1 Pirrotta, “Monteverdi and the Problems of Opera,” in Music and Culture in Italy from the Middle Ages to the Baroque (Cambridge: Harvard University Press, 1984), p. 248.
2 The letter may be found complete, in English translation, in The Monteverdi Companion, ed. Denis Arnold and Nigel Fortune (New York: Norton, 1968, pp. 52–56,) or in P. Weiss and R. Taruskin, Music in the Western World: A History in Documents (2nd ed., Belmont, CA: Thomson/Schirmer, 2008) pp. 153–55.
3 Trans. R. Taruskin in Weiss and Taruskin, Music in the Western World, 2nd ed., pp.146–47.
4 See Ellen Rosand, “The Descending Tetrachord: An Emblem of Lament,” Musical Quarterly LXV (1979): 346–59.
5 Ellen Rosand, Opera in Seventeenth-Century Venice: The Creation of a Genre (Berkeley and Los Angeles: University of California Press, 1991), p. 1.
6 Leo Schrade, Monteverdi, Creator of Modern Music (New York: Norton, 1950).
7 Manfred Bukofzer, Music in the Baroque Era (New York: Norton, 1947), pp. 394–95.
8 Bukofzer, Music in the Baroque Era, p. 398.
9 Rosand, Opera in Seventeenth-Century Venice, p. 7.
10 John Roselli, New Grove Dictionary of Opera (London: Macmillan, 1992), s.v. “castrato.”
11 Percy A. Scholes, ed., Dr. Burney’s Musical Tours in Europe, Vol. I (London: Oxford University Press, 1959), pp. 247–48.
12 Quoted in Rosand, Opera in Seventeenth-Century Venice, p.
13 See Susan McClary, “Constructions of Gender in Monteverdi’s Dramatic Music,” Cambridge Opera Journal I (1989): 203–23.
14 Trans. Arthur Jacobs, in Monteverde, L’Incoronazione di Poppea, Libretto by G. F. Busenello, English version by Arthur Jacobs (London: Novello, 1989).
1 Maugars’s whole letter, translated by Walter H. Bishop, may be found in Weiss and Taruskin, Music in the Western World: A History in Documents, 2nd ed., p. 165–68.
2 Lorenzo Bianconi, Music in the Seventeenth Century, trans. David Bryant (Cambridge: Cambridge University Press, 1987), p. 101.
3 Bianconi, Music in the Seventeenth Century, p. 103.
4 Trans. by R. Taruskin from the Italian given in Bianconi, p. 102.
5 Quoted in Richard Hudson, Passacaglio and Ciaconna from Guitar Music to Italian Keyboard Variations in the Seventeenth Century (Ann Arbor: UMI Research Press, 1981), p. 237.
6 Hudson, Passacaglio and Ciaconna, p. 237.
7 Quoted in Bianconi, Music in the Seventeenth Century, p. 95.
8 Johann Mattheson, Grundlage einer Ehren-Pforte (Hamburg, 1740), quoted in R. Tollefsen and P. Dirksen, “Sweelinck,” in New Grove Dictionary of Music and Musicians, Vol. XXIV (2nd ed., New York: Grove, 2000), p. 771.
9 Heinrich Schütz, letter to the Elector of Saxony (1651), trans. Piero Weiss, in P. Weiss, Letters of Composers Through Six Centuries (Philadelphia: Chilton Books, 1967), pp. 46–51; abridged in P. Weiss and R. Taruskin, Music in the Western World, 2nd ed., pp. 157–59.
10 See The Treatises of Christoph Bernhard, trans. Walter Hilse, The Music Forum, Vol. III (New York: Columbia University Press, 1973); excerpts printed in P. Weiss and R. Taruskin, Music in the Western World, 2nd ed., pp. 159–61.
11 Aaron Copland, “The Teacher: Nadia Boulanger,” in Copland on Music (New York: Norton, 1963), p. 85.
12 Anthony Newcomb, “Courtesans, Muses, or Musicians? Professional Women Musicians in Sixteenth-Century Italy,” in Women Making Music: The Western Art Tradition, 1150–1950, eds. J. Bowers and J. Tick (Urbana: University of Illinois Press, 1986), p. 103.
13 Ellen Rosand, “Barbara Strozzi, Virtuosissima cantatrice: The Composer’s Voice,” JAMS XXXI (1978): 252.
14 See Suzanne G. Cusick, “Thinking from Women’s Lives: Francesca Caccini after 1627,” Musical Quarterly LXXVII (1993): 484–507.
1 Jacques Bonnet, Histoire de la musique, Vol. III (Amsterdam, 1725), p. 322.
2 Quoted in Oliver Strunk, Source Readings in Music History (New York: Norton, 1950), p. 483 (translation slightly adapted).
3 Strunk, Source Readings in Music History, pp. 485–86.
4 Quoted in P. Weiss and R. Taruskin, Music in the Western World: A History in Documents, 2nd ed., p. 172.
5 Pierre Corneille, Oeuvres complètes, Vol. I (Paris, 1834), p. 570.
6 Jean de la Bruyère, Les Caractères (Paris, 1874), p. 21.
7 Madelleine Laurain-Portemer, Études Mazarines (Paris, 1981), quoted in Neal Zaslaw, “The First Operas in Paris: A Study in the Politics of Art,” in Jean-Baptiste Lully and the Music of the French Baroque: Essays in Honor of James R. Anthony, ed. J. Heyer (Cambridge: Cambridge University Press, 1989), p. 8.
8 Zaslaw, “Scylla et Glaucis: A Case Study,” Cambridge Opera Journal IV (1992): 199.
9 Voltaire, Le siècle de Louis XIV (1751), cited in Lois Rosow, “Atys,” New Grove Dictionary of Opera, Vol. I (London: Macmillan, 1992), p. 242.
10 Letter of August 1675, ed. Jean Duron in booklet accompanying Atys, de M.de Lully, recording by William Christie and Les Arts Florissants, Harmonia Mundi France HMC 1257.59 (1987), p. 21.
11 Letter of August 1675, Atys booklet, p. 21.
12 See Denis Diderot, Les bijoux indiscrets, Au Monomotapa (Paris: Durand, 1748).
13 J. J. Rousseau, Confessions (New York: Modern Library [Random House], n.d.), p. 395; see also Rousseau’s Lettre sur la musique française (1753), in Strunk, Source Readings, pp. 636–54.
14 John Wilson, ed., Roger North on Music (London: Novello, 1959), pp. 10–11.
15 See, for example, Ernst H. Meyer, English Chamber Music (London: Lawrence & Wishart, 1946).
16 Thomas Morley, A Plaine and Easie Introduction to Practicall Musick (1597), in Weiss and Taruskin, Music in the Western World, 2nd ed., pp. 109–110.
17 Thomas Mace, Musick’s Monument (London: T. Ratcliffe and N. Thompson, 1676; facsimile ed. New York: Broude Bros., 1966), p. 245.
18 Thomas Babington Macaulay, History of England from the Accession of James II, Vol.I (1849), Chap. 1, part v.
19 Quoted in Murray Lefkowitz, William Lawes (London: Routledge and Kegan Paul, 1960), p. 37.
20 Keith Walker, “In the Merry Monarchy,” Times Literary Supplement, 1 September 1995, p. 26.
21 Curtis Price, Henry Purcell and the London Stage (Cambridge: Cambridge University Press, 1984), p. 320.
22 See John Buttrey, “Dating Purcell’s Dido and Aeneas,” Proceedings of the Royal Musical Association XCVI (1967–68): 52–60; also Purcell, Dido and Aeneas, ed. Curtis Price (Norton Critical Scores; New York: Norton, 1986), pp. 6–12.
23 Dan H. Lawrence, ed., Shaw’s Music: The Complete Musical Criticism in Three Volumes, Vol. I (London: Bodley Head, 1981), p. 559.
1 Donald Jay Grout, Alessandro Scarlatti: An Introduction to His Operas (Berkeley and Los Angeles: University of California Press, 1979), p. 15.
2 Marita McClymonds, “Opera seria,” in New Grove Dictionary of Opera, Vol. III (London: Macmillan, 1992), p. 698.
3 Grout, Alessandro Scarlatti, p. 9.
4 Pietro Metastasio to Johann Adolf Hasse, 20 October 1749, trans. John Hoole, in Patrick J. Smith, The Tenth Muse: A Historical Study of the Opera Libretto (New York: Knopf, 1970), p. 403.
5 Ibid., p. 405.
6 Smith, The Tenth Muse, p. 96.
7 Metastasio to Hasse, in Smith, The Tenth Muse, pp. 407–8.
8 The Works of Metastasio, trans. John Hoole, Vol. I (London: T. Davis, 1767), p. 3.
9 Martha Feldman, “Magic Mirrors and the Seria Stage: Thoughts toward a Ritual View,” JAMS XLVIII (1995): 454–55.
10 Dale E. Monson, “Carestini, Giovanni,” in New Grove Dictionary of Opera, Vol. I (London: Macmillan, 1992), p. 731.
11 Charles Burney, A General History of Music, Vol. II, ed. Frank Mercer (New York: Dover, 1957), p. 917.
12 Pier Francesco Tosi, Observations on the Florid Song; or, Sentiments on the Ancient and Modern Singers, trans. J. E. Galliard (London, 1742), p. 126.
13 It is published in facsimile in Hans-Peter Schmitz, Die Kunst der Verzierung im 18. Jahrhundert (Kassel: Bärenreiter, 1955), pp. 76–93.
14 Tosi, Observations on the Florid Song, pp. 128–29.
15 Donald Jay Grout, “On Historical Authenticity in the Performance of Old Music,” in Essays on Music in Honor of Archibald Thompson Davison (Cambridge: Harvard University Press, 1957), p. 343.
16 Angus Heriot, The Castrati in Opera (London: Secker and Warburg, 1956), pp. 144–45.
17 Feldman, “Magic Mirrors and the Seria Stage,” p. 480.
18 New Grove Dictionary of Opera, Vol. III, p. 700.
19 Feldman, “Magic Mirrors and the Seria Stage,” p. 444.
1 John Wilson, ed., Roger North on Music (London: Novello, 1959), p. 11.
2 Jonathan Freeman-Attwood, review of Purcell, 12 Sonatas in Three Parts (L’Oiseau-Lyre CD 444 499-2OH), Gramophone, April 1996, p. 67.
3 Henry Purcell, preface to Sonnatas of Three Parts: Two Violins and Bass, to the Organ or Harpsecord (London, 1683); reprinted in facsimile in Purcell, Works, Vol. V (London, 1983).
4 The term is Leonard B. Meyer’s; for the most extensive treatment see Eugene Narmour, The Analysis and Cognition of Basic Melodic Complexity: The Implication-Realization Model (Chicago: University of Chicago Press, 1992).
5 Quoted in Jean-Jacques Rousseau, Dictionnaire de musique (Paris, 1768), p. 452.
6 Charles de Brosses, Lettres familières sur Italie, quoted in Marc Pincherle, Vivaldi, trans. Christopher Hatch (New York: Norton, 1962), p. 19.
7 Eberhard Preussner, Die musikalischen Reisen des Herrn von Uffenbach (Kassel: Bärenreiter, 1949), p. 67; trans. Piero Weiss, in P. Weiss and R. Taruskin, Music in the Western World, 2nd ed., p. 200.
8 Johann Joachim Quantz, On Playing the Flute, trans. Edward R. Reilly (New York: Schirmer, 1975), p. 311.
9 Francesco Geminiani, The Art of Playing on the Violin (London, 1751), p. 1.
1 Manfred F. Bukofzer, Music in the Baroque Era (New York: Norton, 1947), p. 303.
2 Johann Joachim Quantz, On Playing the Flute, trans. Edward R. Reilly (New York: Schirmer, 1975), p. 341.
3 Susan McClary, “The Blasphemy of Talking Politics during Bach Year,” in Music and Society: The Politics of Composition, Performance and Reception, eds.S. McClaryand R. Leppert (Cambridge: Cambridge University Press, 1987), p. 26.
4 Ibid., p. 41.
5 Ibid., p. 40.
6 Michael Marissen, The Social and Religious Designs of J. S. Bach’s Brandenburg Concertos (Princeton: Princeton University Press, 1995), pp. 114–15.
1 Robert D. Hume, “The Beggar’s Opera,” in New Grove Dictionary of Opera, Vol. I (London: Macmillan, 1992), p. 377.
2 John Dennis, “An Essay on the Opera’s [sic] after the Italian Manner, Which are about to be Establish’d on the English Stage: With Some Reflections on the Damage Which They May Bring to the Publick” (1706), quoted in Richard Leppert, “Imagery, Musical Confrontation and Cultural Difference in Early 18th-Century London,” Early Music XIV (1986): 337.
3 The Spectator, no. 205 (25 October 1711); quoted in Leppert, “Imagery, Musical Confrontation and Cultural Difference,” p. 331.
4 Christopher Hogwood, Handel (London: Thames and Hudson, 1984), p. 142.
5 “R. W.,” letter to the London Daily Post, 18 April 1739; Otto Eric Deutsch, Handel: A Documentary Biography (London: A. & C. Black, 1955), pp. 544–45.
6 Ruth Smith, Handel’s Oratorios and Eighteenth-Century Thought (Cambridge: Cambridge University Press, 1995), pp. 288–89.
7 John Brown, A Dissertation on the Rise, Union, and Power, the Progressions, Separations, and Corruptions, of Poetry and Music (London: L. Davis and C. Reymers, 1763), p. 218; quoted in Howard E. Smither, A History of the Oratorio, Vol. II (Chapel Hill: University of North Carolina Press, 1977), p. 255.
8 John Roberts, “Handel and Vinci’s ‘Didone Abbandonata’: Revisions and Borrowings,” Music & Letters LXVIII (1987): 149.
9 Donald Jay Grout, A History of Western Music (New York: Norton, 1960), p. 410.
10 Peter Kivy, Sound and Semblance: Reflections on Musical Representation (Princeton: Princeton University Press, 1984), pp. 210–11.
11 Roberts, “Handel and Vinci’s ‘Didone Abbandonata,’” p. 149.
12 Quoted in John Roberts, “Handel and Charles Jennen’s Italian Opera Manuscripts,” in Music and Theatre: Essays in Honour of Winton Dean, ed. Nigel Fortune (Cambridge: Cambridge University Press, 1987), p. 192.
13 Jens Peter Larsen, Handel’s Messiah (2nd ed., New York: Norton, 1972), p. 83.
14 Leppert, “Imagery, Musical Confrontation and Cultural Difference,” p. 331.
15 S. L. Gulich, ed., Some Unpublished Letters of Lord Chesterfield (Berkeley and Los Angeles: University of California Press, 1937), p. 78.
16 “Short But Most Necessary Draft for a Well-Appointed Church Music,” in The Bach Reader, eds. Hans T. David and Arthur Mendel (rev. ed., New York: Norton, 1966), pp. 120–24.
17 Joshua Rifkin, “Bach’s Chorus,” Musical Times CXXIII (1982): 747–54;thecontroversy over this article has lasted more than twenty years and generated a sizeable literature of books, articles and manifestoes.
18 Burney, A General History of Music, ed.F.Mercer, Vol.I (New York: Dover, 1957), p. 21.
19 Carl Friedrich Zelter to Johann Wolfgang von Goethe (1827), quoted in R. Taruskin, Text and Act (New York: Oxford University Press, 1995), p. 310.
20 See Eric Chafe, Tonal Allegory in the Vocal Music of J. S. Bach (Berkeley and Los Angeles: University of California Press, 1991), p. 15.
21 Johann Adolph Scheibe, “Letter from an Able Musikant Abroad” (1737), in David and Mendel, The Bach Reader, p. 238.
22 See Cecelia Hopkins Porter, “The New Public and the Reordering of the Musical Establishment: The Lower Rhine Music festivals, 1818–67,” 19th Century Music III (1979–80): 211–24.
23 “Musikalische,” Neue Zeitschrift für Musik (19 February 1841), quoted in Cecelia Hopkins Porter, The Rhine as Musical Metaphor: Cultural Identity in German Romantic Music (Boston: Northeastern University Press, 1996), p. 66.
24 Johann Nikolaus Forkel, Johann Sebastian Bach: His Life, Art, and Work (London: Constable and Co., 1920), p. xxv.
25 Ibid., p. 152
26 Domenico Scarlatti, Preface to Essercizi per gravicembalo (London, 1738); quoted in Ralph Kirkpatrick, Domenico Scarlatti (Princeton: Princeton University Press, 1953), p. 102.
27 Thomas Twining, Aristotle’s Treatise on Poetry, Translated: With Notes on the Translation, and on the Original; And Two Dissertations, on Poetical, and Musical, Imitation (2nd ed., London, 1812), p. 66.
28 Title page of XLII Suites de Pieces Pour le Clavecin. En deux Volumes. Composées par Domenico Scarlatti…Carefully Revised & Corrected from the Errors of the Press [by] Thos. Roseingrave (London: B. Cooke, [1739]).
29 Francesco Geminiani, Treatise of Good Taste in the Art of Musick (London, 1749), p. 4.
30 Burney, A General History of Music, ed., F.Mercer, Vol.II, p. 706.
31 Ralph Kirkpatrick, Domenico Scarlatti, p. 266.
32 Fernando Valenti, liner note to Domenico Scarlatti, Sonatas for Harpsichord (Westminster Records, 1952).
33 Edward E. Lowinsky, Tonality and Atonality in Sixteenth-Century Music (Berkeley and Los Angeles: University of California Press, 1962), p. 74.
34 Igor Stravinsky, Foreword to Lowinsky, Tonality and Atonality, p. viii.
1 First reported (or invented) in Friedrich Rochlitz, “Karl Philipp Emmanuel Bach,” Für Freunde der Tonkunst, Vol. IV (1832), p. 308.
2 See H. Riemann, Introduction to Sinfonien der pfalzbayerischen Schule, Denkmäler der Tonkunst in Bayern, Vol. IV, Jahrgang iii/1 (1902).
3 See F. Torrefranca, Le origini italiane del romanticismo musicale: I primitivi della sonata moderna (Turin, 1930).
4 See W. Fischer, Wiener Instrumentalmusik vor und um 1750, Vol. II, Denkmäler der Tonkunst in Österreich, Vol. XXXIX, Jahrgang xix/2 (1912).
5 Daniel Heartz, Haydn, Mozart and the Viennese School: 1740–1780 (New York: W. W. Norton, 1995); eight years later Heartz published a thousand-page sequel, Music in European Capitals: The Galant Style, 1720–1780 (New York: Norton, 2003).
6 Daniel Heartz, “Approaching a History of Eighteenth-Century Music,” Current Musicology 9 (1969): 92–93.
7 F. W. Marpurg, Der critische Musicus an der Spree, no. 27 (Berlin, 2 September 1749), p. 215.
8 C. P. E. Bach, Versuch über die wahre Art das Clavier zu spielen (Berlin, 1753), p. 119.
9 C. P. E. Bach, Versuch, pp. 122–23, trans. Piero Weiss in P. Weiss and R. Taruskin, Music in the Western World, 2nd ed., p. 230.
10 C. P. E. Bach, Essay on the True Art of Playing Keyboard Instruments, trans. William J. Mitchell (New York: Norton, 1949), p. 430.
11 Heinrich Wilhelm von Gerstenberg, letter to Friedrich Nicolai (1767), quoted in Eugene Helm, “The ‘Hamlet’ Fantasy and the Literary Element in C. P. E. Bach’s Music,” Musical Quarterly LVIII (1972): 279.
12 Carl Friedrich Cramer, Flora (Hamburg, 1787), p. xiii; quoted in Helm, “The ‘Hamlet’ Fantasy,” p. 287.
13 C. P. E. Bach to H. W. von Gerstenberg (1773); quoted in Helm, “The ‘Hamlet’ Fantasy,” p. 291.
14 C. P. E. Bach, Versuch, p. 121, trans.PieroWeissinP.WeissandR.Taruskin, Music in the Western World, 2nd ed., p. 230.
15 Burney, A General History of Music, Vol. II, ed. F. Mercer (New York: Dover, 1957), p. 866.
16 Burney, A General History of Music, Vol. II, ed. F. Mercer, p. 866.
17 William S. Newman, The Sonata in the Classic Era (2nd ed., New York: Norton, 1972), p. 621.
18 Quoted in Stephen Roe, “Johann Christian Bach,” in New Grove Dictionary of Music and Musicians, Vol. II (2nd ed., New York: Grove, 2000), p. 417.
19 See Piero Weiss, “Baroque Opera and the Two Verisimilitudes,” in Music and Civilization: Essays in Honor of Paul Henry Lang, eds. E. Strainchamps and M. R. Maniates (New York: Norton, 1984), pp. 117–26; idem, “La diffusione del repertorio operistico nell’Italia del Settecento: Il caso dell’opera buffa,” in S. Davoli, ed., Civiltà teatrale e Settecento emiliano (Bologna, 1986), pp. 241–56; idem, “Ancora sulle origini dell’opera comica: Il linguaggio,” Studi pergolesiani/Pergolesi Studies I (1986): 124–48; and especially Wye J. Allanbrook, “Comic Flux and Comic Precision,” and “A Voiceless Mimesis,” lectures delivered at the University of California at Berkeley, in the fall of 1994 while this book was being drafted, forthcoming as The Secular Commedia: Comic Mimesis in Late Eighteenth-Century Music (Ernest Bloch Lectures, Berkeley and Los Angeles: University of California Press).
20 Aristotle, Poetics, trans. Kenneth A. Telford (Chicago: Regnery, 1961), pp. 10–29.
21 Denis Diderot, Le Neveu de Rameau, trans. Wye J. Allanbrook in “Comic Flux and Comic Precision.”
1 Johann Adam Hiller, Wöchentliche Nachrichten und Anmerkungen, die Musik betreffend, Vol. III, p. 8 (22 August 1768), trans. Piero Weiss in P. Weiss and R. Taruskin, Music in the Western World, 2nd ed., pp. 239–40.
2 Carlo Goldoni, Preface to La buona figliuola, trans. Catherine Silberblatt Woflthal in the notes to Fonit Cetra LMA 3012 (Niccolò Piccinni, La buuona figliola [sic]), ca. 1981.
3 William C. Holmes, “Pamela Transformed,” Musical Quarterly XXXVIII (1952): 589
4 Christoph Willibald Gluck, Preface to Alceste, trans. Piero Weiss in P. Weiss and R. Taruskin, Music in the Western World, 2nd ed., pp. 254–55.
5 I. F. Edlen von Mosel, Ueber das Leben und die Werke des Anton Salieri, K. k. Hofkepellmeister (Vienna, 1827), p. 93; trans. Daniel Heartz in “Coming of Age in Bohemia: The Musical Apprenticeships of Benda and Gluck,” Journal of Musicology VI (1988): 524.
6 Ranieri de Calzabigi, “Lettre au rédacteur du Mercure de France” (signed 25 June 1784), Mercure de France, 21 August 1784.
7 Alfred Einstein, Gluck, trans. Eric Blom (London: Dent, 1936), p. 82.
8 M. Boyé, L’Expression musicale, mise au rang des Chimères (Amsterdam, 1779), p. 14.
9 Eduard Hanslick, On the Musically Beautiful (Vom Musikalisch-Schönen, 1854), trans. Geoffrey Payzant (Indianapolis: Hackett, 1986), pp. 16–17.
10 J. J. Rousseau, Extrait d’une réponse du petit faiseur à son prête-nom, sur un morceau de l’Orphée de M. le chevalier Gluck (Geneva, 1781).
11 Letter from Gluck to François Louis Du Roullet, in L’Année litteraire, 1777; quoted in Einstein, Gluck, pp. 146–47.
12 Wye J. Allanbrook, Rhythmic Gesture in Mozart (Chicago: University of Chicago Press, 1983), p. 16.
13 Immanuel Kant, “An Answer to the Question: What is Enlightenment?” (Beantwortung der Frage: Was ist Aufklärung?, 1784), trans. James Schmidt, in What is Enlightenment? Eighteenth-Century Answers and Twentieth-Century Questions, ed. J. Schmidt (Berkeley and Los Angeles: University of California Press, 1996), p. 58.
14 Kant, “An Answer,” trans. Schmidt, p. 59.
15 See Maynard Solomon, “Mozart: The Myth of the Eternal Child,” 19th Century Music XV (1991–2): 95–106; incorporated in Solomon, Mozart: A Life (New York: HarperCollins, 1995).
16 Daniel Heartz, Mozart’s Operas (Berkeley and Los Angeles: University of California Press, 1990), p. 9.
17 Melchior von Grimm, Correspondance littéraire, Vol. V, p. 461(1 March 1764); quoted in Heartz, Mozart’s Operas, p. 9.
18 Eric Blom, ed., Mozart’s Letters, trans. Emily Anderson (Harmondsworth: Penguin Books, 1956), pp. 181–82.
19 Blom, ed., Mozart’s Letters, p. 182.
20 Blom, ed., Mozart’s Letters, lbid., p. 208.
21 Blom, ed., Mozart’s Letters, lbid., p. 208.
22 Heartz, Mozart’s Operas, p. 108.
23 The Memoirs of Lorenzo Da Ponte, trans. Elisabeth Abbott (New York: Orion Press, 1959), p. 232.
24 George Bernard Shaw, quoted in The Encyclopedia Brittanica, s.v. “Opera” (www.britannica.com/eb/print?eu=118789).
25 E. T. A. Hoffmann, “A Tale of Don Juan” (1813), in Pleasures of Music, trans. Jacques Barzun (New York: Viking, 1960), p. 28.
26 S. Kierkegaard, Eithor/Or, Part I, trans. H. V. Hong and E. H. Hong (Princeton: Princeton University Press, 1987), p. 57.
27 The Memoirs of Lorenzo Da Ponte, pp. 59–60.
28 Joseph Kerman, Opera as Drama (New York: Knopf, 1956), p. 122.
1 Charles Burney, The Present State of Music in Germany, the Netherlands, and United Provinces (2nd ed., London, 1775), p. 95.
2 C.F.D. Schubart, Ideen zu einer Ästhetik der Tonkunst (Vienna, 1806), p. 130 (describing a performance heard in 1784).
3 A. C. Dies, interview with Haydn, 15 April 1805; in Dies, A. C. Dies: Biographische Nachrichten von Joseph Haydn (Vienna, 1810), p. 17.
4 H. C. Robbins Landon, Haydn: Chronicle and Works, Vol. I (Bloomington: Indiana University Press, 1980), p. 11.
5 Georg August Griesinger, Biographische Notizen über Joseph Haydn (Leipzig: Breitkopf und Härtel, 1810), p. 17.
6 Griesinger, Biographische Notizen, p. 19; third paragraph follows Dies, Biographische Nachrichten, p. 48.
7 J. Webster, Haydn’s “Farewell” Symphony and the Idea of Classical Style (Cambridge: Cambridge University Press, 1991), p. 45: “Since the [D-major] interlude remains unexplained, never returning, it too forms part of the ‘problem’ of the work. Its resolution can only come elsewhere—on a level which involves the entire symphony.”
8 H. C. Robbins Landon, Haydn: Chronicle and Works, Vol. II (Bloomington: Indiana University Press, 1978), p. 302.
9 Dies, Biographische Nachrichten, p. 80.
10 Diary of Charlotte Papendiek, quoted in H. C. Robbins Landon, Haydn: Chronicle and Works, Vol. III (Bloomington: Indiana University Press, 1976), p. 52.
11 Quoted in Landon, Haydn: Chronicle and Works, Vol. III, p. 150.
12 Quoted in Landon, Haydn: Chronicle and Works, Vol. III, p. 149.
13 Griesinger, Biographische Notizen, p. 32.
14 Landon, Haydn: Chronicle and Works, Vol. III, p. 531.
15 Quoted in Landon, Haydn: Chronicle and Works, Vol. III, p. 283.
16 Quoted in Landon, Haydn: Chronicle and Works, Vol. III, p. 309.
17 Quoted in Landon, Haydn: Chronicle and Works, Vol. III, p. 308.
18 Griesinger, Biographische Notizen, p. 60.
1 Mozart, Dedication of “Six Quartets, op. 10” (Vienna: Artaria, 1785).
2 Leopold Mozart to Maria Anna Mozart, February 1782; quoted in H. C. Robbins Landon, Haydn: Chronicle and Works, Vol. II (Bloomington: Indiana University Press, 1976), pp. 508–9.
3 Mozart to his father, 28 December 1782; Eric Blom, ed., Mozart’s Letters, trans. Emily Anderson (Harmondsworth: Penguin Books, 1956), p. 204.
4 Donald Francis Tovey, Essays in Musical Analysis, Vol. I (London: Oxford University Press, 1935), p. 189.
5 Leo Treitler, “Mozart and the Idea of Absolute Music,” in Music and the Historical Imagination (Cambridge: Harvard University Press, 1989), p. 206.
6 Wilhelm Wackenroder, Phantasien über die Kunst, für Freunde der Kunst (Hamburg, 1799); in Wackenroder, Werke und Briefe (Heidelberg, 1967), p. 254.
7 E. T. A. Hoffmann, “Beethoven’s Instrumental Music” (1813), in Oliver Strunk, Source Readings in Music History (New York: Norton, 1950), p. 777.
8 See R. R. Subotnik, “Evidence of a Critical World View in Mozart’s Last Three Symphonies,” in Music and Civilisation: Essays in Honor of Paul Henry Lang, ed. E. Strainchamps, M. R. Maniates, and C. Hatch (New York: Norton, 1984), pp. 29–43.
9 E. T. A. Hoffmann, Kreisleriana (1813), trans. Stephen Rumph in “A Kingdom Not of This World: The Political Context of E. T. A. Hoffmann’s Beethoven Criticism,” 19th Century Music XIX (1995–96): 50.
10 Heinrich Christoph Koch, Musikalisches Lexicon (Frankfurt am Main: A. Hermann der junger, 1802), col. 354.
11 C. Czerny, Vollständiges Lehrbuch der musikalischen Composition, Vol. I (Vienna, 1834), p. 159; see Jane R. Stevens, “Theme, Harmony, and Texture in Classic-Romantic Descriptions of Concerto First-Movement Form,” JAMS XXVII (1974): 47.
12 Ebenezer Prout, Applied Forms (London, 1895), pp. 203–4; quoted in Jane R. Stevens, “An Eighteenth-Century Description of Concerto First-Movement Form,” JAMS XXIV (1971): 85.
13 Julia Moore, “Mozart in the Market-Place,” Journal of the Royal Musical Association CXIV (1989): 22.
14 Moore, “Mozart in the Market-Place,” p. 23.
15 Mozart to Michael Puchberg, 12–14 July 1789; Mozart’s Letters, p. 242.
16 H. C. Koch, Versuch einer Anleitung zur Composition, Vol. III (Leipzig, 1793), p. 339; quoted in Stevens, “An Eighteenth-Century Description,” p. 91.
17 Quoted by Neal Zaslaw in “Mozart: Piano Concertos K. 456 and 459,” booklet notes accompanying Archiv Produktion CD 415 111–2 (Hamburg: Polydor International, 1986).
18 Mozart to his father, 3 July 1778; Mozart’s Letters, pp. 107–8.
19 Susan McClary, “A Musical Dialectic from the Enlightenment: Mozart’s Piano Concerto in G Major, K. 453, Movement 2,” Cultural Critique 4 (Fall 1986): 149.
20 McClary, “A Musical Dialectic,” p. 151.
21 Wye J. Allanbrook, The Secular Commedia (forthcoming, Berkeley and Los Angeles: University of California Press).
22 Koch, Versuch einer Anleitung, Vol. III, p. 332; quoted in Stevens, “An Eighteenth-Century Description,” p. 94.
23 Stevens,“An Eighteenth-Century Description,” p. 94.
24 Quoted in Julie Anne Vertrees, “Mozart’s String Quartet K. 465: The History of a Controversy,” Current Musicology 17 (1974): 97.
25 Donald Francis Tovey, Essays in Musical Analysis, Vol. V (London: Oxford University Press, 1937), p. 115.
1 The Confessions of Jean-Jacques Rousseau (New York: Random House [Modern Library], n. d.), p. 1.
2 E. T. A. Hoffmann, “Beethoven’s Instrumental Music” (1813), in Oliver Strunk, Source Readings in Music History (New York: Norton, 1950), p. 775.
3 Immanuel Kant, Critique of Judgment (1790), trans. J. H. Bernard (New York: Hafner, 1951), p. 174.
4 Quoted in Strunk, Source Readings, p. 776.
5 Walter Pater, “The School of Giorgione” (1873), in The Aesthetes: A Sourcebook, ed. Ian Small (London: Routledge and Kegan Paul, 1979), p. 15.
6 Quoted in Strunk, Source Readings, p. 776.
7 Hoffmann, quoted in Strunk, Source Readings, p. 776.
8 Gustav Schilling, Encyklopädie der gesammte musikalischen Wissenschaften, oder Universal-Lexicon der Tonkunst, Vol. VI (Stuttgart 1837), in Music and Aesthetics in the Eighteenth and Early-Nineteenth Centuries, eds., P. le Huray and J. Day (Cambridge: Cambridge University Press, 1981), p. 470.
9 Edmund Burke, A Philosophical Enquiry into the Origin of Our Ideas of the Sublime and the Beautiful (1757), in Music and Aesthetics in the Eighteenth and Early-Nineteenth Centuries, eds. P. le Huray and J. Day, pp. 70–71.
10 Elaine R. Sisman, Mozart: The ‘Jupiter’ Symphony (Cambridge Music Handbooks; Cambridge: Cambridge University Press, 1993), p. 18.
11Dramaturgische Blätter (Frankfurt, 1789); quoted in Sisman, ‘Jupiter’ Symphony, p. 18.
12 Mozart to his father, 29 November 1780; quoted in Sisman, ‘Jupiter’ Symphony, p. 17.
13 Quoted in le Huray and Day, Music and Aesthetics in the Eighteenth and Early-Nineteenth Centuries, p. 474.
14 Quoted in le Huray and Day, Music and Aesthetics in the Eighteenth and Early-Nineteenth Centuries, p. 302.
15 Or, as first reported, “Too beautiful for our ears, my dear Mozart, and monstrous many notes!” (Franz Niemtschek, Leben des K. K. Kapellmeisters Wolfgang Gottlieb Mozart, nach Originalquellen beschrieben [Prague, 1798]; quoted in Thomas Bauman, W. A. Mozart: Die Entführung aus dem Serail [Cambridge Opera Handbooks; Cambridge: Cambridge University Press, 1987], p. 89).
16 F. R. Toreinx, L’Histoire du romantisme (1829); quoted in le Huray and Day, Music and Aesthetics in the Eighteenth and Early-Nineteenth Centuries, p. 415.
17 Ferdnand Adolf Gelbcke, “Classisch und Romantisch: Ein Beitrag zur Geschichtsschreibung der Musik unserer Zeit,” in Neue Zeitschrift für Musik (1841); quoted in le Huray and Day, Music and Aesthetics in the Eighteenth and Early-Nineteenth Centuries, p. 525.
18 Ibid., p. 527.
19 Ibid., p. 528.
20 Hoffmann, quoted in Strunk, Source Readings, p. 776.
21 Ibid., p. 777.
22 Ibid., p. 778.
23 Carl Dahlhaus, Nineteenth-Century Music, trans. J. B. Robinson (Berkeley and Los Angeles: University of California Press, 1989), p. 9.
24 Beethoven to Franz Wegeler, 29 June 1801; in Beethoven: Letters, Journals and Conversations trans. Michael Hamburger (Garden City, N.Y.: Doubleday and Co., 1960), p. 24.
25 For the full text, trans. Piero Weiss, see P. Weiss and R. Taruskin, Music in the Western World, 2nd ed., pp. 277–79.
26 See Scott Burnham, Beethoven Hero (Princeton: Princeton University Press, 1995), p. xviii.
27 Ferdinand Ries, Biographische Notizen über Ludwig van Beethoven (1838), in Beethoven: Impressions By His Contemporaries, ed. O. G. Sonneck, (New York: Schirmer, 1926), p. 54.
28 Goethe to Carl Friedrich Zelter, 2 September 1812; in Beethoven: Impressions by His Contemporaries, ed. O. G. Sonneck (New York: Schirmer, 1926), p. 88.
29 See M. Solomon, “New Light on Beethoven’s Letter to an Unknown Woman,” Musical Quarterly LVIII (1972): 572–87; also M. Solomon, Beethoven (New York: Schirmer, 1977), Chap. 15.
30 Elliot Forbes, ed., Thayer’s Life of Beethoven (Princeton: Princeton University Press, 1967), pp. 897–98.
31 Forbes, ed., Thayer’s Life of Beethoven, pp. 907–8.
32 Quoted in Forbes, ed., Thayer’s Life of Beethoven, p. 909.
33 Louis Spohr’s Autobiography (London: Longman, Green, 1865), pp. 188–89.
34 M. Solomon, “Beethoven’s Ninth Symphony: A Quest for Order,” 19th-Century Music X(1986–87): 8, 10–11.
35 Joseph Kerman, The Beethoven Quartets (New York: Norton, 1979), p. 254.
36 Forbes, ed., Thayer’s Life of Beethoven, p. 1057.
1 For devotion see Joseph Kerman, “Beethoven’s Minority,” in Write All These Down: Essays on Music (Berkeley and Los Angeles: University of California Press, 1994), pp. 217–37; for derision see Kerman, The Beethoven Quartets, pp. 70–71.
2 Robert Schumann, On Music and Musicians, ed. Konrad Wolff, trans. Paul Rosenfeld (New York: Norton, 1969), p. 95.
3 Edward J. Dent, Terpander; or, Music and the Future (New York: E. P. Dutton, 1927), p. 64.
4 Edward J. Dent, “The Problems of Modern Music” (1925), in Selected Essays, ed. Hugh Taylor (Cambridge: Cambridge University Press, 1979), p. 98.
5 Dent, Terpander, p. 91.
6 Clive Bell, Old Friends (London, 1956); quoted in Eric Walter White, Stravinsky: The Composer and His Works (Berkeley and Los Angeles: University of California Press, 1966), p. 60.
7 See Stravinsky’s review (ghostwritten by his assistant Robert Craft) of Kerman’s The Beethoven Quartets in The New York Review of Books, 26 September 1968; reprinted in Igor Stravinsky and Robert Craft, Retrospectives and Conclusion (New York: Knopf, 1969), pp. 130–42.
8 Stravinsky: An Autobiography (New York: Simon and Schuster, 1936), p. 181.
9 Quoted in David Revill, The Roaring Silence: John Cage, A Life (New York: Arcade, 1992), pp. 95–96.
10 Adolf Bernhard Marx, Ludwig van Beethoven: Leben und Schaffen, 6th ed., ed. and rev. Gustav Behncke, Vol. II (Berlin: Otto Janke, 1908), p. 62.
11 Album inscription, quoted in Thayer’s Life of Beethoven, ed. Elliot Forbes (Princeton: Princeton University Press, 1967), p. 115.
12 Ferdinand Ries, Biographische Notizen über Ludwig van Beethoven (1838), in Beethoven: Impressions By His Contemporaries, ed. O. G. Sonneck (New York: Schirmer, 1926), p. 74.
13 Personal communication to author.
14 A. C. Kalischer, Beetnoven und Wien (Berlin, 1910), p. 8.
15 Quoted in Rita Steblin, A History of Key Characteristics in the Eighteenth and Early Nineteenth Centuries (Ann Arbor: UMI Research Press, 1983), p. 109.
16 John Daverio, Robert Schumann: Herald of a “New Poetic Age” (New York: Oxford University Press, 1997), p. 345.
17 Martin Opitz, Prosodia Germanica (ca. 1650); quoted in Daverio, Schumann, p. 345.
18 E. T. A. Hoffmann, “Beethoven’s Instrumental Music” (1813), in Oliver Strunk, Source Readings in Music History (New York: Norton, 1950), p. 778.
19 Richard Wagner, Das Judenthum in der Musik (1850), in Judaism in Music and Other Essays, trans. W. Ashton Ellis (Lincoln: University of Nebraska Press, 1995), p. 96.
20 Charles Rosen, Critical Entertainments: Music Old and New (Cambridge: Harvard University Press, 2000), p. 267.
21 Bettina von Arnim to Goethe, 28 May 1810; in Beethoven: Impressions by His Contemporaries, ed. O. G. Sonneck (New York: Schirmer, 1926), p. 80.
22 Artur Schopenhauer, The World as Will and Representation, trans. E. F. J. Payne, Vol. I (New York: Dover, 1966), p. 260.
23 Quoted in Forbes, ed. Thayer’s Life of Beethoven, p. 1046.
24 Quoted in Beethoven: Letters, Journals and Conversations, trans. and ed. Michael Hamburger (Garden City, N.Y.: Doubleday, 1960), p. 151.
25 Friedrich Nietzsche, Menschliches Allzumenschliches (1878); quoted in Leo Treitler, Music and the Historical Imagination (Cambridge: Harvard University Press, 1989), p. 61.
26 See William Kinderman, “Beethoven’s Symbol for the Deity in the Missa solemnis and the Ninth Symphony,” 19th-Century Music XI (1985): 102–18.
27 Arnold Hauser, The Social History of Art, trans. Stanley Godman (New York: Vintage, n. d.), Vol. III, p. 82.
28 Hauser, Social History of Art, Vol. III, p. 82.
29 Richard Wagner, The Art-Work of the Future, in Richard Wagner’s Prose Works, trans. W. Ashton Ellis, Vol. I (London, 1895), p. 123.
30 Paul Henry Lang, “Music and History” (1952), in P. H. Lang, Musicology and Performance, ed. Alfred Mann and George Buelow (New Haven: Yale University Press, 1997), p. 38.
31 Stanley Hoffman, “Us and Them,” The New Republic, 12 July 1993, p. 32.