Much of the surface structure—the immediate drama of the music—has become lost in scholarship concerning Beethoven’s Egmont overture. References to large-scale processes, whether they manifest as exhumations of deeply-embedded hierarchical events or as organic outgrowths of smal…
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Since its 1824 premiere at the St Petersburg imperial court, Beethoven’s Missa solemnis, Op. 123 has only ever been performed in secular concert settings. This performance history is reflected in critical trends in Missa solemnis scholarship. Following Adorno’s 1959 essay that c…
Given Beethoven’s enduring legacy in music history, one would assume that no stone has been left unturned when it comes to his music. But most nineteenth-century arrangements of his works have neither appeared in modern editions nor received the socio-historical evaluation they …
The DMA dissertation recitals are comprised of two parts. The first recital represents the “breadth” of my doctoral studies with works selected from the German/French repertoire prior to the 20th century. The second and final lecture recitals represent the “depth,” with four wor…
The bulk of the scholarship in this paper centers around Beethoven’s five sonatas written for piano and cello and how he established a new normal within the genre. This is evidenced by what are arguably the two most noteworthy sonatas for the same instrumental medium, written by…
On the face of it, the music of Bach, Beethoven, Franz Liszt and Olivier Messiaen may seem wildly contrasting. The music spans not only several countries, but also time periods, harmonic language, and general style. Even with these numerous differences, one can find common threa…