AD PARNASSUM

PER. IT. 40

 

 

– BROVER-LUBOVSKY, (B.), When the Dominant Doesn’t Dominate : Tonal Structure in Vivaldi’s Concertos, Vol. 2, n. 4 (oct 2004), pp. 131-151

– CALELLA, (M.), Gattung und Erwartung : Brahms, das Leipziger Gewandhaus und der Misserfolg des Klavierkonzerts Op. 15, Vol. 2, n. 3 (apr 2004) pp. 31-60

– CAREW, (D.), Hummel’s Op. 81 : A Paradigm for Brahms‘ Op. 2?, Vol. 3, n. 6 (oct 2005), pp. 133-156

– CASCELLI, (A.), Schenker Chopin’s Berceuse Op. 57 and the Rhetoric of Variations, Vol. 2, n. 1 (oct 2003), pp. 51-79

– CELESTINI, (F.), Das blicklose Auge der klassischen Kunst : Ein Beitrag zur Klassik-Diskussion, Vol. 1, n. 1 (apr 2003), pp. 147-160

– CHANTLER, (A.), The Classical Period : A Musicological Misnomer, Vol. 2, n. 1 (oct 2003), pp. 121-142

– CHAPIN, (K.),Classicist Terms of Sublimity: Christian Friedrich Michaelis, Fugue, and Fantasy, Vol. 4, n. 8 (oct 2006), pp.115-141

– CHEN, (J.-Y.), The Sachsen-Hildburghausen Kapelle and the Symphonies of Christoph Willibald Gluck, Vol. 2, n. 1 (oct 2003), pp. 81-109

– CIENNIVA, (P.), Unexpected Examples of Sonata Form : Claude-Bénigne Balbastre’s 1759 Pièces de clavecin, premier livre, Vol. 1, n. 1 (apr 2003), pp. 133-146

– COOPER, (B.), Sunthematicism and Metaphor in Beethoven’s Tenth Symphony, Vol. 1, n. 1 (apr 2003), pp. 5-22

– COOPER, (J. M.), Mendelssohn’s Fugues for String Quartet (1821), Vol. 7, n. 14 (oct 2009), pp. 37-70

– DAMMAN, (G.), «Sonate, que me veux-tu?» : Jean-Jaques Rousseau and the Problem of Instrumental Music, Vol. 3, n. 5 (apr 2005), pp. 57-67

– D’ALVERENGA, (J. P.), Some Preliminaries in Approaching Carlos Seixas’ Keyboard Sonatas, Vol. 7, n. 13 (apr 2009), pp. 95-128

– DRATWIKI, (A.), Les ‘impressions de voyage’, source d’inspiration pour les pensionnaires compositeurs de la Villa Médicis (1880-1910), Vol. 4, n. 7 (apr 2006), pp.7-32

– ECKERT, (S.), «[…] wherein goog Taste, Order and Thouroughness rule» : Hearing Riepel’s Op. : I Violin Concertos through Riepel’s Theories, Vol. 3, n. 5 (apr 2005), pp. 23-44

– ELLSWORTH, (T.), Women Soloists and the Piano Concerto in Nineteenth-Century London, Vol. 2, n. 1 (oct 2003), pp. 21-49

– ESKENAZII, (J.), Clementi’s <<Gradus ad Parnassum>> on the Concert Stage, Vol. 5, n. 10 (oct 2007), pp. 73-101

– EYBL, (M.), Form court to Public: The Uses of Keyboard Concertos in Austria 1750-1770, Vol. 6, n. 11 (apr 2008), pp. 19-40

– GABRIELOVÁ, (J.), (Die) Variation in den Orchesterwerken von Antonín Dvořák, Vol. 2, n. 4 (oct 2004), pp. 7-44

– GOLIANEK, (R. D.), Three Previously Unknown Musical Pieces by Julius Zarębski, Vol. 2, n. 1 (oct 2003), pp. 111-120

– GOLOMB, (U.), Mendelssohn’s Creative Response to Late Beethoven : Polyphony and Thematic Identity in Mendelssohn’s Quartet in A-major Op. 13, Vol. 4, n. 7 (apr 2006), pp. 101-120

– GRAVE, (F.), Galant Style, Enlightenment, and the Paths from Minor to Major in Later Instrumental Works by Haydn, Vol. 7, n. 13 (apr 2009), pp. 9-42

– GRIMES, (N.), <<Come, Rise to Higher Sphres!>>, vedi : PARMER D.R.

– HOLMAN, (P.),

  • «A Solo on the Viola da Gamba» : Carl Friderich Abel as a Performer, Vol. 2, n. 4 (oct 2004), pp. 45-71
  • Early Music in Victorian England : the case of the 1845 Concert, Vol. 4, n. 8 (oct 2006), pp. 81-114

– HONEA, (S. M.), Christian Rummel’s Suites For Military Band, Vol. 4, n. 7 (apr 2006), pp. 63-87

– IRVING, (J.), Listening again and again : Mozart’s Music in Nimetshek’s ‘Life’, Vol. 6, n. 11 (apr 2008), pp.7-18

– JENKINS, (C.) Influence and Revolt : Mozart’s ‘Paris’ Symphony’, K. 297, Vol. 4, n. 7 (apr 2006), pp. 33-62

– JEROLD, (R.), The Tromba and Corno in Bach’s Time, Vol. 6, n. 12 (oct 2008), pp. 7-40

– KAWABATA, (M.), Violinists ‘Singing‘: Paganini, Operatic Voices, and Virtuosity, Vol. 5, n. 9 (apr 2007), pp. 7-40

– KINZLER, (H.),

  • Themeninvention und ihre variative Ausarbeitung im 2. Satz von Schuberts A-Moll-Sonate Op. 42 (D 845), Vol. 1, n. 1 (apr 2003), pp. 23-49
  • Chopins B-Moll-Sonate : Vier seiner tollsten Kinder – Genetisch verwandt?, Vol. 2, n. 4 (oct 2004), pp. 73-129

– KNAUS, (K.), Adolf B. Marx, Ludwing van Beethoven und die <<gendered sonata form>>, Vol. 4, n. 7 (apr 2006), pp. 87-100

– LABRADOR, (G.), Música y vida cotidiana en la corte española (1760-1808) : la afición musical de Carlos IV, Vol. 3, n. 6 (oct 2005), pp. 65-98

– LINDEMAN, (S. D.),

  • An Insular Word of Romantic Isolation: Harmonic Digressions in the Early Nineteenth-Cwntury Piano Concerto, Vol. 4, n. 8 (oct 2006), pp.21-80
  • Continental Composers and their English Influence, ad Manifested in the Piano Concertos of William Sterndale Bennett, Vol. 5, n. 10 (oct 2007), pp. 103-142

– LEIKIN, (A.), Thematic Rapprochement in the recapitulations of Haydn, Mozart, Beethoven, Vol. 6, n. 12 (oct 2008), pp. 41-68

– LOPES, (E.), Rhytm and Meter Compositionale Tools in a Chopin’s Waltz, Vol. 6, n. 11 (apr 2008), pp.65-84

– MACCHINE, (D.), Gioacchino Rossini : <<Aria variata per il violin>> : Storia di un tema, Vol. 6, n. 11 (apr 2008), pp.41-64

-MACDONALD, (H.), A wrong note in Puccini’s Crisantemi, Vol. 6, n. 12 (oct 2008), pp. 145-146

– MATASSI, (E.),

  • The Adaemonic/Daemonic Spirit of Music : E. T. A. Hoffmann’s Review of Beethoven’s Fifth Symphony and the Apology of Instrumental Music in W. H. Wackenroder, Vol. 2, n. 3 (apr 2004), pp. 153-162
  • <<Musical Carpets>> : Philosophy of the History of Music ‘contra’ the Sociology of Music, Vol. 5, n. 9 (apr 2007), pp.71-86

– MIKUSI, (B.), Haydn’s <<Requiem for Mozart>>? : Revisiting the Slow Movement of Symphony No. 98, Vol. 7, n. 13 (apr 2009), pp. 43-58

– MORALY, (S.), Aux sources d’un Age d’Or. La Sonate pour violon et piano en France au XIX siècle, Vol. 7, n. 13 (apr 2009), pp.59-94

– NIEDERMÜLLER, (P.), Soziale und Ästerische Implikationen des öffentlichen Konzertlebens in Wien zu Beginn des Neunzehnten Jahrhunderts, Vol. 1, n. 1 (apr 2003), pp. 109-128

– NOVEMBER, (N.), Off-String Bowing in Beethoven: Re-examing the Evidence, Vol. 7, n. 14 (oct 2009), pp. 129-154

– PARMER, (D. R.), <<Come, Rise to Higher Sphres!>> Tradition Trascended in Brahms’s Violin Sonata No. 1 in G Major, Op. 78, Vol. 7, n. 13 (apr 2009), pp- 129- 152

– PONT, (G.), <<Viva il caro Sassone>>: Handel’s Conquest of Italy at the Keyboard, Vol. 7, n. 14 (oct 2009), pp. 155-204

– PORTOWITZ, (A.), The Recapitulation as Climax in the First Movements of Mozart’s Early Concertos, Vol. 2, n. 1 (oct 2003), pp. 7-20

– RASCH (R.), Pietro Antonio Locatelli and his Opera Omnia, Vol. 2, n. 3 (apr 2004), pp. 163-171

– SARDELLI, (F. M.), Il flauto nell’Italia del primo Settecento : con cenni particolari a Vivaldi e Venezia, Vol. 2, n. 3 (apr 2004), pp. 104-152

-SALA, (M.), The New Criticale Edition of the Complete Works of Luigi Boccherini, Vol. 3, n. 6 (oct 2005), pp. 183-184

-SCHENKMAN, (W.),

  • Rethinking Diabelli’s Waltz in Relation to Bethoven’s Variations, Vol. 4, n. 8 (oct 2006), pp. 7-20
  • Notes and Numbers in the <<Goldberg>>, Vol. 5, n. 9 (apr 2007), pp.41-70

– SPECK, (C.), Über Zusammenthänge zwischen thematischer Arbeit und metrischer Reguliertheit des Musikalischen Baus in der Streichqaurtett-komposition von Luigi Boccherini, Vol. 3, n. 5 (apr 2005), pp. 7-22

– STEBLIN, (R.), Anton Gräffer’s Reminiscences of Paganini’s Viennese Concert Tour of 1828 : An Inside View of the First Performance and the Break with Antonia Bianchi, Vol. 3, n. 6 (oct 2005), pp. 7-32

– SUCHOWIEJKO, (R.), Henryk Wieniawski in America, Vol. 3, n. 5 (apr 2005), pp. 45-55

– STEWART-MacDONALD, (R. H.),

  • Canonic Passages in the Later Piano Sonatas of Muzio Clementi : their Structural and Expressive Roles, Vol. 1, n. 1 (apr 2003), pp. 51-107
  • Elements of ‘Through-composition’ in the Violin Concertos Nos. 23 and 27 by Giovanni Battista Viotti, Vol. 3, n. 6 (oct 2005), pp. 99-132
  • Clementi’s Orchestral Works, Their Style and British Symphonism in the Nineteenth Century : S. Wesler, Crotch, Potter, MacFarren and Sterndale Bennett, Vol. 5, n. 10 (oct 2007), pp. 7-72
  • The Treatment of Sonata Principle and the Cultivation of ‘Cyclic? Processes in the Symphonies of Sir Charles Villiers Stanford (1852-1924), Vol. 6, n. 12 (oct 2008), pp.69-144
  • ‘Developmental Recession and Large-Scale Teleology in the Sonata-Type Movements of Felix Mendelsshon Bartholdy, Vol. 7, n. 14 (oct 2009), pp. 71-114

– TAYLOR, (B.),

  • The Problem of the “Introduction” in Beethoven’s Late Quartets, Vol. 3, n. 6 (oct 2005), pp. 45-64
  • Beyond Good and Programmatic: Mendelsshon’s ‘Reformation’ Symphony, Vol. 7, n. 14 (oct 2009), pp. 115-128

– TODD, (R. L.), Mendelssohn Reception and Us: Reflections on the Bicentenary, Vol. 7, n. 14 (oct 2009), pp- 7-36

– TYRRELL, (J.), Janáček and Programme Music, Vol. 2, n. 3 (apr 2004), pp. 61-102

– WALTER, (M.), Analyse und Wahrenmungsperspektive am Beispiel von Mozarts Violinkonzert KV 218, Vol. 2, n. 4 (oct 2004), pp. 153-179

– WOLLNBERG, (S.), Master of her Art: Fanny Hensel (Née Mendelssohn Bartholdy), 1805-1847, Vol. 3, n. 6 (oct 2005), pp. 33-44

– ZYCHOWICZ, (J. L.), Mahler’s Instrumental «Entr’act» for Die drei Pintos and His Emerging Symphonic Style, Vol. 2, n. 3 (apr 2004), pp. 7-30

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