Table of Contents

General introduction; Part I. Analysis of Fugue: Introduction: 1. J.-J. de Momigny: 'Double Fugue [Handel: Fugue from Harpsichord Suite No. 6 in F# minor]' (1805); 2. A. Reicha: 'Fruitful Method of Analysing a Piece of Music with Respect to Harmony' (?1816–18); 3. M. Hauptmann: Elucidations of Johann Sebastian Bach's 'Art of Fugue' (1841); 4. S. Sechter: 'Analysis of the Finale of Mozart's Symphony No. [41] in C [K551 ('Jupiter')] [1843]; 5. S. W. Dehn: 'Three-part Fugue [Bk I No. 6 in D minor] from J. S. Bach's Well-tempered Clavier' (1858); 6. H. Riemann: 'Prelude and Fugue in Bb minor, Bk II No. 22 [from J. S. Bach's Well-tempered clavier]' (1890); Part II. Technical Analysis of Form and Style: Introduction: 7. G. J. Vogler: '[prelude] No. 8 [in D minor from Vogler's Thirty-two Preludes]' (1806); 8. A . Reicha: 'Aria ['Non so più'] from Mozart's The Marriage of Figaro' (1814); 9. A. Reicha: 'Analysis [of Reicha?: Andante for Wind Quintet in G] with Respect to Thematic Development' (1826); 10. G. Weber: 'A Particularly Remarkable Passage in a String Quartet in C by Mozart [K465 ('dissonance')]' (1832); 11. C. Czerny: 'Harmonic Groundwork of Beethoven's Sonata [No. 21 in C] Op. 53 [('Waldstein')]' (c. 1832–4); 12. J. C. Lobe: 'First-movement Form in the String Quartet [: Beethoven: Op. 18 no. 2 in G: Allegro]' (1850); 13. K. Mayrberger: The Harmonic Style of Richard Wagner, Elucidated with Respect to the Leitmotifs of 'Tristan and Isolde' (1881); Part III. The Classification of Personal Style: Introduction: 14. G. Baini: [The ten styles of Palestrina] (1828); 15. A. D. Ulïbïshev: '[Mozart's] String Quarters dedicated to Haydn' (1843); 16. Four essays on the styles of Beethoven's music: (a) J. A. Schlosser: 'Critical Assessment of Beethoven's Works' (1828); (b) F.-J. Fétis: [The three periods of Beethoven's music] (1837); (c) W. von Lenz: 'Beethoven's Three Styles' (1852); (d) A. D. Ulïbïshev: 'Beethoven's Three Manners' (1857); Appendix. (a) Hanel: Suite No. 6: 3. Allegro (Fugue); (b) G. J. Vogler: Prelude no. 8; (c) Reicha: Andante for Wind Quintet (keyboard reduction).

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This book demonstrates, in fascinating diversity, how musicians in the nineteenth century thought about and described music.