David Beach, Yosef Goldenberg

Introduction
Strolling through a Haydn Divertimento with Two Heinrichs
Ritornelli or Soli: Which Did Mozart Write First in the Opening Movement of His Violin Concerto K. 207?
Outer Form, Inner Form, and Other Musical Narratives in Beethoven's Opus 14, No. 2
Temporal Poise and Oblique Dynamic in the First Movement of Beethoven's "Archduke" Trio
Chopin as an Interpreter of Mozart: The Variations Opus 2 and Don Giovanni
The First Movement of Brahms's Fourth Symphony Revisited: A Study of the Fanfare and the "Cloud of Mystery"
"Capricious Play": Veiled Cyclic Relations in Brahms's Ballades Op. 10 and Fantasies Op. 116
Chopin's Study in Syncopation
A Sharp Practice, A Natural Alternative: The Transition into the Recapitulation in the First Movement of Beethoven's "Hammerklavier" Sonata
Ernst Oster's Vision of Hidden Repetitions and Motivic Enlargements in J. S. Bach's Short Keyboard Works
The "Pseudo-Einsatz" in Two Handel Fugues: Heinrich Schenker's Analytical Work with Reinhard Oppel
Formal Fusion and Its Effect on Voice-Leading Structure: The First Movement of Beethoven's Opus 132 Revisited
Indistinct Formal Functions and Conflicting Temporal Processes in the Second Movement of Brahms's Third Symphony
The Interaction of Structure and Design in the Opening Movements of Schubert's Piano Trios in B-flat Major (D. 898) and E-flat Major (D. 929)
The Suspenseful Structure of Brahms's C-Major Capriccio, Op. 76, No. 8: A Schenkerian Hearing
List of Contributors
Index