Music in the Classical Era Schedule & Assignments
Blake Howe Louisiana State University
On the course webpage, most reading assignments from eighteenth-‐‑century English-‐‑language sources are linked to Google Books or other electronic libraries. Style and Periodization in the “Long” Eighteenth Century Reading (preferably before the semester begins):
• [historical/analytical study] Daniel Heartz, “Approaching a History of Eighteenth-‐‑Century Music,” Current Musicology 9 (1969): 92–95.
• [historical/analytical study] James Webster, “The Eighteenth Century as a Music-‐‑Historical Period?” Eighteenth-‐‑Century Music 1 (2004): 47–60; and/or “Between Enlightenment and Romanticism in Music History: ‘First Viennese Modernism’ and the Delayed Nineteenth Century,” 19th-‐‑Century Music 25 (2001–02): 108–26.
• [historical/analytical study] Charles Rosen, The Classical Style: Haydn, Mozart, Beethoven (New York and London: W. W. Norton, 1971; rev. ed., 1997), 43–98.
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Metastasio & Friends Repertoire (listening and studying):
• Johann Adolf Hasse, Cleofide (1731): Overture; Act II, scenes 1–11; Act III, scenes 11–13 (Emma Kirkby, soprano, with the Cappella Coloniensis, conducted by William Christie)
• Johann Adolf Hasse, “Digli ch’io son fedele,” as ornamented by Porporino and transcribed by Frederick the Great; in facsimile copy in Auszierung zur Arie “Digli ch’io son fedele” aus der Oper Cleofide (Wiesbaden: Breitkopf & Härtel, 1991), and in a modern transcription in Hans-‐‑Peter Schmitz, Die Kunst der Verzierung im 18. Jahrhundert: Instrumentale und vokale Musizierpraxis in Beispielen (Kassel: Bärenreiter, 1965), 121–25.
Reading:
• [source reading] Pietro Metastasio, Letter to Johann Adolf Hasse (20 October 1749), translated in Charles Burney, Memoirs of the Life and Writings of the Abate Metastasio, 3 vols. (London, 1796), 1:315–30; reprinted with changes in Patrick J. Smith, The Tenth Muse: A Historical Study of the Opera Libretto (New York: Schirmer, 1970), 403–09.
• [source reading] Charles Burney, The Present State of Music in Germany, the Netherlands, and United Provinces, 2nd ed. (London, 1775), 1:295–321 (5–6 September 1772: meetings with Metastasio, Hasse, and Bordoni in Vienna).
• [source reading] John Brown, Letters upon the Poetry and Music of the Italian Opera: Addressed to a Friend (Edinburgh: Bell and Bradfute; and London: C. Elliot and T. Kay, 1789) 36–141, digitized by the University of Oxford Text Archive.
• [source reading] Samuel Sharp, Letters of November 1765, in Letters from Italy, Describing the Customs and Manners of that Country in the Years 1765 and 1766, excerpted in Enrico Fubini, Music & Culture in Eighteenth-‐‑Century Europe: A Sourcebook, ed. Bonnie J. Blackburn (Chicago and London: University of Chicago Press, 1994), 209–11.
• [online resource] Pietro Metastasio: Drammi per musica, Università degli Studi di Padova.
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Popular Genres Intertwined: Opéra comique, Ballad Opera, Singspiel Repertoire (listening and studying):
• Alain-‐‑René Lesage, Arlequin roi de Sérendib (1712–13): Act I, scenes 2–4 • John Gay, The Beggar’s Opera (1728): Overture; Act I, scenes 10–13; and Act II,
scenes 1–4 (Airs 12–24) (Roger Daltrey, Bob Hoskins, Patricia Routledge, et al., with The English Baroque Soloists, conducted by John Eliot Gardiner, and directed by Jonathan Miller)
• Johann Adam Hiller, Die Jagd (1770): Sinfonia [Overture]; “Du süsses Wohplatz stiller Freuden (no. 10), “Ach nein! was kann ich hören?” (no. 15), and “Als ich auf meiner Bleiche” (no. 18)
Reading:
• [source reading] Jonathan Swift, “A Vindication of Mr. Gay, and the Beggars Opera,” The Intelligencer 3 (Dublin, 1728–29): 15–25.
• [source reading] Charles Burney, The Present State of Music in Germany, the Netherlands, and United Provinces, 2nd ed. (London, 1775), 72–78 (24–25 September 1772: meetings with Hiller).
• [historical/analytical study] Daniel Heartz, “The Beggar’s Opera and Opéra-‐‑comique en vaudevilles,” Early Music 27 (1999): 42–53.
• [optional historical/analytical study] Estelle Joubert, “Songs to Shape a German Nation: Hiller’s Comic Operas and the Public Sphere,” Eighteenth-‐‑Century Music 3 (2006): 213–30.
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Opera Buffa and the Construction of Naturalism Repertoire (listening and studying):
• Leonardo Vinci, Li zite ‘ngalera (1722): Act I (Maria Ercolano, soprano, with the Cappella della Pietà de’ Turchini, conducted by Antonio Florio)
• Niccolò Piccinni, La buona figliuola [La Cecchina] (1760): Overture; Act I, scenes 1–2 and 12–16 (Graziella Merrino, soprano, with La Lyra di Anfione, conducted by Vito Paternoster)
Reading:
• [source reading] Charles Burney, The Present State of Music in France and Italy, 2nd ed. (London, 1773), 301–70 (16 October–7 November 1770: visit to Naples).
• [source reading] Oliver Goldsmith, “An Essay on the Theatre, or, A Comparison between Sentimental and Laughing Comedy” (1773), in The Miscellaneous Works of Oliver Goldsmith, 4 vols. (London, 1837), 1:369–73.
• [historical/analytical study] Mary Hunter, “Some Representations of Opera Seria in Opera Buffa,” Cambridge Opera Journal 3 (1991): 89–108
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Querelle! Repertoire (listening and studying):
• Giovanni Battista Pergolesi, La serva padrona (1733): Intermezzo I (Sylvia Klein, soprano, and José Carlos Leal, bass, with the Orquestra de Câmara Sesi Minas, conducted by Sérgio Magnani)
• Jean-‐‑Jacques Rousseau, Le devin du village (1752): Overture and Scenes 1–2 (Janine Micheau, soprano, and Nicolaï Gedda, tenor, with the Orchestre de chambre Louis de Froment, conducted by Louis de Froment)
Reading:
• [source reading] Friedrich Melchior Grimm, Le petit prophète de Boehmischbroda [The Little Prophet of Boehmischbroda] (Paris, 1753), excerpted and translated in Enrico Fubini, Music & Culture in Eighteenth-‐‑Century Europe: A Sourcebook, ed. Bonnie J. Blackburn (Chicago and London: University of Chicago Press, 1994), 112–20.
• [source reading] Jean-‐‑Jacques Rousseau, Lettre sur la musique française [Letter on French Music] (Paris, 1753), excerpted and translated in Oliver Strunk, ed., Source Readings in Music History, revised edition, ed. Leo Treitler (New York and London: W. W. Norton, 1998), 895–908.
• [source reading] Denis Diderot, Le neveu de Rameau [Rameau’s Nephew] (ca. 1760), excerpted and translated in Enrico Fubini, Music & Culture in Eighteenth-‐‑Century Europe: A Sourcebook, ed. Bonnie J. Blackburn (Chicago and London: University of Chicago Press, 1994), 104–11.
• [historical/analytical study] Robert Wokler, “La Querelle des Bouffons and the Italian Liberation of France: A Study in Revolutionary Foreplay,” Eighteenth-‐‑Century Life 11 (1987): 94–116.
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Gluck’s “Noble Simplicity” Repertoire (listening and studying):
• Christoph Willibald Gluck, Orphée et Eurydice (1762, rev. 1774): Overture and Acts I–III (Vesselina Kasarova, mezzo-‐‑soprano, and Deborah York, soprano, with the Bayerische Staatsoper, conducted by Ivor Bolton)
Reading:
• [source reading] Johann Joachim Winckelmann, Gedanken ueber die Nachahmung der griechischen Werke in der Malerey und Bildhauerkunst (1755), translated as Reflections on the Imitation of Greek Works in Painting and Sculpture, trans. Elfriede Heyer and Roger C. Norton (La Salle, IL: Open Court, 1987), 33–43.
• [source reading] Ranieri de’ Calzabigi and Christoph Willibald Gluck, Preface to Alceste (1769), translated in Enrico Fubini, Music & Culture in Eighteenth-‐‑Century Europe: A Sourcebook, ed. Bonnie J. Blackburn (Chicago and London: University of Chicago Press, 1994), 364–66.
• [source reading] Charles Burney, The Present State of Music in Germany, the Netherlands, and United Provinces, 2nd ed. (London, 1775), 1:262–74 (meeting with Gluck; note that pp. 269–72 include a translation of the Preface to Alceste, already assigned above).
• [source reading] Jean-‐‑Jacques Rousseau, Extrait d’une réponse du petit faiseur a son prête-‐‑nom, sur un morceau de l’Orphée de Gluck [Extract from a Response by the Underlaborer to His Frontman Concering a Piece from Gluck’s “Orfeo”], translated in Jean-‐‑Jacques Rousseau, Essay on the Origin of Language and Writings Related to Music, trans. and ed. John T. Scott (Hanover, NH, and London: University Press of New England, 1998), 506–09.
• [historical/analytical study] Daniel Heartz, “From Garrick to Gluck: The Reform of Theatre and Opera in the Mid-‐‑Eighteenth Century,” Proceedings of the Royal Musical Association 94 (1967–68): 111–27.
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“Delightful” Essercizi Repertoire (listening and studying):
• Domenico Scarlatti, Sonata in D Major [K. 119] and Sonata in C Major [K. 548] (Richard Lester, harpsichord)
• Antonio Soler, Sonata in F-‐‑sharp Major [No. 90] (Gilbert Rowland, harpsichord) Reading:
• [source reading] Charles Burney, The Present State of Music in Germany, the Netherlands, and United Provinces, 2nd ed. (London, 1775), 251–54 (2 September 1772: meeting with Alexander Ludwig L’Augier).
• [source reading] Charles Avison, An Essay on Musical Expression (London, 1753), as excerpted in Enrico Fubini, Music & Culture in Eighteenth-‐‑Century Europe: A Sourcebook, ed. Bonnie J. Blackburn (Chicago and London: University of Chicago Press, 1994), 310–19.
• [historical/analytical study] W. Dean Sutcliffe, The Keyboard Sonatas of Domenico Scarlatti and Eighteenth-‐‑Century Musical Style (Cambridge: Cambridge University Press, 2003); at least two of the following sections: 107–22 (“Iberian Influence”), 145–66 (“Repetition and Rationality”), 236–50 (“Cluster Chords and Dirty Harmony” and “Rationales”), 276–97 (“Fingermusik and ‘Mere’ Virtuosity” and “Keyboard Realism”), or 320–25 (“Binary-‐‑Form Blues”).
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Galant Conversations Repertoire (listening and studying):
• Carl Friedrich Abel, Sonata in B-‐‑flat Major, Six Sonatas for the Harpsichord with Accompaniments for a Violin or German Flute and Violoncello, Op. 2, No. 4 (1760) (Miklós Spányi, tangent piano; László Paulik, violin; and Balázs Máté, cello)
• Domenico Alberti, Sonata in G Major, Op. 1, No. 1 (ca. 1730s) (Filippo Emanuele Ravizza, harpsichord)
• Baldassare Galuppi, Sonata in C Major [Illy No. 27] (ca. 1750s): First movement, Andante (Matteo Napoli, piano)
Reading:
• [source reading] Johann Adolf Scheibe, Letter of 1737, in Enrico Fubini, Music & Culture in Eighteenth-‐‑Century Europe: A Sourcebook, ed. Bonnie J. Blackburn (Chicago and London: University of Chicago Press, 1994), 272–73.
• [source reading] Charles Burney, The Present State of Music in France and Italy, 2nd ed. (London, 1773), 183–88 (16 August 1770: visit with Baldassare Galuppi).
• [source reading] Johann Joachim Quantz, Versuch einer Anweisung die Flöte traversiere zu spielen (Berlin, 1752), translated in On Playing the Flute, ed. Edward R. Reilly (Boston: Northeastern University Press, 2001), Chapter 11 [pp. 119–28] and Chapter 18 (§46–51 and §86–89) [pp. 318–20 and 341–42].
• [historical/analytical study] Robert O. Gjerdingen, Music in the Galant Style (Oxford and New York: Oxford University Press, 2007), 25–76, 217–24, and 309–14, in consultation with the online audio files. [The introduction (pp. 3 –24) and Appendix A (pp. 453–64) provide important information, but are optional.]
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Singing the Self: On Empfindsamkeit Repertoire (listening and studying):
• Carl Philipp Emanuel Bach, Sonata in F Major, Wq. 48/1 (1742) (Miklós Spányi, clavichord)
• Carl Philipp Emanuel Bach, “An Lyda” (1775) (Ursula Fiedler, soprano, and Lorenzo Ghielmi, fortepiano)
• Carl Philipp Emanuel Bach, Fantasia in F-‐‑sharp Minor, Wq. 67 (1787) (Jocelyne Cuiller, clavichord)
Reading:
• [source reading] “Empfindung” and “Sonate” in Allgemeine Theorie der schönen Künste, ed. Johann Georg Sulzer (1771–74), translated in Aesthetics and the Art of Musical Composition in the German Enlightenment, ed. Nancy Kovaleff Baker and Thomas Christensen (Cambridge: Cambridge University Press, 1995), 27–32 and 103–05.
• [source reading] Carl Philipp Emanuel Bach, Versuch über die wahre Art das Clavier zu spielen (1753–62), in Enrico Fubini, Music & Culture in Eighteenth-‐‑Century Europe: A Sourcebook, ed. Bonnie J. Blackburn (Chicago and London: University of Chicago Press, 1994), 292–95.
• [source reading] Charles Burney, The Present State of Music in Germany, the Netherlands, and the United Provinces, 2nd ed. (London, 1775), 2:249–56 and 269–73 (10 and 12 October 1772: meetings with Klopstock and Emanuel Bach).
• [historical/analytical study] Richard Kramer, Unfinished Music (Oxford and New York: Oxford University Press, 2008), 129–49 (“Diderot’s Paradoxe and C. P. E. Bach’s Empfindungen”)
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Filling in the “Universe of Topics”: Dances, Hunts, and More Repertoire (listening and studying):
• Christoph Gluck, Don Juan (1761): Finale [nos. 30–31] (English Baroque Soloists, conducted by John Eliot Gardiner)
• Johann Baptist Vanhal, Symphony in G Minor [Bryan g2] (ca. 1770): First movement, Allegro moderato (London Mozart Players, conducted by Matthias Bamert)
• Leopold Mozart, Sinfonia da caccia (“Die Jagd”) [s3.29] (1756): First movement, Allegro (Munich Chamber Orchestra, conducted by Hans Stadlmair)
• Wolfgang Amadeus Mozart, Piano Sonata in F Major [K. 332]: First movement, Allegro (Malcolm Bilson, fortepiano)
Reading:
• [source reading] Charles Burney, The Present State of Music in Germany, the Netherlands, and the United Provinces, 2nd ed. (London, 1775), 2:354–60 (12 September 1772: meeting with Johann Baptist Vanhal).
• [historical/analytical study] Leonard G. Ratner, Classic Music: Expression, Form, and Style (New York: Schirmer, 1980), 9–29.
• [optional historical/analytical study] Wye Jamison Allanbrook, Rhythmic Gesture in Mozart: “Le nozze di Figaro” & “Don Giovanni” (Chicago and London: University of Chicago Press, 1983), 31–70 (“The Gestures of Social Dance”).
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The Symphony in Milan and Mannheim Repertoire (listening and studying):
• Giovanni Battista Sammartini, Symphony in D Major [J-‐‑C 14] (ca. 1730) (Orchestra da Camera Milano Classica, conducted by Roberto Gini)
• Johann Stamitz, Symphony in E-‐‑flat Major, Op. 11, No. 3 (ca. 1750) (New Zealand Chamber Orchestra, conducted by Donald Armstrong)
Reading:
• [source reading] “Symphonie,” in Allgemeine Theorie der schönen Künste, ed. Johann Georg Sulzer (1771–74), translated in Aesthetics and the Art of Musical Composition in the German Enlightenment, ed. Nancy Kovaleff Baker and Thomas Christensen (Cambridge: Cambridge University Press, 1995), 105–08.
• [source reading] Heinrich Christoph Koch, Versuch einer Anleitung zur Composition (1787), translated as Introductory Essay on Composition: The Mechanical Rules of Melody, Sections 3 and 4, trans. Nancy Kovaleff Baker (New Haven and London: Yale University Press, 1983), 197–202.
• [source reading] Charles Burney, The Present State of Music in Germany, the Netherlands, and the United Provinces, 2nd ed. (London, 1775), 1:91–99 (9 August 1772: performance of the Mannheim orchestra).
• [historical/analytical study] John Spitzer and Neal Zaslaw, The Birth of the Orchestra: History of an Institution, 1650–1815 (Oxford: Oxford University Press, 2004), 507–31 (“The Meaning of the Orchestra”). [Recommended, but optional, is the chapter “The Birth of Orchestration,” pp. 436–506.]
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Concert Life in London and Paris Repertoire (listening and studying):
• Johann Christian Bach, Piano Concerto in B-‐‑flat Major, Op. 13, No. 4 (1777) (Anthony Halstead, piano, with the Hanover Band, conducted by Halstead)
• Johann Schobert, Sonata in D Minor, Op. 14, No. 4 (1760s): First movement, Allegro assai (Mario Martinoli, tangent piano)
• Wolfgang Amadeus Mozart, Symphony in D Major (“Paris”) [K. 297]: Third movement, Presto (1778) (Academy of St. Martin in the Fields, conducted by Neville Marriner)
Reading:
• [source reading] Fanny Burney, Evelina, or, A Young Lady’s Entrance in the World (London, 1778): 2:116–23 (beginning of Letter 15: visit to Vauxhall Gardens).
• [source reading] Charles Burney, The Present State of Music in France and Italy, 2nd ed. (London, 1773), pp. 14–51 (13–22 June 1770: the Concert spirituel and salon in Paris).
• [source reading] Wolfgang Amadeus Mozart, Letters to Leopold Mozart and Joseph Bullinger (1 May to 3 July 1778), in Mozart’s Letters, Mozart’s Life: Selected Letters, ed. and trans. Robert Spaethling (New York and London: W. W. Norton, 2000), 149–63.
• [source reading] Heinrich Christoph Koch, Versuch einer Anleitung zur Composition (1787), translated as Introductory Essay on Composition: The Mechanical Rules of Melody, Sections 3 and 4, trans. Nancy Kovaleff Baker (New Haven and London: Yale University Press, 1983), 207–13.
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Haydn’s Intricate Designs (I): Early Symphonies at Esterháza Repertoire (listening and studying):
• Joseph Haydn, Symphony No. 13 in D Major (1763) (Ensemble for 18th Century Music, conducted by Eiji Hashimoto)
• Joseph Haydn, Symphony No. 45 in F-‐‑sharp Minor (“Farewell”) (1772) (Concentus Musicus Wien, conducted by Nikolaus Harnoncourt)
Reading:
• [source reading] George August Griesinger, Biographische Notizen über Joseph Haydn (Leipzig, 1810), translated in Vernon Gotwals, trans., Haydn: Two Contemporary Portraits (Madison: University of Wisconsin Press, 1963), 7–21.
• [source reading] Johann Kaspar Riesbeck, Travels through Germany, in a Series of Letters, trans. Paul Henry Maty, 2 vols. (London, 1787), 66–69.
• [source reading] Joseph Haydn’s contract with Prince Paul Anton Esterházy (1 May 1761), translated in H. C. Robbins Landon, Haydn: The Early Years, 1732–1765, vol. 1 of Haydn: Chronicle and Works (Bloomington and London: Indiana University Press, 1980), 350–52.
• [source reading] Joseph Haydn’s contract with Prince Nicholas Esterházy (1 January 1779), translated in H. C. Robbins Landon, Haydn at Esterháza, 1766–1790, vol. 2 of Haydn: Chronicle and Works (Bloomington and London: Indiana University Press, 1978), 42–43.
• [historical/analytical study] H. C. Robbins Landon, Haydn at Esterháza, 1766–1790, vol. 2 of Haydn: Chronicle and Works (Bloomington and London: Indiana University Press, 1978), 70–82. [Read at least five short entries on orchestral musicians at Eisenstadt and Esterháza.]
• [historical/analytical study] James Webster, Haydn’s “Farewell” Symphony and the Idea of Classical Style: Through-‐‑Composition and Cyclic Integration in His Instrumental Music (Cambridge: Cambridge University Press, 1991), 13–29 and 113–19.
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Playing on Strings: Wit and Delight in Chamber Music Repertoire (listening and studying):
• Luigi Boccherini, String Quintet in C Major [G 324] (“La música notturna delle strade di Madrid”) (Silvia Walch and Mayumi Seiler, violins; Diemut Poppen, viola; and Richard Lester and Howard Penny, cellos)
• Joseph Haydn, String Quartet in E-‐‑flat Major, Op. 33, No. 2 (“The Joke”) (Appónyi Quartet)
• Wolfgang Amadeus Mozart, String Quartet No. 19 in C Major (“Dissonance”) [K. 465] (1785): First movement, Adagio–Allegro
Reading:
• [source reading] George August Griesinger, Biographische Notizen über Joseph Haydn (Leipzig, 1810), translated in Vernon Gotwals, trans., Haydn: Two Contemporary Portraits (Madison: University of Wisconsin Press, 1963), 53–63.
• [source reading] Johann Karl Friedrich Triest, “Bemerkung über die Ausbildung der Tonkunst in Deutschland im achtzehnten Jahrhundert” (1801), translated as “Remarks on the Development of the Art of Music in Germany in the Eighteenth Century,” trans. Susan Gillespie, in Haydn and His World, ed. Elaine Sisman (Princeton: Princeton University Press, 1997), 372–74.
• [source reading] Christian Friedrich Michaelis, “Über das Humoristische oder Launige in der musikalischen Komposition” (1807), translated in Music and Aesthetics in the Eighteenth and Early-‐‑Nineteenth Centuries, ed. Peter le Huray and James Day, abridged edition (Cambridge: Cambridge University Press, 1988), 204–05.
• [source reading] Immanuel Kant, Kritik der Urteilskraft, §46 (1790), excerpted and translated in Music and Aesthetics in the Eighteenth and Early-‐‑Nineteenth Centuries, ed. Peter le Huray and James Day, abridged edition (Cambridge: Cambridge University Press, 1988), 167–68.
• [historical/analytical study] James Webster, “Haydn’s Aesthetics,” in The Cambridge Companion to Haydn, ed. Caryl Clark (Cambridge: Cambridge University Press, 2005), 30–44.
• [optional historical/analytical study] Gretchen A. Wheelock, Haydn’s Ingenious Jesting with Art: Contexts of Musical Wit and Humor (New York: Schirmer, 1992), 33–51.
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Haydn’s Intricate Designs (II): Symphonies for Paris and London Repertoire (listening and studying):
• Joseph Haydn, Symphony No. 85 in B-‐‑flat Major (“La Reine”) (1786): First movement, Adagio–Vivace (Les Agrémens, conducted by Guy van Waas)
• Joseph Haydn, Symphony No. 94 in G Major (“Surprise”) (1791) (Royal Concertgebouw, conducted by Nikolaus Harnoncourt)
Reading:
• [source reading] George August Griesinger, Biographische Notizen über Joseph Haydn (Leipzig, 1810), translated in Vernon Gotwals, trans., Haydn: Two Contemporary Portraits (Madison: University of Wisconsin Press, 1963), 22–37.
• [source reading] Joseph Haydn, Letters to Maria Anna von Genzinger (9 February 1790 and 8 January 1791), translated in H. C. Robbins Landon, The Collected Correspondence and London Notebooks of Joseph Haydn (Fair Lawn, NJ: Essential Books, 1959), 96–98 and 111–13.
• [source reading] miscellaneous press on Haydn’s symphonies in London, as excerpted in Music in the Western World: A History in Documents, 2nd ed., ed. Piero Weiss and Richard Taruskin (Belmont, CA: Schirmer Cengage Learning, 2008), 268–69.
• [source reading] Francesco Galeazzi, Elementi teorico-‐‑pratici di musica (1796), excerpted and translated in Oliver Strunk, ed., Source Readings in Music History, revised edition, ed. Leo Treitler (New York and London: W. W. Norton, 1998), 820–26.
• [historical/analytical study] Simon McVeigh, Concert Life in London from Mozart to Haydn (Cambridge: Cambridge University Press, 1993), 119–64.
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Late Haydn and the Musical Sublime Repertoire (listening and studying):
• Joseph Haydn, Symphony No. 103 in E-‐‑flat Major (“Drum Roll”) (1795): First movement, Adagio–Allegro con spirito (London Classical Players, conducted by Roger Norrington)
• Joseph Haydn, The Creation (1796): Prelude (Die Vorstellung des Chaos) and Nos. 1–2 and 13 (London Philharmonic Choir and Orchestra, conducted by Klaus Tennstedt)
• Joseph Haydn, Harmoniemesse in B-‐‑flat Major (1802): Kyrie eleison (Collegium Musicum 90, conducted by Richard Hickox)
Reading:
• [source reading] George August Griesinger, Biographische Notizen über Joseph Haydn (Leipzig, 1810), translated in Vernon Gotwals, trans., Haydn: Two Contemporary Portraits (Madison: University of Wisconsin Press, 1963), 37–53.
• [source reading] Albert Christoph Dies, Biographische Nachrichten von Joseph Haydn (Vienna, 1810), translated in Vernon Gotwals, trans., Haydn: Two Contemporary Portraits (Madison: University of Wisconsin Press, 1963), 177–81 (the twenty-‐‑ninth visit, 5 April 1808).
• [source reading] Immanuel Kant, Kritik der Urteilskraft, §23, 24, 28 (1790), excerpted and translated in Music and Aesthetics in the Eighteenth and Early-‐‑Nineteenth Centuries, ed. Peter le Huray and James Day, abridged edition (Cambridge: Cambridge University Press, 1988), 163–64 and 166–67.
• [source reading] Christian Friedrich Michaelis, “Einige Bemerkungen über das Erhabene der Musik” (1805), excerpted and translated in Music and Aesthetics in the Eighteenth and Early-‐‑Nineteenth Centuries, ed. Peter le Huray and James Day, abridged edition (Cambridge: Cambridge University Press, 1988), 202–03.
• [historical/analytical study] James Webster, “The Creation, Haydn’s Late Vocal Music, and the Musical Sublime,” in Haydn and His World, ed. Elaine Sisman (Princeton: Princeton University Press, 1997), 57-‐‑–102.
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An American Interlude: William Billings Repertoire (listening and studying):
• William Billings, “Chester” (1770) (His Majestie'ʹs Clerkes, conducted by Paul Hillier)
• William Billings, “Africa” (1770) (The Tudor Choir, conducted by Doug Fullington Choir)
• William Billings, “Creation” (1794) (His Majestie'ʹs Clerkes, conducted by Paul Hillier)
• Daniel Read, “Sherburne” (1785) (The Tudor Choir, conducted by Doug Fullington Choir)
Reading:
• [source reading] Seba Smith, ’Way Down East, or, Portraitures of Yankee Life (Philadelphia: John E. Potter, 1854), 76–97 (“Christopher Crotchet,” a short story about a New England singing master).
• [source reading] William Billings, The New-‐‑England Psalm-‐‑Singer, or, American Chorister (Boston, [1770]), 19–20 (“To All Musical Practitioners”). [You should browse the entire tunebook, noting its content and format.]
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Mozart and the Craft of Opera: Early Ventures in Opera Seria and Singspiel Repertoire (listening and studying):
• Wolfgang Amadeus Mozart, Idomeneo, re di Creta (1780) (Luciano Pavarotti, tenor, and Federica Von Stade, mezzo soprano, with the Metropolitan Opera Orchestra, conducted by James Levine): • Overture; Act I, Scenes 7–11 • Act II, Scenes 2–3 (“Se il padre perdei” and “Fuor del mar”) and Scenes 5–6 • Act III, Scene 3 (Quartet: “Andrò ramingo e solo”) and Scenes 6–11
Reading:
• [source reading] Wolfgang Amadeus Mozart, Letters to Leopold Mozart on Idomeneo (8 November 1780–18 January 1781), in Mozart’s Letters, Mozart’s Life: Selected Letters, ed. and trans. Robert Spaethling (New York and London: W. W. Norton, 2000), 206–228.
• [source reading] Wolfgang Amadeus Mozart, Letters to Leopold Mozart on Die Entführung aus dem Serail (26 September 1781, 13 October 1781, and 20 July 1782), in Mozart’s Letters, Mozart’s Life: Selected Letters, ed. and trans. Robert Spaethling (New York and London: W. W. Norton, 2000), 285–90 and 314–16.
• [historical/analytical study] Daniel Heartz, “The Genesis of Mozart’s Idomeneo,” The Musical Quarterly 55 (1969): 1–19.
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The Enlightenment and Its Critics: The Case of Don Giovanni vs. Die Zauberflöte Repertoire (listening and studying):
• Wolfgang Amadeus Mozart, Don Giovanni (1787) (Samuel Ramey, baritone, and the Wiener Philharmoniker, conducted by Herbert von Karajan): • Act II, Scenes 13–16
• Wolfgang Amadeus Mozart, Die Zauberflöte (1791) (Simon Keenlyside, baritone, and Dorothea Röschmann, soprano, at the Royal Opera House, conducted by Colin Davis) • Act II, Scene 1, 8–12, and 30
Reading:
• [source reading] Immanuel Kant, “Beantwortung der Frage: Was ist Aufklärung?” (1784), translated in James Schmidt, ed., What is Enlightenment? Eighteenth-‐‑Century Answers and Twentieth-‐‑Century Questions (Berkeley and Los Angeles: University of California Press, 1996), 58–64.
• [source reading] Johann Georg Hamann, Letter to Christian Jacob Kraus (18 December 1784), translated in James Schmidt, ed., What is Enlightenment? Eighteenth-‐‑Century Answers and Twentieth-‐‑Century Questions (Berkeley and Los Angeles: University of California Press, 1996), 145–53.
• [historical/analytical study] Nicholas Till, Mozart and the Enlightenment: Truth, Virtue, and Beauty in Mozart’s Operas (New York: W. W. Norton, 1992), 197–228.
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Mozart in C Minor Repertoire (listening and studying):
• Wolfgang Amadeus Mozart, Fantasia and Piano Sonata in C Minor [K. 475/457] (1784) (Temenuschka Vesselinova, fortepiano)
• Wolfgang Amadeus Mozart, Piano Concerto in C Minor [K. 491] (1786) (Evgeny Kissin, piano, and the London Symphony Orchestra, conducted by Colin Davis)
Reading:
• [source reading] Wolfgang Amadeus Mozart, Letter to Leopold Mozart (2 June 1781 and 16 January 1782), in Mozart’s Letters, Mozart’s Life: Selected Letters, ed. and trans. Robert Spaethling (New York and London: W. W. Norton, 2000), 259–60 and 300–02.
• [source reading] Augustus Frederic Christopher Kollmann, An Essay on Practical Musical Composition (London, 1799), 20–25.
• [source reading] Daniel Gottlob Türk, Klavierschule, oder Anweisung zum Klavierspielen für Lehrer und Lernende (1789), translated as School of Clavier Playing, or, Instructions in Playing the Clavier for Teachers and Students, trans. Raymond H. Haggh (Lincoln: University of Nebraska Press, 1982), excerpts.
• [historical/analytical study] Robert D. Levin, “Improvised Embellishments in Mozart’s Keyboard Music,” Early Music 20 (1992): 221–33.
• [optional historical/analytical study] Joseph Kerman, “Mozart’s Piano Concertos and Their Audience,” in Write All These Down: Essays on Music (Berkeley, Los Angeles, and London: University of California Press, 1994), 322–34.
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Mozart’s Final Symphonies Repertoire (listening and studying):
• Wolfgang Amadeus Mozart, Symphony No. 39 in E-‐‑flat Major [K. 543] (1788): Second movement, Andante con moto (English Baroque Soloists, conducted by John Eliot Gardiner)
• Wolfgang Amadeus Mozart, Symphony No. 40 in G Minor [K. 550] (1788): First movement, Molto allegro (Berlin Philharmonic, conducted by Herbert von Karajan)
• Wolfgang Amadeus Mozart, Symphony No. 41 in C Major [K. 551] (1788): Fourth movement, Molto allegro (English Baroque Soloists, conducted by John Eliot Gardiner)
Reading:
• [source reading] Immanuel Kant, Kritik der Urteilskraft, §25–26 (1790), excerpted and translated in Music and Aesthetics in the Eighteenth and Early-‐‑Nineteenth Centuries, ed. Peter le Huray and James Day, abridged edition (Cambridge: Cambridge University Press, 1988), 164–65.
• [source reading] Wilhelm Heinrich Wackenroder, Phantasien über die Kunst für Freunde der Kunst (1798), translated in Confessions and Fantasies, trans. Mary Hurst Schubert (University Park: Pennsylvania State University Press, 1971), 188–94.
• [source reading] “Symphonie,” in Allgemeine Theorie der schönen Künste, ed. Johann Georg Sulzer (1771–74), translated in Aesthetics and the Art of Musical Composition in the German Enlightenment, ed. Nancy Kovaleff Baker and Thomas Christensen (Cambridge: Cambridge University Press, 1995), 105–08.
• [historical/analytical study] Elaine R. Sisman, “Learned Style and the Rhetoric of the Sublime in the ‘Jupiter’ Symphony,” in Wolfgang Amadè Mozart: Essays on His Life and His Music (Oxford Clarendon Press, 1996), 213–38.
• [optional historical/analytical study] Leo Treitler, “Mozart and the Idea of Absolute Music,” in Music and the Historical Imagination (Cambridge, MA: Harvard University Press, 1989).
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Beethoven in C Minor Repertoire (listening and studying):
• Ludwig van Beethoven, Piano Trio in C Minor, Op. 1, No. 3 (1793): First movement, Allegro con brio, and fourth movement, Prestissimo (Trio Zingara)
• Ludwig van Beethoven, Piano Sonata No. 8 in C Minor, Op. 13 [Sonate pathétique] (1798): First movement, Grave – Allegro di molto e con brio (Alfred Brendel, piano)
• Ludwig van Beethoven, Piano Concerto No. 3 in C Minor (1800): First movement, Allegro con brio (András Schiff, piano, and the Dresden Staatskapelle, conducted by Bernard Haitink)
Reading:
• [source reading] “Kurze Uebersicht des Bedeutendsten aus dem gesammten jetzigen Musikwesen in Wien,” Allgemeine musikalische Zeitung 3 (15–22 October 1800), translated as “A Sketch of the Principal Features of Contemporary Musical Life in Vienna,” in Music in the Western World: A History in Documents, 2nd ed., ed. Piero Weiss and Richard Taruskin (Belmont, CA: Schirmer Cengage Learning, 2008), 273–76.
• [source reading] Johann Friedrich Reichardt, Vertraute Briefe geschrieben auf einer Reise nach Wien… (1810), excerpted and translated as “Personal Letters Written on a Trip to Vienna,” in Oliver Strunk, ed., Source Readings in Music History, revised edition, ed. Leo Treitler (New York and London: W. W. Norton, 1998), 1029–41.
• [online resource] “Sketches by Beethoven,” Beethoven-‐‑Haus Bonn, Digital Archives.
• [historical/analytical study] Joseph Kerman, “Beethoven’s Minority,” in Write All These Down: Essays on Music (Berkeley, Los Angeles, and London: University of California Press, 1998), 217–37.
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Is Beethoven Still “Classical”? Let’s Take the Fifth Repertoire (listening and studying):
• Ludwig van Beethoven, Symphony No. 5 in C Minor (1804–08) (London Symphony Orchestra, conducted by Bernard Haitink)
Reading:
• [source reading] Ludwig van Beethoven, Letter to Carl and Johann Beethoven (6 October 1802) [“Heiligenstadt Testament”], translated in Music in the Western World: A History in Documents, 2nd ed., ed. Piero Weiss and Richard Taruskin (Belmont, CA: Schirmer Cengage Learning, 2008), 277–79.
• [source reading] E. T. A. Hoffmann, “Beethovens Instrumental-‐‑Musik” (1813), translated as “Beethoven’s Instrumental Music,” in Oliver Strunk, ed., Source Readings in Music History, revised edition, ed. Leo Treitler (New York and London: W. W. Norton, 1998), 1193–98.
• [source reading] Friedrich Schiller, Über naive und sentimentalische Dichtung (1795), as excerpted from William F. Wertz, Jr., trans., On Naïve and Sentimental Poetry, The Schiller Institute.
• [historical/analytical study] Maynard Solomon, “Beyond Classicism,” in Late Beethoven: Music, Thought, Imagination (Berkeley, Los Angeles, London: University of California Press, 2004), 27–41.