[Footnotes]

[Footnotes]
1
James Webster, "Sonata Form," to appear in Grove's Dictionary of Music and Musicians, 6th edn. (London, 1979)
Webster
6
Sonata Form
Grove's Dictionary of Music and Musicians
1979
Cone, Musical Form and Musical Performance (New York, 1968), pp. 76-87.
Cone
76
Musical Form and Musical Performance
1968
William S. Newman, The Sonata Since Beethoven (Chapel Hill, 1969
Newman
The Sonata Since Beethoven
1969
(New York, 1972),Ch. 2, 6, et passim
Robert P. Morgan, The Delayed Structural Downbeat and its Effects on the Tonal and Rhythmic Structure of Sonata Form Recapitulations, Ph. D. dissertation, Princeton, 1969
Charles Rosen, The Classical Style: Haydn, Mozart, Beethoven (New York, 1968), pp. 26, 72-74, 379-87, 451-60.
Rosen
26
The Classical Style: Haydn, Mozart, Beethoven
1968
Older German discussions of these prob- lems include Hans Mersmann, "Sonatenform in der romantischen Kammermusik," in Festschrift für Johannes Wolf zu seinem sechzigsten Geburtstage, ed. Walter Lott et al. (Berlin, 1929), pp. 112-17
Mersmann
Sonatenform in der romantischen Kammermusik
112
Festschrift für Johannes Wolf zu seinem sechzigsten Geburtstage
1929
Kurt Westphal, "Die romantische Sonata als Formproblem," Schweizerische Musikzeitung 74 (1934), 45-49, 117-22, 189-92
Westphal
45
74
Schweizerische Musikzeitung
1934
Rudolf von Tobel, Die Formenwelt der klassischen In- strumentalmusik (Bern, 1935), pp. 287-342.
von Tobel
287
Die Formenwelt der klassischen Instrumentalmusik
1935
2
General studies of sonata form in Schubert include Felix Salzer, "Die Sonatenform bei Franz Schubert," Studien zur Musikwissenschaft 15 (1928), 86-125
Salzer
86
15
Studien zur Musikwissenschaft
1928
Hans Klöltzsch, Franz Schubert in seinen Klaviersonaten (Leipzig, 1927)
Klöoltzsch
Franz Schubert in seinen Klaviersonaten
1927
Hans Joachim Therstappen, Die Entwicklung der Form bei Schubert, dargestellt an den ersten Sätzen seiner Sin- fonien (Leipzig, 1931)
Therstappen
Die Entwicklung der Form bei Schubert, dargestellt an den ersten Sätzen seiner Sinfonien
1931
Martin Chusid, The Chamber Music of Franz Schubert, Ph. D. dissertation, University of California at Berkeley, 1961
Hermann Keller, "Schu- berts Verhailtnis zur Sonatenform," in Musa--Mens-- Musici: Im Gedenken an Walther Vetter, ed. Heinz Wegener (Leipzig, 1969), pp. 287-95.
Keller
Schuberts Verhailtnis zur Sonatenform
287
Musa--Mens-Musici: Im Gedenken an Walther Vetter
1969
Viktor Urbantschitsch, "Die Ent- wicklung der Sonatenform bei Brahms," Studien zur Musikwissenschaft 14 (1927), 264-85
Urbantschitsch
264
14
Studien zur Musikwissenschaft
1927
Edwin Evans, His- torical, Descriptive, and Analytical Account of the Entire Works of Johannes Brahms, 4 vols. (London, 1912-36)
Evans
Historical, Descriptive, and Analytical Account of the Entire Works of Johannes Brahms
1912
Arno Mitschka, Der Sonatensatz in den Werken von Johannes Brahms (Gütersloh, 1961)
Mitschka
Der Sonatensatz in den Werken von Johannes Brahms
1961
Werner Czesla, Stu- dien zum Finale in der Kammermusik von Johannes Brahms, Ph. D. dissertation, Bonn, 1968
Edwin von der Nüll, "Strukturelle Grundbeding- ungen der Brahmsschen Sonatenexposition im Vergleich zur Klassik," Die Musik 22 (1929), 32-37
Von Der Nüll
32
22
Die Musik
1929
Robert John Pascall, Formal Principles in the Music of Brahms, Oxford, 1973
Pascall
Formal Principles in the Music of Brahms
1973
RILM74 574
3
Donald Francis Tovey, "Franz Schubert" (1927), rpt. in Essays and Lectures on Music (London, 1949), p. 123.
Tovey
Franz Schubert
123
Essays and Lectures on Music
1949
"Tonality in Schubert" (1928), rpt. ibid., p. 151
Tovey
Tonality in Schubert
151
Essays and Lectures on Music
1928
"Brahms's Chamber Music" (1930), rpt. ibid., p. 244.
Tovey
Brahms's Chamber Music
244
Essays and Lectures on Music
1930
4
Tovey's "Schubert," pp. 116-27
Tovey
116
Schubert
"Tonality in Schubert" are the most pene- trating accounts.
Tovey
Schubert
5
Maurice J. E. Brown, Schubert: A Critical Biography (London, 1958), Ch. IX.
Brown
Ch. IX
Schubert: A Critical Biography
1958
7
Salzer, pp. 98-102
98
Tovey, as in fn. 4
Tobel, Die Formenwelt, pp. 171-78, 271-74
Tobel
171
Die Formenwelt
8
Theodor Frimmel, "Beethoven und Schu- bert," Die Musik 17 (1924-25), 401-16
Frimmel
401
17
Die Musik
1924
Martin Chusid, "Beethoven and the Unfinished," in Franz Schubert: Symphony in B Minor ("Unfinished"), ed. Chusid (New York, 1972), pp. 98-110
Chusid
Beethoven and the Unfinished
98
Franz Schubert: Symphony in B Minor ("Unfinished")
1972
Rosen, Classical Style, pp. 394 fn. 1, 455-59
Rosen
394
Classical Style
Newman, Sonata, pp. 192-99
Newman
192
Sonata
Edward T. Cone, "Schubert's Beethoven," The Musical Quarterly 56 (1970), 779-93, rpt10.2307/740938
779
The Creative World of Beethoven, ed. Paul Henry Lang (New York, 1971), pp. 277-91.
Lang
277
The Creative World of Beethoven
1971
10
Tovey, Beethoven (London, 1944), pp. 88-94;
Tovey
88
Beethoven
1944
Rosen, Classical Style, pp. 382-83.
Rosen
382
Classical Style
11
Schubert's transitions are described in Salzer, pp. 108- 15
Tovey, "Schubert," pp. 120-21.
Tovey
120
Schubert
12
Beethoven's Sonata "Les Adieux," which moves from C minor to the dominant major in mm. 15-18
Beethoven
Les Adieux
13
Tovey, "Tonality in Schubert," pp. 147- 51.
Tovey
147
Tonality in Schubert
14
Minor, op. 164
op. 42
16
"Schubert," pp. 119-21, 124-25
"Tonality in Schu- bert," pp. 142-43, 157-59
17
Described in Salzer, pp. 101-5
Tovey, "Schubert," pp. 121-23
Tovey
121
Schubert
18
String Quartet in Bb of 1814 (D. 112), Symphony No. 2, and the B-Major Sonata
Salzer, pp. 104-5
104
Miriam K. Whaples, "Style in Schubert's Piano Music from 1817 to 1818," The Music Review 35 (1974), 260-80.
Whaples
260
35
The Music Review
1974
19
Cone, "Schubert's Beethoven," pp. 781-82 (rpt., pp. 279-80).
Cone
781
Schubert's Beethoven
20
G, K. 387
Beet- hoven's Sonata in D, op. 10, no. 3: I-VII-v.
Beethoven
I
Beethoven's Sonata
21
Cone, "Schubert's Beethoven," pp. 779-80 (rpt., pp. 277-78)
Cone
779
Schubert's Beethoven
Chusid, "Beethoven and the Unfinished," pp. 98-102, 107-8.
Chusid
98
Beethoven and the Unfinished
22
Duo, mm. 80, 94, 105 (closing sentence)
D-Minor Quartet, mm. 102, 114, 128, 134 (closing sentence)
Eb Piano Trio, mm. 84(?), 98, 116, 140 (closing group), 156
String Quintet, mm. 100, 116 or 121, 125, 138 (closing group), 146.
23
String Quintet mm. 100 and 146 are drawn from the lyrical theme
D-Minor Quartet, everything is derived from the dotted-rhythm theme at m. 61
the sixteenths at m. 83
Eb Piano Trio, the imitative motive at m. 99
the piano at m. 116
m. 16
m. 140
m. 16
m. 1
24
"A Romantic Detail in Schubert's Schwanengesang," The Musical Quarterly 48 (1962), 36-49.10.2307/740215
36
25
Salzer, pp. 112-13
112
Tovey, "Tonality in Schubert," p. 150
Tovey
150
Tonality in Schubert
Whaples relates the sequence of keys I-bIII-V to the contour pitches 1--b3--5 in the opening melodic phrase (mm. 1-5), in "On Structural Integration in Schubert's In- strumental Works," Acta Musicologica 40 (1968), 194-95.10.2307/932413
194
26
"Schubert," pp. 120-22.
27
Salzer, pp. 116-21
116
Tovey, "Schubert," pp. 124-26.
Tovey
124
Schubert
28
Tovey, "Schubert," p. 124
Tovey
124
Schubert
Beethoven's 'Eroica' Symphony" (mm. 166, 220)
Beethoven
Eroica
Salzer, pp. 116-18.
116
29
Salzer, pp. 122-23
122
Tobel, Die Formenwelt, pp. 171-78
Tobel
171
Die Formenwelt
Malcolm Boyd, "Schu- bert's Short Cuts," The Music Review 29 (1968), 12-21
Boyd
12
29
The Music Review
1968
Daniel Coren, "Ambiguity in Schubert's Recapitula- tions," The Musical Quarterly 60 (1974), 568-82.10.2307/741765
568
pp. 569-70
D-Minor Quartet, whose reprise [m. 198]
second version of the main theme, from m. 41
30
Salzer, p. 123
123
Coren, "Ambiguity," pp. 579-82
Coren
579
Ambiguity
Coren that mm. 161-86 are "in" rather than "on" the dominant, or that m. 187 in Gb does not correspond to m. 1 [p. 580].
31
Salzer, pp. 121-22
121
Coren, "Ambiguity," pp. 571-73
Coren
571
Ambiguity
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