John Field and the Alternative History of Concerto First-Movement Form

Horton, Julian

doi:10.1093/ml/gcq104

Cited by 22 publications

(24 citation statements)

References 25 publications

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“…[…] How we locate the start of the development depends upon the character of R2: if R2 is entirely post‐cadential within the closing key of S1, then the development begins with S2; if R2 modulates immediately and without substantial post‐cadential reinforcement of S1's closing key, then R2 initiates the development; and if R2 divides into post‐cadential and transitional segments, then the development properly begins where the R2 post‐cadential material ends. (Horton , p. 81)…”

Section: Problems In Formal Definitionmentioning

confidence: 99%

“…Benedict Taylor is Chancellor's Fellow in the Reid School of Music, University of Edinburgh, having previously held fellowships at Princeton and Berlin; he has also served as Lecturer in Music at Magdalen College and Senior Research Fellow at New College, Oxford. He is the author of Mendelssohn, Time and Memory: The Romantic Conception of Cyclic Form (Cambridge University Press, ) and The Melody of Time: Music and Temporality in the Romantic Era (Oxford University Press, 2015), and has published on a range of nineteenth‐ and twentieth‐century music. His RMA monograph on harmony in Grieg's late piano music is forthcoming in 2016.…”

Section: Note On Contributormentioning

confidence: 99%

“…The work of Stephan Lindeman in particular has opened awareness of the innovative designs in the early nineteenth‐century concerto beyond the canonical Austro‐German examples. More explicitly, Julian Horton (, pp. 46–7) has offered cogent criticism of the Mozart/Viennese‐centric orientation of conventional concerto narratives.…”

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confidence: 99%

“…Schumann's response to Field is a significant example; Sterndale Bennett's marriage of the London model with Mozartian and Mendelssohnian influences constitutes another fruitful line of enquiry. (Horton , p. 82)…”

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confidence: 99%

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Mutual Deformity: Ignaz Moscheles's Seventh and William Sterndale Bennett's Fourth Piano Concertos

Taylor¹

2015

Music Analysis

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While neither the music of Ignaz Moscheles nor that of William Sterndale Bennett feature in the modern repertoire, the piano concertos of both composers form part of a significant body of works from the early nineteenth century that offer models at variance with conventional accounts of the concerto genre. The opening movements of Moscheles's Concerto No. 7 in C minor (Concerto pathétique, 1835–6) and Bennett's Concerto No. 4 in F minor (1838) are cast in single‐exposition concerto form, but each has features that complicate its relationship with the five types of Sonata Form set out in Hepokoski and Darcy's Elements of Sonata Theory. Both are similarly unusual in that they return to the tonic minor for the second ritornello statement, which by convention signifies the closure of the ‘larger exposition’; and, probably as a consequence of the pre‐emptive reappearance of primary material in the tonic here, their recapitulations are drastically abridged, complicating the post‐expositional stages of the form. These two works thus provide a rich theoretical and hermeneutical challenge to the historiography of nineteenth‐century instrumental form.

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Section: Problems In Formal Definitionmentioning

confidence: 99%

Section: Note On Contributormentioning

confidence: 99%

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confidence: 99%

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Mutual Deformity: Ignaz Moscheles's Seventh and William Sterndale Bennett's Fourth Piano Concertos

Taylor¹

2015

Music Analysis

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“…The call for such a theory has gathered force in recent years, stimulated in no small measure by Schmalfeldt (): see for example Horton () and (), and Vande Moortele (). Fledgling examples of such a theory can be seen in Vande Moortele () and Horton ( and ).…”

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confidence: 99%

Form and Orbital Tonality in the Finale of Bruckner's Seventh Symphony

Horton¹

2018

Music Analysis

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This article investigates questions of form in the Finale of Bruckner's Seventh Symphony, paying special attention to the reversed recapitulation as a problematic category in contemporary Formenlehre. Counterpointing Timothy Jackson's reading of the movement as a ‘tragic’ reversed sonata against James Hepokoski and Warren Darcy's critique of the concept of reversal, it seeks ways of accounting for the movement's novel form‐functional characteristics, which integrate concepts of thematic syntax with a model of chromatic tonality, drawing simultaneously on Schenkerian and neo‐Riemannian theories and the notion of the double‐tonic complex first proposed by Robert Bailey. The argument is contextualised in relation to critical debates about Bruckner's forms that originated during the composer's lifetime, especially claims of material discontinuity and harmonic illogicality, which were common in the symphonies’ pro‐Brahmsian reception and which linger in the discourse up to the present. The article's central claim is that a substantial understanding of both the Finale's form and its critical reception is attendant upon a theory of formal function, which takes seriously the difficulties of harmonic analysis that Bruckner's post‐Wagnerian idiom engenders.

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Introduction

Moortele¹

2017

The Romantic Overture and Musical Form From Rossini to Wagner

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John Field and the Alternative History of Concerto First-Movement Form

Cited by 22 publications

References 25 publications

Mutual Deformity: Ignaz Moscheles's Seventh and William Sterndale Bennett's Fourth Piano Concertos

Mutual Deformity: Ignaz Moscheles's Seventh and William Sterndale Bennett's Fourth Piano Concertos

Form and Orbital Tonality in the Finale of Bruckner's Seventh Symphony

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