Chapter 9.2 Analysis of Form-building Transformations

Figure 9.7 Ludwig van Beethoven, Piano Sonata, Op. 2, No. 1, first movement, first phrase.
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Figure 9.8 Ludwig van Beethoven, Piano Sonata, Op. 2, No. 1, first movement, beginning of development.
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Figure 9.9 Leoš Janáček, String Quartet No. 1, inspired by Tolstoy’s Kreutzer Sonata, III. Con moto. Vivo. Andante
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Figure 9.10 Ludwig van Beethoven, Piano Sonata, Op. 2, No. 1, first movement, beginning.
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Figure 9.11 Johann Sebastian Bach, ‘Ihr aber seid nicht fleischlich’, Jesu, meine Freude, BWV 227.
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Figure 9.15 Simplification: Felix Mendelssohn Bartholdy, String Quartet, Op. 44, No. 1.
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Figure 9.16 Simplification: Gérard Grisey, Modulations.
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Figure 9.17 Complication: Ludvig van Beethoven, ‘Diabelli Variations’, Op. 120.
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Figure 9.18 Complication: Iannis Xenakis, Persephassa.
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Figure 9.19 Partitioning: Ludwig van Beethoven, Piano Sonata, Op. 2, No. 2.
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Figure 9.20 Partitioning: William Walton, Symphony No. 2.
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Figure 9.21 Integration: Franz Liszt, Eine Faust Symphonie, first movement.
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Figure 9.22 Integration: Alexander Vasilyevich Mosolov, Savod.
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Figure 9.23 Fragmentation: Carl Philipp Emanuel Bach, Keyboard Sonata in F-sharp minor, Wq 52/4, H37: No. 1.
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Figure 9.24 Fragmentation: Györgi Ligeti, Étude 3 (Book 1) ‘Touches bloquées’.
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Figure 9.25 Synthesis: Franz Liszt, Piano Sonata in B minor.
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Figure 9.26 Synthesis: Lasse Thoresen, Tradlarudl.
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Figure 9.27 Proliferation and collection: Johann Christian Bach, Sinfonia, Op. 18, No 1.
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Figure 9.28 Proliferation: Karlheinz Stockhausen, Gruppen (1).
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Figure 9.29 Collection: Witold Lutosławski, Paroles tissés.
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Figure 9.30 Fusion: Johann Sebastian Bach, ‘Omnes Generationes’ from Magnificat in D major.
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Figure 9.31 Fusion: Karlheinz Stockhausen, Gruppen (continued).
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Figure 9.32 Fission: Georg Friderich Händel, ‘All we like sheep’ from Messiah.
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Figure 9.33 Fission: Witold Lutosławski, Jeux vénitiens.
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Figure 9.34 Catabolism: Lasse Thoresen, Ovringar, ending.
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Figure 9.35 Anabolism: Lasse Thoresen, Ovringar, opening.
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Figure 9.36a Period: Mozart, Piano Sonata in A minor, KV 310, second movement; Sentence: Beethoven, Piano Sonata in C major, Op. 2, No. 2.
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Figure 9.37 Crystallisation: Ludwig van Beethoven, Symphony No. 9, first movement.
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Figure 9.39 Liquidation: Lasse Thoresen, Illuminations : Double Concerto for Two Violoncelli and Orchestra.
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Figure 9.40 Analysis of Wolfgang Amadeus Mozart, Piano Sonata in A minor, KV 310, first movement
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Figure 9.43 Leoš Janáček, String Quartet No. 1, inspired by Tolstoy’s Kreutzer Sonata, III. Con moto. Vivo. Andante
Musical extract used courtesy of Supraphon Logo
You can purchase other Škampa Quartet tracks here

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