Chapter 9.2. Analysis of Form-building Transformations Figure 9.7 Ludwig van Beethoven, Piano Sonata, Op. 2, No. 1, first movement, first phrase. Musical extract used courtesy of EMI Classics (EMI CHS 7 63765 2 PM 936). Figure 9.8 Ludwig van Beethoven, Piano Sonata, Op. 2, No. 1, first movement, beginning of development. Musical extract used courtesy of EMI Classics (EMI CHS 7 63765 2 PM 936). Figure 9.9 Leoš Janáček, String Quartet No. 1, inspired by Tolstoy’s Kreutzer Sonata, III. Con moto. Vivo. Andante.Musical extract used courtesy of Supraphon. Figure 9.10 Ludwig van Beethoven, Piano Sonata, Op. 2, No. 1, first movement, beginning. Musical extract used courtesy of EMI Classics (EMI CHS 7 63765 2 PM 936). Figure 9.11 Johann Sebastian Bach, ‘Ihr aber seid nicht fleischlich’, Jesu, meine Freude, BWV 227. Musical extract used courtesy of Warner Music (Teldec 242881-2). Figure 9.15 Simplification: Felix Mendelssohn Bartholdy, String Quartet, Op. 44, No. 1. Musical extract used courtesy of Harmonia Mundi (HMU 907287). Figure 9.16 Simplification: Gérard Grisey, Modulations. Musical extract used courtesy of Warner Music (Erato 0630-15993-2). Figure 9.17 Complication: Ludvig van Beethoven, ‘Diabelli Variations’, Op. 120. Musical extract used courtesy of Universal Music (Deutsche Grammophon 459645-2). Figure 9.18 Complication: Iannis Xenakis, Persephassa. Musical extract used courtesy of Universal Music (Philips 442 218-2). Figure 9.19 Partitioning: Ludwig van Beethoven, Piano Sonata, Op. 2, No. 2. Musical extract used courtesy of EMI Classics (EMI CHS 7 63765 2 PM 936). Figure 9.20 Partitioning: William Walton, Symphony No. 2. Musical extract used courtesy of SONY Music (01-046732-10). Figure 9.21 Integration: Franz Liszt, Eine Faust Symphonie, first movement. Musical extract used courtesy of Universal Music (Deutsche Grammophon 449 137-2 GH DDD). Figure 9.22 Integration: Alexander Vasilyevich Mosolov, Savod. Musical extract used courtesy of Universal Music (Decca 436640-2). Figure 9.23 Fragmentation: Carl Philipp Emanuel Bach, Keyboard Sonata in F-sharp minor, Wq 52/4, H37: No. 1. Musical extract used courtesy of Universal Music (Deutsche Grammophon 459 614-2 GB). Figure 9.24 Fragmentation: Györgi Ligeti, Étude 3 (Book 1) ‘Touches bloquées’. Musical extract used courtesy of SONY Music (SK62308). Figure 9.25 Synthesis: Franz Liszt, Piano Sonata in B minor. Musical extract used courtesy of Universal Music (Philips 427 322-2GH). Figure 9.26 Synthesis: Lasse Thoresen, Tradlarudl. Musical extract used courtesy of Grappa (ACD 5042). Figure 9.27 Proliferation and collection: Johann Christian Bach, Sinfonia, Op. 18, No 1. Musical extract used courtesy of Universal Music (Philips 442-275 2). Figure 9.28 Proliferation: Karlheinz Stockhausen, Gruppen (1). Musical extract used courtesy of Universal Music (Deutsche Grammophon 447 761-2). Figure 9.29 Collection: Witold Lutosławski, Paroles tissés. Musical extract used courtesy of Polskie Nagrania (PNCD 042A). Figure 9.30 Fusion: Johann Sebastian Bach, ‘Omnes Generationes’ from Magnificat in D major. Musical extract used courtesy of Harmonia Mundi (HMC 901326). Figure 9.31 Fusion: Karlheinz Stockhausen, Gruppen (continued). Musical extract used courtesy of Universal Music (Deutsche Grammophon 447 761-2). Figure 9.32 Fission: Georg Friderich Händel, ‘All we like sheep’ from Messiah. Musical extract used courtesy of Universal Music (Decca 430 488 2). Figure 9.33 Fission: Witold Lutosławski, Jeux vénitiens. Musical extract used courtesy of EMI Classics (7243 5 65305 2 2). Figure 9.34 Catabolism: Lasse Thoresen, Ovringar, ending. Musical extract used courtesy of Grappa (ACD 5042). Figure 9.35 Anabolism: Lasse Thoresen, Ovringar, opening. Musical extract used courtesy of Grappa (ACD 5042). Figure 9.36a Period: Mozart, Piano Sonata in A minor, KV 310, second movement; Sentence: Beethoven, Piano Sonata in C major, Op. 2, No. 2. Musical extract used courtesy of Grappa (Simax PSC 1125). Figure 9.37 Crystallisation: Ludwig van Beethoven, Symphony No. 9, first movement. Musical extract used courtesy of Universal Music (Phillips 442275-2). Figure 9.39 Liquidation: Lasse Thoresen, Illuminations: Double Concerto for Two Violoncelli and Orchestra. Musical extract used courtesy of Grappa (ACD 5008). Figure 9.40 Analysis of Wolfgang Amadeus Mozart, Piano Sonata in A minor, KV 310, first movement. Musical extract used courtesy of Grappa (Simax PSC 1125). Figure 9.43 Leoš Janáček, String Quartet No. 1, inspired by Tolstoy’s Kreutzer Sonata, III. Con moto. Vivo. Andante.Musical extract used courtesy of Supraphon.