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Anthology Repertoire | |
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Series Editor's Preface | |
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Author's Preface | |
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The Encyclopedic Century | |
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The Grand Tour | |
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The "Fish-Tail" | |
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Demographics and Religion | |
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A Musicological Grand Tour | |
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For Further Reading | |
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Learned and Galant | |
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Old and New Musical Styles | |
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Binary and Da Capo Form: Musical Common Ground | |
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Coexistence and Interaction of Styles | |
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Teaching and Learning | |
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For Further Reading | |
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Naples | |
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Musical Education | |
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The Musico and Vocal Improvisation | |
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Theaters | |
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The Austrians in Naples, Vinci, and the Emergence of the Galant Style | |
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Pergolesi and the Comic Intermezzo | |
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For Further Reading | |
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Carnival Opera in Rome and Venice | |
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Metastasio and Opera Seria | |
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Theatrical Transvestism and the Roman Carnival: Latilla's Lafinta cameriera | |
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Venetian Ospedali | |
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"I Boast of My Strength": The Life and Music of Caterina Gabrielli | |
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For Further Reading | |
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Instrumental Music in Italy and Spain | |
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The Operatic Sinfonia, the Symphony, and the Orchestra | |
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The Piano | |
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Domenico Scarlatti | |
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Boccherini and the Music Publishing Business | |
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For Further Reading | |
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Paris of the Aacien R�gime | |
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Trag�die Lyrique at the Op�ra | |
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Opera Comique | |
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Instrumental Music in Parisian Salons | |
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Public Concerts and the Chevalier de Saint-Georges | |
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For Further Reading | |
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Georgian London | |
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Metropolis on the Thames | |
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Ballad Opera | |
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Italian Opera | |
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Public Concerts | |
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"Ancient" and Modern Instrumental Music | |
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For Further Reading | |
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Vienna under Empress Maria Theresa | |
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The Court Theater and the Theater at the K�rntnertor | |
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Crisis, Reform, and a New Court Theater | |
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Maria Theresa as Musician and Patron | |
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Gluck and Viennese Op�ra Comique | |
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Operatic Reform and Orfeo ed Euridice | |
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Church Music: Vanhal's Missa Pastoralis | |
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Women at the Keyboard | |
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For Further Reading | |
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Leipzig and Berlin | |
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Leipzig in | |
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Hiller as Organizer of Concerts and Composer of Singspiele | |
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A Musician-King's Violent Coming of Age | |
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Frederick's Opera Company and Graun's Montezuma | |
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Carl Philipp Emanuel Bach | |
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For Further Reading | |
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Courts of Central Europe: Mannheim, Bayreuth, and Eisenstadt/Eszterh�za | |
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Carl Theodor and Stamitz at Mannheim | |
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Margravine Wimelmina and Anna Bon at Bayreuth | |
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Joseph Haydn in Vienna and Eisenstadt | |
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Haydn at Eszterh�za and the Farewell Symphony | |
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For Further Reading | |
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Galant Music in the New World | |
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The Gold Cities of Minas Gerais | |
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An Italian Musician in Mexico City | |
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The Slave Colony of Jamaica and Samuel Felsted's Jonah | |
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Music for the Moravian Lovefeast | |
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For Further Reading | |
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St. Petersburg under Catherine the Great | |
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Catherine the Great as Operatic Patron | |
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Music and the Nobility: Nicholas and Prascovia | |
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Giuseppe Sarti, Dmitry Bortniansky, and Russian Church Music | |
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The Russian Horn Band | |
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John Field's Forward-Looking Piano Music | |
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For Further Reading | |
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Foreigners in Paris: Gluck, Mozart Salieri, Cherubini | |
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Gluck at the Op�ra | |
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Mozart in Paris's Salons and Concert Rooms | |
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Antonio Salieri and Les Dana�des | |
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Luigi Cherubini and the French Revolution | |
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For Further Reading | |
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Mozart's Vienna | |
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Joseph as Enlightened Monarch | |
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New Patterns of Patronage | |
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Public Concerts | |
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Music in the Home | |
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Opera Buffa | |
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For Further Reading | |
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Prague | |
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In the Shadow of White Mountain | |
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Italian Opera | |
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Mozart in Prague | |
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Don Giovanni | |
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A Coronation Opera for the "German Titus" | |
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For Further Reading | |
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London in the 1790s | |
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Rival Concert Series | |
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Haydn's First Visit to England | |
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Haydn's Second Visit | |
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For Further Reading | |
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Vienna in the Napoleonic Era | |
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Beethoven in Vienna: The 1790s | |
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Gottfried van Swieten and Haydn's The Seasons | |
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The Triumph of Cherubini's Les Deux Journ�es | |
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Church Music as Counter-Revolutionary Symbol | |
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Beethoven's Heroic Style | |
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The Pastoral Symphony as Celebration of the Enlightenment | |
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For Further Reading | |
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Glossary | |
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Endnotes | |
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Credits | |
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Index | |