ANSELM GERHARD LONDON UND DER KLASSIZISMUS IN DER MUSIK: DIE IDEE DER ‘ABSOLUTEN MUSIK’ UND CLEMENTIS KLAVIERWERKE Stuttgart and Weimar: Metzler, 2002 pp. 379, ISBN 3 475 00976 9

MICHAEL SPITZER

doi:10.1017/S1478570606240636

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ANSELM GERHARD LONDON UND DER KLASSIZISMUS IN DER MUSIK: DIE IDEE DER ‘ABSOLUTEN MUSIK’ UND CLEMENTIS KLAVIERWERKE Stuttgart and Weimar: Metzler, 2002 pp. 379, ISBN 3 475 00976 9

Volume 3, Issue 2
MICHAEL SPITZER
DOI: https://doi.org/10.1017/S1478570606240636

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ANSELM GERHARD LONDON UND DER KLASSIZISMUS IN DER MUSIK: DIE IDEE DER ‘ABSOLUTEN MUSIK’ UND CLEMENTIS KLAVIERWERKE Stuttgart and Weimar: Metzler, 2002 pp. 379, ISBN 3 475 00976 9

Volume 3, Issue 2
MICHAEL SPITZER
DOI: https://doi.org/10.1017/S1478570606240636

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ANSELM GERHARD LONDON UND DER KLASSIZISMUS IN DER MUSIK: DIE IDEE DER ‘ABSOLUTEN MUSIK’ UND CLEMENTIS KLAVIERWERKE Stuttgart and Weimar: Metzler, 2002 pp. 379, ISBN 3 475 00976 9

Volume 3, Issue 2
MICHAEL SPITZER
DOI: https://doi.org/10.1017/S1478570606240636

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ANSELM GERHARD LONDON UND DER KLASSIZISMUS IN DER MUSIK: DIE IDEE DER ‘ABSOLUTEN MUSIK’ UND CLEMENTIS KLAVIERWERKE Stuttgart and Weimar: Metzler, 2002 pp. 379, ISBN 3 475 00976 9

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ANSELM GERHARD LONDON UND DER KLASSIZISMUS IN DER MUSIK: DIE IDEE DER ‘ABSOLUTEN MUSIK’ UND CLEMENTIS KLAVIERWERKE Stuttgart and Weimar: Metzler, 2002 pp. 379, ISBN 3 475 00976 9

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