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Article: SEVEN Brahms and the Neapolitan Complex: [b flat]II, [b flat]VI, and Their Multiple Functions in the First Movement of the F-Minor Clarinet Sonata.
- Article from:
- Brahms Studies
- Article date:
- January 1, 1998
- Author:
CopyrightCOPYRIGHT 1998 University of Nebraska Press. This material is published under license from the publisher through the Gale Group, Farmington Hills, Michigan. All inquiries regarding rights should be directed to the Gale Group. (Hide copyright information)
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Several recent studies have drawn attention to the importance of Neapolitan relations in Brahms's instrumental works. James Webster's seminal article on Schubert and Brahms refers to the "essential role" of Neapolitan relationships.(1) Among the Brahms sonata forms that Webster analyzes, the first movement of the F-Minor Piano Quintet places greatest emphasis on Neapolitan and Neapolitan-related chords. Christopher Wintle goes a step further and traces a "Neapolitan complex" (or N-complex) in movements from the E-Minor Cello Sonata and the A-Major Piano Quartet.(2) He explores Schubert's influence on Brahms's Neapolitan procedures and provides insight into the ...
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