Style in Musical Art

By C. Hubert H. Bart Parry | Go to book overview

INDEX
Abergavenny MSS., 214
Ach Golgatha, from Matthäus Passion,274
Adieu, mes amours (Josquin), 28
Ahle, 168
Alberti bass, 194, 196
Alla Trinita Beata," 248
Analytical programmes, 317
Architecture and music, an analogy, 284
Arne, 157, 160
Arrangements, their shortcomings, 56
Art, advantages and disadvantages of the expansion of, 20
Authors and composers, a parallel, 262
Bach, J. C., 387
Bach, J. S., 67, 68, 70, 71, 75, 76, 79, 86, 121, 129, 134, 137, 154, 180, 191, 195, 200, 203, 221, 243, 264, 257, 263, 285, 324, 357, 366, 368, 377, 387
his style contrasted with Handel's, 11
influence of organ on his early violin sonatas, 49
a romanticist, 323, 328
his methods of colour, 78
his instrumentation, 76
texture of his work, 181
subjects of his fugues, 218, 219, 220
his use of figured bass, 187
his realism, 357
Capriccio on the departure of a beloved brother, 345, 358
Christmas Oratorio, 357
Chromatische Fantasie, 70, 329
Fantasia for Organ in G minor, 329
"Goldberg" variations, 121
Italian concerto, slow movement from, 274, 329
Mass in B minor,181, 183, 184
Matthäus Passion,134, 181, 292, 329, 358
Passion music, 77
Passions, 181, 329
Bach, J. S. (contd.)--
Toccata for Clavier in D minor, 275
Trauer Ode (1st), 358
Trauer Ode (2nd), 357
Wohltemperirtes Klavier, preludes from first half of, 70, 277
Wachet betet (Cantata), 357
Wahl des Hercules (Cantata), 357
Ach Golgatha," from Matthäus Passion,274
Cum sancto Spiritu," from B minor Mass,184
Du lieber Heiland Du," from Matthäus Passion,274
Erbarme dich, mein Gott," from Matthäus Passion,181
Passus et sepultus est," from B minor Mass,358, 371
Quoniam," from B minor Mass,181
Sanctus," from B minor Mass,15
Bach, Philipp Emanuel, 195, 222
subjects of his sonatas, 223
Ballet, in French music, 152, 161
Ballets and orchestral music, 126
Banchieri, 48
Bass, figured, 74, 80, 186, 193
Bassani, 222
Battell ( Byrd), 341
Battle of Malignano ( Jannequin), 340
Battle of Prague," 254
Battle piece ( Frescobaldi), 343, 369
Beethoven, 159, 165, 169, 171, 188, 195, 231, 257, 263, 303, 332, 361, 376, 387
and the classical sonata, 95
definiteness of his subjects intrinsic rather than formal, 233
different periods of his art, 255
his type of subject, 224
his use of fugue and variation forms, 169
his use of modulation in the Eroica Symphony,143
subjects from his sonatas, 233, 234
texture of his work, 199

-433-

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