[Footnotes]

[Footnotes]
1
Arnold Schoenberg, Style and Idea, ed. Leonard Stein, trans. Leo Black (New York, 1975), pp. 113-14.
Schoenberg
113
Style and Idea
1975
2
Paul Henry Ling, Music in Western Civilization (New York, 1941), p. 813
Ling
813
Music in Western Civilization
1941
Cecil Gray, The History of Music (New York, 1931), p. 230
Gray
230
The History of Music
1931
3
Larry Laskowski, Heinrich Schenker: An Annotated In- dex to His Analyses of Musical Works (New York, 1978)
Laskowski
Heinrich Schenker: An Annotated Index to His Analyses of Musical Works
1978
Donald F. Tovey, The Main Stream of Music and Other Essays (Cleveland, 1959)
Tovey
The Main Stream of Music and Other Essays
1959
Essays in Musical Analysis, II [Lon- don, 1935], p. 46
46
II
Essays in Musical Analysis
1935
4
Charles Rosen, The Classical Style: Haydn,, Mozart, Beethoven (New York, 1971), p. 451.
Rosen
451
The Classical Style: Haydn,, Mozart, Beethoven
1971
5
Rosen, Sonata Forms (New York, 1980), chap. 13
Rosen
chap. 13
Sonata Forms
1980
rev. edn. New York, 1988), chap. 14
Classical Style, p. 379
379
6
Carl Dahlhaus, Nineteenth-Century Music, trans. J. Bradford Robinson (Berkeley and Los Angeles, 1989), pp. 159-60.10.2307/746731
159
7
Gerald Abraham, "Schumann, Robert," in The New Grove Dictionary of Music and Musicians, ed. Stanley Sadie (Lon- don, 1980), vol. 16, pp. 851-52.
Abraham
Schumann, Robert
851
16
The New Grove Dictionary of Music and Musicians
1980
8
Anthony Newcomb, "Once More 'Between Absolute and Program Music': Schumann's Second Symphony," this jour- nal 7 (1984), 233-50.10.2307/746379
233
9
Jon W. Finson, e.g., relates how Schumann found his own voice and learned to tailor musical materials to his own ends in Robert Schumann and the Study of Orchestral Composition: The Genesis of the First Symphony, Op. 38 (Oxford, 1989)
Finson
Robert Schumann and the Study of Orchestral Composition: The Genesis of the First Symphony, Op. 38
1989
Hans Gal avoids the usual cliches of Schumann criticism in Schumann Orchestral Music (Se- attle, 1979)
Schumann
Hans Gal avoids the usual cliches of Schumann criticism
Schumann Orchestral Music
1979
Linda Correll Roesner argues for hitherto un- recognized formal patterns in "Schumann's 'Parallel' Forms," this journal 14 (1991), 265-78
Roesner
265
14
Nineteenth Century Music
1991
10
Carl Czerny draws on to preface his dis- cussion of sonata form in his School of Practical Composi- tion: Complete Treatise on the Composition of All Kinds of Music, Op. 600 (trans. John Bishop [London, ca. 1848; facs. edn. New York, 1979], I, 34
Czerny
34
I
School of Practical Composition: Complete Treatise on the Composition of All Kinds of Music, Op. 600
1979
12
Robert Schumann, Haushaltbiucher: 1837-1856, ed. Gerhard Nauhaus, vol. III, Tagebuicher (Leipzig, 1982)
Schumann
III
Haushaltbiucher: 1837-1856
1982
1 April 1842
"Im[m]er Quartette v[on] Mozart studirt" (p. 210)
28 April 1842
"Quartette v[on] Beethoven" (p. 212)
6 May 1842
v[on] Haydn" (p. 213)
16
Tovey dubs other Schumann doublings in "Brahms's Chamber Music," in Main Stream of Music, p. 251
Dubs
Brahms's Chamber Music
251
Main Stream of Music
24
Robert Philip, Early Recordings and Musical Style: Changing Tastes in Instrumental Performance, 1900-1950 (Cambridge, 1992).
Philip
Early Recordings and Musical Style: Changing Tastes in Instrumental Performance, 1900-1950
1950
25
Arthur J. Ness dates Czerny's Toccata around 1826 in the article "Toccata" in The New Harvard Dictionary of Music, ed. Don Michael Randel (Cambridge, Mass., 1986), p. 860
Ness
Toccata
860
The New Harvard Dictionary of Music
1986
27
Clara Schumann, Jugendbriefe von Robert Schumann [Leipzig, 1885], p. 83
Schumann
83
Jugendbriefe von Robert Schumann
1885
28
Johann Nepomuk Hummel, The Complete Works for Pi- ano, ed. Joel Sachs, vol. I (New York, 1989)
Hummel
I
The Complete Works for Piano
1989
Rosen, Sonata Forms, pp. 318-19 (pp. 391-92 of the rev. 1988 edn.)
Rosen
318
Sonata Forms
1988
The epithet, "ein wahrhaft grosses, episches Titanenwerk," is in Clara Schumann, Jugendbriefe von Robert Schumann, p. 80
Epithet
ein wahrhaft grosses, episches Titanenwerk
80
Clara Schumann
29
Concerning the "extended omnibus" progression, see Robert W. Wason, Viennese Harmonic Theory from Albrechtsberger to Schenker and Schoenberg (Ann Arbor, Mich., 1985), pp. 16-19.
Wason
extended omnibus
16
Viennese Harmonic Theory from Albrechtsberger to Schenker and Schoenberg
1985
30
Piano Sonata in F Minor, op. 14
31
Czerny's Toccata in C Major, op. 92 (cf. n. 25)
32
Beethoven's Piano Sonata in A Major, op. 2, no. 2
Haydn's String Quartet, op. 54, no. 1
33
Rosen, Sonata Forms, p. 296 (rev. edn., p. 369).
Rosen
296
Sonata Forms
34
Greg Vitercik, The Early Works of Felix Mendelssohn: A Study in the Romantic Sonata Style (Philadelphia, 1992), pp. 138-41.
Vitercik
138
The Early Works of Felix Mendelssohn: A Study in the Romantic Sonata Style
1992
36
Harold Bauer's edition of the Sonata op. 11 (New York, 1945)
Bauer
Sonata op. 11
1945
Gregory W. Harwood summarizes the Fandango's history in "Robert Schumann's Sonata in F# Minor: A Study of Creative Pro- cess and Romantic Inspiration," Current Musicology 29 (1980), 17-30
Harwood
17
29
Current Musicology
1980
37
"Spring" Symphony, op. 38
39
Piano Trio No. 3 in G Minor, op. 110
40
Rhythms of Tonal Music (Carbondale, Ill., 1986), pp. 229-40
229
Ill
Rhythms of Tonal Music
1986
41
Tovey in "Franz Schubert," who criti- cizes the scheme while viewing sympathetically various applications by Schubert and Schumann (Main Stream of Music, pp. 124-25)
Tovey
Franz Schubert
124
Main Stream of Music
Michael C. Tusa coined the term "stro- phic modulation" to describe these sequential schemes and discusses several instances by Schubert in "When Did Schubert Revise His Opus 122? " Music Review 45 (1984), 212
Tusa
212
45
Music Review
1984
Martin Chusid in "A Suggested Redating for Schubert's Piano So- nata in Eb Major, Op. 122," in Schubert-Kongress Wien 1978 Bericht, ed. Otto Brusatti (Graz, 1979), pp. 37-44
Chusid
A Suggested Redating for Schubert's Piano Sonata in Eb Major, Op. 122
37
Schubert-Kongress Wien 1978 Bericht
1979
43
Tovey (Essays in Musical Analysis: Chamber Music [Lon- don, 1944], pp. 152-54
Tovey
152
Musical Analysis: Chamber Music
1944
Orchestra, op. 92
44
John Daverio, "Schumann's 'Im Legendenton' and Friedrich Schlegel's Arabeske," this journal 11 (1987), 150-63
Daverio
150
11
Nineteenth Century Music
1987
Nicho- las Marston, "Robert Schumann's Monument to Beethoven," this journal 14 (1991), 247-64
Marston
247
14
Nineteenth Century Music
1991
Schumann: Fantasie, Op. 17 (Cambridge, 1992)
Schumann
Schumann: Fantasie, Op. 17
1992
Roesner, "Schumann's 'Parallel' Forms," pp. 265-78
Roesner
265
Schumann's 'Parallel' Forms
Finson, "The Sketches for the Fourth Movement of Schumann's Second Symphony, Op. 61," Journal of the American Musicologi- cal Society 39 (1986), 143-6810.2307/831696
143
Hallmark, "A Sketch Leaf for Schumann's D-Minor Symphony," in Mendelssohn and Schumann: Essays on Their Music and Its Context, ed. Jon W. Finson and R. Larry Todd (Durham, N. C., 1984), pp. 39-51
Hallmark
A Sketch Leaf for Schumann's D-Minor Symphony
39
Mendelssohn and Schumann: Essays on Their Music and Its Context
1984
45
Maria Rika Maniates, "The D-Minor Symphony of Rob- ert Schumann," in Festschrift für Walter Wiora (Kassel, 1967), pp. 441-47.
Maniates
The D-Minor Symphony of Robert Schumann
441
Festschrift für Walter Wiora
1967
46
D Minor, op. 63
47
Roesner, "Schumann's 'Parallel' Forms," pp. 265-78.
Roesner
265
Schumann's 'Parallel' Forms
48
Cone, Musical Form and Musical Performance (New York, 1968), pp. 76-77.
Cone
76
Musical Form and Musical Performance
1968
49
James Webster, "Sonata Form," in The New Grove, vol. 17, pp. 497-508.
Webster
Sonata Form
497
17
The New Grove
50
Rosen, Sonata Forms, p. 315 (rev. edn. p. 388).
Rosen
315
Sonata Forms
This content is only available via PDF.

Article PDF first page preview

Article PDF first page preview