[The Oxford History of Western Music 02] • Music in the Seventeenth and Eighteenth Centuries by Taruskin, Richard -- Read -- Imperial Library of Trantor

Index

Cover Page Title Page Copyright page Contents INTRODUCTION Preface Chapter 1 Opera from Monteverdi to Monteverdi

Princely and Public Theaters; Monteverdi’s Contributions to Both Court and commerce From Mantua to Venice Poetics and esthesics Opera and its politics Sex objects, sexed and unsexed The quintessential princely spectacle The carnival show

Chapter 2 Fat Times and Lean

Organ Music from Frescobaldi to Scheidt; Schütz’s Career; Oratorio and Cantata Some organists The toccata Sweelinck—His patrimony and his progeny Lutheran adaptations: The chorale partita The chorale concerto Ruin A creative microcosm Luxuriance Shriveled down to the expressive nub Carissimi: Oratorio and cantata Women in music: A historians’ dilemma

Chapter 3 Courts Resplendent, Overthrown, Restored

Tragédie Lyrique from Lully to Rameau; English Music in the Seventeenth Century Sense and sensuousness The politics of patronage Drama as court ritual Atys, the king’s opera Art and politics: Some caveats Jacobean England Masque and consort Ayres and suites: Harmonically determined form Distracted times Restoration Purcell Dido and Aeneas and the question of “English opera” The making of a classic

Chapter 4 Class and Classicism

Opera Seria and Its Makers Naples Scarlatti Neoclassicism Metastasio Metastasio’s musicians The fortunes of Artaserse Opera seria in (and as) practice “Performance practice”

Chapter 5 The Italian Concerto Style and the Rise of Tonality-Driven Form

Corelli, Vivaldi, and Their German Imitators Standardized genres and tonal practices What, exactly, is “tonality”? The spread of “tonal form” The fugal style Handel and “defamiliarization” Bach and “dramatized” tonality Vivaldi’s five hundred “Concerti madrigaleschi”

Chapter 6 Class of 1685 (I)

Careers of J. S. Bach and G. F. Handel Compared; Bach’s Instrumental Music Contexts and canons Careers and lifestyles Roots (domestic) Roots (imported) Bach’s suites A close-up “Agrémens” and “doubles” Stylistic hybrids The “Brandenburg” Concertos “Obbligato” writing and/or arranging What does it all mean?

Chapter 7 Class of 1685 (II)

Handel’s Operas and Oratorios; Bach’s Cantatas and Passions; Domenico Scarlatti Handel on the Strand Lofty entertainments Messiah “Borrowing” Back to Bach: The cantatas The old style The new style Musical symbolism, musical idealism What music is for Bach’s “testaments” The Bach revival Cursed questions Scarlatti, at last

Chapter 8 The Comic Style

Mid-Eighteenth-Century Stylistic Change Traced to Its Sources in the 1720s; Empfindsamkeit; Galanterie; “War of the Buffoons” You can’t get there from here The younger Bachs Sensibility The London Bach Sociability music “Nature” Intermission plays The “War of the Buffoons”

Chapter 9 Enlightenment and Reform

The Operas of Piccinni, Gluck, and Mozart Novels sung on stage Noble simplicity Another querelle What was Enlightenment? Mozart Idomeneo Die Entführung aus dem Serail The “Da Ponte” operas Late works Don Giovanni close up Music as a social mirror Music and (or as) morality

Chapter 10 Instrumental Music Lifts Off

The Eighteenth-Century Symphony; Haydn Party music goes public Concert life is born An army of generals The Bach sons as “symphonists” Haydn The perfect career The Esterházy years Norms and deviations: Creating musical meaning Sign systems Anatomy of a joke The London tours Addressing throngs Variation and development More surprises The culminating work

Chapter 11 The Composer’s Voice

Mozart’s Piano Concertos; His Last Symphonies; the Fantasia as Style and as Metaphor Art for art’s sake? Psychoanalyzing music The “symphonic” concerto is born Mozart in the marketplace Composing and performing Performance as self-dramatization The tip of the iceberg Fantasia as metaphor The coming of museum culture

Chapter 12 The First Romantics

Late Eighteenth-century Music Esthetics; Beethoven’s Career and His Posthumous Legend The beautiful and the sublime Classic or Romantic? Beethoven and “Beethoven” Kampf und Sieg The Eroica Crisis and reaction The “Ninth” Inwardness

Chapter 13 C-Minor Moods

The “Struggle and Victory” Narrative and Its Relationship to Four C-Minor Works of Beethoven Devotion and derision Transgression Morti di Eroi Germination and growth Letting go The music century

Notes Art Credits Further Reading Index