Alemanha
Áustria
Suíça
Países Baixos
Bélgica
França
Luxemburgo
Itália
Espanha
Dinamarca
Finlândia
Suécia
Polónia
República Checa
Grã-Bretanha
Mundial
Conteúdo
- 1.The Sources
- 1.1 The Transmittance of Sweelinck's Keyboard Music
- 1.2 The Sources (Sammelhandschriften - Gebrauchshandschriften - Retrospective Sources)
- 2.Toccatas
- 2.1 Background (The Venetian Toccata - The Concept)
- 2.2 Toccatas with a Central Imitative Section
- 2.3 Toccatas without a Central Imitative Section (Toccatas in g - Toccatas in G - Toccatas in C - Three-Part Toccatas)
- 2.4 Historical Perspectives (The Toccata in the Netherlands - The Toccatas of Sweelinck's German Pupils)
- 3.Variations
- 3.1 Background
- 3.2 Sacred Cycles (Variations on Chant Melodies - Variations on Melodies from the Genevan Psalter - Variations on Lutheran Chorales)
- 3.3 Secular Cycles (Sweelinck and Scheidt (i): Combined Cycles - Sweelinck and Scheidt (ii): Problems of Authenticity - Two Further Problems of Authenticity - Variations on Almande Melodies - Variations on Aria Melodies - Two Arrangements of English Pavans)
- 3.4 Historical Perspectives (The Variation in the Netherlands - Aspects of the Variation in the Work of Sweelinck's German Pupils)
- 4.Fantasias
- 4.1 Background (Form, Technique and Idea - Sweelinck's Concept of `Fantasia')
- 4.2 Monothematic Fantasias (Ostinato Fantasias - Chromatic Fantasias - Hexachord Fantasias - Fantasia d2 and Ricercare a1 - Questions of Authenticity: the Turin Works
- 4.3 `Echo' Fantasias (Fantasias in d - Fantasias in C and a)
- 4.4 Historical Perspectives (Compatriates and Contemporaries - The Fantasia and Sweelinck's German Pupils)
- 5.Chronological Aspects
- 5.1 Introduction
- 5.2 The Primary Evidence
- 5.3 Points of Style
- 5.4 The Melodies of the Variations
- 5.5 The Mirror of Sweelinck's German Pupils
- 5.6 Modality and Other Compositional Details
- 5.7 Once More: The Sources
- 5.8 Some Tentative Conclusions
- 6.Idiomatic Aspects
- 6.1 Sweelinck's Keyboard Polyphony (General Aspects - Vocal Polyphony versus Keyboard Polyphony – Figuration – Genre – Variation in the Number of Voices – Style and Notation)
- 6.2 Instrumental Designation (The Compass of Sweelinck's Organs - Organ versus Harpsichord in Relation to Compass – The Occurrence of the D-Sharp – A Tentative Division)
- 6.3 Sweelinck and the Monodic Organ Style (The Extent of the Monodic Element in the Organ Music – The Relationship with the Southern Netherlands)
- 6.4 Conclusion: The Question of Sweelinck's Influence
- Appendices
- 1.Sweelinck's Organs and Registration Practice
- 2.Catalogue of Works
- 3.The Sources: Overview and Inventories
- 4.A Checklist of the Keyboard Music of Peter Philips
- Bibliography
- Index of Sweelinck's Works
- General Index
