13 in D Major , Hob . I : 13 ; 96 Symphony No. 31 in C Major , Hob . I : 31 ; 176 Symphony No. 80 in D minor , Hob . I : 80 ; 407 Symphony No. 82 in C Major , Hob . I : 82 , The Bear ; 176 Symphony No. 87 in A Major , Hob .
Author: Max Rudolf
Publisher: Pendragon Press
This volume offers a collection of articles written by the renowned conductor and scholar Max Rudolf, together with a selection of his correspondence relating to material in the articles. Max Rudolf's conducting career spanned seventy years,from his first performances in l920-2l to his last in 1990. His life was devoted to performing,scholarship, and teaching. He conducted at the Metropolitan Opera from 1943 to 1937 and was Musical Director of the Cincinnati Symphony from 1938 to 1970, after which he combined guest conducting with teaching opera and conducting at the Curtis Institute in Philadelphia. The articles reflect a lifetime of thought on the art of conducting, musical style, and performance practice. Rudolf, known as an interpreter of the classical repertoire, freely shared his vast knowledge of Mozart's and Beethoven's scores with colleagues and students. His conducting book, The Grammar of Conducting, has been the leading college text in the field for many years. As such it has extended his influence on many generations of conductors. Throughout his life, Rudolf corresponded voluminously with other musicians. The letters included in this volume were selected because they shed a warm, personal light on the formal published articles thus providing an opportunity to share the mind and thoughts of an outstanding human being.
Concerto in F A513 Oh, Lady Be Good A51 Edvard Grieg (1843–1907) Op. 12/4 Elfentanz B43 Op. 23 Peer Gynt Suite no. ... Major D29 Hob. I: 78 Symphony no. 78 in C Minor A66 Hob. I: 82 Symphony no. 82 in C Major D29 Hob. I: 83 Symphony no.
Author: Benjamin Ayotte
This book consists of over 1,500 citations to both primary sources and the burgeoning secondary literature of Heinrich Schenker, annotated and subdivided by category. The citations are supplemented with indices cross-referencing entries according to individual works and analytical topic.
103 AND 104 JOSEPH HAYDN : Symphony No. 103 in E - flat Major , Hob . I : 103 ( “ Drum Roll ” ) ; Symphony No. 104 in D Major , Hob . ... 84 in E - Flat Major ; Symphony No. 87 in A Major ; Symphony No. 88 in G Major ; Symphony No.
Symphonies . I Marriner , Neville . II . Haydn , Joseph , 1732-1809 . Symphonies , H. 1 , 87 , A major . 1982. III . ... Contents : No. 93 in D = D - Dur , Hob . 1:93 ( 21:26 ) - No. 94 in 6 : Surprise = G - Dur , Hob .
18/5 symphony 7, op. 92, symphony 2, ii (the outer movements are in D, the second is in A) Brahms Quartet for Piano and strings, op. 26 Serenade no. 2 (for orchestra), op. 16 Trio in A major (piano, violin, cello), op. post. sonata for ...
Author: Gordon Sly
Sonata form is fundamentally a dramatic structure that creates, manipulates, and ultimately satisfies expectation. It engages its audience by inviting prediction, association, and interpretation. That sonata form was the chief vehicle of dramatic instrumental music for nearly 200 years is due to the power, the universality, and the tonal and stylistic adaptability of its conception. This book presents nine studies whose central focus is sonata form. Their diversity attests both to the manifold analytical approaches to which the form responds, and to the vast range of musical possibility within the form's exemplars. At the same time, common compositional issues, analytical methods, and overarching perspectives on the essential nature of the form weave their way through the volume. Several of the essays approach the musical structure directly as drama, casting the work as an expression of its composer's engagement with an idea or principle that is dynamic and at times intensely difficult. Others concentrate their attention on a composer's use of "motive," which typically takes the form of a simple melodic span that shapes the musical architecture through an interdependent series of structural levels. Integrating these motivic threads within the musical fabric often warrants departures from formal norms in other areas. Analyses that seek to understand works with anomalous formal qualities-whether engendered by a motivic component or not-have a prominent place in the volume. Among these, accounts of idiosyncratic tonal discourse that threatens to undermine the unfolding of form-defining qualities or events are central.
2 in C major, op. 87, mvt. 2 165 “Ruhe, Süssliebchen,” op. 33, no. 9 291 “Sankt Raphael,” WoO 34, no. 7 195 Scherzo in E♭ minor, op. 4, Trio II 286 Serenade no. 1 in D major, op. 11, mvt. 3 111 Symphony no. 2 in D major, op. 73, mvt.
Author: Timothy Cutler
For students learning the principles of music theory, it can often seem as though the tradition of tonal harmony is governed by immutable rules that define which chords, tones, and intervals can be used where. Yet even within the classical canon, there are innumerable examples of composers diverging from these foundational "rules." Drawing on examples from composers including J.S. Bach, Mozart, Beethoven, Schubert, Mendelssohn, Chopin, Brahms, and more, Bending the Rules of Music Theory seeks to take readers beyond the basics of music theory and help them to understand the inherent flexibility in the system of tonal music. Chapters explore the use of different rule-breaking elements in practice and why they work, introducing students to a more nuanced understanding of music theory.
67, I, 72, 78, 231, 236 Symphony No. 5, op. 67, II, 127, 129 Symphony No. 9, op. 125, II, 78 Violin Sonata in A Major, op. 12, no. 2, III, 349 Violin Sonata in F Major, op. 24, I, 234 Violin Sonata in F Major, op. 24, IV, 87, 89 Violin ...
Author: David Beach
Analysis of 18th- and 19th-Century Musical Works in the Classical Tradition is a textbook for upper-level undergraduate and graduate courses in music analysis. It outlines a process of analyzing works in the Classical tradition by uncovering the construction of a piece of music—the formal, harmonic, rhythmic, and voice-leading organizations—as well as its unique features. It develops an in-depth approach that is applied to works by composers including Haydn, Mozart, Beethoven, Schubert, Schumann, and Brahms. The book begins with foundational chapters in music theory, starting with basic diatonic harmony and progressing rapidly to more advanced topics, such as phrase design, phrase expansion, and chromatic harmony. The second part contains analyses of complete musical works and movements. The text features over 150 musical examples, including numerous complete annotated scores. Suggested assignments at the end of each chapter guide students in their own musical analysis.