Music of the Classical Era (MUS 7754) · Music of the Classical Era (MUS 7754) instructor: ......

Music of the Classical Era (MUS 7754)

instructor: Dr. Blake Howe [bhowe@ lsu.edu ] M&DA 274

meetings : Mondays, Wednesdays, Fridays, 9:30- 10:20 M&DA 22 1

office hour: Fridays, 8: 30-9: 30, or by appo intment

Problems of Periodization

Assignment for DAY 1

Historical/Analytical Studies

Daniel Heartz, "Approaching a History of Eighteenth-Century Music," Current Musicology 9 (1969): 92-95.

James Webster, "Between Enlightenment and Romanticism in Music History: 'First Viennese Modernism' and the Delayed Nineteenth Century," 19th-Century Music 25 (2001-02): 108-26.

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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Additional Sources

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Metastasio & Friends


Music

Johann Ado lf Hasse, Cleofide (1731): Overture; Act II, scenes 1-11 (Emma Kirkby, soprano, w ith the Cappella Co loniens is, conducted by William Christ ie)

Primary Sources

Pietro Metastas io, Letter to Johann Ado lf Hasse (20 October 17 49), translated in Charles Burney, Memoirs of the Life and Writings of the Abate Metastasio, 3 vo ls. (London, 1796), 1 :315-30; reprinted w ith changes in Patrick J. Smith, The Tenth Muse: A Historical Study of the Opera Libretto (New York: Sch irmer, 1970), 403-09.

Char les Burney, The Present State of Music in Germany, the Netherlands, and United Provinces, 2nd ed. (Londo n, 1775), 1 :295-321 (5-6 September 1772: meet ings w ith Metastas io, Hasse, and Bordon i in Vienna).

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.

Online Resources

Pietro Metastas io: Dramm i per musica, Universita deg li Stud i di Padova

Ac ivities

Reading and Listen ing Ques tions 01


Music

Johann Ado lf Hasse, "Digli ch'io son fede le," as ornamented by Porpor ino and transcribed by Freder ick the Great; in facsim ile copy in Auszierung zur Arie "Dig/i ch'io son fedele" aus der Oper Cleofide (Wiesbaden: Bre itkopf & Harte l, 1991 ), and in a modern transcr iption in Hans-Pete r Schm itz, Die Kunst der Verzierung im 18. Jahrhundert: lnstrumentale und vokale Musizierpraxis in Beispielen (Kasse l: Biirenre iter, 1965), 121-25.

Primary Sources

Char les Burney, The Present State of Music in France and Italy, 2nd ed. (London, 1773), 210-25 (25 August 1770: meet ing with Farinelli outs ide Bologna).

Char les de Brosses, Letter to M. de Ma leteste (1739-40), exce rpted and translated in Enrico Fubini, Music & Culture in Eighteenth-Century Europe: A Sourcebook, ed . Bonn ie J. Blackburn (Ch icago and London: Un ive rsity of Ch icago Press, 1994), 199-208 .

Samue l Sharp, Lette rs of Novembe r 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 . Bonn ie J. Blackburn (Ch icago and London: Univers ity of Ch icago Press, 1994), 209-11.

Historical/Ana lytical Studies

Martha Feldman, "Mag ic Mirrors and the Seria Stage: Thoughts Toward a Ritua l View," Journal of the American Musicological Society 48 (1995): 423-84.

Activ ies

Read ing and Listen ing Ques tions 02

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Additional Sources

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Popular Genres Intertwined : Opera comique , Ballad Opera , Sing spiel


Music

A lain-Rene Lesage , Arfequin roi de Serendib (1712-13): Act I, scenes 2-4

John Gay, The Beggar's Opera (1728): Overtu re; Act I, scenes 10-13; and Act II, scenes 1-4 (Airs 12-24) (Roger Daltrey, Bob Hoskins, Patricia Routledge, et al., w ith The English Baroque Soloists, conducted by John Eliot Gard iner, and directed by Jonathan Miller)

Johann Ada m Hiller, Die Jagd (1770): Sinfonia [Overture]; "Du susses Wohnplatz stiller Freuden (no. 10), "Ach nein! was kann ich horen?" (no. 15), and "Als ich auf meiner Bleiche" (no. 18)

Primary Sources

Jonathan Swift, "A Vindication of Mr. Gay, and the Beggars Opera," The Intelligencer 3 (Dublin, 1728-29): 15-25.

Charles Burney, The Present State of Music in Germany, the Netherlands, and United Provinces, 2nd ed. (London, 1775), 72-78 (24-25 Septembe r 1772: meetings with Hiller).


Daniel Heartz, "The Beggar's Opera and Opera-comique en vaudevilles," Early Music 27 (1999): 42-53 .

Estelle Joubert, "Songs to Shape a German Nation: Hiller's Comic Operas and the Public Sphere," Eighteenth-Century Music 3 (2006): 213-30.

Ac ivities

Reading and Listen ing Questions 03

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Additional Sources

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Opera Buffa and the Construction of Naturalism


Music

Leonardo Vinc i, Li zite 'ngalera (1722): Act I (Maria Ercolano, soprano, with the Cappella della Piela de' Turchini, conducted by Anton io Florio)

Primary Sources

Char les Burney, The Present State of Music in France and Italy, 2nd ed. (London, 1773), 301-70 (16 October-? November 1770: visit to Naples) .


Mary Hunter, "Some Representat ions of Opera Seria in Opera Buffa," Cambridge Opera Journal 3 (1991): 89-108.

Ac ivities



Music

Niccolo Piccinni, La buona figliuola [La Cecchina] (1760): Overture; Act I, scenes 1-2 and 12-16 (Graziella Merrino, soprano, with La Lyra di Antione, conducted by Vito Paternoster)

Primary Sources

Carlo Goldoni, Memoires de M. Goldoni pour servir a /'histoire de sa vie, et a cef/e de son theatre [Memoirs of Goldoni, Serving as a History of His Life and of His Theater] (Paris, 1787), excerpted and 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), 194-96.

Oliver Goldsmith, "An Essay on the Theat re, or, A Compa rison between Sentimental and Laugh ing Comedy" (1773), in The Miscellaneous Works of Oliver Goldsmith, 4 vo ls. (London, 1837), 1 :369-73.

Denis Diderot, Eloge de Richardson [In Praise of Richardson] (1762), in Diderot , Selected Writings on Art and Literature, trans. Geoffrey Bremner (New York: Penguin, 1994 ), 82-97 .


Ted A. Emery, "Goldoni's Pamela from Play to Libretto," /ta/ica 64 (1987): 572-82.

Ac ivities


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Additional Sources

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Querelle l


Music

Giovann i Batt ista Pergolesi, La serva padrona (1733): Intermezzo I (Sylv ia Klein, soprano, and Jose Carlos Lea l, bass, with the Orquestra de Camara Ses i Minas, conducted by Serg io Magna ni)

Primary Sources

Friedrich Melch ior Grimm, Le petit prophete de Boehmischbroda [The Little Prophet of Boehmischbroda] (Par is, 1753), exce rpted and trans lated in Enrico Fubini, Music & Culture in Eighteenth-Century Europe: A Sourcebook, ed . Bonn ie J. Blackbu rn (Ch icago and London: Univers ity of Ch icago Press, 1994), 112-20 .

Jean -Philippe Rameau, Observations sur notre instinct pour la musique et sur son principe [Observations on Our Musical Instinct and on Its Principle] (1754 ), exce rpted and trans lated in Enrico Fubini, Music & Culture in Eighteenth-Century Europe: A Sourcebook, ed. Bonnie J. Blackburn (Ch icago and London: Univers ity of Ch icago Press, 1994), 141-44.

Denis Diderot, Le neveu de Rameau [Rameau's Nephew] (ca . 1760), excerpted and translat ed in Enrico Fubini, Music & Culture in Eighteenth-Century Europe: A Sourcebook, ed. Bonn ie J. Blackburn (Ch icago and London: University of Ch icago Press, 1994), 104-11.

Ac ivities


Assign ment for DAY 8

Music

Jean -Jacqu es Rousseau, Le devin du village (1752): Overture and Scenes 1-2 and 8 (Jan ine Micheau, soprano, and Nicola'( Gedda, tenor, with the Orchestra de chambre Lou is de Froment, conducted by Lou is de Froment)

Primary Sources

Jean -Jacqu es Rousseau, Lettre sur la musique frani;aise [Letter on French Music] (Paris, 1753), exce rpted and translat ed in Wye J. Allanbrook, ed., "The Late Eighteenth Century," in Strunk's Source Readings in Music History (rev ised edition), ed. Leo Treitler (New York and London: W. W. Norton, 1998).


Robert Wok ler, "La Quere/le des Bouffons and the Italian Liberation of France: A Study in Revo lutionary Foreplay," Eighteenth-Century Life 11 (1987): 94-116 .

Ac ivities


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Additional Sources

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Glu ck's "Noble Simplici ty"


Music

Chr istoph Gluck, Orfeo ed Euridice (1762): Overtu re and Acts 1-111 (Stephan ie Blythe, mezzo -soprano, and Danielle de Niese, soprano, with the Metropo litan Ope ra Orchestra, conducted by James Lev ine)

Primary Sources

Johann Joach im Winckelmann, Gedanken ueber die Nachahmung der griechischen Werke in der Malerey und Bildhauerkunst (1755), trans late d 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 .

Francesco A lgarott i, Saggio sopra /'opera in musica [Essay on Opera) (Livomo, 1755) , exce rpted and translated in Enrico Fub ini, Music & Culture in Eighteenth-Century Europe: A Sourcebook, ed. Bonn ie J. Blackbu rn (Chicago and London: Univers ity of Chicago Press, 1994), 233-40 .

Jean -Jacqu es Rousseau, Extrait d'une reponse du petit faiseur a son prete-nom, sur un morceau de l'Orphee de Gluck [Extract from a Response by the Underlaborer to His Frontman Concering a Piece from Gluck's "Orfeo'1, translat ed in Jea n-Jacques Rousseau, Essay on the Origin of Language and Writings Related to Music, trans . and ed. John T. Scott (Hanover, NH, and London: Univers ity Press of New England, 1998), 506-09.


Daniel Heartz, "From Gar rick to Gluck: The Reform of Theatre and Opera in the Mid-Eighteenth Century," Proceedings of the Royal Musical Association 94 (1967-68): 111-27.

Ac ivities


Ass ignment for DAY 10

Music

Chr istoph Gluck, lphigenie en Tauride (1779): Act I (Susan Graham, mezzo -soprano, and Paul Groves, tenor, and the Metropo litan Ope ra Orchestra, conducted by Patrick Summers)

Primary Sources

Char les Burney, The Present State of Music in Germany, the Netherlands, and United Provinces, 2nd ed. (London, 1775), 1:262-74 (meeting w ith Gluck; note that pp. 269-72 include a translation of the Preface to Alceste, ass igned below) .

Ranieri de' Ca lzab igi and Christoph Willibald Gluck, Preface to Alceste (1769), translat ed in Enrico Fubini, Music & Culture in Eighteenth-Century Europe: A Sourcebook, ed . Bonn ie J. Blackburn (Ch icago and London: University of Ch icago Press, 1994 ), 364-66.


Julian Rushton, "lphigenie en Tauride: The Operas of Gluck and Piccinni," Music & Letters 53 (1972): 411-30 .

Ac ivities


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Additional Sources

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"Delightful " Essercizi


Music

Domenico Scarlatti, Sonata in D Major [K. 119) and Sonata in F Minor [K. 481) (Richard Lester, harpsichord )

Anton io Soler, Sonata in F-sharp Major [No. 90) (Gilbert Rowland, harpsichord)

Primary Sources

Charles Burney, The Present State of Music in Germany, the Netherlands, and United Provinces, 2nd ed. (London, 1775), 251-54 (2 September 1772 : meeting w ith A lexander Ludwig L'Auger ).

Charles Avison , An Essay on Musical Expression (London, 1753) , as excerpted in Enrico Fubini, Music & Culture in Eighteenth-Century Europe: A Sourcebook, ed. Bonn ie J. Blackburn (Chicago and London: Univers ity of Chicago Press, 1994), 310-19.

Jean-Jacques Rousseau, "Sonate," Dictionnaire de musique (Paris, 1768) , excerp ted and translated in Music in the Western World: A History in Documents, 2nd ed. , ed. Piero Weiss and Richard Taruskin (Belmont, CA: Schirmer Cengage Leaming, 2008), 243-44 .


W. Dean Sutcl iffe, The Keyboard Sonatas of Domenico Scarlatti and Eighteenth-Century Musical Style (Cambridge: Cambridge University Press, 2003) ; at least two of the follow ing sections : 107-22 ("Iberian Influence"), 145-66 ("Repetition and Rationality"), 236-50 ("Cluster Chords and Dirty Harmony" and "Rationales"), 276-97 ("Fingermusik and 'Mere' Virtuos ity" and "Keyboa rd Realism"), or 320-25 ("Binary-Form Blues").

Ac ivities


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Additional Sources

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Galant Con versations


Music

Domenico Scarlatt i, Sonata in E Minor [K. 402) (mid-eighteenth century) (Richard Lester, harpsichord)

Jean-Joseph de Mondonville, Sonata in C Major, Pieces de c/avecin en sonates avec accompagnement de violon, Op. 3, No. 4 (1734): First movement, Allegro (Luc Beausejour, harpsichord, and Helene Plouffe, violin)

Domenico Alberti, Sonata in G Major, Op. 1, No. 1 (ca. 1730s) (Filippo Emanue le Ravizza, harpsichord)

Baldassare Galuppi, Sonata in C Major [Illy No. 27) (ca. 1750s): First movement, Andante (Matteo Napoli, piano)

Primary Sources

Johann Ado lf Scheibe, Letter of 1737, in Enrico Fubini, Music & Culture in Eighteenth-Century Europe: A Sourcebook, ed. Bonnie J. Blackburn (Chicago and London: Univers ity of Chicago Press, 1994), 272-73 .

Char les Burney, The Present State of Music in France and Italy, 2nd ed. (London, 1773), 183-88 (16 August 1770: visit with Baldassare Galuppi).

Johann Joach im Quantz, Versuch einer Anweisung die Flote traversiere zu spielen (Berlin, 1752), trans lated in On Playing the Flute, ed. Edward R. Reilly (Boston: Northeaste rn Univers ity Press, 2001 ), Chapter 11 [pp. 119-28] and Chapter 18 (§46-51 and §86-89) [pp. 318-20 and 341-42).


Robert 0. Gjerdingen, Music in the Ga/ant Style (Oxford and New York: Oxford Univers ity Press, 2007), 25-76, 217-24, and 309-14, in consu ltation with the online audio fi les . [The introduct ion (pp. 3-24) and Append ix A (pp. 453-64) provide important information, but are opt ional.]

Ac ivities


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Additional Sources

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Singing the Self: Meditat ions on Empflndsamke lt


Music

Carl Philipp Emanuel Bach, "An Lyda" (1775) (Ursula Fiedler, soprano, and Lorenzo Ghielmi, fortepiano )

Carl Philipp Emanuel Bach, Sonata in F Major, Wq . 48/1 (1742) (Mik16s Spanyi, clavichord)

Primary Sources

"Empfindung• and "Senate• in Allgemeine Theorie der schonen Kunste , ed. Johann Georg Su lzer (1771-74), trans lated in Aest hetics 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.

Denis Diderot , Paradox e sur le comedien [Paradox of the Actorj (1773-77), in Diderot , Selected Writings on Art and Uterature , trans. Geoffrey Bremner (New York: Penguin, 1994 ), 103-08.


Richard Kramer, Unfinished Music (Oxford and New York: Oxford University Press, 2008) , 129-49 ("Diderot's Paradoxe and C. P. E. Bach's Empfindungen ").

Acii iti~s

Reading and Listening Questio ns 12

Assignm ent for DAY 14

Music

Carl Philipp Emanuel Bach, Abschied von meinem Si/bermannischen C/aviere in einem Rondo, H. 272 (1781) (Jocelyn Cuiller, clavichord)

Carl Philipp Emanuel Bach, Fantasia in F-sharp Minor, Wq. 67 (1787) (Jocelyne Cuiller, clavichord)

Primary Sources

Carl Philipp Emanuel Bach, autob iographical statement for Charles Burney (1773), translated in Wi lliam S. Newman, "Emanue l Bach's Autobiography," The Musical Quarterly 51 (1965): 366-72.

Charles Burney, The Present State of Music in Germany. the Netherlands , and the United Provinc es, 2nd ed. (London, 1775), 2:249-56 and 269-73 (10 and 12 October 1772: meetings with Klopstock and Emanuel Bach).

Carl Philipp Emanuel Bach, Versuch Ober 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.


Annette Richards, The Free Fantas ia and the Musical Picturesque (Cambridge: Cambridge University Press, 2001 ), 145-82 ("Solitude and the Clavichord Cult").

Acii iti~s


Assignm ent for DAY 15

Music

Luigi Boccherini, Cello Sonata in C Major, G. 17 (Bruno Cocset, cello, with Les basses reunies)

Primary Sources

Jean-Georges Noverre, Lettres sur la danse et sur Jes ballets , Letter 4 (1760) , trans lated in The Works of Monsieur Noverre (London, 1782-83), 1 :44-56 .

Giuseppe Cambini, Nouvelle Methode theorique et pratique pour le violon (ca . 1803) , as excerpted and translated in the online supplement to Elisabeth Le Guin, Boccherini's Body: An Essay in Carnal Musicology (Berkeley and Los Ange les: University of California Press, 2006) .

anonymous review in Journal des Savans, 30 vent6se an VI (1797) , as excerpted and translated in the online supplement to Elisabeth Le Guin, Boccherin i's Body : An Essay in Carnal Musicology (Berkeley and Los Angeles: University of California Press, 2006) .


Elisabeth Le Guin, Boccherini's Body: An Essay in Carnal Musicology (Berkeley and Los Ange les: University of California Press, 2006) , 105-59 ("Virtuosity, Virtuality, Virtue").

Acii iti~s


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Addi tional Sources

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The Symphon y in Milan and Mannheim


Music

Giovann i Battista Sammart ini, Symphony in D Major [J-C 14) (ca. 1730) (Orchest ra da Camera Milano Classica, conducted by Roberto Gini)

Niccolo Jommell i, Temistocle: Overture (1757) (Orchestra da camera di Napoli, conducted by Enzo Amato)

Primary Sources

"Symphon ie," in Alfgemeine Theorie der schonen KOnste, ed. Johann Georg Sulzer (1771-74), translated in Aesthetics and the Art of Musical Composition in the German Enlightenment, ed. Nancy Kova leff Baker and Thomas Christensen (Cambridge: Cambridge Univers ity Press, 1995), 105-08 .

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 Kova leff Baker (New Haven and London: Yale Univers ity Press, 1983), 197-202 (on symphony form).


John Spitzer and Neal Zas law, The Birth of the Orchestra: History of an Institution, 1650-1815 (Oxford: Oxford University Press, 2004), 507-31 ("The Meaning of the Orchestra ").

Ac ivities



Music

Johann Stamitz, Symphony in E-flat Major, Op. 11, No. 3 (ca. 1750) (New Zealand Chamber Orchestra, conducted by Donald Armstrong)

Wolfgang Amadeus Mozart, Piano Sonata in C Major [K. 309) (Alicia de Larrocha, piano)

Primary Sources

Leopo ld Mozart, Report on the Present State of the Musical Establishment at the Court of His Serene Highness the Archbishop of Salzburg in the Year 1757, translated in Neal Zaslaw, Mozart's Symphonies: Context, Performance Practice, Reception (Oxford: Clarendon Press, 1989), 550-57 .

Char les 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 Mannhe im orchestra).

Wolfgang Amadeus Mozart, Letters to Leopold Mozart and Maria Anna Thek la Mozart (8 November 1777 to 10 December 1777), in Mozart's Letters, Mozart's Life: Selected Letters, ed. and trans . Robert Spaeth ling (New York and London: W. W. Norton, 2000), 90-112.

Ac ivities


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Additional Sources

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Concert Life in London and Pari s


Music

Johann Christian Bach, Piano Concerto in B-flat Major, Op. 13, No. 4 (1777) (Anthony Halstead, piano, w ith the Hanover Band, conducted by Halstead)

Johann Christian Bach, "In This Shady Bies! Retreat," Favourite Songs Sung at Vauxha/1, vol. 2 (ca. 1770) (Maria Zador i, soprano, and the Capella Savaria, conducted by Pal Nemeth)

Primary Sources

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) .

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 Kova leff Baker (New Haven and London: Yale Univers ity Press, 1983), 207-13 (on concerto form) .


Simon McVeigh, Concert Life in London from Mozart to Haydn (Cambridge: Cambridge University Press, 2006), 129-48 ("Musical Style: 'Mus ic Intended to Reach the Heart"') .

Ac ivities



Music

Jean-Joseph de Mondonville, "In exitu Israel" (1753) (Les Arts Florissants, conducted by William Christie)

Johann Schobert, Sonata in D Minor, Op. 14, No. 4 (1760s) (Mario Martinoli, tangent piano)

Franeois-Joseph Gossec, Sinfonia periodique in D Major (1761) (Orchest ra de Bretagne, conducted by Stefan Sanderl ing)

Joseph Bologna, Cheva lier de Saint-Georges, Symphon ie concertante in G Major for Two Violins and Orchestra, Op. 13 (1778) (London Symphony Orchest ra, conducted by Paul Freeman)

Pierre Vachon, Quatuor concertant in A Major, Op . 11, No. 1 (1782) (Loewenguth Quartet)

Primary Sources

Char les Burney, The Present State of Music in France and Italy, 2nd ed. (London, 1773), 14-51 (13-22 June 1770: the Concert spirituel and salon in Paris) .

miscellaneous programs of the Concert spiritua l, in Constant Pierre, Histoire du Concert spirituel, 1725-1790 (Paris: Societe fran,;;aise de musicolog ie, 1975), on reserve in the mus ic library.


Barry S. Brook, "The Symphonie concertante: Its Musical and Sociological Bases," lntemational Review of the Aesthetics and Sociology of Music 6 (1974): 9-28.

Herbert C. Turrentine, "The Prince de Conti: A Royal Patron of Music," The Musical Quarterly 54 (1968) : 309-15.

Ac ivities


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Additional Sources

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Introdu cing Topic Theo ry: Tempe sts, Dance s, Hunts , and More


Music

Christoph Gluck, Don Juan (1761): Finale [nos. 30-31] (English Baroque Soloists, conducted by John Eliot Gard iner)

Johann Baptist Vanha l, Symphony in G Minor [Bryan g2] (ca. 1770): First movement, Allegro moderato (London Mozart Players, conducted by Matthias Bamert)

Leopo ld Mozart, Sinfonia da caccia ("Die Jagd") [s3.29] (1756): First movement, Allegro (Munich Chamber Orchestra, conducted by Hans Stad lmair)

Wolfgang Amadeus Mozart, Piano Sonata in F Major [K. 332]: First movement, Allegro (Malcolm Bilson, forte piano)


Leonard G. Ratner, Classic Music: Expression, Form, and Style (New York: Schirmer, 1980), 9-29.

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") .

Clive McClelland , "Ombra and Tempesta," in The Oxford Handbook of Topic Theory, ed. Danuta Mirka (Oxford and New York: Oxford University Press, 2014 ), 279-300.

Ac ivities


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Additional Sources

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Haydn's Intricate Designs : Early Symphonies at Esterhaza


Music

Joseph Haydn, Symphony No. 13 in D Major (1763) (Ensemb le for 18th-Century Music, conducted by Eij i Hashimoto)

Primary Sources

Johann Kaspar Riesbeck, Travels through Germany, in a Series of Letters, trans. Paul Henry Maty, 2 vols. (London, 1787), 66-69.

Joseph Haydn's contract w ith Prince Paul Anton Esterhazy (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.

George August Griesinger, Biographische Notizen Ober Joseph Haydn (Leipzig, 1810), translated in Vernon Gotwa ls, trans., Haydn: Two Contemporary Portraits (Madison: University of Wiscons in Press, 1963), 7-21.


H. C. Robbins Landon, Haydn at Esterhaza, 1766-1790, vol. 2 of Haydn: Chronicle and Works (Bloomington and London: Indiana Univers ity Press, 1978), 70-82 . [Read at least five short entries on orchestra l mus icians at Eisenstadt and Esterhaza .J

Ac ivities



Music

Joseph Haydn, Symphony No. 45 in F-sharp Minor ("Farewe ll") (1772) (Concentus Mus icus Wien, conducted by Nikolaus Hamoncourt)

Primary Sources

Joseph Haydn's contract w ith Prince Nicholas Esterhazy (1 January 1779), trans lated in H. C. Robbins Landon, Haydn at Esterhaza, 1766-1790, vol. 2 of Haydn: Chronicle and Works (Bloomington and London: Indiana University Press, 1978), 42-43.


James Webster, Haydn's "Farewell" Symphony and the Idea of Classical Style: Through-Composition and Cyclic Integration in His Instrumental Music (Cambridge: Cambr idge Univers ity Press, 1991 ), 13-29 and 113-19.

Ac ivities


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Additional Sources

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Wit , Humo r, and Rheto ric


Music

Joseph Haydn, String Quartet in G Major, Op. 33, No. 5 (1781) (App6nyi Quarte t)

Wolfgang Amadeus Mozart, String Quartet in D Minor, Op. 10, No. 2 [K. 421] (1783): Fourth movemen t, Alleg retto ma non troppo (Quatuo r Ebene)

Primary Sources

George August Griesinger, Biographische Notizen Ober Joseph Haydn (Leipzig, 1810), translated in Vernon Gotwa ls, trans., Haydn: Two Contemporary Portraits (Madison: University of Wisconsin Press, 1963), 53-63 .

Johann Karl Friedrich Tries!, "Bemerkung Ober die Ausb ildung der Tonkunst in Deutschland im achtzehnten Jahrhundert" (1801 ), translated as "Remarks on the Development of the Art of Mus ic in Germany in the Eighteenth Century," trans. Susan Gillespie, in Haydn and His World, ed. Elaine Sisman (Princeton: Princeton University Press, 1997), 372-74.

Immanuel Kant, Kritik der Urtei/skraft, §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 .

Christian Friedrich Michaelis, "Ober 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 Univers ity Press, 1988), 204-05 .


Gretchen A. Whee lock, Haydn's Ingenious Jesting with Art: Contexts of Musical Wit and Humor (New York: Schirmer, 1992), 33-51.

Ac ivities



Music

Joseph Haydn, Sonata in G Major, Hob. XVl :40 (1784) (Tom Beghin, square piano)

Joseph Haydn, String Quartet in E-flat Major, Op. 76, No. 6 (1797) (Alban Berg Quartet)

Primary Sources

Johann Nikolaus Forkel, excerpts on mus ical rhetoric from Musikalischer Almanach (1784) and A/lgemeine Geschichte der Musik (1788), as translated in Tom Beghin, "Ferkel and Haydn: A Rhetorical Framewo rk for the Ana lysis of Sonata Hob. XVl:42 (D)" (DMAd iss., Cornell Univers ity, 1996), 37-38 and 99-158.


Tom Beghin, The Virtual Haydn: Paradox of a Twenty-First-Century Keyboardist (Chicago and London: University of Chicago Press, 2015), 127-67 ("'Your Most Humble and Obedient Servan t"').

Elaine Sisman, "Rhetorical Truth in Haydn's Chamber Music: Genre, Tertiary Rhetoric, and the Opus 76 Quartets," in Haydn and the Performance of Rhetoric, ed. Tom Begin and Sander M. Goldberg (Chicago and London: University of Chicago Press, 2007), 281-326.

Ac ivities


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Additional Sources

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Catering to Foreign Tastes : Works for Paris and London


Music

Wolfgang Amadeus Mozart, Sympho ny in D Major ("Paris") [K. 297] (1778) (Acade my of St. Martin in the Fields , conducted by Neville Marriner)

Joseph Haydn, Symphony No. 85 in B-flat Major ("La Reine") (1786) (Les Agremens , conducted by Guy van Waas)

Primary Sources

Wolfgang Amadeus Mozart, Letters to Leopold Mozart and Joseph Bullinger (1 May to 3 Ju ly 1778), in Mozart's Letters, Mozart's Life: Selected Letters, ed. and trans. Robert Spae thling (New York and London: W.W. Norton, 2000), 149-63.

George August Griesinger, Biographische Notizen Ober Joseph Haydn (Leipzig, 1810), translated in Vernon Gotwa ls, trans. , Haydn: Two Contemporary Portraits (Madison: University of Wisconsin Press, 1963), 22-37 .


Simon P. Keefe , "Mozart 'Stuck in Music' in Paris (1778): Towards a New Biographical Paradigm," in Mozart Studies 2, ed. Simon P. Keefe, 23-54 (Cambridge: Cambridge Univers ity Press, 2015).

Warwick Lister, "The First Performance of Haydn's 'Paris' Symphonies," Eighteenth-Century Music 1, no. 2 (2004 ): 289-300.

Ac ivities



Music

Joseph Haydn, Symphony No. 94 in G Major ("Surprise") (179 1) (Royal Concertgebouw, conducted by Nikolaus Harnoncourt)

Joseph Haydn, Piano Trio in G Major [Hob. XV:25] (1795): Th ird movement, Presto (Alexander Hohenthal, violin; Marga rethe Deppe, cello ; and Paul Guida, piano)

Primary Sources

Joseph Haydn, Letters to Maria Anna von Genzinger (9 February 1790 and 8 January 1791 ), translated in H. C. Robbins Lando n, The Collected Correspondence and London Notebooks of Joseph Haydn (Fair Lawn, NJ: Essential Books, 1959), 96-98 and 111-13.

Joseph Haydn, First and Second London Notebooks (1791-92), including copies of Rebecca Schroeter's letters, in The Collected Correspondence and London Notebooks of Joseph Haydn, ed. H. C. Robbins Landon (Fair Lawn, NJ: Essential Books, 1959), 251-86 .

miscellaneous press on Haydn's symphonies in Londo n, as excerpted in Music in the Western World: A History in Documents, 2nd ed. , ed. Piere Weiss and Richard Taruskin (Belmont, CA: Schirmer Cengage Learning, 2008), 268-69.


Emily Dolan, The Orchestral Revolution: Haydn and the Technologies of Timbre (Cambridge: Cambridge University Press, 2013), 90-135.

Ac ivities


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Additional Sources

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Late Hay dn and the Musical Sublime


Music

Wolfgang Amadeus Mozart, String Quartet No. 19 in C Major ("Dissonance") [K. 465) (1785): First movement, Adagio-Allegro (Budapest Quartet)

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 8-flat Major (1802): Kyrie eleison (Collegium Musicum 90, conducted by Richard Hickox)

Primary Sources

George August Griesinger, Biographische Notizen Ober Joseph Haydn (Leipzig, 1810), translated in Vernon Gotwals, trans., Haydn: Two Contemporary Portraits (Madison: University of Wisconsin Press, 1963), 37-53.

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).

Christian Friedrich Michaelis, "Einige Bemerkungen uber 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.


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.

Maynard Solomon, "Some Images of Creation in Music of the Viennese Classical School," The Musical Quarterly 89 (2006): 121-35.

Ac ivities

Reading and Listening Questions 26

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Mozart and the Craft of Opera : Early Ventures in Opera Seria and Singspiel


Music

Wolfgang Amadeus Mozart, ldomeneo, re di Greta (1780) (Luciano Pavarotti, tenor, and Feder ica Von Stade, mezzo soprano, with the Metropolitan Opera Orchestra, conducted by James Levine)

Primary Sources

Wolfgang Amadeus Mozart, Letters to Leopold Mozart on ldomeneo (8 November 1780-18 January 1781 ), in Mozart's Letters, Mozart's Life: Selected Letters, ed. and trans. Robert Spaeth ling (New York and London: W. W. Norton, 2000), 206-228.


Daniel Heartz, "The Genes is of Mozart's ldomeneo," The Musical Quarterly55 (1969): 1-19.

Ac ivities



Music

Wolfgang Amadeus Mozart, Die EntfOhrung aus dem Serail (1782): Overture and Act I, Nos. 3-5 (Les Arts Florissants, conducted by William Christ ie)

Wolfgang Amadeus Mozart, Piano Sonata in A Major [K. 331 J (1783): Third movement, Alla !urea - Allegretto (Alicia de Larrocha, piano)

Primary Sources

Wolfgang Amadeus Mozart, Letters to Leopold Mozart on Die EntfOhrung 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 Spae thling (New York and London: W.W . Norton, 2000), 285-90 and 314-16.


Mary Hunter, "The Alla turca Style in the Late Eighteenth Century: Race and Gender in the Symphony and the Seraglio," in The Exotic in Western Music, ed. Jonathan Bellman (Boston: Northeaste rn Univers ity Press, 1998), 43-73.

Thomas Bauman, "Coming of Age in Vienna: Die EntfOhrung aus dem Serail," in Daniel Heartz, Mozart's Operas, ed. Thomas Bauman (Berke ley: University of California Press, 1990), 65-88.

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Composer , Performe r, Subject : Mozart in C Mino r


Music

Wolfgang Amadeus Mozart, Piano Concerto in C Minor [K. 491 J (1786) (Evgeny Kissin, piano, and the London Symphony Orchestra, conducted by Colin Davis)

A lfred Schn ittke, Cadenza for Mozart's Piano Conce rto in C Minor (1975) (Simon Smith, piano)

Primary Sources

Wolfgang Amadeus Mozart, Letters to Leopold Mozart (17 Octobe r 1777, 23 Octobe r 1777, 28 December 1782 and 12 Ap ril 1783), in Mozart's Letters, Mozart's Life: Selected Letters, ed. and trans . Robert Spaethling (New York and London: W. W. Norton, 2000), 77-82, 336-37, and 347-48 .

Daniel Gottlob Tu rk, Klavierschule, oder Anweisung zum Klavierspielen fur Lehrer und Lernende (1789), excerpted in Wye J. Allanb rook, ed ., "The Late Eighteenth Century," in Strunk's Source Readings in Music History (revised edition), ed. Leo Treitler (New York and London: W.W. Norton, 1998), 875-91 (on technique and perfo rmance).

Daniel Gottlob Tu rk, Klavierschule, oder Anweisung zum Klavierspielen fur Lehrer und Lernende (1789), trans lated as School of Clavier Playing, ed. and trans. Raymond H. Haggh (Lincoln and London: Univers ity of Nebraska Press, 1982), 301-02 ( on cadenzas) .


Joseph Kerman, "Mozart's Piano Conce rtos and The ir Audience," in Write All These Down: Essays on Music (Berkeley, Los Ange les, and London: Univers ity of California Press, 1994), 322-34 .

Ac ivities



Music

Wolfgang Amadeus Mozart, Fantas ia and Piano Sonata in C Minor [K. 475/457] (1784) (Temenuschka Vesse linova, fortepiano)

Primary Sources

Wolfgang Amadeus Mozart, Letters 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.

Michael Kelly, Reminiscences (London, 1826), 1 :225-41.


Eugene K. Wolf, "The Rediscovered Autograph of Mozart's Fantasy and Sonata in C Minor, K. 475/457," The Journal of Musicology 10 ( 1992): 3-4 7.

Robert D. Levin, "Improvised Embellishments in Mozart's Keyboa rd Music," Early Music 20 (1992): 221-33 .

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The Enlightenment and Its Critics


Music

Wolfgang Amadeus Mozart, Dir, Seele des Weltalfs [K. 429) (ca. 1783): Open ing chorus (Kasse l Spoh r Chamber Orchestra conducted by Roberto Pasternostro)

Wolfgang Amadeus Mozart, Die Zauberflote (1791) (Nathan Gunn, Ying Huang, Matthew Polenzan i, et al., at the Metropolitan Opera, conducted by James Levine)

Primary Sources

Immanuel Kant, "Beantwortung der Frage: Was ist Aufk larung?" (1784), trans lated in James Schmidt, ed., What is Enlightenment? Eighteenth-Century Answers and Twentieth-Century Questions (Berke ley and Los Ange les: Univers ity of California Press, 1996), 58-64 .

Christoph Martin Wieland, "Ein paar Goldkroner aus--Macu lator" (1789), trans lated in James Schmidt, ed ., What is Enlightenment? Eighteenth-Century Answers and Twentieth-Century Questions (Berke ley and Los Ange les: Univers ity of California Press, 1996), 78-83 .

Wolfgang Amadeus Mozart, Letter to Leopold Mozart (20 June 1781 ), in Mozart's Letters, Mozart's Life: Selected Letters, ed. and trans. Robert Spae thling (New York and London: W.W . Norton, 2000), 269-70.


Robert Spae thling, "Folklore and Enlightenment in the Libretto of Mozart 's Magic Flute," Eighteenth-Century Studies 9 (1975) : 45-68 .

Ac ivities



Music

Wolfgang Amadeus Mozart, Don Giovanni (1787) (Mariusz Kwiecien, Luca Pisaroni Marina Rebeka, Barbara Frittoli, et al., at the Metropolitan Opera , conducted by Fabio Luisi)

Primary Sources

Lorenzo Da Ponte, An Extract from the Life of Lorenzo Da Ponte (New York, 1819), reprinted in Lorenzo Da Ponte, Estratto del/e Memorie, ed. Lorenzo della Cha (Milan: Edizioni ii Polifilo, 1999), 34-84 (even-numbered pages only).

Lorenzo Da Ponte, Rules Most Necessary to the Theater Direction (1791 ), trans lated in Daniel Heartz, Mozart's Operas, ed. Thomas Bauman (Berkeley: Univers ity of California Press, 1990), 104-05 .


Daniel Heartz, "Goldoni, Don Giovanni, and the Dramma giocoso," in Mozart's Operas, ed. Thomas Bauman (Berke ley: University of Californ ia Press, 1990), 195-205.

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's Final Symphonies : Drama , Expression , and the Sublime


Music

Wolfgang Amadeus Mozart, Sympho ny 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, Sympho ny No. 40 in G Minor [K. 550) (1788): First movement, Mollo allegro (Bertin Philharmonic, conducted by Herbert von Karajan)

Primary Sources

Wolfgang Amadeus Mozart, Letter to Leopold Mozart (29 March 1783), translated in Mozart's Letters, Mozart's Life: Selected Letters, ed. and trans. Robert Spaethling (New York and London: W. W. Norton, 2000), 346-47 .

Leopo ld Mozart, Letters to Nannerl Mozart (22 January -12 March 1785) , translated in The Letters of Mozart and His Family, ed. Emily Ande rson (London: Macmillan, 1938), 3:1319-1325.

Wilhelm Heinrich Wacken roder, Phantasien Ober die Kunst fur Freunde der Kunst (1798), translated in Confessions and Fantasies, trans. Mary Hurst Schubert (Univers ity Park: Pennsylvan ia State University Press, 1971 ), 188-94 .

Francesco Galeazzi, Elementi teorico-pratici di musica (1796), exce rpted and translated in Wye J. Allanb rook, ed. , "The Late Eighteen th Century," in Strunk's Source Readings in Music History (revised edition), ed. Leo Treitler (New York and London: W. W. Norton, 1998), 820-26 .


Leo Treitler, "Mozart and the Idea of Abso lute Mus ic," in Music and the Historical Imagination (Cambridge , MA: Harvard University Press, 1989), 176-214 .

Rose Rosengard Subotnik, "Evidence of a Critical Worldview in Mozart 's Last Three Symphonies," in Music and Civilization: Essays in Honor of Paul Henry Lang, ed. Edmond Strainchamps and Maria Rika Maniates (New York and London: W. W. Norton, 1984), 29-43 .

Ac ivities



Music

Wolfgang Amadeus Mozart, Sympho ny No. 4 1 in C Major [K. 551) (1788) (English Baroque Soloists , conducted by John Eliot Gardiner)

Primary Sources

Immanuel Kant, Kritik der Urtei/skraft, §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 .


Elane R. Sisman, "Learned Style and the Rhetoric of the Sublime in the 'Jupiter' Symphony ," in Wolfgang Amade Mozart: Essays on His Life and His Music (Oxford: Clarendon Press , 1996), 213-38.

Wye J. Allan brook, "Is the Sublime a Musical Topos?" Eighteenth-Century Music 7 (2010): 263-79 .

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Meanwhile , in America ...


Music

William Billings, "Afr ica" (1770) (The Tudor Choir, conducted by Doug Fullington Choir)

William Billings, "Cheste r" (1770, rev. 1778) (His Majestie's Clerkes, conducted by Pau l Hillier)

Francis Hopkinson, Seven [sic!) Songs with Keyboard Accompaniment (1778)

Primary Sources

William Billings, The New-England Psalm-Singer, or, American Chorister (Boston, (1770]), 19-20 ("To All Musical Pract itioners") . [You should browse the ent ire tunebook, noting its content and format.)

Thomas Jefferson, Letter to Giovann i Fabroni (8 June 1778), availab le online at the Avalon Project, Yale Law School.

Benjamin Franklin, Letter to Peter Franklin (ca. 1765), reprinted in B. Franklin, Experiments and Observations on Electricity (1769), 473-78.


Gilbert Chase, America's Music: From the Pilgrims to the Present, 3rd ed. (Urbana and Chicago : Univers ity of Illinois Press, 1992), 72-93 ("Gentlemen Amateurs").

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Li be rte I


Music

Jan Ladislav Dussek, The Sufferings of the Queen of France (1793) (Andreas Staier, pianoforte)

Franeois-Joseph Gossec, L'Offrande a la liberte (1792) (Chorus and Orchest ra of the RTSI, conducted by Herbert Handt)

Luigi Cherub ini, Lodoiska (1791) (Le Cercle de !'Harmon ie and Les Elements, conducted by Jerem ie Rhorer): Act Ill, Scene 6 (Symphonie guerriere ... "Tyran, au nombre de tes crimes") (Les Elements, conducted by Jerem ie Rhorer)

Ludwig van Beethoven, Fidelio (1805, rev. 1814 ): Act II, Scene 1 ("Gott! Welch' Dunkel hier!") and Scene 2 ("Heil! Heil sei dem Tag!") (Ben Heppner, tenor, and Karita Mattila, soprano, at the Metropo litan Opera, conducted by James Levine)

Primary Sources

Proceed ings of the National Convent ion (5 September 1793), in The Old Regime and the French Revolution, ed. Keith Michael Baker (Chicago and London: University of Chicago Press, 1987), 342-53.

Festival of the Supreme Being led by Maximilien de Robespierre (8 June 1794 ), in The Old Regime and the French Revolution, ed. Keith Michael Baker (Chicago and London: University of Chicago Press, 1987), 384-91.


Sarah Hibberd, "Cherub ini and the Revolutionary Sublime." Cambridge Opera Journal 24 (2012): 293-318.

Paul Robinson, "Fidelio and the French Revolution," Cambridge Opera Journal 3 (1991 ): 23-48 .

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Beetho ven and the Labor of Compo sition


Music

Ludwig van Beethoven, Piano Quartet in E-flat Major, WoO 36, No. 1 (ca. 1785) (New Zea land Piano Quartet)

Ludwig van Beethoven, Piano Trio in C Minor, Op. 1, No. 3 (1794-95) (Trio Zingara)

Primary Sources

Franz Gerhard Wegeler, Part 1 of Biographische Notizen Ober Ludwig van Beethoven (1838) , excerpted and translated in Beethoven Remembered: The Biographical Notes of Franz Wege/er and Ferdinand Ries, trans . Frederick Noonan (Arlington, VA: Great Ocean, 1987), 4-26.

Ludwig van Beethoven, Autog raph Miscellany from ca. 1786 to 1799: British Museum Additional Manuscript 19801, ff. 39-162 ("The Kafka Sketchbook") , ed. Joseph Kerman (London: British Museum , 1970), on reserve in the music library. Browse the sketches, looking especially carefully at fol. 88r (vo l. 1) and p. 228 (vol. 2).

"Sketches by Beethoven," Beethoven -Haus Bonn, Digital Archives.


Lewis Lockwood, "Beethoven before 1800: The Moza rt Legacy," Beethoven Forum 3 (1994): 39-52.

Ac ivities



Music

Ludwig van Beethoven, String Quarte t in F Major, Op. 18, No. 1 (1799) (Alban Berg Quartet). Be sure to also study Beethoven's first version of the first movement (known as the "Amenda" vers ion), looking espec ially for differences with the published ed ition.

Primary Sources

Ferdinand Ries, Part 2 of Biographische Notizen Ober Ludwig van Beethoven (1838), excerpted and translated in Beethoven Remembered: The Biographical Notes of Franz Wege/er and Ferdinand Ries, trans . Frederick Noonan (Arlington, VA: Great Ocean, 1987), 63-113.

Ludwig van Beethoven, Ein Skizzenbuch zu Streichquartetten aus Op. 18, ed. Wilhelm Vime isel (Bonn: Beethovenhaus, 1972-74) , on reserve in the music library.


Lewis Lockwood and the Ju illiard Quartet, Inside Beethoven's Quartets: History, Interpretation, Petformance (Cambridge: Harvard University Press, 2008) , 22-69.

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Struggle and Triumph


Music

Ludwig van Beethoven, Piano Sonata in C Minor, Op. 13 [Pathetique) (1799) (Alfred Brendel, piano)

Ludwig van Beethoven, Piano Sonata in D Minor, Op. 31, No. 2 ["Tempest"): First movement, Largo-Allegro (1801-02) (Murray Perahia, piano)

Primary Sources

Friedrich Schiller, Oberdas Pathetische (1793), translated in Aesthetical and Philosophical Essays (Project Gutenberg), selected excerpts.

Ludwig van Beethoven, Letters of September 1787, 29 June 1800, and 6 October 1802 ["Heiligenstadt Testament"), translated in Beethoven's Letters: A Critical Edition, ed. Alf. C. Kalischer, trans. J. S. Shedlock (1909; rpt. Books for Libraries Press, 1969), 2-3, 29-33, and 59-61.

Carl Czerny and the Baron de Tremont, selected reminiscences in Beethoven: Impressions by His Contemporaries, ed. 0 . G. Sonneck (New York: Dover, 1954), 23-31 and 68-75.


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.

Ac ivities



Music

Ludwig van Beethoven, Corio/an Overture, Op. 62 (1807) (Berlion Philharmonic Orchestra, conducted by Wilhelm Furtwangler)

Ludwig van Beethoven, Symphony No. 5 in C Minor (1804-08) (London Symphony Orchestra, conducted by Bernard Haitink)

Primary Sources

E.T. A. Hoffmann, "Beethovens lnstrumental-Musik" (1813), translated as "Beethoven's Instrumental Music," in Ruth A. Solie, ed., "The Nineteenth Century," in Strunk's Source Readings in Music History (revised edition), ed. Leo Treitler (New York and London: W. W. Norton, 1998), 1193-98.

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 Wye J. Allanbrook, ed., "The Late Eighteenth Century," in Strunk's Source Readings in Music History (revised edition), ed. Leo Treitler (New York and London: W. W. Norton, 1998), 1029-41.

Friedrich Schiller, Ober naive und sentimentalische Dichtung (1795), translated in William F. Wertz, Jr., trans., On Nai've and Sentimental Poetry, The Schiller Institute, selected excerpts.


Maynard Solomon, "Beyond Classicism," in Late Beethoven: Music, Thought, Imagination (Berkeley, Los Angeles, London: University of California Press, 2004), 27-41.

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Fantasie and Empfindung , One Last Time


Music

Ludwig van Beethoven, Fantasy for Piano , Op. 77 (1809) (Ursula Oppens, piano)

Ludwig van Beethoven, Piano Sonata in E Minor, Op. 90 (1814) (Friedrich Guida , piano)

Primary Sources

Ludwig van Beethoven, Letter to Therese von Malfatt i (ca. 1807), translated in Beethoven's Letters: A Critical Edition, ed. Alf. C. Kalischer, trans. J. S. Shedlock (1909; rpt. Books for Libraries Press,1969) , 126-27.

Carl Czerny, "Anecdotes and Notes about Beethoven," trans lated in On the Proper Performance of All Beethoven's Works for the Piano, ed. Paul Badura-Skoda (Vienna: Universal Edition, 1970), 15-16.

Ludwig van Beethoven, Tagebuch, entries 1-44, translated in Maynard Solomon, Beethoven Essays (Cambridge, MA, and London: Harvard University Press, 1988), 246-58.

G. W. F. Hegel, Phanomenologie des Geistes (1807), trans lated in The Phenomenology of Mind, trans. J.B. Baillie (New York: Macmillan, 1910), selected excerpts.


Hugh Macdona ld, Beethoven's Century: Essays on Composers and Themes (Rochester: University of Rocheste r Press, 2008), 3-15 ("Beethoven's Game of Cat and Mouse") .

Richard Kramer, Unfinished Music (New York: Oxford University Press, 2008) , 233-64 ("Opus 90: In Search of Emanuel Bach") .

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Music of the Classical Era (MUS 7754) · Music of the Classical Era (MUS 7754) instructor: ......

Documents

Transcript of Music of the Classical Era (MUS 7754) · Music of the Classical Era (MUS 7754) instructor: ......