Cambridge University Press 978-1-107-16319-5 — The Romantic Overture and Musical Form from Rossini to Wagner Steven Vande Moortele Index More Information Index Entries for large-scale musical works such as operas or oratorios refer to the overture rather than the complete work. absolute music, 21, 226 symphonic genre dominated by, 29–30, Adam, Adolphe 32–33 Si j’étais roi, 129n20 Beethoven, Ludwig van – compositions Le Toréador, 109 Coriolan overture, 25, 27, 200n15 Adlgasser, Anton, 19 Egmont, 25, 128, 199n13, 241 Adorno, Theodor W., 224, 225, 226, 250 Fidelio, 16, 47, 128n17, 199n13, 222n2, 222 Agawu, Kofi, 108 Die Geschöpfe des Prometheus,19 Andersch, Johann Daniel, 39 König Stephan,25 André, Anton, 22 Leonore I Apel, Theodor, 32 coda, 62n35 apotheosis, 240–58 introduction, 128n17 formal function, 249–50 Mendelssohn’s performance of, 15–16, 17, impact, 247 47, 222–23 as non plus ultra, 251–58 opera themes in, 76 options for, 242–47 post-exposition transition, 196n10 placement of, 251–58 Leonore II term, 240–42 incomplete manuscript, 15–16, 224 Auber, Daniel François Esprit Marx’s critique of, 81, 225n11 adaptation of Rossini’s formula, 62–64, 70 Mendelssohn’s performance of, 15–16, 47, identified with French music, 162, 166–67 222–23, 224 Auber, Daniel François Esprit – compositions opera themes in, 76 Les Diamants de la couronne, 111 post-exposition transition, 196n10 Le Domino noir, 100n41 trumpet calls and breakthrough, 223–25, Fra Diavolo, 130n21 Leonore III, 222–24 La Muette de Portici Mendelssohn’s performance of, 15–16, 47, extended analysis, 166–71 222–23, 224 introduction, 122, 129, 167 opera themes in, 76 strong subordinate theme, 166–71, 178 post-exposition transition, 196n10 La Neige,62–64 Schumann’s critique of, 33 autonomy Wagner’s critique of, 39–40, 222–24, 253 function and, 17, 44, 258 Piano Concerto No. 4, 25 of opera overtures, 41–42, 43 String Quartet, Op. 59, No. 1, 195 Symphony No. 1, 20 Bartha, Dénes, 140 Symphony No. 3 (“Eroica”), 62n35, 196, Becker, Carl Ferdinand, 36 209n23 Beer, Michael, 251n35 Symphony No. 4, 24, 25 Beethoven, Ludwig van Symphony No. 5, 21n12, 23 Berlioz and, 162, 166 Symphony No. 9, 195, 209n23 and the classical canon, 11, 19–20 Die Weihe des Hauses,9 280 overtures, 9, 22 Zur Namensfeier,29 © in this web service Cambridge University Press www.cambridge.org Cambridge University Press 978-1-107-16319-5 — The Romantic Overture and Musical Form from Rossini to Wagner Steven Vande Moortele Index More Information Index 281 Bellini, Vincenzo breakthrough. See Durchbruch I Capuleti e i Montecchi,70–74, 93n37, 98, Brendel, Franz, 7 103n50 Burgmüller, Norbert La Sonnambula,35 Overture in F major, op. 5, 251n35 Benedict, Julius Symphony No. 1, 210 The Crusaders,29 Symphony No. 2, 210 Bennett, William Sterndale Burnham, Scott, 62n35, 147 Die Naiaden,26 Byron, George Gordon, sixth baron Die Waldnymphe, 26, 29, 128n18, 199 Manfred,28 Berlin musical life, 6–8, 17, 23 Cairns, David, 177 Berlioz, Hector Caplin, William E. on Hérold’s Zampa, 92, 93–96, 98 on before-the-beginning, 108, 112 on music in Berlin, 6–7 on closing section, 52n19, 58–61, 192 on Rossini’s Guillaume Tell, 106–7 on slow introductions, 111 Wagner and, 161–62, 166, 181n60 on subordinate-key ritornello, 215 Berlioz, Hector – compositions theory of formal functions, 1–3, 9 Béatrice et Bénédict,9 on transitional introduction, 195 Benvenuto Cellini Castil-Blaze (François-Henri-Joseph Blaze), extended analysis, 238–40 38n72, 96–98 apotheosis, 134n24, 240 Chelard, Hyppolite opera quoted in Le Carnaval romain, 175, Macbeth,24 177 Chelard, Hyppolyte, 44 thematic preview, 134 Cherubini, Luigi, 8, 22 Le Carnaval romain Les Deux journées, 29, 128n17 extended analysis, 172–80 Faniska,29 Benvenuto Cellini (opera) quoted in, 175, Lodoïska,29 177 Médée,29 carnival elements, 175, 178 Le Porteur d’eau,29 compared to Wagner’s Tannhäuser, 181, Chopin, Fryderyk, 2, 3, 240–41 184, 189–90 classical (eighteenth-century) form and genres composition date, 9, 26 new Formenlehre theories of, 1–3 formal overview, 172 romantic form and, 2–4, 11, 218–21 introduction, 110, 175–76, 179, 180 symphonies and overtures, 17–21 reordered recapitulation, 236 coda strong subordinate theme, 171, 177–80 apotheosis in, 134n24, 244–47, 251n35, strophic and sonata forms, 175–77 253–54 vocal element, 175 introduction-coda frame, 137, 181 Le Corsaire, 9, 26, 134n23, 207n20, 251n35 recapitulation-coda merger, 253, 259 Les Francs-juges recapitulatory function, 223–24, 240 extended analysis, 162–66 Rossini crescendo compared to, 62n35 apotheosis, 166, 253n37 stretto coda, 204 open-ended exposition, 205–6 codetta (closing section) opera (incomplete), 26n32 defined, 52, 192 strong subordinate theme, 178, 205 elision with development, 198–200, 213–14, Intrata di Rob Roy MacGregor, 26n32 220 Le Roi Lear, 26, 161, 181n60 flush-juxtaposition with development, 199, Symphonie fantastique, 4, 32, 161n28, 161 204, 208–14 Waverley, 26, 110, 161, 218n31, 236n17 in repeatable exposition, 192–95 Bierey, Gottlob, 22 in Rossini’s archetype, 52 Birnbach, Heinrich, 146, 147 subordinate-key ritornello and, 215 Boieldieu, François-Adrien with post-exposition transition, 195–98 La Dame blanche, 74n43 codetta modules, 52n19, 199, 200–4 © in this web service Cambridge University Press www.cambridge.org Cambridge University Press 978-1-107-16319-5 — The Romantic Overture and Musical Form from Rossini to Wagner Steven Vande Moortele Index More Information 282 Index Collin, Heinrich Joseph von, 25–26 Donizetti, Gaetano, 9, 23, 34 conceptual pairs Anna Bolena,15 French/German artistic temperament, 162 Don Pasquale, 129n19, 217, 230–32 function/autonomy, 17, 44, 258 La Favorite, 240n23, 253–57 national (German)/international (non- La Fille du régiment, 190, 240n23 German), 44 Linda di Chamounix, 193n5 operas/concerts or symphonies, 17, 44, 45, Marino Faliero, 36n67 258 Roberto Devereux, 15, 110, 204 organicist/mechanical, 49–50, 226 Dorn, Heinrich, 31 overture/symphony, 17, 44, 258 Durchbruch, 224–25, 226 sonata form/alternate forms, 258 Sponheuer’s binary opposites, 44, 50, 162 Erkel, Ferenc Wagner’s Wechsel/Entwicklung Ladislaus Hunyady, 36n67 (alternation/evolution), 226, 258 exposition(s) concert endings (for overtures), 22 blurred boundary with development, concert overtures, 24–29 195–207 compared to opera overtures, 33–36, 42–43 main and subordinate themes, 146–48 compared to symphonies, 29–33, 191–92 non-repetition of, 191–92 critical reception, 30–33 open-ended expositions, 191–221 introductory function, 22–23, 24 options for boundary with development, titles of, 26 208–14, 219, 220–21 concerto first-movement form, 103n50, recomposed recapitulations and, 228–36 214–16 repeatability of, 193–94 concerts repetition of, 18–19, 209 operas and, 17, 44, 258 written-out repetition of, 172–74, 176 overtures performed at, 21–24, 28–29, 42–43 Cone, Edward T., 240, 241, 242 Farrenc, Louise Congress of Vienna, 9 Overture No. 1, Op. 23, 195 Corvin, Matthias, 4n9, 226n11 Overture No. 2, Op. 24, 193n5 Crusell, Bernhard Henrik, 23 Fétis, François-Joseph, 105, 161n28 Czerny Carl, 19, 146 Field, John, 228 Symphony No. 2, 210 Fink, Gottfried Wilhelm, 7, 39, 78, 81 Symphony No. 5, 210 Flotow, Friedrich von Martha, 199n13, 240n23 Dahlhaus, Carl, 1–2, 4, 11, 148 form Danzi, Franz, 22 linear vs circumpolar models, 11–12 Deruchie, Andrew, 224 mechanical vs organic, 49–50 Dessauer, Josef, 15, 44 positive vs negative approaches, 10–11 development section(s) script-based vs plan-based, codetta elided with, 198–200, 213–14, 220 226–27, 228 codetta flush-juxtaposed with, 199, 204, formal functions 208–14 Caplin’s theory of, 1–3, 9 exposition boundary blurred, 195–207 intrinsic vs contextual, 148 exposition separated from, 191–95, Formenlehre omission of, 19, 51, 97 critical and theoretical discourse, 12, 146 open-ended expositions and, 191–221 Dahlhaus on, 1, 148 options for exposition seam, 208–14, 219, new Formenlehre,1–3, 5, 9, 51 220–21 relation to sonata form, 5, 13, 148 post-exposition transition to, 195–98, terminology for subordinate themes, 201–3, 208–14, 216, 220 146 repetition of, 18, 19, 191 French music dialogic form, 12 Auber identified with, 162, 166–67 dissipated cadence, 112, 114, 120, 129 baroque French overtures, 21 © in this web service Cambridge University Press www.cambridge.org Cambridge University Press 978-1-107-16319-5 — The Romantic Overture and Musical Form from Rossini to Wagner Steven Vande Moortele Index More Information Index 283 characteristics of French overtures, 44–45, Haydn, Michael, 19 76n2, 226n11 Hepokoski, James opera preludes or introductions, 34, 35–36 on apotheoses, 241 on breakthrough, 225 Gade, Niels on two-block expositions, 102, 155–56 Concert Overture No. 3, 137n27 Hepokoski, James, and Warren Darcy Efterklange af Ossian,26–27, 138–45, (Elements of Sonata Theory) 250n33 on closing zones, 52n19, 61 Im Hochlande,26–27, 240n23 on codetta modules, 52n19, 200 Mariotta, 130n21 deformation theory, 10, 114, 238 Symphony No. 1, 210, 212–13 on dialogic form, 12 Symphony No. 2, 210, 212–13 on flush-juxtaposed codetta and Symphony No. 3, 210, 212–13 development, 199 Gathy, August, 39, 76–77 on large-scale repeats, 191, 218 Gerber, Ernst Ludwig, 22, 23 on parageneric spaces, 111n6 Germany and German music on rhetorical expositions, 70 France contrasted with, 162 on rotational forms, 174n50, 176, 236–37 Germanic symphonies, 209–13 on slow introductions (four-zone model), musical life in Leipzig and Berlin, 6–8 110, 111–12 national labels and nationalism, 44–45 theory of sonata form, 1–2, 9 views on Berlioz, 161n28 Type 2 sonata, 174, 189–90, 236–40 views on opera overtures, 33–36 Type 3 sonata, 238 views on Rossini, 47–48, 55–56 Type 5 sonata, 215 Gewandhaus concert hall and orchestra Hérold, Ferdinand, 13 (Leipzig), 7, 15–17, 21, 28, 29 Marie, 240n23 Glinka, Nicolai Le Pré aux clercs, 130n21 Ruslan i Lyudmila, 130 Zampa,92–100, 102, 104 Gluck, Christoph Willibald von, 22 Hesse, Adolf Friedrich Alceste,29 Ouverture No.