Dedication

pp v-vi

Contents

pp vii-viii

Introduction

pp 1-6

Part One - Structure and Design

pp 7-8

1 - Strolling through a Haydn Divertimento with Two Heinrichs

pp 9-22

2 - Ritornelli or Soli: Which Did Mozart Write First in the Opening Movement of His Violin Concerto K. 207?

pp 23-44

3 - Outer Form, Inner Form, and Other Musical Narratives in Beethoven's Opus 14, No. 2

pp 45-56

4 - Temporal Poise and Oblique Dynamic in the First Movement of Beethoven's “Archduke” Trio

pp 57-68

Part Two - Focus on Motive

pp 69-70

5 - Chopin as an Interpreter of Mozart: The Variations Opus 2 and Don Giovanni

pp 71-96

6 - The First Movement of Brahms's Fourth Symphony Revisited: A Study of the Fanfare and the “Cloud of Mystery”

pp 97-114

7 - “Capricious Play”: Veiled Cyclic Relations in Brahms's Ballades Op. 10 and Fantasies Op. 116

pp 115-131

8 - Chopin's Study in Syncopation

pp 132-142

9 - A Sharp Practice, A Natural Alternative: The Transition into the Recapitulation in the First Movement of Beethoven's “Hammerklavier” Sonata

pp 143-156

10 - Ernst Oster's Vision of Hidden Repetitions and Motivic Enlargements in J. S. Bach's Short Keyboard Works

pp 157-170

Part Three - Structure and Design II

pp 171-172

11 - The “Pseudo-Einsatz” in Two Handel Fugues: Heinrich Schenker's Analytical Work with Reinhard Oppel

pp 173-203

12 - Formal Fusion and Its Effect on Voice-Leading Structure: The First Movement of Beethoven's Opus 132 Revisited

pp 204-224

13 - Indistinct Formal Functions and Conflicting Temporal Processes in the Second Movement of Brahms's Third Symphony

pp 225-238

14 - The Interaction of Structure and Design in the Opening Movements of Schubert's Piano Trios in B-flat Major (D. 898) and E-flat Major (D. 929)

pp 239-258

15 - The Suspenseful Structure of Brahms's C-Major Capriccio, Op. 76, No. 8: A Schenkerian Hearing

pp 259-278

List of Contributors

pp 279-282

Index

pp 283-286