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Preface -- Abbreviations and related editorial matters -- Music examples -- Tables, charts, and map -- Introduction: the historical problem -- Part I. The nature of the classic sonata. The concept of "Sonata" in Classic writings. Its use as a title ; Some definitions (Schulz) ; Some explanations (Koch) ; Some attitudes and tastes -- The sonata in Classic society. Amateurs, dilettantes, and "le beau sexe" ; The professional musician at large and at court ; Essercizi, lessons, and the "Sonata scolastica" ; Concerts, private and public ; In the church service -- The spread of the Classic sonata. Its main centers ; Emigrants and immigrants ; Some quantitative aspects of publication ; Some further aspects of publication -- Instruments and settings. The harpsichord and the clavichord ; The early piano ; Other instruments ; Melo/bass settings in decline ; The accompanied keyboard setting ; Further settings, arrangements, and practices -- Style and form. Approaching the problem ; The style shift ; The cycle as a whole ; The first quick movement ; The slowest movement ; Dance movements ; Finales other than dance movements -- Part II. The composers and their sonatas. The keyboard sonata in Italy about 1735 to 1780. Background and sources ; Venice (Alberti, Paganelli, Galuppi) ; Naples (Rutini) -- The ensemble sonata in Italy from 1740 to 1780. Milan (G. B. Sammartini) ; Bologna (Mysliveček, Sarti) ; Tartini's descendants and other stringsmen (Nardini, Pugnani, Boccherini) -- The Iberian peninsula from about 1735 to 1780. Circumstances and influences ; Domenico Scarlatti in Lisbon and Madrid ; Seixas and other composers in Portugal ; Soler and other keyboard composers in Spain ; The melo/bass sonata in Spain -- Italy and the Iberian peninsula from about 1780 to 1825. Some trends during the high-Classic era ; Northern Italy in the wake of Galuppi and others (Grazioli, Turini, Asioli) ; In and about Florence and Naples (Cherubini, Cimarosa) ; A solitary Portuguese (Portugal) ; Madrid and related centers in the wake of Soler (Blasco de Nebra) ; Montserrat and other Catalan centers -- South Germany and Austria from about 1735 to 1780. The Austro-German scene ; The southernmost German centers (Maichelbeck) ; The Mannheim school (Stamitz, Filtz, Richter) ; Nürnberg and near-by centers (Agrell, Buttstett) ; The pre-Classic Vienna school (M. G. Monn, Wagenseil, J. C. Monn) ; Salzburg (L. Mozart) -- Central Germany from about 1735 to 1780. From Würzburg to Mainz (Platti) ; Bonn and Berleburg (Neefe) ; Weimar and near-by centers (Wolf, Ernst Bach) ; Leipzig (Löhlein) ; Dresden (Friedemann Bach) -- North Germany from about 1735 to 1780. From Burgsteinfurt to Braunschweig (Friedrich Bach) ; Emanuel Bach in Berlin ; Other Berlin composers (Franz and Georg Benda, Müthel, the theorists) ; Hamburg and the other northernmost German centers -- |
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Haydn and Mozart. Some preliminaries ; Haydn: sources, periods, works ; Haydn's keyboard sonatas ; Haydn's ensemble sonatas ; Haydn's place in sonata history ; Mozart: comparisons, periods, sources, works ; Mozart's solo piano sonatas: overview ; Mozart's solo piano sonatas: circumstances ; Mozart's four-hand sonatas ; Mozart's ensemble sonatas ; Mozart's "Epistle sonatas" ; Mozart's place in sonata history -- Beethoven. Sources, periods, works ; The piano sonatas: an overview ; The first or "Student" period ; The second or "Virtuoso" period (opp. 2-22) ; The third or "Appassionata" period (opp. 26-57) ; The fourth or "Invasion" period (op. 78-90) ; The fifth or "Sublimation" period (opp. 101-111) ; The string sonatas ; Historical perspective -- Minor Austrians and Germans from about 1780 to 1825. In the shade of the great masters ; Minor contemporaries of Haydn and Mozart in Vienna (Dittersdorf) ; Obscure contemporaries of Haydn and Mozart in Vienna ; Czech contemporaries of Haydn and Mozart in Vienna (Vanhal) ; Viennese contemporaries of Beethoven (Wölfl) ; Three more guitarists in Vienna ; South German centers (Rosetti, C. Stamitz, Vogler) ; West central Germany (Sterkel) ; Central German descendants of Bach (Hässler, Rust, Müller) ; Dresden and near by (Naumann, Seydelmann, Schuster) ; Berlin and other north German centers (Reichardt) -- France from about 1735 to 1780. Pre-revolutionary tastes, trends, and conditions ; Melo/bass sonatas (Gaviniès) ; "Accompanied" sonatas before 1760 (Mondonville, Guillemain) ; Some "German" clavecinists in the 1760's (Schobert, Eckard) ; Some native French organists (Séjan) ; Two composers in Bordeaux (Beck) -- France from about 1780 to 1830. Limits and changes ; Some Alsatian pianists (Edelmann, Hüllmandel) ; More foreigners in Paris (Riegel, Sor) ; Some violinists, mostly French (Guénin) ; Late organists and pianists (Méhul, L. Jadin) ; Chiefly late melo/bass sonatas by foreigners (Viotti) -- Great Britain from about 1740 to 1780. Attitudes and milieu ; A first group of Italians (Pescetti, Paradisi) ; Native British composers (Avison, Burney) ; Christian Bach and other Germans (Abel) ; A second group of Italians (Giardini, Vento) ; Three other nationalities -- Great Britain in Clementi's day. Clementi: periods, works, facts ; Clementi: styles, forms, significance ; Other Italians ; Some native British composers (Hook) ; Other nationalities (Kocžwara, Cogan) -- Outlying regions, East, North, and West. Terra infirma ; Geneva ; Prague ; St. Petersburg and the Baltic region (Manfredini) ; The Netherlands (Hurlebusch, Maldere) ; Copenhagen (Scheibe, Zink) ; Stockholm (Johnsen, Kraus) ; America (Reinagle). |
