Contents

pp v-viii

Acknowledgments

pp ix-x

Introduction

pp 1-2

Part One - Johann Sebastian Bach

pp 3-4

Chapter One - Fugue and Its Discontents

pp 5-13

Chapter Two - Fugues, Form, and Fingering: Sonata Style in Bach’s Preludes andFugues

pp 14-24

Part Two - Haydn and Mozart

pp 25-26

Chapter Three - Notational Irregularities as Attributes of a New Style: The Case ofHaydn’s “Sun” Quartet in F Minor, Op. 20, no. 5

pp 27-38

Chapter Four - The Fugal Moment: On a Few Bars in Mozart’s Quintet in C Major, K.515

pp 39-52

Part Three - Beethoven

pp 53-54

Chapter Five - A Tale of Two Quintets: Mozart’s K. 452 and Beethoven’sOpus 16

pp 55-77

Chapter Six - Vestas Feuer: Beethoven on the Path to Leonore

pp 78-99

Chapter Seven - Sonority and Structure: Observations on Beethoven’s Early andMiddle-Period Piano Compositions

pp 100-129

Chapter Eight - Recomposing the Grosse Fuge: Beethoven and Opus 134

pp 130-160

Part Four - The Romantic Generation

pp 161-162

Chapter Nine - Schubert, the Tarantella, and the Quartettsatz, D. 703

pp 163-171

Chapter Ten - On the Scherzando Nocturne

pp 172-184

Chapter Eleven - Chopin’s Modular Forms

pp 185-204

Part Five - Italian Opera

pp 205-206

Chapter Twelve - The Hot and the Cold: Verdi Writes to Antonio Somma about Re Lear

pp 207-224

Part Six - The Modernist Tradition

pp 225-226

Chapter Thirteen - The Ironic German: Schoenberg and the Serenade, Op. 24

pp 227-246

Chapter Fourteen - Words for the Surface: Boulez, Stockhausen, and “Allover”Painting

pp 247-280

Part Seven - Criticism and the Critic

pp 281-282

Chapter Fifteen - Rosen’s Modernist Haydn

pp 283-290

Chapter Sixteen - Facile Metaphors, Hidden Gaps, Short Circuits: Should We AdoreAdorno?

pp 291-302

Chapter Seventeen - The Music of a Classical Style

pp 303-310

Chapter Eighteen - Montaigne hors de son propos

pp 311-318

Three Tributes

pp 319-320