Eighteenth-century music for two keyboard instruments, Bernard Brauchli (harpsichord, clavichord), Esteban Elizondo (organ, clavichord), Titanic Records T1-185 (rec 1989); Joseph Haydn, Harpsichord Sonatas In C Minor (XVI 20), F Major (XVI:23), A Major (XVI 26), E Flat Major (XVI 28), B Minor (XVI 32), Shirley Mathews (harpsichord), Gasparo GSCD-284 (issued 1991); Wolfgang Amadeus Mozart, Concertos KV107 (After J. C. Bach's Keyboard Sonatas Op.5 Nos 2, 3 & 4); Leopold Mozart, Sonata Da Camera A Tre No.4; Johann Christian Bach, Sonata In D Major, Op.20 No 2, Keyboard Concerto In E Flat Major, Op.7 No 5, London Baroque, Harmonia Mundi HMC 901395 (rec 1990); Wolfgang Amadeus Mozart, Piano Sonatas K545 & K57O, Fantasie K475, Rondos K486 & K511, Andras Schiff (fortepiano), L'Oiseau-Lyre 433 328-2 (rec 1991)

Early Music ◽  
1993 ◽  
Vol XXI (1) ◽  
pp. 161-163
Author(s):  
B. Harrison
Keyword(s):  
Eighteenth Century ◽  
Wolfgang Amadeus Mozart ◽  
Joseph Haydn ◽  
Piano Sonatas ◽  
Keyboard Sonatas

Analyses

2020 ◽  
pp. 233-251
Author(s):  
L. Poundie Burstein
Keyword(s):  
Eighteenth Century ◽  
Wolfgang Amadeus Mozart ◽  
Joseph Haydn ◽  
Tonal Structure ◽  
Starting Point ◽  
Formal Concepts

This chapter wraps up the book with close analyses of first movements from four Galant pieces: Johann Adolph Hasse, Overture to Alcide al Bivio (1760); Marianna Martines, Sonata for Keyboard in A (c. 1765); Joseph Haydn, Symphony No. 14 in A (c. 1762); and Wolfgang Amadeus Mozart, Quartet for Strings in B-flat, K. 159 (1773). In each case, the entire movement—not just the exposition—is analyzed, considering matters such form, tonal structure, and hermeneutic impact. As in the previous chapters, eighteenth-century formal concepts are taken as the starting point for the analyses, and more modern formal notions are applied where appropriate.

scholarly journals The Volta: A Galant Gesture of Culmination

2020 ◽  
Vol 42 (2) ◽  
pp. 280-304
Author(s):  
Nathaniel Mitchell
Keyword(s):  
Eighteenth Century ◽  
Wolfgang Amadeus Mozart ◽  
Joseph Haydn ◽  
Music Making ◽  
Opera Seria

Abstract This article presents an overview of a new pre-cadential schema in the galant style: the Volta. The Volta is a two-part schema featuring a prominent chromatic reversal: stage one charges up the dominant with a ♯4^–5^ melodic string, while stage two releases to the tonic using a ♮4^–3^ string. The schema sheds light on many aspects of galant music-making: its variants illustrate how central features of a schematic prototype motivate or constrain plausible manipulations, its pre-cadential function reveals the intimate communion between surface schemas and the harmonic patterns inscribed within the style’s formal scripts, and, finally, its use as a climactic gesture in opera seria calls attention to the semantic possibilities of schemas beyond their role in defining musical topics. These and other aspects of the Volta are illustrated using representative excerpts from eighteenth-century masters like Leonardo Vinci, Giovanni Battista Pergolesi, Johann Adolf Hasse, Baldassare Galuppi, Joseph Haydn, and Wolfgang Amadeus Mozart.

scholarly journals Performer rights and responsibilities in historical performance

Muzikologija ◽  
2014 ◽  
pp. 31-46
Author(s):  
John Irving
Keyword(s):  
Performance Practice ◽  
Joseph Haydn ◽  
John Irving ◽  
Keyboard Sonatas ◽  
Historical Performance

In April 2014, fortepianist and Mozart specialist John Irving recorded a CD of solo keyboard sonatas by Joseph Haydn, using a modern copy of a Viennese fortepiano of Haydn?s era. This is an account of the project written from the performer?s perspective, examining some relevant issues of historical performance practice, organology, and detailed reflections upon the performer?s preparations (of various musical and technical kinds) for the recording.

scholarly journals Historical Vignette: The “Case” of Joseph Haydn: A Rhinological Patient During the Eighteenth Century

2000 ◽  
Vol 110 (7) ◽  
pp. 1078-1081
Author(s):  
Peter Neugebauer ◽  
Jan Peter Thomas ◽  
Olaf Michel
Keyword(s):  
Eighteenth Century ◽  
Joseph Haydn

The Troping of Topics in Mozart’s Instrumental Works

2014 ◽  
Author(s):  
Robert Hatten
Keyword(s):  
Eighteenth Century ◽  
String Quartet ◽  
Literary Language ◽  
Piano Sonatas ◽  
Familiar Figure ◽  
Instrumental Works

An eighteenth-century musical topic is a familiar figure, texture, genre, or style that is imported into a new context, where it may interact with other topics and the prevailing discourse of a movement in ways that may spark creative meanings. These interactions are analogous to the processes that produce tropes in literary language. A merger of expressive meanings may produce an effect akin to metaphor, whereas resistance to merger may signal some form of irony. Degrees of compatibility, dominance, creativity, and productivity among topics and tropes are explored in Mozart’s instrumental works, with extended examples drawn from the first movements of Mozart’s Piano Sonatas in F major, K. 332, and D major, K. 576, and the second and fourth movements of his String Quartet in D minor, K. 421.

The Works of Joseph and Michael Haydn in Ondřej Horník’s Collection

Musicalia ◽  
2017 ◽  
Vol 9 (1-2) ◽  
pp. 6-23
Author(s):  
Michaela Freemanová
Keyword(s):  
Eighteenth Century ◽  
Joseph Haydn ◽  
National Museum

Abstract Joseph Haydn (1732-1809) and his brother Michael (1737-1806) were the most popular composers in eighteenth-century Bohemia, and their compositions have been preserved in collections in Prague, among other places. The study deals with Haydniana in the collection of Ondřej Horník (1864-1917) kept at the National Museum - Czech Museum of Music and with sacred works in particular. It notes the performances of compositions by both Haydn brothers given by the Brothers Hospitallers in Kuks, gives concrete examples of changes to instrumentation depending on changing tastes during the period, and touches on cases of doubtful authorship and practical questions concerning the manufacturing and distribution of paper. Among other things, it affirms the importance of Ondřej Horník's activity as a collector.

The Idea of National Opera, c. 1800*

2006 ◽  
Author(s):  
Silke Leopold
Keyword(s):  
Nineteenth Century ◽  
Eighteenth Century ◽  
Wolfgang Amadeus Mozart ◽  
Richard Wagner ◽  
The Other ◽  
German Language ◽  
Historical Reality ◽  
National Opera ◽  
Century Thought

Wolfgang Amadeus Mozart was one of many composers who, during the last quarter of the eighteenth century, thought more and more about a German-language opera. The idea of a German national opera was intensively discussed in Mannheim, and also put into practice with Ignaz Holzbauer's setting of Anton Klein's libretto Günther von Schwarzburg (1777). The idea of the national opera took hold in Europe during the nineteenth century. Is the German national opera, which composers and writers on music from Richard Wagner to Hans Pfitzner see as starting with Christoph Willibald Gluck's Iphigenie auf Tauris and Carl Maria von Weber's Freischütz, a historical reality or a historiographical construct? In order to answer this question, this chapter takes a brief look at the situation of opera around 1800, for only in Germany, and not in the other two leading opera nations, Italy and France, can a development at this time be observed in which the idea of a national opera takes shape.

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