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
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
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
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,
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
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
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
Alcestis (Euripides), 90
Alcestis (mythology), 90
Alcuin of York, 724
Alcyone (Marais), 321
Aldimoro, L’ (A. Scarlatti), 186–87
Alexander VIII, Pope, 151
Allanbrook, Wye J., 435, 437, 620–21
allegory,
court musical theater and, 15
tragédie lyrique and, 89–94, 95, 96
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
Anacreontic verses, 3
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 vs. operatic, 146
as concerto for voice and orchestra, 308
Farinelli’s signature, 167–69
fermata in, 171
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
aria cantabile, 154
aria d’affetto, 154
aria di bravura,
Handel and, 336–40
in Metastasian librettos, 154, 161
Ariadne (mythology), 104
Ariane (Cambert), 89
Arianna (Monteverdi), 104
ariette,
in cantata, 75
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
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
Armide (Lully), 94–96, 95, 155
Arnalta’s gloating aria (Mozart), 27, 28–29
Arne, Thomas, 158
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 (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,
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
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
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
social consequences of, 14–15
social import of, 496
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
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
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
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
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
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
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
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
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
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
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
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
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
cadenza scoring by, 650
canonization of, 689, 691, 738
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
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
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
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
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
“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
Berenice, regina d’Egitto, ovvero le gare da amore e di politica (D. Scarlatti), 390
Berenstadt, Gaetano, 307
Berlioz, Hector, music criticism by, 737
Betterton, Thomas, 126, 127, 128
Bianconi, Lorenzo, 37
binary form,
ayre and, 120–21
dance movement and, 146–48, 261
keyboard sonata and, 402
Scarlatti (Domenico) keyboard pieces and, 391
“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
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
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, Bettina, 672
Brillez, brillez astres nouveaux (Rameau), 108–9
Broadway musicals, 33
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
Brussels, 259
Bruyère, Jean de la, 88
Buckingham, Duke of, 87
Buckingham, Earl of, 429
Buddhism, 721
definition of, 433
Diderot on art of, 437, 442, 443
popularity of, 434
See also opera buffa
Bukofzer, Manfred, 14–15, 18, 235, 706
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
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
“But who may abide the day of His coming” (Handel), 336–40, 445, 459
Buxtehude, Dietrich (or Diderik), 241, 247, 255
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
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
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 composers of 1685, 233, 235, 289, 305, 381, 388
of Haydn and Mozart, 399, 400, 401, 463, 464, 481, 577, 638, 638–39, 643–48, 646, 738 See also standard repertory
aria characteristics and, 146
Bach (J. S.) and, 340–75, 376, 378, 392, 682
Bach (W. F.) and, 402
Beethoven and, 652
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
Canzone post il Comune (Frescobaldi), 44
Mozart’s improvisation on, 611
Carestini, Giovanni, 161
Carissimi, Giacomo, 73–75, 237
Carl Theodor, Elector of Palatine, 505
carnival, 12, 12, 14, 16, 17, 113, 390
cassatione, 498
Haydn and, 518
Castellini, Teresa, 172
Castiglione, Baldassare, 15
Castle Church (Wittenberg), 353
Castor et Pollux (Rameau), 91, 92–93, 94
Atys compared with, 110
costume design, 109
moral of, 94
Prologue, 93–94
castration,
Atys and, 97
illegality of, 17
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
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
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
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
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
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
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
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 (J. S.) and, 254, 266, 267, 364, 385
Mozart and, 591, 624–25, 627, 631, 633
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
Cimento dell’armonia e dell’ inventione, ll (Vivaldi), 225
Cipriano de Rore, 5
circles of fifths, 184–89, 212, 213, 216, 220
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
trascendence and, 706, 714, 720, 721
Classical period,
Beethoven and, 739
delineation with Romantic period, 646
as misnomer, 647
classicism,
Enlightenment thought and, 363
first writer of, 739
Gluck and, 453–54
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,
continual revisions of, 33, 33–34
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
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
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
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 (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
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
as social paradigm, 221, 619–22
solos and, 193, 216, 220, 301–2
symphonic, 498
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
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,
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
in Naples, 140
consonance, 497
consort music, 114–25
ayres and suites, 120–22
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
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
Fux comparison with, 180–81
Handel and, 204
ornamentation models of, 281
Purcell compared with, 196, 198
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
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
Fux analysis of, 180
invertible, 201–2
stile antico and, 65, 180, 518
suspension chain and, 188–89
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
Rossignol en amour, Le, 272–81, 282, 428
Couperin, Louis, 250–52
loure contrasted with, 274
and suite format, 260–61, 262, 263, 267–70
French court opera and, 99, 455
Schütz and, 58
“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
neoclassical drama and, 151–52, 434
orchestral storm scenes in, 321
political function of, 14–15, 96
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
crooning (singing style), 15
“Crye” tradition, 579
Tye In Nomines, 116
Cui, César, 737
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
D
concerto compared with, 222, 609
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
Dahlhaus, Carl, 650
dance music, 574
Austrian forms, 573
ayres and, 120–25
Baroque keyboard genres, 37
English incidental music and, 126
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
Denmark, 66
Dennis, John, 312–13
Dent, Edward J., 692
Descartes, René, 75
descending minor tetrachord, 95
Desmares, Marie (La Champmeslé), 106
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
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
diminished seventh,
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
Monteverdi and, 59
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
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
act finales of, 490, 492–94, 645
ballroom scene of, 490, 491, 573
“painful” music in, 493–94, 645
poster for, 485
stage music in, 490–91, 492–93, 631
Donizetti, Gaetano, 16
Dorian signature, 120
Dorset Garden (London), 126, 127
double-exposition, concerto modernization and, 606–7
double fugue, 201–2
double return,
Bach (J. C.) and, 425–26, 488, 504
Beethoven’s Piano Trio in C minor and, 698
eighteenth-century composition and, 407–8
Haydn’s symphonic form and, 520, 557, 588
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
Bach (J.S.) Mass and, 375
court chapel choir, 58
Thirty Years War and, 66
Vivaldi concerto for orchestra of, 222
Drury Lane (London theater), 89
Drury Lane Oratorio Concerts, 633
Druschetzky, Georg, 499
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
Dvoàk, Antonín, 94
dynamics as emotional change delineators, 414
E
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
echo-fantasia, 46
écriture feminine, 82
eighteenth century,
classicism of, 454
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
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
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
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
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
rescinded dedication of, 656
second movement “Funeral March” in C minor, 702
as sinfonia caratteristica, 680
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
esthetics,
Arcadians’ neoclassicism and, 151
Empfindung and Empfindsamkeit and, 409–10
of Lutheran church music, 68
of musical sounds, 363–64, 471–72, 494
of standard repertory, 289
Winckelmann neoclassic, 453
See also artistic creation
musical taste
Estro armonico, L’ (Vivaldi), 224–25
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
evolution theory, 396
existential loneliness, 600
“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
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
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
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
story behind, 538
Sturm und Drang and, 528–29, 530
Farinelli (Carlo Broschi), 166–71, 172, 173, 174, 237
Metastasio friendship with, 172
signature aria, 167–72
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
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
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
Handel in, 237
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
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
Italian musical style vs, 86
Lully and, 85–104
music journalism in, 737
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
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
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
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
Italian opera contrasted with, 88–89, 103
Italian singers and, 88
Italizan hybridization with, 459–60
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
works of
Cento partite sopra passacagli, 37, 39, 40
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,
exposition of, 198, 201–2, 242, 274
fantasia paired with, 247
Germanic traits in, 241–42
gigue and, 274
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
“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
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
rococo and, 279
galanterie, 427–28
Empfindung contrasted with, 426–277 428–29
meaning of, 263
Galuppi, Baldassare, 158
keyboard sonatas of, 432–33
opera buffa and, 433
Gamesters, The (Orlandini intermezzo), 435
Garrick, David, 459
Gasparini, Francesco, 142
allemande contrasted with, 274
in suite format, 263, 271, 272, 274
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
Orfeo and, 21
General History of Music (Burney), 363, 420, 564
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
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
exigetical music interpretation in, 706, 714
first musical play and, 15
French style influences in, 259–61, 285
“Goethezeit” era in 659
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
nineteenth-century musical hegemony of, 736–39
oral music tradition of, 49
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
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
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
tragédie lyrique and, 459–60
works of
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
Mozart libretto by, 465
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
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
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
self-made class and, 114, 237, 450
semi-opera of, 126–27, 128, 130–31
seventeenth-century music in, 113–38
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
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
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
H
“Haffner” Symphony in D major, K. 385 (Mozart), 589
half-aria (mezz’aria), 349, 351
half-cadence, 488
half-step adjustments, 594
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
German reclamation of, 385
as Haydn inspiration, 633
Haydn’s career compared with, 578
High Baroque style and, 194
internationalism of 239
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
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
Belshazzar, 315
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
Solomo, 315
Vivi, tiranno!, 308–11, 340, 437
“Water Music,” 306
Hanover Square (London), 555
Hansell, Kathleen, 174
Hanswurst (“Johnny Sausage”) shows, 518
happy ending, operatic, 151, 446–47
Hapsburg dynasty, 504, 525, 550, 607
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
Corelli and, 181–84
Mozart and, 486, 488, 489, 490, 492, 493, 494, 495, 609, 618, 620–21, 624–25, 631, 632–33, 634
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
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
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
Hasser, Hans Leo, 49
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
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
Mozart’s interrelationship with, 589, 590, 591, 593, 601, 607, 631, 634, 637
musical predecessors of, 400
musical wit of, 540–41
opus numbers and, 541
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
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. 64, 542, 556
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
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
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
Hölle Rache, Der (Mozart), 481, 48 2–83
Holmes, William C., 447
Holy Roman Empire,
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
Hoole, John, 156
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
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,
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
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
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
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
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
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
Metastasio librettos and, 152–65
Monteverdi and, 12–34
Naples and, 140–52
oratorio and, 313
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
War of the Buffoons and, 110
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
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
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
fourth movement “joke” of, 551–54
as mock-primitive piece, 549
third movement, 550–51
Jommelli, Niccolò, 158
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
Louis XII patronage of, 538–39
Journal de printemps, Le (Fischer), 259–60
Judas Maccabeus (Handel), 315
Judges, Book of, 73
“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
on Beethoven’s C-minor mood, 691
keyboard music,
allemande and, 260
Bach (C. P. E.) and, 410
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
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
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
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
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,
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
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
La Rue, Pierre de, 5
La Tour, Maurice Quentin de, 427, 442
Laudate Dominum (hymn), 227
Lawes, William, 120–22, 124, 128, 134
fantasia themes, 122
“League of David” (Schumann journalistic pseudonym), 737
Lecerf de la Viéville, Jean Laurent, 85–86
Leclair, Jean-Marie, 499
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
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
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
seventeenth- and eighteenth-century power of, 173
Strozzi (Giulio), 75
Zeno, 152
librettos,
cantata conventions, 76
comic opera conventions, 450–51
for first intermezzos, 434–35
for Haydn, 633
Metastasian style, 153–54
most frequently reused, 158
musical relationship with, 48 6–87
neoclassic elements in, 151–52, 434
opera seria and, 174
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
Lutheranism and, 49–55, 255, 341–42
organ and, 35–44, 48, 49, 255–57
See also chant;
Gregorian chant;
hymns and hymnody;
Mass;
psalms and psalmody
Lobkowitz, Joseph Franz Maximilian von, Prince, 671
Locke, Matthew, 126, 127, 132, 134
lombards (short-long rhythms), 134, 407
London,
Artaserses pasticcio version performed in, 158, 168–69
Handel in, 237–39, 306, 307–40, 401, 419
Haydn’s tours in, 555–88, 589, 607, 633, 652, 695
intermezzo hit in, 435
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 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
Armide, 94–96
Cadmus et Hermione, 86
Isis, 102
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
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
oratorio form and, 341–42
Reformationsfest and, 353
sacred music reforms and, 341
Scheidt and, 49
social ideology and, 302
worldview of, 363–64
Luzzaschi, Luzzasco, 5
Lydian mode, 687
M
Macaulay, Thomas, 124
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
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
Marie Antoinette, Queen of France, 459
Marienkirche (Lübeck), 241
Marino, Giovanni Battista, 37
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
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
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
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
Medinaceli, Duke of, 141
Meine Seufzer, meine Tränen, BWV 13
(Bach), 364–65
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
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
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
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
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
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
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
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
Montéeclair, Michel Pignolet de, 90–91, 93
Monteverdi, Claudio, 1–34, 1, 83, 94, 113, 291, 548
career of, 2–6
declaration of musical principles of, 4–5
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
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
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
Vespro della beata virgine, 19–20
Vi ricorda o bosch’ ombrosi, 22
Monteverdi, Julius Caesar, 4, 5
Monteverdi, Creator of Modern Music (Schrade), 13
Montpensier, Mme de, 89
Moonrise on an Empty Shore (Friedrich), 644
morality, music and (or as), 496
mordant, 277
Moritz, Landgrave of Hessen, 76
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
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
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
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
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
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
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
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
Mühlhausen, 239
mummery, 113
municipal music, 287
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
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
allemande/gavotte contrast and, 274–75
displacement of patronage in forming, 639
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
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
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
nineteenth-century birth of, 388, 736
music publishing,
Bach (J. C.) and, 419
Beethoven and, 674, 675, 682, 736
commodification of music through, 736
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
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
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 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
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
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
Netherlands, 259
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
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 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
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
continuous revisions and versions of, 33–34
controversial disputes about, 34
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
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
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
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
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
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
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
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
chorus’s role in, 315
English, 314–40
English nationalism and, 315, 633
German concert movement amd, 385
Handelian specific concept of, 316
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
Gluck’s Orpheus and Eurydice contrasted with, 454, 455
Incoronazione di Poppea contrasted with, 27, 33
toccata and, 41
Orfeo (Rossi), 87–88
French readaptation of, 458, 459–60
Bach family and, 208, 241, 247, 402, 419
chorale and, 255
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,
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
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
Scarlatti (Domenico) and, 392–93
vocal cadenza and, 171–72
Orphée et Eurydice (Gluck), 459–60
Orpheus legend,
Monteverdi and, 21–25, 454, 455
Restoration drama and, 126
Rossi and, 88
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
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
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
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
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
passacaglia, 38, 38–39, 193, 261, 345
Passacaglia in C minor (J. S. Bach), 247
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
passus duriusculus, 44, 95, 103, 128, 135, 729
Handel and, 317
Mozart and, 627–28
Sweelinck Fantasia chromatica, 44, 46
Vivaldi and, 231
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,
Handel’s outlook and, 306
opera seria and, 175
patriotism, English music and, 306, 313
patronage,
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
Haydn and, 519–20, 525–28, 538, 607, 655
Josquin and, 538–39
male power of access and, 79
Metastasio and, 171
musical taste and, 87, 173, 639
by Ottoboni, 151
by papacy, 37
public taste vs, 639
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,
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
Peter, Johann Friedrich, 519
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
first movement cadenzas, 613, 614–15
first movement themes, 609, 610
interpretations of, 619–21
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,
eighteenth-century accompanied, 695
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
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
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
Pisendel, Johann Georg, 222
pitch, 248
plagiarism, 327–29
essences and, 720
Plutarch, 702
poetics, meaning of, 13
British laureates, 113, 127, 132
ciaccona and, 37
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
significance of virtuoso singing and, 15–16
War of the Buffoons and, 110–12, 441
women’s rights and, 82 See also absolutism
nationalism
Polyhymnia caduceatrix et panegyrica (Praetorius), 54–55, 57
polyp, symbolism of, 437
polyphony,
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
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
“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,
figurative meaning of, 153
Metastasian libretto and, 153, 161
Monteverdi roles for, 27
women as, 17
Primavera, La (Vivaldi), 225–31, 308
Primo libro d’intavolatura (Frescobaldi), 41–42
prodigies, 463–64
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
Enlightenment thought in, 462
“Prussian” sonatas (C. P. E. Bach), 413, 518
Sonata no. 1 in F major, 411–13
Psalmen Davids (Schütz), 58, 68
second edition, 59
Psalms, Book of, 316
psalms and psalmody, 178
Handel and, 314
Praetorius motets, 54–56
puns, musical,
harmonic, 576
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
fugal style and, 198–203, 204, 208
as organist, 127
string ensemble and, 195–98
works of
Fairy Queen, The, 127, 128, 130–31
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. 12 in E-flat major, op. 127 (Beethoven), 682, 683
Quartet no. 13 in B-flat major, op. 130 (Beethoven), 682, 683, 686
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
expressive ideal of, 254
rage aria,
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
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” 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
Lully and, 133
Metastasian librettos and, 154
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
ricercari, 40, 44, 114, 250, 384, 624
Richardson, Samuel, 445–46, 450
“Ricordati ch’io t’amo” (A. Scarlatti), 147
Riemann, Hugo, 400
Rifkin, Joshua, 363
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
Rochlitz, Friedrich, 673
“rocket.” See Mannheim rocket
rococo, 279
Rodelinda (Handel), 306–11
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
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
delineation with Classical period of, 646
difficulty in defining, 641
as elitist, 645
as Enlightenment rebuke, 390, 460, 706, 724
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
“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
Piccinni and, 445
Scarlatti (Alessandro) in, 142, 150, 177
“Rondo alla Turca” (Mozart), 471, 602
root extractions, 192
Roseingrave, Thomas, 392
Roselli, John, 16
Rosen, Charles, 720
Rossignol en amour, Le (Couperin), 277–81, 282, 428
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
Enlightenment thought and, 442–43, 461, 470
Gluck and, 459
on instrumental music, 642
on Italian commercial vs. French court opera, 110
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
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
Beethoven’s Missa solemnis premier in, 675
St. Stephen’s Cathedral (Vienna), 517, 518, 652
St. Thomas Church and School (Leipzig), 53, 238, 239, 239, 363
Salieri, Antonio, 476, 477, 652
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
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
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, 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
diatonic tonality and, 186, 188
Handel’s “borrowings” from, 327, 330, 336, 392
works of
Aldimoro, L’, 186–87
Andate, oh miei sospiri, 142, 143–47
Caduta de’ decemviri, La, 148–50
“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
significant birth year of, 233
standard repertory inclusions of, 234
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
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
Thirty Years War effect on, 58–59, 66, 67
Venetian style and, 57, 59, 66, 68, 69, 74, 259
works of
Eile mich, Gott, zu erretten, 66–68
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
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
comic opera and, 450
English Civil War and, 124
English identification with, 114, 237, 450
Handel as, 237, 240, 313, 340, 419
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
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
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
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
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
works of
Coriolanus, 702
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
“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
Sicily, 139
Siege of Chester (1645), 124
Siehe zu, dass Deine Gottesfurcht, BWV 179 (J. S. Bach), 370–72
signification, 10, 133, 539–55
interpretation and, 680
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,
basso buffo rapid-patter effect, 439–40
castrato, 16–17, 86–87, 97, 153, 166–69, 173, 174
countertenor, 130
crooning, 15
gorgia (throat-music), 15
haute-contre, 98, 100, 130, 459
opera seria’s dominance of, 158, 173–74
singspiel,
Mozart and, 470–76, 47 9–85, 602
“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 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
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 (W. F.) and, 402–9
fugue genre vs, 726–27
Handel and, 305
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
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,
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
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
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
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
Monteverdi and, 5
Palestrina and, 180
Roman Catholic composers and, 357
See also counterpoint
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
Striggio, Alessandro (father), 14
Striggio, Alessandro (son), 14, 18, 21
string music,
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
Strozzi, Barbara, 75–78, 75, 80–82, 142
Diporti di Euterpe, 75–78
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
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
See also concerts
symphony
suite,
Bach (J. S.) and, 260, 261–77, 286–89, 306
Froberger model of, 260–61, 262, 263
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
“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
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
Tafelmusik, 53
Tancred, 7–9
tastar de corde, 40
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
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
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
musical effects of, 58–59, 66, 67
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
Bach (J. S.) and, 208–16, 247, 300
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
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
political content of, 91–94, 96, 97
Rameau and, 91
Rousseau and, 442
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
Corelli and, 177, 178–81, 178, 192, 196, 198
Handel and, 305
Purcell and, 198–99
Reincken and, 241
tripla, 53
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
truth,
beauty’s relationship with, 363
comedy and, 437
tuning system, 247–48
Turkish mode, 470–71, 602, 675, 678, 679
“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
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
Haydn’s “Suprise” Symphony second movement and, 571–72
passacaglia and, 39
Schein and, 53
See also theme and variations
“Vater unser im Himmelreich” (Lutheran Lord’s Prayer), 365
Venetia, 504
Venice,
cantata and, 75
Gabrielis and, 5
instrumental music in, 114
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
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
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
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
Viennese classicism, 542
Village Soothsayer, The (Rousseau intermezzo), 110, 442
Vinci, Leonardo (composer), 165
Didone abbandonata, 330
Handel “borrowings” from, 330–31
vingt-quatre violons du Roi, les, 94
viol, 53
accompanied sonata and, 428
In Nomines for, 118
string ensemble and, 196
viola,
Bach’s (J. S.) writing for, 290–91
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
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
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
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
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 (J. S.) and, 340–90
Beethoven and, 686
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
women performers of, 80
See also aria
chanson
chant
choral music
madrigal
opera
singing
voice types,
See also coloratura
singing
Voltaire (Françcois Marie Arouet), 462, 470, 479
on Atys, 97
Von zwei Kulturen der Musik (Halm), 726
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
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
“Weg! Weg!” (J. S. Bach), 378, 379–81, 389
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,
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
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 semi-opera and, 127
expressiveness and, 539
Gluck and, 458–59
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,
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