Music Analysis in the Nineteenth Century: Volume 1, Fugue, Form and Style

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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.

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Table of Contents

General introduction; Part I. Analysis of Fugue: Introduction: 1. J.-J. de Momigny: 'Double Fugue [Handel: Fugue from Harpsichord Suite No. 6 in F# minor]' (1805); 2. A. Reicha: 'Fruitful Method of Analysing a Piece of Music with Respect to Harmony' (?1816–18); 3. M. Hauptmann: Elucidations of Johann Sebastian Bach's 'Art of Fugue' (1841); 4. S. Sechter: 'Analysis of the Finale of Mozart's Symphony No. [41] in C [K551 ('Jupiter')] [1843]; 5. S. W. Dehn: 'Three-part Fugue [Bk I No. 6 in D minor] from J. S. Bach's Well-tempered Clavier' (1858); 6. H. Riemann: 'Prelude and Fugue in Bb minor, Bk II No. 22 [from J. S. Bach's Well-tempered clavier]' (1890); Part II. Technical Analysis of Form and Style: Introduction: 7. G. J. Vogler: '[prelude] No. 8 [in D minor from Vogler's Thirty-two Preludes]' (1806); 8. A . Reicha: 'Aria ['Non so più'] from Mozart's The Marriage of Figaro' (1814); 9. A. Reicha: 'Analysis [of Reicha?: Andante for Wind Quintet in G] with Respect to Thematic Development' (1826); 10. G. Weber: 'A Particularly Remarkable Passage in a String Quartet in C by Mozart [K465 ('dissonance')]' (1832); 11. C. Czerny: 'Harmonic Groundwork of Beethoven's Sonata [No. 21 in C] Op. 53 [('Waldstein')]' (c. 1832–4); 12. J. C. Lobe: 'First-movement Form in the String Quartet [: Beethoven: Op. 18 no. 2 in G: Allegro]' (1850); 13. K. Mayrberger: The Harmonic Style of Richard Wagner, Elucidated with Respect to the Leitmotifs of 'Tristan and Isolde' (1881); Part III. The Classification of Personal Style: Introduction: 14. G. Baini: [The ten styles of Palestrina] (1828); 15. A. D. Ulïbïshev: '[Mozart's] String Quarters dedicated to Haydn' (1843); 16. Four essays on the styles of Beethoven's music: (a) J. A. Schlosser: 'Critical Assessment of Beethoven's Works' (1828); (b) F.-J. Fétis: [The three periods of Beethoven's music] (1837); (c) W. von Lenz: 'Beethoven's Three Styles' (1852); (d) A. D. Ulïbïshev: 'Beethoven's Three Manners' (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).

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