Dear members of the list,
I just published two new articles on my website, at
https://urldefense.proofpoint.com/v2/url?u=http-3A__www.channanwillner.com_online.htm&d=DwIBaQ&c=Cu5g146wZdoqVuKpTNsYHeFX_rg6kWhlkLF8Eft-wwo&r=PHu0YcldevQqIedM86l0iexbqE-AeZLl-lupNToNx6I&m=6zpCA89i3-rqIKBZcFvftqYDtYkTVcpwZtRPW_kQZxQ&s=iE61wZIwhLj_nwrAI4bM8fPKChvpYCqzcgLpmoW7p6g&e= . The first, "Baroque Borrowings
and Tonal Domains in Mozart's Piano Concerto in Bb, K. 450, I," adds
borrowings from Handel and J.S Bach to those from J.C. Bach discovered by
Ellwood Derr (1997) and shows how they help define the boundaries of the
exposition's underlying prolongations. The second, "Schubert's 'Unfinished'
Symphony: Dance Topics, Borrowings, and the Sense of an Ending," introduces
new borrowings from Handel, J.S. Bach, and (with help from Tilden Russell)
Mozart in the Andante con moto. One of the borrowings in particular, from
the climactic closing pages of Bach's E minor Partita for Clavier, strongly
implies that Schubert's narrative has come to a close.
Music and Recorded Sound Division, NYPL
cwillner -at- nypl.org
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