The Creative Process in Music from Mozart to Kurtag

Illustrations

Illustrations Examples 1.1. Mozart, Fantasia in C Minor, K. 475, beginning 19 1.2. Mozart, Sonata in C Minor, K. 457, III, conclusion 20 1.3. Draft version and final version of the Sonata in D Major, K. 284/205b, I 22–27 1.4a. Draft version of the Concerto in C Major, K. 503, I 34–39 1.4b. Final version of the piano entrance in the Concerto in C Major, K. 503, I 40 2.1. Theme of the first movement of the F Minor Trio 47 2.2. Theme of the finale of the F Minor Trio 47 2.3. Theme of a German dance intended for the finale of the F Minor Trio 48 2.4. Sketch for the main theme of the finale of the F Minor Trio 49 2.5. Comparison of the themes of the first and last movements of the F Minor Trio 50 2.6. Sketch for the beginning of the first movement of the F Minor Trio 51 2.7. Transcription of MS Grasnick 29, pages 1–6 55–60 2.8. Scheide Sketchbook, page 101 62 2.9. Comparison of themes from the exposition of the Piano Trio in F Minor and the opening of the String Quartet in F Minor, op. 95 69 x Illustrations 2.10. Beethoven, Piano Sonata in A Major, op. 101, beginning of second movement 73 3.1. Musical excerpt in Schumann’s letter of 10 June 1839 89 3.2. Continuation of passage in second subject area, recapitulation of first movement, Fantasie, op. 17 89 3.3. Beethoven, An die ferne Geliebte, op. 98, setting of “und du singst” 90 3.4. Chord in Schumann’s letter of 10 July 1834 91 3.5. Beethoven, Sonata in E Major, op. 109, theme of finale (mm. 11–16) 93 3.6. Beethoven, Sonata in C Minor, op. 111, transition to coda (mm. 157–61) 93 3.7. Schumann, Fantasie, op. 17, beginning 94 3.8. Schumann, Fantasie, op. 17, ending of first movement 96 3.9. Schumann, Fantasie, op. 17, beginning of last movement 97 3.10. Schumann, Fantasie, op. 17, original ending of last movement 99 3.11. Schumann, Symphony in C Major, op. 61, theme in finale 101 4.1. Mahler, Fifth Symphony, Adagietto, mm. 56–103 108–14 4.2. Mahler, Fifth Symphony, Rondo-Finale, mm. 666–89 123–28 4.3. Mahler, Fifth Symphony, Rondo-Finale, mm. 690–98 135–36 5.1. Transcription of the ritornello sketch 144 5.2. Ritornello in the finished work 144 5.3. Hungarian soldier’s song 145 5.4. Bartók, Dance Suite, opening theme of the first movement 148–149 5.5. Bartók, Dance Suite, Vivo section of the first movement, mm. 97–102 150 5.6. Bartók, Dance Suite, opening theme of second movement 151 5.7. Bartók, Dance Suite, intervallic structure of movements 1–3 154 5.8. Transcription of beginning of Slovakian dance 155 5.9. Bartók, Dance Suite, finale, mm. 9–12 159 6.1. Kurtág, Kafka Fragments, “Der begrenzte Kreis” 177 6.2. Kurtág, Hommage à R. Sch., “Abschied,” beginning 178 6.3. Kurtág, Kafka Fragments, “Träumend hing die Blume,” beginning 179 6.4. Kurtág, Kafka Fragments, “Umpanzert” 181 6.5. Kurtág, Kafka Fragments, “Wenn er mich immer frägt” 184 6.6. Kurtág, Kafka Fragments, “Zu spät,” beginning 188 6.7. Kurtág, Kafka Fragments, “Der wahre Weg,” beginning 193 Illustrations xi Figures 2.1–2.2. Beethoven’s letter to Robert Birchall of 1 October 1816 44–45 2.3–2.4. MS Grasnick 29, pages 1–2 53–54 3.1. Beethoven monument, Münsterplatz, Bonn 79 3.2. Title page, corrected copy of Schumann’s Fantasie in C Major, op. 17 81 3.3. Corrected copy of Schumann’s Fantasie, op. 17, page 1 82 4.1. Draft of the end of “Ich bin der Welt abhanden gekommen” 107 4.2. Later draft of the end of “Ich bin der Welt abhanden gekommen” 107 4.3. Mahler’s Fifth Symphony, formal overview 117 5.1. Draft for The Miraculous Mandarin containing the sketch for the ritornello of the Dance Suite 143 5.2. Military recruitment ceremony with music in nineteenthcentury Hungary 144 6.1. Kurtág’s Kafka Fragments, op. 24 165 6.2–6.4. Provisional ordering of...