Beethoven reception: the symphonic tradition

Hepokoski, James

doi:10.1017/chol9780521590174.016

Cited by 36 publications

(9 citation statements)

References 16 publications

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“…Tables 1 and 2 outline the forms of the two movements. First, two differences: the exposition of Bruch's movement manifests an episodic ‘two‐block deformation’ (Hepokoski 2001, pp. 448–50) for the relationship of its P and S zones, whereas Dvořák's follows a more traditional, through‐composed expositional path.…”

Section: The First Movement's Form and Bruch's Op 26 As A Possible Modelmentioning

confidence: 99%

“…The restatement of this P at bar 23 functions as the transition (TR) leading to a v:PAC MC at bar 40. The two‐block character of the exposition arises from the resolute closure of the v:PAC; the abrupt modulation, in the ensuing caesura‐fill, to the subordinate key of B♭ via a D 5–6 motion (what Hepokoski describes as a two‐block exposition's ‘mere panning from one tableau to another’ [2001, p. 448]); and the sharp contrast between the stormy, minor‐mode P and the otherworldly cantilena S 26…”

Section: The First Movement's Form and Bruch's Op 26 As A Possible Modelmentioning

confidence: 99%

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Dvořák's Violin Concerto Reconsidered: Joachim's Influence, Bruch's Model and Romantic Innovations in Sonata Practice

Smith¹

2022

Music Analysis

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Dvořák's Violin Concerto in A minor, Op. 53, maintains a curious position among the finest Romantic‐era compositions of the genre. Although it holds a secure place in the concert repertoire, it has achieved neither the exalted status of Beethoven's and Brahms's violin concertos, nor the popularity of those by Mendelssohn, Tchaikovsky and Bruch. Scholars invariably cite the failure of the concerto's dedicatee, Joseph Joachim, to perform the work as evidence of his disapproval, and attribute that reputed disapproval to the first movement's truncated sonata form. These critics rely on Joachim's authority to shut the door precipitously, without detailed engagement with the concerto's technical attributes. The record of Joachim's participation in the concerto's creation calls into question this received wisdom and raises the possibility that Joachim may have encouraged Dvořák to pursue his unusual formal strategy. Short of that scenario, Joachim may not have discouraged the composer from following a path of inspiration originating in either his own imagination or the example of another violin concerto strongly influenced by Joachim's input – the Bruch G minor. Comparison of the Dvořák and Bruch concertos supports the notion of a modelling and reveals Dvořák's immersion in many of the most innovative strategies that Romantic‐era composers adopted to reimagine late eighteenth‐century sonata conventions. Holistic analysis based on the theories of Caplin, Hepokoski and Darcy, and Schenker illustrates both the cogency of the first movement's sonata deformations and the centrality of the Adagio in overturning the tragic impact of the resulting formal ‘catastrophe’ in favour of a positive expressive outcome.

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Section: The First Movement's Form and Bruch's Op 26 As A Possible Modelmentioning

confidence: 99%

Section: The First Movement's Form and Bruch's Op 26 As A Possible Modelmentioning

confidence: 99%

Dvořák's Violin Concerto Reconsidered: Joachim's Influence, Bruch's Model and Romantic Innovations in Sonata Practice

Smith¹

2022

Music Analysis

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“…The process can be tracked via the following publications: Hepokoski (), () and ( and ); Darcy () and (); Haney () and Hepokoski and Darcy ().…”

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Functional Analysis at the Fin de Siècle: Genre, Compositional Process and the Demonic in the Rondo of Elgar's Second Symphony

Riley¹

2018

Music Analysis

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The most interesting recent developments in formal function theory have tested its application on nineteenth‐century repertoire. Hitherto, however, functional analysis has touched only lightly on the post‐Wagnerian symphony from around 1900. When music analysis addresses this repertoire today, it is usually by means of the approaches that have become ‘Sonata Theory’. Functional analysis brings different insights, switching the focus to syntax and local formal process. The third‐movement ‘Rondo’ from Elgar's Second Symphony (1911) exemplifies the challenges inherent in progressive Romantic repertoire: while functional analysis can illuminate the syntax and formal processes of this music, it must be applied with an ear to shifting and overlapping functional meanings. The Rondo manifests parallel ambiguities at the levels of paratext and genre. The syntactic continuity and instability foregrounded by functional analysis resonate directly with the movement's thematisation of the demonic and the uncanny through paratext, topic, cyclic reminiscence and generic ambiguity. This article uses the concepts of functional theory to open and discuss questions of genre and compositional process and to reframe the Rondo's programmatic themes from an analytically informed perspective.

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“…Is the reach of the classical beginning-middle-end paradigm so pervasive as to stretch across a later repertoire in which not only closure is eschewed but oblique, off-tonic initial gestures become ever more the norm? Might topical and expressive quality increasingly become the primary criterion of thematic identity (along the lines of Hepokoski's 'Freischütz-model' and'Dutchman-formula' [1994 and2002]), especially given the historical fact that sonata form does eventually become conceived as primarily thematic rather than tonal in its basis? Future research into Romantic form might well direct itself to grappling with such questions.…”

mentioning

confidence: 99%

“…2. This appendix is reprinted in Hepokoski's (2009) collection of essays, implying that the writing here is his own.…”

mentioning

confidence: 99%

Steven Vande Moortele, The Romantic Overture and Musical Form from Rossini to Wagner (Cambridge: Cambridge University Press, 2017), Hardback: £64.99. 302 pp. ISBN 9781107163195. Julian Horton, Brahms’ Piano Concerto No. 2, Op. 83: Analytical and Contextual Studies (Analysis in Context: Leuven Studies in Musicology, 4) (Peeters: Leuven, 2017), Hardback: €110.00. xii + 366 pp. ISBN 9789042933408.

Taylor¹

2018

Music Analysis

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Beethoven reception: the symphonic tradition

Cited by 36 publications

References 16 publications

Dvořák's Violin Concerto Reconsidered: Joachim's Influence, Bruch's Model and Romantic Innovations in Sonata Practice

Dvořák's Violin Concerto Reconsidered: Joachim's Influence, Bruch's Model and Romantic Innovations in Sonata Practice

Functional Analysis at the Fin de Siècle: Genre, Compositional Process and the Demonic in the Rondo of Elgar's Second Symphony

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