Music Analysis in the Nineteenth Century, Vol. 1

Fugue, Form and Style

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Edited by Ian Bent

Cambridge University Press

Due/Published September 2004, 391 pages, paper

ISBN 0521611903

This book demonstrates, in fascinating diversity, how musicians in the nineteenth century thought about and described music. The analysis of music took many forms (verbal, diagrammatic, tabular, notational, graphic), was pursued for many different purposes (educational, scholarly, theoretical, promotional) and embodied very different approaches. This, the first volume, is concerned with writing on fugue, form and questions of style in the music of Palestrina, Handel, Bach, Mozart, Beethoven and Wagner and presents analyses of complete works or movements by the most significant theorists and critics of the century. The analyses are newly translated into English and are introduced and thoroughly annotated by Ian Bent, making this a volume of enormous importance to our understanding of the nature of music reception in the nineteenth century.

Contents

General introduction;

Part I. Analysis of Fugue: Introduction: 1. J.-J. de Momigny: ŒDouble Fugue [Handel: Fugue from Harpsichord Suite No. 6 in F# minor]ı (1805); 2. A. Reicha: ŒFruitful Method of Analysing a Piece of Music with Respect to Harmonyı (?1816­18); 3. M. Hauptmann: Elucidations of Johann Sebastian Bachıs ŒArt of Fugueı (1841); 4. S. Sechter: ŒAnalysis of the Finale of Mozartıs Symphony No. [41] in C [K551 (ŒJupiterı)] [1843]; 5. S. W. Dehn: ŒThree-part Fugue [Bk I No. 6 in D minor] from J. S. Bachıs Well-tempered Clavierı (1858); 6. H. Riemann: ŒPrelude and Fugue in Bb minor, Bk II No. 22 [from J. S. Bachıs Well-tempered clavier]ı (1890)

Part II. Technical Analysis of Form and Style: Introduction: 7. G. J. Vogler: Œ[prelude] No. 8 [in D minor from Voglerıs Thirty-two Preludes]ı (1806); 8. A . Reicha: ŒAria [ŒNon so piùı] from Mozartıs The Marriage of Figaroı (1814); 9. A. Reicha: ŒAnalysis [of Reicha?: Andante for Wind Quintet in G] with Respect to Thematic Developmentı (1826); 10. G. Weber: ŒA Particularly Remarkable Passage in a String Quartet in C by Mozart [K465 (Œdissonanceı)]ı (1832); 11. C. Czerny: ŒHarmonic Groundwork of Beethovenıs Sonata [No. 21 in C] Op. 53 [(ŒWaldsteinı)]ı (c. 1832­4); 12. J. C. Lobe: ŒFirst-movement Form in the String Quartet [: Beethoven: Op. 18 no. 2 in G: Allegro]ı (1850); 13. K. Mayrberger: The Harmonic Style of Richard Wagner, Elucidated with Respect to the Leitmotifs of ŒTristan and Isoldeı (1881);

Part III. The Classification of Personal Style: Introduction: 14. G. Baini: [The ten styles of Palestrina] (1828); 15. A. D. Ulïbïshev: Œ[Mozartıs] String Quarters dedicated to Haydnı (1843); 16. Four essays on the styles of Beethovenıs music: (a) J. A. Schlosser: ŒCritical Assessment of Beethovenıs Worksı (1828); (b) F.-J. Fétis: [The three periods of Beethovenıs music] (1837); (c) W. von Lenz: ŒBeethovenıs Three Stylesı (1852); (d) A. D. Ulïbïshev: ŒBeethovenıs Three Mannersı (1857); Appendix. (a) Hanel: Suite No. 6: 3. Allegro (Fugue); (b) G. J. Vogler: Prelude no. 8; (c) Reicha: Andante for Wind Quintet (keyboard reduction).