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Why are finales different from other movements? Why can we nearly always tell whether a movement comes first or last in a work with several movements? Is the special character of finales necessary as well as traditional? Michael Talbot explores these questions in depth. His wide-ranging analytical and historical survey covers instrumental (and some vocal) music from the Renaissance up to the present day.
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Why are finales different from other movements? Why can we nearly always tell whether a movement comes first or last in a work with several movements? Is the special character of finales necessary as well as traditional? Michael Talbot explores these questions in depth. His wide-ranging analytical and historical survey covers instrumental (and some vocal) music from the Renaissance up to the present day.
Reviews