1. See, in particular, the 1993 critical edition edited by Ludwig Finscher and Wolf-Dieter Seiffert (Kritische Berichte Serie VIII: Kammermusik Werkgruppe 20: Streichquartette und Quartette mit einem Blasinstrument. Abteilung 1: Streichquartette Band 2.] Also valuable are several articles in the book The String Quartets of Haydn, Mozart, and Beethoven: Studies of the Autograph Manuscripts edited by Christoph Wolff and Robert Riggs (Cambridge: Harvard University Press, 1980). The most relevant articles appear in the chapters by Alan Tyson, Christoph Wolff, Ludwig Finscher, and Marius Flothuis.

2. Nancy Kovaleff Baker and Thomas Christensen, editors, Aesthetics and the Art of Musical Composition in the German Enlightenment: Selected Writings of Johann Georg Sulzer and Heinrich Christoph Koch (Cambridge: Cambridge University Press,1995), p. 103.

3. Reprinted from Leonard G. Ratner, Classic Music: Expression, Form, and Style (New York: Schirmer Books, 1980), 217-218.

4. Ratner, 81.

5. Baker, 91.

6. Ratner details many of these figures in his chapter on melody. See especially pp. 83-5, 91-4, 213-5. For a more detailed explanation of conventions, see Robert O. Gjerdingen, A Classic Turn of Phrase: Music and the Psychology of Convention (Philadelphia: University of Pennsylvania Press, 1988).

7. Mark Evan Bonds, Wordless Rhetoric: Musical Form and the Metaphor of the Oration (Cambridge: Harvard University Press, 1991). The first two chapters are particularly relevant to the subject at hand and provide an alternative to the traditional sonata form approach to eighteenth century music. An outstanding analysis of the first movement of the "Dissonance" quartet appears on pp. 102-110.

8. See Ratner, p. 213-4 for a description and example of the fonte.

End of Footnotes