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  • Open Daily: 10am - 10pm
    Alley-side Pickup: 10am - 7pm

    3038 Hennepin Ave Minneapolis, MN
    612-822-4611

Open Daily: 10am - 10pm | Alley-side Pickup: 10am - 7pm
3038 Hennepin Ave Minneapolis, MN
612-822-4611
Beethoven's Tempest Sonata (First Movement): Five Annotated Analyses for Performers and Scholars

Beethoven's Tempest Sonata (First Movement): Five Annotated Analyses for Performers and Scholars

Bergé, P.

Hardcover

Classical MusicMusic Reference

Currently unavailable to order

ISBN10: 9042926392
ISBN13: 9789042926394
Publisher: Peeters
Published: Apr 11 2012
Pages: 209
Weight: 2.02
Height: 0.80 Width: 11.80 Depth: 8.50
Language: English
This book contains five graphic analyses of the opening movement of Beethoven's sonata Op. 31/2. The analyses are based on essays published in Beethoven's Tempest Sonata: Perspectives on Analysis and Performance, edited by Pieter Bergé, William E. Caplin, and Jeroen D'hoe (Leuven, 2009). While the earlier collection was conceived for an academic readership, the present volume, by contrast, is intended primarily for practical musicians. The musical score itself accordingly serves as the point of departure, with analytical remarks introduced at the moment at which the relevant music appears. In so doing, this book aims to offer performers analytical insights within the familiar context of sitting at the piano, and following the chronology of the musical process itself. Five different analytical perspectives are presented: motivic (Pieter Bergé and Jeroen D'hoe); Schenkerian (Poundie Burstein); form-functional (William E. Caplin); sonata-theory (James Hepokoski); and metrical (William Rothstein). This book contains five graphic analyses of the opening movement of Beethoven's sonata Op. 31/2. The analyses are based on essays published in Beethoven's Tempest Sonata: Perspectives on Analysis and Performance, edited by Pieter Bergé, William E. Caplin, and Jeroen D'hoe (Leuven, 2009). While the earlier collection was conceived primarily for an academic readership, the present volume is also intended for practical musicians. The musical score itself accordingly serves as the point of departure, with analytical remarks introduced at the moment at which the relevant music appears. In so doing, this book aims to offer performers analytical insights within the familiar context of sitting at the piano, and following the chronology of the musical process itself. Five different analytical perspectives are presented: motivic (Pieter Bergé and Jeroen D'hoe); Schenkerian (Poundie Burstein); form-functional (William E. Caplin); sonata-theory (James Hepokoski); and metrical (William Rothstein).

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