Nineteenth Century Music 1996 - 1997: Vol 20 Index

23 Pages·5.2 MB·English

AUTHOR/TITLE INDEX TO VOLUMES I-XX
(References to volume and page number) Ancora un bacio: Three Scenes from Verdi’s
Otello (Rehearing) (Roger Parker and
A. B. Marx, Berlin Concert Life, and German Matthew Brown) IX:50
National Identity (Sanna Pederson) XVIII:87 Archbold, Lawrence—Franck’s Organ Music
Abbate, Carolyn—Tristan in the Composition and Its Legacy XII:54
of Pelléas V:117 —see Reviews (Douglass)
—What the Sorcerer Said XII:221 Archival Sources for the Opéra-Comique and
“Aber eben dieser Zweifel”: A New Look at Its Registres at the Bibliothéque de l’Opéra
Mendelssohn’s “Italian” Symphony (M. Elizabeth C. Bartlet) VII:119
(John Michael Cooper) XV:169 Atlas, Allan W.—Crossed Stars and Crossed
Abraham, Gerald—The Operas of Alexei Tonal Arcas in Puccini’s Madama
Verstovsky VII:326 Butterfiy XIV:186
——tThe Operas of Zdenék Fibich IX:136 ——A Key for Chi? Tonal Areas in Puccini
— see Recollections (Counterpoint) (with Roger Parker) XV:229
— see Reviews (Ridenour) Auf dem Flusse: Image and Background in a
Schubert Song (Rehearing) (David Lewin) _VI:47
Academic Music: The Archives of the
Académie des Beaux-Arts (Peter Bloom) VII:129 Austin, William W.—Debussy, Wagner, and
Some Others (Viewpoint) VI:82
Addendum to the Mahler-Strauss
Correspondence, An (Edward R. Reilly) XII:23
Against Recycling (Richard Kramer) Bach’s Erbe: The Chorale in the German
Viewpoint XX:185 Oratorio of the Early Nineteenth Century
(Glenn Stanley) XI:121
Agawu, V. Kofi—Schubert’s Sexuality: A
Prescription for Analysis? (Commentary) XVII:79 Back to the Future: Hermeneutic Fantasies in
Der fliegende Hollander {Arthur Groos) XIX:191
—Tonal Strategy in the First Movement of
Mahler’s Tenth Symphony (Rehearing) 1X:222 Backus, Joan—Liszt’s Sposalizio: A Study in
Musical Perspective (Rehearing) XII:173
Altenburg, Detlef—Franz Liszt and the
Legacy of the Classical Era (trans. Bailey, Robert—The Structure of the Ring and
Juliane Brand and Christopher Hailey) XVIII:46 Its Evolution 1:48
American Musical Scholarship: Parker to Baker, Evan—The Scene Designs for the First
Thayer (Robert Stevenson) 1:191 Performances of Bizet’s Carmen XII1:230
Amfortas’s Prayer to Titurel and the Role of D Banks, Paul—Coherence and Diversity in the
in Parsifal: The Tonal Spaces of the Drama Symphonie fantastique VIII:37
and the Enharmonic C)/B (David Lewin) VII:336 ——An Early Symphonic Prelude by Mahler? III:141
300
AUTHOR/TITLE INDEX TO VOLUMES I-XX
(References to volume and page number) Ancora un bacio: Three Scenes from Verdi’s
Otello (Rehearing) (Roger Parker and
A. B. Marx, Berlin Concert Life, and German Matthew Brown) IX:50
National Identity (Sanna Pederson) XVIII:87 Archbold, Lawrence—Franck’s Organ Music
Abbate, Carolyn—Tristan in the Composition and Its Legacy XII:54
of Pelléas V:117 —see Reviews (Douglass)
—What the Sorcerer Said XII:221 Archival Sources for the Opéra-Comique and
“Aber eben dieser Zweifel”: A New Look at Its Registres at the Bibliothéque de l’Opéra
Mendelssohn’s “Italian” Symphony (M. Elizabeth C. Bartlet) VII:119
(John Michael Cooper) XV:169 Atlas, Allan W.—Crossed Stars and Crossed
Abraham, Gerald—The Operas of Alexei Tonal Arcas in Puccini’s Madama
Verstovsky VII:326 Butterfiy XIV:186
——tThe Operas of Zdenék Fibich IX:136 ——A Key for Chi? Tonal Areas in Puccini
— see Recollections (Counterpoint) (with Roger Parker) XV:229
— see Reviews (Ridenour) Auf dem Flusse: Image and Background in a
Schubert Song (Rehearing) (David Lewin) _VI:47
Academic Music: The Archives of the
Académie des Beaux-Arts (Peter Bloom) VII:129 Austin, William W.—Debussy, Wagner, and
Some Others (Viewpoint) VI:82
Addendum to the Mahler-Strauss
Correspondence, An (Edward R. Reilly) XII:23
Against Recycling (Richard Kramer) Bach’s Erbe: The Chorale in the German
Viewpoint XX:185 Oratorio of the Early Nineteenth Century
(Glenn Stanley) XI:121
Agawu, V. Kofi—Schubert’s Sexuality: A
Prescription for Analysis? (Commentary) XVII:79 Back to the Future: Hermeneutic Fantasies in
Der fliegende Hollander {Arthur Groos) XIX:191
—Tonal Strategy in the First Movement of
Mahler’s Tenth Symphony (Rehearing) 1X:222 Backus, Joan—Liszt’s Sposalizio: A Study in
Musical Perspective (Rehearing) XII:173
Altenburg, Detlef—Franz Liszt and the
Legacy of the Classical Era (trans. Bailey, Robert—The Structure of the Ring and
Juliane Brand and Christopher Hailey) XVIII:46 Its Evolution 1:48
American Musical Scholarship: Parker to Baker, Evan—The Scene Designs for the First
Thayer (Robert Stevenson) 1:191 Performances of Bizet’s Carmen XII1:230
Amfortas’s Prayer to Titurel and the Role of D Banks, Paul—Coherence and Diversity in the
in Parsifal: The Tonal Spaces of the Drama Symphonie fantastique VIII:37
and the Enharmonic C)/B (David Lewin) VII:336 ——An Early Symphonic Prelude by Mahler? III:141
300
—see Reviews (Bauer-Lechner) Berlioz and the “First Opera” (James Haar) TI:32
Bartlet, M. Elizabeth C.—Archival Sources Berlioz Premiere in America: Leopold De
for the Opéra-Comique and Its Registres Meyer and the Marche d’Isly, A
at the Bibliothéque de l’Opéra VII:119 (R. Allen Lott) VIII:226
Barzun, Jacques—see Reviews (New Grove) Berlioz Sketchbook Recovered, The
Bass, Richard—From Gretchen to Tristan: (D. Kern Holoman} VII:282
The Changing Role of Harmonic Sequences Berlioz’s Divine Comedy: The Grande Messe
in the Nineteenth Century XIX:263 des morts (Edward Cone) IV:3
Bauman, Thomas—Requiem, but No Piece XV:151 Berlioz’s Messe solennelle
—tThe Young Lovers in Falstaff (Rehearing) IX:62 (Hugh Macdonald) XVI:267
——see Reviews (McGrath) Berman, Laurence D.—Prelude to the
Afternoon of a Faun and Jeux: Debussy’s
Bayreuth 1983 (William Kinderman)
Summer Rites TH:225
(Performers and Instruments) VIII:60
——-see Reviews (Debussy) (New Grove)
“Be Bored”: Reading a Mussorgsky Song
(Michael Russ) XX:27 Bernard, Elisabeth—A Glance at the Archives
of Some Parisian Orchestral Societies VII:104
Beckerman, Michael—Dvorak’s “New
World” Largo and The Song of Hiawatha XVI:35 Between Anarchism and the Box Office:
Gustave Charpentier’s Louise
— In Search of Czechness in Music
(Steven Huebner) XIX:136
(Viewpoint) X:61
Between Past and Future: The Dramatic World
Beethoven and the Birth of Romantic Musical
of Rossini in Mosé in Egitto and Moise et
Experience in France (James H. Johnson) XV:23
Pharaon (Marcello Conati) IV:32
Beethoven Scholars and Beethoven’s Sketches
Bias, Influence, and Bizet’s Prix de Rome
(Douglas Johnson) 11:3
(Lesley A. Wright) XV:215
Beethoven, Symphony No. 8 (Rehearing)
Biba, Otto—Schubert’s Position in Viennese
(Michael Broyles) VI:39
Musical Life III: 106
Beethoven’s “Magazin der Kunst”
Birth of Music out of the Spirit of Drama, The
(Maynard Solomon) VII:199
(Anthony Newcomb) V:38
Beethoven’s Ninth Symphony: A Search
Black Composer in Nineteenth-Century
for Order (Maynard Solomon) X:3
St. Louis, A (Samuel A. Floyd, Jr.) IV:121
Beethoven’s “Orpheus in Hades”: The
Bloom, Peter—Academic Music: The
Andante con moto of the Fourth Piano
Archives of the Académie des Beaux-Arts VII:129
Concerto (Owen Jander) VIII:195
—Berlioz and Officialdom: Unpublished
Beethoven’s Orpheus—or Jander’s?
Correspondence IV:134
(Edward T. Cone) (Viewpoint) VIII:283
—see Reviews (Fétis)
Beethoven’s Symbol for the Deity in the
Missa solemnis and the Ninth Symphony Bohlman, Philip V—On the Unremarkable
(William Kinderman) IX:102 in Music (Viewpoint) XVI:203
Bonner, Andrew—Liszt’s Les Préludes and
Behind the Scenes: Die schéne Miillerin before
Schubert (Susan Youens) XV:3 Les Quatre Elémens: A Reinvestigation X:95
Beller-McKenna, Daniel—The Great Warum:: Boris Godunov and the Censor
(Robert William Oldani) 11:245
Job, Christ, and Bach in a Brahms’s
Motet XIX:231 Botstein, Leon—Brahms and Nineteenth-
Century Painting XIV:154
Berger, Karol—The Form of Chopin’s Ballade,
Op. 23 XX:46 ——Listening through Reading: Musical
Literacy and the Concert Audience XVI:129
Bergeron, Katherine—The Echo, the Cry,
the Death of Lovers XVIII:136 —see Reviews (Bujic¢; Katz and Dahlhaus;
——-see Reviews (Lawrence Kramer} Lippman) (Katz; Mann}
Boulanger, Nadia—see Recollections
Berlioz and Officialdom: Unpublished
Correspondence (Peter Bloom) Bowers, Jane—see Reviews (Hoffmann)
Brahms and E. T. A. Hoffmann Bruckner’s Metrical Numbers
(Siegfried Kross) V:193 (Timothy L. Jackson) XIV:101
Brahms and Nineteenth-Century Painting Buhler, James—” Breakthrough” as Critique
(Leon Botstein) XIV:154 of Form: The Finale of Mahler’s First
Brahms and Schubring: Musical Criticism Symphony XX:125
and Politics at Mid-Century Burkholder, J. Peter—Brahms and Twentieth-
(Walter Frisch) VII:271 Century Classical Music (Viewpoint) VIII:75
Brahms and Schumann: Two Opus Nines
—‘Quotation” and Paraphrase in Ives’s
and Beyond (Oliver Neighbour) VII:266 Second Symphony X1:3
Brahms and Twentieth-Century Classical
Burnham, Scott—Criticism, Faith, and the
Music (J. Peter Burkholder) (Viewpoint) VIII:75
Idee: A. B. Marx’s Early Reception of
Brahms and the Variation Canon Beethoven XIII:183
(Elaine R. Sisman) XIV:132
——Criticism of Analysis and the Analysis
Brahms as Liberal: Genre, Style, and Politics
of Criticism, The (Counterpoint)
in Late Nineteenth-Century Vienna (with Lawrence Kramer)
(Margaret Notley) XVII:107
——-see Reviews (Charlton)
Brahms, Developing Variation, and the
Schoenberg Critical Tradition
(Walter Frisch) V:215
Brahms, Song Quotation, and Secret Caballero, Carlo—see Reviews
Programs (Dillon Parmer) XIX:161 (Jean-Michel Nectoux)
Brahms’s Liebe und Friihling II, Op. 3, No. 3: Cadenza Contra Text: Mozart in Beethoven’s
A New Path to the Art-Work of the Future? Hands (Richard Kramer) XV:116
(Ira Braus) X:135
Candidate for the Canon? A New Look at
Brahms’s Performances of Early Choral Music Schubert’s Fantasie in C Major for Violin
(Virginia Hancock} 11:125 and Piano, D. 934, A (Patrick McCreless) XX:205
Brandenburg, Sieghard—Viewpoint II:270 Carl Dahlhaus and the “Ideal Type”
Brand, Juliane, trans.—see Altenburg, (Philip Gossett) (Viewpoint) XIII:49
Danuser, Démling, Krummacher, Schubert
Carr, Bruce—see Reviews (Austin; Mitchell)
Braus, Ira—Brahms’s Liebe und Friihling II,
Cataloguing Schubert (Review)
Op. 3, No. 3: A New Path to the Art-Work
(Robert Winter) TII:154
of the Future? X:135
Champfleury-—Richard Wagner and After
“Breakthrough” as Critique of Form: The
the Battle (trans. and intro. Palomba
Finale of Mahler’s First Symphony
Paves-Yashinsky) XIII:18
(James Buhler) XX:125
Charlton, David—Revival or Survival?
Briscoe, James, R.—Debussy d’aprés Debussy:
(Performers and Instruments) 11:159
The Further Resonance of Two Early
Mélodies V:110 —see Reviews (Montgrédien)
Brodbeck, David L., with John Platoff— Charpentier’s Operatic “Roman Musical”
Dissociation and Integration: The First as Read in the Wake of the Dreyfus Affair
Movement of Beethoven’s Opus 130 (Jane P. Fulcher) XVI:161
(Rehearing) Cherlin, Michael—see Reviews (Frisch)
—see Reviews (Finson) Chez Pétrouchka: Harmony and Tonality
Brown, Malcolm—Skriabin and Russian chez Stravinsky (Richard Taruskin) X:265
“Mystic” Symbolism Chopin, Prelude in A Minor, Op. 28, No. 2
Brown, Marshall—see Reviews (Daverio) (Rehearing) (Michael R. Rogers) IV:244
Brown, Matthew and Roger Parker—Ancora Choral Symphony by Brahms?, A
un bacio: Three Scenes from Verdi's (Christopher Reynolds) IX:3
Otello (Rehearing) Citron, Marcia J.—see Reviews (Crum)
Broyles, Michael—Beethoven, Symphony Clapham, John—Dvo74k on the American
No. 8 (Rehearing) Scene V:16
302
Clara Schumann’s Recitals, 1832-50 Conati, Marcello—Between Past and Future:
(Performers and Instruments} The Dramatic World of Rossini in Mosé in
(Pamela Susskind Pettler) IV:70 Egitto and Moise et Pharaon IV:32
Clark, John W.—Divine Mysteries: On Some Concerts de l’Opéra 1895-97: New Music at
Skriabin Recordings (Performers and the Monument Garnier, The
Instruments) VI:264 (Elinor Olin) XVI:253
Claude Debussy to Claudius and Gustave Cone, Edward T.—Beethoven’s Orpheus—
Popelin: Nine Unpublished Letters or Jander’s? (Viewpoint) VIII:283
(Margaret G. Cobb) XIII:39
——Berlioz’s Divine Comedy: The Grande
Close Readings of the Heard Kind Messe des morts IV:3
(Joseph Kerman) XVII:209
—Schubert’s Promissory Note: An Exercise
Cobb, Margaret G.—Claude Debussy to in Musical Hermeneutics V:233
Claudius and Gustave Popelin: Nine
—Schubert’s Unfinished Business VII:222
Unpublished Letters XIII:39
Constructing a Victorian Schubert: Music,
Coe, Doug—The Original Production Book
Biography, and Cultural Values
for Otello: An Introduction 11:148
(David Gramit) XVII:65
Cohen, H. Robert—Introduction to Special
Constructing Nuremberg: Typological and
Issue: French Archives VII:99
Proleptic Communities in Die
——tThe Nineteenth-Century French Press Meistersinger (Arthur Groos) XVI:18
and the Music Historian: Archival Sources
Cook, Nicholas—Liszt’s Second Thoughts:
and Bibliographical Resources VII:136
Liebestraum No. 2 and Its Relatives
Coherence and Diversity in the Symphonie
(Rehearing) XII:163
fantastique (Paul Banks) VIII:37
Cooper, John Michael—Ab”er eben dieser
Cohn, Richard L.—The Dramatization of
Zweifel”: A New Look at Mendelssohn’s
Hypermetric Conflicts in the Scherzo of
“Italian” Symphony XV:169
Beethoven’s Ninth Symphony XV:188
Coren, Daniel—The Texts of Wagner’s Der
Comment & Chronicle 1:90, 186, 280
junge Siegfried and Siegfried VI:17
11:88, 192, 284
11:90, 186, 280 Correll Roesner, Linda—see Roesner
IV:80, 184, 281 Counterpoint
V:90, 183, 277 Allan W. Atlas and Roger Parker XV:229
VI:92, 181, 276 Scott Burnham and Lawrence Kramer XVI:70, 76
VII:90, 178, 189
Covach, John—The Sources of Schoenberg’s
VIII:84, 181, 287
“Aesthetic Theology” XIX:252
IX:78, 156, 253
X:89, 200, 293 Cranna, Clifford—see Reviews (Rossini)
XI:105, 197, 295 Creatio ex nihilo: The Genesis, Structure,
XII:90, 190, 263 and Meaning of the Rheingold Prelude
XIII:73, 179, 273 (Warren Darcy) XIII:79
XIV:95, 217, 303 Criticism, Faith, and the Idee: A. B. Marx’s
XV:91, 166, 255 Early Reception of Beethoven
XVI:100, 224, 303 (Scott Burnham) XIII:183
XVII:102, 207, 294
Criticism of Analysis and the Analysis of
XVIII:83, 186, 304
Criticism, The (Scott Burnham)
XIX:112, 212, 286
(Counterpoint) (with Lawrence Kramer) XVI:70
XX:96, 202, 298
Criticizing Criticism, Analyzing Analysis
Commentary
{Lawrence Kramer) (Counterpoint)
Agawu, Kofi V. XVII:79
(with Scott Burnham)
McClary, Susan XVII:83
Webster, James XVII:89 Crocker, Richard—Viewpoint
Winter, Robert S. XVII:94 Crossed Stars and Crossed Tonal Areas in
Composer as Poet in Das Lied von der Erde, Puccini’s Madama Butterfly
The (Arthur B. Wenk) 1:33 (Allan W. Atlas)
Crutchfield, Will—Vocal Ornamentation in DeFotis, William—Mozart, Quartet in C,
Verdi: The Phonographic Evidence VII:3 K. 465 (Rehearing) VI:31
Democratic Leitmotivs in the American
Reception of Wagner (Burton W. Peretti) XIII:28
Dahlhaus, Carl—Neo-Romanticism III:97
Dideriksen, Gabriella and Matthew Ringel—
——see Recollections
Frederick Gye and “The Dreadful Business
——see Reviews (Plantinga)
of Opera Management” XIX:3
Dahlhaus Project and Its Extra-musicological
Di Grazia, Donna M.—Liszt and Carolyne
Sources, The (James Hepokoski) XIV:221
Sayn-Wittgenstein: New Documents
Daitz, Mimi Segal—Grieg and Bréville: on the Wedding That Wasn’t XII:148
“Nous parlons alors de la jeune école
Dissociation and Integration: The First
francaise .. .” 1:233
Movement of Beethoven’s Opus 130
——Pierre de Bréville (1861-1949) V:24 (Rehearing) (David L. Brodbeck
Dallapiccola, Luigi—Reflections on Three with John Platoff) VII:149
Verdi Operas VII:55 Divine Mysteries: On Some Skriabin
Dangerous Liaisons: The Literary Text in Recordings (Performers and Instruments)
Musical Criticism (Lawrence Kramer) (John W. Clark) VI:264
(Viewpoint) XI:159 Domling, Wolfgang—Reuniting the Arts:
Notes on the History of an Idea (trans.
Danuser, Hermann—Musical Manifestations
Juliane Brand and Christopher Hailey) | XVIII:3
of the End in Wagner and in Post-
Wagnerian Weltanschauungsmusik |trans. Double Perspective in Beethoven’s Opus 131,
Juliane Brand and Christopher Hailey} XVIII:64 The (Amanda Glauert) IV:113
Darcy, Warren—Creatio ex nihilo: The Double Trajectory: Ambiguity in Brahms
Genesis, Structure, and Meaning of the and Henry James, The
Rheingold Prelude XIII:79 (Roland Jordan and Emma Kafalenos) _—_XIII:129
Date of Bruckner’s “Nullified” Symphony Drabkin, William—Viewpoint 11:274
in D Minor, The (Paul Hawkshaw) VI:252 Dramatic Recapitulation in Wagner’s
Gotterddmmerung (William Kinderman) IV:101
Dating the “Labitte Catalogue” of Berlioz’s
Works (Kent W. Werth) 1:137 Dramatization of Hypermetric Conflicts in
the Scherzo of Beethoven’s Ninth
Daverio, John—Schumann’s “Im
Symphony, The (Richard L. Cohn) XV:188
Legendenton” and Friedrich Schlegel’s
Arabeske X1:150 Diirr, Walther—Schubert and Johann
Michael Vogl: A Reappraisal II:126
——-see Reviews (Bozarth) (Hertz)
Dvorak on the American Scene
Dean, Winton—see Reviews (Noske)
(John Clapham) V:16
Deathridge, John—see Reviews (Adorno; Dvorak’s “New World” Largo and The Song
Burbridge and Sutton; DiGaetani; Sessa; of Hiawatha (Michael Beckerman) XVI:35
Westernhagen)
Debussy and the Pre-Raphaelites
Ealy, George Thomas—Of Ear Trumpets and
(Richard Langham Smith)
a Resonance Plate: Early Hearing Aids
Debussy d’aprés Debussy: The Further and Beethoven's Hearing Perception XVII:262
Resonance of Two Early Mélodies Early Styles of Charles Ives, The
(James R. Briscoe) V:110 (Lawrence Starr) VII:71
Debussy, Jeux: Playing with Time and Form Early Symphonic Prelude by Mahler?, An
(Rehearing) (Jann Pasler) VI:60 (Paul Banks) Til:141
Debussy, Wagner, and Some Others Echo, the Cry, the Death of Lovers, The
(William W. Austin) (Viewpoint) VI:82 (Katherine Bergeron) XVIII:136
Decadence and Desire: The Wilhelm Meister 1889 Version of Mahler’s First Symphony:
Songs of Wolf and Schubert A New Manuscript Source, The
{Lawrence Kramer) X:229 (Stephen McClatchie)
304
“Ein hypermoderner Dirigent”: Mahler and Franck’s Organ Music and Its Legacy
Anti-Semitism in Fin-de-siécle Vienna (Lawrence Archbold) (Performers and
(K. M. Knittel) XVII:257 Instruments) XII:54
Elgar’s Prize Song: Quotation and Allusion Franz Liszt and the Legacy of the Classical
in the Second Symphony (Allen Gimbel) XII:231 Era (Detlef Altenburg) (trans. Juliane
Elkus, Jonathan—see Reviews (Bierley; Fennell) Brand and Christopher Hailey) XVIII:46
Franz Schubert and the Peacocks of
Emperor’s New Clothes: Nineteenth-Century
Benvenuto Cellini (Maynard Solomon)
Instruments Revisited, The
(Performers and Instruments} XII:193
(Robert Winter) VII:251
Frederick, Edmund M.—The “Romantic”
Erickson, Susan E.—see Reviews
Sound in Four Pianos of Chopin’s Era
(Women Composers)
(Performers and Instruments) TII:150
Everist, Mark—Giacomo Meyerbeer, the
Frederick Gye and “The Dreadful Business of
Theatre Royal de l’Odeon, and Music
Opera Management” (Gabriella Dideriksen
Drama in Restoration Paris XVII:124
and Matthew Ringel) XIX:3
Evidon, Richard—see Reviews |New Grove) Frei aber Froh: A Reconsideration
(Michael Musgrave) TI:251
French, Richard—see Reviews (Thomson)
Fairtile, Linda B.—Verdi’s First “Willow
French Archives, Introduction to Special Issue
Song”: Sketches and Drafts for Otello XIX:213
(H. Robert Cohen) VII:99
Farewell Story of Mahler’s Ninth Symphony,
Friedheim, Philip—Wagner and the Aesthetics
The (Vera Micznik) XX:144
of the Scream VII:63
Ferdinand Ries (1784-1838): The History of
Friedland, Bea—see Reviews (Hagan; Locke)
His Contribution to Beethoven Biography
Frisch, Walter—Brahms and Schubring:
(Alan Tyson) VII:209
Musical Criticism and Politics at
Finale of Brahms’s Fourth Symphony: The Mid-Century VII:271
Tale of the Subject, The (Raymond Knapp) XIII:3
—Brahms, Developing Variation, and the
Fink, Robert—Rhythm and Text Setting in Schoenberg Critical Tradition V:215
The Mikado XIV:31
——see Reviews (Leonard B. Meyer] (Shaw)
First Mefistofele, The (Jay Nicolaisen) 1:221 Frogley, Alain—The Newport Music Festival
First Movement of Chopin’s Sonata in (Performers and Instruments) VI:269
Bb Minor, Op. 35, The (Charles Rosen) From Gretchen to Tristan: The Changing
(Rehearing) XIV:60 Role of Harmonic Sequences in the
First Published Edition of Anton Bruckner’s Nineteenth Century (Richard Bass) XIX:263
Fourth Symphony: Collaboration and Fulcher, Jane P—Charpentier’s Operatic
Authenticity, The “Roman Musical” as Read in the Wake
(Benjamin Marcus Korstvedt) XX:3 of the Dreyfus Affair XVI:161
Florestan, Eusebius, Clara, and Schumann’s Functional Differentiation of Harmonic and
Right Hand (Peter F. Ostwald) IV:17 Transpositional Patterns in Liszt’s
Consolation No. 4, The
Floyd, Samuel A., Jr—A Black Musician in
Nineteenth-Century St. Louis IV:121 (Marianne Kielian-Gilbert) XIV:48
Form of Chopin’s Ballade, Op. 23, The
(Karol Berger) XX:46 G} 3( Hugh Macdonald) XI:221
Formulaic Openings in Debussy Giacomo Meyerbeer, the Theatre Royal de
(James Hepokoski) VIII:44 ‘Odeon, and Music Drama in Restoration
Forte, Allen—Liszt’s Experimental Idiom and Paris (Mark Everist) XVII:124
Music of the Early Twentieth Century X:209 Gibbs, Christopher H.—“Komm, geh’ mit
——NMiiddleground Motives in the Adagietto mir”: Schubert’s Uncanny Erlk6énig XIX:115
of Mahler’s Fifth Symphony VIII: 153 Gilliam, Bryan—Strauss’s Preliminary Opera
Four Preludes Ascribed to Yulian Skriabin Sketches: Thematic Fragments and
(John Rodgers) VI1:213 Symphonic Continuity IX:176
305
——tThe Two Versions of Bruckner’s Eighth Gustave Charpentier and the Conservatoire
Symphony (Rehearing) XVI:59 Populaire de Mimi Pinson
— see Reviews (Schuh) (Mary Ellen Poole) XX:231
Gimbel, Allen—Elgar’s Prize Song: Quotation
and Allusion in the Second Symphony —_ XII:231
Haar, James—Berlioz and the “First” Opera __III:32
Glance at the Archives of Some Parisian
Orchestral Societies, A Hailey, Christopher, trans.—see Altenburg,
(Elisabeth Bernard} VII: 104 Danuser, Démling, Krummacher, Schubert
Glauert, Amanda—The Double Perspective Hallmark, Rufus—The Riickert Lieder of
in Beethoven’s Opus 131 IV:113 Robert and Clara Schumann XIV:3
Glinka’s Ambiguous Legacy and the Birth —The Sketches for Dichterliebe 1:110
Pangs of Russian Opera (Richard Taruskin) 1:142 Hamao, Fusako—The Sources of the Texts in
Goldberger, David—An Unexpected New Mahler’s Lied von der Erde XIX:83
Source for Schubert’s A-Minor Sonata, Hancock, Virginia—Brahms’s Performances
D. 845 VI:3 of Early Choral Music VIII:125
Goldschmidt, Harry with Robert Winter— Harwood, Gregory W.—Verdi’s Reform of the
Viewpoint IX:70 Italian Opera Orchestra X:108
Gossett, Philip—Carl Dahlhaus and the Hatch, Christopher—see Reviews (Dahlhaus}
“Ideal Type” (Viewpoint) XIII:49 — see Reviews (Ringer)
—The Overtures of Rossini III:3 Hauer, Stanley R.—Wagner and the Vélospdé XV:52
Gradus ad Parnassum: Beethoven, Schubert, Hawkshaw, Paul—The Date of Bruckner’s
and the Romance of Counterpoint “Nullified” Symphony in D Minor VI:252
(Richard Kramer) XI:107
Haydn’s Chaos, Schenker’s Order; or
Gramit, David—Constructing a Victorian Hermeneutics and Musical Analysis:
Schubert: Music, Biography, and Cultural Can They Mix? (Lawrence Kramer) XVI:3
Values XVII:65
Heartz, Daniel—Mozart’s Sense for Nature XV:107
Grayson, David—see Reviews (Debussy)
Hefling, Stephen E—Mahler’s “Todtenfeier”
Great Warum: Job, Christ, and Bach in a and the Problem of Program Music XII:27
Brahms’s Motet, The
Heinrich Schenker as an Interpreter of
(Daniel Beller-McKenna) XIX:231
Beethoven’s Piano Sonatas
Greenspan, Charlotte—Nyiregyhazi’s Liszt (William Rothstein) VIII:3
(Performers and Instruments) III:72
Henry Meiggs: Maverick Entrepreneur
—see Reviews (Bushnell) (Vera Brodsky Lawrence) IX:27
Greenwald, Helen M.—Verdi’s Patriarch Hepokoski, James—The Dahlhaus Project
and Puccini’s Matriarch: “Through the and Its Extra-musicological Sources XIV:221
Looking-Glass and What Puccini Found
—Formulaic Openings in Debussy VIII:44
There” XVII:220
—vVerdi, Giuseppina Pasqua, and the
Grey, Thomas $.—Wagner, the Overture, and
Composition of Falstaff TII:239
the Aesthetics of Musical Form XII:3
— see Reviews (Gossett)
— see Reviews (Wallace) (Tusa)
Grieg and Bréville: “Nous parlons alors de la Higgins, Paula—Women in Music, Feminist
jeune école frangaise .. .” Criticism, and Guerrilla Musicology:
(Mimi Segal Daitz) Reflections on Recent Polemics XVIL174
Groos, Arthur—Back to the Future: Higgins, Thomas—Whose Chopin?
Hermeneutic Fantasies in Der fliegende (Performers and Instruments) V:67
Hollander XIX:191 Historical Structure: Adorno’s “French” Model
— Constructing Nuremberg: Typological for the Criticism of Nineteenth-Century
and Proleptic Communities in Die Music, The (Rose R. Subotnik) 11:36
Meistersinger History, Criticism, and Beethoven’s Ninth
Grout, Donald J.—see Reviews (Dent) Symphony (Leo Treitler) I1I:193
306
Hoffmann, E. T. A—Johannes Kreisler’s Jensen, Eric Frederick—Liszt, Nerval, and
Certificate of Apprenticeship Faust VI:151
(trans. Max Knight) V:189
——see Reviews (Merrick)
Holoman, D. Kern—Arthur Mendel
Johannes Kreisler’s Certificate of
(1905-79) (Recollections) III:278
Apprenticeship (E. T. A. Hoffmann,
—tThe Berlioz Sketchbook Recovered VII:282 trans. Max Knight) V:189
——Orchestral Material from the Library Johnson, Douglas—Beethoven Scholars and
of the Société des Concerts VII: 106 Beethoven Sketches 11:3
—wWagner’s Ring in Andrew Porter’s English ——Viewpoint 11:276
(Performers and Instruments) 1:62 —see Reviews (Deathridge)
Horowitz, Joseph—see Reviews (Schabas)
Johnson, James H.—Beethoven and the Birth of
How the Acorn Took Root: A Tale of Russia Romantic Musical Experience in France XV:23
(Richard Taruskin}) VI:189 — see Reviews (Smart)
Huebner, Steven—Between Anarchism and Johnson, Julian—The Status of the Subject
the Box Office: Gustave Charpentier’s in Mahler’s Ninth Symphony XVIII:108
Louise XIX:136
Jordan, Roland, and Emma Kafalenos— The
——see Reviews (Gerhard) Double Trajectory: Ambiguity in Brahms
Hyer, Brian—see Reviews (Rothfarb) and Henry James XIII:129
Kafalenos, Emma—see Jordan, Roland
“Im Legendenton”: Schumann’s “Unsung
Voice” (Nicholas Marston) XVI:227 Kallberg, Jeffrey—The Rhetoric of Genre:
Chopin’s Nocturne in G Minor
In and About a Few Measures of Beethoven
(Rehearing) (Edgar Warren Williams, Jr.) VII:143 —see Reviews (Atwood; Dussek;
Hummel; Kobylanska)
In Search of Czechness in Music (Michael
Beckerman) (Viewpoint) X:61 Kaplan, Richard—Sonata Form in the
Orchestral Works of Liszt: The
Influence: Plagiarism and Inspiration
Revolutionary Reconsidered VIII:142
(Charles Rosen} IV:87
Karlinsky, Simon—Russian Comic Opera
Introduction to Special Issue: French
in the Age of Catherine the Great VII:318
Archives (H. Robert Cohen) VII:99
——-Stravinsky and Russian Pre-literate
Invoking Motives and Immediacy: Foils and
Theater VI:232
Contexts for Pieter C. van den Toorn’s
Music, Politics, and the Academy Keiler, Allan—Liszt and Beethoven: The
(Marianne Kielian-Gilbert) XX:253 Creation of a Personal Myth XII:116
Italian Romanticism and Italian Opera: An Kerman, Joseph—Bibliography VII:189
Essay in Their Affinities (Gary Tomlinson) X:43 —Carl Dahlhaus, 1928-1989
Ives and Mahler: Mutual Responses at the (Recollections) XIII:57
End of an Era (Robert P. Morgan) II:72 ——Close Readings of the Heard Kind XVII:209
——TI Lombardi in San Diego (Performers
and Instruments) TI:259
Jackson, Timothy L.—Bruckner’s Metrical
— Sketch Studies (Viewpoint) VI:174
Numbers XIV:101
—see Reviews |New Grove}
Jander, Owen—Beethoven’s “Orpheus in
Hades”: The Andante con moto of the ——vViewpoint 11:186
Fourth Piano Concerto VIII:195 Key for Chi? Tonal Areas in Puccini, A
{Allan W. Atlas) (Counterpoint)
——Orpheus Revisited: A Ten-Year Retrospect
(with Roger Parker) XV:229
on the Andante con moto of Beethoven’s
Fourth Piano Concerto XIX:31 Key Relations in Verdi’s Un Ballo in maschera
(Siegmund Levarie) 11:143
Javanese Influence on Debussy’s Fantaisie and
Beyond (Richard Mueller) X:157 Kidd, James C.—see Reviews (Orledge}
Kielian-Gilbert, Marianne—The Functional —Gradus ad Parnassum: Beethoven,
Differentiation of Harmonic and Schubert, and the Romance of
Transpositional Patterns in Liszt’s Counterpoint XI:107
Consolation No. 4 XIV:48
—Schubert’s Heine VIll:213
——lInvoking Motives and Immediacy: Foils
— see Reviews (Beethoven) (Schubert)
and Contexts for Pieter C. van den Toorn’s
Kross, Siegfried—Brahms and
Music, Politics, and the Academy XX:253
E. T. A. Hoffmann
Kinderman, William—Bayreuth 1983
(Performers and Instruments} VIII:60 Krummacher, Friedhelm—Reception and
Analysis: On the Brahms Quartets,
—Beethoven’s Symbol for the Deity in the
Op. 51, Nos. 1 and 2 (trans. Juliane Brand
Missa solemnis and the Ninth Symphony IX:102
and Christopher Hailey) XVIII:24
——Dramatic Recapitulation in Wagner's
Kurth’s Bruckner and the Adagio of the
Gotterd4mmerung IV:101
Seventh Symphony (Stephen Parkany) XI:262
——see Reviews (Mellers) (Newman) (Uhde
and Wieland)
Langham Smith, Richard—Debussy and the
Kingdom Not of This World: The Political
Pre-Raphaelites V:95
Context of E. T. A. Hoffmann’s Beethoven
Criticism, A (Stephen Rumph) XIX:50 Laster, Arnaud—see Reviews (Wenk)
Knapp, Raymond—The Finale of Brahms’s Late Skriabin: Some Principles Behind the
Fourth Symphony: The Tale of the Subject XIII:3 Style (Jay Reise) VI1:220
Knight, Max, trans.—see Hoffmann, E. T. A. Lawrence, Vera Brodsky—Henry Meiggs:
Maverick Entrepreneur IX:27
Knittel, K. M.—”Ein hypermoderner
Dirigent”: Mahler and Anti-Semitism —AMr. Hewitt Lays It on the Line V:3
in Fin-de-siécle Vienna XVIII:257 Lawton, David—On the “Bacio” Theme in
“Komm, geh’ mit mir”: Schubert’s Uncanny Otello EZ
Erlk6nig (Christopher H. Gibbs) XIX:115 — see Reviews (Hepokoski)
Kopelson, Kevin—see Reviews (Koestenbaum) Leitmotiv in Russia: Glinka’s Use of the
Korstvedt, Benjamin Marcus—The First Whole-Tone Scale (Mary S. Woodside)
Published Edition of Anton Bruckner’s (Rehearing) XIV:67
Fourth Symphony: Collaboration and Lenneberg, Hans—see Reviews
Authenticity (Allen; Ostwald)
Kramer, Lawrence—Criticizing Criticism,
Leppert, Richard—Sexual Identity, Death,
Analyzing Analysis (Counterpoint)
and the Family Piano XVI:105
(with Scott Burnham) XVI:76
Lester, Joel—Robert Schumann and Sonata
——Dangerous Liaisons: The Literary Text
Forms XVIII:189
in Musical Criticism (Viewpoint) XIII:159
Levarie, Siegmund—Key Relations in Verdi’s
—Decadence and Desire: The Wilhelm
Un Ballo in maschera 11:143
Meister Songs of Wolf and Schubert X:229
——Viewpoint III:88
——Haydn’s Chaos, Schenker’s Order; or
Hermeneutics and Musical Analysis: Can Levels of Motivic Definition in Verdi’s Ernani
They Mix? XVI:3 (Roger Parker) VI:141
—tThe Mirror of Tonality: Transitional Levine, Lawrence W.—see Reviews (Lawrence)
Features of Nineteenth-Century Harmony IV:191 Levy, David B.—Thomas Massa Alsager, Esq.:
—Romantic Meaning in Chopin’s Prelude A Beethoven Advocate in London IX:119
in A Minor (Rehearing) IX:145 — see Reviews (Jacobs)
——see Reviews (Abbate) (Schorske; Wallace) Lewin, David—Amfortas’s Prayer to Titurel
Kramer, Richard—Against Recycling and the Role of D in Parsifal:
(Viewpoint) XX:185 The Tonal Spaces of the Drama and the
—Cadenza Contra Text: Mozart in Enharmonic C)/B VII:336
Beethoven’s Hands XV:116 ——Auf dem Flusse: Image and Background
308