Me 36 / 1971 Rose
Rosen, Charles: The classical style : Haydn, Mozart, Beethoven / Charles Rosen. – London : Faber and Faber, 1971. – 467 S. : zahlr. Notenbeisp.
ISBN/ISMN 0-571-09118-0
Inv.-Nr. 10598
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Me 36 / 1971 Rose 1984
Rosen, Charles: The classical style : Haydn, Mozart, Beethoven / Charles Rosen. – Reprint der revised edition 1976. – London ; Boston : Faber and Faber, 1984. – 467 S. : zahlr. Notenbeisp.
ISBN/ISMN 0-571-04905-2
Inv.-Nr. 85.176
Me 36 / 1971 Rose 1997
Rosen, Charles: The classical style : Haydn, Mozart, Beethoven / Charles Rosen. – Expanded edition. – New York ; London : W. W. Norton & Company, 1997. – XXX, 533 S. : zahlr. Notenbeisp. + CD
Kap. Beethoven erweitert um: Beethoven's late years and the conventions of his childhood. – Beiliegende CD enth.: Op. 110 und op. 106; Interpr.: Charles Rosen.
ISBN/ISMN 0-393-04020-8
Inv.-Nr. 98.605
Inhalt (grobe Übersicht): Preface. – I Introduction: 1. The musical language of the late eighteenth century. 2. Theories of form. 3. The origins of style. – II The classical style: 1. The coherence of the musical language. 2. Structure and ornament. – III Haydn from 1770 to the death of Mozart: 1. String quartet. 2. Symphony. – IV Serios opera. – V Mozart: 1. The concerto. 2. String quartet. 3. Comic opera. – VI Haydn after the death of Mozart: 1. The popular style. 2. Piano trio. 3. Church music. – VII Beethoven: 1. Beethoven: Beethoven and post-classical style. Beethoven and the Romantics. Substitutes for dominant-tonic relationship. Harmonic innovations of the Romantics. Beethoven and his contemporaries. G major piano concerto, creation of tension by tonic chord. Return to classical principles. "Eroica", proportions, codas, and repeats. "Waldstein", unity of texture and theme. "Appassionata" and unity of work. Romantic experiments in Beethoven C minor variations. Program music. "An die ferne Geliebte". Years 1813-1817. "Hammerklavier", intimate relation between large form and material. Role of descending thirds in construction of sequence. Sequential structure of development in "Hammerklavier". Relation to large key-sequence. Relation to thematic structure. A# vs. A. metronome and tempo. Change in style since op. 22. Scherzo. Slow movement. Introduction to finale. Fugue. Place of "Hammerklavier" in Beethoven's work. Transformation of variation form into classical form. Op. 111. Beethoven and the weight of musical proportions. – 2. Beethoven's later years and the conventions of his childhood: Beethoven's originality and the style of the 1770s. The cadential trill in op. 111. The traditional final trill in concerto cadenzas. The suspended afterbeat: Sonata op. 101. Conventional concerto figuration transferred to piano sonata. Two stereotypes of the 1770s: subdominant in the recapitulation, relative minor in the development. Subdominant transferred to coda. Convention and innovation: relativ minor in Mozart's K. 575 and "Coronation" concerto. Haydn's consistent use of the stereotype. Beethoven's naked display of the convention. Stereotype and inspiration in op. 106. The two conventions in op. 110. Integration and motivic alternation in op. 110. Integration in tempi. "Espressivo" and "rubato". Radical key relations and dramatic structure. Dramatization of the academic elements of fugue. Unity of tempo and the rhythmic notation of the finale. Beethoven's amiability. Pushing back the limits of contemporary style. Synthesis of 18th-century conventions of the variation set. Late Beethoven, 18th-century sociability, and the language of music. – Epilogue: Schumann's monument to Beethoven (C major fantasy). Return to Baroque. Change in tonal language. Schubert. His relation to classical style. Use of middle-period Beethoven as model. Classical principles in late Schubert. Classical style as archaism. – Index.
Me 36 / 1971 Rose 1999
Rosen, Charles: Der klassische Stil : Haydn, Mozart, Beethoven / Charles Rosen. Deutsch von Traute M. Marshall. – 3. Auflage, im Text ungekürzte Ausgabe. – Kassel ; Basel ; London ; New York ; Prag : Bärenreiter Verlag, 1999. – 526 S. : Notenbeisp.
Einheitstitel: The classical style
ISBN/ISMN 3-7618-1235-3
Inv.-Nr. 00.174
Inhalt von Kapitel VII. Beethoven: Beethoven und der nachklassische Stil. – Beethoven und die Romantiker. – Ersatz für die Dominant-Tonika-Beziehung. – Harmonische Neuerungen der Romantiker. – Beethoven und seine Zeitgenossen. – Klavierkonzert G, Spannungserzeugung durch Tonikadreiklang. – Rückkehr zu klassischen Prinzipien. – "Eroica", Proportionen, Kodas und Wiederholungen. – "Waldsteinsonate", Einheit von Satzweise und Thematik. – "Appassionata", Geschlossenheit des Werkes. – Romatische Experimente in Beethovens Variationen c. – Programmusik. – "An die ferne Geliebte". – 1813-1817. – "Hammerklaviersonate". – Enge Beziehung zwischen Großform und Material. – Funktion fallender Terzen für die Sequenzierung. – Sequenzenstruktur der Durchführung der "Hammerklaviersonate". – Beziehung zur übergreifenden Tonartenfolge. – Beziehung zur thematischen Struktur. – Ais oder A. – Metronom und Tempo. – Stilwechsel seit op. 22. – Scherzo. – Langsamer Satz. – Einleitung zum Finale. – Fuge. – Stellung der "Hammerklaviersonate" in Beethovens Schaffen. – Verwandlung der Variation zur klassischen Form. – op. 111. – Beethoven und das Gewicht musikalischer Proportionen