Skip to main content Accessibility help
×
  • Cited by 2
Publisher:
Cambridge University Press
Online publication date:
August 2012
Print publication year:
2012
Online ISBN:
9781139057714

Book description

Haydn is enjoying renewed appreciation as one of the towering figures of Western music history. This lively collection builds upon this resurgence of interest, with chapters exploring the nature of Haydn's invention and the cultural forces that he both absorbed and helped to shape and express. The volume addresses Haydn's celebrated instrumental pieces, the epoch-making Creation and many lesser-known but superb vocal works including the Masses, the English canzonettas and Scottish songs and the operas L'isola disabitata and L'anima del filosofo. Topics range from Haydn's rondo forms to his violin fingerings, from his interpretation of the Credo to his reading of Ovid's Metamorphoses, from his involvement with national music to his influence on the emerging concept of the musical work. Haydn emerges as an engaged artist in every sense of the term, as remarkable for his critical response to the world around him as for his innovations in musical composition.

Reviews

"Comprising essays written by a distinguished group of leading scholars, this collection is remarkable for its critical insights, its methodological rigor, and its avoidance of trendy and tendential postmodern jargon and jingoism."
--Choice

Refine List

Actions for selected content:

Select all | Deselect all
  • View selected items
  • Export citations
  • Download PDF (zip)
  • Save to Kindle
  • Save to Dropbox
  • Save to Google Drive

Save Search

You can save your searches here and later view and run them again in "My saved searches".

Please provide a title, maximum of 40 characters.
×

Contents

Bibliography

Agnew, Vanessa. Enlightenment Orpheus: The Power of Music in Other Worlds. Oxford University Press, 2008.
Anonymous. Rhetorica ad Herennium. Translated by Harry Caplan. Cambridge, MA: Harvard University Press, 1989.
Applegate, Celia. Bach in Berlin: Nation and Culture in Mendelssohn’s Revival of the St. Matthew Passion. Ithaca, NY: Cornell University Press, 2005.
Applegate, CeliaHow German Is It? Nationalism and the Idea of Serious Music in the Early Nineteenth Century.” 19th-Century Music 21 (Spring 1998): 274–96.
Aspden, Suzanne. “‘Fam’d Handel Breathing, tho’ Transformed to Stone’: The Composer as Monument.” Journal of the American Musicological Society 55 (2002): 39–90.
Attali, Jacques. The Labyrinth in Culture and Society. Translated by Joseph Rowe. Berkeley: North Atlantic Books, 1999.
Auhagen, Ulrike. “Rhetoric and Ovid.” In William Dominik and Jon Hall, eds., A Companion to Roman Rhetoric, 413–24. Oxford: Blackwell, 2007.
Austin, J. L.How to Do Things with Words. Cambridge, MA: Harvard University Press, 1962.
Bach, C. P. E.The Letters of C. P. E. Bach. Translated and edited by Stephen L. Clark. Oxford: Clarendon Press, 1997.
Badcock, Francis John. The History of the Creeds, 2nd edn. London: Society for Promoting Christian Knowledge, New York: Macmillan, 1938.
Badura-Skoda, Eva, ed. Joseph Haydn: Bericht über den Internationalen Joseph Haydn Kongress Wien 1982. Munich: Henle, 1986.
Bakhtin, Mikhail. Rabelais and His World. Translated by Hélène Iswolsky. Bloomington: Indiana University Press, 1984.
Barchiesi, Alessandro. “Voices and Narrative ‘Instances’ in the Metamorphoses.” In Knox, ed., Oxford Readings in Classical Studies: Ovid, 274–319.
Barkóczi, István, ed. Von Raffael bis Tiepolo: Italienische Kunst aus der Sammlung des Fürstenhauses Esterházy. Munich: Klinkhardt and Bierman, 1999.
Bartha, Dénes, ed. Joseph Haydn: Gesammelte Briefe und Aufzeichnungen. Kassel: Bärenreiter, 1965.
Bartha, Dénes and László Somfai. Haydn als Opernkapellmeister: die Haydn-Dokumente der Esterházy-Opernsammlung. Budapest: Verlag der Ungarischen Akademie der Wissenschaften, 1960.
Beattie, James. Essays. Edinburgh, 1776.
Beethoven, Ludwig van. The Letters of Beethoven. Vol. 3. Translated by Emily Anderson. London: Macmillan, 1961.
Beethoven, Ludwig vanLudwig van Beethoven, Briefwechsel: Gesamtausgabe. Vol. 4. Edited by Sieghard Brandenburg. Munich: Henle, 1996.
Beghin, Tom. “‘Delivery! Delivery! Delivery!’ Crowning the Rhetorical Process of Haydn’s Keyboard Sonatas.” In Beghin and Goldberg, eds., Haydn and the Performance of Rhetoric, 131–71.
Beghin, Tom and Sander M. Goldberg, eds. Haydn and the Performance of Rhetoric. University of Chicago Press, 2007.
Bendix, Regina. InSearch of Authenticity: The Formation of Folklore Studies. Madison: University of Wisconsin Press, 1997.
Benedict XIV. Annus qui hunc: Encyclical of February 19, 1749. Http://digilander.iol.it/magistero/b14annus.htm (accessed June 5, 2003).
Benedictines of Solesmes, eds. The Liber Usualis with Introduction and Rubrics in English. Tournai: Desclée, 1953.
Berry, Wallace. Form in Music, 2nd edn. Englewood Cliffs, NJ: Prentice Hall, 1986.
Blackwell, Jeannine. “An Island of Her Own: Heroines of the German Robinsonades from 1720–1800.” The German Quarterly 58 (1985): 5–26.
Blanning, T. C. W.The Culture of Power and the Power of Culture: Old Regime Europe, 1660–1789. Oxford University Press, 2002.
Bohlman, Philip V.The Study of Folk Music in the Modern World. Bloomington: Indiana University Press, 1988.
Böhmer, Karl. “Scena di Berenice: Der Metastasio-Kanon als Kontext für Konzertarien Mozarts und Haydns.” Mozart-Jahrbuch 2000 (Kassel: Bärenreiter, 2002): 1–27.
Bonds, Mark Evan. “Haydn, Laurence Sterne, and the Origins of Musical Irony.” Journal of the American Musicological Society 44 (1991): 57–91.
Bonds, Mark EvanMusic as Thought: Listening to the Symphony in the Age of Beethoven. Princeton University Press, 2006.
Bonds, Mark Evan “Rhetoric versus Truth: Listening to Haydn in the Age of Beethoven.” In Beghin and Goldberg, eds., Haydn and the Performance of Rhetoric, 109–28.
Bonds, Mark Evan “The Symphony as Pindaric Ode.” In Sisman, ed., Haydn and His World, 131–53.
Botstein, Leon. “The Consequences of Presumed Innocence: The Nineteenth-Century Reception of Joseph Haydn.” In Sutcliffe, ed., Haydn Studies, 1–34.
Botstein, Leon. “The Demise of Philosophical Listening.” In Sisman, ed., Haydn and his World, 255–85.
Boykan, Martin. Silence and Slow Time: Studies in Musical Narrative. Lanham, MD: Scarecrow Press, 2004.
Brand, Carl Maria. Die Messen von Joseph Haydn. Würzburg-Aumühle: Konrad Triltsch, 1941.
Brandenburg, Sieghard, ed. Haydn, Mozart, and Beethoven: Studies in the Music of the Classical Period: Essays in Honor of Alan Tyson. Oxford: Clarendon Press, 1998.
Brown, A. Peter. Joseph Haydn’s Keyboard Music: Sources and Styles. Bloomington: Indiana University Press, 1986.
Brown, A. PeterMarianna Martines’ Autobiography as a New Source for Haydn’s Biography in the 1750’s.” Haydn-Studien 6 (1986): 68–70.
Brown, A. PeterMusical Settings of Anne Hunter’s Poetry: From National Song to Canzonetta.” Journal of the American Musicological Society 47 (1994): 39–89.
Brown, A. PeterNotes on Joseph Haydn’s Lieder and Canzonettas.” In Darwin F. Scott, ed., For the Love of Music: Festschrift in Honor of Theodore Front on His 90th Birthday, 77–103. Lucca: LIM Antiqua, 2002.
Brown, A. Peter Section 6 of Simon McVeigh, “Symphony,” in Jones, ed., Haydn, 396–98.
Brown, Bruce Alan. Gluck and the French Theatre in Vienna. Oxford: Clarendon Press, 1991.
Brown, Bruce AlanLe pazzie d’Orlando, Orlando paladino, and the Uses of Parody.” Italica 64 (1987): 583–605.
Brown, Marshall. “The Poetry of Haydn’s Songs: Sexuality, Repetition, Whimsy.” In Beghin and Goldberg, eds., Haydn and the Performance of Rhetoric, 229–50.
Buch, David J.Supernatural Imagery in Haydn’s Theater Music.” Haydn-Studien 9 (2006): 137–47.
Buch, Esteban. Beethoven’s Ninth: A Political History. Translated by Richard Miller. University of Chicago Press, 2003.
Burney, Charles. Memoirs of the Life and Writings of the Abate Metastasio. London, 1796. Reprint, New York: Da Capo, 1971.
Burnham, Scott. “Haydn and Humor.” In Clark, ed., The Cambridge Companion to Haydn, 61–76.
Burns, Robert. The Letters of Robert Burns, 2nd edn., vol. II. Edited by J. De Lancey Ferguson and G. Ross Roy. Oxford: Clarendon Press, 1985.
Burns, RobertNotes on Scottish Song by Robert Burns Written in an Interleaved Copy of “The Scots Musical Museum” with Additions by Robert Riddell and Others. Edited by James C. Dick.London: Frowde, 1908. Facsimile reprint in The Songs of Robert Burns and Notes on Scottish Song by Robert Burns. Hatboro, PA: Folklore Associates, 1962.
Burns, RobertThe Songs of Robert Burns. Edited by Donald A. Low. London: Routledge, 1993.
Burton, Robert. The Anatomy of Melancholy. Edited by Holbrook Jackson. London, 1932. Reprint with new introduction by William H. Gass, New York Review Books, 2001.
Butt, John. Playing with History: The Historical Approach to Musical Performance. Cambridge University Press, 2002.
Calvino, Italo. Six Memos for the Next Millennium. New York: Vintage, 1988.
Campe, Joachim Heinrich. Robinson der Jüngere. Hamburg: Beim Verfasser und in Commission bei Carl Ernst Bohn, 1779–80.
Caplin, William E. Classical Form: A Theory of Formal Functions for the Instrumental Music of Haydn, Mozart, and Beethoven. Oxford University Press, 1998.
Carli Ballola, Giovanni. “Metastasio secondo Haydn.” Chigiana 36, new series no. 16 (1979): 79–86.
Carpani, Giuseppe. Le Haydine, ovvero, Lettere su la vita e le opere del celebre maestro Giuseppe Haydn. Padua: Minerva, 1823.
Carter, Tim. Monteverdi’s Musical Theatre. New Haven: Yale University Press, 2002.
Casid, Jill. “Inhuming Empires: Islands as Colonial Nurseries and Graves.” In Felicity A. Nussbaum, ed., The Global Eighteenth Century, 279–95. Baltimore and London: Johns Hopkins University Press, 2003.
Castil-Blaze, F. H.Dictionnaire de musique moderne. Paris: Magasin de musique de la lyre moderne, 1825.
Celestini, Federico. Die frühen Klaviersonaten von Joseph Haydn. Eine vergleichende Studie. Tutzing: Schneider, 2004.
Chrissochoidis, Ilias. “Handel’s Reception and the Rise of Music Historiography in Britain.” In Zdravko Blažeković and Barbara Dobbs Mackenzie, eds., Music’s Intellectual History, 387–96. New York: Répertoire International de Littérature Musicale, 2009.
Chua, Daniel. Absolute Music and the Construction of Meaning. Cambridge University Press, 1999.
Clark, Caryl. “Haydn in the Theater: The Operas.” In Clark, ed., The Cambridge Companion to Haydn, 176–99.
Clark, CarylHaydn’s Jews: Representation and Reception on the Operatic Stage. Cambridge University Press, 2009.
Clark, Caryl ed. The Cambridge Companion to Haydn. CambridgeUniversity Press, 2005.
Cole, Malcolm S.Haydn’s Symphonic Rondo Finales: Their Structural and Stylistic Evolution.” Haydn Yearbook 13 (1982): 113–42.
Cole, Malcolm S.Sonata-Rondo, the Formulation of a Theoretical Concept in the 18th and 19th Centuries.” The Musical Quarterly 55 (1969): 180–92.
Cole, Malcolm S.The Vogue of the Instrumental Rondo in the Late Eighteenth Century.” Journal of the American Musicological Society 22 (1969): 425–55.
Cooper, Barry. Beethoven’s Folksong Settings: Chronology, Sources, Style. Oxford: Clarendon Press, 1994.
Crawford, Robert. Devolving English Literature, 2nd edn. Edinburgh University Press, 2000.
Crawford, Thomas. Society and the Lyric: A Study of the Song Culture of Eighteenth-Century Scotland. Edinburgh: Scottish Academic Press, 1979.
Cromek, R. H.Reliques of Robert Burns Consisting Chiefly of Original Letters, Poems, and Critical Observations on Scottish Songs. London, 1808.
Curry, Robert, David Gable, and Robert L. Marshall, eds. Variations on the Canon: Essays on Music from Bach to Boulez in Honor of Charles Rosen on His 80th Birthday. University of Rochester Press, 2008.
Czerny, Carl. School of Practical Composition, Opus 600. 3 vols. London, c. 1848. Reprint, New York: Da Capo, 1979.
Da Ponte, Lorenzo. Memoirs of Lorenzo Da Ponte. Translated by L. A. Sheppard. London: Routledge, 1929.
Dahlhaus, Carl. “E. T. A. Hoffmanns Beethoven-Kritik und die Ästhetik des Erhabenen.” Archiv für Musikwissenschaft 38 (1981): 72–92.
Dahlhaus, CarlThe Idea of Absolute Music. Translated by Roger Lustig. University of Chicago Press, 1989.
Dahlhaus, CarlLudwig van Beethoven: Approaches to His Music. Translated by Mary Whittall. Oxford: Clarendon Press, 1991.
Dahlhaus, CarlDie Musik des 18. Jahrhunderts. Laaber: Laaber Verlag, 1985.
Dahlhaus, CarlNineteenth-Century Music. Translated by J. Bradford Robinson. Berkeley: University of California Press, 1989.
Davie, Cedric Thorpe. “Robert Burns, Writer of Songs.” In Donald A. Low, ed., Critical Essays on Robert Burns, 157–85. London: Routledge & Kegan Paul, 1975.
Davis, Leith. Acts of Union: Scotland and the Literary Negotiation of the British Nation, 1707–1830. Stanford University Press, 1998.
Davis, LeithAt ‘Sang About’: Scottish Song and the Challenge to British Culture.” In Leith Davis, Ian Duncan, and Janet Sorensen, eds., Scotland and the Borders of Romanticism, 188–203. Cambridge University Press, 2004.
Day-O’Connell, Sarah. “Anatomy, Industry, and the English Canzonet (1770–1820): Placing Women in the Private Sphere.” Ph.D. diss., Cornell University, 2004.
Day-O’Connell, Sarah. “The Composer, the Surgeon, His Wife, and Her Poems: Haydn and the Anatomy of the English Canzonetta.” Eighteenth-Century Music 6 (2009): 77–112.
Day-O’Connell, Sarah. Review of Joseph Haydn: Werke XXXII/5. Eighteenth-Century Music 5 (2008): 257–60.
Defoe, Daniel. The Life and Strange Surprizing Adventures of Robinson Crusoe, of York, Mariner. Edited by J. Donald Crowley. Oxford University Press, 1972.
DelDonna, Anthony R. “Opera, Antiquity, and the Neapolitan Enlightenment in Paisiello’s Socrate immaginario.” Paper read at the 4th Biennial Conference of the Society for Eighteenth-Century Music, Brooklyn Heights, New York, April 8–11, 2010.
DeNora, Tia. Beethoven and the Construction of Genius: Musical Politics in Vienna 1792–1803. Berkeley: University of California Press, 1995.
Derrida, Jacques. “Economimesis.” Translated by R. Klein. Diacritics 11/2 (Summer 1981): 3–25.
D’Indy, Vincent. Cours de composition musicale, Book 2, Part 1. Edited by Auguste Sérieyx. Paris: Durand, 1909.
Dittersdorf, Karl Ditters von. The Autobiography of Karl Ditters von Dittersdorf, Dictated to His Son. Translated by A. D. Coleridge. London, 1896. Reprint, New York: Da Capo, 1970.
Dolan, Emily I.The Work of the Orchestra in Haydn’s Creation.” 19th-Century Music 34 (Summer 2010): 3–38.
Dolson, Guy Bayley. “Boethius’s Consolation of Philosophy in English Literature during the Eighteenth Century.” Classical Weekly 15/16 (1922): 124–26.
Donaldson, William. The Jacobite Song: Political Myth and National Identity. Aberdeen University Press, 1988.
Drabkin, William. “Fingering in Haydn’s String Quartets.” Early Music 16 (1988): 50–57.
Drabkin, WilliamA Reader’s Guide to Haydn’s Early String Quartets. Westport, CT: Greenwood, 1999.
Drabkin, WilliamReview of Beethoven Briefe. The Musical Times 139 (1998): 39–46.
DuRocher, Richard J.Milton and Ovid. Ithaca: Cornell University Press, 1985.
Eagleton, Terry. The Ideology of the Aesthetic. Oxford: Blackwell, 1990.
Edwards, Warwick. “New Insights into the Chronology of Haydn’s Folksong Arrangements: Reading between the Lines of the George Thomson Correspondence.” Haydn-Studien 8 (2004): 325–40.
Falconer, Rachel. Orpheus Dis(re)membered: Milton and the Myth of the Poet-Hero. Sheffield Academic Press, 1996.
Feder, Georg. “Manuscript Sources of Haydn’s Works and Their Distribution.” Haydn Yearbook 4 (1968): 102–39.
Feder, GeorgOpera seria, Opera buffa, und Opera semiseria bei Haydn.” In Klaus Hortschansky, ed., Opernstudien: Anna Amalie Abert zum 65. Geburtstag, 37–55. Tutzing: Hans Schneider, 1975.
Feder, Georg “Works.” In Grove Music Online, s. v. “Haydn, Joseph.” www.oxfordmusiconline.com (accessed June 16, 2011).
Feder, Georg and Walter Reicher, eds. Internationales Musikwissenschaftliches Symposium “Haydn und das Streichquartett” im Rahmen des “Haydn Streichquartett Weekend”: Eisenstadt, 1–5 Mai 2002. Tutzing: Schneider, 2003.
Fellerer, Karl Gustav. “The Liturgical Basis of Haydn’s Masses.” In Larsenet al., eds., Haydn Studies, 164–68.
Fisher, Stephen C.Further Thoughts on Haydn’s Symphonic Rondo Finales.” Haydn Yearbook 17 (1992): 85–107.
Fisher, Stephen C. “Haydn’s Overtures and Their Adaptations as Concert Orchestral Works.” Ph.D. diss., University of Pennsylvania, 1985.
Fisher, Stephen C. “Sonata Procedures in Haydn’s Symphonic Rondo Finales of the 1770s.” In Larsenet al., eds., Haydn Studies, 481–87.
Fiske, Roger. English Theatre Music in the Eighteenth Century. Oxford University Press, 1973.
Fiske, RogerScotland in Music: A European Enthusiasm. Cambridge University Press, 1983.
Forkel, Johann Nikolaus. Review of C. P. E. Bach, Claviersonaten, mit einer Violin und einem Violoncell zur Begleitung. In Forkel, ed., Musikalisch-kritische Bibliothek, vol. II: 206. Gotha: C. W. Ettinger, 1778. Reprint, Hildesheim: Olms, 1964.
Framery, Nicolas Étienne, Pierre Louis Ginguené, and Jérôme Joseph de Momigny. Encyclopédie méthodique: Musique. Paris, 1818. Reprint, New York: Da Capo, 1971.
Friesenhagen, Andreas. “Eine Haydn-Diskographie als Werkzeug der Rezeptionsforschung.” Haydn-Studien 9 (2006): 68–81.
Galand, Joel. “Form, Genre, and Style in the Eighteenth-Century Rondo.” Music Theory Spectrum 17 (1995): 27–52.
Gardiner, William. The Music of Nature: or, An Attempt To Prove That What is Passionate and Pleasing in the Art Of Singing, Speaking, and Performing Upon Musical Instruments, is Derived From the Sounds of The Animated World. With Curious and Interesting Illustrations. London: Longman, Rees, Orme, Brown, Green, and Longman, 1832.
Gates-Coon, Rebecca. The Landed Estates of the Esterházy Princes: Hungary during the Reforms of Maria Theresia and Joseph II. Baltimore: Johns Hopkins University Press, 1994.
Geiringer, Karl. “Haydn and the Folksong of the British Isles.” The Musical Quarterly 35 (1949): 179–208.
Geiringer, KarlJoseph Haydn. Potsdam: Athenaion, 1932.
Gelbart, Matthew. The Invention of “Folk Music” and “Art Music”: Emerging Categories from Ossian to Wagner. Cambridge University Press, 2007.
Geminiani, Francesco. The Art of Playing on the Violin. London, 1751. Facsimile edn., with preface by David Boyden. London: Oxford University Press, [1951?].
Girdham, Jane. English Opera in Late Eighteenth-Century London: Stephen Storace at Drury Lane. Oxford: Clarendon Press, 1997.
Goehr, Lydia. The Imaginary Museum of Musical Works: An Essay in the Philosophy of Music. Oxford: Clarendon Press, 1992.
Goehr, Lydia “On the Problems of Dating, or Looking Backward and Forward with Strohm.” In Talbot, ed., The Musical Work, 231–46.
Goethe, Johann Wolfgang von. “Bildung und Umbildung organischer Naturen.” In Naturwissenschaftliche Schriften, XVII: 11–21. Zürich and Stuttgart: Artemis Verlag, 1952.
Gotwals, Vernon, ed. and trans. Joseph Haydn: Eighteenth-Century Gentleman and Genius. Also published as Haydn: Two Contemporary Portraits. Madison: University of Wisconsin Press, 1963.
Grave, Floyd, and Margaret Grave. The String Quartets of Joseph Haydn. Oxford University Press, 2006.
Green, Douglass M.Form in Tonal Music: An Introduction to Analysis, 2nd edn. New York: Holt, Rinehart, and Winston, 1979.
Green, Rebecca. “A Letter from the Wilderness: Revisiting Haydn’s Esterházy Environments.” In Clark, ed., The Cambridge Companion to Haydn, 17–29.
Green, Rebecca “Representing the Aristocracy: The Operatic Haydn and Le pescatrici.” In Sisman, ed., Haydn and His World, 154–200.
Griesinger, Georg August. Biographische Notizen über Joseph Haydn. Leipzig: Breitkopf & Härtel, 1810. Modern edn. Vienna: Kaltschmid, 1954.
Griesinger, Georg AugustEben komme ich von Haydn –”: Georg August Griesingers Korrespondenz mit Joseph Haydns Verleger Breitkopf & Härtel, 1799–1819. Edited by Otto Biba. Zurich: Atlantis, 1987.
Grigson, Caroline, ed. The Life and Poems of Anne Hunter: Haydn’s Tuneful Voice. Liverpool University Press, 2009.
Grout, Donald J. Review of “Haydn, Philemon und Baucis. Opera in 1 Act [. . .] Vienna Symphony Orchestra, cond. Meinhard von Zellinger. LP Vox PL 7660.” The Musical Quarterly 39 (1953): 320–22.
Guillory, John. Poetic Authority: Spenser, Milton, and Literary History. New York: Columbia University Press, 1983.
Hadden, J. Cuthbert. George Thomson, the Friend of Burns: His Life & Correspondence. London: Nimmo, 1898.
Halusa, Christine. “Metastasio und sein Freundeskreis in Wien.” Ph.D. diss., University of Vienna, 1972.
Harich, János. “Das Opernensemble zu Eszterháza im Jahr 1780.” Haydn Yearbook 7 (1970): 5–46.
Harich, JánosDas Repertoire des Opernkapellmeisters Joseph Haydn in Eszterháza (1780–1790).” Haydn Yearbook 1 (1962): 9–109.
Harrison, Bernard. Haydn’s Keyboard Music: Studies in Performance Practice. Oxford University Press, 1997.
Harris-Warrick, Rebecca and Bruce Brown, eds. The Grotesque Dancer on the Eighteenth-Century Stage: Gennaro Magri and His World. Madison: University of Wisconsin Press, 2005.
Haselböck, Lucas. “Vivaldis Le quatro stagioni und Haydns Tageszeiten-Sinfonien: Joseph Haydn und Europa vom Absolutismus zur Aufklärung.” Musicorum 8 (2009): 183–92.
Haydn, Joseph. The Collected Correspondence and London Notebooks of Joseph Haydn. Edited and translated by H. C. Robbins Landon. London: Barrie and Rockliff, 1959.
Haydn, JosephJoseph Haydn: Gesammelte Briefe und Aufzeichnungen. Edited by Dénes Bartha. Kassel: Bärenreiter, 1965.
Head, Matthew. “Haydn’s Exoticisms: ‘Difference’ and the Enlightenment.” In Clark, ed., The Cambridge Companion to Haydn, 77–92.
Head, MatthewMusic with ‘No Past’? Archaeologies of Joseph Haydn and The Creation.” 19th-Century Music 23 (Spring 2000): 191–217.
Heartz, Daniel. “Ditters, Gluck und der Artikel ‘Von dem wienerischen Geschmack in der Musik’ (1766).” Gluck-Studien 1 (1989): 78–80.
Heartz, DanielHaydn, Mozart, and the Viennese School, 1740–1780. New York: Norton, 1995.
Heartz, DanielHaydn und Gluck im Burgtheater um 1760: Der neue krumme Teufel, Le diable à quatre, und die Sinfonie ‘Le Soir’.” In Christoph-Hellmut Mahling and Sigrid Wiesmann, eds., Bericht über den internationalen musikwissenschaftlichen Kongress, Bayreuth 1981, 120–35. Kassel: Bärenreiter, 1984.
Heartz, Daniel “Haydn’s Acide e Galatea and the Imperial Wedding Operas of 1760 by Hasse and Gluck.” In Badura-Skoda, ed., Bericht über den Internationalen Joseph Haydn Kongress Wien 1982, 332–40.
Heartz, DanielMozart, Haydn and Early Beethoven: 1781–1802. New York and London: Norton, 2009.
Heinichen, Johann David. Der General-Bass in der Composition. Dresden, 1728. Reprint, Hildesheim: Olms, 1994.
Hepokoski, James and Warren Darcy. Elements of Sonata Theory: Norms, Types, and Deformations in the Late-Eighteenth-Century Sonata. Oxford University Press, 2006.
Higham, T. F.Ovid and Rhetoric.” In Niculae Herescu, ed., Ovidiana: Recherches sur Ovide, 32–48. Paris: Les Belles Lettres, 1958.
Hirschfeld, C. C. L.Theorie der Gartenkunst. Volume 2. Leipzig: M. G. Weidemanns Erben und Reich, 1780.
Hobsbawm, Eric and Terence Ranger, eds. The Invention of Tradition. Cambridge University Press, 1983.
Hochstein, Wolfgang. “Zum Enstehungsprozeß der ‘Paukenmesse’ von Joseph Haydn.” Kirchenmusikalisches Jahrbuch 77 (1993): 117–34.
Hoffmann, E. T. A.Old and New Church Music.” In David Charlton, ed., E. T. A. Hoffmann’s Musical Writings, 351–76. Translated by Martyn Clarke. Cambridge University Press, 1989.
Hopkinson, Cecil, and Cecil Bernard Oldman. “Haydn’s Settings of Scottish Songs in the Collections of Napier and Whyte.” Edinburgh Bibliographical Society Transactions III, part 2 (1954): 87–120.
Hopkinson, Cecil and Cecil Bernard Oldman. “Thomson’s Collections of National Song, With Special Reference to the Contributions of Haydn and Beethoven.” Edinburgh Bibliographical Society Transactions II, part 1 (1938–39): 1–64.
Horányi, Mátyás. The Magnificence of Eszterháza. London and Budapest: Barrie and Rockliff, 1962.
Hörwarthner, Maria. “Joseph Haydn’s Library: An Attempt at a Literary-Historical Reconstruction.” Translated by Kathrine Talbot. In Sisman, ed., Haydn and His World, 395–462.
Hosler, Bellamy. Changing Aesthetic Views of Instrumental Music in Eighteenth-Century Germany. Ann Arbor, MI: UMI Research Press, 1981.
Howard, Patricia. C.W. von Gluck: Orfeo. Cambridge Opera Handbooks. Cambridge University Press, 1981.
Howard, PatriciaGluck: An Eighteenth-Century Portrait in Letters and Documents. Oxford: Clarendon Press, 1995.
Howard, PatriciaGluck and the Birth of Modern Opera. London: Barrie and Rockliff, 1963.
Hunter, Mary. “Haydn’s London Piano Trios and His Salomon String Quartets: Private vs. Public?” In Sisman, ed., Haydn and His World, 103–30.
Hunter, MaryTo Play as if from the Soul of the Composer”: The Idea of the Performer in Early Romantic Aesthetics.” Journal of the American Musicological Society 58 (2005): 357–98.
Iriarte, Tomás de. La Música: poema por Tomás de Iriarte. Edited by Bruce A. Boggs. Newark, DE: Juan de la Cuesta, 2007.
Irwin, Eleanor. “The Songs of Orpheus and the New Song of Christ.” In Warden, ed., Orpheus: The Metamorphoses of a Myth, 51–62.
Jackson, Stanley W.Melancholia and Depression: From Hippocratic Times to Modern Times. New Haven: Yale University Press, 1986.
Jander, Owen. Beethoven’s “Orpheus” Concerto: The Fourth Piano Concerto in Its Cultural Context. Hillsdale, NY: Pendragon, 2009.
Jander, OwenBeethoven’s ‘Orpheus in Hades’: The Andante con moto of the Fourth Piano Concerto.” 19th-Century Music 8 (Spring 1985): 195–212.
Jander, OwenThe Three Chapters of the Orpheus Myth.” In David Rosen and Claire Brook, eds., Words on Music: Essays in Honor of Andrew Porter on the Occasion of His 75th Birthday, 152–70. Hillsdale, NY: Pendragon, 2003.
Jaskulsky, Hans. Die lateinischen Messen Franz Schuberts. Mainz: Schott, 1986.
Johnson, David. Music and Society in Lowland Scotland in the Eighteenth Century. London: Oxford University Press, 1972.
Johnson, Douglas. “1794–1795: Decisive Years in Beethoven’s Early Development.” In Alan Tyson, ed., Beethoven Studies 3, 1–28. Cambridge University Press, 1982.
Jones, David Wyn. The Symphony in Beethoven’s Vienna. Cambridge University Press, 2006.
Jones, David Wyn , ed. Haydn. Oxford Composer Companions. Oxford University Press, 2002.
Joseph Haydn Institut. “Haydn Bibliographie.” www.haydn-institut.de/Bibliographie/bibliographie.html (accessed June 11, 2011).
Joseph Haydn Institut “Joseph Haydn Werke: Stande der Ausgabe.” http://www.haydn-institut.de/JHW/JHW_Stand/jhw_stand.html (accessed June 8, 2011).
Keller, Hans. The Great Haydn Quartets. New York: Braziller, 1986.
Kelly, Michael. Reminiscences of Michael Kelly. 2 volumes. London: H. Colburn, 1826.
Kerman, Joseph. “Beethoven’s Minority.” In Brandenburg, ed., Haydn, Mozart, and Beethoven, 151–73.
Kern, Hermann. Through the Labyrinth: Designs and Meanings over 5,000 Years. Edited by Robert Ferré and Jeff Saward. Munich: Prestel, 2000.
Ketterer, Robert C.Ancient Rome in Early Opera. Urbana and Chicago: University of Illinois Press, 2009.
Khevenhüller-Metsch, Johann Josef. Aus der Zeit Maria Theresias. Tagebuch des Fürsten Johann Josef Khevenhüller-Metsch. Vol. VIII, 1774–1776 und Nachträge. Edited by Maria Breunlich-Pawlik and Hans Wagner. Vienna: Holzhausen, 1972.
Kirkendale, Warren. “New Roads to Old Ideas in Beethoven’s Missa solemnis.” The Musical Quarterly 56 (1970): 665–701.
Knox, Peter E., ed. Oxford Readings in Classical Studies: Ovid. Oxford University Press, 2006.
Koch, Heinrich Christoph. Musikalisches Lexikon. Frankfurt, 1802. Reprint, Hildesheim: Olms, 1964.
Kollmann, Augustus Frederic Christopher. An Essay on Practical Musical Composition. London, 1799. Reprint, edited by Imogene Horsley. New York: Da Capo, 1973.
Komlós, Katalin. Fortepianos and Their Music: Germany, Austria, and England, 1760–1800. Oxford: Clarendon Press, 1995.
Komlós, KatalinHaydn’s Keyboard Trios Hob. XV: 5–17: Interaction between Texture and Form.” Studia Musicologica 28 (1986): 351–400.
Komlós, Katalin “Miscellaneous Vocal Genres.” In Clark, ed., The Cambridge Companion to Haydn, 164–75.
Komlós, Katalin “The Viennese Keyboard Trio in the 1780s: Studies in Texture and Instrumentation.” 2 volumes. Ph.D. diss., Cornell University, 1986.
Komlós, KatalinViola’s Willow Song: ‘She Never Told Her Love’.” The Musical Times 140 (1999): 36–41.
Kumbier, William. “Haydn’s English Canzonettas: Transformations in the Rhetoric of the Musical Sublime.” In Peter Baker, Sarah McKim, Webster Goodwin, and Gary J. Handwerk, eds., The Scope of Words: In Honor of Albert S. Cook, 73–93. New York: Lang, 1991.
Landon, H. C. Robbins. Haydn: Chronicle and Works. 5 volumes. Bloomington: Indiana University Press, 1976–1980.
Landon, H. C. RobbinsHaydn’s Marionette Operas and the Repertoire of the Marionette Theatre at Esterház Castle.” Haydn Yearbook 1 (1962): 111–99.
Landon, H. C. RobbinsThe Symphonies of Joseph Haydn. London: Universal Edition, 1955.
Landon, H. C. Robbins, and David Wyn Jones. Haydn: His Life and Music. Bloomington and Indianapolis: Indiana University Press, 1988.
Larsen, Jens Peter. Handel, Haydn, and the Viennese Classical Style. Ann Arbor: UMI Research Press, 1988.
Larsen, Jens PeterDie Haydn-Überlieferung. Copenhagen: Munksgaard, 1939.
Larsen, Jens PeterDer Stilwandel in der österreichischen Musik zwischen Barock und Wiener Klassik.” In Vera Schwarz, ed., Der Junge Haydn. Wandel von Musikauffassung und Musikaufführung in der österreichischen Musik zwischen Barock und Klassik (Kongressbericht Graz 1970), 18–30. Graz: Akademische Druck und Verlagsanstalt, 1972.
Larsen, Jens Peter, Howard Serwer, and James Webster, eds., Haydn Studies: Proceedings of the International Haydn Conference, Washington, D.C., 1975. New York: Norton, 1981.
Lausberg, Heinrich. Handbook of Literary Rhetoric: A Foundation for Literary Study. Translated by Matthew T. Bliss, Annemiek Jansen, and David E. Orton. Leiden, Boston, and Cologne: Brill, 1998.
Le Guin, Elisabeth. Boccherini’s Body: An Essay in Carnal Musicology. Berkeley: University of California Press, 2006.
Leisinger, Ulrich. Joseph Haydn und die Entwicklung des klassischen Klavierstils bis ca. 1785. Laaber: Laaber Verlag, 1994.
Leopold, Silke. “Haydn und die Tradition der Orpheus-Opern.” Musica 36 (1982): 131–35.
Link, Dorothea. The National Court Theatre in Mozart’s Vienna: Sources and Documents 1783–1792. Oxford: Clarendon Press, 1998.
Lockwood, Lewis. “Recent Writings on Beethoven’s Late Quartets.” Beethoven Forum 9 (2002): 84–99.
Lonsdale, Roger. Dr. Charles Burney: A Literary Biography. Oxford University Press, 1965.
Loughridge, Deirdre. “Haydn’s Creation as an Optical Entertainment.” Journal of Musicology 27 (2010): 9–54.
Lowe, Melanie. “Recorded Performances: A Symphonic Study.” In Clark, ed., The Cambridge Companion to Haydn, 249–63.
Lubin, Steven. Techniques for the Analysis of Development in Middle-Period Beethoven. Ph.D. diss., New York University, 1974.
MacIntyre, Bruce C.Haydn: “The Creation.”New York: Schirmer, 1998.
MacIntyre, Bruce C.The Viennese Concerted Mass of the Early Classic Period. Ann Arbor: UMI Research Press, 1986.
Maggiulli, Gigliola. “Orfeo fra Virgilio e Ovidio.” In Giuseppe Papponetti, ed., Ovidio poeta della memoria: atti del Convegno Internazionale di Studi. Sulmona, 19–21 ottobre 1989, 259–75. N.p.: Herder, 1991.
Marx, Adolf Bernhard. S.v. “Haydn.” In Gustav Schilling, ed., Universal-Lexicon der Tonkunst. 6 volumes. Stuttgart: Köhler, 1835–1838.
Marx, Adolf BernhardMusical Form in the Age of Beethoven: Selected Writings on Theory and Method. Edited and translated by Scott Burnham. Cambridge University Press, 1997.
Marx, Adolf BernhardUeber Malerei in der Tonkunst: Ein Maigruß an die Kunstphilosophen. Berlin: Fincke, 1828.
Marzolla, Piero Bernardini. Introduction to Metamorfosi, by Publio Ovidio Marone. Turin: Einaudi, 1979, 1994.
Mathew, Nicholas. “Beethoven’s Political Music, the Handelian Sublime, and the Aesthetics of Prostration.” 19th-Century Music 33 (Fall 2009): 110–50.
Mathew, NicholasHeroic Haydn, the Occasional Work, and ‘Modern’ Political Music.” Eighteenth-Century Music 4 (2007): 7–25.
Mathison, Hamish. “Robert Burns and National Song.” In David Duff and Catherine Jones, eds., Scotland, Ireland, and the Romantic Aesthetic, 77–92. Lewisburg, PA: Bucknell University Press, 2007.
McCaldin, Denis, ed. Franz Joseph Haydn: Missa Brevis Sancti Joannis de Deo (Hob. XXII. 7) [. . .] Full Score. Oxford University Press, 1989.
McCue, Kirsteen. “Thomson’s Collections in Their Scottish Cultural Context.” Haydn-Studien 8 (2004): 305–24.
McGrann, Jeremiah W.Of Saints, Name Days, and Turks: Some Background on Haydn’s Masses Written for Prince Nikolaus II Esterházy.” Journal of Musicological Research 17 (1998): 195–210.
McGuirk, Carol. “Jacobite History to National Song: Robert Burns and Carolina Oliphant (Baroness Nairne).” The Eighteenth Century 47 (2006): 253–87.
McGuirk, CarolRobert Burns and the Sentimental Era. Athens: University of Georgia Press, 1985.
McVeigh, Simon. Concert Life in London from Mozart to Haydn. Cambridge University Press, 1993.
Metastasio, Pietro. Tutte le opere di Pietro Metastasio, vols. III–IV. Edited by Bruno Brunelli. Milan: Mondadori, 1951.
Milhous, Judith, Gabriela Dideriksen, and Robert D. Hume. Italian Opera in Late Eighteenth-Century London. Vol. II, The Pantheon Opera and Its Aftermath 1789–1795. Oxford: Clarendon Press, 2001.
Monelle, Raymond. “Gluck and the ‘Festa Teatrale.’Music & Letters 54 (1973): 308–25.
Moore, John. A View of Society and Manners in France, Switzerland, and Germany: With Anecdotes Relating to Some Eminent Characters. London: W. Strahan and T. Cadell, 1779.
Moran, John G. “Techniques of Expression in Viennese String Music (1780–1830): A Reconstruction of Fingering and Bowing Practices.” Ph.D. diss., King’s College, University of London, 2000.
Morley, Thomas. A Plain and Easy Introduction to Practical Music (1597). Modern edition by R. Alec Harman. London: Dent, 1952.
Morrow, Mary Sue. Concert Life in Haydn’s Vienna: Aspects of a Developing Social Institution. Stuyvesant, NY: Pendragon, 1989.
Nelson, Claire. “Tea-Table Miscellanies: The Development of Scotland’s Song Culture, 1720–1800.” Early Music 28 (2000): 596–618.
Neubauer, John. The Emancipation of Music from Language: Departure from Mimesis in Eighteenth-Century Aesthetics. New Haven: Yale University Press, 1986.
Newman, Steve. Ballad Collection, Lyric, and the Canon: The Call of the Popular from the Restoration to the New Criticism. Philadelphia: University of Pennsylvania Press, 2007.
Newman, William S.Beethoven’s Fingerings as Interpretive Clues.” Journal of Musicology 1 (1982): 171–97.
November, Nancy. “Haydn’s Vocality and the Ideal of ‘True’ String Quartets.” Ph.D. diss., Cornell University, 2003.
Oakley-Brown, Liz. Ovid and the Cultural Politics of Translation in Early Modern England. Aldershot: Ashgate, 2006.
Olleson, Edward. “The Creation.” In Jones, ed., Haydn, 54–56.
Olleson, EdwardThe Origin and Libretto of Haydn’s Creation.” Haydn Yearbook 4 (1968): 148–68.
Oort, Bart van. “The English Classical Piano Style and Its Influence on Haydn and Beethoven.” D.M.A. diss., Cornell University, 1993.
Oswald, James. The Caledonian Pocket Companion. Vol. I. London, c. 1745.
Otis, Brooks. Ovid as an Epic Poet, 2nd edn. Cambridge University Press, 1970.
Ovid. Metamorphoses in Latin and English, Translated by the Most Eminent Hands, with Historical Explanations of the Fables, Written in French by the Abbot Banier. Translated by Samuel Garth, John Dryden, et al. 2 vols. Amsterdam: Wetsteins and Smith, 1732. Reprint, New York: Garland, 1976.
Padmanabhan, Mekala. “Joseph Haydn’s German Lieder: Context – Criticism – Reception.” Ph.D. diss., University of Nottingham, 2007.
Pederson, Sanna. “Defining the Term ‘Absolute Music’ Historically.” Music & Letters 90 (2009): 240–62.
Peterson, Brent O.Wezel and the Genre of Robinson Crusoe.” Lessing Yearbook 20 (1988): 183–204.
Petty, Frederick C.Italian Opera in London 1760–1800. Ann Arbor: UMI Research Press, 1980.
Pickstock, Catherine. “Asyndeton: Syntax and Insanity: A Study of the Revision of the Nicene Creed.” Modern Theology 10 (1994): 321–40.
Pittock, Murray G. H.The Invention of Scotland: The Stuart Myth and the Scottish Identity, 1638 to the Present. London and New York: Routledge, 1991.
PiusX.Tra le Sollecitudini: Encyclical of November 22, 1903. www.adoremus.org/MotuProprio.html (accessed June 26, 2002).
Pohl, Carl Ferdinand. Joseph Haydn. 3 volumes. Leipzig: Breitkopf & Härtel, 1878–1927.
Polzonetti, Pierpaolo. Italian Opera in the Age of the American Revolution. Cambridge University Press, 2011.
Poriss, Hilary. Changing the Score: Arias, Prima Donnas, and the Authority of Performance. Oxford University Press, 2009.
Porter, Andrew. Haydn and ‘La fedeltà premiata’.” Musical Times 112 (1971): 331–35.
Price, Curtis. S.v. “Badini, Carlo Francesco.” Grove Music Online. www.oxfordmusiconline.com (accessed May 25, 2011).
Price, CurtisItalian Opera and Arson in Late Eighteenth-Century London.” Journal of the American Musicological Society 42 (1989): 55–107.
Price, Curtis, Judith Milhous, and Robert D. Hume. Italian Opera in Late Eighteenth-Century London. Vol. I: The King’s Theatre, Haymarket, 1778–1791. Oxford: Clarendon Press, 1995.
Prout, Ebenezer. Applied Forms. London: Augener, 1895.
Raab, Armin. “Die Edition von Haydns Volksliedbearbeitungen.” Haydn-Studien 8 (2004): 379–400.
Ramsay, Allan. Poems. Edinburgh, 1721.
Ramsay, AllanThe Tea-Table Miscellany. Edinburgh, 1724.
Ramsay, AllanThe Works of Allan Ramsay. Vol. I. Edited by Burns Martin and John W. Oliver.Edinburgh and London: Blackwood, 1944–45.
Reichardt, Johann Friedrich. Vertraute Briefe geschrieben auf einer Reise nach Wien und den oesterreichischen Staaten zu Ende des Jahres 1808 und zu Anfang 1809. Amsterdam, 1810.
Relation des Fêtes données à sa Majesté l’Imperatrice par S. A. Mgr Le Prince d’Esterhazy dans son Château d’Esterhaz Le 1r & 2e 7bre 1773. Vienna: de l’Imprimerie de Ghelen, 1773.
Retzer, Joseph von, ed. Choice of the Best Poetical Pieces of the Most Eminent English Poets. 6 volumes. Vienna: 1782–86.
Revitt, Paul J.Review of Joseph Haydn: Werke XXXII/1. Journal of the American Musicological Society 18 (1965): 98–104.
Richards, Annette. “Haydn’s London Trios and the Rhetoric of the Grotesque.” In Beghin and Goldberg, eds., Haydn and the Performance of Rhetoric, 251–80.
Ritson, Joseph. Scotish [sic] Songs in Two Volumes. London: Printed for J. Johnson . . . and J. Egerton, 1794.
Roberts, Timothy, ed. O Tuneful Voice: 25 Classical English Songs. Oxford University Press, 1992.
Rochlitz, Friedrich. “Feyer des Andenkens der heiligen Cäcilia.” Allgemeine musikalische Zeitung 6/3 (Nov. 23, 1803): cols. 124–26.
Rosati, Giampiero. “Form in Motion: Weaving the Text in the Metamorphoses.” In Knox, ed., Oxford Readings in Classical Studies: Ovid, 334–50.
Rosen, Charles. The Classical Style: Haydn, Mozart, Beethoven. New York: Viking, 1971; New York: Norton, 1972; rev. edn. 1997.
Rosen, CharlesSonata Forms. New York: Norton, 1980.
Rosenberg, Neil V., ed. Transforming Tradition: Folk Music Revivals Examined. Urbana: University of Illinois Press, 1993.
Rousseau, Jean Jacques. Dictionnaire de musique. Paris, 1768. Reprint, Hildesheim: Olms, 1969.
Rowland, David. “Piano Music and Keyboard Compass in the 1790s.” Early Music 27 (1999): 283–93.
Rumph, Stephen. Beethoven After Napoleon: Political Romanticism in the Late Works. Berkeley: University of California Press, 2004.
Rycroft, Marjorie. Preface to Ignaz Pleyel, Scottish Songs for George Thomson, 2 volumes. Vienna: Doblinger, 2006.
Samson, Jim. “The Musical Work and Nineteenth-Century History.” In Samson, ed. The Cambridge History of Nineteenth-Century Music, 3–28. Cambridge University Press, 2002.
Sartori, Claudio. I libretti italiani a stampa dalle origini al 1800: catalogo analitico con 16 indici. 6 volumes. Cuneo: Bertolla & Locatelli, 1990–94.
Savage, Roger. “Staging an Opera: Letters from the Cesarian Poet.” Early Music 26 (1998): 583–95.
Scheglov, Iurii Konstantinovich. “Alcuni tratti strutturali delle Metamorfosi di Ovidio.” Translated by Remo Faccani. In Remo Faccani and Umberto Eco, eds., I sistemi di segni e lo strutturalismo sovietico, 133–50. Moscow, 1962. Reprint, Milan: Bompiani, 1969.
Scheglov, Iurii Konstantinovich and A. K. Zholkowskii. “Towards a ‘Theme – (Expression Devices) – Text’ Model of Literary Structure.” Translated by L. M. O’Toole. In I. K. Scheglov, ed., Generating the Literary Text, 4–50. Oxford: RPT Publications, 1976.
Schmidt, Ernst A.Ovids poetische Menschenwelt: die Metamorphosen als Metapher und Symphonie. Heidelberg: Winter, 1991.
Schneider, Herbert. “Vaudeville-Finali in Haydns Opern und ihre Vorgeschichte.” In Badura-Skoda, ed., Bericht über den internationalen Joseph Haydn Kongress Wien 1982, 302–09.
Schnerich, Alfred. “Die textlichen Versehen in den Messen Josef Haydns und deren Korrektur.” In III. Kongreß der Internationalen Musikgesellschaft Wien, 25. bis 29. Mai 1909. Bericht, 542–44. Vienna: Artaria; Leipzig: Breitkopf & Härtel, 1909.
Schönfeld, Johann Ferdinand Ritter von. “A Yearbook of the Music of Vienna and Prague, 1796.” Translated by Kathrine Talbot. In Sisman, ed., Haydn and His World, 289–320.
Schroeder, David P.Haydn and the Enlightenment: The Late Symphonies and Their Audience. Oxford: Clarendon Press, 1990.
Scott, Marion. “Some English Affinities and Associations of Haydn’s Songs.” Music & Letters 25 (1944): 1–12.
Seidel, Michael. Robinson Crusoe: Island Myths and the Novel. Boston: Twayne, 1991.
Senner, Wayne, ed. and trans. The Critical Reception of Beethoven’s Compositions by His German Contemporaries. 2 volumes. Lincoln: University of Nebraska Press, 1999–2001.
Shesgreen, Sean. Hogarth and the Times-of-the-Day Tradition. Ithaca: Cornell University Press, 1983.
Sisman, Elaine R.Haydn and the Classical Variation. Cambridge, MA: Harvard University Press, 1993.
Sisman, Elaine R. “Haydn, Shakespeare, and the Rules of Originality.” In Sisman, ed., Haydn and His World, 3–56.
Sisman, Elaine R.Haydn’s Theater Symphonies.” Journal of the American Musicological Society 43 (1990): 292–352.
Sisman, Elaine R.Mozart: The “Jupiter” Symphony. Cambridge Music Handbooks. Cambridge University Press, 1993.
Sisman, Elaine R. “Rhetorical Truth in Haydn’s Chamber Music: Genre, Tertiary Rhetoric, and the Opus 76 Quartets.” In Beghin and Goldberg, eds., Haydn and the Performance of Rhetoric, 281–326.
Sisman, Elaine R.The Voice of God in Haydn’s Creation.” In László Vikárius and Vera Lampert, eds., Essays in Honor of László Somfai on His 70th Birthday: Studies in the Sources and the Interpretation of Music, 159–73. Lanham: Scarecrow Press, 2005.
Sisman, Elaine R., ed. Haydn and His World. Princeton University Press, 1997.
Smith, Ruth. Handel’s Oratorios and Eighteenth-Century Thought. Cambridge University Press, 1995.
Solodow, Joseph B.The World of Ovid’s Metamorphoses. Chapel Hill: University of North Carolina Press, 1998.
Solomon, Jon. “The Neoplatonic Apotheosis in Monteverdi’s Orfeo.” Studi musicali 24 (1995): 27–47.
Somfai, László. “Authentic Text and Presumed Intention: Experiences of the Festetics Quartet.” Haydn-Studien 6 (1994): 298–308.
Somfai, LászlóA Bold Enharmonic Modulatory Model in Joseph Haydn’s String Quartets.” In H. C. Robbins Landon, ed., Studies in Eighteenth-Century Music: A Tribute to Karl Geiringer on His Seventieth Birthday, 370–81. Oxford University Press, 1970.
Somfai, László “Haydn’s London String Quartets.” In Larsenet al., ed., Haydn Studies, 389–92.
Somfai, László “An Introduction to the Study of Haydn’s String Quartet Autographs.” In Wolff, ed., The String Quartets of Haydn, Mozart, and Beethoven, 5–51.
Somfai, LászlóThe Keyboard Sonatas of Joseph Haydn: Instruments and Performance Practice, Genres and Styles. Translated by Charlotte Greenspan and the author. University of Chicago Press, 1995.
Somfai, László‘Learned Style’ in Two Late String Quartet Movements of Haydn.” Studia Musicologica 28 (1986): 325–49.
Somfai, László “Notational Irregularities as Attributes of a New Style: The Case of Haydn’s ‘Sun’ Quartet in F minor, Op. 20 no. 5.” In Curryet al., eds., Variations on the Canon, 27–38.
Spitzer, John and Neal Zaslaw. The Birth of the Orchestra: History of an Institution 1650–1815. Oxford University Press, 2004.
Spitzer, John and Neal ZaslawImprovised Ornamentation in Eighteenth-Century Orchestras.” Journal of the American Musicological Society39 (1986): 524–77.
Staats, Reinhard. Das Glaubensbekenntnis von Nizäa-Konstantinopel: historische und theologische Grundlagen. Darmstadt: Wissenschaftliche Buchgesellschaft, 1996.
Standage, Simon. “Historical Awareness in Quartet Performance.” In Robin Stowell, ed., The Cambridge Companion to the String Quartet, 127–48. Cambridge University Press, 2003.
Starcky, Laure C.et al., eds. Nicolas II Esterházy, 1765–1833: un prince hongrois collectionneur [. . .]: Musée national du château de Compiègne 21 septembre 2007–7 janvier 2008. Paris: Réunion des musées nationaux, 2007.
Starobinski, Jean. “L’encre de la mélancolie,” La Nouvelle Revue Française 11 (1963): 410–23.
Steblin, Rita. A History of Key Characteristics in the Eighteenth and Early Nineteenth Centuries, 2nd edn. University of Rochester Press, 2002.
Steinberg, Michael. “Notes on the Quartets.” In Robert S. Winter and Robert L. Martin, eds., The Beethoven Quartet Companion, 143–274. Berkeley and Los Angeles: University of California Press, 1994.
Stenhouse, William. “Illustrations of the Lyric Poetry and Music of Scotland.” In volume II of James Johnson, ed., The Scots Musical Museum, reprint edition. Edinburgh and London, 1853. Facsimile reprint, Hatboro, PA: Folklore Associates, 1962.
Stevenson, James, and W. H. C. Frend, eds. Creeds, Councils and Controversies: Documents Illustrating the History of the Church AD 337–461. Revised edn. Cambridge: SPCK, 1989.
Stevenson, Robert. “Haydn’s Iberian World Connections.” Inter-American Music Review 4 (1982): 3–30.
Stowell, Robin. Violin Technique and Performance Practice in the Late Eighteenth and Early Nineteenth Centuries. Cambridge University Press, 1985.
Sutcliffe, W. Dean. “The Haydn Piano Trio: Textual Facts and Textural Principles.” In Sutcliffe, ed., Haydn Studies, 246–90.
Sutcliffe, W. Dean. “Haydn’s Piano Trio Textures.” Music Analysis 6 (1987): 319–32.
Sutcliffe, W. Dean., ed. Haydn Studies. Cambridge University Press, 1998.
Sweeney-Turner, Steve. “Borderlines: Bilingual Terrain in Scottish Song.” In Andrew Leyshon, David Matless, and George Revill, eds., The Place of Music, 151–75. London and New York: Guilford, 1998.
Sweeney-Turner, SteveThe Political Parlour: Identity and Ideology in Scottish National Song.” In Harry White and Michael Murphy, eds., Musical Constructions of Nationalism: Essays on the History and Ideology of European Musical Culture, 1800–1945, 212–38. Cork University Press, 2001.
Szabo, Franz A. J.The Seven Years War in Europe 1756–1763. Harlow: Pearson Longman, 2008.
Talbot, Michael, ed. The Musical Work: Reality or Invention?Liverpool University Press, 2000.
Tank, Ulrich. Studien zur Esterházy’schen Hofmusik von etwa 1620 bis 1790. Regensburg: Gustav Bosse Verlag, 1981.
Tarling, Judy. Baroque String Playing for Ingenious Learners. St. Albans: Corda Music, 2000.
Tarrant, Richard John. “Chaos in Ovid’s Metamorphoses and Its Neronian Influence.” Arethusa 35 (2002): 349–60.
Tartini, Giuseppe. Traité des agréments de la musique. Abhandlung über die Verzierungen in der Musik. Treatise on ornaments in music. Réédition complète, commentée et acompagnée d’un appendice, de plusieurs reproductions photographiques et d’une annexe contenant un fac-similé du texte italien original; publié par Edwin R. Jacobi. English translation by Cuthbert Girdlestone. Celle and New York: H. Moeck, 1961.
Taruskin, Richard. “Is There a Baby in the Bathwater?Archiv für Musikwissenschaft 63 (2006): 163–85, 309–27.
Telesco, Paula. “Forward-Looking Retrospection: Enharmonicism in the Classical Era.” Journal of Musicology 19 (2002): 332–73.
Temperley, Nicholas. Haydn: The Creation. Cambridge Music Handbooks. Cambridge University Press, 1991.
Thayer, Alexander Wheelock. Thayer’s Life of Beethoven. Revised and edited by Elliot Forbes. Princeton University Press, 1967.
Thomson, George. A Select Collection of Original Scottish Airs. Vol. III. Edinburgh: Printed for G. Thomson, 1802.
Thomson, William. Orpheus Caledonius, 2nd edn. London, 1733. Reprint, Hatboro, PA: Folklore Associates, 1962.
Timiadis, Emilianos. The Nicene Creed: Our Common Faith. Philadelphia: Fortress, 1983.
Tolley, Thomas. Painting the Cannon’s Roar: Music, the Visual Arts and the Rise of an Attentive Public in the Age of Haydn, c. 1750 to c. 1810. Aldershot: Ashgate, 2001.
Tovey, Donald Francis. Essays in Musical Analysis: Chamber Music. Oxford University Press, 1944.
Tovey, Donald FrancisThe Mainstream of Music and Other Essays. Oxford University Press, 1949.
Trickett, Rachel. “The Heroides and the English Augustans.” In Charles Martindale, ed., Ovid Renewed: Ovidian Influences on Literature and Art from the Middle Ages to the Twentieth Century, 191–204. Cambridge University Press, 1988.
Trumpener, Katie. Bardic Nationalism: The Romantic Novel and the British Empire. Princeton University Press, 1997.
Türk, Daniel Gottlob. Klavierschule, oder Anweisung zum Klavierspielen für Lehrer und Lernende. Leipzig and Halle: Auf Kosten des Verfassers, in Kommission bey Schwickert . . . , 1789.
Tusa, Michael. “Beethoven’s ‘C-Minor Mood’: Some Thoughts on the Structural Implications of Key Choice.” Beethoven Forum 2 (1993): 1–27.
Tyson, Alan. “The Problem of Beethoven’s ‘First’ ‘Leonore’ Overture.” Journal of the American Musicological Society 28 (1975): 292–334.
Tytler, William. “A Dissertation on the Scottish Music.” In Hugo Arnot, A History of Edinburgh, 624–42. Edinburgh, 1779.
Urbani, Peter. A Selection of Scots Songs, Harmonized Improved with Simple and Adapted Graces. Vol. II. Edinburgh: Printed for the Author, 1795.
Van Horn Melton, James. “School, Stage, Salon: Musical Cultures in Haydn’s Vienna.” In Beghin and Goldberg, eds., Haydn and the Performance of Rhetoric, 80–108.
Vicari, E. Patricia. “Sparagmos: Orpheus among the Christians.” In Warden, ed., Orpheus: The Metamorphoses of a Myth, 63–83.
Vicari, E. PatriciaThe View from Minerva’s Tower: Learning and Imagination in “The Anatomy of Melancholy.”University of Toronto Press, 1989.
Vikarius, László, and Vera Lampert, eds., Essays in Honor of László Somfai on his 70th Birthday: Studies in the Sources and the Interpretation of Music. Lanham, MD: Scarecrow Press, 2005.
Wagner-Egelhaaf, Martina. Die Melancholie der Literatur: Diskursgeschichte und Textfiguration. Stuttgart: Metzler, 1997.
Waldoff, Jessica. “Sentiment and Sensibility in La vera costanza.” In Sutcliffe, ed., Haydn Studies, 70–119.
Walls, Peter. “Violin Fingering in the Eighteenth Century.” Early Music 12 (1984): 300–15.
Ward, Adrienne. “Imaginary Imperialism: Goldoni Stages China in 18th-Century Italy.” Theatre Journal 54 (2002): 203–21.
Warden, John, ed. Orpheus: The Metamorphoses of a Myth. University of Toronto Press, 1982.
Waritschlager, Bernhard. Die Opera seria bei Joseph Haydn: Studien zu Form und Struktur musikalischer Affektdramaturgie und Figurentypologisierung in Armida und L’Anima del filosofo ossia Orfeo ed Euridice. Tutzing: Hans Schneider, 2005.
Weber, William. The Rise of the Musical Classics in Eighteenth-Century England: A Study in Canon, Ritual, and Ideology. Oxford: Clarendon Press, 1992.
Weber-Bockholdt, Petra. “Komposition oder Begleitung: Ein Vergleich der Bearbeitungen schottischer Lieder von Haydn und Beethoven.” Haydn-Studien 8 (2004): 401–12.
Webster, James. “The Bass Part in Haydn’s Early String Quartets.” The Musical Quarterly 63 (1977): 390–24.
Webster, James. “Between Enlightenment and Romanticism in Music History: ‘First Viennese Modernism’ and the Delayed Nineteenth Century.” 19th-Century Music 25 (Fall/Spring 2001–02): 108–26.
Webster, James. “The Century of Handel and Haydn.” In Sean Gallagher and Thomas Forrest Kelly, eds., The Century of Bach and Mozart: Perspectives on Historiography, Composition, Theory, and Performance, in Honor of Christoph Wolff, 297–316. Cambridge, MA: Harvard University Press, 2008.
Webster, James. “The Chronology of Haydn’s String Quartets.” The Musical Quarterly 61 (1975): 17–46.
Webster, James. “The Creation, Haydn’s Late Vocal Music, and the Musical Sublime.” In Sisman, ed., Haydn and His World, 57–102.
Webster, James. “The Eighteenth Century as a Music-Historical Period?Eighteenth-Century Music 1 (2004): 47–60.
Webster, James. “Haydn’s Aesthetics.” In Clark, ed., The Cambridge Companion to Haydn, 30–44.
Webster, James. Haydn’s “Farewell” Symphony and the Idea of Classical Style: Through-Composition and Cyclic Integration in His Instrumental Music. Cambridge University Press, 1991.
Webster, James “Haydn’s Op. 9: A Critique of the Ideology of the ‘Classical’ String Quartet.” In Vikarius and Lampert, eds., Essays in Honor of László Somfai, 139–57.
Webster, James “Haydn’s Opus 9 und Opus 17: Zur Kritik der Ideologie des klassischen Streichquartetts.” In Feder and Reicher, eds., Internationales Musikwissenschaftliches Symposium “Haydn und das Streichquartett,”89–122.
Webster, James “Haydn’s Sacred Vocal Music and the Aesthetics of Salvation.” In Sutcliffe, ed., Haydn Studies, 35–69.
Webster, James. “Haydn’s Symphonies between Sturm und Drang and ‘Classical Style’: Art and Entertainment.” In Sutcliffe, ed., Haydn Studies, 218–45.
Webster, JamesOn the Absence of Keyboard Continuo in Haydn’s Symphonies.” Early Music 18 (1990): 599–607.
Webster, James “The Rhetoric of Improvisation in Haydn’s Keyboard Music.” In Beghin and Goldberg, eds., Haydn and the Performance of Rhetoric, 172–212.
Webster, James “Rosen’s Modernist Haydn.” In Curryet al., eds., Variations on the Canon, 283–90.
Webster, James “The Significance of Haydn’s String Quartet Autographs for Performance Practice.” In Wolff, ed., The String Quartets of Haydn. Mozart, and Beethoven, 62–96.
Webster, James “The Sublime and the Pastoral in The Creation and The Seasons.” In Clark, ed., The Cambridge Companion to Haydn, 150–63.
Webster, JamesTowards a History of Viennese Chamber Music in the Early Classical Period.” Journal of the American Musicological Society 27 (1974): 212–47.
Webster, James “The Triumph of Variability: Haydn’s Articulation Markings in the Autograph of Sonata no. 49 in E flat.” In Brandenburg, ed., Haydn, Mozart, and Beethoven, 33–64.
Webster, JamesVioloncello and Double Bass in the Chamber Music of Haydn and His Viennese Contemporaries, 1750–1780.” Journal of the American Musicological Society 29 (1976): 413–38.
Webster, James and Georg Feder. S.v. “Haydn, Joseph.” Grove Music Online. www.oxfordmusiconline.com (accessed June 6, 2011).
Webster, James and Georg FederThe New Grove Haydn. London: Macmillan, 2002.
Wezel, Johann Karl. Robinson Krusoe, neu bearbeitet. 2 vols. Leipzig: Dyk, 1779–80.
Wheeler, Stephen M.Narrative Dynamics in Ovid’s “Metamorphoses.”Tübingen: Narr, 2000.
Wheelock, Gretchen. Haydn’s Ingenious Jesting with Art: Contexts of Musical Wit and Humor. New York: Schirmer Books, 1992.
Wheelock, GretchenMarriage à la Mode: Haydn’s Instrumental Works ‘Englished’ for Voice and Piano.” Journal of Musicology 8 (1990): 357–97.
Wheelock, Gretchen “The ‘Rhetorical Pause’ and Metaphors of Conversation in Haydn’s Quartets.” In Feder and Reicher, eds., Internationales Musikwissenschaftliches Symposium “Haydn und das Streichquartett,”67–88.
Will, Richard. The Characteristic Symphony in the Age of Haydn and Beethoven. Cambridge University Press, 2002.
Will, RichardWhen God Met the Sinner, and Other Dramatic Confrontations in Eighteenth-Century Instrumental Music.” Music & Letters 78 (1997):175–209.
Williams, Peter. The Chromatic Fourth during Four Centuries of Music. Oxford: Clarendon Press, 1997.
Winkler, Gerhard J., ed. Joseph Haydn und die Oper seiner Zeit. Bericht über das internationale Symposion im Rahmen der “Haydn-Tage Winter 1988” Eisenstadt, 8–10 Dezember 1988. Eisenstadt: Burgenländisches Landesmuseum, 1992.
Wolff, Christoph, ed. The String Quartets of Haydn, Mozart, and Beethoven: Studies of the Autograph Manuscripts. Cambridge, MA: Harvard University Department of Music, 1980.
Wolff, Larry. “Discovering Cultural Perspective: The Intellectual History of Anthropological Thought in the Age of Enlightenment.” In Larry Wolff and Marco Cipollini, eds., The Anthropology of the Enlightenment, 3–32. Stanford University Press, 2007.
Wright, Craig. The Maze and the Warrior: Symbols in Architecture, Theology, and Music. Cambridge, MA: Harvard University Press, 2001.
Wünschmann, Dietmar. Die Tageszeiten. Ihre Bezeichnung im Deutschen. Marburg: Elwert, 1966.
Young, Frances Margaret. The Making of the Creeds. London: SCM Press, 2002.
Zachariä, Friedrich Wilhelm. Die Tageszeiten. Ein Gedicht in vier Büchern mit Kupfern. Rostock and Leipzig: Johann Christian Koppe, 1756.
Zaslaw, Neal. Mozart’s Symphonies: Context, Performance Practice, Reception. Oxford University Press, 1991.
Zaslaw, Neal Review of “Joseph Haydn, The ‘Morzin’ Symphonies, performed by L’estro armonico, Derek Solomon leader (Saga).” Early Music 9 (1983): 125–31.
Zelter, C. F.Briefe an einen Freund über die Musik in Berlin.” Allgemeine musikalische Zeitung 17 (January 21, 1801), col. 291.
Zinzendorf, Karl Graf von. Aus dem Jugendtagebüchern 1747, 1752–1763. Edited by Maria Breunlich and Marieluise Mader, and prepared by Hans Wagner. Vienna: Böhlau, 1997.
Zinzendorf, Karl Graf vonEuropäischer Aufklärung zwischen Wien und Triest: Die Tagebücher des Gouvernours Karl Graf Zinzendorf, 1776–1782. Edited by Grete Klinkenstein, Eva Faber, and Antonio Trampus. 4 volumes. Vienna: Böhlau Verlag, 2009.

Metrics

Altmetric attention score

Full text views

Total number of HTML views: 0
Total number of PDF views: 0 *
Loading metrics...

Book summary page views

Total views: 0 *
Loading metrics...

* Views captured on Cambridge Core between #date#. This data will be updated every 24 hours.

Usage data cannot currently be displayed.