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List of Illustrations | |
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Preface | |
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The Transition from Baroque: Music to 1760 | |
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The Background to Eighteenth-Century Thought | |
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Art and the Philosopher | |
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The Musician as Philosopher | |
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The Importance of "Taste" in the Eighteenth Century | |
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The Musician in Society | |
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The System of Patronage | |
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Printing and Publishing | |
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The Beginnings of the Public Concert | |
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Instructional Literature | |
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Music for Private Performance | |
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The Style Galant | |
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Solo Sonata with Basso Continuo | |
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The Trio Sonata | |
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The Solo Keyboard Sonata | |
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The Empfindsamer Stil | |
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Other Keyboard Forms | |
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The Song | |
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Music for Public Performance | |
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The Symphony | |
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The Concerto | |
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Words and Music on the Stage | |
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The Theater as a Social Center | |
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The Singers | |
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The Dramatic Conventions | |
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Italian Opera Seria | |
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Recitative and Aria | |
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Pastiche | |
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Italian Opera Buffa | |
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French Opera | |
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Opera in Italy | |
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Opera in German-Speaking Countries | |
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Opera in London | |
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Opera in Paris | |
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Embracing the New Style: Music 1760-80 | |
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The Social and Philosophical Milieu | |
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The Beautiful and the Sublime | |
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Literary Antiquarianism | |
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Sturm und Drang | |
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The Concept of "Classical" and its Opposites | |
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The Musician's Livelihood | |
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Concert Organizations | |
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Music Publishing | |
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Writings about Music | |
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Music in the Home | |
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Further Evolution of the Sonata with Continuo | |
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The Keyboard Sonata | |
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The Keyboard Sonata with Optional Accompaniment | |
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The String Trio | |
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The String Quartet | |
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The String Quintet | |
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Vocal Music | |
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Concert and Church Music | |
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The Emergence of the "Classical" Symphony | |
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The Symphonie Concertante | |
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The Solo Concerto | |
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Music in the Service of God | |
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Religious Music in Roman Catholic Europe | |
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Church Music in Non-Catholic Europe | |
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Opera | |
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Serious Opera in Italy | |
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The Changing Italian Opera Buffa | |
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Serious Opera Outside Italy | |
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Comic Opera in France | |
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Comic Opera in London | |
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Comic Opera in Germany | |
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Haydn, the Developing Master | |
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The Early Years: 1732-60 | |
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Early Life | |
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Compositions | |
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The First Esterhazy Years: to 1770 | |
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The Beginnings of Recognition | |
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Compositions | |
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The Great Stylistic Break: 1770-79 | |
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Haydn's Duties at Esterhaza | |
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Compositions | |
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Mozart, Genius Apparent | |
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The Wunderkind Years: 1756-73 | |
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The First Tours | |
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Back Home: Salzburg and Vienna | |
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The Italian Tours | |
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Early Style | |
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The First Keyboard Works | |
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String Quartets | |
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Symphonies | |
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Concertos | |
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Operatic Works | |
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Church Music | |
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The "Colloredo" Years: 1773-31 | |
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The Patron | |
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The Products of Patronage | |
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Broadening Expressivity | |
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The Second Journey to Paris | |
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The Salzburg "Employee" Once Again | |
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The High Salzburg Style | |
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Keyboard Works | |
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Accompanied Sonatas | |
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Chamber Music without Keyboard | |
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Symphonies | |
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Serenades and Divertimentos | |
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Concertos | |
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Operatic Works | |
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Religious Music | |
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The Classical Style at Its Apogee: 1780-1800 | |
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Years of Revolution and Change | |
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Science and Industry | |
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The French Revolution | |
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Changing Philosophies | |
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The Changing Status of the Musician | |
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Concert Societies | |
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Music Publishing: The Beginning of an Industry | |
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The Virtuoso | |
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The Musician as Author | |
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Solo and Chamber Music | |
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The Decline of the Continuo | |
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From the Harpsichord to the Fortepiano | |
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The Accompanied Keyboard Sonata | |
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Chamber Music for Strings | |
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Music for Voice and Piano | |
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The Preeminence of the Symphony and the Concerto | |
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The Symphony in Vienna | |
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The Concerto | |
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The Various Faces of Musical Theater | |
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The Opera Seria | |
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The Flourishing Opera Buffa | |
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The Tragedie Lyrique | |
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The Effect of the Revolution on the Opera Comique | |
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The Singspiel | |
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Operatic Entertainment in London | |
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Haydn, the Acknowledged Master | |
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The Last Years at Esterhaza: 1780-90 | |
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Daily Life and Responsibilities | |
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The Solo Keyboard Sonatas | |
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The Accompanied Keyboard Sonata | |
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The String Quartet | |
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Songs | |
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Symphonies | |
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Concertos | |
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The Operas | |
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Church Music | |
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Freedom at Last | |
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Haydn in London | |
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Return to Vienna | |
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Back to London | |
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The Final Return | |
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The Last Compositions | |
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Mozart, Genius Achieved | |
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The Last Ten Years: 1781-91 | |
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Breaking with Colloredo | |
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Mozart's Marriage | |
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An Ideal Realized: Die Entfuhrung | |
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Life in Vienna | |
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Mozart and Da Ponte | |
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Financial Problems | |
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The Great Works of the Final Decade | |
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The Late Piano Works | |
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Sonatas for Violin and Piano | |
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The Piano Trios | |
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The Piano Quartets | |
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The Piano Quintet | |
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Chamber Music for Strings Alone | |
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The Song | |
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The Symphony | |
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The Concertos | |
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Serenades, Divertimentos, and Dances | |
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Operas | |
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Church Music | |
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Beethoven: 1770-1827 | |
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The Giant Astride the Centuries | |
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The Beginnings in Bonn | |
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The Early Years in Vienna | |
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Recognition and Success | |
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Enlightened Patronage and Other Sources of Income | |
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The Last Years | |
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The Entire Oeuvre | |
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The First Style Period to 1802 | |
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Sonatas for Piano Solo | |
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The Sonatas for Piano with One Instrument | |
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The Trios and Larger Works with Piano | |
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The String Quartet | |
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Music for Larger Chamber Ensembles | |
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The Concertos | |
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The Symphonies and Orchestral Music | |
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The Second Style Period: 1803-14 | |
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Piano Sonatas | |
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Sonatas for Piano and One Other Instrument | |
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Piano Trios | |
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String Quartets | |
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The Symphonies | |
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Concertos | |
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Fidelio | |
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The Third Style Period: 1816-27 | |
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Solo Piano Works | |
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Cello Sonatas and Songs | |
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The String Quartet | |
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The Ninth Symphony | |
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The Missa solemnis | |
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The Eighteenth-Century Heritage at Work in the Early Nineteenth Century | |
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Post-Revolutionary Changes in Society and the Arts | |
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Napoleonic Power and its Consequences | |
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Eclecticism in the Arts | |
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Philosophic Commentary on the Arts | |
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The Business and the Institutions of Music | |
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Concert Organizations | |
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Music Publishing | |
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Musical Writings | |
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The Paris Conservatory | |
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Chamber Music in the Concert Hall | |
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The Transformation of the Sonata | |
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The Changing Role of the Piano | |
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The Piano in Large Chamber Ensembles | |
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String Music and Virtuosity | |
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Large Chamber Ensembles | |
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The Loss of Intimacy: Performance Triumphant | |
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Haydn's Legacy | |
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The Virtuoso Concerto | |
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The Persistence of the Operatic Tradition in Italy | |
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Choral Music at the Start of a New Tradition | |
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Epilogue | |
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Bibliography | |
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Index | |