On Harmony and Meter in Brahms's Op. 76, No. 8

Abstract

next major formal experiment, in which nonsonata elements were introduced into a sonata form, whereas mutatis mutandis in the Fantasy and Fugue a modified sonata form had been imposed upon a non-sonata formal division. Liszt's efforts did not wait long for imitations, particularly in the Organ Sonata on the 94th Psalm and Piano sonata in Bb Minor by Julius Reubke, composed in 1857,28 and the organ works of the Weimar composers Karl Miiller-Hartung and Johann Gottlob T6pfer.29 Multiple formal development was inherited also by Schoenberg in such works as Verkldrte Nacht,30 the First String Quartet, and the First Chamber Symphony. And the list could be extended to other composers. In many respects, then, Liszt's Fantasy and Fugue was prophetic. It stands as a forceful renewal of sonata form and the tonal system, a system not yet exhausted by Liszt in 1850, but one considerably transformed. Unlike Meyerbeer's Jean, who was manipulated, deceived, mistaken, and misled, Liszt turned out to be no false prophet. .' REHEARINGS

Cite this work

No public copy is stored for this record, so only the metadata is cited.

Stored only when both papers are in the corpus — 44 citations exist upstream.