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• The four seasons. Violin concerto in E major, op. 8, no. 1, RV 269 (10:35) ; Violin concerto in G minor, op. 8, no. 2, RV 315 (10:54) ; Violin concerto in F major, op. 8, no. 3, RV 293 (11:32) ; Violin concerto in F minor, op. 8, no. 4, RV 297 (8:41) ; Violin concerto in E flat major, op. 8 no. 5, RV 253 (8:55) ; Violin concerto in C major, op. 8, no. 6, RV 180 (8:32) / Vivaldi (Mariana Sirbu, violin ; additional soloists ; I Musici)
• Canon in D major / Pachelbel ; arr. Münchinger ; Gigue in D major / Pachelbel ; arr. Seiffert (6:21) ; Adagio in G minor / Albinoni ; arr. Giazotto (7:15) ; Jesu, joy of man's desiring (2:59) ; Sheep may safely graze (4:26) ; Air on the G string (3:45) ; Great fugue in G minor (4:55) / J.S. Bach ; Minuet in E major / Boccherini (2:47) ; Serenade / Hoffstetter ; attrib. Haydn (3:54) ; Musette, Larghetto (6:47) ; The arrival of the Queen of Sheba (3:06) ; Organ concerto in F major (15:15) ; Berenice. Overture (7:03) / Handel (Stuttgarter Kammerochester ; Karl Münchinger, conductor)
• Music for the royal fireworks (21:46) ; Suite no. 1 in F major, HWV 348 (28:52) ; Suite no. 3 in G major, HWV 350 (10:32) ; Suite no. 2 in D major, HWV 349 (9:00) / Handel (Leslie Pearson, harpsichord ; English Chamber Orchestra ; Raymond Leppard, conductor)
• Suite no. 1 in C major, BWV 1066 (19:59) ; Suite no. 2 in B minor, BWV 1067 (19:35) ; Suite no. 3 in D major, BWV 1068 (19:45) ; Suite no. 4 in D major, BWV 1069 (17:57) / J.S. Bach (Thurston Dart, continuo ; Academy of St. Martin in the Fields ; Sir Neville Marriner, conductor)
• Guitar concerto no. 1 in A major / Giuliani ; arr. Garigi (22:28) ; Concerto for guitar & strings in D major (11:01) ; Concerto for guitar and viola d'amore (13:30) / Vivaldi ; arr. Malipiero ; Trio sonata for guitar & chamber orchestra in A major / Vivaldi ; arr. Pujol (9:59) ; Guitar sonata in A major / Paganini (Eduardo Fernández, guitar ; English Chamber Orchestra ; George Malcolm, conductor) (15:41)

• Saygun's biography
• Saygun's harmonic and melodic vocabulary : modes
• A discussion of the folk elements found in Saygun's violin works
• A discussion of Saygun's Suite for violin and piano
• An annotated list of Saygun's works and a discography.

• Preface Harmony Phrase Rhythm Motive Sonata Form Three Scherzo Movements Two Piano Sonata Movements Two Quartet Movements A Slow Movement and a Finale Epilogue: Thoughts on Schubert's Mature Instrumental Style Notes Selected Bibliography Index.
• (source: Nielsen Book Data)

In his instrumental works, Franz Schubert, like Beethoven, expanded on the classical traditions, especially in the areas of form and harmony. Yet many of these works have only recently begun to be appreciated for their true worth by performers, listeners, and scholars. Schubert's Mature Instrumental Music, by renowned music theorist David Beach, is an analytical study of selected symphonic, chamber, and solo-piano works written during the last ten years of the composer's short life, beginning with the Trout Quintet (D. 667) and ending with the String Quintet (D. 956). Each of the chapters in part 1 focuses on a crucial topic: harmony, phrase rhythm, motive, and sonata form. These chapters will be accessible to all musicians and other readers who have some basic training in harmony and form. Part 2 presents detailed analyses of nine fascinating representative movements. Beach's insights will enrich the listener's experience of what are now recognized as some of the great masterpieces of the early nineteenth century. David Beach is Professor Emeritus and former Dean of the Faculty of Music at the University of Toronto. He is the author of Aspects of Unity in J. S. Bach's Partitas and Suites: An Analytical Study, and coeditor of Bach to Brahms: Essays on Musical Design and Structure and Explorations in Schenkerian Analysis, all published by the University of Rochester Press.
(source: Nielsen Book Data)

• Contents: Introduction
• 'His favourite device': Schubert's major-minor usage and its nuances
• Poetic transitions
• Schubert's second themes
• Schubert and Mozart
• Schubert's violent nature
• Threefold constructions
• Schubert's variations
• 'Heavenly length'
• Concluding remarks: 'whose Schubert?'
• Select bibliography
• Chronology of Schubert's instrumental works discussed
• Indexes.
• (source: Nielsen Book Data)

As Robert Schumann put it, 'Only few works are as clearly stamped with their author's imprint as his'. This book explores Schubert's stylistic traits in a series of chapters each discussing an individual 'fingerprint' with case studies drawn principally from the piano and chamber music. The notion of Schubert's compositional fingerprints has not previously formed the subject of a book-length study. The features of his personal style considered here include musical manifestations of Schubert's 'violent nature', the characteristics of his thematic material, and the signs of his 'classicizing' manner. In the process of the discussion, attention is given to matters of form, texture, harmony and gesture in a range of works, with regard to the various 'fingerprints' identified in each chapter. The repertoire discussed includes the late string quartets, the String Quintet, the E flat Piano Trio and the last three piano sonatas. Developing ideas which she first proposed in a series of journal articles and contributions to symposia on Schubert, Professor Wollenberg takes into account recent literature by other scholars and draws together her own researches to present her view of Schubert's 'compositional personality'. Schubert emerges as someone exerting intellectual control over his musical material and imbuing it with poetic resonance.
(source: Nielsen Book Data)

• Mozart's musical identity and personal style
• Chamber music
• Orchestral music
• Concertos.

Gives a detailed description of selected compositions of Paul Ben-Haim using the La Rue system of analysis. A biographical sketch traces Ben-Haim's career.
(source: Nielsen Book Data)

What is it that makes Mendelssohn's music recognizably unique? This study hopes to make a contribution to the answer through an analysis of an extensive sample of Mendelssohn's instrumental music. I identify a compositional practice which I believe to be a hallmark of his style: the smoothing over of formal junctures of various types. By and large, Mendelssohn's dynamic treatment of formal junctures reflects a general concern with enhancing continuity and momentum in longer forms, a compositional issue that has always presented a challenge to composers in the Western music tradition. The main purpose of our investigation, then, is to delineate the specific techniques that Mendelssohn used in his characteristic effort to bridge over formal divisions. Many of Mendelssohn's works reveal this clear (and evidently deliberate) propensity to create larger continuities by means of bridging over divisions, regardless of the formal prototype or level of structure. At the same time, an almost Mozartian clarity of form often is preserved. This might at first seem contradictory, but Mendelssohn, as I shall attempt to demonstrate, was able to find ingenious ways of having his cake and eating it, too. - From the Introduction.
(source: Nielsen Book Data)

This study addresses the powerful influence of Handel's orchestral designs on the development of instrumental music. Mann examines Handel's methods in general, and shows the implications of his analysis for performance practice. The concertos and suites of George Frideric Handel hold a dominant position in the history of the orchestra, as well as in the development of Handel's own compositional technique, but are often neglected and overshadowed by such works as "Messiah". This book aims to reveal the insight each piece provides into Handel's compositional process.
(source: Nielsen Book Data)

• ABBREVIATIONS
• LIST OF MUSICAL EXAMPLES
• LIST OF TABLES
• LIST OF FIGURES
• PROLOGUE: STYLES AND SOURCES
• TELEMANN AND THE GERMAN MIXED TASTE
• GENIUS IN THE CLOSET
• PART I: THE OVERTURE-SUITES
• Acquiring a Mixed Taste: Telemann as "grand partisan de la musique Francaise"
• Telemann as Lullist
• Tradition versus Innovation
• The Concert en ouverture and Concerto en suite
• The Overture-Suite in Retrospect
• Telemann's Mimetic Art: The Characteristic Overture-Suites
• Characteristic Titles/Staging the Overture-Suite
• The Civic Water Music/Images of Court and Country
• Telemann's Wit: Burlesque, Parody, and Satire
• PART II: THE CONCERTOS
• "Niemals recht von Herzen gegangen"?: Telemann's Concertos
• The Eisenach Concertos
• Concertos for the Eloquent Oboe
• Concertos alla francese
• Telemann and the German Ripieno Concerto
• The Late Frankfurt and Hamburg Concertos
• Telemann's Orchestras
• Bach's Debt Repaid with Interest: A Case Study of Transformative Imitation
• Bach's Borrowing, Telemann's Model
• Bach, Telemann, and the Eighteenth-Century Aesthetics of Musical Borrowing
• PART III: THE SONATAS
• "Something for Everyone's Taste": Telemann's Sonatas to 1725
• Solos and Trios in the Italian Style
• Trios alla francese
• The "True Touchtone of a Genuine Contrapuntist": Quartets for Strings and Winds
• When is a Quartet Not a Quartet?
• Sonatas in Five to Seven Parts
• Two Parisian Piracies
• The Frankfurt Sonata Publications
• Telemann and the Sonate auf Concertenart
• Defining the Sonate auf Concertenart
• Titles as Signifiers of Genre
• Reimagining the Sonata (Concerto)
• The Vivaldi Cult at Dresden and the Origins of the Sonate auf Concertenart
• Telemann's Sonaten auf Concertenart
• The "Sonate en concert" and French Vivaldisme
• The Aesthetics of Mixed Genres
• PART IV: THE HAMBURG PUBLICATIONS
• Telemann in the Marketplace: The Composer as Self-Publisher
• Setting up Shop
• Telemann's Subscribers
• Production Methods
• Closing Shop
• Telemann f:ur Kenner und Liebhaber: The Music of the Hamburg Publications
• Sonates sans basse
• Essercizii musici
• Reading the Faithful Music Master
• Menuets and Marches
• Quadri
• Methodical Sonatas and Nouvelles sonatines
• The Fantastic Style
• Musique de table and Six ouvertures a 4 ou 6
• Divertimenti
• XII Solos a violin ou traverseere
• Six concerts et six suites
• An Omaggio a Corelli?
• Parisian Sonatas
• Galanterien
• 9. Telemann's Polish Style and the "True Barbaric Beauty" of the Musical Other
• "Gedancken f:ur ein gantzes Leben": Telemann in Poland
• "A Country in the Moon": Poland, Pastoral, and the Past
• Representing Poland Musically
• AFTERWARD
• GLOSSARY
• BIBLIOGRAPHY
• INDEX OF TELEMANN'S COMPOSITIONS
• GENERAL INDEX.
• (source: Nielsen Book Data)

Georg Philipp Telemann gave us one of the richest legacies of instrumental music from the eighteenth century. Though considered a definitive contribution to the genre during his lifetime, his concertos, sonatas, and suites were then virtually ignored for nearly two centuries following his death. Yet these works are now among the most popular in the baroque repertory. In Music for a Mixed Taste , Steven Zohn considers Telemann's music from stylistic, generic, and cultural perspectives. He investigates the composer's cosmopolitan "mixed taste"-a blending of the French, Italian, English, and Polish national styles-and his imaginative expansion of this concept to embrace mixtures of the old (late baroque) and new (galant) styles. Telemann had an equally remarkable penchant for generic amalgamation, exemplified by his pioneering role in developing hybrid types such as the sonata in concerto style ("Sonate auf Concertenart") and overture-suite with solo instrument ("Concert en ouverture"). Zohn examines the extramusical meanings of Telemann's "characteristic" overture-suites, which bear descriptive texts associating them with literature, medicine, politics, religion, and the natural world, and which acted as vehicles for the composer's keen sense of musical humor. Zohn then explores Telemann's unprecedented self-publishing enterprise at Hamburg, and sheds light on the previously unrecognized borrowing by J.S. Bach from a Telemann concerto. Music for a Mixed Taste further reveals how Telemann's style polonaise generates musical and social meanings through the timeless oppositions of Orient-Occident, urban-rural, and serious-comic.
(source: Nielsen Book Data)