A History of the Sonata Idea

William S. Newman

Description

This volume completes Newman's monumental study of the sonata. It examines the evolution of the sonata idea from the prexcocious Romanticisms of Dussek before 1880 to the near exhaustion of Romantic music by the time of World War I. Thoroughly documented, illustrated by new extended lists of sonatas as well as the fullest bibliography of Romantic music literature yet published, the book is invaluable to musicians.

Originally published in 1969.

A UNC Press Enduring Edition -- UNC Press Enduring Editions use the latest in digital technology to make available again books from our distinguished backlist that were previously out of print. These editions are published unaltered from the original, and are presented in affordable paperback formats, bringing readers both historical and cultural value.

Informations

• Publié par: The University of North Carolina Press
• Date de parution: 01 janvier 2018
• Nombre de lectures: 0
• EAN13: 9781469643748
• Langue: English
• Poids de l'ouvrage: 44 Mo

Extrait

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Franz Liszt's dedication of his Sonata in B Minor to Robert
Schumann in 1853 (facs. after Bory/Liszx 158; cf. SSB X)THE SONATA
SINCE
BEETHOVE N
The Third and Final Volume of
A History of the Sonata Idea
By WILLIAM S. NEWMAN
Chapel Hill
The University of North Carolina PressCOPYRIGHT © 1969 BY
THE UNIVERSITY OF NORTH CAROLINA PRESS
All rights reserved
Manufactured in the United States of America
Library of Congress Catalog Card Number 76-80924
PRINTED BY THE COLONIAL PRESS INC., CLINTON, MASS.To Claire
who has seen through all three volumes with meThis page intentionally left blank Preface
As with its two predecessors, this third and final volume in A History
of the Sonata Idea has benefitted substantially from the expert help of
colleagues, librarians, and research assistants, far and near. Especially
during the past thirty months of final writing, it has benefitted from
uncommonly generous responses to unconscionably urgent requests for
particular advices, materials, and aids. When such help can be
identified with specific discussions in the text, I have acknowledged it in
footnotes. But I have also wanted to acknowledge that and other help
collectively, in this Preface.
For critical readings and evaluations of entire sections and chapters,
I am grateful to Professor Roger Hannay at The University of North
Carolina at Chapel Hill (with regard to 20th-c. dilemmas, SSB I), to
Professor Martin Chusid at New York University (Schubert, SSB VII),
to Professor Edward A. Lippmann at Columbia University (Schumann,
SSB VIII), to Professor Eric Werner at Tel Avivy in Ramat
Aviv, Israel (Mendelssohn, SSB VIII), to Professor Karl Geiringer at the
University of California in Santa Barbara (Brahms, SSB IX), to Mr.
Edward Waters at The Library of Congress (Liszt, SSB X), to Professor
Nicholas Temperley at the University of Illinois in Urbana (19th-c.
England, SSB XIV), and to Professors Erna F. Novikova and Aleksandr
Dmitrievich Alekseev of Moscow (19th-c. Russia, SSB XVIII).
For more specific advices and/or making valued materials available,
I am likewise grateful to Dr. Birgitte Moyer of Menlo Park, Calif.
(Reicha, Czerny, and A. B. Marx on "sonata form," SSB II), Professor
Rey M. Longyear at the University of Kentucky (German literary
references, SSB II), Dr. Harry Bergholz at The University of North
Carolina at Chapel Hill (Strindberg's Spoksonaten, SSB II), Mrs. Alice
(William J.) Mitchell of New York City (Czerny, SSB VII), Dr. Ingeborg
Heussner of Marburg, West Germany (Moscheles, SSB VII), Dr.
MarcAndre Souchay of Hannover-Kleefeld, West Germany (Schubert, SSB
VII), Mr. Arthur Hedley of London (Liszt and Chopin, SSB X andviii PREFACE
XII), Miss Friedelind Wagner of Bayreuth (Wagner, SSB X), Dr. Rita
Benton at the State University of Iowa in Iowa City (Wagner and
Pleyel, SSB X), the late Mr. Arthur Loesser of Clevelandr and
Halle, SSB X), Mr. Clarence Adler of New York City (Godowsky, SSB
XI), Dr. Stephen Young at Meredith College in Raleigh (Karg-Elert,
SSB XI), Professor Alexander Ringer at the University of Illinois in
Urbana (Gernsheim, SSB XI, and constructive evaluations throughout
SSB), Professor Ronald E. Booth, Jr., at The University of North
Carolina at Charlotte (Heller, SSB XII), Mr. Joseph Bloch at the Juilliard
School of Music and Mr. Raymond Lewenthal of New York City (Alkan,
SSB XII), Professors Aloys Fleischman at University College in Cork and
Brian Boydell at the University of Dublin (Irish sons., SSB XV),
Professor Ingmar Bengtsson of Uppsala (Swedish sons., SSB XV), Professor
Howard Allen Craw at Loma Linda University in Riverside (Dussek,
SSB XVII), Dr. Elod J. Juhasz of Radio Budapest, the late Dr. Jozsef
Gat at the Budapest Academy of Music, and Professor Bela
BoszormenyNagy of Boston University (Hungarian sons., SSB XVII), Mr. James F.
Jones at Florida State University in Tallahassee (Dohnanyi, SSB XVII),
Miss Carol Greene at they of Indiana in Bloomington
(Aliabiev, SSB XVIII), Mr. Vladimir Horowitz of New York City
(Rachmaninoff, SSB XVIII), and Professor Delmer D. Rogers at the University
of Texas in Austin (Bristow, SSB XIX).
For still other advices and/or materials I am indebted to Dr.
Rudolph Kremer at The University of North Carolina at Chapel Hill
(19th-c. organ sons.), Dr. Fritz Oberdoerffer and Mr. Joe W. Bratcher
at the University of Texas in Austin (rare sons, in their private
collections), and Mr. Harold Schonberg of the New York Times (spot
questions on past pianists).
Much of the searching through periodicals, in several other
languages as well as English, and much of the statistical work for the
present volume were accomplished by able graduate assistants at The
University of North Carolina at Chapel Hill. For these contributions
it is a pleasure to thank the (then) Misses Katherine Ruth Boardman,
Anne Chan, Marcia Judith Citron, Gloria Merle Huffman, Sophie
Morgan, and Mary Vinquist. It is also a pleasure to thank certain other
Chapel Hillians in and around the University, including Mr. Rudi
Schnitzler for two proofreadings of the entire volume, Mrs. Hilde
(Alfred T.) Brauer for providing or checking many of the German
translations, Professor Alfred Engstrom for an extended French
translation, Mr. John J. Bobkoff and Mrs. Angele Avizonis for Russian
translations, Mrs. Helen (William E.) Jenner for "autographing" the 115
music examples that are not facsimiles, and Mrs. Jeanne D. Hudson forPREFACE ix
drawing the chart of "Regions and Production Spans" (SSB IV). (In
defense of the translators, I should add that I assume full responsibility
for the individual translations not otherwise credited. An average, not
exceptional, sample of the translation problem is provided in the midst
of the Wagner discussion, SSB X.) A particular pleasure has been the
reading of many of the duo sonatas under examination with interested
colleagues and students, among whom I should like especially to thank
Professor Edgar Alden, Mrs. Jeanine Zenge, and Miss Ivy Geoghegan,
violinists; Miss Ann Woodward, violist; and Mr. Charles Griffith and
Miss Kathryn Logan, cellists.
Many of those "unconscionably urgent requests" have been directed
to music librarians in numerous countries, among whom, at this point,
I should like to thank especially Dr. James Pruett, Mr. Nyal Williams,
and Miss Thelma Thompson of The University of North Carolina at
Chapel Hill, Mr. William Lichtenwanger at the Library of Congress,
Mr. Gordon Mapes at the Curtis Institute of Music in Philadelphia,
Mr. Frank C. Campbell, Mr. Neil Ratliff, and Mr. Richard Jackson at
the Library & Museum of the Performing Arts in New York, Mr. Neil
K. Moran at the Boston Public Library, Mr. Donald W. Krummel at
the Newberry Library in Chicago, Mr. A. Hyatt King at the British
Museum in London, Dr. Imogen Fellinger at the Zentralstelle fur
Musikbibliographie des 19. Jahrhunderts in Koln, and Dr. Leopold
Nowak at the Osterreichische Nationalbibliothek in Vienna.
The kind permissions granted by numerous publishers or their U.S.
agents to quote sentences or music examples from copyrighted
publications that they control are acknowledged separately wherever the
quotations occur in the present volume.
Finally, I should like to express my gratitude to the University
Research Council of The University of North Carolina at Chapel Hill,
the American Council of Learned Societies, and the National
Endowment for the Humanities for the grants and their renewals that have
provided the free time and the assistance so essential to a project of
this sort. And at the same time I should like to express my gratitude to
Chairman Wilton Mason and my other colleagues in the Music
Department for co-operating so generously during two semesters of
reduced schedules.
Some Abbreviations and Editorial Policies
All the short titles used throughout the present volume are listed in
one alphabetical sequence and amplified in full in the concludingx PREFACE
Bibliography. A hyphenated, lowercase "-m" at the end (as in
Brahms/WERKE-m) continues to indicate a source consisting primarily
of music. Articles in reference works, reviews in periodicals, and
prefaces in music editions are not given separate short titles, ordinarily,
but the first time such an item is cited in any one discussion its author
is added in parentheses (if known). Cross references to the previous two
volumes in the present set, SEE and SCE, include page numbers.
However, for familiar reasons of cost and accuracy, the many cross
references within the present volume, SSB, give only the chapter number
(or merely supra and infra within the same chapter). But knowing the
chapter, the reader should then be able to locate the exact page(s)
readily enough through the detailed Index. In Chapter VI only, as
explained therein, each cross reference after a composer's name can
be expected to lead to a music example by that composer as well as
to a discussion of his music.
As in the two previous volumes, no attempt has been made here to
use a parenthetical sic af