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

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