The development of the first movement of Haydn's String Quartet Op. 64, No. 3 shares several similarities with an extended harmonic pattern in Mozart's "Voi che sapete" from Le Nozze di Figaro. This may reveal that Mozart's arietta is a concealed model. Both the Mozart and Haydn excerpts can be analyzed using an interrupted Schenkerian Urlinie of 3-2 // 3-2-1 that begins on the dominant minor (F minor). A half cadence on C major is reached via an augmented sixth on D-flat, and this is followed by descending motion from C to A-flat major. Although Haydn emphasizes the tonal area of A-flat longer than Mozart, both excerpts move from A-flat to C minor and then cadence in G minor. The tonal complexity in "Voi che sapete" seems more sophisticated than the character singing the arietta (Cherubino), which may indicate that the music is aimed to appeal to musical connoisseurs. This target audience for the arietta, alongside Haydn's documented familiarity with Le Nozze di Figaro, strengthens the possibility that aspects of Mozart's arietta were incorporated into Haydn's quartet.

Works: Haydn: String Quartet in B-flat Major, Op. 64, No. 3.

Sources: Mozart: Le Nozze di Figaro, "Voi che sapete."

Index Classifications: 1700s

Contributed by: Laura B. Dallman

Mozart includes more revisions than usual in the autograph of his "Haydn" quartets, and this may indicate that he was trying to work out compositional problems that proved more difficult than he expected. To build upon Haydn's ideas of texture, extension, development, and innovation in his Op. 33, Mozart uses two specific types of modeling. First, he replicates certain elements of Haydn's Op. 33. In the finale of his String Quartet in C Major, K. 465, he includes the characteristic Haydn gestures of unexpected silence and a false reprise in the wrong key. Second, Mozart makes selective applications of Haydn's compositional practice. For example, in his String Quartet in E-flat Major, Op. 33, No. 2, Haydn grapples with how to introduce and continue thematic material. By transforming the function of the closing motive into that of an opening motive, Haydn provides a novel solution to his problem. Similarly, in his String Quartet in E-flat Major, K. 428, Mozart changes the function of the closing material to opening material; however, he also goes a step further than Haydn. When Mozart reaches the dominant key, he unexpectedly delays the second theme. Instead, he transforms another cadential figure into an opening figure, obscuring the usual pairing of the dominant with the secondary theme. Mozart also borrows more general features of Haydn's Op. 33, such as the placement of the scherzo before the slow movement and patterns of dialogues between instruments. Though modeling does exist between quartets of different keys, it is most easily seen when the Mozart and Haydn quartets are in the same key.

Works: Mozart: String Quartet in G Major, K. 387 (76, 83), String Quartet in E-flat Major, K. 428 (78, 80-3), String Quartet in C Major, K. 465 (84-85), String Quintet in C Major, K. 515 (85), String Quartet in D Minor, K. 421 (87); Beethoven: String Quartet in F Major (Razumovsky) Op. 59, No. 1 (85).

Sources: Haydn: String Quartet in B-flat Major, Op. 33, No. 4 (76), String Quartet in E-flat Major, Op. 33, No. 2 (78, 80-81), String Quartet in G Major, Op. 33, No. 5 (83, 87) String Quartet in C Major, Op. 33, No. 3 (83-84); Mozart: String Quartet in C Major, K. 465 (85), String Quintet in C Major, K. 515 (85).

Index Classifications: 1700s

Contributed by: Laura B. Dallman

It has long been recognized that Mozart's "Haydn" Quartets (K. 387, 421, 428, 458, 464, 465) are a response to Haydn's String Quartets, Opp. 20 and 33; however, K. 464 and 465 can also be understood as a pointed response to the string quartets of Ignaz Pleyel, Mozart's slightly younger contemporary. Pleyel, a student of Haydn, also modeled much of his String Quartets, Op. 1 on Haydn's Opp. 20 and 33. Though Pleyel rarely moves beyond surface similarities, and his music seems to suffer from abundant repetition, extensive homophony, and slow dramatic pacing, several critics applauded the quartets for their accessibility. Mozart even wrote to his father commending Pleyel's Op. 1 and encouraged him to obtain a copy. Yet when Pleyel published a second set of string quartets (Op. 2) in the same year and dedicated them to Haydn, Mozart quickly rose to claim his musical superiority. K. 464 and 465 simultaneously expand upon elements of Haydn's Opp. 20 and 33 and Pleyel's Op. 1; in fact, Mozart undercuts several of Pleyel's more innovative movements by exposing their inherent structural weaknesses. Mozart also uses the title page of his "Haydn" Quartets to assert his role as Haydn's successor. By using a design similar to Pleyel's Op. 2, and by openly naming as Haydn a friend and paternal figure, as opposed to a teacher, Mozart identifies himself as the greater composer.

Works: Pleyel: String Quartet in C Major, Op. 1, No. 1 (215-18), String Quartet in A Major, Op. 1, No. 3 (205, 207-9, 212-216), String Quartet in D Major, Op. 1, No. 6 (205-7); Mozart, String Quartet in D Minor, K. 421 (207), String Quartet in A Major, K. 464 (212-15), String Quartet in C Major, K. 465 (215-18).

Sources: Haydn: String Quartet in D Major, Op. 20, No. 4 (205-7), String Quartet in A Major, Op. 20, No. 6 (205, 207-9, 212-14), String Quartet in C Major, Op. 33, No. 3 (215-18), String Quartet in G Major, Op. 33, No. 5 (207); Pleyel: String Quartet in C Major, Op. 1, No. 1 (215-18), String Quartet in A Major, Op. 1, No. 3 (212-15).

Index Classifications: 1700s

Contributed by: Laura B. Dallman

For his ballet The Fairy's Kiss, Stravinsky borrows harmonic progressions, melodic fragments, and general style characteristics from Tchaikovsky's early piano pieces and songs. Similarities in style might also be the result of both composers' Russian nationality and embrace of classicism. Though a large portion of Stravinsky's score does borrow from Tchaikovsky, Stravinsky writes several unique passages of his own. Literal quotations rarely last for more than a few measures, as Stravinsky commonly expands upon Tchaikovsky's material. Aside from Stravinsky's quotation and expansion upon Tchaikovsky's works, there are a few moments in The Fairy's Kiss wherein style and orchestration become more overtly romantic or the texture becomes static. These moments sound plain and "un-Stravinskian" and likely led to contemporary criticism of the ballet. Stravinsky's later re-working of The Fairy's Kiss into a concert version (Divertimento) is devoid of these moments.

Works: Stravinsky: The Fairy's Kiss.

Sources: Tchaikovsky: Zwölf mittelschwere Stücke, Op. 40, No. 7 (12-13), Natha-Valse, Op. 51, No. 4 (13-14), Humoreske, Op. 10, No. 2 (14-15).

Index Classifications: 1900s

Contributed by: Laura B. Dallman

Among the various works in his oeuvre, composer Robin Holloway has both affirmed and denied certain instances of musical borrowing, yet Holloway may use more instances of borrowing then he openly acknowledges. For example, he often uses melodic tags, which are short quotations. When melodic tags share similarities, Holloway can play upon the similarities to make the tags more ambiguous. This technique, which can alter meaning, is called "punning." Another technique, "suppressed vocalization," involves setting poetry to melodic lines and then transferring the melodic lines, without words, to instruments. As listeners we are often unaware of such transferences and can only become aware of them if Holloway admits to using the procedure. These two techniques should also be considered in light of Holloway's narrative and extramusical subjects. For instance, the loose narrative base of William Langland's poem Piers Plowman, an allegory of the world as a working field, in the Fourth Concerto for Orchestra led to Holloway's quotation of Eric Coates's song Calling All Workers. Although quotations of Sheherazade and Daphnis et Chloé in the Fourth Concerto do not share themes with Langland's poem, they are favored works of the concerto's commissioner, Michael Tilson Thomas. Investigating relationships such as these, along with Holloway's various borrowing techniques, will help uncover the multiple layers of and connections between his works.

Works: Robin Holloway: Second Concerto for Orchestra (2-5), Fourth Concerto for Orchestra (2, 6-9), Symphony (3-7).

Sources: Hubert Parry: Jerusalem (3-4); Eduardo di Capua: O sole mio (3); Renato Rascel: Arrivederci Roma (3); Sibelius: Symphony No. 4 in A Minor (3); Mahler: Symphony No. 9 in D Major (3-4); Ravel: Daphnis et Chloé (3-4); Richard Strauss: Salome (3-4), Elektra (3-4); Elgar: "Nimrod," Enigma Variations (3-4); Scriabin: Poem of Ecstasy (3-4); Debussy: Jeux (3-4), La Mer (3-4); Schoenberg: String Quartet No. 1 in D Minor, Op. 7 (3-4); Stravinsky: The Rite of Spring (3-4); Robin Holloway: First Concerto for Orchestra (5), En Blanc et Noir (6); Rimsky-Korsakov, Sheherazade (6); Eric Coates, Calling All Workers (6).

Index Classifications: 1900s, 2000s

Contributed by: Laura B. Dallman

To both exemplify contemporary musical practice and expose the limitations of older music, Abbé Vogler presents a Verbesserung, or revised version, of Pergolesi's Stabat Mater in his analytical and critical commentary Betrachtungen der Mannheimer Tonschule (1778-81). Though Pergolesi's Stabat Mater had received favorable reviews throughout the 1750s, negative criticism began to emerge around 1774. Taking advantage of this reversal of opinion, Vogler revises Pergolesi's work to show the "enlightened" musical idioms of his day. Vogler's revisions are based on a system of scientific laws explained in his Tonwissenschaft und Tonsetzkunst (1776), a handbook which discusses consonances and dissonances, intervals, chords, scales, and rules for composition. Noting errors in Pergolesi's treatment of harmony, key, and rhythm, Vogler offers several corrections. Pergolesi's irregular patterns and displaced rhythms are exchanged for more regular and periodic writing. Textures are modified by giving the accompanimental parts more varied and individual roles. In opening and closing ritornellos, Vogler often omits repetitions of motives and sharpens the contrast between themes. Although the overall shapes of movements and phrases can undergo significant changes, Vogler usually keeps the original vocal line intact. Overall, Vogler's revisions provide more regular phrasing and a slower-moving bass and allow for more interchange between the inner parts. These alterations, alongside a thicker texture, richer harmonic support, and stronger cadential progressions, transform the style of Pergolesi's Stabat Mater into music of a modern idiom. This, in turn, provides a tangible link between the musical theory and practice of Vogler's time.

Works: Georg Joseph (Abbé) Vogler: Revision of Pergolesi's Stabat Mater, found in Betrachtungen der Mannheimer Tonschule.

Sources: Pergolesi: Stabat Mater.

Index Classifications: 1700s

Contributed by: Laura B. Dallman

By drawing on elements of existing folk music instead of creating music that simply sounded "different," Haydn often departed from eighteenth-century conventions of exoticism. For instance, eighteenth-century composers would often represent Turkish culture through the use of bass drum, cymbals, and triangles. Although Haydn does follow this procedure in L'incontro improvviso (1775), largely to provide cultural critique and musical farce, he does not use it in Lo speziale (1768). In the latter opera, the aria "Salamelica" draws upon a type of Hungarian popular dance, the Törökös, which features a duple meter and melodic lines centered on the first and third scale-degrees. In his Piano Trio in G Major, Hob:XV 25, Haydn follows a similar procedure by drawing in elements of the Verbunkos for the rondo theme. Haydn's settings of Scottish melodies also exhibit a respect toward folk music. His accompaniments to these songs follow the progression of the melody, providing modern harmonic support to enhance, but not overwhelm, the original material. Haydn also keeps the accompaniment simple, so as not to compete with the rhythmic vitality of the folk tune. In this way, Haydn does not present folk melodies as exotic curiosities, but as music in its own right.

Works: Haydn: Lo speziale (77-79), Symphony No. 103 in A Major (79), A Selection of Original Scots Songs in Three Parts, The Harmony by Haydn, Vol. II, No. 16, "O'ver Bogie" (87-89), Piano Trio in G Major, Hob:XV 25 (89-90).

Index Classifications: 1700s

Contributed by: Laura B. Dallman

While Mozart was in Vienna, he faithfully attended the operatic performances of his Italian contemporaries, carefully observing the novelties and fashions that most pleased Viennese audiences. He would then incorporate several of these elements into his own compositions. For example, Paisiello's pastoral opera Nina, which was well received all over Italy, was produced in Vienna in the fall of 1790. Several parallels can be seen between it and Mozart's last Italian opera, La clemenza di Tito. For his protagonist's final aria, Mozart draws on Paisiello's unornamented melodic style. This contrasts greatly with the ornamental elaboration commonly found in other contemporary Italian operas. Mozart also uses Paisiello's "economical" type of orchestration, which features a thin texture and certain accompanimental figures. Similarities are also found in both composers' use of heightened rhythmic drive for climactic effect.

Works: Mozart: La clemenza di Tito (287-93).

Sources: Paisiello: Nina (287-92).

Index Classifications: 1700s

Contributed by: Laura B. Dallman

Textual and musical ambiguity in Charles Ives's four war songs, In Flanders Fields, Tom Sails Away, He Is There!, and They Are There!, may reflect Ives's own ambiguous attitude towards war. In the first three songs, written in 1917, Ives quotes several patriotic, martial, and popular tunes, but these quotations do not always retain their original meaning. Ives uses patchwork technique or other means of quotation to include melodic fragments from unambiguously patriotic songs; however, he often combines these fragments with a morose character, complex harmonies, and inconclusive cadences. Collectively, these three songs reflect Ives's ambivalence towards World War I. Twenty-five years later, They Are There!, a World War II revision of the earlier He Is There!, moves from ambivalence to a direct expression of Ives's anti-war sentiments. In conjunction with contemporary biographical evidence and Ives's own biting recording of the song, They Are There! demonstrates a shift in Ives's personal stance towards war and brings into question the possibility of parody in his three earlier war songs.

Works: Charles Ives: In Flanders Fields (72-80), Tom Sails Away (80-84), He Is There! (84-87), They Are There! (91-97).

Sources: Taps (75, 77-78, 81-82); David T. Shaw: The Red, White, and Blue (Columbia, the Gem of the Ocean) (75-76, 78-79, 82, 86); George F. Root: The Battle Cry of Freedom (76-77, 86); Claude-Joseph Rouget de Lisle: La Marseillaise (76, 78, 86); America (God Save the King) (77-79); Reveille (78, 86); Henry S. Cutler: All Saints New (78); Samuel Woodworth and George Kiallmark: Araby's Daughter (The Old Oaken Bucket) (81); George M. Cohan: Over There (82, 86); Ives: Country Band March (86), He Is There! (91-97); Walter Kittredge: Tenting on the Old Camp Ground (86-87).

Index Classifications: 1900s

Contributed by: Mark Chilla, Laura B. Dallman, Paul Killinger

Beethoven did not simply transcribe his Piano Sonata Op. 14, No. 1 for strings, but rather recast the musical material to highlight the idiomatic differences between string and keyboard instruments. This is primarily indicated by changes in dynamics, which are more abundant than altered pitches or registers. For example, at the end of the development of the first movement, the piano sonata decrescendos and has a sudden forte at the recapitulation. At the same point in the quartet arrangement, the strings crescendo and then have a sudden piano at the recapitulation. Opposite dynamics such as these capitalize on the shading and sustaining capabilities of each instrument. Other alterations also point to a recasting, as opposed to simple transcribing, of material from one genre to another. Beethoven shifts the key from E major in the keyboard sonata to F major for the string quartet, exploiting the open C string sounds of the viola and cello. When changes in pitch content occur in the string quartet, the writing is idiomatic for strings. Finally, the key of F major evokes important late string quartets of Mozart and Haydn.

Works: Beethoven: Arrangement of Piano Sonata, Op. 14, No. 1 for String Quartet in F Major, Hess 34.

Sources: Beethoven: Piano Sonata in E Major, Op. 14, No. 1.

Index Classifications: 1800s

Contributed by: Laura B. Dallman

To properly understand London pasticcios of the eighteenth century, the genre must not be compared to the nineteenth-century ideal of opera, but must be considered in light of what was practiced and performed in eighteenth-century London. To showcase the talents of the performers and reflect the tastes of the audience, theatrical and pasticcio performances usually presented an amalgamation of materials. As the eighteenth century progressed, pasticcios became increasingly important, occasionally serving as venues for experiments and innovation. For example, Ferdinando Bertoni's Giunio Bruto (1782) defied pasticcio conventions by concluding with a secco recitative. Pasticcios could also significantly alter a model. Samuel Arnold's Giulio Cesare (1787) both reduced the musical material of Handel's original Giulio Cesare (1724) and inserted popular numbers from several of Handel's other operas. Until the later part of the eighteenth century, performers had the legal ability to perform substitute arias in a pasticcio. As the century continued, a power struggle erupted between copyists and singers, culminating in two legal battles. The courts ultimately sustained the rights of the performer to introduce arias in an opera, regardless of whether the aria was newly composed or borrowed the work of another composer.

Works: Samuel Arnold: Giulio Cesare in Egitto (22-24); Paisiello: Il re Teodoro in Venezia (25-27); Vincenzo Federici: L'usurpator innocente (27); Gertrude Elisabeth Mara: "Anche nel petto io sento" (27-30).

Sources: Handel: Guilio Cesare (22-24); Steven Storace: "Care donne che bramate" (25-27); Paisiello: La Molinarella (27-30).

Index Classifications: 1700s

Contributed by: Laura B. Dallman

Questions regarding the authenticity of J. S. Bach's Sonata in E-flat Major for Flute and Cembalo, BWV 1031, resurfaced when several similarities were noticed between it and Quantz's Sonata in E-flat Major, QV2:18. Both works share stylistic, thematic, and structural elements, notably in the first and third movements. For example, the first movements are in common time and feature a ritornello structure that uses an identical musical motive. The second movements are sicilianos in minor keys, and the third movements are quick, bipartite compositions in 3/8. The use of parallel thirds, two-measure units, and a concluding tonic pedal further connect the final movements. Because BWV 1031 has never been firmly attributed to Bach, the similarities between it and QV2:18 may indicate that Quantz composed both pieces. The contrapuntal writing is not typical of Bach and the range of the flute is quite limited, unlike Bach's other works for flute. Yet the first and third movements of BWV 1031 are thematically complex and extended in length, which, though not incongruent with Quantz's compositional procedures, is more characteristic of Bach. The opening ritornello of BWV 1031 also shares several characteristics with the opening ritornello of a work firmly attributed to Bach: the Sonata in A Major for flute and cembalo, BWV 1032. Thus while it is possible to see that QV2:18 served as a model for BWV 1031, it remains impossible to determine whether Bach or Quantz is the work's composer.

Works: J. S. Bach: Sonata in E-flat Major for Flute and Cembalo, BWV 1031 (31-47), Sonata in A Major for Flute and Cembalo, BWV 1032 (44-47), Sonata in G Minor for Violin and Cembalo, BWV 1020 (45-47).

Sources: Quantz: Sonata in E-flat Major, QV2:18 (31-47), Sonata in G Minor, QV2:35 (45-47).

Index Classifications: 1700s

Contributed by: Laura B. Dallman

From its inception in 1737 through the 1750s, Orazio appeared in several guises. A study of fifteen librettos and two scores shows that a number of arias and other vocal numbers from the earliest version of Orazio were often omitted from later productions. Revivals throughout the 1740s and 1750s often substituted music from other works, consistently retaining only six of the original (1737) vocal numbers. Due to its constant modification, Orazio could be viewed as a single, often misattributed work in several versions or settings of a single text by multiple composers. Pietro Auletta seems to have written the earliest version, which included thirty-four vocal numbers. A version attributed to Gaetano Latilla appears to have been conflated with Pergolesi's Il maestro di musica around 1743, creating a Venetian version that included ten of the original thirty-four vocal numbers. By the late 1740s, Orazio was again attributed to Auletta, but with a severe reduction of his original vocal numbers.

Works: Gaetano Latilla: Orazio (370-72, 374); Pergolesi: Il maestro di musica (370, 374); Latilla and Pergolesi: Orazio (370, 375-77).

Sources: Pietro Auletta: Orazio (370-83); Pergolesi: Il maestro di musica (370, 374).

Index Classifications: 1700s

Contributed by: Laura B. Dallman

In the late 1780s, four collections of vocal arrangements that borrowed from a number of Haydn's instrumental works were published in London. Each collection contained twelve songs, and nearly every movement had been previously published as a keyboard setting. Preston's Second Sett of Twelve Ballads (1786) borrows from several of Haydn's most recent compositions, but his Third Sett of Twelve Ballads (1786-87) uses a more diverse sampling of works. Longman and Broderip's Twelve English Ballads (1787) primarily draws upon keyboard sonatas and chamber works of the late 1770s and early 1780s. Thompson's Twelve Elegant and Familiar Canzonetts (1788) uses material from string quartets and overtures, but may also be influenced by Blundell's A Select Collection of Six Favorite Pieces . . . adapted for Harpsichord or Piano Forte (1778-80), which draws from Haydn's String Quartets Opp. 1, 2, 9, and 17. Because amateur vocal music needed to be metrically regular and symmetrical, as well as within a suitable range, these vocal arrangements often alter Haydn's original instrumental parts. In the four collections, nearly half of the arrangements are transposed and many melodies are stripped to their most diatonic, homophonic, and metrically regular elements. Several tempos are also manipulated in order to accommodate the more modest abilities of the average consumer. Integrity and fidelity to the source are clearly secondary to the promise of accessibility and marketability. Although the sources for vocal arrangements are quite diverse, there is one source, the Andante of Haydn's Symphony in D Major, No. 53, that already seemed particularly suited to the voice in its original form. In fact, due to its limited range, diatonic line, and regular phrasing, the melody of the Andante may be more remembered as a vocal arrangement than a symphonic movement.

Works: Samuel Arnold (arranger): Twelve English Ballads, No. 1, "Life, an Ode" (377), No. 3, "Hymn to Solitude" (377), No. 6 "Prayer for Indifference," (379-80), No. 4, "Colin and Lucy," (379, 381), No. 2, "Love Elegies VIII" (382, 384-85), No. 10, "Morning, A Pastoral" (389); John Preston (publisher): A Third Sett of Twelve Ballads, No. 10, "An Ode" (377-78), No. 11, "From the Sorrows of Werter" (385, 387); Thompson (publisher), Twelve Elegant and Familiar Canzonetts, No. 7, "The Nightingale" (385-86, 389), No. 12, "To Sleep" (388, 390).

Sources: Haydn: String Quartet in C Major, Op. 33, No. 3 (377), Keyboard Sonata in G Major, Hob. XVI: 39 (377), Keyboard Sonata in D Major, Hob. XVI: 37 (378), String Quartet in G Major, Op. 33, No. 5 (379), Violin and Viola Duo in B-flat Major, Hob. VI: 3 (379), String Quartet in E-flat Major, Op. 33, No. 2 (382, 386), Symphony No. 69 in C Major (385, 388), Symphony No. 47 in G Major (385-86, 389), Overture to L'isola disabitata (387, 390), Symphony No. 53 in D Major (389-95).

Index Classifications: 1700s

Contributed by: Laura B. Dallman

A variety of compositional approaches are used by twentieth-century composers when they confront the music of their predecessors. Sympathetic completion occurs when a composer reconstructs sketches or completes an unfinished work. "Compulsive orchestrators" rearrange older works into new orchestral versions. "Ultra-pragmatic composers" rework a composition, often in a new genre, to express a more personal vision. Changes are made to suit the new instrumentation, but the essence of the music remains the same. Distancing through quotation occurs when one musical work refers to another. In this new context, the inclusion of the older work adds an underlying subtext. A distance in style is often exaggerated, creating moments of surprise or shock. Taking this idea a step further, composers can also "relish the discomfort factor" by being intentionally indifferent toward a source. An example of distancing through quotation is found in Michael Tippett's The Knot Garden (1970). In the penultimate scene, the character Flora begins singing "Die liebe Farbe" from Schubert's Die schöne Müllerin. Yet she only makes it through half of the first verse before Schubert's music begins to dissolve into Tippett's tonal language. What begins as pure Schubert merges into a hybrid, and then ultimately resigns itself to a modern idiom. Luciano Berio's Rendering (1990) is harder to categorize. Berio begins by realizing the sketches of Schubert's tenth symphony. He then fills the compositional gaps with complex counterpoint and solo colors. Though quite outside of Schubert's style, this filler material is based upon three of Schubert's late works: the Piano Trio in B-flat Major, D 898 (1827), the Piano Sonata in B-flat Major, D 960 (1828) and Winterreise (1827). These juxtapositions of style exaggerate the stylistic difference between the two composers, but they might also create a relationship that we as listeners are not able to stand ("relishing the discomfort factor"). Hans Zender's Schuberts "Winterreise" (1993) falls into two categories. Some of his movements are extremely faithful to Schubert's Lieder, containing only minimal alterations. Other movements undergo several changes: "Auf dem Flusse" has a new prefatory section; "Der stürmische Morgen" includes percussive simulations of a storm; the accompaniment of "Die Leiermann" moves continually farther away from the tonic of B minor, though the melody remains unaltered. With his orchestral style differing greatly from that of Schubert, Zender may be "relishing the discomfort factor." Yet, Zender relates many stages of the song cycle's emotional journey, much like an "ultra-pragmatic" work retains the essence of its source.

Works: Michael Tippett: The Knot Garden (211-14, 226-27); Luciano Berio: Rendering (215-19, 227-29); Hans Zender: Schuberts "Winterreise" (219-26, 229-30).

Sources: Schubert, Die schöne Müllerin, "Die liebe Farbe" (212-14), Symphony No. 10 in D Major (incomplete) (215-19), Piano Trio in B-flat Major, D. 898 (216), Piano Sonata in B-flat Major, D. 960 (216), Winterreise (216, 219-226).

Index Classifications: 1900s

Contributed by: Laura B. Dallman