[Footnotes]

[Footnotes]
2
H. C. Robbins Landon, Haydn: Chronicle and Works: Haydn at Esterháza 1766-1790 (London, 1978), p. 142.
Landon
142
Haydn: Chronicle and Works: Haydn at Esterhciza 1766-1790
1978
3
Maynard Solomon, "On Beethoven's Creative Process: A Two-Part Invention," Music & Letters 61 (1980), 272-8310.2307/734569
272
Rochlitz's remarks are found in Thayer's Life of Beethoven, ed. Elliot Forbes (Princeton, 1969), p. 802
Forbes
802
Thayer's Life of Beethoven
1969
4
Robert Schumann, Gesammelte Schriften über Musik und Musiker (Leipzig, 1875), II, 313.
Schumann
313
II
Gesammelte Schriften fiber Musik und Musiker
1875
5
Ibid., I, 107
107
6
The Harmonicon 9 (1831), 142.
142
9
The Harmonicon
1831
7
Bernard Shaw, Music in London, vol. III (London, 1932), p. 54.
Shaw
54
III
Music in London
1932
8
Arthur Wenk's interpretation of C major in Pelléas et Mélisande as "sensation: seeing, hearing, touching" and of F# major as "light, revelation, vision" is called into question in this journal 8 (1985), 281.10.2307/746518
281
10
Michael Collins, "The Performance of Triplets in the 17th and 18th Centuries," Journal of the American Musi- cological Society 19 (1966), 281-32810.2307/830422
281
11
F. Eibner, "The Dotted-Quaver-and-Semiquaver Figure with Triplet Accompaniment in the Works of Schubert," Music Review 23 (1962), 281
Eibner
281
23
Music Review
1962
12
Arthur Hutchings, Schubert (London, 1945), p. 143.
Hutchings
143
Schubert
1945
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