Classical Music - The Era of Hadyn, Mozart, & Beethoven : The Era of Haydn, Mozart, and Beethoven

List of Illustrations x Preface xiii PART ONE. THE TRANSITION FROM BAROQUE: MUSIC TO 1760 The Background to Eighteenth-Century Thought 3(14) Art and the Philosopher The Musician as Philosopher The Importance of ``Taste'' in the Eighteenth Century The Musician in Society 17(15) The System of Patronage Printing and Publishing The Beginnings of the Public Concert Instructional Literature Music for Private Performance 32(41) The Style Galant Solo Sonata with Basso Continuo The Trio Sonata The Solo Keyboard Sonata The Empfindsamer Stil Other Keyboard Forms The Song Music for Public Performance 73(10) The Symphony The Concerto Words and Music on the Stage 83(28) The Theater as a Social Center The Singers The Dramatic Conventions Italian Opera Seria Recitative and Area Pastiche Italian Opera Buffa French Opera Opera in Italy Opera in German-Speaking Countries Opera in London Opera in Paris PART TWO. EMBRACING THE NEW STYLE: MUSIC 1760-80 The social and Philosophical Milieu 111(11) The Beautiful and the Sublime Literary Antiquarianism Sturm und Drang The Concept of ``Classical'' and its Opposites The Musician's Livelihood 122(7) Concert Organizations Music Publishing Writings about Music Music in the Home 129(25) Further Evolution of the Sonata with Continuo The Keyboard Sonata The Keyboard Sonata with Optional Accompaniment The String Trio The String Quartet The String Quintet Vocal Music Concert and Church Music 154(24) The Emergence of the ``Classical'' Symphony The Symphonie Concertante The Solo Concerto Music in the Service of God Religious Music in Roman Catholic Europe Church Music in Non-Catholic Europe Opera 178(21) Serious Opera in Italy The Changing Italian Opera Buffa Serious Opera Outside Italy Comic Opera in France Comic Opera in London Comic Opera in Germany PART THREE. HAYDN, THE DEVELOPING MASTER The Early Years: 1732-60 199(12) Early Life Compositions The First Esterhazy Years: to 1770 211(27) The Beginnings of Recognition Compositions The Great Stylistic Break: 1770-79 238(23) Haydn's duties at Esterhaza Compositions PART FOUR. MOZART, GENIUS APPARENT The Wunderkind Years: 1756--73 261(13) The First Tours Back Home: Salzburg and Vienna The Italian Tours Early Style 274(21) The First Keyboard Works String Quartets Symphonies Concertos Operatic Works Church Music The ``Colloredo'' Years: 1773--81 295(12) The Patron The Products of Patronage Broadening Expressivity The Second Journey to Paris The Salzburg ``Employee'' Once Again The High Salzburg Style 307(28) Keyboard Works Accompanied Sonatas Chamber Music Without Keyboard Symphonies Serenades and Divertimentos Concertos Operatic Works Religious Music PART FIVE. THE CLASSICAL STYLE AT ITS APOGEE: 1780--1800 Years of Revolution and Change 335(9) Science and Industry The French Revolution Changing Philosophies The Changing Status of the Musician 344(9) Concert Societies Music Publishing: The Begining of an Industry The Virltuoso The Musician as Author Solo and Chamber Music 353(26) The Decline of the Continuo From the Harpsichord to the Fortepiano The Accompanied Keyboard Sonata Chamber Music for Strings Music for Voice and Piano The Preminence of the Symphony and the Concerto 379(15) The Symphony in Vienna The Concerto The Various Faces of Musical Theater 394(29) The Opera Seria The Flourishing Opera Buffa The Tragedie Lyrique The Effect of the Revolution on the Opera Comique The Singspiel Operatic Entertainment in London PART SIX. HAYDN, THE ACKNOWLEDGED MASTER The Last Years at Esterhaza: 1780--90 423(23) Daily Life and Responsibilities The Solo Keyboard Sonatas The Accompanied Keyboard Sonata The String Quartet Songs Symphonies Concertos The Operas Church Music Freedom at Last 446(33) Haydn in London Return to Vienna Back to London The Final Return The Last Compositions PART SEVEN. MOZART, GENIOUS ACHIEVED The Last Ten Years: 1781--91 479(21) Breaking with Colloredo Mozart's Marriage An Ideal Realized: Die Entfuhrung Life in Vienna Mozart and Da Ponte Financial Problems The Great Works of the Final Decade 500(53) The Late Piano Works Sonatas for Violin and Piano The Piano Trios The Piano Quartets The Piano Quintet Chamber Music for Strings Alone The Song The Symphony The Concertos Serenades, Divertimentos, and Dances Operas Church Music PART EIGHT. BEETHOVEN: 1770--1827 The Giant Astride the Centuries 553(26) The Beginnings in Bonn The Early Years in Vienna Recognition and Success Enlightened Patronage and Other Sources of Income The Last Years The Entire Oeuvre 579(48) The First Style Period to 1802 Sonatas for Piano Solo The Sonatas for Piano with One Instrument The Trios and Larger Works with Piano The String Quartet Music for Larger Chamber Ensembles The Concertos The Symphonies and Orchestral Music The Second Style Period: 1803--14 Piano Sonatas Sonatas for Piano and One Other Instrument Piano Trios String Quartets The Symphonies Concertos Fidelio The Third Style Period: 1816--27 Solo Piano Works Cello Sonatas and Songs The String Quartet The Ninth Symphony The Missa solemnis PART NINE. THE EIGHTEENTH-CENTURY HERITAGE AT WORK IN THE EARLY NINETEENTH CENTURY Post-Revolutionary Changes in Society and the Arts 627(5) Napoleonic Power and its Consequences Eclecticism in the Arts Philosophic Commentary on the Arts The Business and the Institutions of Music 632(6) Concert Organizations Music Publishing Musical Writings The Paris Conservatory Chamber Music in the Concert Hall 638(15) The Transformation of the Sonata The Changing Role of the Piano The Piano in Large Chamber Ensembles String Music and Virtuosity Large Chamber Ensembles The Loss of Intimacy: Performance Triumphant 653(16) Haydn's Legacy The Virtuoso Concerto The Persistence of the Operatic Tradition in Italy Choral Music at the Start of a New Tradition Epilogue Bibliography 669(8) Index 677