An arrangement of Corelli's sonata for violin and continuo (op. 5 no. 8), transposed to A minor and arranged for viola. Viola part is unedited aside from being transposed; it retains the slurs from the first edition (ca. 1700) and includes no bow direction markings and no fingerings. Continuo part has been arranged for piano; LH part matches the original continuo part but with figured bass markings omitted, and RH part is kept simple to facilitate playing by intermediate level pianists. The viola part includes passages that require shifting at least as high as third position, some of which are notated in treble clef.

Felix Mendelssohn has long been viewed as one of the most historically minded composers in western music. This book explores the conceptions of time, memory and history found in his instrumental compositions, presenting an intriguing new perspective on his ever-popular music. Focusing on Mendelssohn's innovative development of cyclic form, Taylor investigates how the composer was influenced by the aesthetic and philosophical movements of the period. This is of key importance not only for reconsideration of Mendelssohn's work and its position in nineteenth-century culture, but also more generally concerning the relationship between music, time and subjectivity. One of very few detailed accounts of Mendelssohn's music, the study presents a new and provocative reading of the meaning of the composer's work by connecting it to wider cultural and philosophical ideas.

Cadence explores the many ways in which the component parts of a classical composition achieve a sense of ending. The book examines cadential practice in a wide variety of musical styles in the eighteenth and nineteenth centuries, including works by well-known composers such as Bach, Mozart, Beethoven, Schubert, Chopin, and Brahms.

Cadence is a comprehensive examination of how formal units in European art music of the tonal era achieve closure. The book brings together the author's decades-long investigations into cadence, a compositional device that is readily experienced both by musicians and non-musicians, but one that has proven intractable to clear and precise theoretical formulation. Rooted in Caplin's broader theory of formal functions, the book first develops concepts of cadence for music of the high classical style and then extends these ideas to gauge cadential practice in earlier and later style periods. Throughout the study, various manifestations of cadence are defined in terms of their morphology (their harmonic and melodic profiles) as well as their function (the specific formal contexts in which they are deployed). Cadence introduces a host of theoretical concepts illustrated by copious musical examples, all of which contain extensive analytical annotations of harmony, melody and form. Though the book is addressed primarily to music theorists, the many issues of compositional practice raised in this study will resonate with the interests of composers, historians, and performers alike.

The art of movement called eurythmy began about eighty years ago, based on Rudolf Steiner's knowledge of spiritual beings and meanings behind various human movements, as well as knowledge of the inner spiritual qualities of human beings when we move. Eurythmy performance is choreographed according to "forms" drawn to reflect the inner nature of spoken language (speech eurythmy) or a musical piece (tone eurythmy), which is the subject of Eurythmy Forms for Tone Eurythmy. Steiner produced about 1500 forms for speech and tone eurythmy to be performed in Dornach and other locations. Many of his forms for tone eurythmy arose spontaneously in response to requests for forms from eurythmists. Steiner's spontaneity is readily apparent in the sketches themselves, with some drawn at rehearsals as he listened to the music. Steiner sketched others in the evening after hearing the music once, making them available for rehearsal the next day. When he was confined to bed during his final illness, he drew forms simply by looking at the sheet music. Eurythmy Forms for Tone Eurythmy contains facsimiles of the Rudolf Steiner's original drawings and, in many cases, instructions for performing them. Included are forms for compositions by Bach, Beethoven, Brahms, Chopin, Franck, Grieg, Handel, Lewerenz, Liszt, Mozart, Reger, Schubert, Schumann, Scriabin, van Stuten, Tartini, and many more. This is a valuable resource for all eurythmists, as well as for those who wish to gain a better understanding of eurythmy forms. This book is intended primarily for eurythmy students, performers, and teachers, and is also useful to anyone who would like to study eurythmy movements and better appreciate eurythmy performances.

The eight essays in Brahms Studies 2 provide a rich sampling of contemporary Brahms research. In his examination of editions of Brahms?s music, George Bozarth questions the popular notion that most of the composer?s music already exists in reliable critical editions. Daniel Beller-McKenna reconsiders the younger Brahms?s involvement in musical politics at midcentury. The cantata Rinaldo is the centerpiece of Carol Hess?s consideration of Brahms?s music as autobiographical statement. Heather Platt?s exploration of the twentieth-century reception of Brahms?s Lieder reveals that advocates of Hugo Wolf?s aesthetics have shaped the discourse concerning the composer?s songs and calls for an approach more clearly based on Brahms?s aesthetics. In his examination of the rise of the ?great symphony? as a critical category that carried with it a nearly impossible standard to meet, Walter Frisch provides a rich context in which to understand Brahms?s well-known early struggle with the genre. Kenneth Hull suggests that Brahms used ironic allusions to Bach and Beethoven in the tragic Fourth Symphony in order to subvert the enduring assumption that a minor-key symphony will end triumphantly in the major mode. Peter H. Smith examines Brahms?s late style by concentrating on Neapolitan tonal relations in the Clarinet Sonata in F Minor. Finally, David Brodbeck delineates the complex evolution of Brahms?s reception of Mendels-sohn?s music.

The knowledge that finales are by tradition (and perhaps also necessarily) 'different' from other movements has been around a long time, but this is the first time that the special nature of finales in instrumental music has been examined comprehensively and in detail. Three main types offinale, labelled 'relaxant', 'summative', and 'valedictory', are identified. Each type is studied closely, with a wealth of illustration and analytical commentary covering the entire period from the Renaissance to the present day. The history of finales in five important genres -- suite, sonata,string quartet, symphony, and concerto -- is traced, and the parallels and divergences between these traditions are identified. Several wider issues are mentioned, including narrativity, musical rounding, inter-movement relationships, and the nature of codas. The book ends with a look at thefinales of all Shostakovich's string quartets, in which examples of most of the types may be found.