Classical Music The Era of Haydn, Mozart, and Beethoven

ISBN-10: 039395191X

ISBN-13: 9780393951912

Edition: 1992

Authors: Philip G. Downs

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Book details

Copyright year: 1992
Publisher: W. W. Norton & Company, Incorporated
Publication date: 10/17/1992
Binding: Hardcover
Pages: 720
Size: 6.25" wide x 9.50" long x 1.50" tall
Weight: 2.398
Language: English

List of Illustrations
Preface
The Transition from Baroque: Music to 1760
The Background to Eighteenth-Century Thought
Art and the Philosopher
The Musician as Philosopher
The Importance of "Taste" in the Eighteenth Century
The Musician in Society
The System of Patronage
Printing and Publishing
The Beginnings of the Public Concert
Instructional Literature
Music for Private Performance
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
The Symphony
The Concerto
Words and Music on the Stage
The Theater as a Social Center
The Singers
The Dramatic Conventions
Italian Opera Seria
Recitative and Aria
Pastiche
Italian Opera Buffa
French Opera
Opera in Italy
Opera in German-Speaking Countries
Opera in London
Opera in Paris
Embracing the New Style: Music 1760-80
The Social and Philosophical Milieu
The Beautiful and the Sublime
Literary Antiquarianism
Sturm und Drang
The Concept of "Classical" and its Opposites
The Musician's Livelihood
Concert Organizations
Music Publishing
Writings about Music
Music in the Home
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
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
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
Haydn, the Developing Master
The Early Years: 1732-60
Early Life
Compositions
The First Esterhazy Years: to 1770
The Beginnings of Recognition
Compositions
The Great Stylistic Break: 1770-79
Haydn's Duties at Esterhaza
Compositions
Mozart, Genius Apparent
The Wunderkind Years: 1756-73
The First Tours
Back Home: Salzburg and Vienna
The Italian Tours
Early Style
The First Keyboard Works
String Quartets
Symphonies
Concertos
Operatic Works
Church Music
The "Colloredo" Years: 1773-31
The Patron
The Products of Patronage
Broadening Expressivity
The Second Journey to Paris
The Salzburg "Employee" Once Again
The High Salzburg Style
Keyboard Works
Accompanied Sonatas
Chamber Music without Keyboard
Symphonies
Serenades and Divertimentos
Concertos
Operatic Works
Religious Music
The Classical Style at Its Apogee: 1780-1800
Years of Revolution and Change
Science and Industry
The French Revolution
Changing Philosophies
The Changing Status of the Musician
Concert Societies
Music Publishing: The Beginning of an Industry
The Virtuoso
The Musician as Author
Solo and Chamber Music
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 Preeminence of the Symphony and the Concerto
The Symphony in Vienna
The Concerto
The Various Faces of Musical Theater
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
Haydn, the Acknowledged Master
The Last Years at Esterhaza: 1780-90
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
Haydn in London
Return to Vienna
Back to London
The Final Return
The Last Compositions
Mozart, Genius Achieved
The Last Ten Years: 1781-91
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
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
Beethoven: 1770-1827
The Giant Astride the Centuries
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
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
The Eighteenth-Century Heritage at Work in the Early Nineteenth Century
Post-Revolutionary Changes in Society and the Arts
Napoleonic Power and its Consequences
Eclecticism in the Arts
Philosophic Commentary on the Arts
The Business and the Institutions of Music
Concert Organizations
Music Publishing
Musical Writings
The Paris Conservatory
Chamber Music in the Concert Hall
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
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
Index
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