[Footnotes]

[Footnotes]
1
Richard Würst, Berliner Fremdenblatt, 17 September 1878
Würst
17 September
Berliner Fremdenblatt
1878
Modest Tchaikovsky, The Life and Letters of Tchaikovsky, trans. and ed. Rosa Newmarch (rpt. 1906 London edn., Vienna, 1973), pp. 319- 20
Tchaikovsky
319
The Life and Letters of Tchaikovsky
1973
3
Carl Dahlhaus, Foundations of Music History, trans. J. B. Robinson (Cambridge, 1983) ("The Value Judge- ment"), pp. 93-96
Dahlhaus
93
Foundations of Music History
1983
4
Alastair Fowler, Kinds of Literature: An Introduction to the Theory of Genres and Modes (Cambridge, Mass., 1982), p. 49.
Fowler
49
Kinds of Literature: An Introduction to the Theory of Genres and Modes
1982
5
Thomas O. Beebee, The Ideology of Genre: A Compara- tive Study of Generic Instability (University Park, Pa., 1994), p. 250.
Beebee
250
The Ideology of Genre: A Comparative Study of Generic Instability
1994
6
Hugo Riemann, Katechismus der Kompositionslehre [Musikalische Formenlehre] originally published as Grundriss der Kompositionslehre (Leipzig, 1889; 3rd edn. Berlin, 1905), II, 124
Riemann
3
Katechismus der Kompositionslehre [Musikalische Formenlehre]
II
Grundriss der Kompositionslehre
7
Hugo Leichtentritt, Musikalische Formenlehre [Leipzig, 1911], p. 185
Leichtentritt
185
Musikalische Formenlehre
1911
Musical Form (unnamed translator is most likely the author, who emigrated in 1933 to the United States at the invitation of Harvard University, where he resided until his death in 1951) [Cambridge, Mass., 1951], p. 174
174
Musical Form
1951
8
Vincent D'Indy, Cours de composition musicale (Paris, 1912), II, 299)
D'Indy
II
Cours de composition musicale
1912
9
Beebee, Genre, p. 27.
Beebee
27
Genre
10
Form and Fantasy: 1870-1920 (Ph.D. diss., City University of New York, 1998)
11
Ebenezer Prout, Applied Forms: A Sequel to Musical Form (London, 1895), p. 158
Prout
158
Applied Forms: A Sequel to Musical Form
1895
Jadassohn, The Art of Musical Composition, IV: Manual of Musical Form, trans. E. M. Barber (Leipzig, 1892), p. 128
Jadassohn
128
The Art of Musical Composition, IV: Manual of Musical Form
1892
12
Richards, Fantasy and Fantasia: A Theory of the Musical Picturesque (Ph.D. diss., Stanford University, 1995), p. 259
13
Riemann, Katechismus II, 123
Riemann
II
Katechismus
14
Carl Czerny, A Systematic Introduction to Improvisa- tion on the Pianoforte, Op. 200, trans. and ed. Alice Mitchell (New York, 1983), p. 2
Czerny
2
A Systematic Introduction to Improvisation on the Pianoforte, Op. 200
1983
Patrick McCreless in "A Candidate for the Canon? A New Look at Schubert's Fantasie in C Major for Violin and Piano," this journal 20 (1997), 205-3010.2307/746862
205
Schumann's Fantasie, op. 17, in "Schumann and Romantic Distance," Journal of the American Musicological Society 50 (1997), 55-13210.2307/832063
55
15
Carl Czerny, School of Practical Composition, trans. John Bishop (London, 1848), I, 88.
Czerny
I
School of Practical Composition
1848
16
Hermann Mendel, Musikalisches Conversations-Lexicon: Eine EncyclopÄdie der gesammten musikalischen Wissenschaften für Gebildete aller StÄnde, vol. X (Leipzig, 1890), pp. 68 and 72
Mendel
68
X
Musikalisches Conversations-Lexicon: Eine EncyclopÄdie der gesammten musikalischen Wissenschaften für Gebildete aller StÄnde
1890
17
C. P. E. Bach, Versuch über die wahre Art das Clavier zu spielen [1753]
Bach
Versuch über die wahre Art das Clavier zu spielen
1753
William Mitchell, Essay on the True Art of Playing Keyboard Instruments [New York, 1949], p. 430
Mitchell
430
Essay on the True Art of Playing Keyboard Instruments
1949
Peter Schleuning, Die Fantasie, Das Musikwerk, 2 vols. (Cologne, 1971)
Schleuning
Die Fantasie
1971
18
Sébastien de Brossard, "Fantaisie," Dictionnaire de musique (Paris, 1703)
Brossard
Fantaisie
Dictionnaire de musique
1703
FranÇois-Joseph Fétis, La musique mise à la portée de tout le monde (5th edn. Paris, 1847)
Fétis
5
La musique mise à la portée de tout le monde
1847
19
"The Rediscovered Autograph of Mozart's Fantasy and Sonata in C Minor, K. 475/457," Journal of Musicol- ogy 10 [1992], 3-4710.2307/763559
3
Katalin Komlós, "Fantasia and Sonata: K. 475/457 in Contemporary Con- text," Mozart-Jahrbuch, 1991 (Kassel, 1992), II, 816-23
Komlós
Fantasia and Sonata: K. 475/457 in Contemporary Context
II
Mozart-Jahrbuch, 1991
1992
20
C. P. E. Bach, Versuch, p. 434.
Bach
434
Versuch
21
Türk in his Klavierschule (Leipzig, 1789)
Türk
Klavierschule
1789
Gustav Schilling, EncyclopÄdie der gesamten musikalischen Wissenschaften [Stuttgart, 1835], II, 654
Schilling
II
EncyclopÄdie Der Gesamten Musikalischen Wissenschaften
1835
22
Robert Schumann, Gesammelte Schriften über Musik und Musiker (5th edn. Leipzig, 1914), I, 405
Schumann
5
I
Gesammelte Schriften über Musik und Musiker
1914
Jesse Parker, The Clavier Fantasy from Mozart to Liszt: A Study in Style and Content (Ph.D. diss., Stanford University, 1974), p. 45
23
Schilling, EncyclopÄdie, II, 652-55
Schilling
652
II
EncyclopÄdie
Mendel, Lexicon, X, 72
Mendel
X
Lexicon
24
Schilling, EncyclopÄdie, II, 653
Schilling
II
EncyclopÄdie
25
Mendel, Lexikon, X, 72
Mendel
X
Lexikon
26
Czerny, Composition I, 82-89
Czerny
82
I
Composition
A. B. Marx, Die Lehre von der musikalischen Komposition (Leipzig 1838, 3rd edn. 1857), III, 335-40
Marx
3
III
Die Lehre von der musikalischen Komposition
1857
Johann Christian Lobe, Lehrbuch der musikalischen Komposition (1850, 3rd edn. 1866), I, 392
Lobe
3
I
Lehrbuch der musikalischen Komposition
1866
Riemann, Katechismus II, 123-46
Riemann
123
II
Katechismus
Vincent D'Indy, "Le poème symphonique et la fantaisie," Cours de compo- sition musicale (Paris, 1912), II, 297-332
D'Indy
Le poème symphonique et la fantaisie
II
Cours De Composition Musicale
1912
27
Czerny, Composition I, 82
Czerny
I
Composition
Traité de Composition Musicale (Paris, 1931), III, 314
III
Traité de Composition Musicale
1931
28
Heinrich Christoph Koch, "Fantasie," Musikalisches Lexicon, Reprografischer Nachdruck der Ausgabe Frankfurt 1802 [New York, 1964], pp. 296-97
Koch
Fantasie
Musikalisches Lexicon, Reprografischer Nachdruck der Ausgabe Frankfurt 1802
1964
Parker, The Clavier Fantasy from Mozart to Liszt, p. 6
Parker
6
The Clavier Fantasy from Mozart to Liszt
29
Czerny, Composition I, 82
Czerny
I
Composition
Fowler, Kinds of Literature, p. 171
Fowler
171
Kinds of Literature
30
"Sonata Form in the Orchestral Works of Liszt: The Revolutionary Re- considered," this journal 8 (1984), 144-4510.2307/746759
144
31
Czerny, Composition, I, 83, 85-86.
Czerny
85
I
Composition
32
Ibid., 87.
33
Ibid.
George Kehler, The Piano in Concert: A History of the Piano Recital (Metuchen, 1982), I, xxxi
Kehler
I
The Piano in Concert: A History of the Piano Recital
1982
34
Czerny, Composition, I, 88
Czerny
I
Composition
Czerny's favorite composers is the Hexameron Fantasia (1837)
Czerny
Hexameron
1837
35
A. B. Marx, Die Lehre, III, 335-40
Marx
335
III
Die Lehre
A. B. Marx, Musical Form in the Age of Beethoven: Selected Writings on Theory and Method, ed. and trans. Scott Burnham (Cambridge, 1997)
Marx
Musical Form in the Age of Beethoven: Selected Writings on Theory and Method
1997
Source Readings in Music History, ed. Oliver Strunk (rev. edn. New York, 1998), pp. 1112-119, 1223-231
1112
Source Readings in Music History
1998
36
Marx, Die Lehre III, 336
Marx
III
Die Lehre
37
Marx, Die Lehre, III, 336
Marx
III
Die Lehre
38
Marx, Die Lehre, III, 336-37
Marx
336
III
Die Lehre
39
Marx, Die Lehre, III, 340
Marx
III
Die Lehre
Hans Christoph Worbs "Salonmusik," in Studien zur Trivialmusik des 19. Jahrhunderts, ed. Carl Dahlhaus (Regensburg, 1967), p. 126
Worbs
Salonmusik
126
Studien zur Trivialmusik des 19. Jahrhunderts
1967
40
Marx, Die Lehre, III, 340
Marx
III
Die Lehre
41
Lobe, Lehrbuch, I, 392
Lobe
I
Lehrbuch
Riemann, Katechismus, II, 123- 46
Riemann
123
II
Katechismus
42
Leichtentritt, Musikalische Formenlehre, p. 187
Leichtentritt
187
Musikalische Formenlehre
Musical Form, p. 175
175
Musical Form
43
D'Indy, Composition, II, 299
D'Indy
II
Composition
44
D'Indy, Composition, II, 300
D'Indy
II
Composition
45
D'Indy, Com- position, II, 302
D'Indy
II
Composition
46
D'Indy, Composition, II, 303
D'Indy
II
Composition
47
D'Indy, Composition, II, 321
D'Indy
II
Composition
"The Symphonic Poem and Kindred Forms," New Oxford History of Music (Oxford, 1990), IX, 513
The Symphonic Poem and Kindred Forms
IX
New Oxford History of Music
1990
48
D'Indy, Composition, II, 324
D'Indy
II
Composition
Das Musikalisch-Schéne und das Gesamtkunstwerk vom Standpunkte der formalen Aesthetik (1877)
Das Musikalisch-Schéne und das Gesamtkunstwerk vom Standpunkte der formalen Aesthetik
1877
Martin Cooper in Music in European Thought 1851-1912, ed. Bojan Bujic [Cambridge, 1988], pp. 132-51
Cooper
132
Music in European Thought 1851-1912
1988
49
Schumann, Schriften, II, 155-56
Schumann
155
II
Schriften
50
Johannes Brahms: The Herzogenberg Correspondence, ed. Max Kalbeck, trans. Hannah Bryant (London, 1909), p. 99.
99
Johannes Brahms: The Herzogenberg Correspondence
1909
51
Ri- emann, Katechismus, II, 137
Riemann
II
Katechismus
52
Brahms: The Herzogenberg Correspondence, pp. 98-99.
98
Brahms: The Herzogenberg Correspondence
53
Friedrich Niecks, Chopin als Mensch und als Musiker, vol. II [Leipzig, 1890], p. 283
Niecks
283
II
Chopin als Mensch und als Musiker
1890
54
Lobe, Lehrbuch, I, 392
Lobe
I
Lehrbuch
55
D'Indy, César Franck, trans. Rosa Newmarch (1910
D'Indy
César Franck
1910
New York, 1965), p. 119
56
Willi Kahl, "Fantasie," Die Musik in Geschichte und Gegenwart (Kassel, 1954), III, col. 1798.
Kahl
Fantasie
III
Die Musik in Geschichte und Gegenwart
1954
57
McCreless, "Schubert's Fantasie in C Major for Violin and Piano," pp. 205-30
McCreless
205
Schubert's Fantasie in C Major for Violin and Piano
Will- iam A. Lipke, Liszt's Dante Fantasia: An Historical and Musical Study (D.M.A. diss., University of Cincinnati, 1990)
58
The Second Practice of Nineteenth-Century Tonality, ed. Kinderman and Harold Krebs (Lincoln, Neb., 1996), p. 8
8
The Second Practice of Nineteenth-Century Tonality
1996
"Chopin's Fantasy Op. 49: The Two-Key Scheme," Chopin Studies, ed. Jim Samson, vol. I (Cam- bridge, 1988), pp. 221-53
Chopin's Fantasy Op. 49: The Two-Key Scheme
221
I
Chopin Studies, ed. Jim Samson
1988
59
(Sonata- Fantasy) (1892-97)
60
Dante Alighieri, The Divine Comedy: Inferno, trans. Louis Biancoli (New York, 1966), p. 21.
Alighieri
21
The Divine Comedy: Inferno
1966
61
David Brown in Tchaikovsky: The Crisis Years (New York, 1983), p. 108
Brown
108
Tchaikovsky: The Crisis Years
1983
62
Letter to K. K. Romanov of 3 October 1888
Henry Zajaczkowski, Tchaikovsky's Musical Style (Ann Arbor, 1987), p. 1
Zajaczkowski
1
Tchaikovsky's Musical Style
1987
63
Richard Würst, Berliner Fremdenblatt, 17 September 1878, in The Life and Letters of Tchaikovsky, trans. and ed. Rosa Newmarch, pp. 319-20.
Würst
Berliner Fremdenblatt
319
The Life and Letters of Tchaikovsky
1878
64
Ibid.
65
David Brown, "Tchaikovsky," The New Grove Dictio- nary of Music and Musicians, ed. Stanley Sadie (London, 1980), vol. 18, p. 615.
Brown
Tchaikovsky
615
18
The New Grove Dictionary of Music and Musicians
1980
66
Dante, The Divine Comedy, p. 21.
Dante
21
The Divine Comedy
67
Floros's discussion of cymbal and tam-tam strokes as death images: "Tamtam als funebrales und makabres Klangsymbol bei Mahler, Wagner, Liszt, Strauss, Tschaikovskij, Schönberg und Berg," in Gustav Mahler (Wiesbaden, 1977), II, 311-17 and Table 78, p. 428
Floros
Tamtam als funebrales und makabres Klangsymbol bei Mahler, Wagner, Liszt, Strauss, Tschaikovskij, Schönberg und Berg
311
II
Gustav Mahler
1977
68
Brown, Tchai- kovsky: The Crisis Years, p. 116
Brown
116
Tchaikovsky: The Crisis Years
69
Roland John Wiley, Tchaikovsky's Ballets (Oxford, 1985), p. 69.
Wiley
69
Tchaikovsky's Ballets
1985
70
"Masculine-Femi- nine," Musical Times 135 (1994), 49810.2307/1003328
498
71
"To My Best Friend": Correspondence between Tchaikov- sky and Nadezhda von Meck 1876-1878, trans. Galina von Meck, ed. Edward Garden and Nigel Gotteri (Oxford, 1993), pp. 296-97
296
To My Best Friend": Correspondence between Tchaikovsky and Nadezhda von Meck 1876-1878
1993
Schumann, Schriften, I, 133
Schumann
I
Schriften
72
Fowler, Kinds of Literature, p. 107.
Fowler
107
Kinds of Literature
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