But Art endures as long as life and love:
For her I strove.
Contents
| PAGE | |
| Introduction, | [11] |
| Esthetic versus Structural Analysis, | [15] |
| Sources of Information Concerning Musical Compositions, | [23] |
| Traditional Beethoven Playing, | [32] |
| Beethoven: The Moonlight Sonata, Op. 27, No. 2, | [45] |
| Beethoven: Sonata Pathétique, Op. 13, | [50] |
| Beethoven: Sonata in A Flat Major, Op. 26, | [55] |
| Beethoven: Sonata in D Minor, Op. 31, No. 2, | [61] |
| Beethoven: Sonata in C Major, Op. 53, | [64] |
| Beethoven: Sonata in E Minor, Op. 90, | [68] |
| Beethoven: Music to “The Ruins of Athens,” | [72] |
| Weber: Invitation to the Dance, Op. 65, | [81] |
| Weber: Rondo in E Flat, Op. 62, | [86] |
| Weber: Concertstück, in F Minor, Op. 79, | [90] |
| Weber-Kullak: Lützow’s Wilde Jagd, Op. 111, No. 4, | [93] |
| Schubert: (Impromptu in B Flat) Theme and Variations, Op. 142, No. 3, | [99] |
| Emotion in Music, | [105] |
| Chopin: Sonata, B Flat, Op. 35, | [113] |
| The Chopin Ballades, | [118] |
| Chopin: Ballade in G Minor, Op. 23, | [123] |
| Chopin: Ballade in F Major, Op. 38, | [130] |
| Chopin: Ballade in A Flat, Op. 47, | [137] |
| Chopin: Polonaise, A Flat Major, Op. 53, | [142] |
| Chopin: Impromptu in A Flat, Op. 29, | [147] |
| Chopin: Fantasie Impromptu, Op. 66, | [149] |
| Chopin: Tarantelle, A Flat, Op. 43, | [152] |
| Chopin: Berceuse, Op. 57, | [156] |
| Chopin: Scherzo in B Flat Minor, Op. 31, | [158] |
| Chopin: Prelude, Op. 28, No. 15, | [161] |
| Chopin: Waltz, A Flat, Op. 42, | [168] |
| Chopin’s Nocturnes, | [172] |
| Chopin: Nocturne in E Flat, Op. 9, No. 2, | [174] |
| Chopin: Nocturne, Op. 27, No. 2, | [176] |
| Chopin: Nocturne, Op. 32, No. 1, | [179] |
| Chopin: Nocturne, Op. 37, No. 1, | [183] |
| Chopin: Nocturne, Op. 37, No. 2, | [186] |
| Chopin: Polish Songs, Transcribed for Piano by Franz Liszt, | [191] |
| Liszt: Poetic and Religious Harmonies, No. 3, Book 2, | [194] |
| Liszt: First Ballade, | [199] |
| Liszt: Second Ballade, | [201] |
| Transcriptions for the Piano by Liszt, | [203] |
| Wagner-Liszt: Spinning Song from “The Flying Dutchman,” | [205] |
| Wagner-Liszt: Tannhäuser March, | [208] |
| Wagner-Liszt: Abendstern, | [209] |
| Wagner-Liszt: Isolde’s Love Death, | [210] |
| Schubert-Liszt: Der Erlkönig, | [213] |
| Schubert-Liszt: Hark! Hark! the Lark, | [216] |
| Schubert-Liszt: Gretchen am Spinnrad, | [217] |
| Liszt: La Gondoliera, | [219] |
| The Music of the Gipsies and Liszt’s Hungarian Rhapsodies, | [222] |
| Rubinstein: Barcarolle, G Major, | [237] |
| Rubinstein: Kamennoi-Ostrow, No. 22, | [241] |
| Grieg: Peer Gynt Suite, Op. 46, | [247] |
| Grieg: An den Frühling, Op. 43, No. 6, | [257] |
| Grieg: Vöglein, Op. 43, No. 4, | [260] |
| Grieg: Berceuse, Op. 38, No. 1, | [261] |
| Grieg: The Bridal Procession, from “Aus dem Volksleben,” Op. 19, No. 2, | [264] |
| Saint-Saëns: Le Rouet d’Omphale, | [271] |
| Saint-Saëns: Danse Macabre, | [276] |
| Counterparts among Poets and Musicians, | [281] |
DESCRIPTIVE
ANALYSES OF
PIANO WORKS
Introduction
The material comprised in the following pages has been collected for use in book form by the advice and at the earnest request of the publisher, as well as of many musical friends, who express the belief that it is of sufficient value and interest to merit a certain degree of permanency, and will prove of practical aid to teachers and students of music. A portion of it has already appeared in print in the program books of the Derthick Musical Literary Society and in different musical journals; and nearly all of it has been used at various times in my own Lecture Recitals.
The book is merely a compilation of what have seemed the most interesting and valuable results of my thought, reading, and research in connection with my Lecture Recital work during the past twenty years.