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Contents

Music In The Seventeenth And Eighteenth Centuries

Further Reading

Chapter:
Source:
MUSIC IN THE SEVENTEENTH AND EIGHTEENTH CENTURIES

Further Reading

The Seventeenth and Eighteenth Centuries

General Sources

Bianconi, Lorenzo. Music in the Seventeenth Century, trans. D. Bryant. Cambridge: Cambridge University Press, 1987.

Boyden, David. The History of Violin Playing from Its Origins to 1761 and Its Relationship to the Violin and Violin Music. London: Oxford University Press, 1965.

Brown, Howard Mayer, and Stanley Sadie. Performance Practice: Music after 1600. New York: Norton, 1989.

Carse, Adam. The Orchestra in the Eighteenth Century. New York: Broude Bros., 1969.

Cowart, Georgia. The Origins of Modern Music Criticism: French and Italian Music, 1600–1750. Ann Arbor, Mich.: UMI Research Press, 1981.

Downs, Philip G. Classical Music: The Era of Haydn, Mozart, and Beethoven. New York: Norton, 1992.

Fubini, Enrico. Music and Culture in Eighteenth-Century Europe: A Source Book. Chicago: University of Chicago Press, 1994.

Heartz, Daniel. Haydn, Mozart and the Viennese School, 1740–1780. New York: Norton, 1995.

——. Music in European Capitals: The Galant Style, 1720–1780. New York: Norton, 2003.

Hutchings, Arthur J. B. The Baroque Concerto. 3rd ed., London: Faber and Faber, 1973.

Le Huray, Peter, and James Day, eds. Music and Aesthetics in the Eighteenth and Early-Nineteenth Centuries. Cambridge: Cambridge University Press, 1981.

Montagu, Jeremy. The World of Baroque and Classical Musical Instruments. London: Overlook Press, 1979.

Newman, William S. The Sonata in the Baroque Era. 4th ed., New York: Norton, 1983.

——. The Sonata in the Classic Era. 3rd ed., New York: Norton, 1983.

Palisca, Claude V. Baroque Music. 2nd ed., Englewood Cliffs, N.J.: Prentice Hall, 1979. Pauly, Reinhard. Music in the Classic Period. 3rd ed., Englewood Cliffs, N.J.: Prentice Hall, 1988.

Pestelli, Giorgio. The Age of Mozart and Beethoven, trans. Eric Cross. Cambridge: Cambridge University Press, 1984.

Price, Curtis, ed. Music and Society: The Early Baroque Era. Englewood Cliffs, N.J.: Prentice Hall, 1994.

Quantz, Joseph Joachim. On Playing the Flute (1752), trans. and ed. E. Reilly. 2nd ed., Boston: Northeastern University Press, 2001.

Ratner, Leonard G. Classic Music: Expression, Form, and Style. New York: Schirmer, 1980.

Rosen, Charles. The Classical Style: Haydn, Mozart, Beethoven. New York: Norton, 1972. Sadie, Julie Anne, ed. Companion to Baroque Music. New York: Schirmer, 1991.

Selfridge-Field, Eleanor. Venetian Instrumental Music from Gabrieli to Vivaldi. Oxford: Oxford University Press, 1975.

Smither, Howard E. A History of the Oratorio, Vol. I. Chapel Hill: University of North Carolina Press, 1977.

Smithers, Don L. The Music and History of the Baroque Trumpet before 1721. London: J. M. Dent, 1973.

Zaslaw, Neal. Man and Music: The Classical Era. Englewood Cliffs, N.J.: Prentice Hall, 1989.

Chapter 1 Opera from Monteverdi to Monteverdi

Arnold, Denis. Monteverdi. 3rd ed., Revised by Tim Carter. London: J. M. Dent, 1990.

——. Monteverdi Church Music. London: British Broadcasting Corporation, 1982.

Arnold, Denis, and Nigel Fortune, The New Monteverdi Companion. Oxford: Clarendon Press, 1985.

Carter, Tim. Monteverdi’s Musical Theatre. New Haven: Yale University Press, 2002.

Leopold, Silke. Monteverdi: Music in Transition, trans. Anne Smith. Oxford: Oxford University Press, 1991.

Pirrotta, Nino, and Elena Povoledo. Music and Theatre from Poliziano to Monteverdi. trans. K. Eales. Cambridge: Cambridge University Press, 1982.

Roche, Jerome. North Italian Church Music in the Age of Monteverdi. Oxford: Oxford University Press, 1984.

Rosand, Ellen. Opera in Seventeenth-Century Venice. Berkeley and Los Angeles: University of California Press, 1991.

Stevens, Denis, trans. and ed. The Letters of Claudio Monteverdi. New York: Columbia University Press, 1980.

Tomlinson, Gary. Monteverdi and the End of the Renaissance. Berkeley and Los Angeles: University of California Press, 1987.

Whenham, John, ed. Claudio Monteverdi: “Orfeo.” Cambridge: Cambridge University Press, 1986.

Chapter 2 Fat Times and Lean

Apel, Willi. The History of Keyboard Music to 1700. Rev. ed., Bloomington: Indiana University Press, 1972.

Bowers, Jane, and Judith Tick, eds. Women Making Music: The Western Art Tradition, 1150–1950. Urbana: University of Illinois Press, 1986.

Bradshaw, Murray C. The Origin of the Toccata. Rome: American Institute of Musicology, 1972.

Culley, Thomas. D., S.J. Jesuits and Music, Vol. I: A Study of the Musicians Connected with the German College in Rome during the Seventeenth Century and of Their Activities in Northern Europe. Rome: Jesuit Historical Institute/St. Louis University, 1970.

Curtis, Alan. Sweelinck’s Keyboard Music: A Study of English Elements in Seventeenth-Century Dutch Composition. 2nd ed., London: Kluwer Academic Publishers, 1972.

Dixon, Graham. Carissimi. Oxford: Oxford University Press, 1986.

Glover, Jane. Cavalli. London: Batsford, 1978.

Moore, James H. Vespers at St. Mark’s: Music of Alessandro Grandi, Giovanni Rovetta and Francesco Cavalli. Ann Arbor, Mich.: UMI Research Press, 1981.

Moser, Hans Joachim. Heinrich Schüz: His Life and Work, trans. C. F. Pfatteicher. St. Louis, Mo.: Concordia, 1959.

Pendle, Karin: Women and Music: A History. Bloomington: Indiana University Press, 1991.

Silbiger, Alexander, ed. Frescobaldi Studies. Durham: Duke University Press, 1987.

——. Keyboard Music before 1700. New York: Schirmer, 1995.

Smallman, Basil. Schütz. Oxford: Oxford University Press, 2000.

Spagnoli, Gina. Letters and Documents of Heinrich Schütz: An Annotated Translation. 2nd ed., Rochester, N.Y.: University of Rochester Press, 1992.

Chapter 3 Courts Resplendent, Overthrown, Restored

Adams, Martin. Henry Purcell: The Origins and Development of His Musical Style. Cambridge: Cambridge University Press, 1995.

Anthony, James R. French Baroque Music from Beaujoyeulx to Rameau. Rev. ed., New York: Norton, 1978.

Auld, Louis E. The Lyric Art of Pierre Perrin, Founder of French Opera. Henryville, PA: Institute of Mediaeval Music, 1986.

Burden, Michael, ed. Performing the Music of Henry Purcell. Oxford: Clarendon Press, 1996.

Dill, Charles W. Monstrous Opera: Rameau and the Tragic Tradition. Princeton: Princeton University Press, 1998.

Girdlestone, Cuthbert. Jean-Philippe Rameau, His Life and Work. Rev. ed., New York: Dover, 1969.

Gustafson, Bruce. French Harpsichord Music in the XVIIth Century. Ann Arbor, Mich.: UMI Research Press, 1978.

Hajdu Heyer, John, ed. Jean-Baptiste Lully and the Music of the French Baroque. Cambridge: Cambridge University Press, 1989.

Harris, Ellen. Henry Purcell’s “Dido and Aeneas.” Oxford: Oxford University Press, 1987.

Hitchcock, H. Wiley. Marc-Antoine Charpentier. Oxford: Oxford University Press, 1990.

Holman, Peter: Four and Twenty Fiddlers: The Violin at the English Court, 1540–1690. Oxford: Oxford University Press, 1993.

Isherwood, Robert M. Music in the Service of the King: France in the Seventeenth Century. Ithaca: Cornell University Press, 1973.

Lefkowitz, Murray. William Lawes. London: Kegan Paul, 1960.

Meyer, Ernst H. English Chamber Music: The History of a Great Art. 1946. Reprint, New York: Da Capo Press, 1971.

Newman, Joyce E. W. Jean-Baptiste deLully and his Tragédies Lyriques. Ann Arbor, Mich.: UMI Research Press, 1979.

Price, Curtis A. Henry Purcell and the London Stage. Cambridge: Cambridge University Press, 1984.

——. Music in the Restoration Theatre. Ann Arbor, Mich.: UMI Research Press, 1979.

Scott, R. H. F. Jean-Baptiste Lully: the Founder of French Opera. London: Peter Owen, 1973.

Spink, Ian. Blackwell History of Music in Britain. Vol. III: The Seventeenth Century. Oxford: Basil Blackwell, 1992.

Sternfeld, Frederick W. Music in Shakespearean Tragedy. London: Routledge and Kegan Paul, 1963.

Stevens, Denis. Thomas Tomkins. 2nd ed., New York: Dover, 1967.

Zimmerman, Franklin B. Henry Purcell, 1659–1695. 2nd ed., Philadelphia: University of Pennsylvania Press, 1983.

Chapter 4 Class and Classicism

Barbier, Patrick. The World of the Castrati: The History of an Extraordinary Operatic Phenomenon, trans. Margaret Crosland. London: Souvenir Press, 1996.

D’Accone, Frank A. The History of a Baroque Opera: Alessandro Scarlatti’s “Gli equivoci nel sembiante.” Hillsdale, N.Y.: Pendragon Press, 1985.

Grout, Donald J. Alessandro Scarlatti: An Introduction to his Operas. Berkeley and Los Angeles: University of California Press, 1979.

Heriot, Angus. The Castrati in Opera. London: Secker and Warburg, 1956.

Holmes William C. Opera Observed: Views of a Florentine Impresario in the Early Eighteenth Century. Chicago: University of Chicago Press, 1993.

Neville, Don, ed. Metastasio at Home and Abroad (Papers from the International Symposium, Faculty of Music, The University of Western Ontario, 1996).

Special issue of Studies in Music from the University of Western Ontario, Vol. 16.

Robinson, Michael F. Naples and Neapolitan Opera. Oxford: Clarendon Press, 1972.

Tosi, Pier Francesco. Observations on the Florid Song. 1723. Reprint, London: Stainer and Bell, 1973.

Chapter 5 The Italian Concerto Style and the Rise of Tonality-Driven Form

Everett, Paul. Vivaldi: “The Four Seasons” and Other Concertos, Op. 8. Cambridge: Cambridge University Press, 1996.

Pincherle, Marc. Corelli: His Life, His Work, trans. Hubert E. M. Russell. New York: Norton, 1956.

——. Vivaldi: Genius of the Baroque, trans. Christopher Hatch. New York: Norton, 1957.

Sadie, Stanley. Handel’s Concertos. London: British Broadcasting Corporation, 1972. Talbot, Michael. Vivaldi. Rev. ed., London: J. M. Dent, 1984.

Chapter 6 Class of 1685 (I)

Boyd, Malcolm. Bach. 3rd ed., Oxford: Oxford University Press, 2000.

——. Bach: The Brandenburg Concertos. Cambridge: Cambridge University Press, 1993.

Butt, John, ed. The Cambridge Companion to Bach. Cambridge: Cambridge University Press, 1997.

David, Hans T., and Arthur Mendel. The Bach Reader: A Life of Johann Sebastian Bach in Letters and Documents. Rev. ed., New York: Norton, 1966.

Dreyfus, Laurence. Bach and the Patterns of Invention. Cambridge: Harvard University Press, 1996.

Geiringer, Karl. The Bach Family: Seven Generations of Creative Genius. 2nd ed., London: Oxford University Press, 1977.

Marissen, Michael. Social and Religious Designs of J. S. Bach’s Brandenburg Concertos. Princeton: Princeton University Press, 1995.

Marshall, Robert L. The Music of Johann Sebastian Bach: The Sources, the Style, the Significance. New York: Schirmer, 1989.

Mellers, Wilfrid. François Couperin ad the French Classical Tradition. Rev. ed., New York: Farrar Straus and Giroux, 1987.

Schulenberg, David. The Keyboard Music of J. S. Bach. New York: Gala Group, 1992.

Stauffer, George, and Ernest May. J. S. Bach as Organist: His Instruments, Music, and Performance Practices. Bloomington: Indiana University Press, 1986.

Stinson, Russell. Bach: The Orgelbüchlein. New York: Schirmer, 1996.

Snyder, Kerala. Dietrich Buxtehude: Organist in Lübeck. New York: Schirmer, 1987.

Williams, Peter. The Organ Music of J. S. Bach. Three vols. Cambridge: Cambridge University Press, 1980–84.

Wolff, Christoph. Bach: Essays on His Life and Music. Cambridge: Harvard University Press, 1991.

——. Johann Sebastian Bach: The Learned Musician. New York: Norton, 2000.

Yearsley, David. Bach and the Meanings of Counterpoint. Cambridge: Cambridge University Press, 2002.

Chapter 7 Class of 1685 (II)

Boyd, Malcolm. Domenico Scarlatti: Master of Music. New York: Schirmer, 1987.

Butt, John. Bach: Mass in B Minor. Cambridge: Cambridge University Press, 1991.

Chafe, Eric. Analyzing Bach Cantatas. Rev. ed., New York: Oxford University Press, 2003.

——. Tonal Allegory in the Vocal Music of J. S. Bach. Berkeley and Los Angeles: University of California Press, 1991.

Dean, Winton. Handel and the Opera Seria. Berkeley and Los Angeles: University of California Press, 1969.

——. Handel’s Dramatic Oratorios and Masques. London: Oxford University Press, 1959.

Dean, Winton, and J. Merrill Knapp. Handel’s Operas, 1704–1726. Oxford: Clarendon Press, 1987.

Deutsch, Otto Erich. Handel: A Documentary Biography. New York: Norton, 1955; Reprint, New York: Da Capo Press, 1974.

Harris, Ellen. Handel and the Pastoral Tradition. London: Oxford University Press, 1980.

——. Handel as Orpheus: Voice and Desire in the Chamber Cantatas. Cambrdige: Harvard University Press, 2001.

Hogwood, Christopher. Handel. London: Thames and Hudson, 1984.

Kirkpatrick, Ralph. Domenico Scarlatti. Rev. ed., Princeton: Princeton University Press, 1983.

Leaver, Robin A.: Music as Preaching: Bach, Passions and Music in Worship. Oxford: Latimer House, 1982.

Marissen, Michael. Lutheranism, Anti-Judaism, and Bach’s St. John Passion: With an Annotated Literal Translation of the Libretto. New York: Oxford University Press, 1998.

Marshall, Robert L. The Compositional Process of J. S. Bach: A Study of the Autograph Scores of the Vocal Works. Princeton: Princeton University Press, 1972.

Smallman, Basil. The Background of Passion Music: J. S. Bach and His Predecessors. 2nd ed., New York: Dover, 1970.

Smith, Ruth. Handel’s Oratorios and Eighteenth-Century Thought. Cambridge: Cambridge University Press, 1995.

Stauffer, George. Bach: The Mass in B Minor. New Haven: Yale University Press, 2003.

Strohm, Reinhard. Essays on Handel and Italian Opera. Cambridge: Cambridge University Press, 1985.

Chapter 8 The Comic Style

Barford, Philip. The Keyboard Music of C. P. E. Bach, Considered in Relation to His Musical Aesthetic and the Rise of the Sonata Principle. New York: October House, 1966.

Bach, Carl Philipp Emanuel. Essay on the True Art of Keyboard Playing, trans. and ed. William J. Mitchell. New York: Norton, 1948.

Clark, Stephen L., ed. C. P. E. Bach Studies. Oxford: Oxford University Press, 1988.

Helm, E. Eugene. Music at the Court of Frederick the Great. Norman: University of Oklahoma Press, 1960.

Oliver, Alfred R. The Encyclopedists as Critics of Music. New York: Columbia University Press, 1947.

Ottenberg, Hans-Gunter. Carl Philipp Emanuel Bach. Oxford: Oxford University Press, 1988.

Schulenberg, David. The Instrumental Music of Carl Philipp Emanuel Bach. Ann Arbor, Mich.: UMI Research Press, 1984.

Terry, Charles Sanford. John Christian Bach. 2nd ed., London: Oxford University Press, 1967.

Troy, Charles E. The Comic Intermezzo: A Study in the History of Eighteenth-Century Opera. Ann Arbor, Mich.: UMI Research Press, 1979.

Chapter 9 Enlightenment and Reform

Allanbrook, Wye J. Rhythmic Gesture in Mozart: Le nozze di Figaro and Don Giovanni. Chicago: University of Chicago Press, 1983.

Anderson, Emily, ed. The Letters of Mozart and His Family. 3rd ed., London: Palgrave Macmillan, 1989.

Bauman, Thomas. W. A. Mozart: Die Entführung aus dem Serail. Cambridge: Cambridge University Press, 1987.

Branscombe, Peter. W. A. Mozart: Die Zauberflöte. Cambridge: Cambridge University Press, 1991.

Brown, Bruce Alan. W. A. Mozart: Così fan tutte. Cambridge: Cambridge University Press, 1995.

Bauman, Thomas. North German Opera in the Age of Goethe. Cambridge: Cambridge University Press, 1985.

Carter, Tim. W. A. Mozart: Le nozze di Figaro. Cambridge: Cambridge University Press, 1987.

Charlton, David. Grétry and the Growth of Opéra Comique. Cambridge: Cambridge University Press, 1986.

Dent, Edward J. Mozart’s Operas: A Critical Study. 2nd ed., London: Oxford University Press, 1947.

Deutsch, Otto Erich. Mozart: A Documentary Biography, trans. Jeremy Noble and Peter Branscombe. Stanford: Stanford University Press, 1965.

Einstein, Alfred. Gluck, trans. Eric Blom. New York: Collier Books, 1962.

——. Mozart: His Character, His Work, trans. Arthur Mendel and Nathan Broder. 6th ed., New York: Norton, 1945.

Flaherty, Gloria. Opera in the Development of German Critical Thought. Princeton: Princeton University Press, 1978.

Heartz, Daniel, and Thomas Bauman. Mozart’s Operas. Berkeley and Los Angeles: University of California Press, 1990.

Howard, Patricia. Gluck and the Birth of Modern Opera. London: Barrie & Rockliff, 1963.

Hunter, Mary. The Culture of Opera Buffa in Mozart’s Vienna: A Poetics of Entertainment. Princeton: Princeton University Press, 1999.

Landon, H. C. Robbins, and Donald Mitchell, eds. The Mozart Companion. New York: Norton, 1969.

Liebner, Janos. Mozart on the Stage. New York: Praeger, 1972.

Rice, John A. W. A. Mozart: La clemenza di Tito. Cambridge: Cambridge University Press, 1991.

Rushton, Julian. W. A. Mozart: Don Giovanni. Cambridge: Cambridge University Press, 1981.

——. W. A. Mozart: Idomeneo. Cambridge: Cambridge University Press, 1993.

Sadie, Stanley. The New Grove Mozart. New York: Norton, 1983.

Solomon, Maynard. Mozart: A Life. New York: HarperCollins, 1995.

Steptoe, Andrew. The Mozart-Da Ponte Operas: Cultural and Musical Background to Le nozze di Figaro, Don Giovanni, and Così fan Tutte. Oxford: Clarendon Press, 1988.

Till, Nicholas. Mozart and the Enlightenment: Truth, Virtue and Beauty in Mozart’s Operas. London: Faber and Faber, 1992.

Weimer, Eric. Opera Seria and the Evolution of Classical Style, 1755–1772. Ann Arbor, Mich: UMI Research Press, 1984.

Chapter 10 Instrumental Music Lifts Off

Barrett-Ayres, Reginald. Joseph Haydn and the String Quartet. London: Barrie and Jenkins, 1974.

Burney, Charles. The Present State of Music in Germany, the Netherlands, and United Provinces. London, 1771; Reprint, New York: Broude Bros., 1969.

Carse, Adam. Eighteenth Century Symphonies. London: Augener, 1951.

Churgin, Bathia. The Symphonies of G. B. Sammartini. Vol. I, The Early Symphonies. Cambridge: Harvard University Press, 1968.

Geiringer, Karl. Haydn: A Creative Life in Music. 3rd ed., Berkeley and Los Angeles: University of California Press, 1982.

Gotwals, Vernon. Haydn: Two Contemporary Portraits. Madison: University of Wisconsin Press, 1968.

Kirkendale, Warren. Fugue and Fugato in Rococo and Classical Chamber Music, trans. Margaret Bent and the author. Durham: Duke University Press, 1979.

Landon, H. C. Robbins. Haydn: Chronicle and Works. 5 vols. Bloomington: Indiana University Press, 1976–80.

——. The Symphonies of Joseph Haydn. London: Barrie and Rockliff, 1961.

Morrow, Mary Sue. Concert Life in Haydn’s Vienna: Aspects of a Developing Musical and Social Institution. Stuyvesant, N.Y: Pendragon Press, 1988.

Rosen, Charles. Sonata Forms. New York: Norton, 1980.

Schroeder, David. Haydn and the Enlightenment: The Late Symphonies and Their Audience. Oxford: Clarendon Press, 1990.

Sisman, Elaine R. Haydn and the Classical Variation. Cambridge: Harvard University Press, 1993.

——. ed. Haydn and His World. Princeton: Princeton University Press, 1997.

Somfai, László. Joseph Haydn: His Life in Pictures. New York: Taplinger, 1969.

Webster, James C. Haydn’s “Farewell” Symphony and the Idea of Classical Style. Cambridge: Cambridge University Press, 1991.

Wheelock, Gretchen A. Haydn’s Ingenious Jesting with Art: Contexts of Musical Wit and Humor. New York: Schirmer, 1992.

Will, Richard. The Characteristic Symphony in the Age of Haydn and Beethoven. Cambridge: Cambridge University Press, 2002.

Wolf, Eugene K. The Symphonies of Johann Stamitz: A Study in the Formation of the Classic Style. Utrecht: Kluwer Academic Publishers, 1981.

Chapter 11 The Composer’s Voice

Girdlestone, Cuthbert. Mozart and His Piano Concertos. 3rd ed., New York: Dover, 1978.

Hutchings, Arthur. A Companion to Mozart’s Piano Concertos. London: Oxford University Press, 1948.

Irving, John. Mozart: The “Haydn” Quartets. Cambridge: Cambridge University Press, 1998.

Kerman, Joseph, ed. W. A. Mozart: Piano Concerto in C Major, K. 503. New York: Norton, 1970.

King, Alec Hyatt. Mozart String and Wind Concertos. London: Granite Impex, 1978.

Landon, H. C. Robbins. Mozart and Vienna. London: Thames and Hudson, 1991.

——. Mozart: The Golden Years, 1781–1791. London: Thames and Hudson, 1989.

MacIntyre, Bruce A. Haydn: The Creation. New York: Thomson Learning, 1998.

Neumann, Frederick. Ornamentation and Improvisation in Mozart. Princeton: Princeton University Press, 1986.

Richards, Annette. The Free Fantasia and the Musical Picturesque. Cambridge: Cambridge University Press, 2001.

Sisman, Elaine R. Mozart: The “Jupiter” Symphony. Cambridge: Cambridge University Press, 1993.

Temperley, Nicholas. Haydn: “The Creation.” Cambridge: Cambridge University Press, 1991.

Zaslaw, Neal. Mozart’s Symphonies: Context, Performance Practice, Reception. Oxford: Oxford University Press, 1989.

——. ed. Mozart’s Piano Concertos: Text, Context, Interpretation. Ann Arbor, Mich: University of Michigan Press, 1996.

Chapter 12 The First Romantics

Anderson, Emily, ed. The Letters of Beethoven. New York: Norton, 1985.

Arnold, Denis, and Nigel Fortune, eds. The Beethoven Reader. New York: Norton, 1971.

Cook, Nicholas. Beethoven: Symphony No. 9. Cambridge: Cambridge University Press, 1993.

Cooper, Barry, ed. The Beethoven Compendium: A Guide to Beethoven’s Life and Music. London: Thames and Hudson, 1991.

Kerman, Joseph. The Beethoven Quartets. New York: Norton, 1979.

Kinderman, William. Beethoven. Berkeley and Los Angeles: University of California Press, 1995.

Lockwood, Lewis. Beethoven: The Music and the Life. New York: Norton, 2003.

Nottebohm, Gustav. Two Beethoven Sketchbooks, trans. Jonathan Katz. London: Victor Gollancz, 1979.

Plantinga, Leon. Beethoven’s Concertos: History, Stile, Performance. New York: Norton, 1999.

Ratner, Leonard G. The Beethoven String Quartets: Compositional Strategies and Rhetoric. Stanford: Stanford University Bookstore, 1995.

Schindler, Anton Felix. Beethoven as I Knew Him, ed. D. W. MacArdle, trans. Constance S. Jolly. New York: Norton, 1972.

Solomon, Maynard. Beethoven. New York: Schirmer, 1977.

——. Beethoven Essays. Cambridge: Harvard University Press, 1988.

Sonneck, Oscar George, ed. Beethoven: Impressions of Contemporaries. New York: Schirmer, 1967.

Spohr, Louis. Autobiography. New York: Da Capo Press, 1969.

Thayer, Alexander Wheelock. Thayer’s Life of Beethoven, Revised by Elliott Forbes. Princeton: Princeton University Press, 1967.

Wallace, Robin. Beethoven’s Critics: Aesthetic Dilemmas and Resolutions during the Composer’s Lifetime. Cambridge: Cambridge University Press, 1986.

Wegeler, Franz Gerhard. Beethoven Remembered: The Biographical Notes of Franz Wegeler and Ferdinand Ries. Arlington, Va.: Great Ocean Publishers, 1987.

Chapter 13 C-Minor Moods

Burnham, Scott. Beethoven Hero. Princeton: Princeton University Press, 1995.

Cooper, Martin. Beethoven: The Last Decade, 1817–1827. London: Oxford University Press, 1970.

Rosen, Charles. Beethoven’s Piano Sonatas: A Short Companion. New Haven: Yale University Press, 2002.

Rumph, Stephen. Beethoven after Napoleon: Political Romanticism in the Late Works. Berkeley and Los Angeles: University of California Press, 2004.

Solomon, Maynard. Late Beethoven: Music, Thought, Imagination. Berkeley and Los Angeles: University of California Press, 2003.

Sterba, Editha, and Richard Sterba. Beethoven and His Nephew: A Psychoanalytical Study of Their Relationship, trans. Willard Trask. New York: Schocken Books, 1971.

Sullivan, J. W. N. Beethoven: His Spiritual Development. New York: Knopf, 1964.

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