Haydn, Mozart, and the Viennese School, 1740-1780, Volume 20For years, historians have described the music of the so-called Viennese School as directly descending from German Lutherism up to Bach's death in 1750. In this fascinating book, Daniel Heartz shows how it actually grew out of Italian Catholicism, combined with current French fashions and local traditions. Haydn and Mozart, who stand at the very center of this study, were viewed as the highest peaks on the musical horizon by their contemporaries. It is that world of perception that Professor Heartz recreates, calling upon the visual arts and the architecture of the period to support his thesis. His focus is on music as a part of cultural history in a particular time and place. Stylistic terms and a priori periods mean less to him than the common denominators of geography, the arts, and political history. The treasure trove of hitherto unseen documents that Professor Heartz uncovered while working in the Viennese archives bears witness to the enormously rich musical life of Vienna during the four decades' reign of the Empress Maria Theresa. This enlightened monarch helped make her capital the musical center of the Western world. |
Contents
Musical Life in Vienna | 3 |
Churches | 10 |
Theaters | 23 |
Concerts | 45 |
Booksellers Publishers and Instrument Makers | 72 |
Court Composers 174065 | 79 |
Monn and Birck | 85 |
Gluck and the Operatic Reform | 143 |
Salieri | 423 |
Ditters | 433 |
Vanhal | 453 |
Hofmann | 464 |
Ordonez | 472 |
Steffan | 478 |
Mozart Apprentice | 485 |
The Child Prodigies on Tour 176266 | 493 |
Calzabigi and the Lettre of 1756 | 158 |
OpéraComique | 164 |
Traettas Armida 1761 | 174 |
Don Juan ou le Festin de Pierre 1761 | 181 |
Orfeo Ed Euridice 1762 | 188 |
Alceste 176667 | 217 |
Early Years to ca 1770 | 235 |
From Morzin to Esterházy Service ca 175962 | 263 |
The Symphonist Gathers Momentum | 278 |
Sacred Music | 294 |
Keyboard Music | 313 |
The 17708 | 323 |
Perfection of the Cyclic Principle | 350 |
Opera and Oratorio | 375 |
The Turning Point of 1780 | 400 |
Haydns Contemporaries | 407 |
Vienna 176768 | 510 |
La finta semplice and Bastien Und Bastienne | 517 |
Early Sacred Music | 527 |
Michael Haydn | 535 |
Three Operas for Habsburg Milan | 544 |
Symphonies and Chamber Music from 1770 to Early 1773 | 556 |
Mozart Journeyman | 563 |
Mozart Master Craftsman | 643 |
Thamos Zaide and the Approaches to Idomeneo | 674 |
Idomeneo | 693 |
Conclusion | 717 |
Appendices | 723 |
An Annotated Translation of Calzabigis Letter on Alceste | 729 |
737 | |
753 | |
Common terms and phrases
Adagio Alceste Allegro Andante aria ballet bass beginning Bonno Burgtheater Burney cadence Calzabigi cello choral chord chorus chromatic church composer composition concertante court dance Ditters Divertimento duet Durazzo early emperor Esterházy Euridice Example figure finale French fugue galant Gassmann German Giuseppe Gluck harpsichord Heartz Herr Hofmann horns Idomeneo imperial instruments Italian Johann Joseph Haydn Kapellmeister keyboard Kyrie later Leopold Leopold Hofmann Leopold Mozart letter libretto main theme Maria Theresa mass measures melody Metastasio Michael Haydn minor minuet molto movement Mozart Munich musicians oboes octave opening opera opera seria orchestra Orfeo Orfeo ed Euridice overture Paris passage performed piano piece played Presto Prince quartets recitative reprise Reutter rhythm Salieri Salzburg scene score seria singers singing solo soloists sonata soprano Starzer strings subdominant sung Symphony theater tonal tone tonic trio troupe Vanhal Vienna Viennese viola violin concertos Wagenseil writing wrote