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Introduction -- Essays in musical analysis. Johann Sebastian Bach. Cantata Geist und Seele wird Verwirret (BWV 35) ; Cantata Jauchzet Gott in allen Landen (BWV 51) ; Cantata Ich bin vergnugt (BWV 84) ; Brandenburg Concerto no. 2 in F major (BWV 1047) ; Six part fugue (Ricercar) and trio sonata from Das Musikalische Opfer (BWV 1079) -- Granville Bantock. Hebridean Sea-Poem, Caristiona -- Ludwig van Beethoven. Pianoforte sonata no. 26 in E flat major, op. 81a ('Les Adieux') ; Pianoforte sonata no. 29 in B flat major, op. 106 ('Das Hammerklavier') ; Fantasia for pianoforte, op. 77 ; Sonata no. 3 in A major for pianoforte and violoncello, op. 69 ; Pianoforte Trio in B flat major, op. 97 ('The Archduke') ; String Quartet in E flat major, op. 127 -- Vincenzo Bellini. Aria, 'Casta Diva' from Norma -- Johannes Brahms. Trio in A minor for pianoforte, clarinet, and violoncello, op. 114 -- Frank Bridge. Phantasy in F sharp minor for violin, viola, violoncello, and pianoforte -- Adolf Busch. Variations and Fugue for small orchestra on a theme of Mozart, op. 19 ; Variations for orchestra on a theme of Mozart, op. 41 -- Fryderyk Chopin. Romance from the Pianoforte Concerto in E minor, op. 11 -- Claude Debussy. Prelude à 'l'après-midi d'un faune' ; Sonata in G minor for violin and pianoforte -- Antonin Dvořák. Symphony no. 8 in G major, op. 88 -- Joseph Haydn. String Quartet in C major, op. 76 no. 3 ; String Quartet in D major, op. 76 no. 5 ; Symphony no. 82 in C major ('L'Ours') ; Symphony no. 83 in G major ('La Poule') ; Symphony no. 86 in D major ; Symphony no. 89 in F major -- Victor Hely-Hutchinson. Variations, intermezzo, scherzo, and finale for orchestra -- Joseph Joachim. Elegiac Overture in Memory of Heinrich von Kleist, op. 13 -- Frederick Septimus Kelly. Serenade for flute and small orchestra, op. 7 -- Édouard Lalo. Violoncello concerto in D minor -- Elizabeth Maconchy. The Land, suite for orchestra ; Pianoforte concerto -- Gustav Mahler. Orchestral song cycle, Kindertotenlieder -- William Beatton Moonie. The Riders of the Sidhe, poem for orchestra ; Springtime on Tweed: rondeau for orchestra -- Wolfgang Amadeus Mozart. Symphony no. 33 in B flat major, K. 319 ; Symphony no. 38 in D major (The 'Prague'), K. 504 ; Pianoforte concerto in B flat major, K. 456 ; Pianoforte concerto in F major, K. 459 ; Pianoforte concerto in D minor, K. 466 ; Pianoforte concerto in B flat major, K. 595 ; Sinfonia concertante for violin, viola and orchestra, K. 364 ; Le Nozze di Figaro, K. 492: Overture and Act 1, scene I ; Così fan tutte, K. 588: Aria from Act 1, 'Come scoglio' ; Serenade in B flat for thirteen wind instruments, K. 361 ; Rondo in A minor for pianoforte, K. 511 ; Quatuor concertante for oboe, clarinet, horn, and bassoon, with orchestra, K. Anh. 9 (attributed to Mozart) -- John Powell. Rhapsodie nègre for pianoforte and orchestra -- John Reid. March no. 1 (orchestrated by Peter Winter) ; Sonata in C major for flute and continuo ; Sonata in G major for flute and continuo -- Gioachino Antonio Rossini. Overture, Tancredi ; Overture, Guillaume Tell -- Franz Schubert. Overture in C major, 'In the Italian style', D. 591 -- Robert Schumann. Symphony no. 2 in C major, op. 61 ; Concertstück for four horns and orchestra, op. 68 ; Concerto in D minor for violin and orchestra, op. posth. -- Heinrich Schütz. Three Symphoniae Sacrae for voices, wind instruments, and continuo: Lamentatio Davidi, Anima Mea, and Freuet Euch -- Jean Sibelius. Symphonic fantasia, Pohjola's Daughter, op. 49 -- Pyotr Ilyich Tchaikovsky. Symphonic poem, Francesca da Rimini (Fantasia after Dante), op. 32 -- Donald Francis Tovey. Concerto in A major for pianoforte and orchestra, op. 15 ; Sonata in B flat major for pianoforte and clarinet, op. 16 ; Variations on a theme of Gluck for flute and string quartet, op. 28 ; Symphony in D, op. 32 ; Concerto in C for violoncello and orchestra, op. 40 ; Two fugues for strings (for Bach's Art of Fugue) -- Giovanni Battista Viotti. Concerto no. 27 in C major for violin and orchestra -- Richard Wagner. Die Meistersinger von Nürnberg: Prize Song from Act III -- William Walton. Coronation march, Crown Imperial -- Guy Warrack. Variations for orchestra -- Carl Maria von Weber. Invitation à la danse -- Ian Whyte. Overture, The Treadmill -- |
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Tovey as journalist, reviewer and obituarist (1902-1911, 1926-1936). Herr Weingartner (1902) -- The Joachim Quartet (1902) -- Musical 'progress' and Richard Strauss (1902) -- Herr Nikisch (1902) -- The Hovington Musical Festival (1902) -- Ein Heldenleben (1902) -- J.A. Fuller Maitland, The Age of Bach and Handel (1903) -- W.H. Hadow, The Viennese Period (1905) -- Robert Schumann (1906) -- Joseph Joachim, 1831-1907 (1907) -- A composer on composition (1911) -- Louis Fleury, 1878-1926 (1926) -- Thorough-Bass (1931) -- Julius Röntgen: a great musical tradition (1932) -- 'Our Miss Fanny': in memory of a great artist (1934) -- Composer-articles in the Encyclopaedia Britannica (1929). Johann Sebastian Bach (1685-1750) (rediscovery and influence, compositional method as shown in rearrangements) -- Ludwig van Beethoven (1770-1827) -- Luigi Boccherini (1743-1805) -- Anton Bruckner (1824-1896) -- Luigi Cherubini (1760-1842) -- François Couperin (1668-1733) -- Christoph Willibald Gluck (1714-1787) -- George Frideric Handel (1685-1759) (Handelian style and the oratorios) -- Orlandus Lassus (?1532-1594) -- Felix Mendelssohn (1809-1847) -- Claudio Monteverdi (1567-1643) -- Wolfgang Amadeus Mozart (1756-1791) (The operas and the requiem) -- Giovanni Pierluigi da Palestrina (1525-1594) -- Tomás Luis de Victoria (1548-1611) -- Richard Wagner (1813-1883) (The operas and their influence) -- Two lecture series from the 1920s. Eight lectures on Beethoven (1922). Beethoven's three periods ; Beethoven's epigrammatic manner ; Tonality and key-relationships ; Of dominants and other keys ; Contradictory key-relationships ; Artificial modulations ; Contradictory keys ; Absolute and illustrative music -- Music in being: the Cramb lectures in music, University of Glasgow, 1925. Music, culture and science -- Musical history and permanent values -- The functions of difficulty in performance and composition -- Instrumental criteria (newspaper report) -- Performers' habits in relation to scholarship and interpretation -- Art forms I: determined as textures -- Art forms II: determined as plot or plan without dramatic movement -- Art forms III: plot with dramatic movement -- Illustrative music in relation to absolute music -- The power of musical composition in general -- Broadcast talks for the BBC in the 1930s. Keyboard talks: first series, Beethoven. The Variations in C minor, WoO 80 ; Dramatic pace and tonality ; The return to the main theme ; Harmony for its own sake ; Cameos and contexts (with the F sharp major sonata) -- Keyboard talks: second series, musical art forms. What is an art form? Canons and rounds ; The name of the song ; The mass as a work of art ; Chaos and order restored ; Fugue ; Memory and the time scale of music ; From aria to concerto ; Long-range ideas -- Music and the ordinary listener. Counterpoint ; Tonality ; Key-contrasts and key-relationships -- Pieces on several occasions (1899-1939). Performance and personality (1899) -- The enjoyment of music (1901). Criticism and familiarity ; The weakness and strength of knowledge ; Experience and the growing mind -- Permanent musical criteria (1903). Introduction ; The work of art ; Laws of art ; Progress and achievement ; Discussion -- Appreciation of Joseph Joachim as composer (1908) -- On the performance of the St Matthew Passion (1914) -- German music (1915). Introduction ; Isaac to Hassler ; Schütz and Innigkeit ; Bach and Handel ; Gluck to Beethoven ; Schubert to Wolf -- Essay before the Brahms Clarinet Sonatas (1916) -- Domenico Scarlatti and Claude Debussy: some parallels and contrasts (1916) -- The Reid Foundation and music in Edinburgh (1920, 1916). Introduction ; The needs of an orchestra ; Choral music at the Reid concerts ; What can the Reid Foundation do for Scottish music? -- The pianoforte of Emmanuel Moor (1922). Why invent new instruments? ; The new instrument with the old technique ; The new technique ; Ordinary pianoforte music with the new technique ; The cembalo stop ; Problems of the future -- Essay before a Chopin recital (1923) -- Dame Ethel Smyth: two introductions (1928, 1931). Concerto for violin, horn, and orchestra ; The Prison: symphony for soprano and baritone soli, chorus, and orchestra -- The BBC symphony orchestra in Edinburgh (1937) -- Haydn's Symphony in B flat, opus X no. 2 (1939). |
