Tempered Clavier, Book 1 1
6. 2 The Opening Tonal Complex of Bach’s St. Matthew Passion: A Linear View 12
7. 3 Recurrence and Fantasy in C. P. E. Bach’s Rondo in G Major 26
8. 4 Voice-Leading Procedures in Galant Expositions 42
9. 5 The First Movements of Anton Eberl’s Symphonies in E-flat Major and D Minor, and Beethoven’s Eroica: Toward “New” Sonata Forms? 61
10. Part Two: Early Nineteenth Century
11. 6 Schubert’s “Unfinished” Symphony: Analytical Observations 99
12. 7 Structural and Form-Functional Ambiguities in the First Movement of Schubert’s Octet in F Major, D. 803 123
13. 8 The Form of Chopin’s Prelude in B-flat Major, Op. 28, No. 21 142
14. 9 “All That Is Solid Melts into Air”: Schumann’s Overture to Manfred 155
15. 10 Endings without Resolution: The Slow Movement and Finale of Schumann’s Second Symphony 177
16. Part Three: Late Nineteenth Century
17. 11 Half-Diminished-Seventh Openings in Brahms’s Lieder 201
18. 12 Motivic Enlargement in Dvořák’s Symphony Op. 70 226
19. 13 Deliverance and Compositional Design in the “Libera me” of Verdi’s Messa da Requiem 241
20. 14 Polyphony and Cacophony? A Schenkerian Reading of Strauss’s “Dance of the Seven Veils” 283
21. 15 A Force of Nature: Debussy and the Chromatically Displaced Dominant 303
22. Appendix: An Interview with Edward Laufer 328
23. List of Contributors 349
24. Index 355