...Peter H. Smith Schumann's adaptations of eighteenth-century instrumental forms have long been regarded as problematic, as have the works of his late style period of the 1850s. The Cello Concerto op. 129 (composed 1850, published 1854) is a late work based on classical models that has earned a place...

...: Klavierkonzert c-moll KV 491 . Munich: Wilhelm Fink. Balthazar, Scott. L. 1983 . “Intellectual History and Concepts of Concerto Form.” Journal of the American Musicological Society 36 : 39 –72. Beach, David. 1983 . “A Recurring Pattern in Mozart's Music.” Journal of Music Theory 27 : 1 –29...

...Roman Ivanovitch The article examines a group of closing gestures in Mozart's piano concertos, passages of soloistic virtuosity just before the last tuttis of the exposition and recapitulation. Serving as grand cadential clinchers and clothed in conventional figuration, these spots—sometimes called...

...Kara Yoo Leaman Abstract The choreography of George Balanchine has long been described as “musical.” By applying music-analytic tools to patterns in dance, this essay analyzes relationships between dance and music in Balanchine's Concerto Barocco , set to J. S. Bach's Concerto for Two Violins (BWV...

..., relating, and rehearing elements of the concerto movement proper. The cadenza's dual function grants it a potential far exceeding the simple characterization as parenthesis. Skillfully composed cadenzas exploit the tension between local and global functions and can initiate subtle yet profound rehearings...

...: ‘No! cate the connotations of Haydn’s compositional choices This is not a symphony. This is a concerto!’ The nontonic as they unfold in time, not to provide the end product with feint and ‘decision’-aspect of the subsequent correction a reductive, monodimensional classification” (414...

...: Voice-Leading Strategies in the First Movement of Alfred Schnittke’s Concerto for Choir .” Presented at the annual meeting of the Society for Music Theory , Montreal, QC , October 31 . Hyer Brian . 1989 . “ Tonal Intuitions in ‘Tristan und Isolde’ ”. Ph.D. diss. , Yale University...

... , � � � � � � � � � � 23 � �Notated � � � � � � � � � � meter: 123,, 123 123 , 1 Example 4.  Handel, Concerto Grosso in E minor, op. 6/3, I: Larghetto, bars 1–4a, displaced thematic meter versus...

...-four (the latter is not physically present), one senses that it is implied conceptually.11 The same is true in the last movement of Beethoven’s Piano Concerto no. 3, op. 37 (Example 9). Rothstein writes...

... Table hostakovich’s 1.  S compositions with twelve-tone rows. Asterisks mark works in which rows are particularly numerous. Seven Verses of A. Blok, op. 127 (1967), sixth song Violin Concerto no. 2 in C minor, op. 129 (1967), second and third...

...) are not entirely diffi- cult to observe in music built on repeating processes. The third movement of John Adams’s Violin Concerto (see Example 5) opens with a straightforward, complete consonance. Adams’s music is layered in such a fashion that impor- tant...

... spearheaded the effort to fulfill Vande Moortele s desideratum with their stimulating stud- ies of the overture and concerto in the nineteenth century. Closer to my own interest in Dvor ák s mature chamber music are explorations of the same and more closely related genres by Horton (2017b), Paul Wingfield...

... of Chicago . Rockwell Joti . 2009 . “ Banjo Transformations and Bluegrass Rhythm .” Journal of Music Theory 53 / 1 : 137 – 62 . Shaffer Kris , n.d. “ Overtones, Intervals, and Generative Transformations in György Ligeti’s Hamburg Concerto .” Unpublished manuscript . Tymoczko...

...– 15), and chapter 4 shows how Berg adapted approaches he had developed in Wozzeck into his conception of the twelve-tone method in the Chamber Concerto (1923–25) and the Lyric Suite (1925–26). Chapters 2 and 3 focus on unravel- ing the opera’s obscure...

... . Horton Julian . 2011 . “ John Field and the Alternative History of Concerto First-Movement Form .” Music and Letters 92 , no. 1 : 43 – 83 . Hunt Graham . 2014 . “ When Structure and Design Collide: The Three-Key Exposition Revisited .” Music Theory Spectrum 36 , no. 2 : 247 – 69...

... attempts to share my musical experience. The first entails a brief annecdote. Some years ago I attended a concert at which my col- league, oboist Harry Sargous, played the premiere of a concerto written for him by a Detroit composer. During the piece, I found myself at one point in intense pain...

..., and the slow pat- terns are again marked by transposition down a second of the pattern, labeled once again as R. A more complex case, without the obvious forte/piano alternations but with “faux” antiphonal effects from alternations of concertino and concerto grosso, is shown in Example 3. And finally...

...(014) Trichordal analyses Webern, Concerto for Nine Instruments, op. 24, second movement The second movement of Webern’s Concerto for Nine Instruments, op. 24, is a much-studied twelve-tone work whose series is derived from sc(014); that is, each of its four discrete trichords is a member...

... on twentieth-century music (and post-1945 music more specifically), which has tended “to minimize the power of genre” (2001, 658). Analyses that do continue to invoke traditional generic categories (concerto, opera, string quartet, oratorio, etc.) typically do so not in order to show how pieces exem...