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Most items within this small but important category involve alternatives to sonata form among the finales. Examples include the three fugues of Op. 20 (Nos. 2, 5, and 6) and that of Op. 50 (No. 4), as well as a number of rondo and rondo-related forms, beginning with three straightforward instances in Op. 33 (Nos. 2, 3, and 4) and including later hybrid forms that mix rondo elements with those of sonata, variation, or fugue. Other, less easily categorized designs include the “Capriccio” of Op. 20/2, which parodies mannerisms of serious opera; forms such as the slow movement of Op. 33/2, which alludes to various formal conventions without lapsing into any standard scheme; and several slow movements (those of Opp. 33/5, 50/2, and 55/1) whose form resembles that of an aria or solo concerto movement, with opening, central, and closing ritornellos, and (in the Op. 33 and 55 instances) notated cadenzas as well.

Warsaw's music bookstores provided access to a fount of musical knowledge through the repertory printed locally and through imported publications. Through the publication of fashionable musical genres associated with opera and the salon, local printers provided Chopin with the repertory that served as the basis for the formation of his idiomatic musical vocabulary. This chapter includes a brief history of music publishing in Warsaw and detailed descriptions of favored instrumental repertories — mazurkas, polonaises, waltzes, variations, rondos, and fantasias. Vocal repertories published in Warsaw include operatic excerpts, salon romances, sacred music, as well as popular and patriotic songs. The chapter makes connections between these publications and Chopin's early and later compositions.

This chapter considers all of Mozart's variations sets, beginning with his Eight Variations on a Dutch song, K. 24, and ending with late sets such as the “Duport” Variations, K. 573, and the Eight Variations on “Ein Weib ist das herrlichste Ding”, K. 613. Improvisatory elements and structural features of the variation process such as subdivisions in rhythm are explored. The chapter also addresses Mozart's earlier childhood pieces, the early wellsprings of his musical creativity, his modulating preludes, and many individual pieces, especially the Rondo in A Minor, K. 511, and Adagio in B minor, K. 540.

This chapter discusses Mozart's rich legacy of concertos in detail, with special attention given to the “Jenamy” Concerto, K. 271. The social and political context of the Viennese concertos is explored and the probable reasons for the erosion of Mozart's support in Vienna after 1786 are assessed. Issues of metaphorical meaning, including the comparison of the concerto to Greek tragedy, and dialogical, collaborative, and competitive aspects of the relationship between soloist and tutti are illustrated in a series of analyses, the most detailed of which concerns the first movement of the Concerto in C Minor, K. 491. Issues of orchestration and formal innovation, including Mozart's resourceful treatment of the rondo design in pieces such as the final Concerto in B-flat Major, K. 595, are also considered.

Type 1 sonatas are those that contain only an exposition and recapitulation, with no minimal link between them, while the Type 2 sonatas are those structures in which what others have called the “recapitulation” begins not with the onset of the primary theme, but substantially after the point, which is commonly around the secondary theme. The Type 3 sonatas are the standard “textbook” structure with expositions, developments, and recapitulations that normally begin with the primary theme in the tonic. On the other hand, the type 4 sonatas are the differing sonata-rondos and begins with an expositional rotation that traverses the usual P TR 'S/C pattern. Type 5 sonatas encompass concerto-sonata adaptations, which are blends between earlier ritornello principles and other sonata types.

Type 4 sonatas comprise a variety of sonata-rondo mixtures, and Type 4 itself is a rondo which has been shaped to be in dialogue with Type 1 and Type 3 sonatas or from other perspectives. In standard practice this usually means that the stark AB juxtapositions of the simpler rondo format are converted into non-repeated expositions and a generally symmetrical recapitulation. Haydn also often treats this Type 4 sonatas freely, sometimes in asymmetrical or recomposed ways that challenge their expected recapitulatory functions. From the 1760s and 1770s onwards, Type 4 sonatas may be found as a typical option for fast finales and slow movements, but, as noted by Malcolm S. Cole, the rondo format was used only rarely as the first movement.

This chapter integrates perspectives on three issues. First, the movement’s correlation to a standard sonata-rondo form (Hepokoski and Darcy’s Type 4 sonata) will be delineated, in conjunction with an assessment of its idiosyncratic tonal plan. Secondly, innovative ways in which Schubert connects B ♭ and G chords will be explored. Thirdly, the fact that Schubert here uses tonic and dominant 6-phase chords in an emotionally positive context will be juxtaposed with the first movement’s extension to less salutary variants—the tonic’s G ♭—B ♭♭ –D ♭ (= F ♯–A–C ♯) and the dominant’s D ♭–F ♭–A ♭—drawing upon my discussion of that movement in Harmony in Schubert. Whereas those variants give the opening movement a sombre cast, by the final movement a new ebullience has emerged. Schubert utilises 6-phase chords extensively without exposing their darker potentialities, his artistic vision committed to making all end well. As we know, he was unable to translate that vision into a similarly positive transformation of his health.

Kirsty Lohman uses the Dutch fanzine Raket to frame a discussion of self-censorship and boundary-drawing practices in punk. These were issues that were of particular importance in a subculture that has, since its inception, been contested on the political as well as cultural level.

The keyboard music of Carl Philipp Emanuel Bach, commonly described as being for clavichord or generic “clavier,” reveals great variety of idiom, implying significant changes in players’ technical and interpretive approaches to performance of compositions from across the composer’s sixty-year career. This essay analyzes numerous sonatas, rondos, and fantasias, demonstrating the capabilities of both harpsichord and fortepiano for representing metaphoric speech in instances of instrumental recitative and in compositions that represent dialogues between opposing characters. Only the piano, however, can facilitate romantic effects appropriate to certain pieces through dynamics, legato articulation, and manipulation of dampers. Works that the composer described as “comic” actually juxtapose the serious and the farcical, as in the composer’s famous Empfindungen, a late work realizable only on a dynamic instrument.

This chapter examines the intermovement connections of the final two movements in Mahler's Fifth Symphony—the Adagietto and the Rondo-Finale. It shows how the questions of aesthetic meaning and biographical context raised by the Adagietto are complicated by the fact that the finale of the Fifth Symphony has generated its own share of controversy since the appearance in 1960 of Theodor Adorno's classic study Mahler: Eine musikalische Physiognomik. The chapter studies these paired final movements of the Fifth Symphony and explores the nature of their interrelationship. It then assesses Mahler's techniques of integration in light of the influence on his style of Bach and Wagner as well as his interest in the aesthetics of polarity as articulated by one of his favorite writers, Jean Paul. In this context, the chapter returns to Adorno's conviction that “brokenness” is the key to Mahler's music.

Lesson 6 examines the Bach Gavotte en Rondeaux, including a discussion of Rondo form from a Schenkerian perspective. At the end, the classical rondo is examined, especially in the music of Mozart, which is very different from the Bach Gavotte. The role of meter and hypermeter in shaping the form at every level is a central concern.

Lesson 7 focuses on the Adagio from Mozart’s Piano and Violin Sonata K. 481. The relationship between form (including rondo form and “quatrain form”) and voice leading remains a central concern. Additional examples are drawn from works by Beethoven and Scarlatti. Questions of interpretation and performance arise throughout.

The long-held view of the Finale as an “embarrassment,” largely influenced by Theodor Adorno’s judgment, as well as the fact that most of the extant compositional materials for Mahler’s Seventh concern this movement, make it a good starting point for a close reading of the work. This chapter begins by examining the Finale in its finished form, in terms of structure and motivic treatment, with a focus on its strong rhetorics. Two significant aspects of the Finale are emphasized: moments of interruption in the musical flow—“in-between” spaces that have both an introductory and a concluding function—and the persistent cadencing of the movement. Early and more recent readings of the Finale are then discussed, all highlighting the interpretive difficulties raised by this movement.

This chapter explores physical traces of Mahler’s compositional process for the Finale of the Seventh, asking to what extent compositional materials can inform an interpretation of the music. “In-betweens” and inserts constitute one of the main characteristics of this movement. As shown in Chapter 5, one of these interruptions was added later in a preliminary draft. This is a case of striking resonance between the genesis of a passage and what the music achieves in its final form. A close reading of the compositional materials for the Finale questions the idea of the Seventh as a consequence of the Sixth, showing that the composition of both works was more entangled than previously thought. The numerous connections that can be drawn between different manuscript sources containing preliminary sketches (sketchbooks and larger leaves) allow us to trace some of the compositional experiments Mahler pursued before abandoning them in the final version.