Index

Page numbers in italics indicate illustrations.

A

Abduction from the Seraglio (Mozart), 470–76, 479, 602, 678

Abel, Carl Friedrich, 419, 420, 508

    Bach (J. C.) partnership with, 419

    Sonata in B flat major, op. 2, no. 4, 429–32

absolute music,

    autonomous art concept and, 599

    Bach sons as harbingers of, 388, 418

    concept of, 648, 714

    exigesis and, 650

    Wagner and, 714

absolutism,

    artistic expressions of, 14–15, 34, 111

    British political end to, 114–15, 124, 126

    contemporary modern examples of, 111–12

    covert argumentation against, 110–12, 441–42, 443

    Enlightenment thought vs, 110, 175, 443, 462

    of French court, 88, 111, 647

    in musical performance tradition, 14, 110, 111–12, 174

    music glorifying, 91–92, 111–12

academia, 499–500

Académie Française, 90

Académie Royale de Musique (Paris), 89

académies de musique, 504

Academy of Antient (Ancient) Musick (London), 639

a cappella,

    Good Friday settings and, 73

    Monteverdi and, 6

Accademia degli Incogniti (Venice), 26–27

Accademia degli Invaghiti (Mantua), 18

acciaccatura, 393

accidentals, 212, 247

accompanied sonata, 427–32

“Account of a Very Remarkable Musician” (Barrington), 464

“Ächzen und erbärmlich Weinen” (J. S. Bach), 364–65

Acis and Galatea (Handel), 313–14

acting,

    by castrati, 86, 459

    French court opera declamatory style, 99, 106

    “natural,” 459. See also drama; theater

Acts of the Apostles, Schütz setting of, 68–72

Addison, Joseph, 313

Adonis (Marino), 37

Adonis (mythology), 97

Advent, Bach (J. S.) cantata for, 342, 348

Aeneid (Virgil), 90, 132

Aesopian discourse, 442 Aesthetica (Baumgarten), 641

affections, doctrine of, 643

Affektenlehre, 680

Agnelli, Scipione, 6

Agnus Dei, Bach (J. S.) Mass in B minor and, 375

agrémens (embellishments), 106, 278, 279

“Ahi caso acerbo” (Monteverdi), 26

air (ayre), 120–22

Air à trois (Lully), 99–100

air de cour, 98

Aix-la-Chapelle, Peace of (1749), 306

Akademie, 499–500

Alberti, Domenico, 425, 432

    Sonata in C major, op. 1, no. 3, 432–33

Alberti bass, 425, 428, 429, 432

Albion and Albanius (Grabu), 132–33

Albrechtsberger, Johann Georg, 499, 509, 652

Alceste (Gluck), 90, 453, 466–70

    Mozart’s Idomeneo compared with, 466–70

Alceste (Lully), 90, 90

Alcestis (Euripides), 90

Alcestis (mythology), 90

Alcuin of York, 724

Alcyone (Marais), 321

Aldimoro, L’ (A. Scarlatti), 186–87

Alembert, Jean d’, 461, 462

Alexander VIII, Pope, 151

alienation, 600, 737

Allanbrook, Wye J., 435, 437, 620–21

allegory,

    court musical theater and, 15

    English masque and, 113, 132

    tragédie lyrique and, 89–94, 95, 96

allemande, 37, 53, 120

    in Don Giovanni, 491

    gavotte contrasted with, 274

    history of, 260

    in suite format, 260, 262, 263–65, 266, 267 See also balletto

Allgemeine musikalische Zeitung (journal), 673

“All we like sheep have gone astray” (Handel), 332, 335

Amadeus (Shaffer), 464

Amalia Catharine, Countess of Erbach, 79

Amati, Niccolò, 2

Amati family, 2

American colonies, 111

American Constitution, 111, 461–62

Amigoni, Jacopo, 172

A minor, as Mozart’s “Turkish” key, 602

Amsterdam, 44, 48, 177

Anacreontic verses, 3

ancient world, 453, 724

Andante pour le clavecin (Mozart), 463

Andate, oh miei sospiri (A. Scarlatti), 142, 143–47

An die ferne Geliebte (Beethoven), 673

An die Freude (Schiller), 675, 678, 680, 731

Andromède (Corneille), 87

Anglican Church, 116, 125, 204

    Handel’s Messiah and, 325

Anna Magdalena music book (J. S. Bach), 262, 262

Anne, Queen of Great Britain, 237

Anschütz, Heinrich, 689

anthem oratorio, Handel’s Israel in Egypt as prototype of, 316–21

antiphony, 46, 59, 315, 378, 381

anti-Semitism, Bach (J. S.) St. John Passion and, 389–90

Antwerp, English composers in, 45

Apollo (mythology), 21, 47, 58, 88, 151

“Appassionata” Sonata in F minor, op. 57 (Beethoven), 670

appoggiatura, 254, 364, 413, 414

“Approaching a History of 18th-Century Music” (Heartz), 400

Araja (Araia), Francesco, 158

Arcadian Academy (Rome), 150–52, 153, 177, 192, 435

archaeology, 453

“Archduke” Trio in B-flat major (Beethoven), 655, 671

architecture, 35

aria,

    Bach (J. S.) and, 370–74, 376–77

    cantata, 75, 348, 351, 352

    cantata vs. operatic, 146

    as concerto for voice and orchestra, 308

    Farinelli’s signature, 167–69

    fermata in, 171

    Handel and, 311–12, 317

    improvisation and, 650

    Metastasian librettos and, 153–54, 161–64, 166–67

    opera seria, 143–44, 145, 154, 311–12, 341

    original meaning of, 144

    Passion, 378–81

    rage, 155, 308–11, 437, 481, 602, 678

    recitative with, 25, 78, 142, 143–44, 154, 192, 342, 348, 349, 351–52, 378

    siciliana, 144–46

    simile, 161, 168–69, 231, 308

    strophic, 33, 144

aria cantabile, 154

aria d’affetto, 154

aria di bravura,

    Handel and, 336–40

    in Metastasian librettos, 154, 161

aria di sorbetto, 154, 174

Ariadne (mythology), 104

Ariane (Cambert), 89

Arianna (Monteverdi), 104

ariette,

    in cantata, 75

    Rameau and, 107, 108

arioso, 24, 133

aristocracy,

    Beaumarchais’s Figaro plays and, 478

    Beethoven and, 671

    castrato singing and, 174

    classicism and, 647

    comédie larmoyante as lampoon of, 450

    commercial (later comic) opera oppositional politics and, 17

    English Civil War and, 124

    English masques and, 113

    entrepreneurial class challenges to, 115

    in France, 85, 97

    Gluck’s reforms and, 459

    Haydn’s relationship with, 527–28, 553–55, 577–78, 607

    Italian court musical presentations and, 15–16

    Mozart subscription concerts and, 608

    musical supply and demand and, 527–28, 553, 555

    opera seria and, 174–75, 447, 455

    pastorelas and, 446

    plot devices and, 446, 447, 448

    rococo expression and, 279, 459

    virtuosity ban by, 15

    women composers and, 79, 80–81 See also court music court opera patronage

Aristotle, 15, 17, 151, 435, 706

    “art imitates nature” doctrine of, 642–43

Armida (mythology), 94, 95

Armide (Lully), 94–96, 95, 155

Arnalta’s gloating aria (Mozart), 27, 28–29

Arne, Thomas, 158

Arnstadt, 239, 241

ars perfecta, 13

Artaria (Vienna publisher), 541

Artaserse (Araja), 158

Artaserse (Arne), 158

Artaserse (J.C.Bach), 158, 419

Artaserse (Cimarosa), 158

Artaserse (Galuppi), 158

Artaserse (Gluck), 158

Artaserse (Hasse), 158, 166

Artaserse (Isouard), 158

Artaserse (Jommelli), 158

Artaserse (London pastiche), 311

Artaserse (Metastasio libretto), 153, 158–68

    “geometry” of dramatis personae of, 159, 160

    myriad musical settings and performance places of, 158, 419

    story of, 159–61

    thirty arias in, 161–71

Artaserse (Myslive|ek), 158

Artaserse (Paisiello), 158

Artaserse (Piccinni), 158

Artaserse (Sarti), 158

Artaserse (G. Scarlatti), 158

Artaserse (Vinci), 158, 161–65

Arte del violino, L’ (Locatelli), 299

art for art’s sake, 111, 590, 600

artistic creation,

    alienation and, 600, 737

    biblical Creator linked with, 81

    biography of author and, 620

    classical view of, 642–43

    commodification of, 736

    emancipation of, 737

    Enlightenment thought and, 495–96

    free market and, 600

    gender and, 78–81

    German hegemonic claims to, 389, 738

    German national identity and, 388, 389

    group identity and, 82, 83

    in historical/political context, 389–90, 397

    humanity represented in, 464, 474, 475, 486, 495, 590–91, 643

    as imitation of nature, 643

    immanence of author’s intentions in, 620

    innovation and, 397

    interpretation of, 680

    introspectivity subjectivity and, 590–600, 643

    lonely, suffering hero concept and, 649

    masterwork concept and, 639, 650

    of Mozart, 495, 590–91, 599–600

    Mozart’s “pleasing the ear” statement and, 471–72, 494

    musical historiography and, 12–18

    music’s purpose and, 363–64, 486, 494

    myth of perfection and, 235

    naturalism and, 432–34

    neoclassic view of, 453

    nonpolitical appreciation of, 111, 485

    “original genius” concept and, 329, 416, 641, 643

    performance separated from, 639, 642, 655

    personal taste and, 87, 173

    poietic fallacy and, 13

    political context of, 12–16, 111–12, 175–76

    Romantic concept of, 81, 590, 591, 600, 641–46. See also Romanticism

    sacralization of, 649–50

    sensibility and, 409–18, 737

    social consequences of, 14–15

    social import of, 496

    Sturm und Drang and, 416, 417

    sublimity vs. beauty in, 643–46, 649

    transcendence and, 706, 714, 720, 721

    universalizing resistance by, 600

    women’s underrepresentation in, 78–83

    See also composers

Art of Fugue, The (J.S.Bach), 385–88

Artusi, Giovanni Maria, 2, 5

asceticism, musical, 68

“A Serpina penserete” (Pergolesi), 439, 440

Ashe, Andrew, 568

Asian culture, 721

Attilio Regolo (Metastasio libretto), 155–58

    musical settings of, 157–58

Attis (mythology), 97

Atys (Lully), 91–92, 97–106, 110

    contemporary subtext of, 97

    overture to, 91–92

    sommeil (sleep scene), 100–102, 100

    as “the king’s opera” 97

    third act of, 97–106

audience,

    as arbiter of musical taste, 173

    Beethoven’s consistent popularity with, 655, 671, 691, 692

    buffi popularity with, 434

    commercial opera and, 34

    disrupted musical expectations of, 207–8, 223

    early music conventions and, 233

    eighteenth-century aggressive responses by, 223–24, 651

    expectations of, 213, 305, 434

    as free market, 571

    German music festival and, 385

    interaction with music by, 223, 611–13

    late-eighteenth-century spontaneity of, 613, 651

    nineteenth- and post-nineteenth-century decorum of, 223–24, 613, 651

    nineteenth-century mass musical appreciation by, 736

    opera seria behavior of, 153–54, 173–75, 223

    Orfeo’s appeal to, 21

    response to musical representations of nature by, 321

    for symphonic music, 498

    twentieth-century etiquette instructions for, 651

    “understandable” music and, 234

    virtuoso performance effects on, 16

augmented sixth, 364

Augsburg Confession, 353–54, 402

A un giro sol (Monteverdi), 229

Austen, Jane, 409

Austria, 647

    claim to Beethoven by, 675–76

    Enlightenment thought and, 462, 482

    folkishness connotation in, 550

    Haydn’s nationalistic oratorio for, 633

    Napoleonic Wars and, 577

    “oratorio-style” Mass genre in, 375

    symphony and, 504

    Thirty Years War and, 55–56

    waltz and, 573 See also Holy Roman Empire Vienna

autonomous art, 111, 208, 589–90, 599, 642, 643, 670, 737

avante-garde, critique of Beethoven by, 693

Ave Maria (antiphon), 66

Ave Maria (Gounod), 251

ayre (air), 120–22

B

Bach, Anna Magdalena (J. S. Bach wife), 262

Bach, Carl Philipp Emanuel (J. S. Bach son), 240, 259, 400, 410–18, 411, 503, 527

    brother Bach (J. C.) compared with, 402, 426–27, 428

    clavichord and, 413

    concerto and, 606, 622

    empfindsamer Stil and, 410, 413, 414, 416, 418, 426–27, 428–29, 508, 529, 610, 624

    father Bach (J. S.) and, 243, 346, 385, 504

    Frederick II patronage of, 410, 411, 413, 462

    as Haydn influence, 518, 529

    inner-directed music of, 410, 418

    Klopstock friendship with, 410

    Mozart as musical heir to, 399, 410, 601, 606, 622, 624

    “Prussian” sonatas of, 413

    symphonic style of, 508–16

    works of

      Fantasia in C minor, 414–16, 417, 624

      Orchestral Symphony, first, 510–16

      Sonata in F major, no. 1 (“Prussian”), 411–13, 518

Bach, Johann Bernhard (J. S. Bach cousin), 240

Bach, Johann Christian(J.S.Bachson), 240, 418–26, 419, 488, 503, 504

    Abel partnership with, 419

    accompanied keyboard sonatas of, 428–29

    Bach (C. P. E.) compared with, 402, 426–32, 428

    career of, 53, 240, 418–19

    contrast and balance used by, 420

    double exposition and, 606

    fame of, 418

    influence of, 424

    Italian instrumental style and, 208–16

    Marcello Concerto a cinque and, 192

    modulatory maneuvering of, 488

    as Mozart model, 399, 464, 601–2, 606, 622

    opera seria and, 158, 240, 507

    status in own day of, 234, 240

    symphonic development and, 507–9

    versatility of, 419

    works of

      Lucio Silla, 507

      Sinfonia in B flat major, op. 18, no, 2, 507–11

      Sonata in D major, op. 5, no. 2, 420–26

Bach, Johann Christoph (J. S. Bach uncle), 240

Bach, Johann Ludwig (J. S. Bach cousin), 240

Bach, Johann Michael(J.S.Bachuncle), 240

Bach, Johann Nicolaus (J. S. Bach cousin), 240

Bach, Johann Philipp (J. S. Bach relative), 240

Bach, Johann Sebastian, 208–16, 233–303, 238, 340–90, 433, 503, 689

    anti-Enlightenment sentiments of, 364, 368–69, 390

    Bach’s (C. P. E.) musical outlook vs, 411, 413

    Bach’s (W. F.) style vs, 402, 406, 409

    biographies of, 388

    BWV listing system for, 342

    canonization of, 233, 235, 381, 388, 401

    cantata dating and, 342, 392

    career and lifestyle of, 239–41, 261

    career trajectory of (map), 236

    chorale settings of, 50, 241, 255–57, 341

    death of, 385

    family of, 240, 262. See also Bach sons

    Froberger’s suite compared with, 266

    German nationalism and, 235, 259, 385, 388

    Handel’s approach to music contrasted with, 321, 345, 362, 364, 368, 374

    Handel’s career compared with, 236, 240, 305–6

    Handel’s musical differences with, 345

    improvisational mastery of, 241, 243, 384–85, 414

    Italian style and, 280–85

    Mendelssohn and, 381

    musically unmeetable performance demands of, 370–75

    musical role models for, 241–42, 247, 248, 255

    myth of perfection and, 235

    numerological skill of, 384–4, 385

    as religious composer, 303, 305, 340, 363–83, 389

    revival in nineteenth century of, 234, 235, 364, 368, 375, 381, 383–85, 388, 389, 390, 399, 464

    St. Thomas (Leipzig) cantorship of, 238, 53, 239, 239

    Scarlatti (Domenico) compared with, 396

    secular music and, 261–77, 305, 374–75

    significant birth year of, 233, 235

    social/political interpretations of musical transgressions of, 301–3, 368

    standard repertory and, 234

    stylistic complexity of, 235, 241, 242–43, 248–50, 285–89

    “testaments” of, 375–90

    transformation of traditional techniques by, 254–55, 258–59

    tuning practice of, 248

    unique genius of, 254, 258, 287, 289, 364, 378, 383–84

    Vivaldi arrangement by, 224–25

    works of

      Anna Magdalena music book, 262

      Art of Fugue, The, 385–88

      Ave Maria (Gounod arrangement), 251

      B-A-C-H cipher, 385, 386–87, 388

      Brandenburg Concerto no. 5 in D major, 290, 291–300, 406

      Brandenburg Concertos, 289–301, 305, 306, 619

      cantatas of, 340–75, 376, 378, 682

      Christ lag in Todesbanden, 50, 343–47

      Chromatic Fantasia and Fugue in D minor, 414

      Clavier- Öbung (Well-Tempered Clavier), 262, 263, 281, 383

      “Coffee cantata,” 374

      Concerto in C major for 2 Harpsichords, BWV 1061, 266–67

      Concerto nach italiänischem Gusto (“Italian Concerto”), 281–82, 285, 287

      Du Hirte Israel, höre, BWV 104, 372–75

      Durch Adams Fall, 255, 257–58

      Ein’ feste Burg, BWV 80, 353–63, 364, 402

      English Suites, 262

      French Suites, 262–67

      French Suite no. 5 in G major, 263–70, 271–74

      Fuga a 3 soggetii, 385

      Fugue in B minor, no. 24, 249, 251, 253–54, 279, 291

      Fugue in E major, subject, 248–49

      Goldberg Variations, 383

      Jauchzet Gott in allen Landen, BWV 51, 374–75

      Kunst der Fuge, Die (The Art of Fugue), 385–88

      Mass in B Minor, 110, 289, 375–77, 383

      Meine Seufzer, meine Tränen, BWV 13, 364–65

      Musikalisches Opfer (The Musical Offering), 376, 384–85

      Nimm von uns, Herr, Du treuer Gott, BWV 101, 365–68

      Nun komm, der Heiden Heiland, BWV 61, 342–43, 348–53, 354, 356

      Orchestral Suite no. 3, overture, 286–87, 288

      Orgelbüchlein, 255–56, 258

      Passacaglia in C minor, 247

      Prelude in C major, no. 1, 249–50, 253

      Reincken Sonata no. 1 arrangement, 245–47, 249, 274

      St. John Passion, 377–81, 389–90

      St. Matthew Passion, 377–78, 381, 382, 389–90

      Siehe zu, dass Deine Gottesfurcht, BWV 179, 370–72

      suites of, 260, 261–77, 286–89

      Toccata (organ) in F major, BWV 540, 208–16, 247, 295

      trio sonatas of, 428

      Wachet auf, ruft uns die Stimme, BWV 140, 375

      Wo Gott der Herr nicht bei uns hält, BWV 178, 369–9

      Wohltemperirte Clavier, Das (The

      Well-Tempered Clavier), 247–51, 253, 291

Bach, Veit (J. S. Bach ancestor), 240

Bach, Wilhelm Friedemann (J. S. Bach son), 240, 401–9, 401, 424, 503, 504

    Ein’ feste Burg arrangement, 353, 357, 402

    Harpsichord Sonata in F, 402–9, 413, 414

Bach, Wilhelm Friedrich Ernst (J. S. Bach grandson), 240

Bach-Abel Concerts (London), 419, 555

“Bach chorale” harmonization, 346

B-A-C-H cipher, 385, 386–87, 388

Bach-Gesellschaft (Bach Society), 342, 392

Bach sons, 240, 399, 401–29, 432

    concerto style and, 606

    Mozart as heir to, 622, 624

    new musical style of, 399, 418, 420, 429, 433, 437

    Sammartini’s music and, 503, 504

    as symphonists, 507–16 See also Bach, Carl Philipp Emanuel Bach, Johann Christian Bach, Wilhelm Friedemann

Bach-Werke-Verzeichnis (BWV listing), 342

Bagatelles (Beethoven), 686

Bajocco’s aria (Orlandini), 436

Bakhtin, Mikhail, 17

ballet d’action, French opera and, 100

balletto, 37, 120, 260. See also allemande

ballroom dances, 96, 503, 506

    suite adaptation of, 259–61 See also minuet

Bambini, Eustachio, 441, 442, 443

Banchetto musicale (Schein), 53

band concerts, 499

Banister, John, 499

Barberini, Antonio Cardinal, 88

Barbier de Séville, Le (Beaumarchais), 477

Baroque,

    ground bass and, 35

    Handel and, 204, 437

    Monteverdi and, 18, 35

    Rameau and, 110

    sociology of music of, 14–15

    twentieth-century interest in (“postwar Baroque boom”), 217

Barrington, Daines, 464

baryton (viola paradon), 527, 527, 601

bass (voice), as intermezzo character, 434, 438

basse fondamentale, 189

bassoon, Vivaldi concertos for, 217–22

Bastien und Bastienne (Mozart), 656–58

“Battle Symphony” (Wellington’s Victory) (Beethoven), 672–73

Baumgarten, Alexander Gottlieb, 641

Beatriz di Dia, 79

Beaumarchais, Pierre-Augustin Caron de, 477–78

    “revolutionary” myth about, 478

beauty,

    as music’s purpose, 363–64, 486, 494, 590–91, 599–600, 644, 649

    of pagan art, 649

    sublime vs, 643–46, 649

    truth and, 363

Becker, Cornelius, 59

“Becker Psalter,” 59

Beethoven, Johann van (father), 652

Beethoven, Karl van (nephew), 672, 682

Beethoven, Kaspar van (brother), 672

Beethoven, Louis (Ludwig) van (grandfather), 652

Beethoven, Ludwig van, 647, 648–89, 691–735

    alienation and, 655, 671, 672, 737

    archaism and, 686–88

    authority and influence of, 648, 650, 689, 691, 693, 696, 706, 735–36, 738–39

    biographical interest in, 654, 672

    as businessman, 653, 672–73

    cadenza scoring by, 650

    canonization of, 689, 691, 738

    career of, 652–55, 671–72

    characteristic rhythm of, 696–97, 709, 711, 713

    Classical period and, 739

    C-minor and, 691–735

    concert tours by, 653

    conflicting images of, 671

    creative dry spell of, 672–73

    critical resistance to, 677, 691, 692–93, 738, 739

    deafness of, 653–55, 671, 672, 676, 677, 737

    death of, 682, 687, 689

    Deity symbol of, 732

    distinctive tone of, 694

    ear trumpets made for, 654

    emotional drains on, 671–72

    financial support of, 671

    fugal writing by, 686, 721–27, 729

    funeral of, 687, 689, 689

    Goethe and, 671–72, 689, 720

    Haydn and, 652, 653, 660, 692, 694–95, 696, 698, 701, 702

    Heiligenstadt Testament of, 654, 672

    heroic style of, 656, 668–69, 670–71, 689, 701–2

    higher realm and, 731

    “Immortal Beloved” letter by, 672

    improvisations and, 652, 653, 655

    infinite and, 648–49, 670, 731–32, 734

    interpretation of, 680, 694

    intuition and, 720

    inward-turning by, 683–87

    last completed work of, 682

    last public appearance of, 655

    late period of, 682–89, 693, 721, 726, 732–33

    legacy of, 652, 686, 689, 735–39

    Mass composition by, 721

    mass public audience for, 655, 671, 691, 692

    metronome tempo settings by, 673

    Mozart’s works and, 651, 653, 656–58, 660, 692, 696, 698, 702

    museum culture and, 639

    “Ode to Joy” and, 677–78, 680, 681, 731

    organic form of works of, 301, 701, 706, 714

    performance skill of, 652

    politics and, 655–56, 659, 670, 673, 686, 721–24

    popular-appeal works of, 672

    posthumous legendary status of, 12, 651, 693

    post–World War I critics of, 693

    as public figure, 687

    regained creativity of, 674–75

    religiosity and, 686, 721, 732

    as Romantic icon, 648–51, 654–55, 656, 659, 675, 686, 692, 702, 714, 717, 731, 735

    self-assertion by, 653

    semiotics of works of, 718, 720

    social attitudes of, 671

    Stamitz and, 718, 719

    string quartet and, 653, 682–88

    struggle-to-victory paradigm of, 654–55, 658–59, 670, 694

    study of, 683

    stylistic transformation by, 655–56

    the sublime and, 648–89, 656, 692, 724, 732, 734

    symphony and, 653, 692, 705–20

    theatrical pathos and, 696, 697

    tormented soul image of, 691, 696

    transcendence and, 655, 656, 706

    vocal music and, 686

    works of

      An die ferne Geliebte, 673

      “Archduke” Piano Trio in B-flat major, op. 97, 655

      Bagatelles, 686

      Cello Sonata in D major, op. 102, no. 2, 673, 724, 725

      Choral Fantasy, 655

      Consecration of the House Overture, 726

      Coriolan overture, 702–5, 721, 729

      Diabelli Variations, 674, 686, 726

      Fidelio (Leonore), 670, 676

      “Für Elise,” 686

      Glorreiche Augenblick, Der, 673, 686, 722–24

      Grosse Fuge, op. 133, 682, 726

      Heiliger Dankgesang eines Genesenen an die Gottheit, in der lydischen Tonart, 686–88, 721

      Missa solemnis (Mass in D), 376, 671, 674–75, 682, 686, 721

      Piano Concerto no. 2 in B-flat major, 652

      Piano Concerto no. 4 in G major, 655

      Piano Concerto no. 5 in E-flat major, (“Emperor”), 671

      Piano Sonata no. 8 in C minor (“Pathétique”), 727, 728

      Piano Sonata no. 21 (“Waldstein”), 670

      Piano Sonata no. 23 in F minor (“Appassionata”), 670

      Piano Sonata no. 28 in A major, 686, 724, 725

      Piano Sonata no. 29 in B flat (“Hammerklavier”), 673, 674, 686, 724, 726, 727

      Piano Sonata no. 31 in A flat, 686, 726

      Piano Sonata no. 32 in C minor, 674, 721, 727–35

      Piano Trio in C minor, op. 1, no. 3, 653, 694, 695–701, 706–7, 721, 730

      Septet for Winds and Strings, op. 20, 653

      String Quartets nos. 1–6, op. 18, 653, 671

      String Quartets nos. 7–9, op. 59

        (“Razumowsky”), 670, 671, 683, 721

      String Quartet no. 12 in E-flat major, op. 127, 682, 683

      String Quartet no. 13 in B flat, op. 130, 682, 683, 684–85, 686, 726, 731

      String Quartet no. 14 in C-sharp minor, op. 131, 682, 726, 727

      String Quartet no. 15 in A minor, op. 132, 686–88, 721, 731

      String Quartet no. 16 in F major, op. 135, 682, 683

      Symphony no. 1 in C major, 653

      Symphony no. 3 (Eroica), 110, 655–70, 671, 680, 685, 702, 718

      Symphony no. 5 in C minor, 507, 655, 671, 705–20, 721

      Symphony no. 6 in F major (“Pastoral”), 655, 671, 680, 682

      Symphony no. 7 in A major, 672

      Symphony no. 8 in F major, 672

      Symphony no. 9 in D minor, 675–82, 683, 718, 721, 729, 731, 732

      Wellington’s Victory (“Battle Symphony”), 672–73

Beethoven: His Spiritual Development (Sullivan), 671

Beethoven myth, 12, 651, 653, 672, 693

    contrary facts and, 672–73

    Grillparzer’s eulogy and, 689

    Hoffmann’s propagation of, 648–49, 670, 673, 692, 714, 717, 731, 739

    undesirable side effects of, 670–71

“Beethoven’s Instrumental Music” (Hoffmann), 648

Beethoven: The Man Who Freed Music (Schauffler), 671

Beggar’s Opera, The (Gay-Pepusch), 312, 312, 313

“Beglückte Heerde, Jesu Schafe” (J. S. Bach), 372–75

Belgium, English composers in, 45, 47

Bell, Clive, 693

Belmonte’s aria (Mozart), 472–75

Belshazzar (Handel), 315

Benda, Franticek, 411

Benti, Maria Anna (La Romanina), 155

Berain, Jean, 95, 100

Berenice, regina d’Egitto, ovvero le gare da amore e di politica (D. Scarlatti), 390

Berenstadt, Gaetano, 307

Berlin, 289, 410, 419

Berlioz, Hector, music criticism by, 737

Bernhard, Christoph, 58, 73

    luxuriant style and, 59, 60

Betterton, Thomas, 126, 127, 128

Bianconi, Lorenzo, 37

binary form,

    ayre and, 120–21

    concerto and, 222, 606–7

    dance movement and, 146–48, 261

    keyboard sonata and, 402

    Scarlatti (Domenico) keyboard pieces and, 391

    sonata and, 420–21, 426, 433

    “there-and-back” and, 267, 606, 660

birdsong, violin imitations of, 227–28

bithematic ternary model, 584

Blake, William, 64

Blancrochet (lutenist), 265

Bland, John, 555

Blitheman, John, 49

Blow, John, 132

Blume, Friedrich, 346

B-minor mode,

    Bach (J. S.) and, 488

    Vivaldi and, 222–23

Boccherini, Luigi, 600

Böhm, Georg, 241

Bologna,

    cantata and, 75

    solo concerto and, 193

Bolt, P., 492

Bonn, 507, 652, 718, 736

Bononcini, Giovanni, 312

Book of the Courtier (Castiglione), 15–16

borrowings (musical), 327–40, 331–40

Boucon, Anne Jeanne, 428

“Boucon, La” (Rameau sarabande), 428

bourgeoisie,

    comédie larmoyante and, 450

    fiction motifs of, 446

    as Piccini’s audience, 450, 459

    Romantic age linked with, 647, 670

    symphony concert patronage by, 498

bourrée, in suite format, 263, 272–73

Boyé, Pascal, 458

boy soprano, 352, 370–71, 381

Brandenburg, 68, 235

Brandenburg Concertos (Bach), 289–301, 306, 369

    Bach’s calligraphic dedication, 289

    eccentricities of, 289–90

    political interpretation of, 301–3, 369

Brandenburg Concerto no. 1 in F major (J. S. Bach), 289–90

Brandenburg Concerto no. 2 in F major (J. S. Bach), 290

Brandenburg Concerto no. 3 in G major (J. S. Bach), 290

Brandenburg Concerto no. 4 in G major (J. S. Bach), 290

Brandenburg Concerto no. 5 in D major (J. S. Bach), 290, 291–300, 406

    cadenza and, 298–300

    obbligato writing and, 300–301

    political/social interpretations of, 301–3, 619

    sketches for third movement, 705

Brandenburg Concerto no. 6 in B-flat major (J. S. Bach), 290

brass band, 287

brass instruments,

    Bach (J. S.) and, 287

    opera seria orchestration and, 166

“breaking a base,”, 120

Brentano, Antonie, 672

Brentano, Bettina, 672

Brillez, brillez astres nouveaux (Rameau), 108–9

Broadway musicals, 33

Brockes (poet), 313, 377

Brockes Passion (Handel), 313

broken style (style brisé), 249–50, 251, 260, 265, 274

Broschi, Ricardo, 158, 168–72, 311

Brosses, Charles de, 217

Brunswick, Duchess of, 79

Brunswick, Duke of, 15, 52

Brussels, 259

    English composers in, 45, 47

Bruyère, Jean de la, 88

Buckingham, Duke of, 87

Buckingham, Earl of, 429

Buddhism, 721

buffo, 439–40, 447, 451

    definition of, 433

    Diderot on art of, 437, 442, 443

    popularity of, 434

    Rousseau and, 442, 443

    stock types, 478, 488

    See also opera buffa

Bukofzer, Manfred, 14–15, 18, 235, 706

Bull, John, 45, 47, 49

Buona Figliuola, La (Piccinni), 445–52, 453, 486

    literary source of, 445–46

    second-act finale of, 451–52

    success of, 445

Burgtheater (Vienna), 471

    Mozart productions, 470, 478

Burke, Edmund, 644, 645

Burmeister, L.P.A.(Lyser), 647

Burney, Charles (Dr. Burney), 17, 158–59, 165, 166, 312, 395, 420, 455

    on Mannheim orchestra, 505

    on purpose of music, 363, 368, 391

    use of term “vamp” by, 564

Burnham, Scott, 659

Busenello, Giovanni Francesco, 26–27

Busnoys, Antoine, 184

Busoni, Feruccio, 495, 496

“But who may abide the day of His coming” (Handel), 336–40, 445, 459

Buxtehude, Dietrich (or Diderik), 241, 247, 255

    Durch Adams Fall, 255–56, 258

BWV (Bach-Werke-Verzeichnis) listing., 342

Byrd, William, 47

    Sweelinck compared with, 45

    In Nomines, 118

C

Cabezón, Juan de, 47

Caccia, La (Vivaldi), 230

Caccini, Francesca, 80, 81, 82

Caccini, Giulio, Euridice, 21, 23, 24

cadence,

    as cadenza ancestor, 609

    deceptive, 213, 214, 216, 220, 628–29

    on the dominant, 488

    elided, 561, 563, 576, 584, 658

    Fortspinnung technique and, 212–13

    interrupted, 559, 562

    Neapolitan-sixth and, 74, 213 “open and closed,” 432

    sequence-and-cadence model, 212, 189–98

cadenza,

    concerto instrumental solo and, 298–300, 609–10

    fermata as signal for, 171

    improvisation of, 171–72

    improvised vs. written, 171, 609–10, 613, 614–15, 650

    Mozart and, 609–10, 613, 614–15

    as vocal display vehicle, 171–72

cadenza fiorita, 171

Cadmus et Hermione (Lully), 86

Caduta de’ decemviri, La (A. Scarlatti), 148–50

Caffarelli (Gaetano Majorano), 173

Cage, John, Beethoven critique by, 693

Caldara, Antonio, 481

Calvinism, church music restrictions of, 46, 125, 261

Calzabigi, Ranieri de’, 90, 455, 457, 478

Cambert, Robert, 89

    Ariane, 89

Campion, Thomas, 114

Campra, André, 110

    Idomenée, 90, 106–17

Cannabich, Christian, 506

canon (body of works), free-market formation of, 639

canon (musical form), 402, 687 Bach (J. S.) and, 383–85

Canonic Sonata in G minor, I, 1–8 (Fux), 180–81

canonization (musical), 3, 233, 326, 691

    of Beethoven, 689, 691, 738

    of composers of 1685, 233, 235, 289, 305, 381, 388

    of Handel, 233, 235, 639

    of Haydn and Mozart, 399, 400, 401, 463, 464, 481, 577, 638, 638–39, 643–48, 646, 738 See also standard repertory

cantata, 75–78, 340–75

    aria characteristics and, 146

    Bach (J. S.) and, 340–75, 376, 378, 392, 682

    Bach (W. F.) and, 402

    Beethoven and, 652

    Carissimi and, 75, 331

    Concert Spirituel (Paris) and, 499

    definition of, 75 in Italy, 75–78

    liturgical function of, 349

    as musical sermon, 342

    Neumeister format for, 341, 342, 348, 351

    new style, 348–53

    old style, 343–47

    operatic links with, 75–78, 146, 349, 351

    Scarlatti (A.) and, 141, 142–47, 331

    Strozzi and, 75–78, 81–82, 142

Cantionalsätze, 53

Cantiones sacrae (Schütz), 58

cantus firmus,

    cantata and, 361

    chorale partita and, 50, 51–52

    fantasia and, 115

    In Nomine and, 115, 116, 118, 120

    Kyrie and, 43

    Sweelinck Chromatic Fantasia and, 45

canzona, 44, 114, 198

    church sonata and, 178, 179

Canzone post il Comune (Frescobaldi), 44

capriccio, 299–300, 610

    Mozart’s improvisation on, 611

Carestini, Giovanni, 161

Carissimi, Giacomo, 73–75, 237

    cantata and, 75, 81, 331

    Jephte, 73–74, 76–77, 90

Carl Theodor, Elector of Palatine, 505

carnival, 12, 12, 14, 16, 17, 113, 390

Carthage, 132, 155, 156

cassatione, 498

    Haydn and, 518

Castellini, Teresa, 172

Castiglione, Baldassare, 15

Castle Church (Wittenberg), 353

Castor et Pollux (Rameau), 91, 92–93, 94

    ariette, 107, 108–9

    Atys compared with, 110

    costume design, 109

    moral of, 94

    Prologue, 93–94

castration,

    Atys and, 97

    illegality of, 17

castrato, 16–17, 291, 376

    audience response to, 174–76

    English mocking of, 313

    Farinelli’s fame as, 166–69, 237

    French court opera and, 88, 97, 98

    Gluck and, 454

    Handel and, 307, 308, 311, 336, 339–40, 459

    haute-contre vs, 98

    Metastasian librettos and, 153, 155, 156, 161, 166–67

    modern musical counterpart of, 174

    Monteverdi roles and, 21, 27

    opera seria and, 153–56, 173–76, 307

    ornamentation and, 281

    Raguenet’s description of, 86–87

    signature pieces of, 167–68

    symbolism of, 174

Casulana, Maddalena, 80

Catherine II (the Great), Empress of Russia, 462, 631

Cavalli, Francesco, 33, 75

cavatina, 684–85, 726, 731

    Beethoven and, 684–85, 726, 731

    meaning of, 684

Celenus (mythological), 98, 99

cello,

    accompanied sonata and, 428

    Beethoven sonatas for, 673, 724, 725

    Boccherini concerto for, 600

    Haydn concertos for, 600

    in piano trio, 695

    Vivaldi concertos for, 217

Cello Concerto in B-flat major (Boccherini), 600

Cello Concerto in D major (Haydn), 600

Cello Sonata in D major, op. 102, no. 2 (Beethoven), fugal finale, 724, 725

censorship, 18, 88, 461

Cento concerti ecclesiastici, a una, a due, a tre & a quattro voci (Viadana), 52

Cento partite sopra passacagli (Frescobaldi), 37, 40

Cetra, La (Vivaldi), 225

chacona, 37

chaconne, 39, 94, 135, 193, 261

Chaikovsky, Pyotr Ilyich, 16

Chaliapin, Fyodor, 16

chamber duet, 331–36

chamber music,

    cantata as, 146

    domestic performance of, 114, 419, 427, 432

    English self-made class and, 124, 414

    galanterie and, 427–28

    late-eighteenth and nineteenth-century nomenclature for, 695

    orchestral genre vs, 519

    origins of, 114–18, 695

    Vienna public concerts of, 683

chamber sonata, 178, 191, 193, 204, 497

    Bach (J. S.) work based on, 241

    church sonata compared with, 178–81

    courante and, 260

    end of church sonata distinction with, 204

Chambonnièeres, Jacques Champion de, 260

“Champagne aria” (Mozart), 490, 491

Champmeslè, La (Marie Desmares), 106

Chandos, Duke of, 314

Chandos Anthems (Handel), 314

changeability, 437

chanson, 44

    instrumental reworkings of, 114

chant, organ settings based on, 49

“Chaos” (Haydn), 633–37, 645

Chapel of the Foundling Hospital (Dublin), 326

Chapel Royal (England), 49, 122, 127

Charlemagne (Charles the Great), King of the Franks, 139, 724

Charles I, King of England, 122, 124, 125

Charles II, King of England, 125, 132–33

Charles VI, Holy Roman (Austrian) Emperor, 156, 438

Charlotte, Queen Consort of Great Britain, 419

Charpentier, Marc-Antoine, 73, 89

“Che faro senza Euridice” (Gluck), 457–58, 459

Cherubini, Luigi, 736

chess champion, 499

Chesterfield, Lord, 340

chest of viols, 118, 120

Chiabrera, Gabriello, 3

“Ch’io parta?” (Hasse), 166, 167, 168, 169

Choeur des Songes Funestes (Lully), 102–3

choirboys, 140

chorale, 49–55

    Bach (J.S.) harmonization, 346

    in Bach (J. S.) Passions, 378, 382

    Bach (J. S.) settings, 50, 241, 255–57, 341 365

    cantata vs, 342

    Lutheranism and, 49–55

    Lutheran oratorio form and, 341–42

    partita and, 49–52, 262

    polyphony and, 353

    Sweelinck and, 48

    vocal counterpart, 52–55

chorale concerto, 52–72

chorale prelude (Choralvorspiel), 255–58, 378, 382

Choral Fantasy (Beethoven), 655

choral fugue, 724

choral music,

    Beethoven and, 722–24

    Handel and, 75, 237–38, 305, 313–40, 314

Choralvorspiel (chorale prelude), 255, 255–58, 378, 382

Christian art, 112

    Bach’s St.John Passion as, 377–81, 389–90

    Handel’s Messiah as, 322–26

    Romantic esthetic linked with, 649

Christian IV, King of Denmark, 66

Christian Ludwig, Margrave of Brandenburg, 289

Christina, Queen of Sweden, 75, 142, 150, 177

Christ lag in Todesbanden (J. S. Bach), 50, 343–47

Christ lag in Todesbanden (Praetorius), 55

Christ lag in Todesbanden (Scheidt), 50–52

Christ lag in Todesbanden (Schein), 52–54

Christmas,

    Handel’s Messiah and, 325

    Schütz oratorio, 73

“Christmas Concerto” (Corelli), 189–92, 499

Chromatic Fantasia and Fugue in D minor (J. S. Bach), 414

chromaticism,

    Bach (C. P. E.) and, 385, 414

    Bach (J. S.) and, 254, 266, 267, 364, 385

    Bach (W. F.) and, 407, 414

    Frescobaldi and, 43, 44

    Handel and, 317–18, 364

    Mozart and, 591, 624–25, 627, 631, 633

    Purcell and, 128, 135

    Sweelinck and, 46

Chronological Thematic Catalogue (Küchel), 463

church sonata, 177–84, 187–92, 208

    chamber sonata compared with, 178–81

    end of chamber distinction with, 204

ciaccona, 30, 37, 38, 39, 193

Cimarosa, Domenico, 158, 646

Cimento dell’armonia e dell’ inventione, ll (Vivaldi), 225

Cipriano de Rore, 5

circles of fifths, 184–89, 212, 213, 216, 220

    Corelli and, 184, 188, 202

    diagram of, 185

civil servants, composers as, 53

clarinet, 505

Clarino Concerto in E-flat major (Haydn), 600

classical music,

    Beethoven as standard-bearer of, 650, 692, 693, 738

    birth of concept of, 639

    German universalizing and, 738–39

    Handel’s Messiah as first work of, 326

    improvisation skills excluded from, 650–51

    Italian terminology and, 158

    lonely artist-hero image and, 649

    Mozart as foundation of, 464

    music appreciation and, 540, 738

    permanent canon and, 34

    political freight of, 111–12

    “Preclassic” period and, 401–2

    as Romantic creation, 649–50

    sacralization of, 649–50, 651

    trascendence and, 706, 714, 720, 721

Classical period,

    Beethoven and, 739

    delineation with Romantic period, 646

    as misnomer, 647

    Mozart and, 16, 646–47, 739

classicism,

    Enlightenment thought and, 363

    first writer of, 739

    German claims to, 738, 739

    Gluck and, 453–54

    Haydn and, 542, 646

    hedonistic virtues of, 649

    Mozart and, 646

    musical expression and, 642–43

    music appreciation textbook on, 738, 739

    neoclassicism vs, 151–52

    post-Napoleonic nostalgia for, 647

    Romantic art vs. art of, 649

    Romantic dichotomy with, 642–43, 646–48, 649, 739

    Viennese, 542

“Classisch und Romantisch’ (Gelbcke), 646–47

clavichord, 413

Clavie-Übung (J. S. Bach), 262, 262, 263, 281, 383

Clemens non Papa, 5

Clemenza di Tito, La (Caldara), 481

Clemenza di Tito, La (Mozart), 481–82

C major,

    Beethoven’s Piano Sonata, no. 32, op. 111 first movement in, 721, 732, 734

    C-minor trajectory to, 694, 701, 702, 705, 717, 721

    “grand military” affect and, 718

    as “purest” of keys, 241

C-minor moods, 691–735

    Bach (C. P. E.) and, 414–16, 417, 624

    Beethoven’s association with, 653, 685, 691–735

    Haydn and, 634–37, 638, 653, 692, 695, 696, 701, 721

    Lawes and, 120–21

    Mozart and, 625–31, 634, 637, 692

    sign clusters associated with, 727

    Stamitz and, 718

    symbolic trajectory to C major, 634–37, 693, 701, 702, 705, 717, 721

    as tragic key, 121, 696, 697, 701, 702, 705

coda, 202

    signification of, 279

    See also stretto

“Coffee cantata” (J. S. Bach), 374

cognitive processes, 208

cold war, 739

Colista, Lelio, 198

Collegio Germanico (Rome), 73

Collegium Musicum (Leipzig), 286, 300, 301, 340, 374

Collin, Heinrich Josef von, 702

Coloratura, rage aria and, 311, 481

Columbia University, 478

Combattimento di Tancredi e Clorinda (Monteverdi), 7–9, 110

comédie larmoyante, 447, 450, 452

comedies-ballets, 127

comedy, naturalness and, 437

“Come, Redeemer of the Heathen” (J. S. Bach), 342–43

comic opera,

    class aspirations and, 17, 446–52

    complex ensemble finales in, 451

    earliest in standard repertory, 438

    eighteenth-century subtexts of, 442–43, 445–52

    imbroglio element of, 451, 486, 490, 492, 620

    intermezzos and, 434–37

    ironic contrast and, 439

    musical significance of, 434

commedia dell’arte, 439

commercial opera,

    birth in Venice, 12, 16–33

    continual revisions of, 33, 33–34

    court opera and, 33–34, 87–88

    crowd-pleasing devices of, 17–18

    first Italian performance in Paris, 110

    intermezzo and, 436–39

    ongoing conventions of, 16

    political subtexts of, 110

    recitative/aria relationship and, 25

    women singers and, 80

    See also opera

common law, English, 124

“Common Sense” (Paine), 460, 461

Commonwealth period (Britain), 124, 125

compact discs, 9

Comparaison de la musique italienne et de I musique française (Lecerf), 85–86

Componimenti musicali (Muffat), 327, 329

    preeminence of, 737

composers,

    “borrowings” by, 327–31

    borrowings from self by, 331–40

    canonization (musical) of, 3, 399, 400, 401, 691, 738

    as civil servants, 53

    concept of music’s permanent value and, 639

    as conservatory professors, 736

    creator ideal of, 655

    elevation of, 655

    employer’s needs and, 527–28

    as entrepreneurs, 283, 465

    first biographical work on, 388

    free market and, 571

    improvisation and, 610–11, 650

    intuition and, 720

    music criticism by, 737

    as nineteenth-century culture heroes, 655, 736

    nineteenth-century introspection of, 737

    “norms” and breaching of by, 532–33

    performance separated from, 639, 642, 655

    as performers, 519, 600, 607, 610–14, 653

    Romantic elevation of, 173, 655, 689

    royalist loyalties of, 124

    sensibility and, 409–18, 737

    seventeenth-and eighteenth-century status of, 173

    symbiosis with discerning patrons of, 527–28, 553, 555

    women’s underrepresentation as, 78–81

    writing on “spec” by, 590, 601

Concert de la Loge Olympique, Le (Paris), 557

concert halls,

    audience etiquette instructions in, 651

    as museums, 639, 650, 651

    nineteenth-century construction of, 736

    oratorio performances in, 325, 385

    See also concerts

    opera houses

Concerti Grossi, op. 6 (Handel), 204- 8

concertmaster, 291

concerto,

    Bach (C. P. E.) and, 606, 622

    Bach (J. C.) keyboard works, 606

    Bach (J. S.) Brandenburg 289–301

    Bach (J. S.) keyboard arrangements, 282, 285

    as Bach (J. S.) term for cantata, 341

    Beethoven and, 652, 655

    cadenza and, 298–300

    chorale and, 49–55

    composer-performers of, 607, 609

    double exposition technique and, 606–7

    earliest solo keyboard work, 290

    Haydn’s limited output of, 600–601

    improvisations and, 650

    in Italian style, 177–231

    Marcello and, 192

    melodic elaboration and, 212

    Mozart’s transformation of, 606–25

    opera seria kinship with, 222, 231, 308

    original meaning of, 497, 498

    as social paradigm, 221, 619–22

    solos and, 193, 216, 220, 301–2

    symphonic, 498

    three-movement, 193, 216, 609

    Vivaldi and, 193, 216–31, 609

Concerto a cinque in D minor, (A. Marcello), 192

concerto delle donne (consort of women singers), 5, 80

Concerto for Bassoon in C major, F VIII/13 (Vivaldi), 217–24

Concerto for Four Violins in B minor, op. 3, no. 10 (Vivaldi), 222–26

    Bach (J. S.) keyboard arrangement of, 282, 287

Concerto for Two Harpsichords in C major, BWV 1061 (Bach), 266–67

concerto grosso, 177–78

    Corelli and, 177–84, 187–92, 193

    Handel and, 192, 204–8, 305, 327, 392

Concerto Grosso, op. 6, no. 7 (Handel), 204–8, 392

Concerto Grosso, op. 6, no. 8 (Corelli), 189–92, 499

Concerto nach italiänischem Gusto (J. S Bach), 281–82, 285, 287

concert oratorio movement, nineteenth-century, 385

concerts,

    Bach-Abel London series, 419

    Beethoven’s successful tours of, 653

    behavior at, 651

    composer’s “ex tempore” improvisations at, 611

    early music and, 233

    as free market, 571, 639

    Handel oratorio performances at, 385

    London subscription, 419, 555, 556, 571, 577, 639

    modern repertory foundation for, 738

    Mozart’s subscription, 607

    nineteenth-century development of, 385

    original meaning of, 498

    origin and development of, 498–507

    professional reviewers and, 571

    subscription symphony genre and, 556, 557, 558

    symphonic development and, 498, 573

    typical eighteenth-century Viennese program, 499–500, 509

    Vienna chamber music, 683 See also audience

    concert halls

    standard repertory

Concert Spirituel (Paris), 226, 227, 498–99, 505, 556

    Mozart attendance at, 603

concitato style, 291

conductor,

    absolutism of, 111–12, 291

    first virtuoso baton, 677

    interpretations of music by, 705

Confessions (Roouseau), 443, 641

Congress of Vienna (1815), 673, 673–74, 722, 724

    masked ball celebration, 722

Consecration of the House Overture, op. 124 (Beethoven), 726

conservatism, 115, 235, 302, 724

conservatories, 650, 736

    in Naples, 140

consonance, 497

consort music, 114–25

    ayres and suites, 120–22

    fantasy, 115–18, 120, 196–98

Constitution (U.S.), 111, 461–62

continuo,

    cantata and, 146

    early keyboard sonatas and, 427–28

    early symphony and, 510

    end of popularity of, 428

    Gluck’s elimination of, 457

    improvisation of, 291

    Monteverdi and, 3, 9

    opera’s development and, 457

    Schein and, 53

    tragédie lyrique and, 106

    See also Alberti bass

contrast-and-balance technique,

    Bach sons and, 420, 429, 433, 437

    opera buffa and, 439

contredanse, 490

“conversation galante et amusante,”, 428

Cooper, John(Coprario), 113

Copland, Aaron, on women’s lack of musical creativity, 78, 79, 81

Corelli, Arcangelo, 150, 151, 177–81, 178, 187–92, 193, 204, 228, 237, 260, 281, 497

    career of, 177

circles of fifths and, 184, 188, 202

comparison of church and chamber

    sonatas by, 178–81, 208

Fux comparison with, 180–81

Handel and, 204

legacy of, 177, 181, 184

ornamentation models of, 281

Purcell compared with, 196, 198

tonality and, 184, 188–92

works of

    Concerto Grosso, op. 6, no. 8 (“Christmas Concerto”), 189–92, 499

    “Folia, La,” 193

    Sonata da camera in G minor, op. 4, no. 2, 179–81, 189

    Sonata da chiesa in G minor, op. 3, no. 11, 179–81, 187–89

    Sonata in D major, Op. 5, no. 1, 282–85

Corelli clash, 69

Corelli’s graces, 281

Coriolan, a Trauerspiel (Collin), 702

Coriolan Overture (Beethoven) 702–5, 721, 729

Coriolanus Shakespeare), 702

Coriolanus, Gnaeus Marcius, 702

Corneille, Pierre, 87, 127, 307

“Coronation” Concerto in D major, no. 26, K. 537 (Mozart), 610–11, 612

corrente (courante), 37, 261

Corrette, Michel, 227

Corsica, 139

Cosa rara, Una (Martín y Soler), 493

Cosi fan tutte, ossia La scuola degli amanti (Mozart), 478–79

    as emblematic of Enlightenment, 479

cosmological theory, 634

Cöthen, 239, 240, 255, 261, 281, 286, 289, 291

counterpoint, 165–66

    Bach (J. S.) and, 235, 242, 249, 364–65, 383, 385–88

    Beethoven and, 687

    fugal, 198, 201–2

    Fux analysis of, 180

    invertible, 201–2

    stile antico and, 65, 180, 518

    suspension chain and, 188–89

    Sweelinck and, 45–46, 48

Counter Reformation,

    Baroque and, 35

    liturgical music and, 2, 10, 18, 35, 43, 69, 112

    Schütz’s adoption of musical techniques of, 69

    toccata as epitomizing idea of, 44

countersubject (CS) of fugue, 201

countertenor, 130

Country Dance (Hogarth), 574

Couperin, François, 277, 391, 392

    Bach (J. S.) gigue comparison, 275–81

    Pièces de clavecin, 269, 269

    Rossignol en amour, Le, 272–81, 282, 428

Couperin, Louis, 250–52

    courante (corrente), 37, 53

    loure contrasted with, 274

    and suite format, 260–61, 262, 263, 267–70

court ballet, 11, 349

    French court opera and, 99, 455

    Schütz and, 58

courtesans, 17, 80

“Courtesans, Muses or Musicians?” (Newcomb), 80

court music,

    in Cöthen, 261–62

    in France, 259–60

    late-eighteenth-century dimimshment of, 607

    in Mannheim, 505–7

    public concert replacement of, 639

    women performers and, 80

court opera,

    commercial opera and, 17, 33–34

    financing of, 15

    French centralization of, 88

    French conventions of, 96–97

    French stage machinery for, 88, 106, 127

    high-style theatrical declamation and, 99, 106

    Italian challenge to, 110

    Lully and, 86, 89–106, 454, 455

    Monteverdi and, 2, 16

    neoclassical drama and, 151–52, 434

    orchestral storm scenes in, 321

    political function of, 14–15, 96

    prologue to, 93–94, 113

    spectacles and, 88, 94, 106, 127

    texts of, 33

    third act of Atys as perfect model of, 97–99

    tragèdie lyrique and, 88–110

Covent Garden (London), 237, 326

Cramer, Carl Friedrich, 417–18

Creation, The (Haydn), 385, 633–37, 638

    Prologue, 633–634–637, 645, 692, 694, 701, 702

Credo, Bach (J. S.) Mass in B minor and, 375

Cremona, 2

Crequillon, 5

crescendo,

    Beethoven’s Eroica, 669–70

    Rossini, 669–70

Crete, 139

criticism,

    Beethoven scholarship and, 671, 691–92

    composer-critics, 737

    exigetical interpretation and, 650, 696, 714

    first important modern music magazine for, 673

    free-market concert life and, 571

    German “absolute music” concept in, 714

    Haydn’s English reviews and, 571

    hidden political messages in, 442

    nineteenth-century birth of modern, 571, 736, 737

    Romantic ideal and, 641–43, 649

Croce, Johann Nepomuk della, 621

Cromwell, Oliver, 124, 125

crooning (singing style), 15

“Crye” tradition, 579

    Tye In Nomines, 116

Cui, César, 737

Cupid (Eros), 331, 447, 453

Cusick, Suzanne, 81, 82

Cuzzoni, Francesca, 307

Cybele (mythology), 97, 100, 102, 103

“Cybele’s lament” (Lully), 103–4, 105, 106

Czech lands, 505

    Gluck and, 454

    Thirty Years War and, 55

Czerny, Karl (Carl), 606, 675

D

da capo aria, 144, 152, 317

    cadenza and, 171–72, 609

    cantata and, 342, 369

    concerto compared with, 222, 609

    definition of, 144, 432

    format changes in, 165

    Handel oratorio and, 317

    Haydn oratorio and, 633

    Monteverdi and, 33

    Scarlatti (Alessandro) and, 144, 146

    standardization and, 152

    symphonic thematic development and, 525

dactylic meter, 378

Dafne (Peri), 58

Dafne (Schüz), 15, 58

Dahlhaus, Carl, 650

dance music, 574

    Austrian forms, 573

    ayres and, 120–25

    Baroque keyboard genres, 37

    English incidental music and, 126

    English masques and, 113, 134

    English national dance and, 204, 205

    Handel concerto grosso and, 204, 205

    Handel suites and, 306

    Scarlatti (Alessandro) overture and, 146–47, 148, 149–50

    suites based on, 53, 259–60, 262, 263, 265–81

    tragédie lyrique and, 94, 96, 99, 100

    See also ballroom dances

Daniel, Arnaut, 6

Daphne (Farnaby), 47

Daphne (mythology), 23, 47, 58

Da Ponte, Lorenzo, 476–79, 477, 493, 622

    Don Giovanni libretto, 485–94

    on finale, 487

Darwin, Charles, 396

Darwinian historiography, 396–97

Daverio, John, 702

Davidsbund (Schumann journalistic pseudonym), 737

Deborah (Handel), 314

deceptive cadence, 213, 215, 216, 220, 628–29

declamatory style,

    Monteverdi and, 59

    Schütz and 59

Declaration of Independence (U.S.), 111, 461

declining and ascending historical curves, concept of, 235

De l’ Allemagne (Staël), 645–46

Delle cristiana moderzione del theatro (Ottonelli), 17

Deller, Alfred, 130

democracy, 111, 724

Denmark, 66

Dennis, John, 312–13

Dent, Edward J., 692

Descartes, René, 75

descending minor tetrachord, 95

Desmares, Marie (La Champmeslé), 106

deus ex machina, 151–52, 448

Deus in adiutorium meum intende (doxology), 19–20

Deutsche Staatsbibliothek (Berlin), 49

Deutsche Tänze (Deutscher), 491, 573

development section,

    of Beethoven’s Eroica Symphony, 658–64

    concerto, 613

    Hayden’s symphonic, 520–25, 557, 572–73

Devin du village, Le (Rousseau intermezzo) 110, 442

Diabelli, Anton, 674, 675, 682

Diabelli Variations (Beethoven), 674, 686, 726

diactonic thirds, 248

Diderot, Denis, 458

    on buffi art, 435, 437, 442, 443

    Enlightenment and, 443, 461, 462, 470

    Lully and Rameau style comparison by, 109

Dido and Aeneas (Purcell), 132–38

    Dido’s lament, 135–37, 138

    “Englishness” of, 134–35, 138

    girl’s school performance of, 132, 138

    recitative and dance song 133–34

    rediscovery of, 137–38

Dido and Aeneas story,

    Metastasio and, 155

    Purcell and, 132–38

Didone abbandonata (Metastasio libretto), 154–55

Didone abbandonata (Vinci), 330

“Dido’s lament” (Purcell), 135–37, 138

Dies, Albert Christoph, 517, 556, 569, 571

diferencias (divisions), 47

Diletsky, Nikolai, 185, 185

diminished fourth, 727, 729

diminished seventh,

    Bach (J.S.) and, 213, 258

    Bach (W. F.) and, 406

    Beethoven’s C-minor and, 716, 727, 729

    Handel and, 317

    Haydn and, 531–32

    Mozart and, 493

    Scarlatti (Alessandro) and, 142

Diporti di Euterpe (Strozzi), 75–78

dissonance,

    Bach (J.S.) and, 254, 364, 365–68

    Beethoven’s Ninth and, 677–78

    Handel and, 317

    invertible counterpoint and, 201–2

    luxuriant style and, 59, 67

    Monteverdi and, 59

    Mozart and, 494, 631

    Purcell and, 128, 137, 196

    Strozzi and, 76–77

“Dissonance” Quartet in C major, K. 465 (Mozart), 631–33, 634

    autograph score of, 625

    Fétis rewrite of, 632

divertimento,

    definition of, 498

    Haydn and, 518, 526, 527, 541–42, 547, 549

    Mozart and, 549

    See also string quartet

Divertimento in F major, K. 523 (“A Musical Joke”) (Mozart), 549

divertissement, 95, 107

divine right of kings, 88, 92, 124, 125

divisions, 47. See also variations

division viol, 120

Division-violist, The, or the Art of Playing Extempore upon a Ground (Simpson), 120

domestic entertainment, 426–32, 736

    chamber music and, 114, 419, 427, 432

    empfindsamer Stil and, 410, 695

    English consort music and, 118

    printed music for, 419

    rare use of minor key for, 695

    two complementary sides of, 426–27

dominant seventh, in third inversion, 215

dominant-tonic progression, 539, 627–28

    See also passus duriusculus

Don Giovanni (Mozart), 478, 485–96, 492, 515, 590, 637

    achievement of, 484–85, 495

    act finales of, 490, 492–94, 645

    ballroom scene of, 490, 491, 573

    closure ensemble of, 494, 495

    overture to, 487–88, 504, 515

    “painful” music in, 493–94, 645

    poster for, 485

    stage music in, 490–91, 492–93, 631

Donizetti, Gaetano, 16

Don Juan legends, 478

Dorian signature, 120

Dorset Garden (London), 126, 127

double-exposition, concerto modernization and, 606–7

double fugue, 201–2

double return,

    Bach (C. P. E.) and, 413, 514

    Bach (J. C.) and, 425–26, 488, 504

    Bach (W.F.) and, 407–8, 504

    Beethoven’s Piano Trio in C minor and, 698

    eighteenth-century composition and, 407–8

    Haydn’s symphonic form and, 520, 557, 588

    Mozart and, 488, 594, 618

    Sammartini and, 504

    Scarlatti (Domenico) and, 394–95, 407, 504

doubles (fancy ornaments), 281

Dowland, John, 120

drama,

    neoclassical, 151–52, 154, 706

    symphony as, 599

dramma per musica (“drama through music”), 87, 152, 378

“dream symphony” (“sleep scene”), 100–102

Dresden, 157, 240, 341

    Bach (J.S.) Mass and, 375

    court chapel choir, 58

    Praetorius and, 55, 57

    Schütz and, 57–59, 73

    Thirty Years War and, 66

    Vivaldi concerto for orchestra of, 222

Drury Lane (London theater), 89

Drury Lane Oratorio Concerts, 633

Druschetzky, Georg, 499

Dryden, John 127, 132

    Handel’s alleged “borrowings” from, 327

Dublin, Handel’s Messiah commission, 326, 326

duetto per camera, 331

Handel self-borrowing and, 331–36

Du Hirte Israel, höre (J.S.Bach), 372–75

Duke of Monmouth’s Rebellion (1685), 133

Dunstable, John, 59

Durazzo, Giacomo, Count, 217

Durch Adams Fall, Buxtehude’s vs. Bach’s (J. S.) versions, 255–58

Dussek, Jan Ladislav, 556

Dutch Reformed Church, 46

DvoImageàk, Antonín, 94

dynamics as emotional change delineators, 414

E

early music revival, 138, 233

    authentic performance movement and, 233, 362–63

    countertenor voice and, 130

    definition of “early music” and, 233

    Muffat treatise and, 259

    standard repertory vs, 233

    Vivaldi popularity and, 217, 226

ear trumpet, 654

Easter,

    Handel’s Messiah and, 325

    oratorios, 73, 313, 341

echo-fantasia, 46

écriture feminine, 82

E-flat modulation, 507, 718

eighteenth century,

    classicism of, 454

    comic style and, 437, 443–44

    compositional “borrowings” in, 327

    concert programs in, 499–500

    domestic music, 426–32

    Enlightenment and, 443–44, 460–96

    as esthetic battleground, 274–75

    High Baroque and, 204

    intermezzo’s importance in, 434–35

    intermission plays, 434–37

    Italian musical hegemony in, 158

    late-century Classical period, 646

    late-century Kapellen disbandments in, 607

    mid-century black hole, 400, 432, 434–35

    mid-century social changes, 419

    mid-century sonatas, 427–32

    Mozartean concerto transformation and, 606–25

    opera buffa/opera seria division and, 171 433–34, 445–60, 464, 485

    opera seria’s end in, 485

    semiotic codes of, 538, 539–40, 680, 682

    symphony development and, 497–588

    Vivaldi concertos and, 216–31

Eighth Book of Madrigals (Monteverdi), 6–12, 10, 11

Eile mich, Gott, zu erretten (Schütz), 66–68

Einstein, Alfred, 457

Eisenach, 235, 239

Eisenstadt (Burgenland), 526, 527, 538

Elector Palatine, 505–7, 505, 525

Elementi teorico-pratici di musica (Galeazzi), 702

Elevation toccata, 44

elided cadence, 561, 563, 576, 584, 658

Elisabeth Christina, Empress Consort of Holy Roman (Austrian) Empire, 438

elite culture,

    court opera and, 14

    high art and, 112–13

    political climate and, 125

    Romanticism and, 645, 649

Elizabethan music, 115, 116

    keyboard, 45

emancipation, nineteenth-century, 737–38

“Emperor” Concerto no. 5 in E-flat major, op. 73 (Beethoven), 671

empfindsamer Stil, Bach (C. P. E.) and, 410, 413, 414, 416, 418, 426, 437–29, 508, 529, 610, 624

Empfindsamkeit,

    Beethoven’s Heileger Dankgesang and, 687

    definition of, 409–10

    galanterie vs, 426–27, 428–29

    improvisation and, 414

    instrumental recitative and, 413

    musical examples of, 411–13

    Sturm und Drang and, 416, 417, 529

Empfindung, definition of, 409–10

Empress of Morocco, The (Settle), 126

Encyclopédie (Diderot and Alembert, eds.), 435, 435, 461, 462

English Civil War (1642–48), 124–27

English language, musical setting of, 133, 134, 138

English Suites (J.S. Bach), 262

“enlightened despotism” 462, 538

Enlightenment, 460–96

    Bach’s (J. S.) church music as contrary to, 363–64, 368, 369, 390

    Burney’s definition of music and, 363

    concert music and, 498

    Freemasons and, 479–80

    Haydn and, 577, 643

    ideas of, 368, 460–62, 475, 479, 481, 495, 496, 600, 620, 621

    Leopold II’s reactionism and, 460–61, 621

    Mozart and, 463, 470, 472, 475, 479–80, 481, 482, 494, 495

    Mozart’s Cosi fan tutte as emblematic art

    work of, 479

    opera buffa and, 443 3 44, 447

    opera seria as counter to, 175

    political absolutism vs, 110, 435, 443, 538

    political reactions against, 645

    Romanticism contrasted with, 390, 460, 600, 645, 706, 724

    Scarlatti (Domenico) and, 390

    universality as basis of, 302, 600, 645, 738

    War of the Buffoons and, 110, 443

Entführung aus dem Serail Die (Mozart), 470–76, 479, 602, 678

entrepreneurial class, 115. See also self-made man

equality,

    Enlightenment, 111

    War of the Buffoons and, 111

equal temperament tuning, 247–48

Eraclea, L’ (A. Scarlatti), 146, 147

Era of Common Practice, 189, 192

Erard, Sebastian, 653

Erbach, Christian, 49

Erbach, Countess of, 79

Erbauliche Gedancken (Picander), 378

Eroica Symphony (Third Symphony; Beethoven), 110, 655–70, 671, 718

    crescendo in, 669–70

    first movement, 656–70

    four-bar opening of, 656–58

    “Marcia funebre,” 685, 702

    rescinded dedication of, 656

    second movement “Funeral March” in C minor, 702

    as sinfonia caratteristica, 680

Eros (Cupid), 331, 447, 453

eroticism, duetto per camera and, 331–32, 340

Essay in Composition Instruction, An (Koch), 622

Essay on the True Art of Playing Keyboard Instruments (C. P. E. Bach) 410–11, 414, 418

Essay upon Publick Spirit (Dennis), 312–13

essences, Platonic, 720

essentialism, women’s creativity and, 82

Essercizi per gravicembalo (D. Scarlatti), 396

“Est-ce Mars?” (song), variations on, 47–48

Esterháza palace (Eisenstadt), 526, 527, 538, 539

    main gate, 526

Esterházy, Anton, Prince, 555

Esterházy, Johann János Nepomuk), Count, 608

Esterházy, Nikolaus Joseph, Prince, 526–27, 538, 539–40, 541, 553, 555, 571, 600, 601, 682

    baryton compositions for, 527, 527, 601

Esterházy, Paul Anton, Prince, 525–26

Esterházy family, 525–30, 555, 607

Esther (pastiche of Handel work) 314, 315

esthesic, meaning of, 13, 14

esthetics,

    Arcadians’ neoclassicism and, 151

    Empfindung and Empfindsamkeit and, 409–10

    of Enlightenment, 390, 494

    of Lutheran church music, 68

    of musical sounds, 363–64, 471–72, 494

    Romantic, 641, 701, 714

    of standard repertory, 289

    Winckelmann neoclassic, 453

    See also artistic creation

    musical taste

Estro armonico, L’ (Vivaldi), 224–25

ethnicity, 139, 550

ethnocentrism,

    Beethovenian Romanticized ideal and, 670

    universality claims vs, 739

Euridice (Peri), 21, 23, 24, 454

Euripides,

    Gluck operas and, 453, 459, 460

    Lully opera and, 90

Europe, seventeenth-century status of, 139, 140 (map)

Eurydice (mythology), 21–25, 88, 126, 454

Evangelisches Andachts-Opffer (Franck), 353

Evangelist, 73, 378

evolution theory, 396

existential loneliness, 600

Exodus, Book of, 316, 321

“Explication des agrémens et des signes” (Couperin), 279

exposition,

    piano concerto, 609

    symphonic, 525

Exposition du système du monde (Laplace), 634

exposition of fugue, 198, 201–2

    Bach (J.S.) shaping of, 242

    episodes between, 202, 220

    gigue and, 274

Expression musicale mise au rang des chimères, L’(Boyé), 458

extroversive semiotics, 539–40, 550, 571, 661, 680, 682, 7l8

F

“Fairies Song” (Shakespeare), 130

Fairy Queen, The (Purcell), 127, 128, 130–31

fallacies, poietic, 13, 14

falsetto, 98, 130

falsobordone, 18

fantasia (fantasy), 414–16, 607, 624

    Bach (C. P. E.) and, 414–16, 607, 624

    Bach (J.S.) and, 414

    cadenza and, 609–10

    consort music and, 115–18, 120

    fugue paired with, 247

    as Haydn’s Creation Introduction precedent, 633–34

    In Nomine, 115–20

    Lawes and, 122

    as metaphor, 634–35

    Mozart and, 611, 613, 624–34

    Purcell and, 196–98, 202

    Sweelinck and, 44–46

Fantasia chromatica (Sweelinck), 44, 46

Fantasia in C minor (C. P. E. Bach), 414–17, 624

    Shakespearean text of, 416, 417

Fantasia in C minor, K. 475 (Mozart), 625–31, 634, 637, 692

Fantasia in D minor, K. 397 (Mozart), 624–26

“Fantazia7” (Purcell), 205–197

“Farewell” Symphony in F-sharp minor, no. 45 (Haydn), 534–40, 553

    dropping out of instruments from, 537–38, 539, 540

    enigmas of, 537–38

    finale of, 534–38

    first movement of, 530–31, 540

    introversive/extroversive signs in, 539–40, 682

    movement linkage of, 533, 540

    story behind, 538

    Sturm und Drang and, 528–29, 530

Farinelli (Carlo Broschi), 166–71, 172, 173, 174, 237

    cadenza and, 298, 299

    Handel snubbed by, 311, 340

    Metastasio friendship with, 172

    signature aria, 167–72

Farnaby, Giles, 47, 48

favole in musica (musical tales), 11, 13–14, 15, 23, 27

“Favourite Songs in the Opera call’d Artaxerxes by Sig. Hasse,” 169

Feast of the Reformation, 353

Feldman, Martha, 159–60, 174, 175

“feminine endings,” 413

feminist musicology, 78, 82, 619–20

Ferdinand IV, King of Naples, 601

fermata, 171

    C-minor and, 697, 698, 699–700, 706, 718, 727

Ferrabosco, Alfonso, 114

    In Nomines, 118–19

Ferrara, virtuoso women singers in, 80

Ferrari, Benedetto, 33

Feste Burg ist unser Gott, Ein’, BWV 80 (J. S. Bach), 353–63, 364, 402

Fétis, François-Joseph, 632

Fidelio (Beethoven), 670, 676

Fifth Book of Madrigals (Monteverdi), 2, 4–5

Fifth Symphony in C minor (Beethoven), 692, 705–20

    coded elements in, 718

    critiques of, 692

    finale’s fifty-four bar coda, 721

    first performance of, 655

    four-note opening as germinal seed of, 706–12, 713, 717

    Hoffmann’s exigesis of, 705–6, 709

    “new theme” in coda of, 713–14

    organic sound structure and, 714

    Piano Trio, op. 1, no. 3 compared with, 706–7

    scherzo, 718

    scherzo-finale interrelationship, 718, 720

    second movement, 714–17

    Stamitz’s Orchestra Trio in C minor and, 507, 718, 719

    struggle-to-victory narrative of, 694

Fifth Violin Concerto in A major, no. 5, K. 219 (Mozart), 602–7

figurae, 59

Figurenlehre (Bernhard theory), 59

finales,

    Beethoven’s Fifth Symphony, 721

    Beethoven’s fugal preoccupation and, 727

    Da Ponte on, 487

    Haydn’s “Farewell” Symphony, 534–38

    Haydn’s “Surprise” Symphony, 573–77

    late Haydn characteristics of, 577

    Mannheim symphonies, 506

    of Mozart, 622

    Mozart’s Don Giovanni, 490, 491

    Piccinni’s Buona Figliuola, 451–52

Finta semplice, La (Mozart) 464–65

Fiori musicali (Frescobaldi), 43, 49

Fischer, Johann Caspar Ferdinand, 248–49, 259–60

    Journal de printemps, Le, 259–60

    Musicalisches Blumen-Büschlein, op. 2, 260

Fischer, Wilhelm, 212, 400

Fitzwilliam Museum (Cambridge), 45

Fitzwilliam Virginal Book, 45, 47

flageolet, Vivaldi concerto for, 217

Flaminio, ll (Pergolesi) 440

flat keys, as pathos connotation, 121, 686

flatward modulation, 370

Flavio (Handel), 307

Fleet Prison (London), 46

Florence, 80, 81, 139

    Handel in, 237

    musical drama and, 14, 16

flute,

    Atys“sleep scene” and, 100

    Bach’s (J. S.) music for, 291, 293, 295, 300

    Couperin and, 279

    keyboard sonata obbligato of, 428

    Vivaldi concertos for, 217

    Vivaldi’s Primavera arranged for, 227

Foà, Roberto, 217

“Folia, La” (Corelli), 193

folkishess, eighteenth-century connotation of, 550

folk music, 432

    Haydn’s musical spoofs on, 549, 550

    Mozart and, 480, 549

Folle journée, ou le mariage de Figaro, La (Beaumarchais), 477–78

Fontainebleau, 442

Fontenelle, Bernard Le Bovier de, 208, 229, 392, 642

Forkel, Johann Nikolaus, 388

Fortspinnung (melodic elaboration), 212–13, 242

Fortuna desperata (Busnoys attrib.), 184

“For unto us a Child is born” (Handel), 332, 334–35, 336

Foundling Hospital chapel (London), 326

Four Seasons, The (Vivaldi), 225–31, 317

    popularity of, 226

    Spring, 225–31

    in standard repertory, 234

Fra i due litiganti il terzo gode (Sarti), 493, 631

France,

    centralized power of, 68

    comédie larmoyante and, 447, 450

    comic opera origins and, 447

    concert music’s birth in, 498–99

    conservatories in, 736

    consistent national borders of, 139

    court opera and, 88, 96–97, 106, 127

    Enlightenment in, 443, 460–61, 462, 706

    as German musical influence, 259–61

    Gluck and, 459–60

    grand siècle of, 111, 454

    Italian musical style vs, 86

    Lully and, 85–104

    music journalism in, 737

    ornamentation and, 281, 282

    piano trio genre and, 695

    Revolution of 1789 of, 302, 443, 462, 577, 645, 736

    style brisé (broken style and, 249–50

    Thirty Years War and, 56

    Vivaldi’s Primavera popularity in, 226, 227

Francis II, Emperor of Austria, 462

Franck, Salomo, 353, 354, 355

Frappolone e Florinetta (intermezzo), 434–35

Frederick II (the Great), King of Prussia, 385, 410, 411, 413, 462, 509

Frederick August II, Elector of Saxony, 157, 222, 375, 376

Frederick William, King of Prussia, 509

free intellect, 460–61

free market, 114, 115

    canon formation in wake of, 639

    Handel as composer of, 239, 340

    Haydn as composer of, 541, 555, 571, 607, 639

    Mozart as composer of, 600, 607–8, 620, 649

    music composition and, 737

    public concert series as, 571

    See also mercantile economy

Freemasons, 479, 557

French language, 695

    as German court language, 289

French opera,

    background of, 87–89

    ballet in, 100

    comédie larmoyante and, 447, 450, 452

    first officially sponsored work, 87–88

    Gluck and, 459–60

    grand siècle and, 111, 454

    Italian opera contrasted with, 88–89, 103

    Italian singers and, 88

    Italizan hybridization with, 459–60

    Lully and, 86, 89–106

    political debates and, 86

    Purcell’s importations from, 135

    Rameau and, 109–10

    Rousseau’s commentary on, 442, 443

    stage machinery of, 88, 106, 127

    War of the Buffoons and, 110, 443

    See also tragédie lyrupe

French Revolution, 302, 443, 462, 577, 736

    backlash against, 645

French Suites (J. S. Bach), 262–77

    no. 5 in G major, 263–66, 267–74

Frescobaldi, Girolamo, 35–44, 35, 53, 120, 259, 260

    improvisations of, 37

    keyboard publications of, 36, 37

    toccata use by, 37, 40–44

    works of

      Cento partite sopra passacagli, 37, 39, 40

      Fiori musicali, 43, 49

      Primo libro d’intavolatura, 41–42

      Toccata nona (Toccata IX), 41–42

Freud, Sigmund, 599

Friedrich, Caspar Friedrich, 644

Froberger, Johann Jacob, 259, 260–61, 262

    suite components of, 260–61, 263, 270

    works of

      Diverse curiose partite, di toccate, canzone, ricercate etc., 259

      Dix suittes de clavessin, 259

      Suite in E minor, Allemande, 261, 265–66

Frondists, 89

Fuga a 3 soggetii (J.S. Bach), 385

fugato form, 727

fugue, 198–203

    Bach (J.S.) and, 238, 242–43, 247, 248–49, 251, 253–54, 287, 384, 385–88

    Beethoven and, 686, 721–27, 729

    counterpoint and, 198–99, 201–2

    countersubject of (CS), 201

    definition of, 198

    double, 201–2,

    episodes in, 202, 220

    exposition of, 198, 201–2, 242, 274

    fantasia paired with, 247

    Germanic traits in, 241–42

    gigue and, 274

    Handel and, 204, 207, 208

    Mozart and, 494, 646

    prelude and, 247–51

    Purcell and, 198–203, 204, 208

    sonata genre vs, 726–27

    subject of, 198, 201, 202, 241–42

    toccata paired with, 247

Fugue in B-minor, no. 24 (Bach), 249, 251, 253–54, 279, 291

Fugue in E major (Fischer), 248

    Bach expansion of, 248–49

fundamento, 18, 22

“Funeral March” in C-minor (Beethoven), 685, 702

Für die Sünde der Welt gemartete und sterbende Jesus (Handel), 313

“Für Elise” (Beethoven), 686

“Furie di donna irata” (Piccinni), 449–50

furore, 437

Fux, Johann Joseph, 180–81

    Canonic Sonata in G minor, I, 1–13, 180–81

    textbook by, 180, 518

G

Gabrieli, Andrea (uncle), 49, 208

Gabrieli, Giovanni (nephew), 5, 10, 15, 208, 497

    Schütz’s studies with, 57, 59, 66, 68, 69, 341

    works of

    Sonate per tres violini, 223

    Symphoniae sacrae, 59, 60–66, 497

gagliarda, 53

Gainsborough, Thomas, 419, 420

galant,

    Bach (J.C.) and, 420

    Bach (J.S.) and, 376, 406

    rococo and, 279

galanterie, 427–28

    convivial spirit of, 427, 428

    Empfindung contrasted with, 426–277 428–29

    meaning of, 263

    suite and, 263, 270, 271–74

Galeazzi, Francesco, 702, 718

galliard, 120, 126

Galuppi, Baldassare, 158

    keyboard sonatas of, 432–33

    opera buffa and, 433

Gamesters, The (Orlandini intermezzo), 435

Garrick, David, 459

Gasparini, Francesco, 142

Gaultier, Denis, 249, 260

gavotte, 96, 104, 190

    allemande contrasted with, 274

    in suite format, 263, 271, 272, 274

Gay, John, 312, 312,

Geistliche Chor-Music (Schütz), 59, 68

Geistreichen Gesangbuch (Bernhard), 58

Gelbcke, Ferdinand, 646–47

gematriya, 384

Gemini (constellation), 91

Geminiani, Francesco, 227–28, 392

gender,

    artistic greatness concept and, 81

    Beethovenian ideal and, 670

    castrati singing and, 86–87, 153

    mainstreaming and, 80

    Mozart operas and, 478–79, 495–96

    musical endowment and, 78–83

    musical expression and, 82

    opera seria and, 153, 175

    Orfeo and, 21

General History of Music (Burney), 363, 420, 564

Genesis, Book of, 637, 645

Genius, Romantic notion of, 329, 416, 641, 643, 648–49

Genoa, 139

genre rappresentativo, 6–7

Gentili, Alberto, 217

gentry (gentlemen),

    chamber music and, 114

    English Civil War and, 124

George I, King of Great Britain, 237, 306, 313

George II, King of Great Britain, 306

George III, King of Great Britain, 315, 419, 464, 577–78

German Bach Society, 342

German National Library (Berlin), 49

German Romanticism, 533, 659

    Beethoven and, 670, 705–6, 720, 731–32, 739

    Hoffmann and, 641–46, 647, 651, 655, 670

    Kampf und Sieg theme and, 654- 55, 658–59, 694

    Schopenhauer and, 720–21

    Shakespeare and, 706

    Sturm und Drang and, 416, 417, 529

    sublime and, 732

    See also Romanticism

Germany,

    absolute music concept and, 388, 418

    “art and learning” emphasis of, 388

    artistic hegemony of, 533, 738, 739

    Bach (J. S.) revival in, 234, 235, 364, 368, 375, 381, 383, 385, 388, 389, 399

    Bach family and, 235, 239–41, 401–26

    Beethoven and, 652–89

    concert oratorio movement in, 385

    concert repertory dominance by, 738

    conservatories in, 736

    eighteenth-century music

    historiography and, 400–401

    Empfindsamkeit and Empfindung and, 409–10, 413, 414, 416

    Enlightenment backlash in, 645

    Enlightenment in, 461, 470

    exigetical music interpretation in, 706, 714

    first musical play and, 15

    French style influences in, 259–61, 285

    “Goethezeit” era in 659

    Handel and, 235–39, 385

    instrumental music and, 533

    Italianate influence in, 68, 69, 259, 285

    liturgical organ music and, 48–49

    Lutheran music and, 68

    municipal music in, 287

    musical universality and, 235, 258–59, 389, 738–39

    music festivals in, 385

    music journalism and, 737

    nascent Romanticism in, 533

    national character concept and, 670

    nationalism and, 235, 259, 385, 388, 389, 670, 689, 739

    Nazis and, 111, 369

    nineteenth-century musical hegemony of, 736–39

    oral music tradition of, 49

    oratorio and, 313, 385

    political subdivisions in, 68, 139, 388

    Schütz and, 56–73

    sonata in concerto style and, 301

    Sturm und Drang and, 416, 417, 528–29

    suite format and, 260–61

    Sweelinck pupils in, 48, 49

    symphonic development and, 504–7

    Thirty Years War and, 55–56, 66, 67

Gerstenberg, Heinrich Wilhelm von, 416–18

Gerusalemme liberata (Tasso), 7–9, 94

Gevaert, François-Auguste, 600

Ghezzi, Pier Leone, 193, 438

gigue,

    Bach (J. S.)-Couperin comparison, 275–81

    in suite format, 261, 262, 263, 274, 275–76

    in symphony movement, 506–7

Gilbert (William S.) and Sullivan (Arthur),

    mistaken identity device of, 448

Giocatore, ll (Orlandini), 435, 436, 441

Giordano, Filippo, 217

Glareanus, Henricus (Heinrich Loris), 538

Gloria,

    Bach (J. S.) Mass in B minor and, 375, 376–77

    Monteverdi “Gloria concertata and, 10, 376

    organ setting of, 49

Glorious Revolution of 1688 (Britain), 114–15, 124, 126

Glorreiche Augenblick, Der (Beethoven), 673, 686, 722–24

“Glory to thee, O Trinity” (Vespers antiphon), 116

Gluck, Christoph Willibald, 452–59, 453

    cosmopolitan background of, 454–55

    librettists of, 90, 453, 455, 460, 478

    as Mozart’s Idomeneo model, 465–66

    operatic debut of, 158

    operatic reform principles of, 452–59, 465–66

    Piccinni rivalry with, 441, 445, 455, 460

    Salieri as pupil of, 454, 464

    tragédie lyrique and, 459–60

    works of

      Alceste, 90, 453, 466–68

      Iphigenia in Tauris, 460, 465

      lpigénie en Aulide, 459, 465

      Orfeo ed Euridke, 452–59, 464

      Parnasso confuso, II, 454

      Roland, 460

“God Save the King’ (British national anthem), 672

Goethe, Johann Wolfgang von, 479, 528, 659, 659, 660

Beethoven and, 671–72, 689, 720

Goethe in the Roman Campagna (Tischbein), 659

“Goethezeit,” 659

Goldberg, Johann Gottlieb, 383

Goldberg bass (J. S. Bach), 383–84

“Goldberg Variations” (J. S. Bach), 383

Goldoni, Carlo, 226, 493

    Mozart libretto by, 465

    opera buffa and, 433, 446

    opera seria parody by, 155

    Pamela adaptation by, 446–47

Golitsyn, Dmitriy Mikhailovich, 608

Golitsyn, Nikolai Borisovich, Prince, 675

    Beethoven late quartets and, 682, 683

Gombert, Nicolas, 5

Gonzaga, Francesco, Duke of Mantua, 2, 5, 14, 14, 21

Gonzaga, Vencenzo, Duke of Mantua, 2, 5

Good Friday,

    Bach (J.S.) Passions for, 377–81

    Schütz settings for, 73

gorgia (throat-music), 15

Gospels,

    Bach (J. S.) Passions based on, 375, 377, 389–90

    oratorios based on, 73, 325–26

Gounod, Charles-François, Ave Maria arrangement, 251

Grabu, Luis, 132–33

graces (embellishments), 278, 281

Gradual, church sonata and, 178, 180

Gradus ad Parnassum (Fux), 180, 518

Granados, Enrique, 391–92

Grandi, Alessandro, 75

Grand Overture style (concert symphonies), 556, 558

grand siècle (France), 111, 454

Grassi, Cecilia, 419

Graupner, Christoph, 240

Great Britain,

    arts criticism’s inception in, 571

    Bach’s (J.C.) career in, 419

    chamber music and, 114

    composers in Belgium from, 45, 47

    concerts and repertory in, 738

    consistent national borders of, 139

    consort music and, 114–18

    countertenor voice and, 130

    eighteenth-century novel in, 445–46

    Enlightenment backlash in, 645

    Enlightenment in, 461

    Glorious Revolution of 1688 in, 114–15, 126

    Handel’s career in, 204–8, 237–39, 306, 307–40, 401

    Handel’s oratorios and, 237–38, 314–40, 385, 578, 633

    Haydn in, 555–88, 633, 695

    identification with Old Testament Israelites by, 315

    interregnum in, 124–25

    Italian opera as suspect in, 312–13, 340

    Italian style adopted in, 196–204

    jig and, 261

    keyboard music and, 45, 46–47, 49

    masques and, 113–14, 126, 127, 130–31, 132, 134, 137

    musical nationalism and, 133, 138, 321

    nationalism and, 238, 315, 321, 385, 388, 633

    novel and, 445–46, 450

    opera and, 131, 132–38, 237, 311–12

    oratorio and, 75, 237–38, 305, 313–40, 314, 385, 464, 578, 633

    political institutions in, 388

    political upheaval in, 122–25

    Purcell and, 127–38, 196–204

    Restoration in, 124, 125–27

    self-made class and, 114, 237, 450

    semi-opera of, 126–27, 128, 130–31

    seventeenth-century music in, 113–38

    social class and, 114, 125

    Sweelinck’s works and, 45

    theatrical tradition in, 87, 113, 125–27

greatness, 649–50

Greco, El, 122

Greek art, eighteenth-century classicism vs., 453–54

Greek drama, 15

    Aristotle and, 151, 435

    Gluck operas and, 453, 459

    Metastasio librettos and, 152–53, 154

Greek mythology, 15, 21–25, 91–92

Gregorian chant, 326

    Kyrie, IX, 43

Gregorian hymn, 342

Greiter, Matthias, 184

Griesinger, Georg August, 527, 538

Grimaldi, Nicolo. See Nicolini Grimm, Melchior von, 470

Grosse Fuge, op. 133 (Beethoven), 682, 726

ground bass,

    Baroque compositions and, 35, 36

    “breaking a base” (variations), 120

    chaconne (ciaccona) or passacaille (passagli) over, 38, 94

    Italian string repertory and, 193

    Monteverdi and, 10, 35

    Purcell’s gift for, 135, 137, 138

    Scarlatti (Alessandro) and, 186–87, 189

group identity, artistic creativity and, 82, 83

Grout, Donald Jay, 142, 151, 173, 329

Grundgestalt (Schoenberg term), 701

Guadagni, Gaetano, 336, 339–40, 459

Guárdame las vacas (folk tune), variations on, 47

Guidonian hexachord, 45

guilds, 287

    Guillemain, Louis-Gabriel, 427–28

    Guinness Book of World Records, 260

guitarists

    passacagli and, 311

    vamping by, 38

Gwynn, Nell, 125–26, 126

H

“Haffner” Symphony in D major, K. 385 (Mozart), 589

half-aria (mezz’aria), 349, 351

half-cadence, 488

half-step adjustments, 594

Halle, 48, 402

    as Handel’s birthplace, 235, 236, 239

Halm, August, 726

    Haman and Mordecai (Handel), 313–14

Handel in, 236–37

    Klopstock-C. P. E. Bach connection, 410

    organ posts, 48

Hamlet (Shakespeare), 416, 417, 645

“Hammerklavier’ Sonata in B flat (Beethoven), 673, 674, 724, 726, 727

Handel, George Frideric, 204–8, 241, 303, 305–40, 308, 306, 402, 409, 411, 455, 689

    adaptability of, 340

    Bach’s (J. S.) approach to music contrasted with, 321, 345, 362, 364, 368, 374

    Bach’s (J. S.) career compared with, 236, 240, 305–6, 418, 419

    Beethoven’s tribute to, 724”borrowings” by, 327–31, 392

    business bankruptcy of, 313, 314

    business sense of, 237, 239, 240, 313, 340

    canonization of, 233, 235, 639

    career and lifestyle of, 235–39, 400–401

    career trajectory of (map), 236

    closeted sexual orientation of, 340

    concerto grosso and, 192, 204–8, 305, 327

    conservativism of, 235

    contemporary musical taste and, 363

    death date of, 326

    duetto per camera and, 331–32

    English nationalism and, 238, 385, 633

    Englishness vs. Germanness of, 385, 739

    English royal patronage of, 237, 306

    financial success of, 237, 239, 419, 517

    as first modern composer, 340

    fugue and, 204, 207, 208

    German reclamation of, 385

    as Haydn inspiration, 633

    Haydn’s career compared with, 578

    High Baroque style and, 194

    internationalism of 239

    librettists of, 307, 316, 325

    London music scene and, 237–39, 306, 307–40, 401, 419

    masques of, 313–14

    Mozart modernized scores of, 399

    music historiography and, 400–401

    nationalism and, 385

    opera seria of, 109, 236–37, 238–39, 306–12, 313, 351

    oratorio and, 75, 237–38, 305, 313–40, 314, 385, 464, 578, 633

    orchestral suites of, 234

    Orlandini’s style compared with, 437

    rage arias of, 308–9, 437

    rediscovery/public revival of, 385

    Scarlatti (Domenico) compared with, 396

    as self-made man, 237, 240, 313, 340, 419, 517

    significant birth year of, 233, 235

    speed of composing by, 326, 327

    standard repertory inclusions of, 234, 235

    stroke suffered by (1737), 328

    unique genius of, 313

    works of

      Acis and Galatea, 313–14

      Belshazzar, 315

      Broches Passion, 313, 377

      Chandos Anthems, 314

      Concerto Grosso in B-flat Major, Op. 6, no. 7, 204–8, 327, 392

      Deborah, 314

      Für die Sünde der Welt gemartete und sterbende Jesus, 313

      Haman and Mordecai, 313–14

      Israel in Egypt, 315–25, 327, 331, 345, 364, 368

      Jephtha, 75

      Joshua, 315

      Judas Maccabeus, 315

      Messiah, 316, 325–27, 331–140, 377, 399, 459

      Ode for St. Cecilia’s Day, 330

      Rodelinda, 306–11

      “Royal Fireworks,” 306, 362

      Samson, 75, 315, 339

      Saul, 314–15, 316

      Solomo, 315

      Vivi, tiranno!, 308–11, 340, 437

      “Water Music,” 306

Hanover dynasty, 237, 306

Hanover Square (London), 555

Hansell, Kathleen, 174

Hanslick, Eduard, 336, 458

Hanswurst (“Johnny Sausage”) shows, 518

happy ending, operatic, 151, 446–47

Hapsburg dynasty, 504, 525, 550, 607

Hardy, Thomas Bush, 517, 555

Hare, John, 177

“Hark! the ech’ing air” (Purcell), 131

harmonic rhythm, 188

Harmonie (wind ensemble), 509

harmony,

    Bach (C. P. E.) and, 413, 414, 514–15

    Bach (J. S.) and, 211–16, 242, 248, 249, 251, 253–54, 266, 285, 346, 361, 370, 372, 381

    Bach (W. F.) and, 407

    Beethoven and, 660–67, 677–78

    Corelli and, 181–84

    Monteverdi and, 2, 5, 23–24

    Mozart and, 486, 488, 489, 490, 492, 493, 494, 495, 609, 618, 620–21, 624–25, 631, 632–33, 634

    Neapolitan, 142 144

    pendular plan and, 267, 606, 660

    Rameau treatise on, 192

    Scarlatti (Alessandro) and, 142, 144, 146

    Scarlatti (Domenico) and, 391, 392, 396, 620

    standardization of, 181–82, 234

    tonal, 181–203, 234, 248

    Vivaldi and, 220

harpsichord,

    accompanied sonata, 427–32, 695

    Bach (J. S.) works for, 192, 224–25, 241

    Bach’s (J. S.) Fifth Brandenburg Concerto solo role of, 290, 291–300, 301

    Couperin and, 279, 282

    English virginal and, 45

    Haydn concerto for, 600

    obbligato provided by, 300–301, 428

    Scarlatti (Domenico) and, 390–96

    Sweelinck fantasias and, 46

Harpsichord Concerto in D major (Haydn), 600

Harpsichord Sonata in F (W. F. Bach), 402–9, 413, 414

Harty, Sir Hamilton, 306

Hasse, Johann Adolf, 157, 157, 158–59, 161, 400

    Artaserse settings, 158, 166

Hasser, Hans Leo, 49

Hauser, Arnold, 736, 737

haute-contre (French high tenor), 98, 100, 130, 459

Haydn, Franz Joseph, 479, 499, 515–88, 517, 557, 642

    absolute music and, 646

    Bach (C. P. E.) as influence on, 518, 529

    background and career of, 517–20, 525–28, 607

    Beethoven as heir-apparent to, 653, 660

    Beethoven’s studies with, 652, 653

    Beethoven’s use of C-minor and, 653, 692, 694–95, 696, 698, 701, 702

    canonization of, 399, 400, 401, 638–39, 646, 738

    celebrity of, 517, 541, 557, 607

    Classical period and, 739

    C-minor mood and, 634–37, 692, 694–95, 701, 702, 721

    concerto and, 600–601

    concision of, 578–88, 591

    Enlightenment and, 577, 643

    Esterházy patronage of, 525–28, 538–41, 553, 555, 607, 682

    financial success of, 517, 556, 607

    freelance status of, 541, 555, 577, 607, 639

    fugal sonata movements and, 726–27

    Handel oratorios and, 385, 578, 633

    Hoffmann’s appraisal of, 643, 645–46

    innovations of, 571

    late symphonies of, 557–88

    London tours of, 555–88, 589, 607, 633, 652, 695

    Mass composition of, 376, 633

    Mozart’s interrelationship with, 589, 590, 591, 593, 601, 607, 631, 634, 637

    musical predecessors of, 400

    musical wit of, 540–41

    operas of, 464, 526

    opus numbers and, 541

    oratorios of, 385, 633–37

    Oxford honorary degree of, 556

    Paris symphonies of, 556–57

    patrons of, 519–20, 525–28, 538, 607, 655

    performance skill limitations of, 590, 601

    piano trios of, 695

    reasons for success of, 516

    Romantic esthetic and, 643, 645–46, 647, 648

    Salomon contract with, 555–56

    as self-made man, 517, 525, 538

    sonata form and, 10–533, 520–25, 540, 549, 557, 584, 660

    standard repertory and, 399, 464, 578, 646

    string quartets of, 518–19, 526, 541, 578, 600, 721

    structural efficiency of, 578–88

    Sturm und Drang and, 528–29

    symphony and, 515–40, 542, 549, 556–88, 600, 601, 717

    technical virtuosity of, 579

    trios of, 695–96

    waltz dissemination by, 573

    whimsical fugalism and, 721

    works of

      Cello Concerto in D major, 600

      Clarino Concerto in E-flat major, 600

      Creation, The, 385, 633–37, 638, 645, 692, 694, 701

      Harpsichord Concerto in D major, 600

      “In Distress” (“Lord Nelson Mass”), 577, 633

      “In Time of War,” 577, 633

      Seasons, The, 385, 388, 633

      String Quartet, op. 103 (unfinished), 542

      String Quartet in E-flat major, op. 33, no. 2 (“The Joke”), 542–55, 558, 565, 591, 593

      String Quartets, op. 33 (“Russian”), 541–42, 589

      String Quartets, op. 42, 542

      String Quartets, op. 50, 542

      String Quartets, op. 64, 542, 556

      String Quartets, op. 76, 542

      String Quartets, op. 77, 542

      String Quartets, opp. 54/55, 542

      String Quartets, opp. 71/74, 542

      Symphony “A,” 520–24

      Symphony nos. 6–8 (“Morning” Noon and Night), 528

      Symphony no. 31 (“Hornsignal”), 527

      Symphony no. 45 in F-sharp minor (“farewell”), 528–40, 553, 682

      Symphony no. 48 in C major, 526

      Symphony nos. 82–87 (“Paris”), 557–58

      Symphony no. 92 in G major (“Oxford”, 556

      Symphony no. 94 in G major (“Surprise”), 557–77, 557, 584

      Symphony no. 95 in C minor, 695

    Symphony no. 96 in D major (“Miracle”), 556

    Symphony no. 100 in G major (“Military”), 558, 577

    Symphony no. 104 in D major (“London”), 578–88

Haydn, Michael (brother), 517

Haydn, Mozart and the Viennese School: 1740–1780 (Heartz), 400

Haym, Nicola Francesco, 307

Heartz, Daniel, 400, 409, 434, 437, 466, 470, 477, 48 8

“He gave them hailstones” (Handel), 321, 322–23, 327

Hegel, Georg Wilhelm Friedrich, 670

Heiligenstadt Testament (Beethoven), 654, 672

Heiliger Dankgesang eines Genesenen an die Gottheit, in der lydischen Tonart (Beethoven), 686–88, 721, 731

Heinichen, Johann David, 261

hemiola, pattern of beats, 267

Henrici, Christian Friedrich (Picander), 378

Herculaneum, 453

Herod, 68, 73

heroic style, 738

    Beethoven’s Eroica Symphony’s earmarks of, 655–56, 668–69

    Beethoven’s works and, 670, 689

    C-minor mood and, 701, 702, 705

    undesirable side effects of, 670–71

“He sent a thick darkness” (Handel), 321, 324

“He smote all the first-born of Egypt” (Handel), 321, 325

    Stradella’s Quel prodigio e ch’io miri and, 327, 328

“He spake the word” (Handel), 317, 319–20, 327

high art,

    entertainment separated from, 655

    social/political elites and, 112–13

    See also classical music

High Baroque, 298

    Bach (J. S.) and, 345

    Handel and, 194, 345

Hildegard of Bingen, textual preservation of works of, 79

Hildesheim, 66

Hildesheimer, Wolfgang, 464

Hiller, Ferdinand, 724

Hiller, Johann Adam, 445

Historia der freuden und gradenreichen Geburth Gottes and Marien Sohnes, Jesu Christi, unsers einigen Mitlers, Erlösers und Seeligmachers (Schütz), 73

historicism, 390

    morality of great works and, 389–90, 495–96

    political implications of “classical” art and, 389–90

    on women’s underrepresentation in music, 78–81

    See also music historiography

Hoffman, Stanley, 739

Hoffmann, E. T.A., 600, 642, 647, 651, 739

    art vs. entertainment distinction of, 655

    on Beethoven, 648–49, 670, 680, 692, 714, 717, 731, 739

    on Beethoven’s Fifth Symphony, 705–6, 709, 720

    on Don Giovanni as “opera of operas” 485, 487

    on Haydn’s musical gifts, 643, 644–46, 668

    on Mozart’s sublimity, 643–46, 648

    on music as most Romantic of all arts, 641–42, 735

Hogarth, William, 312, 574,

Hölle Rache, Der (Mozart), 481, 48 2–83

Holmes, William C., 447

Holy Roman Empire,

    arts and, 15, 152, 504–7

    diminished power of, 68, 139

    disbanded Kapellen in, 607

    Elector Palatine and, 505

    Esterházy Princes and, 525

    multinational makeup of, 550

    northern Italian musical developments and, 152

    Thiry Years War and, 55–56, 68

    See also Austria

Homer, 26

homosexuality, 312, 313, 340

Hoole, John, 156

Horace, 410, 461

hornpipe, 204, 205

horns,

    Beethoven’s Eroica false entrance by, 664, 667

    Haydn’s orchestration and, 527

    opera seria orchestration and, 166

“Hornsignal” Symphony (Haydn), 527

horror, musical expression of, 317–21, 364, 365–68, 369, 470, 494

Hortus musicus, Sonata no. 1 (Reincken), 242, 243–44, 402

    Bach (J. S.) arrangement of, 245–47

Howard, Hugh, 178

“Howld Fast” (Tye), 116, 117

humanism, Monteverdi and, 4, 9, 21

humanity, representation of, 464, 474, 475, 486, 495, 590–91, 643

Hundred Variations on Passacalles, A (Frescobaldi), 37

Hungary, Esterháazy family and, 525–26, 526

hymns and hymnody,

    choral, 49–50, 53

    organ settings of, 49–50

Hyppolite et Aricie (Rameau), 110

I

Idomenée, re di Creta (Campra), 90, 465, 465–70, 474

    final mad scene, 106–7

    Idomeneo, di Creta (Mozart), 90, 465–70, 466, 645

Idomeneus, King of Crete, 90

imbroglio (tangled plot), 451, 48 6, 490, 492, 620

“Immortal Beloved” letter (Beethoven), 672

implication/realization model, 208

Impressario, The (Mozart), 481

improvisation,

    arias and, 650

    Bach (J. S.) and, 241, 243, 384–85

    Baroque and, 35, 37

    Beethoven and, 652, 653, 655

    cadenza and, 171, 609–10, 650

    chorale and, 255

    by composer, 610–11

    concerto and, 650

    continuo and, 291

    Empfindsamkeit vogue and, 414

    as ground bass forerunner, 186

    jazz and, 174, 223, 611, 650–51

    lute strumming as, 249–51

    Mozart and, 610–11, 624, 625–31, 650

    opera seria and, 174

    organists and, 37, 43, 44

    pop music and, 174, 609, 611, 650–51

    toccatas and, 40–44

    written examples as cream of, 35, 44

Incenerite spoglie (Monteverdi), 6, 7

incidental music, English theater and, 113, 126, 127

Incoronazione di Poppea, L’ (Monteverdi), 1–2, 13, 26–33, 87–88, 146, 148

    ground bass and, 35

    Nerone and, 140

    Pur ti miro and, 30, 32–33, 77

    revived (1650s) version of, 33, 37, 77

Indebtedness of Handel to Works by Other Composers, The (Taylor), 327

Indes galantes, Les (Rameau), 321

“In diesen heil’gen Hallen” (Mozart), 48 1, 48 4–85

“In Distress” (“Lord Nelson Mass”) (Haydn), 577

individualism, 409, 643, 670, 737

infinite,

    Beethoven and longing for, 648–49, 670, 731–32, 734

    music’s disclosure of, 641–42, 643–45, 646

Ingegneri, Marc’Antonio, 2, 5

In Nomine fancies, 115–20

in partitura, 36

instrumental music,

    as absolute music, 418

    Bach (J. S.) and, 261–301

    Beethoven’s legacy to, 686

    Beethoven’s Romanticism and, 648–85, 702, 714, 724

    Calvinist ban on, 46

    Corelli’s legacy to, 177, 181–84

    cultural prestige of, 539

    empfindsamer Stil and, 413, 414, 416, 418

    English “act tunes” and, 126

    exigetical interpretation of, 650, 706, 714

    expressive potential of, 222, 539

    of French court, 259–60

    German emphasis on, 533

    Handel and, 305–6

    Haydn and, 518, 600, 643, 646, 648

    imitation of nature by, 227–31, 316, 317–21

    interactive, 223

    introversive and extroversive signs in, 539–41, 542, 545, 546, 550–53, 571, 588, 591, 599, 661, 680, 682, 717, 718

    Italian development of, 177–231, 234, 281

    Jacobean consort and, 114–24

    mid-eighteenth-century newness of, 399–434, 437

    Mozart and, 47 5, 589–639, 643, 646, 648

    opera’s stylistic impact on, 281, 433

    ornamentation and, 281

    Purcell and, 127–30

    Romantic exaltation of, 591, 642

    as secularized, 204

    seventeenth-century development of, 36–37

    signification and, 539–55

    standard forms of, 234

    Tafelmusik as, 53

    textual sanctity of, 650–51

    tonality and, 188–98

instrumental recitative, 413, 414

instruments,

    design of, 736

    Janissary, 470–71, 602, 675, 678

    making of, 435

    resurrection of “original,” 233

    tuning of, 247–48

In tempore belli (Haydn), 577, 633

intermezzo, 12, 13, 434–37

    character conventions of, 434, 435, 438–39

    English masque vs, 126

    farce and, 447

    first international hit, 435–37

    foreign reactions to, 435, 437

    as Mozart’s first dramatic work, 464

    opera buffa and, 447

    Pergolesi’s Serva padrona as masterwork of, 438–52

    plot line of, 435, 438–39, 477

    Rousseau and, 442–43

    Schütz oratorio and, 73

International Society of Contemporary Music, 693

internationalism,

    Wagner’s view of, 680, 682, 694

“In Time of War” Mass (Haydn), 577, 633

introspection,

    Enlightenment’s universality standard vs, 600

    late-eighteenth-century composers and, 588, 589

    mid-eighteenth-century composers and, 409, 426–27

    nineteenth-century composers and, 737

    Romanticism and, 599

introversive semiotics,

    Beethoven and, 680, 682, 717, 718

    Haydn and, 539–41, 542, 545, 546, 551, 552, 553, 588, 591, 717

    Mozart and, 591, 717

    Romanticism and, 599

intuition, 720

Iphigenia in Tauris (Euripides), 460

Iphigenia in Tauris (Gluck), 460, 465

Iphigenia in Tauris (Piccinni), 460

Iphigénie en Aulide (Gluck), 459, 465

Irish jig, 261

irony, comic contrast and, 439

Isabey, Jean Baptise, 673

Isis (Lully), 102

Isouard, Nicolas, 158

Israel in Egypt (Handel), 315–25, 331, 345

    Bach (J. S.) Cantata 101 contrasted with, 364, 368

    “borrowings” in, 327

Israelites (biblical),

    British self-identification with, 314–15, 321

“Italian Concerto” (J. S. Bach), 281–82, 285

Italian concerto style, 177–231, 234

    Bach (J. S.) and, 281–85

    in England, 196–204

    fugal form and, 198–203

    tonality and, 181–98

    Vivaldi and, 216–31

Italian language, 133

    musical vocabulary and, 158–59, 203

Italian opera,

    Arcadian reforms and, 151–52, 153

    cantata and, 75–78, 146, 349, 351

    English suspicion of, 312–13

    French court opera contrasted with, 88–89, 103

    Gluck reforms of, 452–60

    Goldoni librettos for, 433, 446–47

    Haydn’s works and, 526

    hegemony of, 158

    intermezzos and, 434–37

    in London, 237, 307–12, 340

    Metastasio librettos and, 152–65

    Monteverdi and, 12–34

    Naples and, 140–52

    oratorio and, 313

    ornamentation and, 279, 281

    Purcell’s importations of, 135

    Rome and, 150–51

    Scarlatti (Allesandro) and, 141–52, 186–87

    symphony as curtain-raiser for, 497, 498, 499, 500

    Venice and, 12, 16, 126, 139

    War of the Buffoons and, 110

    women composers and, 80, 81

    women singers and, 80 See also opera buffa

    opera seria

Italy,

    academies in, 150–52

    castrati and, 16–17

    chamber music forerunners in, 114

    concerts in, 500

    French musical style vs, 86

    German musical imports from, 259

    Handel in, 237

    instrumental music amd, 177–231, 234, 281

    intermezzo and, 12, 13, 434–37

    keyboard sonatas in, 432–34

    madrigals and, 57

    Monteverdi and, 1–34

    musical hegemony of, 158–59

    northern city-states of, 139

    oratorio in, 73–345, 73–75, 237, 313, 314

    Scarlattis and, 141–50, 390–97

    Schütz as German musical conduit from, 68, 69

    string music and, 177–231

    subethnic political divisions in, 139

    Thirty Years’ War and, 56

J

Jacobean England, 113–38

Jahreszeiten, Die (Haydn), 385, 388, 633

“J’ai perdu mon Eurydice!” (Gluck), 458

“J’ai perdu mon serviteur” (Rousseau), 443

James I, King of England, 113, 122, 237

James II, King of England, 114, 126, 132

Janissaries, 470

Janissary instruments, 470–71, 602, 675, 678

Jauchzet Gott in allen Landen (J. S. Bach), 374–75

jazz, improvisation and, 174, 223, 611, 650–51

Jennens, Charles, 316, 325, 327, 330

Jephte (Carissimi), 73–74, 76–77, 90

Jephté (Montéclair), 91, 93

Jephtha (Jephte) (biblical), 73–74, 74, 90, 91

Jephtha (Handel), 75

Jerusalem Delivered (Tasso), 7–9, 94

Jesuit German College (Rome), 73

Jesuits, 461

Jews and Judaism, Christian art and, 112, 389–90

jig, 261

    English theatrical incidental music and, 126

    See also gigue

Johanneum (Hamburg), 410

Johann Georg, Elector of Saxony, 68

John, Gospel according to, 73, 375, 377

Johnson, Robert, 114

joke, musical, 321

    Haydn and, 540–41, 542, 545, 547, 548, 549, 551–54, 571

    Mozart and, 549

“Joke Quartet” in E-flat major, op. 33, no. 2 (Haydn), 542–55, 565, 591

    first movement, 542–47, 559

    fourth movement “joke” of, 551–54

    as mock-primitive piece, 549

    second movement, 547–49, 593

    third movement, 550–51

Jommelli, Niccolò, 158

Jonson, Ben, 113, 114

Jordan, Thomas, 124

Joseph II, Emperor of Austria, 647, 652

    Beaumarchais and, 478

    Enlightenment reforms of, 462

    Mozart and, 462–63, 470, 476, 477, 478, 646

    operatic taste of, 470, 476, 478

    successor to, 462, 48 1–82, 652

Joshua (Handel), 315

Josquin des Prez, 5, 12

    legacy of, 463, 464

    Louis XII patronage of, 538–39

Journal de printemps, Le (Fischer), 259–60

Judas Maccabeus (Handel), 315

Judges, Book of, 73

Jupiter (mythology), 94, 107

“Jupiter” Symphony in C major, K. 551 (Mozart), 590, 646

Justin (Marcus Junianus Justinus), 159

K

Kampf und Sieg, 654–55, 658–59, 694

Kant, Immanuel, 461, 462, 634, 643, 644, 648, 720

    on instrumental music, 642

    on mathematical sublime, 646, 732

Kärntnerthor Theater (Vienna), 518, 676

Kayserling, Count, 383

Kerman, Joseph, 495, 677, 686

    on Beethoven’s C-minor mood, 691

keyboard music,

    accompanied, 42 7–32, 695

    allemande and, 260

    Bach (C. P. E.) and, 410

    Bach (J. C.) and, 420, 606

    Bach (J. S.) and, 192, 224–29, 234, 241, 247–51, 262–77, 306, 383, 402

    Bach (J. S.) compared with Couperin, 275–81

    Bach (W. F.) and, 402–9

    Beethoven and, 652, 653, 655, 686

    domestic performance of, 419, 42 7

    earliest solo concerto, 290

    English, 45, 46–47, 49, 53

    French style brisé and, 249–50

    Frescobaldi and, 36–44

    Haydn and, 600

    Italian composers of, 432–34

    Mozart and, 601–34

    Scarlatti (D.) and, 234, 390–96

    Schein variation technique, 53

    Sweelinck and, 44–46, 53

    tuning and, 247–48

    variation technique, 53

    See also organ music

key signature, 247–48

    feelings associated with, 686

Kierkegaard, Søren, 486, 487, 495

Kinderman, William, 732

“King’s Grand Ball” (P. Rameau), 92

King’s Theatre (London), 237, 307, 314, 419

Kinninger, Vincenz Georg, 492

Kircher, Athanasius, 74–75

Kirkpatrick, Ralph, 392, 395

Kivy, Peter, 329

Kleine geistliche Concerte (Schütz), 66–69

Klinger, F. M.von, 528

Klopstock, Friedrich Gottfried, 410, 416

Kneller, Gottfried, 241

knowledge, Enlightenment, 461

Koch, Heinrich Christoph, 606, 607, 609–10, 621, 622

Köchel, Ludwig von, 463

“Kommt, ihr Töchter, helft mir klagen” (J. S. Bach), 378

Kossmaly, Carl, 388

Kraft, Anton, 600

Krügner, Johann Gottfried, 239

Krumme Teufel, Der (Haydn), 518

Kuhnau, Johann, 262, 265

Kunst der Fuge, Die (J. S. Bach). See Art of Fugue

Kusser, Johann Sigismund, 259–60

Kyrie,

    Bach (J. S.) Mass in B minor and, 375

    Frescobaldi and, 43–44

    organ settings of, 49

Kyrie IX, Cum jubilo, 43

L

labor unions, 112

Lagrime d’amante al sepolcro dell’amata (Monteverdi), 6

Lagrime mie (Strozzi), 75–78, 81

lament,

    Carissimi Jephte, 74, 76

    Lully’s Atys, 103–4

    Monteverdi’s Lamento d’Arianna, 104

    Monteverdi’s Lamento della ninfa, 10, 11, 125

    Purcell’s Dido and Aeneas, 135–37, 138

Lamento d’Arianna (Monteverdi), 104

Lamento della minfa (Monteverdi), 10, 11

Lamento della ninfa (Rinuccini), 10

Landon, 538, 539, 577

Lang, Paul Henry, 738, 739

Lange, Joseph, 474

language,

    Monteverdi and, 10

    musical setting of, 133, 134, 138

    musical vocabulary and, 158–59

    operatic singing and, 97

Lanier, Nicholas, 114

Laplace, Pierre Simon de, Marquis de, 634

LaRue, Jan, 497, 528

La Rue, Pierre de, 5

La Tour, Maurice Quentin de, 427, 442

Laudate Dominum (hymn), 227

Lawes, William, 120–22, 124, 128, 134

    Ayre in six parts, 120, 121

    fantasia themes, 122

“League of David” (Schumann journalistic pseudonym), 737

Lecerf de la Viéville, Jean Laurent, 85–86

Leclair, Jean-Marie, 499

Leipzig, 509, 739

    Bach (J. S.) and, 53, 239–40, 262, 286, 300, 341–42, 346, 353, 362–63, 364, 365, 368, 370, 375, 377, 378, 381, 402

    birds-eye view of, 238

    municipal music in, 287

    St. Thomas Square, 239

    Schein and, 53

Lenten season,

    Mozart subscription concert performances, 608

    opera house closure during, 313, 470, 499, 608

    oratorio and, 73, 237, 313

    symphony concert performances, 499, 500

Leopold II, Emperor of Austria, 462, 481–82, 49 9, 652

Leopold, Prince of Anhalt-Cöthen, 261–62

Leporello’s “Catalogue aria” (Mozart), 48 9, 490

Leppert, Richard, 340

Lettera amorosa (Monteverdi), 6, 8

“Letter on French Music” (Rousseau), 442

Letters on a Regicide Peace (Burke), 645

“Letters to His Son” (Lord Chesterfield), 340

Liberazione di Ruggiero dall’isola d’Alcina, La (Caccini), 80

libretti (little books), 159, 438

librettists,

    Busenello, 26–27

    Calzabigi, 45 3, 455, 478

    Da Ponte, 47 6–79, 48 5, 48 7

    Dryden, 132

    Goldoni, 433, 446–47, 467, 49 3

    Haym, 307

    Metastasio, 152–72, 174, 175, 434, 438, 452, 453, 455, 481

    Ottoboni, 151

    Quinault, 90, 94, 97, 155, 478

    Rinuccini, 10, 15, 21, 23

    seventeenth- and eighteenth-century power of, 173

    Striggio, 14, 18, 21

    Strozzi (Giulio), 75

    Tate, 132, 155

    Zeno, 152

librettos,

    cantata conventions, 76

    comic opera conventions, 450–51

    for first intermezzos, 434–35

    for Gluck, 453, 455, 478

    for Handel, 307, 316, 325

    for Haydn, 633

    for Lully, 36, 310, 313, 47 8

    Metastasian style, 153–54

    most frequently reused, 158

    for Mozart, 465, 466

    musical relationship with, 48 6–87

    neoclassic elements in, 151–52, 434

    opera seria and, 174

    printed, 159, 438

libro d’intavolatura (Frescobaldi), 36, 38–39, 43

libro d’intavolatura (Rossi), 42

Lichnowky, Karl von, Prince, 653, 675, 683, 694

Liebfrauenkirche (Halle), 402

“Liebster Gott” (J. S. Bach), 370–72

lieto fine (happy ending), 151

Linley, Thomas, 633

lira organizzata, Haydn compositions for, 601, 601

Lisbon Cathedral, 390

literature,

    artistic sensibility origins in, 410, 416

    essentialist notion of, 82

    novel as operatic source, 445–46, 450

    Sturm und Drang and, 416, 528–29

“Little Sacred Concertos” (Schütz), 66–69

liturgical music,

    Bach (J. S.) and, 255–57, 340–90, 363–83, 389

    Beethoven and, 721

    Calvinist rejection of, 44, 125

    cantata and, 341–90

    castrati and, 16

    choral hymnody and, 49–50, 53–54

    church sonata and, 177–84, 187–92

    concerto grosso and, 178

    Frescobaldi and, 35, 43

    Lutheranism and, 49–55, 255, 341–42

    Monteverdi and, 5, 10, 18–20

    organ and, 35–44, 48, 49, 255–57

    Schütz and, 59, 66–73

    Sweelinck and, 44, 48

    See also chant;

    Gregorian chant;

    hymns and hymnody;

    Mass;

    psalms and psalmody

Lobkowitz, Joseph Franz Maximilian von, Prince, 671

Locatelli, Pietro, 296, 299

Locke, Matthew, 126, 127, 132, 134

lombards (short-long rhythms), 134, 407

Lombardy, 2, 504

London,

    Artaserses pasticcio version performed in, 158, 168–69

    Bach (J. C.) in, 419, 606

    Handel in, 237–39, 306, 307–40, 401, 419

    Haydn’s tours in, 555–88, 589, 607, 633, 652, 695

    intermezzo hit in, 435

    Mozart in, 464, 601

    music publishing in, 177

    public concert series in, 41 9, 499, 555, 571, 577, 639

    Purcell and, 128–38

    theater, 125–28

London Daily Post, 315

London Symphony in D major, no. 104 (Haydn), 578–88

    development section, 581–88

    historical importance of first movement of, 584

    opening theme of, 581–82, 584, 588

    slow introduction, 579–81, 583

Longo, Alessandro, 392

“Lord Nelson Mass” (Haydn), 577, 633

Lord’s Prayer (Lutheran), 365

Louis XII, King of France, 538–39

Louis XIV, King of France, 89, 109, 111, 125

    Couperin and, 277

    court opera and, 87, 88, 90, 155, 454, 465

    Lully’s compositions and, 89, 94, 97

    musical patronage and, 89, 99

    musical taste and, 85

Louis XV, King of France, 89, 91, 92–93, 442, 461

Louis XVI, King of France, 459

loure, in suite format, 263, 271, 276–74

love as opera buffa theme, 447

Lovers Made Men (Jonson), 114

Lowinsky, Edward, 397

Lübeck, 241

Lucas (composer), 158

Lucio Silla (J. C.Bach), 507

Luke, Gospel according to, 73

Lulli, Giovanni Battista. See Lully, Jean-Baptiste

Lully, Jean-Baptiste, 85, 86, 89–106, 108–9, 126, 132, 133, 460, 506

    as autocratic disciplinarian, 99, 111

    background of, 89

    court opera and, 89–106, 108–9

    French royal monopoly of, 89

    as German musical influence, 259

    librettist of, 90, 94, 97, 478

    passacaille and, 94–96

    “patter chorus” of, 102

    Rameau’s style compared with, 109, 110, 441

    tragédie lyrique and, 89–106, 108–9, 454, 459

works of

    Alceste, 90, 90

    Armide, 94–96

    Atys, 91–92, 97–106, 110

    Cadmus et Hermione, 86

    Isis, 102

lute, 198, 263

    ayres, 120

    Bach (J. S.) suite and, 262, 265

    English dances and, 114

    “preludizing” style of, 249–50, 251

    ricercari for, 624

    Spanish divisions, 47

Luther, Martin, 50, 302, 353, 356, 389

Lutheran Church,

    Augsburg Confession and, 353, 402

    Bach (J. S.) and, 50, 240, 241, 255, 302–3, 341, 363–64, 365, 370–74, 389, 402

    Bach (W. F.) and, 353, 402

    ban on women church vocalists by, 352

    cantata form and, 341–90

    Enlightenment vs, 368

    liturgical organ use by, 49, 50

    musical asceticism of, 68, 363, 370–72

    operatic forms of, 341, 342

    oratorio form and, 341–42

    Reformationsfest and, 353

    sacred music reforms and, 341

    Scheidt and, 49

    Schütz and, 57–59, 69–73

    social ideology and, 302

    worldview of, 363–64

luxuriant style, 59–66, 67

Luzzaschi, Luzzasco, 5

Lydian mode, 687

M

Macaulay, Thomas, 124

McClary, Susan, 21, 301, 302

McClymonds, Marita, 151, 175

Mace, Thomas, 118

machinery,

    English semi-opera and, 127

    French opera and, 88, 106, 127

    French tragedy and, 87

madrigal, 74, 229, 254, 258, 316, 321, 336, 341, 643

    cantata as solo successor to, 75, 142

    consort repertory effects of, 121

    duetto and, 331

    Monteverdi and, 1, 2–10, 11, 229

    Schütz and, 57, 58

    Sweelinck and, 44

    Vivaldi mimesis and, 229–30

    women singers/composers of, 80

Madrigali guerrieri, et amorosi (Monteverdi), 6–7

mad scenes, 106–7

Maelzel, Johann Nepomuk, 654, 672–43

Magic Flute, The (Mozart), 479–85, 480, 481, 643, 676

Magnificat, organ settings of, 49

Maintenon, Mme de, 97

Majorano, Gaetano. See Caffarelli

major-minor tonal system, 539

Malipiero, Gian Francesco, 217

mandolin, Vivaldi concerto for, 217

mannerism, 122

Mannheim,

    Bach (J. C.) commissions from, 419

    musical establishment of, 505–7, 525

Mannheim orchestra, 505–6, 507, 603–4

“Mannheim rocket,” 506, 507, 603, 698

Mannheim School, 400

Mantua, Monteverdi and, 1–11, 14, 18

Marais, Marin, 321

Marcello, Alessandro, 192, 193–95

    Concerto a cinque in D minor, 192

    Oboe Concerto in D minor, 193–95, 215, 285

Marcello, Benedetto, 192

Marcia funebre in C minor (Beethoven), 685, 702

Marenzio, Luca, 5

Maria Barbara, Queen Consort of Spain, 79, 390

Maria Theresa, dowager Empress and Co-Regent of Austria, 90, 156–57, 171, 462

    Haydn and, 517, 526

Marie Antoinette, Queen of France, 459

Marienkirche (Lübeck), 241

Marino, Giovanni Battista, 37

Marissen, Michael, 302, 303

Marito giocatore e la maglie bacchettona, Il (Orlandini), 435, 436, 439, 441

Marmontel, Jean François, 460

Marriage of Figaro, The (Mozart), 478, 493, 622, 684

Mars (mythology), 93

Martinengo, Giulio Cesare, 6

Martini, Giovanni Battista (“Padre Martini”), 419

Martin y Soler, Vincente, 476, 493

Marx, Adolf Bernhard, 694

Masons. See Freemasons

masque, 113–14

    Handel and, 313–14

    oratorio relationship with, 314

    Purcell and, 130–31, 132, 134

    Restoration theater and, 126, 127, 137

Masque of Four Seasons, 130

Masque of Sleep (Purcell), 130

Masque of the Drunken Poet (Purcell), 131

Mass,

    Bach (J. S.) setting of, 289, 375–77, 383

    Beethoven setting of, 376, 671, 674–75, 682, 686, 721

    concerto grosso and, 178

    Frescobaldi organ compositions and, 43–44

    Haydn setting of, 577, 633

    Monteverdi setting of, 5, 10

    “oratorio-style,” 375–76, 377

    organ works for, 49

    Taverner setting of, 115–16

Mass in B Minor (J. S. Bach), 110, 289, 375–77, 383

Mass in D major (Beethoven), 671, 674–75, 682, 686, 721

Mass “In Time of War” (Haydn), 577, 633

masterwork, concept of, 646, 732

mathematical sublime (Kant concept), 646, 732

Mattheson, Johann, 48, 329–30

Matthew, Gospel According to, 73, 375, 389

Matthias, Holy Roman Emperor, 58

Maugar, André, 36–37

Mazarin, Jules Cardinal, 87, 88, 89

Measure for Measure (Shakespeare), 137

Medée (Charpentier), 89

Medici family, 15, 80, 81

Medinaceli, Duke of, 141

Meine Seufzer, meine Tränen, BWV 13

    (Bach), 364–65

melisma, Handel and, 331, 437

Melissa’s petit air (Lully), 104

Mellan, Claude, 35

melodic elaboration, 212–13, 235

melodic shape, Bach (W. F.) unpredictability of, 405, 409

Mendelssohn, Felix,

    Bach (J. S.) revival and, 381

    teaching by, 736

Menzel, Adolf Friedrich Erdmann von, 411

mercantile economy, 14, 237

Merulo, Claudio, 41

Messa della Domenica (Frescobaldi), 44

Messa della Madonna (Frescobaldi), 43–44

Messenger (Orfeo), 22–24

Messiah (Handel), 316, 325–27, 331–40, 377

    Handel’s revision of, 459

    Handel’s self-borrowings from, 331–40

    Mozart’s modernized score of, 399

    performance history of, 325, 336, 340

    unbroken performances in standard repertory of, 326

    yearly “revivals” of, 326

metaphor, musical,

    fantasia as, 634–35

    symphony and, 720

metaphorical description, 634, 637, 720

Metastasio (Pietro Antonio Trapassi), 152–72, 172, 174, 175, 438, 476

    aria types and, 153–54, 161, 164–65

    ban on comic elements by, 434

    Calzabigi rivaly with, 455

    death of, 476

    Farinelli friendship with, 172

    Gluck opera seria reforms and, 452, 453, 455

    libretto style of, 153–54

    most frequently reused libretto of, 158

    Mozart’s La Clemenza di Tito and, 481

    works by

    Artaserse, 153, 158–71, 419

    Attilio Regolo, 155–58

    Didone abbandonata, 154–55

metronome, 673

Metropolitan Opera House (New York City), 466

Mexico, 261

mezz’aria (half-aria), 349, 351

middle-class values,

    English taste for Old Testament oratorios and, 315

    Enlightenment and, 302

    importance of nineteenth-century music to, 736

    individualism and self-expression as paramount, 737

    opera buffa and, 447, 450

    Romanticism and, 670

Midi, Le (Haydn), 528

Midsummer’s Night Dream, A (Shakespeare), Purcell’s adaptation as semi-opera, 127, 130–31

“Mighty Fortress Is Our God, A” (Luther), 353, 356

Milan,

    Austrian control of, 504

    Bach (J. C.) in, 41 9

    symphonic development and, 500–504

Milan Cathedral, 419

military bands,

    percussion instruments, 558

    Turkish Janissary, 470–71

“Military Symphony” in G major, no. 100 (Haydn), 558, 577

Milton, John, 633

mimesis (imitation),

    as extroversive symbolism, 539, 680, 682

    Handel’s musical, 317, 318–21

    Monteverdi’s lexical signification vs, 10, 229

    motet and, 357

    of nature, 227–31, 316, 317–21, 539

    Scarlatti (Domenico) sonatas’ lack of, 392

    Vivaldi’s musical and, 227–31, 316, 317

minorities, politics of art and, 82, 112

minor mode,

    chamber music rarity of, 695

    as Dorian signature, 120

    Haydn and, 695

    Mozart and, 695

    See also C-minor moods

minuet,

    in Abel accompanied sonata, 432

    in Bach’s (J. C.) Sonata in D, 42 7

    in divertimento, 547

    in Haydn’s “Farewell” Symphony, 532–33, 534, 537

    in Haydn’s “Joke” Quartet, 547, 548

    in Haydn’s late symphonies, 549, 557

    in Mozart’s Don Giovanni, 490, 491

    as symphony movement, 506, 520

“Miracle Symphony” in D major, no. 96

    (Haydn), 556

“Miraculous Transport of Mount Parnassus, The” (Schütz), 58

misogyny, 478–79, 495

Missa Gloria Tibi Trinitas (Taverner), 115–16

Missa L’Homme Armée, 118

Missa Papae Marcelli (Palestrina), 110, 111

Missa solemnis (Beethoven), 671, 674–75, 682, 686, 721

mistaken identity device, 446, 448

modernism, 173

    Mozart’s worldview and, 600, 606

    reactions to Beethoven and, 693, 706

modulation, 539

    Bach (J. C.) and, 370, 424

    Mozartean concerto first movement and, 606, 609

    Scarlatti (Domenico) and, 393–94

Molièere, Jean-Baptiste, 436

monarchism,

    as anti-Freemasons, 479

    Beethoven choral tribute to, 722–24

    divine right belief and, 88, 92, 124, 125

    English Civil War and Restoration of, 124–27

    Enlightenment thought and, 462

    neoclassical operatic representation of, 151–52

    underground criticism of, 441–42, 443 See also absolutism

monasteries, women composers from, 79

Mondonville, Jean-Joseph Cassanéea de, 427, 427

    Pièeces de clavecin en sonates avec accompagnement de violon in C major, op. 3, no. 4, 428, 429

monody, 66, 74, 75

    Monteverdi and, 1, 6

Montéeclair, Michel Pignolet de, 90–91, 93

Monteverdi, Claudio, 1–34, 1, 83, 94, 113, 291, 548

    career of, 2–6

    ciaccona and, 37, 38

    declaration of musical principles of, 4–5

    ground bass and, 10, 35

    laments of, 10, 104

    lexical signification of, 10

    librettists for, 10, 14, 15, 18, 21, 23, 26–27

    liturgical music of, 5, 10, 18–20

    madrigal and, 1, 2–10, 11, 229

    musical historiography and, 12–13

    opera and, 1–2, 12, 13, 14, 16, 18–33

    recitative convention and, 21, 25

    as Schütz influence, 59, 66, 67, 68, 69

    seconda prattica manifesto of, 4, 59, 67, 254

    stile concitato and, 8–9

    toccata as term and, 41

    works of

      Arianna, 104

      A un giro sol, 229

    Combattimento di Trancredi e Clorinda, 7–9, 110

    Gloria, 10

    Incenerite spoglie, 6, 7

    Incoronazione di Poppea, L’, 1–2, 13, 26–33, 35, 87–88, 140, 146, 148

    Lagrime d’amante al sepolcro dell’amata, 6

    Lamento d’Arianna, 104

    Lamento della Ninfa, 10, 11

    Lettera amorosa, 6, 8

    Madrigali guerrieri, et amorosi., 6–7

    Orfeo, 1–2, 3, 13, 14, 16, 18–25, 26, 27, 33, 41, 87, 88, 151, 454, 455, 464

    Pur ti miro (attrib.), 30, 32–33

    Ritorno d’Ulisse in patria, Il, 26

    Selva morale at spirituale, 10, 376

    Vespers (1610), 5, 10, 18–20

    Vespro della beata virgine, 19–20

    Vi ricorda o bosch’ ombrosi, 22

    Zefiro torna, 37, 38

Monteverdi, Julius Caesar, 4, 5

Monteverdi, Creator of Modern Music (Schrade), 13

Montpensier, Mme de, 89

Moonrise on an Empty Shore (Friedrich), 644

Moore, Julia, 607, 608

morality, music and (or as), 496

mordant, 277

Moritz, Landgrave of Hessen, 76

Morley, Thomas, 113, 115

Morpheus (mythology), 100, 102

Morzin, Karl Joseph Franz von, Count, 519–20

Morzin, Wenzel von, 225

motet,

    Concert Spirituel (Paris) and, 499

    fancy as textless form of, 120

    Gombert and, 5

    Lutheran continuation of, 357

    Monteverdi and, 2, 5, 10

    Praetorius and, 54–56, 57

    ricercare and, 40

    Schütz and, 58–59

    Sweelinck and, 44

motivic development,

    Bach (J. S.) and, 266

    Bach (W. F.) and, 405–6

    Haydn and, 542, 545–47, 572, 584–88, 589

    Italian keyboard sonatas and, 433

    sign system and, 539

Mouton, Jean, 5

Mozart, Constanze Weber (wife), 475

Mozart, Leopold (father), 463, 464, 465, 589, 590, 608, 621, 633

Mozart’s letters to, 471–72, 476–77, 505, 591

Mozart, Maria Anna (“Nannerl”) (sister), 463, 613, 621

Mozart, Wolfgang Amadeus, 462–96, 463, 499, 589–639, 621, 651, 653, 660, 737

absolute music and, 646

autonomous artistic creation and, 589–90, 599–600

Bach (C. P. E.) as musical father to, 399, 410, 601, 606

Bach (J. C.) as model for, 399, 420, 464, 601–2, 606

Bach (J. S.) works and, 399

balance of spontaneity and calculation in works of, 591

Beethoven’s Eroica Symphony and, 656–58

Beethoven’s use of C-minor and, 692, 696, 698, 702

biographical interest in, 464, 474–75, 620

cadenza and, 609–10, 613, 614–15

canonization of, 399, 400, 401, 463, 464, 481, 638, 646, 738

character portrayal by, 474, 475

as child prodigy, 463–64, 601, 607

Classical period and, 16, 646–47, 739

C-minor works of, 692, 702

concerto and, 476, 601–25, 696

Da Ponte collaboration with, 476–79

death of, 463

earliest surviving composition of, 463

Enlightenment thought and, 463, 470, 472, 475, 479–80, 482, 494, 495, 621

fantasia and, 611, 613, 624–34

financial problems of, 607, 608, 620

as freelance artist, 465, 476, 589–90, 599, 600, 607–8, 620, 639

fugal sonata movements and, 726–27

Gluck’s operatic reforms and, 465–66

Handel’s works and, 399

Haydn’s interrelationship with, 589, 590, 601, 607–8, 631, 633–39, 634, 637

as iconic figure, 463, 464

improvisational skills of, 610–11, 624, 625–31, 650

instrumental style of, 589, 646

keyboard fantasias of, 611–13, 624–34

Köchel catalogue of works of, 463

last composition of, 463

late symphonies of, 590, 591–99, 641

letters of, 471–72, 476–77, 505, 591, 612–13

librettists of, 465, 466, 476–79, 481, 485

listener’s bond with, 464, 474, 475, 486, 495, 590–91, 599, 611–13

lyrical profusion of, 591

on Mannheim musical establishment, 505, 506, 603–4

marriage of, 474–75

Mass setting of, 376

musical breakthroughs by, 472–75

musical inner portraiture by, 599

“music as pleasing” statement of, 471–72, 494, 655, 678

music’s emotional iconicity and, 464, 474, 475, 486, 495, 590–91

myths about, 464, 606

nineteenth-century progeny of, 637–39

operatic genres of, 464–96, 507, 620, 622

performance improvisation by, 610

performance skills of, 519, 590, 600, 601, 607, 610

piano concerto and, 476, 602–25, 696

piano trio and, 695

psychological studies of, 464, 599

Romantic esthetic and, 479, 486, 590, 591, 599, 622, 641, 643–45, 646, 647, 648, 655

Salieri legend and, 464, 477

singspiel and, 470–76, 479–85, 602

spontaneous audience reaction to, 613, 651

standard repertory and, 94, 399

string quartet and, 589, 590, 631–33

subjective emotional expression and, 590–600

sublime breakthrough of, 643–44

subscription concerts sponsored by, 607–8

symphony and, 589, 590–600

Turkish mode and, 470–76, 602

unbroken performing tradition of works by, 464

unique genius of, 643

violin concerto and, 601, 602–7

whimsical fugalism used by, 721

works of

    Andante pour le clavecin, 463

    Bastien und Bastienne, 656–58

    Clemenza di Tito, La, 481–82

    Cosi fan tutte, 478–79

    Divertimento in F, K. 22 (“A Musical Joke”), 549

    Don Giovanni, 478, 485–86, 492, 573, 631, 637, 645

    Entführung aus dem Serail, Die (Abduction from the Seraglio), 470–76, 479, 602, 678

    Fantasia in C minor, K. 475, 625–31, 634, 637, 692

    Fantasia in D minor, K. 397, 624–26

    Finta semplice, La, 464–65

    Idomeneo, re di Creta, 90, 465–70, 474, 645

    Magic Flute, The (Die Zauberflöte), 479–85, 480, 481, 643, 676

    Nozze di Figaro, Le (The Marriage of Figaro), 478, 493, 622, 684

    Piano Concerto no. 5 in D major, K. 175, 602

    Piano Concerto no. 11 in F major, K. 413, 607

    Piano Concerto no. 17 in G major, K. 453, 608–10, 613–25

    Piano Concerto no. 24in C minor, K. 491, 696, 698, 702

    Piano Concerto no. 26 in D, K. 537 (“Coronation”), 610–11, 612

    Piano Concerto no. 27 in B-flat minor, K. 595, 607

    Requiem, 463

    “Rondo alla Turca,” 471, 602

    Schauspieldirektor, Der (The Impressario), 481

    String Quartet in C major (“Dissonance”), K. 465, 631–33, 634

    String Quartet in E-flat major, K. 171, 631

    String Quartet in G major, K. 387 (Mozart), 721

    Symphony no. 31 in D major, K. 297 (“Paris”), 612–13, 651

    Symphony no. 35 in D major (“Haffner”), K. 385, 589

    Symphony no. 39 in E-flat major, K. 543, 590, 591–99

    Symphony no. 40 in G minor, K. 550, 590, 591

    Symphony no. 41 in C major, K. 551 (“Jupiter”), 590, 646

    Violin Concerto no. 3 in G major, K. 216, 602

    Violin Concerto no. 4 in D major, K. 218, 602

    Violin Concerto no. 5 in A major, K. 219 (“Turkish”), 602–5

    Zauberflöte, Die (The Magic Flute), 479–85, 480, 481, 643

“Mozart and Salieri” (Pushkin), 464

Mr. Josias Priest’s Boarding School (London), 132

Muffat, Georg, 259

Muffat, Gottlieb, 327, 329

Mühlhausen, 239

mummery, 113

Munich, Mozart in, 90, 465

municipal music, 287

museum culture, 639, 650

music academies, 504

Musical Dictionary (Koch), 622

musical expression, 336, 409–10, 416, 427, 720

    in Beethoven’s late quarters, 684–88

    as beyond translation of intent, 680

    classical purpose of, 642–43, 649

    concerto soloist-orchestra interaction and, 619–20

    as “great” music, 649–50, 655

    instrumental vs. vocal, 222, 539

    Mozart and, 464, 474, 475, 486, 495, 590–600, 606, 613, 619, 621

    obscurity and, 670

    representational style and, 643

    Romantic purpose of, 486, 599, 641, 648–49, 659, 720

    sacralization of, 650

Musicalisches Blumen-Büschlein, op. 2 (Fischer), 260

“Musical Joke, A” (Divertimento in F major, K. 522) (Mozart), 549

musical journalism, 692

Musical Offering, The (J. S. Bach), 306, 384–85

musical sound,

    beautiful vs. unsettling, 363–73, 471–72, 493–94, 645, 677–78

    introversive semiotics and, 539–41, 591

musical taste, 87, 173

    allemande/gavotte contrast and, 274–75

    beauty of sound and, 363, 368

    displacement of patronage in forming, 639

    Enlightenment and, 363, 470

    German, 259

    professional reviewers’ influence on, 571, 639

    for symphonies, 498

music analysis,

    Hoffmann and, 705–6 See also criticism

    musicology

music appreciation, courses in, 540, 738

music education,

    academies and, 504

    classical music and, 650, 738

    conservatories and, 149, 650, 756

    Czerny textbooks and, 606

    nineteenth-century importance of, 736

    Paris Conservatory and, 736

    sonata form and, 584

    standard repertory as basis of, 234

music festival, German, 385

music historiography,

    Bach’s (J. S.) elevated status in, 235

    on Bach’s (J. S.) musical transgressions, 301–2

    as biography, 12–13

    context and, 234–35, 389–90

    Darwinian view of, 396–97

    false assumptions in, 399

    interpretation and, 682

    mid-eighteenth-century gaps in, 400, 432, 434–35

    new periodization of music (1840) and, 646

    nineteenth-century birth of, 235, 736

    opera buffa’s significance in, 434–35

    Quantz mid-eighteenth century encyclopedia, 218

    women’s underrepresentation in, 78–83

Music in Western Civilization (Lang), 738

music journalism, nineteenth-century birth of, 706, 736, 737. See also criticism

musicology,

    as by-product of German nationalism, 388, 389

    feminist, 78, 82, 619–20

    nineteenth-century birth of, 388, 736

music publishing,

    Bach (J. C.) and, 419

    Beethoven and, 674, 675, 682, 736

    commodification of music through, 736

    Corelli and, 177, 178

    early keyboard work and, 48

    Frescobaldi and, 36, 37–38, 39

    Handel and, 306

    Haydn’s quartets as written for, 541

    as nineteenth-century big business, 736

    Scarlatti (D.) and, 392, 396

    Strozzi and, 75–76

    women’s compositions and, 78–83

Musikalisches Opfer (J. S. Bach), 306, 384–85

Musurgia universalis (Kircher), 75

Myslive|ek, Josef, 158

myth of perfection, 235

mythology,

    English masques and, 113

    French court opera and, 91, 92–93, 94, 97–108

    neoclassical opera and, 151–52

N

Naples, 140–50, 153, 158, 419

    Farinelli and, 166, 167, 172

    first opera house and, 140

    Metastasio and, 154–55

    opera seria audience behavior at, 174

    Pergolesi and, 438

    Scarlatti (Alessandro) and, 141–250, 186

    Scarlatti (Domenico) and, 390

Napoleon I, Emperor of France, 12, 671, 673

    Beethoven and, 655–56, 659, 672, 673, 689, 722

Napoleonic Wars, 388, 645, 655, 672, 736

    Congress of Vienna and, 673, 673–74, 722, 724

    Haydn Masses and, 577

Narvéaez, Luis de, 47

“national character” concept, 670

nationalism,

    Bach (J. S.) and, 385, 388, 390

    Beethoven and, 689

    classical music and, 388

    English, 306, 313

    English oratorio and, 238, 315, 321, 385, 633

    English seventeenth-century opera and, 133, 138

    ethnocentricity and, 739

    German, 235, 259, 385, 388, 389, 670, 689, 739

    Handel and, 238, 385

    musical profundity and, 235

    music as vehicle for, 385, 388, 390

    nineteenth-century composers and, 736

    nineteenth-century development of, 385, 388

    as separate superiority, 321

    in seventeenth-century Europe, 139

    National Library of Turin, 217

naturalism, eighteenth-century stylistic changes and, 432–34, 437

nature,

    art as imitation of, 643

    musical imitations of, 227–31, 316, 317–21, 539

Nazi Germany, 369

    art glorifying, 111

Neapolitan harmony, 142, 144, 146, 634

    Bach (J. S.) and, 213, 215–16

    Beethoven and, 697, 698

    Carissimi and, 74

    Haydn and, 584

    Mozart and, 631

nebular hypothesis, 634

neoclassicism, 15, 150–65, 434

    classicism vs, 151–52

    Enlightenment and, 706

    Gluck and, 452, 453, 457–58, 465–66

    Metastasio librettos and, 152–65

Nero, Emperor of Rome, 1, 27, 30, 88

Nerone, Il (adapt. from Monteverdi), 140

Netherlanders, 45, 48

Netherlands, 259

    English composers in, 45, 47

    organ music, 44, 56

Neumeister, Erdmann, 341, 341, 342, 348, 351, 354, 377

Newcomb, Anthony, 80

New Grove Dictionary of Music and Musicians, The, 240

Newman, William S., 427–28

New Music Hall (Dublin), 326

“New Sa-Hoo, The” (Farnaby), 48

New Testament oratorio, Messiah as, 325–40

Nicolini (Nicolo Grimaldi), 155

Nietzsche, Friedrich, 732

Nimm von uns, Herr, Du treuer Gott, BWV 101 (J. S. Bach), 365–68

nineteenth century,

    audience decorum in, 223–24, 613

    Bach (J. S.) revival in, 234, 235, 364, 368, 375, 381, 383, 388, 389, 390, 399, 464

    Beethoven as musical symbol of, 639, 686

    “classical music” as invention of, 639

    “double-exposition” terminology and, 607

    free market concert life and, 571

    Haydn and Mozart as musical forebears of, 637–39

    as music century, 735–39

    music historiography in, 235, 736

    nationalism and, 385, 388

    notion of sublime vs beautiful in, 644

    rediscovery of Purcell’s Dido and Aeneas in, 137–38

    standard repertory’s crystallization in, 233, 233–34, 289 See also Romanticism

Ninety-five Theses (Luther), 353

Ninth Symphony in D minor, op. 125 (Beethoven), 675–82, 718, 721, 729

    critics of, 677

    imagery and symbolism and, 678, 680

    musical dominance of, 677

    “Ode to Joy,” 655, 677, 678, 680, 731

    opening tremolos in, 732

    Schreckensfanfaren, 677–78

    Vienna concert premier of, 676–77, 683, 689

No, di voi non vo’fidarmi (Handel), 331, 332–33

nonconformity, 620

Non havea febo (Monteverdi), 10, 11

North, Sir Dudley, 114, 115

North, Sir Roger, 114–15, 118, 198

Norton/Grove Dictionary of Women Composers, 77

notturno, definition of, 498

noumenal music, phenomenal music vs, 21, 22, 720

novels, operas based on, 445–46, 450

“Now there arose a new king” (Handel), 316

Nozze di Figaro, Le (Mozart), 478, 493, 622, 684

Nun komm, der Heiden Heiland, BWV 61 (J. S. Bach), 342–43, 348–53, 354, 356

Nuovo musiche, Le (Caccini), 15

Nuremberg, municipal music and, 287

O

obbligato,

    for accompanied keyboard sonata, 428

    Bach (J. S.) and, 300–301, 402, 428

oboe, 217

Oboe Concerto in D minor (Marcello), 193–95, 215

    Bach (J. S.) keyboard arrangement, 287

obscure music, 670

Observations on the Florid Song (Tosi), 165, 166

Ockeghem, Jan van, 5

Octavia, Empress of Rome, 27, 28

Ode for St. Cecilia’s Day (Dryden), 327

Ode for St. Cecilia’s Day (Handel), 330

“Ode to Joy” (Beethoven), 655, 677–78, 680, 681, 731

“Ode to Joy” (Schiller), 675, 678, 680, 731

Odyssey (Homer), 26

Ogny, Count d’ (Claude-François-Marie Rigoley), 557

Old Testament oratorios, 314–21

Oñate, Count d’ (Spanish viceroy), 140

Onda dal mar divisa, L’ (Hasse), 168

Onda dal mar divisa, L’ (Vinci), 161–65

Onta irrita lo sdegno a la vendetta’, L’ (Monteverdi), 9

Opella nova (Schein), 53–54

“open and closed” cadence, 432

opera,

    aria and, 75, 146

    Bach’s (J. S.) cantatas and, 341, 342, 345

    Bach’s (J. S.) St. John Passion and, 378

    birth of (1600), 16

    castrati and, 16–17

    censorship of, 18, 88

    continuous revisions and versions of, 33–34

    controversial disputes about, 34

    development of, 13–18, 445–96

    diagrammatic representations in, 151–52

    disruptive quality of, 18

    divided world of, 34

    durability of, 34

    eighteenth-century reforms of, 445–96

    empfindsamer Stil and, 418, 434

    English seventeenth-century, 113, 114, 126–27, 131, 132–38

    English eighteenth-century, 237, 307–13

    as favole in musica, 11, 13–14, 15, 21, 23, 27

    first German text for, 58

    French reception to, 87

    Gluck reforms and, 452–59, 465–66

    happy endings (lietofine)in, 151

    Haydn and, 464, 526

    as instrumental style influence, 281, 433

    literal meaning of word, 1

    Monteverdi and, 1–2, 12, 13, 14, 16, 18–33

    Mozart in standard repertory of, 94, 464–96

    musical transmission of unexpressed thoughts in, 590–91

    neoclassical, 151–52

    oratorio as form of, 314–15

    overture and, 146

    “painful” music in, 645

    performance practice and, 172–76

    political/social content and, 17–18, 34, 110, 111

    querelles concerning, 34, 110, 445

    recitative vs. aria time in, 154

    representational style and, 418, 643

    Scarlatti’s (Alessandro) standardizations of, 141, 146, 152

    singers and, 16–18, 86–87

    social customs and, 175

    as source of accompanied keyboard sonata, 433

    stage music in, 490–91, 492–93, 631

    stylistic impact of instrumental music of, 418

    symphony’s relationship with, 497, 498, 499, 507, 515, 589

    two political strains of, 34

    women divas and, 17 See also comic opera

    opera buffa

    opera seria

    singing

opera buffa, 446–52

    antecedents of, 17

    ensemble finales in, 247–48, 451, 622

    fluidity of texts of, 172–73

    Galuppi’s importance to, 433

    Goldoni as chief librettist of, 433

    imbroglio and, 451

    kinetic sections in, 486–87, 488, 492, 494

    Mozart and, 464–65, 470–76, 478–79, 485–96, 620, 622

    musical significance of, 434

    as music of eighteenth century, 434

    Paisiello and, 476, 477

    Pergolesis and, 438–41

    Piccinni and, 445–52

    plot and musical complexity of, 450–51

    political subtext of, 110, 620–21

    Rossini and, 670

    second-act finale convention of, 487–88

    stock ending of, 447

    stock types of, 478, 488

    War of the Buffoons and, 110 See also comic opera

opera houses,

    first Neopolitan, 140

    Lenten closure of, 313, 470, 499, 608

    Western world’s first (Venice), 12

Opera of the Nobility (London), 237, 311, 313

opera reggia, 1

opera seria, 141–76, 234, 399–400

    aria and, 308, 311, 341

    Artaserse as exemplifier of, 159–65

    artifice of, 17

    audience behavior and, 153–54, 173–75, 174, 223

    Bach (J. C.) and, 240, 419, 507

    British rejection of, 313

    casting of, 153, 155, 156, 159, 166–67

    castrati and, 153–56, 173–76, 307, 308

    class values and, 175, 447

    comic elements banned from, 434

    concerto’s kinship with, 222, 231, 308

    design symmetry of, 159

    end of, 485

    Farinelli’s influence on, 172

    fundamental values of, 173, 433–34, 447

    Gluck reforms and, 452–59

    Handel and, 109, 236–37, 238–39, 306–12, 313, 351

    intermezzos (intermission plays) and, 434–37

    Italian singers of, 158

    Joseph II’s dislike of, 470

    Metastasio librettos and, 152, 155–65, 438, 453, 476

    modern counterpart of, 174, 175

    Mozart and, 465–70, 474, 481–82

    opera buffa in relationswhip with, 433–34, 447, 455

    oratorio as biblical form of, 314

    parody of, 155

    performance practice of, 172–76

    Pergolesi and, 438

    “remainder” characters in, 153–54

    Scarlatti (Alessandro) and, 141, 148

    Scarlatti (Domenico) and, 390

    self-sacrifice as classic culmination of, 447, 454

    social system and, 174–75

    subject matter of, 174

    three acts in, 155, 434

    unity of affect of, 439

    Vinci and, 161–65

Opitz, Martin, 15

opuscoli in genere rappresentativo, 10–11

O quam tu pulchra es (Schütz), 59, 60–66

    refrain of, 64–66

Oracle (London newspaper), 569

oral tradition,

    denigration of, 639

    organ accompaniment and, 35–39, 49

    ornamentation and, 174, 278–79

    women’s creativity and, 79, 81

    written examples as cream of, 35, 44 See also folk music

    improvisation

oratorio Bach (J. S.) Passions and, 377–81, 383

    Beethoven and, 675, 722

    Carissimi and, 73–75, 90

    chorus’s role in, 315

    English, 314–40

    English nationalism and, 315, 633

    German concert movement amd, 385

    Handelian specific concept of, 316

    Haydn and, 385, 388, 633–37

    Italian, 73–345, 237, 313, 314

    Lutheran style of, 341–42

    Masses styled like, 375–76, 377

    Schütz and, 73

Oratorio del Santissimo Crocifisso (Rome), 73

orchestra,

    conductor’s control of, 111–12, 291

    first violin leadership of, 291

    Italian court spectacle and, 15

    for oratorio, 314

    as social microcosm, 290–91, 301

    tragéedie lyrique and, 106

    vingt-quatre violons du Roi, 94

    virtuoso, 234

Orchestral Suite, no. 3 (Bach), overture, 286–87, 288

Orchestral Symphony, first (C. P. E. Bach), 510–16

orchestration,

    Bach (C. P. E.) and, 510

    Bach’s (J. S.) Brandenburg Concertos and, 290

    Haydn’s Creation and, 637

    Mozart and, 753

    opera seria and, 166

Orchestra Trio in C minor, op. 4, no. 3 (Stamitz), 506–7, 519, 718, 719

Orfeo (Monteverdi), 1–2, 3, 13, 14, 16, 26, 464

    deus ex machina in, 151

    discussion of, 18–25

    first performance of, 14

    Gluck’s Orpheus and Eurydice contrasted with, 454, 455

    Incoronazione di Poppea contrasted with, 27, 33

    Rossi’s Orfeo and, 87, 88

    toccata and, 41

Orfeo (Rossi), 87–88

    austere elements of, 455, 457

    French readaptation of, 458, 459–60

organ music, 35–55, 242–43

    Bach family and, 208, 241, 247, 402, 419

    chorale and, 255

    form and, 301, 701, 706, 714

    Frescobaldi and, 35–44

    Handel and, 305

    organist improvisation and, 37, 43, 44

    pedal point in, 202, 208, 211–12, 216

    Praetorius and, 52

    prelude-and-fugue form and, 247

    Purcell and, 127

    Scheidt and, 48–49

    Schein and, 52–54

    Sweelinck and, 44–46

Orgelbüchlein (J. S. Bach), 255–56, 258

orientalism,

    Mozart and, 470–76, 602

Origin of Species, The (Darwin), 396

Orlandini, Giuseppe Maria, 435–36, 437

    Marito giocatore e la maglie bacchettona, Il, 435, 436, 439, 441

Orleans, Anne-Marie-Louise d’ (“Grande Mademoiselle”), 89

ornamentation (embellishment), 106

    Bach (J. S.) and, 281–82

    concerto cadenza and, 609, 610

    Couperin and, 277–79, 281

    da capo aria and, 144, 171–72

    Farinelli’s arias and, 167–69

    German theories on, 59

    Italian opera and, 279, 281, 282

    Italian vs. French conventions of, 281

    luxuriant style dissonances as, 59

    Praetorius written, 55, 739

    Scarlatti (Domenico) and, 392–93

    unwritten, 174, 278–46

    vocal cadenza and, 171–72

Orphée et Eurydice (Gluck), 459–60

Orpheus legend,

    Gluck and, 454, 455–59

    Monteverdi and, 21–25, 454, 455

    Peri and, 454, 455

    Restoration drama and, 126

    Rossi and, 88

    Schütz and, 15, 58

Osmin’s rage aria (Mozart), 471–72, 602, 678

“Osservazioni critiche sopra un quartetto di Mozart” (Sarti), 631–32

Ottavia ristituita al trona (D. Scarlatti), 390

Ottoboni, Pietro Cardinal, 150–51, 152, 177

Ottoman (Turkey) Empire, 114, 139

    Vienna and, 470, 525

Ottonelli, Giovan Domenico, 17

Oude Kerk (Amsterdam), 44

Our Gal Sunday (soap opera), 446

overture,

    Bach (J. S.) and, 286–87, 288, 348–49

    Beethoven and, 702

    English theatrical incidental music and, 126

    French tragedie lyrique and, 91–92, 286

    Germa n orchestral suite and, 260

    Handel and, 239

    Haydn and, 556

    Lully and, 91–92, 286

    Mozart and, 487–88, 504, 515

    Scarlatti (Alessandro) and, 146–48, 497

    as term for symphony, 497, 498, 499, 500, 507

Overture in D minor (Purcell), 127–30

Ovid, 47

“O wie angstlich, o wie feurig” (Mozart), 472–75

“Oxford Symphony” in G major, no. 92 (Haydn), 556

Oxford University, Hayd n honorary degree from, 556

P

paganism, 331

    art and, 649

Paget, Thomas, Lord, 45

Paine, Thomas, 460, 461

Paisiello, Giovanni, 158, 476, 499, 646

Palais Esterhéazy (Vienna), 526

Palais Royal (France), 87

Palatinate, 504–7

Palazzo Pitti (Florence), 16

Palermo, 139

Palestrina, Giovanni Pierluigi da, 237

    Missa Papae Marcelli, 110, 111

    stile antico and, 180

    style of, 357

palindrome, 406

Pamela

    or, Virtue Rewarded (Richardson), 445–46, 450

panharmonicon, 672–73

Pannini, Giovanni Paolo, 36

papacy, musical patronage by, 37

Papal States, 139

Paradise Lost (Milton), 633

Paralèele des Italiens et des Françcais (Raguenet), 85–86

parallel seconds (Corelli clash), Schütz use of, 69

Paris,

    Bach (J. C.) commissions from, 419

    Concert Spirituel series in, 498–99, 505, 556, 603

    concert symphony and, 504

    Gluck in, 459–60

    Haydn symphonic concert series in, 556–57

    intermezzos and opera buffa in, 435, 441

    Mozart in, 601, 603, 612

Paris Conservatory, 736

“Paris” symphonies, nos. 82–87 (Haydn), 557

“Paris” Symphony in D major, no. 31, K. 287 (Mozart), 612–13

Parliament, British, 124

parlor piano, 736

Parnasso confuso, Il (Gluck), 454

parody (humor), of opera seria, 155

partbooks, Vivaldi and, 224–25

partita, 499

    Baroque, 37

    former vs. current meaning of, 262

    Lutheran chorale and, 49–52, 262 See also suite

Partite sopra ciaccona (Frescobaldi), 39

Partite sopra passacagli (Frescobalid), 39

“Parto qual pastorello prima che rompa il fume” (Hasse), 166, 167, 168, 169

party music, 427

Pasquini, Bernardo, 150, 151

passacaglia, 38, 38–39, 193, 261, 345

Passacaglia in C minor (J. S. Bach), 247

passacalle, 38, 39

passaggii, 15–16, 171

passepied, 96

Passibus ambiguis (Greiter motet), 184

Passion,

    Bach (J. S.) oratorios and, 375, 377–82, 383, 385, 389–90

    Handel’s Messiah and, 326

    Lutheran oratorio form and, 341

    Schütz setting of, 73

Passion Chorale, 378, 382

passus duriusculus, 44, 95, 103, 128, 135, 729

    Bach (J. S.) and, 254, 345

    Handel and, 317

    Mozart and, 627–28

    Sweelinck Fantasia chromatica, 44, 46

    Vivaldi and, 231

pasticcio, 158, 168

Pastorale ad libitium (Corelli), 189–92

pastorals, 446

“Pastoral” Symphony no. 6 in F major, op. 68 (Beethoven), 655, 680, 682

pastorela, 446

Pater, Walter, 643

“Pathéetique” Sonata in C minor, no. 8, op. 13 (Beethoven), 727, 728

pathos (pathetic style), C-minor mood and, 121, 696, 697, 727, 730

    introversive signaling and, 588

    Mozart’s G-minor Symphony and, 591

    Purcell’s Overture in D minor and, 128

    Sweelinck’s Fantasia chromatica and, 46 See also empfindsamer stil

patriarchy,

    creativity theories and, 81

    Handel’s outlook and, 306

    opera seria and, 175

patriotism, English music and, 306, 313

patronage,

    Bach (C. P. E.) and, 462, 509

    Bach (J. C.) and, 419

    Bach (J. S.) and, 261–62

    Beethoven and, 653, 671, 675, 694

    composer-patron symbiosis and, 527–28, 553, 555

    composer’s emancipation from, 737

    composer’s need for, 519

    court opera and, 14

    demise of system of, 655

    Elector Palatine and, 505–7, 505

    English music and, 113, 124, 125

    by Esterházy family, 525–30, 538

    European diminished sources of, 607

    by Frederick II (the Great) of Prussia, 462, 509

    by Frederick William of Prussia, 509

    French political, 87–89

    Handel and, 237, 306

    Haydn and, 519–20, 525–28, 538, 607, 655

    Josquin and, 538–39

    Lully and, 89, 99

    male power of access and, 79

    Metastasio and, 171

    Mozart and, 607, 737

    musical taste and, 87, 173, 639

    by Ottoboni, 151

    by papacy, 37

    public taste vs, 639

    Schütz and, 56, 68

patter songs, basso buffo and, 439–40

Paul, Apostle and Saint, 68

Paul I, Emperor of Russia, 541, 541 pavan, 53, 120, 126

pedal part,

    Bach (J. S.) and, 258, 361

    organ sonata, 402

pedal point,

    Bach Toccata in F and, 208–12, 216

    of fugue, 202

Pekenino, Michele, 477

pendular harmonic plan (“there-and-back”), 267, 606, 660

pentagonal virginal, 46

Pepusch, Johann, 312, 312

percussion, 558

performance practice,

    accompanied keyboard sonata and, 428

    “authentic” movement and, 233, 362–63

    Bach’s (J. S.) musical demands vs. practical considerations of, 369–75

    composers and, 519, 600, 607, 610–14, 653

    conductor’s absolutism and, 111–12

    creative role separated from, 639, 642, 655

    critical exigesis and, 650, 696, 714

    improvised vs. written cadenza and, 171, 609–10, 613, 614–15, 650

    opera seria fluidity of, 172–76, 432–36

Pergolesi, Giovanni Battista, 438, 439

    Flaminio, Il, 440

    Serva padrona, La, 438–41, 450, 474, 477

Peri, Jacopo, 1, 5, 6, 58

    Euridice, 21, 23, 24, 454

pessimism, 721, 724

Peter, Johann Friedrich, 519

Petrarch, 6, 37

Petrucci, Ottaviano, 114

Pezel (or Petzoldt), Johann, 287 Phaedo (Plato), 416

phenomenal music, noumenal music vs, 21, 22, 720

Philharmonic Society of London, 673–74

Philidor, Anne Danican, 499

Philidor, Francçois-Andráe, 499

Philip V, King of Spain, 167, 169

Philips, Peter, 45, 47 philosophes, 461, 462, 577

phrase symmetry, 432

piano,

    Beethoven’s instrument, 653

    Beethoven’s late compositions for, 686

    Beethoven’s performance skills and, 652, 655

    five-octave, Mozart-era, 590

    as middle-class furniture, 736

    Mozart concertos for, 476, 601–25, 696

    Mozart fantasias for, 611, 613, 624–34

    Mozart’s compositions for, 590

    Mozart’s performance skills and, 590

Piano Concerto no. 2 in B-flat major, op. 19 (Beethoven), 652

Piano Concerto no. 4 in G major, op. 58 (Beethoven), 655

Piano Concerto no. 5 in D major, K. 175 (Mozart), 602, 612, 614–15

Piano Concerto no. 5 in E-flat major, op. 73 (“Emperor”) (Beethoven), 671

Piano Concerto no. 17 in G major, K. 453 (Mozart), 608–10, 613–15

    finale, 622, 623

    first movement cadenzas, 613, 614–15

    first movement themes, 609, 610

    interpretations of, 619–21

    slow movement, 613–14, 615–22

Piano Concerto no. 24 in C minor, K. 491 (Mozart), opening theme, 696, 698, 702

Piano Concerto no. 26 in D, K. 537 (“Coronation”) (Mozart), 610–11, 612

piano sonata,

    Beethoven and, 653, 674, 721

    eighteenth-century accompanied, 695

    Mozart and, 471, 616

Piano Sonata in A flat major, op. 110 (Beethoven), fugal finale, 686, 726

Piano Sonata in A major, op. 101 (Beethoven), fugal finale, 686, 724, 725

Piano Sonata in B-flat major, op. 106 (“Hammerklavier”) (Beethoven), 673, 674

    fugal finale, 686, 724, 726

Piano Sonata in C minor, K. 457 (Mozart), 626

Piano Sonata in C minor, no. 8, op. 13 (“Pathetique”) (Beethoven), 727, 728

Piano Sonata in C minor, no. 32, op. 111 (Beethoven), 674, 721, 727–35

    second movement variations (Arietta), 731

    sublime moments in, 732, 734

    trills, 732, 733

Piano Sonata in F minor, op. 57 (“Appassionata”; Beethoven), 670

piano trio,

    Beethoven and, 652–53, 655, 694, 695–701

    as French genre, 695

Piano Trio in B-flat major (“Archduke”), op. 97 (Beethoven), 655, 671

Piano Trio in C minor, op. 1, no. 3 (Beethoven), 653, 694, 695–701, 721, 730

    announcement theme, 696–98

    Fifth Symphony opening compared with, 706–7

    finale, 698–701

Piazza San Marco (Venice), 12

Picander (Christian Friedrich Henrici), 378

Picardy third, 494

Piccinni, Niccoloò, 158, 445–52

    Gluck rivalry with, 441, 445, 452, 455, 459, 460

    Mozart’s La finta semplice style compared with, 465

    works of

      Buona Figliuola, La, 445–52, 453, 486

      Iphigenia in Tauris, 460

pièece à machines, 87

Pièeces de clavecin (Couperin), 269, 279

Pièeces de clavecin en concert (Rameau), 695

Pièeces de clavecin en sonates avec accompagnement de violon in C major, op.3, no. 4 (Mondonville), 428, 429

Pincherle, Marc, 218

Pio Ospedale della Pietà (Vivaldi), 216, 223

Pirrotta, Nino, 1, 2

Pisendel, Johann Georg, 222

pitch, 248

plagiarism, 327–29

Plato, 5, 312, 416

    essences and, 720

Pleyel, Ignaz, 499, 571

Ployer, Barbara, 608, 613

Plutarch, 702

poetics, meaning of, 13

poetry,

    aria and, 144

    British laureates, 113, 127, 132

    ciaccona and, 37

    as madrigal text, 6, 7–10

    music’s relationship with, 642

    Passion, 378

    Sturm und Drang and, 529

poietic fallacy, definition of, 13, 14

political correctness, 112

political thought,

    artistic products in context of, 12–16, 111–12, 175–76, 369, 389–90

    Bach’s (J. S.) Brandenburg Concerto and, 301–3, 369, 619

    Bach’s (J. S.) cantatas and, 368, 369, 373–64

    Beethoven’s works and, 655–56, 659, 670, 673, 686, 721–24

    Classic/Romantic dichotomy subtext and, 647–48

    composer activism and, 736

    covert argumentation and, 111–12

    Darwinian historiography and, 397

    English Civil War and Restoration and, 114–15, 124, 125–27, 126, 137

    Enlightenment and, 110, 461–62, 724

    Enlightenment backlash and, 645

    French press wars and, 86, 110

    Haydn’s works and, 577

    minority artistic representation and, 82, 112

    Mozart’s Piano Concerto no. 17, soloist/orchestra interaction and, 620

    operatic division and, 34

    Romanticism and, 651, 724

    significance of virtuoso singing and, 15–16

    War of the Buffoons and, 110–12, 441

    women’s rights and, 82 See also absolutism

    nationalism

polychoral style, 46, 58

Polyhymnia caduceatrix et panegyrica (Praetorius), 54–55, 57

polyp, symbolism of, 437

polyphony,

    Bach (J. S.) and, 241, 428

    Calvinist church service ban on, 44

    chorale settings and, 49–55, 353

    as model of tension and release, 486

    Monteverdi and, 6

    Netherlanders and, 45

    Schütz motets and, 68

    Sweelinck’s vocal music and, 45

Pompeii, 453

Pontius Pilate, 378

pop music,

    audience interaction and, 223, 613

    improvisation and, 174, 611, 650–51

    vamping and, 38, 564

Poppea, Empress of Rome, 1, 27, 31–32, 88

Porpora, Nicola, 158, 169, 173, 518

Porter, Cecilia Hopkins, 385

Portugal, 390

Possente spirto (Monteverdi), 21

Potsdam, 385, 462

“Povera Ragazza, Una” (Piccini), 448–49

Praetorius, Michael, 54–55, 57

    chorale concerti and, 52

    Christ lag in Todesbanden, 55

    productivity of, 54

Prague, Mozart and, 478, 611–12

precambulum, 40

“Preclassic” period, 401–2

Preis der Tonkunst (Rochlitz), 673

prelude and fugue, 247–51

Prelude in C major, no. 1 (Bach), 249–50, 253

preludes, suite, 262

Premier amusement à la mode (Guilleman), 427

Premier coup d’archet, 506, 507

press wars,

    on French vs. Italian opera, 86, 110

    political/social subtexts of, 110–11

    Querelle des Bouffons, 110–11, 441–44

    Querelle des Gluckistes et Piccinistes, 441, 445, 452, 459, 460

    Querelle des Lullistes et Ramistes, 441

Price, Curtis, 127

Prigioniero superbo, Il (Pergolesi), 438

prima donna,

    castrati as, 16–17, 153

    figurative meaning of, 153

    Metastasian libretto and, 153, 161

    Monteverdi roles for, 27

    women as, 17

Primavera, La (Vivaldi), 225–31, 308

    popularity of, 226, 227

Primo libro d’intavolatura (Frescobaldi), 41–42

primo uomo, 153, 161, 175

prodigies, 463–64

    Mozart as, 463–64, 601, 607

profundity, 235

prologue, court opera, 93–94, 113

propaganda, French court opera as, 88

prosody,

    English musical, 133, 134, 138

    “feminine endings” and, 413

prostitution, 80

protean changeability, 437

Protestantism,

    Augsburg Confession and, 353–54, 402

    Counter Reformation musical legacy and, 69, 112

    in Germany, 68

    Lutheran esthetic and, 68

    Scheidt’s Tabulatura nova and, 49

    Thirty Years War and, 55–56, 68 See also Anglican Church

    Calvinism

    Lutheran Church

Proteus (mythology), 437

Proust, Marcel, 693

Prout, Ebenezer, 607

Prussia, 68, 385

    Enlightenment thought in, 462

“Prussian” sonatas (C. P. E. Bach), 413, 518

    Sonata no. 1 in F major, 411–13

Psalm, 70, 66–67

Psalm, 119, 538

Psalmen Davids (Schütz), 58, 68

    second edition, 59

Psalms, Book of, 316

psalms and psalmody, 178

    Handel and, 314

    Praetorius motets, 54–56

    Schütz and, 58, 59

psychoanalysis, 597, 599

puns, musical,

    harmonic, 576

    Haydn and, 576, 634

    musical imitations as, 104, 321

puppet theater singspiels, 526

Purcell, Henry, 127–38, 127

    all-round musical genius of, 127

    bicentennial of death of, 138

    choral music and, 314

    English prosody and, 133, 134

    fantasia and, 196–98, 202

    fugal style and, 198–203, 204, 208

    as organist, 127

    string ensemble and, 195–98

    works of

      Dido and Aeneas, 132–38, 155

      Fairy Queen, The, 127, 128, 130–31

      “Fantazia 7,” 196–97

      Overture in D minor, 127–30

      “Sonnatas of III Parts: Two Viollins and Basse: To the Organ or Harpsecord,” 198, 203

      Sonnatas of III Parts, no. 3 in D Minor, 198, 199–201, 203

Puritans, 124–25

Pur ti miro (Monteverdi, attrib.), 30, 32–33, 77

Pushkin, Alexander, 464

Pythagorean intervals, 247–48

Q

Qual prodigio e ch’io miri (Stradella), 327, 328

Quantz, Johann Joachim, 218, 259, 411

quarter rest (soupir), 104

Quartet in C major, K. 465 (“Dissonance”) (Mozart), 631–33, 634

    autograph score of, 632

    Fétis rewrite of, 632

Quartet in E-flat major, K.171 (Mozart), 631

Quartet in E flat, op. 33, no. 2 (“The Joke”) (Haydn), 542–55, 559, 565

Quartet in G major, K. 387 (Mozart), 721

Quartet no. 3 in C major, 721

Quartet no. 12 in E-flat major, op. 127 (Beethoven), 682, 683

Quartet no. 13 in B-flat major, op. 130 (Beethoven), 682, 683, 686

    Cavatina, 684–85, 726, 731

Quartet no. 14 in C sharp minor, op. 131 (Beethoven), 682

    first movement fugue, 726, 727

Quartet no. 15 in A minor, op. 132 (Beethoven), 682, 683

    Heiliger Dankgesang, 682, 686–88, 721, 731

Quartet no. 16 in F major, op. 125 (Beethoven), 682, 683

Quartets, nos. 1–6, op. 18 (Beethoven), 653

Quartets, nos. 7–9, op. 59 (“Razumovsky”) (Beethoven), 670, 683, 721

Quartets, op. 33 (“Russian”) (Haydn), 541

Quattro stagioni, Le (Vivaldi), 225–31, 317

    popularity of, 226

    Primavera, La, 225–31

    in standard repertory, 234

“Queen of the Night” aria (Mozart), 480–81, 482–83

Quel prodigio e ch’io miri (Stradella), Handel’s “borrowings” from, 327, 328

Querelle des Gluckistes et Piccinistes, 441, 445, 452, 455, 459, 460

Querelle des Lullistes et Ramistes, 441

Quinault, Philippe, 90, 94, 102, 478

    Armide libretto, 155

    Atys libretto, 97

R

racial equality, 480

Racine, Jean, 106, 459

radical humanism, 4, 21

    expressive ideal of, 254

rage aria,

    Handel and, 308–11, 340, 437

    Metastasio and, 155

    Mozart and, 471–72, 481, 482–85, 602, 678

    Orlandini’s vs. Handel’s, 437

Raguenet, François, 86–87

Rameau, Jean-Philippe, 91, 91, 109–10, 286

    Baroque and, 110

    influences on, 109, 428

    Lully’s style compared with, 109, 110, 441

    treatise on harmony by, 192

    works of

      Castor et Pollux, 91, 92–93, 94, 107–8

      Hyppolite et Aricie, 110

      Indes galantes, Les, 321

      Pièces de clavecin en concert, 695

      Traité de l’Harmonie, 192

Rameau, Pierre, 92

Rameau’s Nephew (Diderot), 437, 442, 443

Rasi, Francesco, 21

Raupach, Hermann Friedrich, 601

Razumovsky, Count, 670, 683

“Razumovsky” quartets, op. 59 (Beethoven), 670, 683, 721

reality, music and, 720

reason,

    Bach (J. S.) vs. Enlightenment view of, 369

    as Enlightenment standard, 460, 479, 496, 600

recapitulation, symphonic, 525, 549

recitative,

    aria pairing with, 78, 142, 143–44, 154, 341, 342, 348, 349, 351–52, 378

    cantata and, 75, 78, 341, 342, 348

    Gluck and, 455–57

    Handel’s Israel in Egypt, 316–17

    Haydn’s Creation and, 637, 638

    improvisation of, 174

    instrumental, 413, 414

    Lully and, 133

    Metastasian librettos and, 154

    Monteverdi and, 21, 25

    opera and, 418

    Passion and, 378

    Purcell and, 133

    tragédie lyrique and, 106

recorder, 130

recordings, 9

Reflections on the Revolution in France (Burke), 645

Reformationsfest (J. S. Bach), 353–63, 364, 402

Regicide, The (Lucas), 158

Regulus, Marcus Atilius, 155–56

Reicha, Anton, 736

Reiche, Gottfried, 287, 287

Reincken, Johann Adam, 241–42, 241, 249, 255, 261

    Hortus musicus, Sonata no. 1, 242, 243–44, 274, 402

religion, English intolerance, 313, 314

Renaissance, metamorphosis to Baroque from, 14–15

Renaud. See Rinaldo

Rentsch, Johann Ernst, 238

representational style, 418, 643

“Representation of Chaos, The” (Haydn), 633–37

Requiem Mass (Mozart), 463

Restoration (Britain), 124, 125–27, 132, 137

Resurrection oratorio, 73, 313

“Return of Ulysses.” See Ritorno d’Ulisse in patria, Il (Monteverdi)

rhythm,

    Beethoven’s distinctive, 696–97, 709, 711, 713

    English prosodic effects and, 134

    Mozart and, 494, 591

ricercari, 40, 44, 114, 250, 384, 624

Richardson, Samuel, 445–46, 450

“Ricordati ch’io t’amo” (A. Scarlatti), 147

Riemann, Hugo, 400

Ries, Ferdinand, 667, 694

Rifkin, Joshua, 363

Rinaldo (mythology), 94, 95

Rinuccini, Ottavio, 10, 15, 21, 23, 37, 58

ripieno, 220, 222, 223, 230, 234, 290–91

Rite of Spring (Stravinsky), 110

ritornello, 38, 100, 104, 130, 135, 146, 161–62, 165, 166, 431

    Bach (J. S.) cantata and, 351, 364

    concerto and, 192, 193–94, 218–20, 222, 291, 295, 298

    Mozartean concerto and, 606, 609, 613, 616

    opera seria aria and, 308

    vamping and, 38

Ritorno d’Ulisse in patria, Il (Monteverdi), 26

Robbins Landon, H. C., 517

Roberts, John H., 329, 330

Rochlitz, Friedrich, 673

“rocket.” See Mannheim rocket

rococo, 279

Rodelinda (Handel), 306–11

Roger, Estienne, 177, 281

Roland (Gluck), 460

Roman Catholic Church,

    as anti-Freemason, 479

    Bach (J. C.) conversion to, 419

    Bach (J. S.) Mass and, 375–77

    ban on women church vocalists by, 352

    motet and, 357

    Papal States and, 139

    stile antico and, 357, 375

romance novels, 446

Romanelli, Giovanni Francesco, 74

Roman history, 1, 27, 30, 88, 155–56, 158, 702

Romanticism, 641–89

    alienation and, 600

    art distinguished from entertainment by, 655

    artistic greatness concept and, 81

    art of as Christian, 649

    Bach (J. S.) revival and, 383, 390

    Beethoven and, 648–89, 651, 654–55, 656, 659, 675, 686, 692, 702, 714, 717, 731, 735, 739

    Beethoven myth’s undesirable side effects on, 670–71

    Beethoven vs. Rossini and, 670

    Christian idea of art and, 649

    classicism vs, 642–43, 646–48, 739

    composer’s importance under, 173, 655, 689

    contemplation of the infinite and, 641–42, 643

    continued influence of, 651

    core meaning of, 641

    creative subjectivity and, 590

    critic’s role and, 649

    definition of, 643, 644

    delineation with Classical period of, 646

    difficulty in defining, 641

    as elitist, 645

    Empfindung and, 409–10, 687

    as Enlightenment rebuke, 390, 460, 706, 724

Romanticism (continued)

    esthetic of, 641, 701, 714

    gender and, 81

    Haydn and, 643, 645–46, 647, 648

    hegemonic claims of, 738

    historicism and, 390

    individualism and, 12

    infinite and, 641–42, 643–45, 648–49, 670

    instrumental music and, 591, 642, 646

    intent and interpretation and, 680

    Mozart and, 479, 486, 591, 599, 622, 641, 643–45, 646, 647, 648

    musical expression and, 486, 599, 641, 648–49, 659, 720

    as music’s natural birthright, 735

    music’s preeminence with, 659

    organic form and, 701, 706

    “original genius” concept of, 329, 416, 641, 648–49

    political and philosophical outlook of, 724

    professional critics and, 641–42

    sacralization of art by, 649–50

    Sturm und Drang and, 416, 417, 529

    subjectivity and, 486, 590, 599, 600, 643, 648

    sublime and, 643–46, 648, 656, 692

    symphonic music and, 599

Rome,

    Arcadian Academy, 150–52

    cantata origins in, 75, 80, 81

    Corelli in, 177–80, 204

    Handel in, 204, 237, 313

    oratorio in, 73–75, 237, 313

    Piccinni and, 445

    Scarlatti (Alessandro) in, 142, 150, 177

“Rondo alla Turca” (Mozart), 471, 602

root extractions, 192

Rosand, Ellen, 10, 12, 16, 80

Roseingrave, Thomas, 392

Roselli, John, 16

Rosen, Charles, 720

Rossignol en amour, Le (Couperin), 277–81, 282, 428

Rossi, Luigi, 81, 87, 89

    Orfeo, 87–88

Rossi, Michelangelo, 42–43

    Toccata settima, (Toccata VII), 42–43

Rossini, Gioacchino, 675

    comic opera and, 670

“Rossini crescendo,” 669–70

Roubillac, Louis François, 306

roulades, 106

Rousseau, Jean-Jacques, 442, 555

    Confessions, 443, 641

    Enlightenment thought and, 442–43, 461, 470

    Gluck and, 459

    on instrumental music, 642

    on Italian commercial vs. French court opera, 110

    one-act opera by, 110, 442

    Romantic ideal and, 641

    tragédie lyrique and, 442

    Vivaldi’s Primavera arrangement by, 227

    War of the Buffoons and, 442–43, 459

“Royal Fireworks Music” (Handel), 306, 362

Royal Society of London, 464

Rubinstein, Anton, 736

Rudolph, Archduke of Austria (later Archbishop), 671, 674–75, 682

Ruffo, Vincenzo, 2

Russia,

    conservatories in, 736

    Enlightenment thought and, 462

    music journalism and, 737

    Stravinsky and, 397

“Russian” Quartets, op. 33 (Haydn), 541–42, 589

Ryom, Peter, 218

S

Sacrati, Francesco, 33, 37

sacrifice of child, theme of, 73–74, 90, 91, 465

“Sad Pavan for These Distracted Times, A” (Tomkins), 122–24

St. Bartholomew’s (Naples), 390

St. Blasius Church (Mühlhausen), 239

St. Boniface Church (Arnstadt), 239

St. Cecilia’s Day, 314, 327, 330

Saint-Evremond, Seigneur de (Charles de Marguetel de Saint-Denis), 87, 106, 108

St. John Passion (J. S. Bach), 377–81

    anti-Semitism and, 389–90

St. Mark’s Cathedral (Venice), 5, 6, 11, 59, 75

St. Matthew Passion (J. S. Bach), 377 -78, 381, 382, 389

    as Bach revival vehicle, 381, 383

    Bach’s autograph manuscript of, 377, 381

St. Nicolai Church (Leipzig), 238

St. Paul’s Church (Leipzig), 238

St. Peter’s basilica (Rome),

    Frescobaldi and, 35

    interior of, 36

St. Petersburg, 631, 683

    Beethoven’s Missa solemnis premier in, 675

    opera in, 158, 477

St. Stephen’s Cathedral (Vienna), 517, 518, 652

St. Thomas Church and School (Leipzig), 53, 238, 239, 239, 363

Salieri, Antonio, 476, 477, 652

    as Gluck’s pupil, 454, 464

    Mozart poisoning legend and, 464

Salomon, Johann Peter, 555–56, 555, 577, 607, 633, 646

Salzburg, Mozart and, 463, 464, 465, 602, 737

Sammartini, Giovanni Battista, 455, 500, 506

    Sinfonia in G, 500–504

Samson (Handel), 75, 315, 339

Sanctus, 115–16

    Bach (J. S.) and, 375

Sangaride (mythology), 97, 98, 102, 103

Sangarus (mythology), 103

San Petronio Cathedral (Bologna), 193

Sans Souci (Potsdam), 411, 462

sarabande, 96, 104, 105, 428

    history of, 261

    in suite format, 261, 262, 263, 270–71

Sarastro’s rage aria (Mozart), 481, 484–85

Sarti, Giuseppe, 158, 493, 631–32

Saul (Handel), 314–15, 316

Saul, Saul was verfolgst du mich (Schütz), 68–72, 74

Saxony, Elector of, 57, 58, 68

scale,

    major-minor tonality and, 247

    transposition of, 248

Scandinavia,

    Thirty Years War and, 55–56

Scarlatti, Alessandro (father), 109, 141–50, 141, 158, 175, 213, 237, 392

    brass instrumentation and, 166

    career of, 141–42, 150, 151, 177

    chamber cantata and, 141, 142–47, 331

    da capo aria and, 144, 146

    diatonic tonality and, 186, 188

    ground bass and, 186–87, 189

    Handel’s “borrowings” from, 327, 330, 336, 392

    legacy of, 141, 147, 152

    overture and, 146–48, 497

    siciliana and, 146, 274

    works of

      Aldimoro, L’, 186–87

      Andate, oh miei sospiri, 142, 143–47

      Caduta de’ decemviri, La, 148–50

      Eraclea, L’, 146, 147

      “Ricordati ch’io t’amo,” 147

      Scipione nelle Spagne, 152

      “S’empia man,” 186–87

      “Sinfonia avanti L’Opera,” 148–50

      Tutto il mal non vien per nuocere, 148

Scarlatti, Domenico (son), 390–96, 407, 429, 504, 620

    canonization of, 233, 235, 390

    career of, 390–91

    Enlightenment esthetic and, 390

    Handel’s “borrowings” from, 327, 331

    keyboard music of, 234, 390–97

    Kirkpatric numbering system for, 392

    late musical development of, 396

    local color use by, 391–92, 393

    as miniaturist, 391

    returning theme of, 394–95, 407

    significance of, 396, 397

    significant birth year of, 233

    standard repertory inclusions of, 234

works of

    Berenice, regina d’Egitto, ovvero le gare da amore e di politica, 390

    Essercizi per gravicembalo, 396

    Ottavia ristituita al trona, 390

    Sonata in C major, K. 159, 395–96

    Sonata in E major, K. 264, 393–94

    Sonata in F minor, K. 481, 394–96

    Sonata in G major, K. 105, 392–93

Scarlatti, Giuseppe, 158

“scat” singing, 174

Schauffler, Robert, 671

Schauspieldirektor, Der (Mozart), 481

Scheidt, Samuel, 48–52, 48

    Christ lag in Todesbanden, 50–52

    Tabulatura nova, 48–49, 48, 50

Schein, Johann Hermann, 52–54, 53

    Christ lag in Todesbanden, 52–54

Schenker, Heinrich, 711–12

scherzando, definition of, 498

Scherzi musicale a tre voci di Claudio

      Monteverde, raccolti da Giulio Cesare

      Monteverde suo fratello, con la

      dichiaratione di una lettera che si

      ritrova stampata nel quinto libro de

      suoi madrigali (Monteverdi), 3, 4, 22

Scherzi musicali: O rosetta (Monteverdi), 3–4, 22

scherzo, Haydn and, 547–50, 551

Schikaneder, Emanuel, 479, 480

Schiller, Johann Christoph Friedrich von, 479, 675, 678, 680, 731

Schilling, Gustav, 643, 645, 649

Schneider, Xavier, 731

Schoenberg, Arnold,

    Grundgestalt and, 701

Schönbrun Palace (Vienna), 454

Schopenhauer, Arthur, 720–21

Schrade, Leo, 13

Schreckensfanfaren, 677–78

Schubart, Christian Friedrich, 506

Schubert, Franz, 674, 686

Schuetz, Carl, 471

Schumann, Robert,

    on Beethoven’s Fifth Symphony, 692

    music journalism and, 692, 706, 737

Schuppanzigh, Ignaz, 683

Schütz, Heinrich, 56–73, 57, 79, 83, 341, 345

    background of, 56–57

    luxuriant style and, 59–66, 67

    oratorio and, 73, 74

    Thirty Years War effect on, 58–59, 66, 67

    Venetian style and, 57, 59, 66, 68, 69, 74, 259

    works of

      Dafne, 15, 58

      Eile mich, Gott, zu erretten, 66–68

      Geistliche Chor-Music, 59, 68

      Historia der freuden und gradenreichen Geburth Gottes and Marien Sohnes,

      Jesu Christi, unsers einigen Mitlers, Erlösers und Seeligmachers, 73

    Kleine geistliche Concerte, 66–69

    O quam tu pulchra es, 59, 60–66

    Saul, Saul was verfolgst du mich, 68–72, 74

    Symphoniae sacrae, 59, 60–66, 68–72, 497

“Schweig nur, taumelnde Vernunft” (J. S. Bach), 368–69

Scipione nelle Spagne (A. Scarlatti), 152

Scipione nelle Spagne (Zeno), 152

Scotch snaps (short-long rhythms), 134

Seasons, The (Haydn), 385, 388, 633

seconda prattica, 76, 78, 121, 418

    luxuriant style and, 59, 67

    Monteverdi as spokesman of, 2, 59, 254

Second Vatican Council, 326

Secrecy’s song (Purcell), 130, 131

secularism,

    Bach (J. S.) and, 374, 385, 388

    chamber music and, 114, 261–80

    Enlightenment and, 302

    Handel and, 303, 305, 321, 340

    Handel’s Messiah and, 325, 327, 335, 336

    instrumental music and, 204

self, separation from others of, 321

self-borrowing, 327–40

self-expression, 590, 591, 737

    Romantic purpose of, 641 See also subjectivity

self-made man,

    Bach (J. C.) as, 419

    chamber music and, 114, 124

    comic opera and, 450

    English Civil War and, 124

    English identification with, 114, 237, 450

    Handel as, 237, 240, 313, 340, 419

    Haydn as, 517, 525, 538

    nineteenth-century idealization of, 737

self-realization, 641

self-sacrifice theme, 155, 156, 447, 454, 459

Selva morale at spirituale (Monteverdi), 10, 376

semi-opera (English mixed genre), 126–27

    Purcell and, 128, 130–31

semiotics, 539–42, 550, 591, 680, 718

semiseria opera, 447–48

semitone,

    clashes, 368

    constant parallel distance between, 364

    equalizing of, 247–48 See also chromaticism

“S’empia man” (A. Scarlatti), 186–87

Seneca, 27

Senesino, 307, 308

sensibility, 409–18, 737

    reform opera and, 452 See also empfindsamer Stil

sentimentality, opera buffa and, 445–52. See also Empfindsamkeit

Septet for Winds and Strings (Beethoven), 653

sequence-and-cadence model, 189–98, 212

serenata, 142

    definition of, 498

serfdom, 462

Serov, Alexander, 737

Serpina’s aria (Pergolesi), 439, 440

Serva padrona, La (Pergolesi), 438–41, 450, 474, 477

sestina, 6, 7

    derivation of term, 6

Settle, Elkanah, 126

Seufzer (sighs or groans), 254

Seven Last Words,

    Schütz setting of, 73

seventeenth century,

     birth of opera in, 16–34

    compositional “borrowings” in, 327

    English music in, 113–38, 196–97

    European borders and nationalities in, 139

    French music in, 85–110

    French vs. Italian music in, 86, 110

    ground bass and, 10, 35, 94, 138

    Italian string music in, 177–231, 234

    luxuriant style and, 59–66, 67

    meaning of “symphony” in, 497

    minor keys with flats and, 120

    musical significance of year 1685 and, 233–35

    organ music in, 35–55

    Thirty Years War devastation during, 55–56

    tonality and, 181–203

    women musicians and, 80

Seventh Book of Madrigals (Monteverdi), 6, 8–9

sexism, Don Giovanni and, 495–96

sextolets, English, 47, 48

sexual identity, castrati and, 86–87. See also gender

    homosexuality

Shadwell, Thomas, 126

Shaffer, Peter, 464

Shakespeare, William, 27, 137, 434, 649

    Beethoven compared with, 706

    German Romantics’ worship of, 416, 706

    incidental music and, 113

    Mozart on, 645

    semi-opera adaptations of, 127, 130–31

    as Sturm und Drang hero, 416, 417

    vocal fantasia and, 416, 417

    works of

      Coriolanus, 702

      Hamlet, 416, 417, 645

      Measure for Measure, 137

      Midsummer’s Night Dream, A, 127, 130–31

      Tempest, The, 127

Shaw, George Bernard,

    on Dido and Aeneas, 138

    on Sarasato’s aria, 481

sherbet aria, 154, 174

“shipwreck aria” (Farinelli), 168–72

“Short but Most Necessary Draft for a Well-Appointed Church Music

    Together with Certain Modest Reflections on the Decline of Same” (J. S. Bach memorandum), 362, 376

short trill, 277

siciliana, 144–46, 274

Sicily, 139

Siege of Chester (1645), 124

Siehe zu, dass Deine Gottesfurcht, BWV 179 (J. S. Bach), 370–72

sigh-figure, 364, 368

signification, 10, 133, 539–55

    Beethoven and, 680, 686

    interpretation and, 680

    ornamentation, 278–79, 279

    See also semiotics

simile aria, 161, 168–69, 231, 308, 340

Simpson, Christopher, 120

Simrock, Nikolaus, 736

sinfonia avanti l’opera, 497, 498, 507, 508, 520

    A. Scarlatti and, 148–50

sinfonia caratteristica, 680

Sinfonia in B flat major, op. 18 no 2 (J. C. Bach) 4943, 507–11

Sinfonia in G (Sammartini), 500–504

Singakademie (Berlin), 381

singing,

    a cappella, 6, 73

    basso buffo rapid-patter effect, 439–40

    castrato, 16–17, 86–87, 97, 153, 166–69, 173, 174

    countertenor, 130

    crooning, 15

    falsetto, 98, 130

    gorgia (throat-music), 15

    haute-contre, 98, 100, 130, 459

    opera seria’s dominance of, 158, 173–74

singspiel,

    Haydn and, 518, 526

    Mozart and, 470–76, 47 9–85, 602

Sisman, Elaine, 645, 695

“Six Grand Overtures” (J. C. Bach), 507

Six Sonatas for the Harpsichord with Accompaniments for a Violin or German Flute and Violoncello, op. 2 (Abel), 429

Six sonates en quators ou conversations galantes et amusantes (Guilleman), 427

sixteenth century, representative style in, 643

Sixth Book of Madrigals (Monteverdi), 6, 7

sixths, augmented, 364

Sleep (mythology), 100, 102

“sleep scene,”

    Lully and, 100–102

    Purcell and, 130

Smith, Ruth, 315

soap operas, 446

sociability music, 426–32

social class,

    artistic creation and, 14

    Beaumarchais’s Figaro plays and, 477–78

    chamber music and, 114

    commercial (comic) opera and, 17

    court vs. commercial opera and, 34

    English Civil War and, 124

    English self-made men and, 114, 124, 237

    Enlightenment ideal and, 302, 461, 477, 577

    Haydn and, 577, 607

    high art and, 112

    mobility and, 446

    nineteenth-century music and, 736, 737

    opera buffa and, 110

    opera haters and, 106

    opera seria and, 174–75

    pastorelas and, 446

    view of virtuosity and, 15–16

    women’s musical accomplishments and, 79, 80, 81

    See also aristocracy

    bourgeoisie

    elite culture

    middle-class values

Social Contract (Rousseau), 461

social mobility, 446

“Sociology of Baroque Music, The” (Bukofzer), 14–17

Socrates, 416

Soir, Le (Haydn symphony), 528

Solomon (Handel), 315

Solomon, Maynard, 464, 672, 678, 680

sommeil (sleep scene), 100–102, 100, 130

sonata,

    accompanied keyboard, 427–32, 695

    Bach (C. P. E.) and, 411–13

    Bach (J. C.) and, 421–26

    Bach (J. S.) and, 300, 402

    Bach (W. F.) and, 402–9

    Corelli genres of, 177, 178

    fugue genre vs, 726–27

    Handel and, 305

    Mozart and, 471, 601

    Scarlatti (Domenico) and, 391–97

    See also chamber sonata

    church sonata

    piano sonata

    sonata form

    trio sonata

Sonata auf Concertenart, 301

Sonata da camera in G minor, op. 4, no. 2 (Corelli), 179–81, 189

Sonata da chiesa, op. 3, no. 11 (Corelli),

    compared with Sonata da camera, 179–81

    presto, 187–89

    second movement, 182–84

sonata form,

    Beethoven and, 660

    first academic description of, 736

    Haydnesque features of, 520–25, 549, 557, 660

    Haydn’s breaching of, 531–33, 540, 584

    later academic descriptions of, 584

    Mozartean concerto and, 606

    symphonic elaboration of, 524–25

    thematic dualism and, 395, 514

Sonata in B-flat major, op. 2, no. 4 (Abel), 429–32

    phrase symmetry demonstrated in, 432

Sonata in C major, K. 159 (D. Scarlatti), 395–96

Sonata in C major, op. 1, no. 3 (Alberti), 432–33

Sonata in D major, op. 5, no. 1 (Corelli), 282–85

Sonata in D major, op. 5, no. 2 (J. C. Bach), 420–26

Sonata in E major, K. 264 (D. Scarlatti), 393–94

Sonata in F minor, K. 48 1 (D. Scarlatti), 394–96

Sonata in G major, K. 105 (D. Scarlatti), 392–93

Sonata no. 2 (Galuppi), 432–33

song,

    English incidental music, 126

    Shakespearean texts, 113, 130

    See also chanson

    madrigal

    singing

    vocal music

Song of Songs, 59

“Song of Thanksgiving” (Beethoven), 686–88, 721, 731

Son imbrogliato io già (Pergolesi), 439–40, 441

Sonnatas of III Parts, no. 3 in D Minor Purcell), 198, 199–201, 203

“Son qual nave ch’agitata” (Broschi), 168–72

Sophie Elisabeth, Duchess of Brunswick, 79

soprano,

    choirboy cantata arias, 352, 370–71

    as intermezzo character, 434, 438

soupir (quarter rest), 104

Soviet Union, art glorifying, 111.

Spain,

    dance forms of, 37, 38, 261

    Granados and, 391–92

    Scarlatti (Domenico) in, 390–92, 393

    song variations and, 47

    Thirty Years War and, 56

spinning out. See Fortspinnung

spirituality, Romantic, 642, 643, 649

Spohr, Louis, critique of Beethoven’s Fifth and Ninth symphonies by, 677, 678, 692

sprezzatura, 15

Spring (Vivaldi), 225–31, 308

Stadtpfeifer, 287, 353, 357

Stäel, Mme. de, 645–46

Stamitz, Carl (son), 505

Stamitz, Johann Wenzel (father), 505–7

    Orchestra Trio in C minor, op. 4, no. 3, 506–7, 519, 718, 719

standard repertory,

    Bach and Handel revivals and, 234–35, 375, 399, 464

    Bach’s (J. S.) Brandenburg Concertos in, 289, 306

    Bach’s (J. S.) cantatas’ musical demands and, 374

    basis of, 234–35

    Beethoven’s unshakeable presence in, 691, 738

    as canon, 577, 638, 646

    emergence of, 399, 464, 638–39, 738

    Handel’s oratorios as earliest perpetually performed works in, 305, 326, 464

    Haydn’s continuous place in, 399, 464, 578, 646

    Monteverdi operas in, 1–2, 21

    Mozart’s continuous place in, 464, 578, 646

    Mozart’s late operas in, 94

    music appreciation and, 540, 738

    Serva padrona as earliest comic opera in, 43 8

    textual sanctity of, 650–51

    three earliest composers in, 233–34

    Vivaldi’s Four Seasons in, 226

    year 1685’s significance to, 233–34

    See also canonization

Statira, La (A. Scarlatti), 151

Steffani, Agostino, 331

stereotypes, women’s musical creativity and, 78, 79, 81

Stevens, Jane R., 621

stile antico, 43, 120, 165, 241

    Bach’s (J. S.) Christ lag in Todesbanden, BWV 4as, 345

    Bach’s (J. S.) Mass and, 375

    Beethoven and, 686

    Carissimi and, 74

    Fux rules of, 180, 518

    Monteverdi and, 5

    Palestrina and, 180

    Roman Catholic composers and, 357

    See also counterpoint

stile concitato, 8–9, 69, 308

stile recitativo, 6

Stoeber, Franz, 689

Stradella, Alessandro,

    Handel’s alleged “borrowings” from, 327, 328–29

    Qual prodigio e ch’io miri, 327, 328

Stradivari, Antonio, 2

Stravaganza, La (Vivaldi), 225

Stravinsky, Igor,

    on Beethoven’s music, 693

    Darwinian view of music historiography and, 397

    Rite of Spring, The, 110

stretto, 45, 48, 202

Striggio, Alessandro (father), 14

Striggio, Alessandro (son), 14, 18, 21

string music,

    Italianate, 177–231, 234

    Purcell and, 196–98

string quartet,

    Beethoven and, 653, 682–88, 694, 721, 726

    eighteenth-century nomenclature for, 541

    Haydn and, 518–19, 526, 541, 578, 589, 600, 721

    Mozart and, 589, 590, 631–33, 721

    Schubert and, 137–39

Strohm, Reinhard, 384

Strone, Varl, 504

strophic aria, 33, 144

Strozzi, Barbara, 75–78, 75, 80–82, 142

    Diporti di Euterpe, 75–78

    Lagrime mie, 75–78, 81

Strozzi, Bernardo, 75

Strozzi, Giulio, 75

struggle-to-victory paradigm, 654–55, 658–59, 694

    undesirable effects of, 670–71

Stuart dynasty, 113–14

Studien (Stockhausen), 189

Sturm und Drang,

    Empfindsamkeit and, 416, 417, 529

    Haydn’s “Farewell” Symphony and, 528–29, 530

Stutterheim, Baron von, 682

style brisé, 249–50, 251, 260, 265, 274

style galant, 263

stylus gravus, 59

stylus oratorius, 66–67

subjectivity, 590–600

    Beethoven’s late quartets and, 684

    bond between composer’s and listener’s, 47 5, 486, 590–91

    eighteenth-century instrumental style and, 588, 589, 599

    Mozart’s instrumental works and, 599–600, 606, 613

    as Romantic ideal, 48 6, 590, 599, 600, 643, 648

    Sturm und Drang and, 41 6

subject of fugue, 198, 201, 202

    Germanic length of, 241–42

sublime,

    beauty differentiated from, 643–46, 649

    Beethoven’s works and, 648–51, 656, 692, 724, 732, 734

    Haydn’s Creation and, 645–46

    Mozart’s works and, 643–45, 646, 648

    Romanticism and, 643–46, 648–51, 732

Subotnik, Rose Rosengard, 600

subscription symphony (genre), 556, 557, 558, 579, 588

    as democratization of high art, 577

    priorities of, 566, 576

    See also concerts

    symphony

suite,

    Bach (J. S.) and, 260, 261–77, 286–89, 306

    Froberger model of, 260–61, 262, 263

    Handel and, 234, 306

    internal/external distinctions and, 274–77

    Schein and, 53

Suleiman the Magnificent, Ottoman Sultan, 525

Sullivan, J. W. N., 671

supply and demand, aristocratic patronage and, 527–28, 553, 555

“Surprise” Symphony in G major, no. 94 (Haydn), 557–77, 557, 584

    andante, 566–73, 577

    “Big Bang” in, 562, 563, 566, 567–68, 576, 577

    finale, 573–77

    minuet, 573–77

    slow introduction of, 557, 558–59

    story behind sobriquet for, 568–69

    surprises in, 566, 568–71, 573, 576, 577

    as symbol for all of Haydn’s music, 577

suspension, Frescobaldi and, 44

suspension chain, 188–92

Süssmayr, Franz Xaver, 485

Sweden, Thirty Years War and, 55–56

Sweelinck, Jan Pieterszoon, 44–50, 53, 208

    Fantasia chromatica, 44, 46

    pupils of, 48, 241

Sylvia (nymph), 22–24

symbolism,

    tragédie lyrique and, 89–94, 95, 96

    See also allegory

    semiotics

Symphoniae sacrae (Gabrieli), 59, 60–66, 497

Symphoniae sacrae (Schütz), 59, 68–72, 497

symphonies concertantes, definition of, 505

symphony, 497–588

    Bach sons and, 507–9

    ballroom dance inclusions in, 573

    Beethoven and, 653, 702, 705–20

    concert development and, 498–99

    concerto in relationship with, 606–7

    definition of, 498

    as drama, 599

    eighteenth-century production and demand for, 497–588

    four movement form and sequence of, 520

    Haydn’s later developments in, 556–88

    Haydn’s transformation of style and status of, 577, 588, 601

    as instrumental drama, 515

    Mannheim as spawning ground of, 505–7

    metaphorical description and, 720

    movements as connecting narrative of, 533

    Mozart and, 589, 590, 590–600, 641

    operatic precedents for, 497, 49 8, 499, 507, 515, 589

    overtures and, 497, 498, 499, 500, 507, 515

    public audience for, 498

    Romantics’ elevated status of, 599

    sonata form development in, 520–25, 549, 557

    Stamitz and, 718

    subscription genre, 556, 557, 558, 576, 579, 588

    terms and genres associated with, 497–98, 507

    thematic structure of, 520–25

Symphony no. 1 in C major (Beethoven), 653

Syntagma musicum (Praetorius), 54

T

Tabulatura nova (Scheidt organ collection), 48–49, 48, 50

Tacitus, 26, 27

Tafelmusik, 53

Tancred, 7–9

Tasso, Torquato, 7–9, 94, 95

tastar de corde, 40

Tate, Nahum, 132, 155

Taverner, John, Missa Gloria Tibi Trinitas, 115–16

Taylor, Sedley, 327

Teatro di San Bartolomeo (Naples), 140, 146, 148

    interior of, 141

Teatro San Bartolomeo (Venice), 174, 438

Teatro San Cassiano (Venice), 12, 16, 26

Teatro SS. Giovanni e Paolo (Venice), 26

Teitsch, 491, 573

Telemann, Georg Philipp, 240, 286, 342

    obbligato writing and, 300

    prolificity of, 260

    teleological history, 396

television set, 175

Tempest, The (Shakespeare), 127

Tempesta del mar, La (Vivaldi), 230

tenor voice,

    falsetto, 98

    French haute-contre, 98, 100, 459

    Italian “sobbing” and, 77

Ten Plagues of Egypt, 315, 316, 321, 327

Terpsichore (Praetorius), 54

Thalberg, Sigismond, 677

theater,

    English and French tradition of, 87, 113

    English incidental music for, 113, 126, 127

    English Puritan closure of, 125

    English Restoration, 125–27, 132, 137

    English semi-opera and, 126–27, 128, 130–31

    French court and, 96–97, 106

    gendered casting and, 153

Theater auf der Wieden, 479

“Their land brought forth frogs” (Handel), 317, 318

thematic development,

    Beethoven’s Ninth Symphony and and, 680–81

    Beethoven’s struggle-to-victory paradigm and, 654–55, 658–59, 662, 694

    in Mozartean concerto and, 606, 609–10, 613

    symphonic, 520–25, 557, 572–73, 578–79, 583

    traits of, 572

    variations and, 571–72

    See also double return

    signification

thematische Arbeit (“thematic process”), 520, 572, 583, 584

theme and variations, 571–72, 602

Theresa, Saint, 44

“They loathed to drink of the river” (Handel), 317–18, 364

Thirty-ninth Sympony in E-flat major, K. 543 (Mozart), 590, 591–99

    slow movement, 591–99

Thirty Years War, 15, 55–56

    musical effects of, 58–59, 66, 67

    political effects of, 56, 68

Thomson, James, 633

Thought on the Imitation of Greek Works (Winckelmann), 453

“Three Who Made a Revolution” (Wolfe), 397

time signatures, Frescobaldi changes in, 42

Tischbein, Johann Heinrich, 659

toccata, 37, 40–44

    Bach (J. S.) and, 208–16, 247, 300

    Frescobaldi and, 37, 40–44

    fugue paired with, 247

    Merulo and, 41

    term’s earliest recorded use, 40

    term’s variety of uses, 41–42

toccata di durezze e ligature (toccata chromatica), 44

Toccata in F major, BWV 540 (J. S. Bach), 208–16, 247, 295

Toccata nona (Toccata IX) (Frescobaldi), 41–42

Toccata settima (Toccata VII) (Rossi), 42–43

toccate di durezze e ligature, 43

Toccate d’intavolatura di cembalo et organo, partite di diverse arie, e correnti, balletti, ciaccone, passacagli (Frescobaldi), 37

TomáŠsek, Václav Jan, 653

tombeau, 265

Tomkins, Thomas, 128

    “Sad Pavan for These Distracted Times, A” 122–24

tonality, 181–203

    Bach’s (J. S.) uses of, 208–16, 234, 242, 247, 249, 251, 253–54, 267, 271, 357, 361, 368, 381

    basis of progressions and, 189

    binary dance and, 261

    circles of fifths and, 185–89, 202, 212, 213, 216, 220

    deviant behavior metaphor and, 620

    emergence of, 187–88, 195, 234

    Frescobaldi and, 39

    Haydn’s Creation and, 634–35

    musical logic and, 195

    sequence-and-cadence model of, 192–98, 212

Tonality and Atonality in Sixteenth-Century Music (Lowinsky), 397

Toreinx, F. R.de (Eugene Ronteix), 646

Torelli, Giuseppe, 193

Torgau, 15

Torrefranca, Fausto, 400

Tosi, Pier Francesco, 165, 166, 171–72

Tovey, Donal d Francis, 592, 622, 633–34

tower music (Turmmusik), 287

town pipers (Stadtpfeiferei), 287

tragédie lyrique, 88–110

    allegory and, 89–94, 95, 96

    Campra Idomenée as, 90, 465, 465–70

    contemporary dress in, 96

    conventions of, 91–97, 100, 106–7

    dramatic realism vs. vocal display in, 96–97, 98, 99, 113, 437

    egalitarianism vs, 111

    English semi-opera as adaptation of, 127

    Gluck and conventions of, 454, 455, 459–60

    Lully and, 89–106, 454, 460

    political content of, 91–94, 96, 97

    Rameau and, 91

    Rousseau and, 442

    themes of, 90, 96, 97

    War of the Buffoons and, 442, 443

tragedy,

    Aristotelian principles of, 151, 435, 706

    C-minor mode and, 121, 696, 697, 701, 702, 721, 730

    French declamatory style and, 99, 106

    French theatrical tradition and, 87, 106

    Italian neoclassic opera librettos, 151–52

Traité de l’harmonie (Rameau), 192

transcendence, 65

    Beethoven and, 655, 656, 706, 714

    musical expression and, 720

    Schopenhauer and, 721

Trapassi, Pietro Antonio. See Metastasio

Trattnerhof Theater (Vienna), 608

Trauerspiel, connotation of, 702

Treatise of Good Taste in the Art of Musick (Geminiani), 392

Tregian, Francis, 45

Treitler, Leo, 594

trill (trillo),

    short, 277

    signification of, 279

Trinity Sunday, 116

trio,

    as chamber piece, 695

    style of Haydn’s and Mozart’s vs. Beethoven’s, 695–96

    in symphonic minuet movement, 506, 516

    See also piano trio

trio sonata, 402, 432

    Corelli and, 177, 178–81, 178, 192, 196, 198

    Handel and, 305

    Purcell and, 198–99

    Reincken and, 241

tripla, 53

triplet, 42, 291, 346

Trojan War, 90, 132

trombone, 314

troubadours, 6

    pastorelas of, 446

    women as, 79

trousers role,

    Nozze di Figaro and, 478

Trovatore, Il (Verdi), 110

“true style” (Gluck partisans), 453, 457–58

trumpet, 287

Trumpet (clarino) Concerto in E-flat major (Haydn), 611

“Trust” (Tye), 116, 117

truth,

    beauty’s relationship with, 363

    comedy and, 437

tuning system, 247–48

Turkish mode, 470–71, 602, 675, 678, 679

    Mozart and, 470–76, 602

“Turkish Rondo” (Mozart), 471

“Turkish” Violin Concerto in A major, no. 5, K. 219 (Mozart), 602–7

Turmmusik (tower music), 287

“Tu se’ morta” (Orfeo’s recitative), 25

tutti, divine words represented in, 69

Tutto il mal non vien per nuocere (A. Scarlatti), 148

Twelfth Night (Shakespeare), 113

twentieth century,

    audience etiquette instructions in, 651

    critics of Beethoven in, 692

    early music revival and, 233

    standard repertory in, 234

twenty-first century, standard repertory and, 234

Twinning, Thomas, 392

Tye, Christopher,

    In Nomine fancies, 116–18

U

Über den gegenwärtigen Zustand der Musik besonders in Deutschland und wie er geworden (Wendt), 739

Uberto’s “tizzy” aria (Pergolesi), 439–40, 441

Uffenbach, Johann Friedrich Armand von, 217

Ulysses’ Return to His Homeland (Monteverdi), 26

Umlauf, Michael, 677

Unger, Karoline, 677

Union Thematic Catalogue of Eighteenth-Century Symphonies (LaRue, ed.), 49 7, 528

uniqueness, 641

United States,

    centrisms and, 739

    egalitarian ideals of, 111

    Enlightenement principles and, 111, 302, 461–62

    first chamber composition in, 519

    public conservatory system in, 736

unity of affect, 439, 706

universality,

    as Enlightenment ideal, 302, 460, 495, 49 6, 600, 738

    ethnocentricity vs, 739

    German musical claims to, 258–59, 389, 738–39

    modern critical worldview vs, 600

    Romantic particularism vs, 645

University of Oxford, Haydn honorary degree from, 556

University of Salzburg, 464

Upper Palatinate, 505

urbanization, English chamber music and, 124

Urban VIII, Pope, 37

V

Valenti, Fernando, 396

vamp, eighteenth-century use of term, 38, 564

variations,

    Bach (J. S.) “Goldberg,” 383–84

    Beethoven’s Diabelli, 674

    chorale, 49–55, 257

    English keyboard, 47, 53

    over ground bass, 38–39, 193

    Haydn’s “Suprise” Symphony second movement and, 571–72

    passacaglia and, 39

    Schein and, 53

    Sweelinck and, 45, 47–48

    See also theme and variations

“Vater unser im Himmelreich” (Lutheran Lord’s Prayer), 365

Venetia, 504

Venice,

    cantata and, 75

    carnival season, 12, 12

    Gabrielis and, 5

    instrumental music in, 114

    intermezzos in, 434–35, 438

    Marcello brothers and, 192

    Monteverdi and, 1, 2, 5–12, 59

    musical heritage of, 57

    opera in, 12, 16, 126, 139, 434

    operatic reform in, 152

    power and status of, 139

    Schütz and, 57, 59, 66, 68, 69, 73, 259

    Strozzi and, 75–78, 80

    Vivaldi and, 193, 216–31

    Willaert and, 600, 605–6, 611, 620

Veni redemptor gentium (hymn), 342

Venus (mythology), 93

Venus and Adonis (Blow), 132

Veracini, Francesco Maria, 298

Verdi, Giuseppe, 16

    Trovatore, Il, 110

vernacular,

    Handel oratorios in, 237

    Haydn Creation and, 633

    singspiel and, 470

Versailles, 90

Versuch einer Anleitung zur Composition (Koch), 622

Versuch über die wahre Art das Clavier zu spielen (C. P. E. Bach), 410–11, 414, 41 8

Vespers, 115–16

    concerto grosso and, 178

    Monteverdi and, 5, 10, 18–20

    organ works for, 49

Vivaldi’s Venetian program for, 216–17

Vespro della beata virgine (Monteverdi), 19–20

Viadana, Lodovico, 52

    Cento concerti ecclesiastici, a una, a due, a tre & a quattro voci, 52, 53

Vienna,

    Beethoven and, 652–56, 671, 675–76, 689, 694, 721, 722, 723

    concert program, 499–500, 500, 509

    Congress of Vienna celebration, 722

    Gluck and, 454, 455, 459

    Haydn and, 517–20, 555, 607, 633

    Mozart and, 462–63, 465, 470–71, 476, 47 8, 479, 589, 590, 607–8, 620, 626, 633

    northern Italian musical developments and, 504

    Ottoman siege of (1683, 139, 525

    Rossini and, 675

    subscription chamber concerts in, 683

    symphony and, 591

    Turkish vogue in, 470, 525

Viennese classicism, 542

Village Soothsayer, The (Rousseau intermezzo), 110, 442

Vinci, Leonardo (composer), 165

    Artaserse, 158, 161–65

    Didone abbandonata, 330

    Handel “borrowings” from, 330–31

    style of, 161–62, 311

vingt-quatre violons du Roi, les, 94

viol, 53

    accompanied sonata and, 428

    chest of, 118, 120

    consorts, 114, 118, 120

    In Nomines for, 118

    string ensemble and, 196

viola,

    Bach’s (J. S.) writing for, 290–91

    Mozart and, 473, 589

    orchestral role of, 291

viola da gamba, 241, 291, 41 9, 527

    Bach (J. S.) sonatas for, 300–301

violin,

    Bach’s Sixth Brandenburg Concerto and, 290

    birdsong imitations by, 227–28

    Corelli and, 177, 178, 193

    famous makers of, 2

    “first” and “second” player positions, 291

    Haydn concertos for, 600–601

    keyboard sonata obbligato of, 428

    Mozart’s writing for, 601, 602–7

    orchestra leadership by, 291

    in piano trio, 695

    Vivaldi and, 216, 217, 222–23, 231, 234

violin concerto, Mozart and, 602–5

Violin Concerto no. 3 in G major, K. 216 (Mozart), 602

Violin Concerto no. 4 in D major, K. 218 (Mozart), 602

Violin Concerto no. 5 in A major, K. 219 (Mozart), 602–5

Virgil, 90, 132, 155

virginal (English harpsichord), 45, 47, 53, 260

    name origin of, 45

Vi ricorda o bosch’ombrosi (Monteverdi), 22

“Virtues of Tobacco, The” (masque), 113

virtuosity, 234

    Bach’s organ Toccata in F and, 208–16

    ban on, 15

    cadenza and, 171–72, 609–10

    Corelli’s “La Folia” and, 193

    division viol and, 120

    etymology of word, 174

    orchestral special effects and, 506, 507, 508–9

    political implications of, 96–97

    Romantic rejection of, 642

    Scarlatti (Domenico) and, 391, 392

    Sweelinck and, 44–46

    toccata and, 41

    Vivaldi and, 222–26

virtuoso singing,

    castrati and, 174

    commercial theater and, 16

    as “common,” 15–16

    court limits on, 15

    da capo aria and, 144, 171–72

    fermatas and, 171

    French tragédie lyrique prejudice against, 96–97, 98, 106, 107, 113

    Metastasian librettos and, 154

    operatic, 16

    unwritten ornamentation and, 174

    women and, 80

    See also coloratura

Vittoria, battle of (1813), 672

Vivaldi, Antonio, 1, 193, 216–31

    concerto and, 193, 216–31, 609

    excessive atypical works of, 222–26, 281

    musical mimesis of, 227–31, 316, 317

    numbering of works of, 218

    partbooks of, 224–25

    post–World War II revived interest in, 217

    prolificity of, 217

    standard repertory and, 234

    works of

      Concerto for Bassoon in C major, F VIII/13, 217–24

      Concerto for Four Violins in B minor, op. 3, no. 10, 222–26, 282, 287

      Primavera, La op. 8 no. 1, 225–31

      Quattro stagioni, Le (Four Seasons), 225–31, 234, 317

      “Sinfonia al Santo Sepolcro” in B minor, 222–23

      Tempesta del mar, La, 230

Vivi, tiranno! (Handel), 308–11, 340, 437

vocal music,

    Bach (C. P. E.) on, 41 8

    Bach (J. S.) and, 340–90

    Beethoven and, 686

    cantata as, 75–77, 341–90

    chorale concerto as, 52–55

    empfindsamer instrumental music borrowing from, 41 6, 418

    Handel and, 305

    Josquin and, 539

    Monteverdi’s seconda prattica and, 254

    ornamentation and, 281

    Romantic elevation of instrumental music over, 642

    standard forms of, 234

    Sweelinck and, 44–45, 47–49

    women performers of, 80

    See also aria

    chanson

    chant

    choral music

    madrigal

    opera

    singing

voice types,

    bass, 43 4, 43 8

    soprano, 434, 438

    tenor, 98, 100

    See also coloratura

    singing

Voltaire (Françcois Marie Arouet), 462, 470, 479

    on Atys, 97

Von zwei Kulturen der Musik (Halm), 726

vorimitation, 50, 53

Vostellung des Chaos (Haydn), 633–37

Vox populi, vox Dei, Beethoven’s disclaimer of, 724

W

Wachet auf, ruft uns die Stimme, BWV 104 (J. S. Bach), 375

Wackenroder, Wilhelm, 599

Wagner, Richard, 16

    “absolute music” definition by, 714

    on Beethoven’s fanfares, 677

    on Beethoven’s musical authority, 738

Waldstein, Count, 694

“Waldstein” Sonata, op. 53 (Beethoven), 670

Walker, Keith, 125

Walpole, Robert, 237

Walsh, John, 177, 432

waltz, Austrian origins of, 573

Walzer, 573

War of the Austrian Succession, 306

War of the Buffoons, 110–11, 441–44, 459, 460

    Enlightenment thought and, 443

War of the Polish Succession, 93

War of the Spanish Succession, 505

Warsaw, Italian opera performance in, 80

Was ist Auflärung? (Kant), 461

Waterhouse, John C.G., 750

“Water Music” (Handel), 306

Weber, Aloysis, 474, 475

Webster, James, 532, 540

“Weg! Weg!” (J. S. Bach), 378, 379–81, 389

Weimar, 66, 68, 222

    Bach (J. S.) and, 208, 235, 239, 241, 247, 261, 262

    See also Leipzig

Weiss, Piero, 435

Wellington, Duke of (Arthur Wellesley), 672

Wellington’s Victory (Beethoven), 672–73

Well-Tempered Clavier, The (J. S. Bach), 247–51, 253, 262, 291, 383

Weltanschauung, 721

Weltschmerz, 693

Wendt, Amadeus (Johann Gottlieb Wendt), 739

Werckmeister, Andreas, 248

Werner, Gregor Joseph, 526

Wert, Giaches (Jacques) de, 5

Westminster Abbey (England), 132

    Handel oratorio festivals, 578, 633

    Purcell as organist at, 127

Westphalia, Peace of (1648), 68

Wieland, Christoph Martin, 416

Wiener Klassik (Viennese classicism), 542

Wilhelm, Friedrich, 409

Wilhelmina, Princess of Prussia, 79

Will (Schopenhauer concept), 720, 721

Willaert, Adrian, 5

William and Mary, Co-Regents of Great Britain, 132

Winckelmann, Johann Joachim, 453–54, 457

wind ensembles,

    eighteenth-century, 505, 509

    Handel suite and, 306

Wirrwarr, Die (Klinger), 528, 530

Wo Gott der Herr nicht bei uns hält, BWV 178 (J. S. Bach), 369–9

Wohltemperirte Clavier, Das (J. S. Bach), 247–51, 253, 291

Wolfe, Bertram D., 397

Wolff, Christoph, 383–84

women in music, 78–81

    Bach (J. S.) cantatas and, 352, 375

    Beethovenian ideal’s negative effects on, 670

    Caccini, Francesca, 80, 81, 82

    Copland on, 78

    mainstreaming of, 81

    opera divas and, 17

    performance ban on, 16, 21, 153, 352

    performance stigma and, 80

    power of access and, 79

    as prima donnas, 17

    reasons for underrepresentation of, 78–82

    Strozzi, Barbara, 75–78, 80–81

    Vivaldi’s Pietà students, 216–17

    See also gender

words-music relationship,

    English prosody and, 133, 134

    English semi-opera and, 127

    expressiveness and, 539

    Gluck and, 458–59

    Monteverdi and, 4, 10

    Orlandini compared with Handel and, 437

    representational style and, 41 8, 643

    Romantic esthetic on, 479, 48 6, 642, 645–46

    tragédie lyrique and, 96–97

World as Will and Representation, The (Schopenhauer), 721

“World Spirit” (Hegelian concept), 670

World War I, Beethoven critics following, 692

World War II, postwar Vivaldi boom, 217

written music,

    cadenza, 613, 614–15, 650

    classical canon’s sanctity of, 650–51

    composer’s improvisation on, 610–11, 624, 650

    court vs. commercial opera and, 33–34, 174

    as cream of improvisatory practice, 35, 44

    exigetical interpretation of, 650, 706, 714

    Italian vocabulary used for, 158–59, 203

    opera seria performance practice vs, 173

    Praetorius decoration and, 55, 739

    value placed on, 79

    Vivaldi concerto manuscripts, 217

    women’s creative underrepresentation and, 78–83

    See also music publishing

Wunderlich Translocation des … Berges Parnassu (Schütz), 58

Z

Zachow, Friedrich Wilhelm, 236, 402

Zarlino, Gioseffe, 5

Zaslaw, Neal, 88

Zauberflöte, Die (Mozart), 479–85, 480, 481, 643

Zefiro torna (Monteverdi), 37, 38

Zefiro torna (Petrarch), 37

Zelter, Carl Friedrich, 368, 381

Zeno, Apostolo, 152