Contents

pp v-vi

Preface

pp vii-xii

Part One - Eighteenth Century

pp 1-2

1 - A Letter about the C-Major Fugue from The Well-Tempered Clavier, Book 1

pp 3-11

2 - The Opening Tonal Complex of Bach's St. Matthew Passion: A Linear View

pp 12-25

3 - Recurrence and Fantasy in C. P. E. Bach's Rondo in G Major

pp 26-41

4 - Voice-Leading Procedures in Galant Expositions

pp 42-60

5 - The First Movements of Anton Eberl's Symphonies in E-flat Major and D Minor, and Beethoven's Eroica: Toward “New” Sonata Forms?

pp 61-96

Part Two - Early Nineteenth Century

pp 97-98

6 - Schubert's “Unfinished” Symphony: Analytical Observations

pp 99-122

7 - Structural and Form-Functional Ambiguities in the First Movement of Schubert's Octet in F Major, D. 803

pp 123-141

8 - The Form of Chopin's Prelude in B-flat Major, Op. 28, No. 21

pp 142-154

9 - “All That Is Solid Melts into Air”: Schumann's Overture to Manfred

pp 155-176

10 - Endings without Resolution: The Slow Movement and Finale of Schumann's Second Symphony

pp 177-198

Part Three - Late Nineteenth Century

pp 199-200

11 - Half-Diminished-Seventh Openings in Brahms's Lieder

pp 201-225

12 - Motivic Enlargement in Dvořák's Symphony Op. 70

pp 226-240

13 - Deliverance and Compositional Design in the “Libera me” of Verdi's Messa da Requiem

pp 241-282

14 - Polyphony and Cacophony? A Schenkerian Reading of Strauss's “Dance of the Seven Veils”

pp 283-302

15 - A Force of Nature: Debussy and the Chromatically Displaced Dominant

pp 303-327

Appendix: An Interview with Edward Laufer

pp 328-348

List of Contributors

pp 349-354

Index

pp 355-359