Bach to Brahms

• IntroductionStrolling through a Haydn Divertimento with Two HeinrichsRitornelli or Soli: Which Did Mozart Write First in the Opening Movement of His Violin Concerto K. 207?Outer Form, Inner Form, and Other Musical Narratives in Beethoven's Opus 14, No. 2Temporal Poise and Oblique Dynamic in the First Movement of Beethoven's "Archduke" TrioChopin as an Interpreter of Mozart: The Variations Opus 2 and Don GiovanniThe First Movement of Brahms's Fourth Symphony Revisited: A Study of the Fanfare and the "Cloud of Mystery""Capricious Play": Veiled Cyclic Relations in Brahms's Ballades Op. 10 and Fantasies Op. 116Chopin's Study in SyncopationA Sharp Practice, A Natural Alternative: The Transition into the Recapitulation in the First Movement of Beethoven's "Hammerklavier" SonataErnst Oster's Vision of Hidden Repetitions and Motivic Enlargements in J. S. Bach's Short Keyboard WorksThe "Pseudo-Einsatz" in Two Handel Fugues: Heinrich Schenker's Analytical Work with Reinhard OppelFormal Fusion and Its Effect on Voice-Leading Structure: The First Movement of Beethoven's Opus 132 RevisitedIndistinct Formal Functions and Conflicting Temporal Processes in the Second Movement of Brahms's Third SymphonyThe Interaction of Structure and Design in the Opening Movements of Schubert's Piano Trios in B-flat Major (D. 898) and E-flat Major (D. 929)The Suspenseful Structure of Brahms's C-Major Capriccio, Op. 76, No. 8: A Schenkerian HearingList of ContributorsIndex

WINNER of the 2016 Outstanding Multi-Author Publication Award