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The knowledge that finales are by tradition (and perhaps also necessarily) 'different' from other movements has been around a long time, but this is the first time that the special nature of finales in instrumental music has been examined comprehensively and in detail. Three main types offinale, labelled 'relaxant', 'summative', and 'valedictory', are identified. Each type is studied closely, with a wealth of illustration and analytical commentary covering the entire period from the Renaissance to the present day. The history of finales in five important genres -- suite, sonata,string quartet, symphony, and concerto -- is traced, and the parallels and divergences between these traditions are identified. Several wider issues are mentioned, including narrativity, musical rounding, inter-movement relationships, and the nature of codas. The book ends with a look at thefinales of all Shostakovich's string quartets, in which examples of most of the types may be found.
Kalmus offers the complete parts to select masterworks for viola. Each volume includes major orchestral works that include standard audition repertoire and widely known difficult passages. These books are great for the student to practice and learn excerpts, or for the professional musician preparing for an audition. Important works represented in these collections include: The Four Seasons (Vivaldi) * Cello Concerto in C Major (Haydn) * Requiem (Mozart) * The Planets (Holst) * The Carnival of the Animals (Saint-Saëns) * The Three-Cornered Hat (de Falla) * Carmen Suite No. 1 (Bizet) * Holberg Suite (Grieg).
A thorough overview and history of chamber music
Metric Manipulations in Haydn and Mozart makes a significant contribution to music theory and to the growing conversation on metric perception and musical composition. Focusing on the chamber music of Haydn and Mozart produced during the years 1787 to 1791, the period of most intense metric experimentation in the output of both composers, author Danuta Mirka presents a systematic discussion of metric manipulations in music of the late 18th-century. By bringing together historical and present-day theoretical approaches to rhythm and meter on the basis of their shared cognitive orientations, the book places the ideas of 18th-century theorists such as Riepe, Sulzer, Kirnberger and Koch into dialogue with modern concepts in cognitive musicology, particularly those of Fred Lerdahl and Ray Jackendoff, David Temperley, and Justin London. In addition, the book puts considerations of subtle and complex meter found in 18th-century musical handbooks and lexicons into point-by-point contact with Harald Krebs's recent theory of metrical dissonance. The result is an innovative and illuminating reinterpretation of late 18th-century music and music perception which will have resonance in scholarship and in analytical teaching and practice. Metric Manipulations in Haydn and Mozart will appeal to students and scholars in music theory and cognition/perception, and will also have appeal to musicologists studying Haydn and Mozart.
Beethoven's late style is the language of his ninth symphony, the Missa Solemnis, the last piano sonatas and string quartets, the Diabelli Variations, the Bagatelles, as well as five piano sonatas, five string quartets, and several smaller piano works. Historically, these works are seen as forging a bridge between the Classical and Romantic traditions: in terms of their musical structure, they continue to be regarded as revolutionary. Spitzer's book examines these late works in light of the musical and philosophical writings of the German intellectual Theodor Adorno, and in so doing, attempts to reconcile the conflicting approaches of musical semiotics and critical theory. He draws from various approaches to musical, linguistic, and aesthetic meaning, relating Adorno to such writers as Derrida, Benjamin, and Habermas, as well as contemporary music theorists. Through analyses of Beethoven's use of specific musical techniques (including neo-Baroque fugues and counterpoint), Spitzer suggests that the composer's last works offer a philosophical and musical critique of the Enlightenment, and in doing so created the musical language of premodernism.
The opening essay by James Webster, "Beethoven in Vienna, 1792-1802: Anø'Early' Period?", evaluates the critical tradition of dividing Beethoven?s career into three periods?early, middle, and late?and shows both their artificiality andøtheir implications, including a tendency to undervalue early works. J_rgen May?s essay "Beethoven and Prince Karl Lichnowsky," considers Beethoven?s relations with one of the first of his most important patrons. In "Beethoven before 1800: The Mozart Legacy," Lewis Lockwood examines Beethoven?s sketchbooks to describe how Beethoven composed with and against models from Mozart. Glenn Stanley's essay, "The 'wirklich gantz neue Mainer' and the Path to It: Beethoven's Variations for Piano, 1783-1802," surveys Beethoven?s sets of piano variations written in his first decade in Vienna and argues the importance of the variations in Beethoven's progress as a composer. In 'Pathos and the Pathätique," Elaine R. Sisman provides a historical and aesthetic analysis of one of Beethoven?s most popular piano sonatas. The composition of one of Beethoven's most popular violin sonatas, the "Spring" sonata is traced in the sketchbooks by Carl Schachter in "The Sketches of the Sonata for Piano and Violin, Op. 24." Nicholas Marston's "Stylistic Advance, Strategic Retreat: Beethoven's Sketches for the Finale,"øalso pays precise attention to Beethoven's sketches to discover how the composition of the Second Symphony illuminates Beethoven's work on an "underlying idea." In "Hybrid Themes: Toward a Refinement in the Classification of Classical Theme Types,"øWilliam E. Caplin defines "hybrid themes" and shows their variety in Beethoven?s early compositions. William Kinderman concludes the volume with a review article onøKlaus Kropfinger?s Wagner and Beethoven and its study of the "battle for Beethoven" that racked nineteenth-century European music.