The 353 pages of Joanne Richardson's "The piano quintet: Influence of medium on genre" (2014, Unpublished Doctoral thesis, City University London) are merged with the 217 pages of Emily S. Gertsch's "Narratives of Innocence and Experience: Plot Archetypes in Robert Schumann's Piano Quintet and Piano Quartet" (2013, Doctoral thesis, The Florida State University College of Music). Each Doctoral thesis features its own introduction (minus the body text), conclusion (minus the body text), chapters (minus the body text), examples, footnotes, tables, figures and bibliographies (and 1 appendix in Richardson's Doctoral thesis). Therefore each Doctoral thesis has its own page numbering, i.e., the page numbers for Richardson's Doctoral thesis (starting on page i and ending on page 339) are printed on the bottom-center of the page and the page numbers for Gertsch's Doctoral thesis (starting on page vi and ending on page 208) are printed on the top-center of the page. (See the Table of Contents, List of Figures and List of Musical Examples on pages i – viii [printed on the bottom-center of the page] and the Table of Contents, List of Tables, List of Figures, and List of Examples on pages vi – xiv [printed on the top-center of the page].)
(piano quintet, 2020)
Out of a total of 46 Figures (and one Appendix) developed by Daniel E. Prindle in “The Form of the Preludes to Bach’s Unaccompanied Cello Suites” (2011) there are Figured Bass Reductions (Figures 2.1 and 2.2) of the Prelude from Suite No. 1 in G Major, BWV 1007 on pages 17 and 20, a Figured Bass Reduction (Figure 3.1) of the Prelude from Suite No. 2 in D Minor, BWV 1008 on page 28, a Figured Bass Reduction (Figure 4.1) of the Prelude from Suite No. 3 in C Major, BWV 1009 on page 38, a Figured Bass Reduction (Figure 6.2) of the Prelude from Suite No. 4 in Eb Major, BWV 1010 on page 65, and a Figured Bass Reduction (Figure 7.2) of the Prelude from Suite No. 5 in C Minor, BWV 1011 on page 80. Out of a total of 46 Figures (and one Appendix) developed by Daniel E. Prindle in “The Form of the Preludes to Bach’s Unaccompanied Cello Suites” (2011) there are Reductions of five Motives (Figures 7.1a, 7.1b, 7.1c. 7.1d and 7.1e) in the Prelude to Suite No. 6 in D Major, BWV 1012 on page 77, Reductions of Middleground Motives (Figures 4.3 and 4.4) in the Prelude to Suite No. 3 in C Major, BWV 1009 on page 40 and a Reduction (Figure 4.5) to an Ascending Sequence in the Prelude to Suite No. 3 in C Major, BWV 1009 on page 42.
(suite for unaccompanied cello, 2019)
There are editorial discrepancies in the First Movement of Mozart's String Quartet in D Minor, K. 421 in measure 1 (see pages 61-62) for Violin I (between the Autograph Manuscript, Artaria 1785 edition, Clementi ca. 1810–1818 edition, Breitkopf & Härtel 1882 edition and C.F. Peters 1882 edition), in measure 3 (see pages 63-65) for Violin I (between the Autograph Manuscript, Artaria 1785 edition, Ernst Eulenburg Ltd. 1930 edition, Boosey & Hawkes 1941 edition, Heugel & Cie 1955 edition, Edwin F. Kalmus 1968 edition, Philharmonia Verlag 1988 edition, G. Schirmer Inc. 1942 edition and Bärenreiter-Verlag 2010 edition), in measure 4 (see pages 66-68) for Violin I (between the Autograph Manuscript, Artaria 1785 edition, Ernst Eulenburg Ltd. 1930 edition, Breitkopf & Härtel 1882 edition, C.F. Peters 1882 edition, Ernst Eulenburg Ltd. 1930 edition, Boosey & Hawkes 1941 edition, Edwin F. Kalmus 1968 edition, Philharmonia Verlag 1988 edition, Heugel & Cie 1955 edition, G. Schirmer Inc. 1942 edition and Bärenreiter-Verlag 2010 edition), and in measure 4 (see pages 69-71) for Violin II (between the Autograph Manuscript, Artaria 1785 edition, Clementi ca. 1810–1818 edition, Breitkopf & Härtel 1882 edition, Ernst Eulenburg Ltd. 1930 edition, Boosey & Hawkes 1941 edition, Heugel & Cie 1955 edition, Edwin F. Kalmus 1968 edition, Philharmonia Verlag 1988 edition, C.F. Peters 1882 edition, G. Schirmer Inc. 1942 edition and Bärenreiter-Verlag 2010 edition).
There are editorial discrepancies in the Second Movement of Mozart's String Quartet in D Minor, K. 421 in measures 31-21 (see pages 72-74) for Cello (between the Autograph Manuscript, Artaria 1785 edition, Clementi ca. 1810–1818 edition, Breitkopf & Härtel 1882 edition and C.F. Peters 1882 edition), in measures 47-48 (see pages 72-74) for Cello (between the Autograph Manuscript, Artaria 1785 edition, Clementi ca. 1810–1818 edition, Breitkopf & Härtel 1882 edition and C.F. Peters 1882 edition), in measures 49-52 (see pages 74-77) for Violin I (between the Autograph Manuscript, Artaria 1785 edition, Clementi ca. 1810–1818 edition, Breitkopf & Härtel 1882 edition, C.F. Peters 1882 edition, G. Schirmer Inc. 1942 edition and Bärenreiter-Verlag 2010 edition).
There are editorial discrepancies in the Third Movement of Mozart's String Quartet in D Minor, K. 421 in measure 1 (see pages 77-79) for Violin I (between the Autograph Manuscript, Artaria 1785 edition, Clementi ca. 1810–1818 edition and G. Schirmer Inc. 1942 edition), in measures 15-18 (see pages 79-81) for Viola (between the Autograph Manuscript, Artaria 1785 edition, Bärenreiter-Verlag 2010 edition, G. Schirmer Inc. 1942 edition, Clementi ca. 1810–1818 edition, Breitkopf & Härtel 1882 edition, C.F. Peters 1882 edition, Ernst Eulenburg Ltd. 1930 edition, Boosey & Hawkes 1941 edition, Edwin F. Kalmus 1968 edition, Heugel & Cie 1955 edition and Philharmonia Verlag 1988 edition).
There are editorial discrepancies in the Fourth Movement of Mozart's String Quartet in D Minor, K. 421 in measures 49-52 (see pages 82-86) for Violin I (between the Autograph Manuscript, Artaria 1785 edition, Clementi ca. 1810–1818 edition, Breitkopf & Härtel 1882 edition, C.F. Peters 1882 edition, Ernst Eulenburg Ltd. 1930 edition, G. Schirmer Inc. 1942 edition, Edwin F. Kalmus 1968 edition, Philharmonia Verlag 1988 edition and Bärenreiter-Verlag 2010 edition), in measures 49-52 (see pages 87-89) for Violin II (between the Autograph Manuscript, Artaria 1785 edition, Clementi ca. 1810–1818 edition, C.F. Peters 1882 edition, Ernst Eulenburg Ltd. 1930 edition, Heugel & Cie 1955 edition, C.F. Peters 1882 edition and G. Schirmer Inc. 1942 edition), in measures 49-52 (see pages 89-91) for Viola (between the Autograph Manuscript, Artaria 1785 edition, Breitkopf & Härtel 1882 edition, C.F. Peters 1882 edition, Ernst Eulenburg Ltd. 1930 edition and Heugel & Cie 1955 edition), in measures 49-51 (see pages 91-93) for Cello (between the Autograph Manuscript, Artaria 1785 edition, C.F. Peters 1882 edition, Breitkopf & Härtel 1882 edition, G. Schirmer Inc. 1942 edition, Ernst Eulenburg Ltd. 1930 edition and Heugel & Cie 1955 edition).
(string quartet [no.3], 2019)
There are 6 Quartets ("Six Quartettos for two Violins, a Tenor and Bass, Humbly Dedicated to His Grace the Duke of Dorset, by Venanzio Rauzzini") printed one after another starting on page 1 and ending on page 114 (edited by Simone Laghi in Volume 2 of "Italian string quartets and late eighteenth-century London: publication and production: with a critical edition of the quartets opp. 2 and 7 by Venanzio Rauzzini [1746-1810]" [April 2017]), i.e., Quartet Op. 2, no. 1 starts on page 1, Quartet Op. 2, no. 2 starts on page 19, Quartet Op. 2, no. 3 starts on page 35, Quartet Op. 2, no. 4 starts on page 51, Quartet Op. 2, no. 5 starts on page 72, Quartet Op. 2, and no. 6 starts on page 94. There are 6 Quartets ("Second Sett of Six Quartettos for two Violins, Tenor and Violoncello, composed by Venanzio Rauzzini") printed one after another starting on page 115 and ending on page 194 (edited by Simone Laghi in Volume 2 of "Italian string quartets and late eighteenth-century London: publication and production: with a critical edition of the quartets opp. 2 and 7 by Venanzio Rauzzini [1746-1810]" [April 2017]), i.e., Quartet Op. 7, no. 1 starts on page 115, Quartet Op. 7, no. 2 starts on page 128, Quartet Op. 7, no. 3 starts on page 141, Quartet Op. 7, no. 4 starts on page 154, Quartet Op. 7, no. 5 starts on page 165, and Quartet Op. 7, no. 6 starts on page 179.
(string quartet [no.2], 2020)
The examples in “The Role of Organicism in the Original and Revised Versions of Brahms's Piano Trio in B Major, Op. 8, Mvt. I: A Comparison by Means of Grundgestalt Analysis” by Jessica L. Embry regarding the original version of Brahms's Piano Trio in B Major, Op. 8 (Mvt.1) are examples 1-6 (on pages 8-24), 12-17 (on pages 31-35), 20-24 (on pages 39-43), 41-43 (on pages 62-64), 45 (page 66), 46a (on page 68), 47 (on page 70), and 51 (on page 71). The examples in “The Role of Organicism in the Original and Revised Versions of Brahms's Piano Trio in B Major, Op. 8, Mvt. I: A Comparison by Means of Grundgestalt Analysis” by Jessica L. Embry regarding the ‘revised version’ of Brahms's Piano Trio in B Major, Op. 8 (Mvt.1) are examples 26 (on page 45), 28-41 (on pages 50-62), 42 (on page 63), 44 (on page 64), 46b (on page 68), 48 (on page 72), 49 (on page 73), 50 (on page 75), and 52 (on page 72). The Appendices in “The Role of Organicism in the Original and Revised Versions of Brahms's Piano Trio in B Major, Op. 8, Mvt. I: A Comparison by Means of Grundgestalt Analysis” by Jessica L. Embry regarding the original version of Brahms's Piano Trio in B Major, Op. 8 (Mvt.1) are Appendix A (see page 83), Appendix B (see page 87), and Appendix C (see page 106). The Appendices in “The Role of Organicism in the Original and Revised Versions of Brahms's Piano Trio in B Major, Op. 8, Mvt. I: A Comparison by Means of Grundgestalt Analysis” by Jessica L. Embry regarding the ‘revised version’ of Brahms's Piano Trio in B Major, Op. 8 (Mvt.1) are Appendix D (see page 111), Appendix E (see page 114), and Appendix F (see page 127).
(piano trio, 2019)
Examples from Beethoven’s Octet “dans un concert“ in Eb Major, Opus 103 (as utilized in Joshua Byrd’s “Growth and Change in Beethoven’s Compositional Style and Approach: An Analysis and comparison of Opus 103 and Opus 4”) are on pages 15, 20, 22, 23, 42, 47, 49, 51, 52, 54, 55, 59, 61, 62, 63, 65, 67, 68, 71, 72, 73, 74, 75, 76, 79, 83, 85, 86, 87, 110, 111, 113, 114, 115, 117, 118, 119, 120, 121, 122, 123, 124, 125, 128, 129, 130, 131, 132, 133, 134, 136, 137, 138, 139, 140, 141, and 151. Examples from Beethoven’s “‘Official’ arrangement” (Byrd, 2011, p. 26) of Opus 103 for string quintet, i.e., the String Quintet in Eb Major, Opus 4 (as utilized in Joshua Byrd’s “Growth and Change in Beethoven’s Compositional Style and Approach: An Analysis and comparison of Opus 103 and Opus 4”) are on pages 39, 40, 41, 47, 49, 50, 51, 52, 55, 56, 57, 58, 59, 60, 61, 63, 65, 67, 70, 71, 72, 73, 74, 75, 77, 78, 80, 81, 82, 84, 86, 87, 88, 89, and 126. An example from Louis Winkler’s (1820-1886) piano transcription of Opus 103 (as utilized in Joshua Byrd’s “Growth and Change in Beethoven’s Compositional Style and Approach: An Analysis and comparison of Opus 103 and Opus 4”) is on page 32.
(octet, 2019)
There are problems with the size of 69 figures in this dissertation from 1968, "An Analysis of Brahms, Quintet in B Minor, Op.115, for Clarinet and Strings," making it difficult to decipher each figure in detail. There are also problems with the awkward placement of the music staves in the figures, such as figure 12 on page 17 and figure 64 on pages 52-53 (to name a few). Figure 14 on page 18 and Figure 39 on page 38 (to name a few) are printed too close to the bottom of the page, nearly outside of the trim line and into the bleed area. In Figure 5 on page 12, the note heads for the clarinet and cello staves are faded as a result of a common printing problem.
(clarinet quintet, 2018)
There is a (17 measure) excerpt from Haydn's String Quartet in D Major, Op. 20, No.4 (measures 37 - 53) on page 8 that is in Unison with the (17 measure) excerpt from Haydn's String Quartet in D Major, Op. 20, No.4 (measures 37 - 53) on page 23 that is in Unison with the (17 measure) excerpt from Haydn's String Quartet in D Major, Op. 20, No.4 (measures 37 - 53) on page 52 that is in Unison with the (17 measure) excerpt from Haydn's String Quartet in D Major, Op. 20, No.4 (measures 37 - 53) on page 87.
(string quartet [no,1], 2017)
31 measures of Wolfgang Mozart’s String Quartet No.16 in E-flat major, K.428/421b are on p.125
(string quartet, 2014)
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We are aware of two important aspects on the construction of the score. The first is that the text announces where the 31 measures are to be found, and second, the 31 measures are on page 125.
The text “31 measures of Wolfgang Mozart’s String Quartet No.16 in E-flat major, K.428/421b is on p.125” is not only the title of the string quartet, but is also printed (as the header) on each page as directions on how to find the 31 measures of music.
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