Bach to Brahms: Essays on Musical Design and Structure

Contents

• Introduction
• 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