Nicholas Marston is University Reader in Music Theory and Analysis in the Faculty of Music, University of Cambridge; he is also a Fellow of King's College. His work on Beethoven's sketches, the music of Schumann and Schenkerian theory has appeared in major international journals and in books published by Cambridge University Press and Oxford University Press.

'... a detailed history and study of Schenker's voice-leading analysis of each movement.' Beethoven Journal ’Marston’s comprehensive account in this book of all the documentary evidence about Schenker’s interaction with Opus 106 ... lifts the veil on that silence in a most illuminating way ... The result is one of the most thought-provoking Schenker publications and works of Beethoven analysis for some time. Marston demonstrates that Schenker’s thinking about the piece was both profound and incomplete’. Musicology Australia

• Contents: Preface; Introduction; The Erläuterungsausgabe project and Op. 106: 1912-1926; First movement: allegro; Second movement: scherzo: assai vivace; Third movement: adagio sostenuto; Fourth movement: largo - allegro risoluto: fuga a tre voci con alcune licenze; After 1926; Epilogue; Appendices; Bibliography; Indexes.

Nicholas Marston is University Reader in Music Theory and Analysis in the Faculty of Music, University of Cambridge; he is also a Fellow of King's College. His work on Beethoven's sketches, the music of Schumann and Schenkerian theory has appeared in major international journals and in books published by Cambridge University Press and Oxford University Press.

'... a detailed history and study of Schenker's voice-leading analysis of each movement.' Beethoven Journal ’Marston’s comprehensive account in this book of all the documentary evidence about Schenker’s interaction with Opus 106 ... lifts the veil on that silence in a most illuminating way ... The result is one of the most thought-provoking Schenker publications and works of Beethoven analysis for some time. Marston demonstrates that Schenker’s thinking about the piece was both profound and incomplete’. Musicology Australia

• Contents: Preface; Introduction; The Erläuterungsausgabe project and Op. 106: 1912-1926; First movement: allegro; Second movement: scherzo: assai vivace; Third movement: adagio sostenuto; Fourth movement: largo - allegro risoluto: fuga a tre voci con alcune licenze; After 1926; Epilogue; Appendices; Bibliography; Indexes.

Nicholas Marston is University Reader in Music Theory and Analysis in the Faculty of Music, University of Cambridge; he is also a Fellow of King's College. His work on Beethoven's sketches, the music of Schumann and Schenkerian theory has appeared in major international journals and in books published by Cambridge University Press and Oxford University Press.

'... a detailed history and study of Schenker's voice-leading analysis of each movement.' Beethoven Journal ’Marston’s comprehensive account in this book of all the documentary evidence about Schenker’s interaction with Opus 106 ... lifts the veil on that silence in a most illuminating way ... The result is one of the most thought-provoking Schenker publications and works of Beethoven analysis for some time. Marston demonstrates that Schenker’s thinking about the piece was both profound and incomplete’. Musicology Australia

• Contents: Preface; Introduction; The Erläuterungsausgabe project and Op. 106: 1912-1926; First movement: allegro; Second movement: scherzo: assai vivace; Third movement: adagio sostenuto; Fourth movement: largo - allegro risoluto: fuga a tre voci con alcune licenze; After 1926; Epilogue; Appendices; Bibliography; Indexes.