Research in Musicology

Alistair Wightman
Religious Elements in Young Poland Music

Michael Murphy
The Actuality of Karłowicz’s Artistic Authenticity and Authority

Luca Sala
«What Has Already Been Will Return No More». «Bianca da Molena» by Mieczysław Karłowicz: A Test of Musical Theater

Graham Pont

Reminiscences of «Rinaldo»: The Keyboard Transcriptions of «Vo' far guerra

Fabrizio Ammetto

Análisis técnico-instrumental y de la praxis ejecutiva en los conciertos para dos violines de Vivaldi

Renato Ricco

La produzione violinistica di Giuseppe Paolo Ghebart

Beverly Jerold

Eighteenth-Century Stringed Keyboard Instruments from a Performance Perspective

Massimiliano Sala

Four Unpublished Letters by G. B. Viotti

Francesco Esposito

Controllo monopolistico e strategie protosindacali: le iniziative dell'Irmandade de Santa Cecília nella Lisbona liberale (1833-1853)

Barry Cooper

The Two — or Two Dozen — Finales for Beethoven's Quartet Opus 130

David Chapman

Tuning Variations as a Guide to Bass-Line Instrumentation in the Orchestral and Solo Literature for the Eighteenth-Century Contrabass Violon

Serguei N. Prozhoguin

Cinque Studi su Domenico Scarlatti

Marie Sumner Lott

Negotiation Tactics in Louise Farrenc’s Piano Quintets, Opp. 30 and 31 (1839-40)

Fabrizio Ammetto

Un concierto para dos violines de Vivaldi en una colección antológica del siglo XVIII: ¿cuán atendible es el texto musical en la fuente del RV 513?

Vanda de Sá Silva

Avondano’s Lisbon Minuets, the Establishment of a Cosmopolitan Model

Wolfgang Sawodny

Der Lyoner Musikverlag Guera. Addenda und Corrigenda zu A. Peter Browns und Richard Griscoms Monographie «The French Music Publisher Guéra of Lyon» (Detroit 1987)

R. Larry Todd
Mendelssohn Reception and Us: Reflections on the Bicentenary
John Michael Cooper
Mendelssohn's Fugues for String Quartet (1821)
Rohan H. Stewart-MacDonald
Developmental Recession' and Large-Scale Teleology in the Sonata-Type Movements of Felix Mendelssohn Bartholdy
Benedict Taylor
Beyond Good and Programmatic: Mendelssohn's 'Reformation' Symphony
Nancy November
Off-String Bowing in Beethoven: Re-examining the Evidence
Graham Pont
«Viva il caro Sassone»: Handel's Conquest of Italy at the Keyboard

Floyd Grave
Galant Style, Enlightenment, and the Paths from Minor to Major in Later Instrumental Works by Haydn
Balázs Mikusi
Haydn's «Requiem for Mozart»? Revisiting the Slow Movement of Symphony No. 98
Stéphanie Moraly
Aux sources d'un Âge d'Or. La Sonate pour violon et piano en France au xixe siècle
João Pedro d'Alvarenga
Some Preliminaries in Approaching Carlos Seixas' Keyboard Sonatas
Dillon R. Parmer - Nicole Grimes
«Come, Rise to Higher Spheres!». Tradition Transcended in Brahms's Violin Sonata No. 1 in G Major, Op. 78

Beverly Jerold
The Tromba and Corno in Bach's Time
Anatole Leikin
Thematic Rapprochement in the Recapitulations of Haydn, Mozart, and Beethoven
Rohan H. Stewart-MacDonald
The Treatment of the Sonata Principle and the Cultivation of 'Cyclic' Processes in the Symphonies of Sir Charles Villiers Stanford (1852-1924)

John Irving
Listening again and again: Mozart's Music in Niemetschek's 'Life'
Martin Eybl
From Court to Public: The Uses of Keyboard Concertos in Austria 1750-1770
Daniela Macchione
Gioachino Rossini: «Aria variata per il violino». Storia di un tema
Eduardo Lopes
Rhythm and Meter Compositional Tools in a Chopin's Waltz

Rohan H. Stewart-MacDonald
Clementi's Orchestral Works, Their Style and British Symphonism in the Nineteenth Century: S. Wesley, Crotch, Potter, MacFarren and Sterndale Bennett
Jeremy Eskenazi
Clementi's «Gradus ad Parnassum» on the Concert Stage
Stephan D. Lindeman
Continental Composers and their English Influence, as Manifested in the Piano Concertos of William Sterndale Bennett

Maiko Kawabata
Violinists 'Singing': Paganini, Operatic Voices, and Virtuosity
Walter Schenkman
Notes and Numbers in the «Goldberg»
Elio Matassi
«Musical Carpets»: Philosophy of the History of Music 'contra' the Sociology of Music

Walter Schenkman
Rethinking Diabelli's Waltz in Relation to Beethoven's Variations
Stephan D. Lindeman
An Insular World of Romantic Isolation: Harmonic Digressions in the Early Nineteenth-Century Piano Concerto
Peter Holman
Early Music in Victorian England: The Case of the 1845 Concert
Keith Chapin
Classicist Terms of Sublimity: Christian Friedrich Michaelis, Fugue, and Fantasy

Alexandre Dratwicki
Les 'impressions de voyage', source d'inspiration pour les pensionnaires compositeurs de la Villa Médicis (1880-1910)
Chadwick Jenkins
Influence and Revolt: Mozart's 'Paris' Symphony, K. 297
Sion M. Honea
Christian Rummel's Suites for Military Band
Kordula Knaus
Adolf B. Marx, Ludwig van Beethoven und die «gendered sonata form»
Uri Golomb
Mendelssohn's Creative Response to late Beethoven: Polyphony and Thematic Identity in Mendelssohn's Quartet in A-major Op. 13

Rita Steblin
Anton Gräffer's Reminiscences of Paganini's Viennese Concert Tour of 1828
Susan Wollenberg
Master of her Art: Fanny Hensel (née Mendelssohn Bartholdy), 1805-1847
Benedict Taylor
The Problem of the 'Introduction' in Beethoven's Late Quartets
Germán Labrador
Música y vida cotidiana en la corte española (1760-1808): la afición musical de Carlos IV
Rohan H. Stewart-MacDonald
Elements of 'Through-composition' in the Violin Concertos Nos. 23 and 27 by Giovanni Battista Viotti
Derek Carew
Hummel's Op. 81: A Paradigm for Brahms' Op. 2?

Christian Speck
Über Zusammenhänge zwischen thematischer Arbeit und metrischer Reguliertheit des musikalischen Baus in der Streichquartett-komposition von Luigi Boccherini
Stefan Eckert
«[…] wherein good Taste, Order and Thoroughness rule». Hearing Riepel's Op. 1 Violin Concertos through Riepel's Theories
Renata Suchowiejko
Henryk Wieniawski in America
Guy Dammann
«Sonate, que me veux-tu?»: Jean-Jacques Rousseau and the Problem of Instrumental Music

Jarmila Gabrielová
Die Variation in den Orchesterwerken von Antonín Dvorák
Peter Holman
«A Solo on the Viola da Gamba»: Carl Friedrich Abel as a Performer
Hartmuth Kinzler
Chopins B-Moll-Sonate: Vier seiner tollsten Kinder – genetisch verwandt?
Bella Brover-Lubovsky
When the Dominant Doesn't Dominate: Tonal Structure in Vivaldi's Concertos
Michael Walter
Analyse und Wahrnehmungsperspektive am Beispiel von Mozarts Violinkonzert KV 218

James L. Zychowicz
Mahler's Instrumental «Entr'act» for «Die drei Pintos» and His Emerging Symphonic Style
Michele Calella
Gattung und Erwartung: Brahms, das Leipziger Gewandhaus und der Mißerfolg des Klavierkonzerts Op. 15
John Tyrrell
Janácek and Programme Music
Federico Maria Sardelli
Il flauto nell'Italia del primo Settecento, con cenni particolari a Vivaldi e Venezia

Adena Portowitz
The Recapitulation as Climax in the First Movements of Mozart's Early Concertos
Therese Ellsworth
Women Soloists and the Piano Concerto in Nineteenth-Century London
Antonio Cascelli
Schenker, Chopin's «Berceuse» Op. 57 and the Rhetoric of Variations
Jen-yen Chen
The Sachsen-Hildburghausen Kapelle and the Symphonies of Christoph Willibald Gluck
Ryszard Daniel Golianek
Three Previously Unknown Musical Pieces by Juliusz Zarebski

Barry Cooper
Subthematicism and Metaphor in Beethoven's Tenth Symphony
Hartmuth Kinzler
Themeninvention und ihre variative Ausarbeitung im 2. Satz von Schuberts A-Moll-Sonate Op. 42 (D 845)
Rohan H. Stewart-MacDonald
Canonic Passages in the Later Piano Sonatas of Muzio Clementi: Their Structural and Expressive Roles
Peter Niedermüller
Soziale und ästhetische Implikationen des öffentlichen Konzertlebens in Wien zu Beginn des neunzehnten Jahrhunderts
Paul Cienniwa
Unexpected Examples of Sonata Form: Claude-Bénigne Balbastre's 1759 «Pièces de clavecin, premier livre»