| Series |
Studies in the history of music
Studies in the history of music (London, England) UNAUTHORIZED
|
| Contents |
The chief developments in contrapuntal theory before Beethoven -- Beethoven's contrapuntal and fugal studies -- Fugue in C (? C. 1795) -- Finale Alla Fuga, fifteen variations with fugue, op. 35 (1802) -- Finale, pianoforte sonata in A, op. 101 (1816) -- Finale, pianoforte sonata in B flat, op. 106 (1818-19) -- Finale, pianoforte sonata in A flat, op. 110 (1821) -- Variation XXXII, thirty-three variations on a waltz of Diabelli, op. 120 (1823) -- Fughettas, fugatos, canons, and short passages of imitative writing -- Appendixes. Finale Alla Fuga, fifteen variations with fugue, op. 35, transcribed into open score -- Beethoven's attitude to counterpoint and fugue, as expressed in his own words -- The state of sketch-books. |
| Abstract |
The author shows that Beethoven's fugues contain some of his most characteristics music. Each fugue is analyzed bar by bar in the closest detail, with many music-type examples. Yet this is not a mere technical and academic exercise. Inevitably the technical terms associated with fugue are used throughout, but the analyses are really studies in Beethoven's style, and aim to reveal his genius in composing the fugues and their relevance to the works in which they appear. As an introduction, the author has outlined the development of contrapuntal and fugal writing form the time of Palestrina, and gives a fascinating account of Beethoven's own studies in counterpoint and fugue with Haydn and Albrechtsberger. This is a book for all who have a serious interest in Beethoven's piano music, whether as concert pianists, as teachers and students in universities, colleges and schools, or as private teachers of the pianoforte and their more advanced pupils. |
| Local note | Little-36774--305131001945W |
| Bibliography note | Includes bibliographical references (pages 202-208) and index. |
| LCCN | 59001311 |
