The Creative Process in Music from Mozart to Kurtag

Index

Index Note: Page numbers in italics indicate illustrations . “Abschied” (Kurtág), 177–78 Adler, Guido, 2 Adorno, Theodor F.: Dance Suite (Bartók) critiques, 14, 139, 160, 161; Fifth Symphony (Mahler) critiques, 103, 106, 134; on Mahler, 118, 133 aesthetic music analysis, 11–12 Amadeus (Shaffer/Forman), 17 André, Johann Anton, 32 “Appassionata” sonata (Beethoven), 66, 68, 69–70, 75 “Archduke” Trio (Beethoven), 72 Archivio Luigi Nono, 190 Artaria MS (Beethoven) 184, 46 artistic autonomy, 4 Aschenbach, Gustav von, 104–5, 212–13n16 Bach, Johann Sebastian, 10, 129, 161, 178 Balzac sequence (Kafka Fragments [Kurt ág]), 182–83 Banse, Juliane, 10 Bartók, Béla: on aesthetic attitudes and goals, 162; cultural context, 152, 161; on folk song imitation, 152; on identity as composer, 141, 217n7; influences, 10; on integrating folk music into new artistic compositions, 141; Kurtág on, 195; nationalism combined with multicultural perspective, 162, 220n42; overview, 13–14; political context, 139–40, 161, 217n1; resilience , 161 Bartók, Peter, 154 Bartók seminar, 166–67, 221n8 Bauer-Lechner, Natalie, 104, 129 Baxendale, Carolyn, 118 Beckett, Samuel, 189 Beethoven, Johanna Reiss van (sister-in-law of Ludwig), Johanna, 72 Beethoven, Karl van (nephew of Ludwig), 72–73, 74 Beethoven, Kaspar Anton Karl van (brother of Ludwig), 72 Beethoven, Ludwig van: biographical context , 71–75, 87–88, 92; compositional process, 46–47; connections to Britain, 226 Index 74–75; creative process interpretation, 2–4; folk song experience, 152–53, 219n26, 219n27; harmonic practice comparison with Schumann, 91–92; influence on Bartók, 161; Kurtág foreshadowing , 183; Mahler foreshadowing, 134; on Mozart and Haydn influences, 10; polyphony, 129; primary sources, 1. See also Piano Trio in F Minor (unfinished) (Beethoven) Beethoven Monument, 77, 79, 100, 101 Beethoven’s diary (Tagebuch), 72 The Beethoven Sketchbooks (Nottebohm chapter), 43 Berlin Staatsbibliothek, 46 Berlioz, Hector, 91 Beu, Octavian, 140–41, 157 Biblioteka Jagiellońska, 21 biographical context: Beethoven, 71–75, 87–88, 92; Kurtág, 164; Mahler, 103, 104, 118, 130–31, 132; Schumann, 85–88, 90, 91, 93, 94, 99–101 Biographie W. A. Mozarts (Nissen), 17 Birchall, Robert, 42–43, 46, 72 Botstein, Leon, 133 Brahms, Johannes, 1, 5–7, 7, 199n16 Brandenburg, Sieghard, 46 Brendel, Alfred, 98 Brentano, Antonia, 87, 92 Brentano, Maximiliana, 92 British Library (London), 48 Brod, Max, 166 Bruckner, Anton, 129, 215n44 Carnaval (Schumann), 80, 88, 89, 90 central European tradition, 10 Chamberlain, Houston Stewart, 7–8 compositional strategies context, 4–7 Concerto in A Major, K.464a (Mozart), 32 Concerto in C Major, K. 467 (Mozart), 32 Concerto in C Minor, K. 503: First Movement (Mozart), 34–39; draft version, 32–33; final version of piano entrance, 40; first performance, 41; ink colors as clue, 32–33, 38, 41; missing cadenzas, 41; opening piano passage, 33–36; overview, 20; paper type clues, 31–32; piano passage turning point, 36–38 Concerto in D Minor, K. 466 (Mozart), 29–30, 32 Concerto in F Major, K. 459 (Mozart), 32 Cook, Nicholas, 46 Cooper, Barry, 72 Cooper, David, 161 Cooper, Martin, 75 creative contexts. See biographical context; compositional strategies context; cultural context; performance context; political context; reception context creative process studies, 2 creativity myth, 17 Csengery, Adrienne, 10, 166–67, 200n39 cultural context, 132, 152, 161, 164, 166 Dance Suite (Bartók): Allegro Molto, 148– 49, 218n22; Allegro vivace, 153–54, 156; Arabic influences, 161; Bach influence, 161; Beethoven influence, 161; Comodo, 157–58, 160; components, 146; current location, 154; fifth dance, 157–60; finale, 157–60; folk idiom assimilation, 152–57, 161–62; fourth dance Arabian association , 156–57; Liszt influence, 161; Meno vivo, 160; The Miraculous Mandarin relationships, 146–52, 160, 219n23; missing /discarded Slovakian dance, 154–56, 162; Moderato movement, 147–48; Molto tranquillo section, 160; nationalism combined with multicultural perspective, 162, 220n42; opening Moderato, 153; opening theme, 147, 218n21; overview, 13–14; political context, 139–40, 161, 217n1; Presto section, 160; Rite of Spring (Stravinsky) comparison, 147, 149; ritornello, 142, 144–46, 149, 218n16; Strauss influence, 161; stylistic synthesis, 160–61; third movement theme, 153–54; verbunkos style, 142; Vivo passage, 147 Index 227 Dance Suite, intervallic structure of movements 1–3 (Bartók) intervallic structure of movements 1–3, 154 Dance Suite, mm. 9–12, finale, (Bartók), 159 Dance Suite, opening theme of first movement (Bartók), 148–49 Dance Suite, opening theme of second movement (Bartók), 151 Dance Suite, ritornello in the finished version (Bartók), 144...