Preface A Letter about the C-Major Fugue from The Well-Tempered Clavier, Book 1 - Charles Burkhart The Opening Tonal Complex of Bach's St. Matthew Passion: A Linear View - Mark Anson-Cartwright Recurrence and Fantasy in C. P. E. Bach's Rondo in G Major - Frank Samarotto Voice-Leading Procedures in Galant Expositions - L. Poundie Burstein The First Movements of Anton Eberl's Symphonies in E-flat Major and D Minor, and Beethoven's Eroica: Toward "New" Sonata Forms? - Timothy Jackson Schubert's "Unfinished" Symphony: Analytical Observations - David W. Beach Structural and Form-Functional Ambiguities in the First Movement of Schubert's Octet in F Major, D. 803 - Su Yin Mak The Form of Chopin's Prelude in B-flat Major, Op. 28, No. 21 - Roger Kamien "All That Is Solid Melts into Air": Schumann's Overture to Manfred - William Rothstein Endings without Resolution: The Slow Movement and Finale of Schumann's Second Symphony - Lauri Suurpää Half-Diminished-Seventh Openings in Brahms's Lieder - Ryan McClelland Motivic Enlargement in Dvorák's Symphony Op. 70 - Leslie Kinton Deliverance and Compositional Design in the "Libera me" of Verdi's Messa da Requiem - Donald R. McLean Polyphony and Cacophony? A Schenkerian Reading of Strauss's "Dance of the Seven Veils" - Matthew Brown A Force of Nature: Debussy and the Chromatically Displaced Dominant - Boyd Pomeroy Appendix: An Interview with Edward Laufer - Stephen Slottow