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Essays in Honor of Laszlo Somfai on His 70th Birthday: Studies in the Sources and the Interpretation of Music

  • Editor: Lampert, Vera
  • Editor: Vikárius, László

Book

$189.00

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Estimated despatch time 1 - 2 weeks

Contents

  • Part 1 Preface by the Editors
  • Part 2 Laszlo Somfai: An Appraisal
  • Part 3 A Reverse Interview
  • Part 4 Part I : Theoretical Issues: Performance Practice, Editing, and Interpreting Music
  • Chapter 5 1. The Unbearable Lightness of Ethnomusicological Complete Editions: The Style of the ba'al tefillah (Prayer Leader) in the East European Jewish Service
  • Chapter 6 2. Ordinary Melodies in the Context of the "Old Romant Chant" Question
  • Chapter 7 3. In the Workshop of the musicus
  • Chapter 8 4. Performing Medieval Music in the Late-1960s: Michael Morrow and Thomas Binkley
  • Chapter 9 5. 19th-Century Paths to Palestrina's Music: Italian, German, and French Editions of the Missa Papae Marcelli
  • Chapter 10 6. Watermarks are Singles, Too: A Miscellany of Research Notes
  • Chapter 11 7. Toward a Performance History of Bach's Sonatas and Partitas for Solo Violin: Preliminary Investigations
  • Chapter 12 8. "Returning to the Skin": On Theodor W. Adorno's Theory of Musical Interpretation
  • Part 13 Part II : Classical Style: From Gluck through Beethoven
  • Chapter 14 9. Siciliana-Tempi and Haydn's Sicilianos
  • Chapter 15 10. Haydn's Op. 9: A Critique of the Ideology of the "Classical" String Quartet
  • Chapter 16 11. The Voice of God in Haydn's Creation
  • Chapter 17 12. Gluck's Serenata Tetide (1760) and Mozart: A Supplement to the
  • Preface to the First Edition in the Gluck-Gesamtausgabe
  • Chapter 18 13. Did Mozart "Pedal," and If So, How Much and Where?
  • Chapter 19 14. Mozart's Chamber Music with Keyboard: A Musical Panorama of Europe, 1762-1788
  • Chapter 20 15. Mozart's Mannheim Sonatas for Violin and Piano
  • Chapter 21 16. Mozart's Modular Minuet Machine
  • Chapter 22 17. Praise of Wine from Ofen, Ugliness, and Fiendship: Three Occasional Compositions by Franz Xavier Sussmayr
  • Chapter 23 18. Recycling Old Ideas in Beethoven's String Quartet Op. 132
  • Part 24 Part III : Nineteenth Century: Questions of a National Style
  • Chapter 25 19. A Suggestive Detail in Weber's Freischutz
  • Chapter 26 20. Franz Liszt's First Hungarian Symphonic Attempt: The National-ungarische Symphonie
  • Chapter 27 21. Umerenno or Andantino molto: On Musorgsky's Tempo Markings
  • Part 28 Part IV : Twentieth Century: Schoenberg, Bartok, Kodaly, and Beyond
  • Chapter 29 22. Anxiety, Abstraction, and Schoenberg's Gestures of Fear
  • Chapter 30 23. Wagnerian Details in Webern's Op. 5, No. 2
  • Chapter 31 24. Zoltan Kodaly's Art of Fugue: About the Neo-Classicism of the Concerto for Orchestra
  • Chapter 32 25. Bartok Analysis in America
  • Chapter 33 26. Bartok and His Song Texts
  • Chapter 34 27. The Making of a Cycle of Folksong Arrangements: The Sources of Bartok's Eight Hungarian Folksongs
  • Chapter 35 28. A Stray Leaf from Bartok's Black Pocket-Book
  • Chapter 36 29. Background of Bartok's "Bitonal" Bagatelle
  • Chapter 37 30. Analytical Notes to Bartok's Improvisations, Op. 20 and the Ordering of the Series
  • Chapter 38 31. Narrative Analysis in the Comparative Approach to Performances: The Adagio of Bartok's Music for Strings, Percussion, and Celesta
  • Chapter 39 32. Some Impressions on the Performance Tradition of the Bartok Violin Concerto
  • Chapter 40 33. "Hommage a Sacher via Bartok": Bartok Quotations in Henri Dutilleux's Trois strophes sur le nom de Sacher and Heinz Holliger's Atembogen
  • Chapter 41 34. Luciano Berio's Sonata per pianoforte solo or The Disclosures of a Sketch Page
  • Part 42 A Somfai
  • Bibliography
  • Part 43 Index of Proper Names
  • Part 44 About the
  • Contributors