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Preface -- Some abbreviations and editorial policies -- Music examples -- Tables and charts -- The scope and gist of the problem. The terminal point reassessed ; The starting point ; Main themes (German hegemony) ; The mainest theme: Beethoven's influence ; Subordinate themes (the great and the small) ; Methods, policies, and sources ; The pleasures of musical Romanticism -- Part one. The nature of the Romantic sonata. Romantic concepts of the sonata. The word itself ; Explanations by theorists ; Descriptions in other writings ; Pessimistic and optimistic views ; Standards and tastes ; Orientations, chiefly historical -- The sonata in Romantic society. Sources and functions ; The recitalists ; Concerts, private and public ; The make-up of the recitals ; The sonata and the professional ; Amateurs and students -- The spread of the Romantic sonata. Trends in space and time ; The main city centers ; The publishers and their policies ; Some quantitative aspects of publication -- Instruments, settings, and performance practices. The piano as the voice of Romanticism ; The organ as the voice of the church ; Other instruments of the Romantic sonata ; Settings, favorite and less favorite ; The nature of the settings ; Transcriptions and arrangements ; Some aspects of performance practices -- Romantic sonata form: process, mold, and unicum. The problem ; The early-Romantic style phase ; The high-Romantic style phase ; The late-Romantic style phase ; The sonata as a whole ; The first fast movement ; The slowest movement ; The quicker of the inner movements ; The finale -- Part two. The Romantic composers and their sonatas. Schubert and other Viennese in Beethoven's sphere. Vienna as an early 19th-century music center ; A first direct Beethoven transmitter: Ries ; A second direct Beethoven transmitter: Czerny ; A third direct Beethoven transmitter: Moscheles ; Schubert and the Beethovian standard ; An uphill century for Schubert's sonatas ; New interest since the Schubertian centenary ; Schubert's sonatas in toto ; Schubert's solo piano sonatas ; Schubert's ensemble sonatas ; Some obscure Viennese (Woržischek) -- Weber, Schumann, and others in early 19th-century German centers. The new Romanticism in Germany ; South Germany (Hummel) ; Minor composers in South Germany and Switzerland ; Weber in central Germany ; Weber's four big piano sonatas ; Schumann in central Germany: Littérateur and musician ; Schumann, tools and tabulations ; Schumann's sonatas for piano ; Schumann's sonatas for piano and violin ; Early Romantics in and around Dresden ; Early Romantics in and around Leipzig (Loewe) ; Other central German centers (Spohr) ; Mendelssohn in Berlin and Leipzig ; Other Berlin composers (L. Berger, E. T. A. Hoffmann) ; Other north German centers -- |
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Brahms and others in Austria from about 1850 to 1885. Austro-German ties and divergencies ; Brahms: output, resources, and chronology ; Brahms's three piano sonatas ; Brahms's ensemble sonatas ; Other composers in Austria -- Liszt and others in Germany from 1850 to 1885. South Germany (Rheinberger) and Switzerland ; Liszt in central Germany ; Liszt's styles and forms ; Other central German composers (Wagner, Raff, Draeseke, Ritter, Hiller) ; North German composers (Kiel, Reubke, Grädener) -- Late Romantics in Austria, Germany, and Switzerland. Quantity and quality ; Composers in Austria (R. Fuchs, d'Albert) ; Composers in south Germany (R. Strauss) and Switzerland (H. Huber) ; Composers in central Germany (Reger, Karg-Elert, Pfitzner) ; Composers of exceptional skill in north Germany -- Chopin and others in France and the Low Countries up to about 1885. Revolutions, monarchies, republics, and sonatas ; Paris residents in the Classic-Romantic borderland (Steibelt) ; Further predecessors of Chopin in Paris (Kalkbrenner) ; Chopin's niche ; Chopin's mature sonatas ; Pianists in Chopin's sphere (Thalberg, Heller, Alkan) ; A low ebb early in the mid period, 1850-1885 ; A few minor composers in Belgium and Holland -- A peak in late-Romantic France and the Low Countries. The Third Republic and chamber music ; Franck, Saint-Saëns, and Fauré ; Followers of Franck (Dukas, d'Indy) ; Minor composers in late-Romantic France ; Some Belgian and Dutch composers in the late-Romantic era -- Great Britain, from Cramer to Elgar. The sonata's changing status ; The Classic-Romantic borderland in London (Cramer, Field, and Pinto) ; The sonata in England from about 1850 to 1885 (Bennett) ; England in the late-Romantic era (Stanford, Dale) -- Scandinavia, from Kuhlau to Nielsen. Relationships musical and political ; Early 19th-century composers in Scandinavian centers (Kuhlau) ; Hartmann, Gade, Grieg, and other mid-Romantic Scandinavians ; The late-Romantic sonata in Scandinavia (Nielsen, Sjögren, Sibelius) -- A low ebb in Italy, Spain, and Portugal. Circumstances and sources ; Italy in the first half-century (Paganini and Rossini) ; Italy in the later Romantic era (Martucci) ; Spain and Portugal (Albéniz) -- Composers in Czechoslovakia, Poland, and Hungary. On fanning out from the Austro-German epicenter ; Dussek and other early Czech Romantics ; Smetana, Dvořák, and other later Czech Romantics ; Composers in Poland (Paderewski) ; Composers in Hungary (Dohnányi) -- Composers in Russia. From the Classic-Romantic overlap to about 1850 (Aliabiev) ; From about 1850 to 1910 (A. Rubinstein, Tchaikovsky, Glazunov, Rachmaninoff, Medtner, Liapunov) -- The Americas under European guidance. U.S. circumstances and output ; Immigrants before the gap of 1821-56 ; The generation before MacDowell (Buck, Paine, Foote) ; The four sonatas by MacDowell ; MacDowell's contemporaries and successors ; The Latin-American sonata in the Romantic era. |
