AD PARNASSUM

PER. IT. 40

AD PARNASSUM

– BALAZS (M.), Haydn’s <<Requiem for Mozart>>? Revisiting the Slow Movement of Symphony No. 98, vol. 7, issue 13, April 2009, pp. 43-58

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

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

– CAREW (D.), Hummel’s Op. 81: A Paradigm for Brahms‘ Op. 2?, vol.3, issue 6, October 2005,

– CASCELLI (A.), Schenker Chopin’s Berceuse Op. 57 and the Rhetoric of Variations, vol. II/1, October 2003, pp. 51-79

– CELESTINI (F.), Das blicklose Auge der klassischen Kunst. Ein Beitrag zur Klassik-Diskussion, vol. I/1, April 2003, pp. 147-160

– CHANTLER (A.), (The) Classical Period: A Musicological Misnomer, vol. II/1, October 2003, pp. 121-142

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

– CHEN (J-Y), (The) Sachsen-Hildburghausen Kapelle and the Symphonies of Christoph Willibald Gluck, vol. II/1, October 2003, pp. 81-109

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

– COOPER (B.), Sunthematicism and Metaphor in Beethoven’s Tenth Symphony, vol. I/1, April 2003, pp. 5-22

– COOPER (J. M.), Mendelssohn’s Fugues for String Quartet (1821), vol. 7, issue 14, October 2009, pp. 37-70

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

– D’ALVERENGA (J. P.), Some Preliminaries in Approaching Carlos Seixas’ Keyboard Sonatas, vol.7, issue 13, April 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, issue 7, April 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, issue 5, April 2005, pp. 23-44

– ELLSWORTH (T.), Women Soloists and the Piano Concerto in Nineteenth-Century London, vol. II/1, October 2003, pp. 21-49

– ESKENAZII (J.), Clementi’s <<Gradus ad Parnassum>> on the Concert Stage

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

– GABRIELOVÁ (J.), (Die) Variation in den Orchesterwerken von Antonín Dvořák, vol. 2, issue 4, October 2004, pp. 7-44

– GOLIANEK (R. D.), Three Previously Unknown Musical Pieces by Julius Zarębski, vol. II/1, October 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, issue 7, April 2006, pp. 101-120

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

– GRIMER (N.), PARMER (D. R.), <<Come, Rise to Higer Spheres !>> Tradition Trascended in Brahms’s Violin Sonata No. 1 in G Major, Op. 78, vol. 7, issue 13, April 2009, pp. 129-152

– HOLMAN (P.), «A Solo on the Viola da Gamba»: Carl Friderich Abel as a Performer, vol. 2, issue 4, October 2004, pp. 45-71

  • Early Music in Victorian England: the case of the 1845 Concert, vol. 4, issue 8, October 2006, pp. 81-114

– HONEA (S. M.), Christian Rummel’s Suites For Military Band, vol. 4, issue 7, April 2006, pp. 63-87

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

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

– JEROLD (R.), The Tromba and Corno in Bach’s Time, vol.6, issue 12, October 2008, pp. 7-40

– KAWABATA (M.), Violinists ‘Singing‘: Paganini, Operatic Voices, and Virtuosity, vol. 5, issue 9, April 2007, pp. 7-40

– KINZLER (H.), Chopins B-Moll-Sonate: Vier seiner tollsten Kinder – Genetisch verwandt?, vol. 2, issue 4, October 2004, pp. 73-129

  • Themeninvention und ihre variative Ausarbeitung im 2. Satz von Schuberts A-Moll-Sonate Op. 42 (D 845), vol. I/1, April 2003, pp. 23-49

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

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

– LINDEMAN (S. D.), An Insular Word of Romantic Isolation: Harmonic Digressions in the Early Nineteenth-Cwntury Piano Concerto, vol. 4, issue 8, October 2006, pp.21-80

  • Continental Composers and their English Influence, ad Manifested in the Piano Concertos of William Sterndale Bennett, vol. 5, issue 10, October 2007, pp. 103-142

– LEIKIN (A.), Thematic Rapprochement in the recapitulations of Haydn, Mozart, Beethoven, vol.6, issue 12, October 2008, pp. 41-68

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

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

– 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, issue 3, April 2004, pp. 153-162

  • <<Musical Carpets>>: Philosophy of the History of Music ‘contra’ the Sociology of Music, vol.5, issue 9, April 2007, pp.71-86

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

– NIEDERMÜLLER (P.), Soziale und Ästerische Implikationen des öffentlichen Konzertlebens in Wien zu Beginn des Neunzehnten Jahrhunderts, vol. I/1, April 2003, pp. 109-128

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

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

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

– PORTOWITZ (A.), (The) Recapitulation as Climax in the First Movements of Mozart’s Early Concertos, vol. II/1, October 2003, pp. 7-20

– RASCH (R.), Pietro Antonio Locatelli and his Opera Omnia, vol. 2, issue 3, April 2004, pp. 163-171

– SARDELLI (F. M.), (Il) flauto nell’Italia del primo Settecento, con cenni particolari a Vivaldi a Venezia, vol. 2, issue 3, April 2004, pp. 104-152

-SALA (M.), The New Criticale Edition of the Complete Works of Luigi Boccherini, vol. 3, issue 6, October 2005, p. 183

-SCHENKMAN (W.), Rethinking Diabelli’s Waltz in Relation to Bethoven’s Variations, vol. 4, issue 8, October 2006, pp. 7-20

  • Notes and Numbers in the <<Goldberg>>, vol.5, issue 9, April 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, issue 5, April 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, issue 6, October 2005, pp. 7-32

– SUCHOWIEJKO (R.), Henryk Wieniawski in America, vol. 3, issue 5, April 2005, pp. 45-55

– STEWART-MacDONALD (R. H.), Canonic Passages in the Later Piano Sonatas of Muzio Clementi: their Structural and Expressive Roles, vol. I/1, April 2003, pp. 51-107

  • Elements of ‘Through-composition’ in the Violin Concertos Nos. 23 and 27 by Giovanni Battista Viotti, vol. 3, issue 6, October 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, issue 10, October 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, issue 12, October 2006, pp.69-144
  • ‘Developmental Recession and Large-Scale Teleology in the Sonata-Type Movements of Felix Mendelsshon Bartholdy, vol. 7, issue 14, October 2009, pp. 71-114

– TAYLOR (B.), (The) Problem of the “Introduction” in Beethoven’s Late Quartets, vol. 3, issue 6, October 2005, pp. 45-64

  • Beyond Good and Programmatic: Mendelsshon’s ‘Reformation’ Symphony, vol. 7, issue 14, October 2009, pp. 115-128

– TODD (R. L.), Mendelssohn Reception and Us: Reflections on the Bicentenary, vol. 7, issue 14, October 2009, pp- 7-36

– TYRRELL (J.), Janáček and Programme Music, vol. 2, issue 3, April 2004, pp. 61-102

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

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

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

Annunci

Rispondi

Inserisci i tuoi dati qui sotto o clicca su un'icona per effettuare l'accesso:

Logo WordPress.com

Stai commentando usando il tuo account WordPress.com. Chiudi sessione / Modifica )

Foto Twitter

Stai commentando usando il tuo account Twitter. Chiudi sessione / Modifica )

Foto di Facebook

Stai commentando usando il tuo account Facebook. Chiudi sessione / Modifica )

Google+ photo

Stai commentando usando il tuo account Google+. Chiudi sessione / Modifica )

Connessione a %s...