This site contains bibliographies of selected recent scholarly literature concerning European art music of ca. 1740-1810, focusing particularly on the music of Luigi Boccherini and Franz Joseph Haydn. I do not claim any degree of completeness here; I simply cite those items of significant scholarly interest of which I am aware, with emphasis on recent publications.
Selected journal articles in English concerning music of the classical period that have appeared in recent years
Mozart
Arthur, John. "Res obscura: An Unsuspected Mozart Autograph in Berlin." Musical Times 145 (Winter 2004), 26-35.
Biba, Otto. “Da Ponte in New York, Mozart in New York.” Current Musicology 81 (2006), 109-121.
Bonds, Mark Evan. "Replacing Haydn: Mozart's 'Pleyel' Quartets." Music & Letters 88 (2007), 201-225.
Buch, David J. "Die Zauberflöte, Masonic Opera, and Other Fairy Tales." Acta musicologica 76 (2004), 159-191.
______. “Three Posthumous Reports Concerning Mozart in His Late Viennese Years.” Eighteenth-Century Music 2/1 (2005), 125-129.
Clark, Caryl. "Reading and Listening: Viennese Frauenzimmer Journals and the Sociocultural Context of Mozartean Opera Buffa." Musical Quarterly 87 (2004), 140-175.
Corneilson, Paul. “A Context for Mozart’s French Ariettes: The Wendling Family and Friedrich Schiller’s Kabale und Liebe.” Current Musicology 81 (2006), 53-72.
Hoeckner, Berthold. "Homage to Adorno's 'Homage to Zerlina.'" Musical Quarterly 87 (2004), 510-522.
Holtmeier, Ludwig. "Reconstructing Mozart," trans. Richard Evans. Music Analysis 21 (2003), 307-325.
Irvine, Thomas. “The Foundations of Mozart Scholarship.” Current Musicology 81 (2006), 7-52.
Jan, Steven. "The Evolution of 'Memeplex' in Late Mozart: Replicated Structures in Pamina's 'Ach ich fühl's.'" Journal of the Royal Musical Association 128 (2003), 330-370.
Karna, Duane R. “Mozart’s Three Settings of Regina Coeli.” American Choral Review 48/2 (Summer/Fall 2006), 1-6.
Keefe, Simon P. "'Die Ochsen am Berge': Franz Xaver Süssmayr and the Orchestration of Mozart's Requiem, K. 626." Journal of the American Musicological Society 61 (2008), 1-65.
______. "The 'Jupiter' Symphony in C, K. 551: New Perspectives on the Dramatic Finale and Its Stylistic Significance in Mozart's Orchestral Oeuvre." Acta musicologica 75 (2003), 17-43.
Korevaar, David. "Exoticism Assimilated: 'Turkish' Elements in Mozart's Soanta, K. 331, and Beethoven's 'Waldstein' Sonata, op. 53." Journal of Musicological Research 21 (2002), 197-232.
Kramer, Elizabeth. “The Idea of Transfiguration in the Early German Reception of Mozart’s Requiem.” Current Musicology 81 (2006), 73-107.
McKee, Eric. “Mozart in the Ballroom: Minuet-Trio Contrast and the Aristocracy in Self-Portrait.” Music Analysis 24 (2005), 383-434.
Mikusi, Balázs. "The G Minor Minuet of Mozart's 'Haffner' Serenade: Yet Another Musical Joke?" >i>Musical Times 147 (Winter 2006), 47-55.
Mirka, Danuta. “The Cadence of Mozart’s Cadenzas.” Journal of Musicology 22 (2005), 292-325.
Moreno, Jairo. "Subjectivity, Interpretation, and Irony in Gottfried Weber's Analysis of Mozart's 'Dissonance' Quartet." Music Theory Spectrum 25 (2003), 99-120.
Painter, Karen. "Mozart at Work: Biography and a Musical Aesthetic for the Emerging German Bourgeoisie." Musical Quarterly 86 (2002), 186-235.
Ridgewell, Rupert. "Mozart's Publishing Plans with Artaria in 1787: New Archival Evidence." Music & Letters 83 (2002), 30-74.
Rumph, Stephen. "Mozart's Archaic Endings: A Linguistic Critique." Journal of the Royal Musical Association 130 (2005), 159-196.
WOodfield, Ian. "Mozart's 'Jupiter': A Symphony of Light?" Musical Times 147 (Winter 2006), 25-46.
Zeiss, Laurel Elizabeth. "Permeable Boundaries in Mozart's Don Giovanni." Cambridge Opera Journal 13 (2001), 115-139.
See also Dorothea Link and Judith Nagley, eds., Words about Mozart: Essays in Honour of Stanley Sadie. Woodbridge: Boydell, 2005.
English articles in Mozart-Jahrbuch 2005:
Michael Collins, "Mozart's La Clemenza di Tito in the Early Ottocento: The Making of a Pasticcio," 55-96. Christopher Hogwood, "Mozart and the 'Clavichord Environment,'" 115-130. Matthew Riley, "Edward Elgar's Lecture on Mozart's Symphony in G Minor K. 550," 131-149. Philip Wilby and Fr Peter Allan, "Mozart's Mass in C Minor K. 427: A Liturgical Reconstruction, Published by Novello & Co for Mozart's Anniversary Year," 221-238. Robert D. Levin, "A New Completion of Mozart's Mass in C Minor, K. 427/417a," 239-244. Note also: Christian Broy, "Leopold-Mozart Bibliographie," 261-298.
Beethoven
BaileyShea, Matthew. "Beyond the Beethoven Model: Sentence Types and Limits." Current Musicology 77 (2004), 5-33.
Barry, Barbara. "In Beethoven's Clock Shop: Discontinuity in the Opus 18 Quartets." Musical Quarterly 88 (2005), 320-337.
Burstein, L. Poundie. “The Off-Tonic Return in Beethoven’s Piano Concerto No. 4 in G Major, Op. 58, and Other Works.” Music Analysis 24 (2005), 305-347.
Chua, Daniel K. L. "Adorno's Metaphysics of Mourning: Beethoven's Farewell to Adorno." Musical Quarterly 87 (2004), 523-545.
______. “Recomposition and Retransition in Beethoven’s String Quintet, op. 4.” Journal of Musicology 23 (2006), 62-96.
Cooper, Barry. "Beethoven's Appoggiaturas: Long or Short?" Early Music 31 (2003), 165-178.
______. "Subthematicism and Metaphor in Beethoven's Tenth Symphony." Ad Parnassum 1 (2003), 5-22.
______. "Beethoven and the Double Bar." Music & Letters 88 (2007), 458-483.
Del Mar, Jonathan. "Once Again: Reflections on Beethoven's Tied-Note Notation." Early Music 32 (2004), 7-25. Cf. Malcolm Bilson, Early Music 32 (2004), 489-491.
Dolp, Laura. “Between Pastoral and Nature: Beethoven’s Missa Solemnis and the Landscapes of Caspar David Friedrich.” Journal of Musicological Research 27 (2008), 205-225.
Frohlich, Martha. "Beethoven's Piano Sonata in F Major, Op. 54, Second Movement: The Final Version and Sketches." Journal of Musicology 18 (2001), 98-128.
Graydon, Philip. "'Rückkehr in die Heimat": Postwar Cultural Politics and the 1924 Reworking of Beethoven's Die Ruinen von Athen by Richard Strauss and Hugo von Hofmannsthal." Musical Quarterly 88 (2005), 630-671.
Hanoch-Roe, Galia. "Beethoven's Ninth: An 'Ode to Choice' as Presented in Stanley Kubrick's A Clockwork Orange." International Review of the Aesthetics and Sociology of Music 33 (2002), 171-179.
Head, Matthew. “Beethoven Heroine: A Female Allegory of Music and Authorship in Egmont.” 19th-Century Music 30 (2006-07), 97-132.
Kerman, Joseph. “Beethoven’s Unfinished Piano Trio in F Minor from 1816: A Study of Its Genesis and Significance.” Journal of Musicological Research 25 (2006), 1-42.
Knapp, Raymond. "Reading Gender in Late Beethoven: An die Freude and An die ferne Geliebte." Acta musicologica 75 (2003), 45-63.
Knittel, K. M. “Pilgrimages to Beethoven: Reminiscences by His Contemporaries.” Music & Letters 84 (2003), 19-54.
______. “‘Polemik im Concertsaal’: Mahler, Beethoven, and the Viennese Critics.” 19th-Century Music 29 (2005-06), 289-321.
______. “‘Late,’ Last, and Least: On Being Beethoven’s Quartet in F Major, Op. 135.” Music & Letters 87 (2006), 16-51.
Korevaar, David. "Exoticism Assimilated: 'Turkish' Elements in Mozart's Soanta, K. 331, and Beethoven's 'Waldstein' Sonata, op. 53." Journal of Musicological Research 21 (2002), 197-232.
Levy, Janet M. "The Power of the Performer: Interpreting Beethoven." Journal of Musicology 18 (2001), 31-55.
Marston, Nicholas. “In the ‘Twilight Zone’: Beethoven’s Unfinished Piano Trio in F Minor.” Journal of the Royal Musical Association 131 (2006), 227-286.
Matassi, Elio. "The Adaemonic/Daemonic Spirit of Music: E. T. A. Hoffmann's Review of Beethoven's Fifth Symphony and the Apology of Instrumental Music in W. H. Wackenroder." Ad Parnassum 2/3 (2004), 153-162.
Mathew, Nicholas. "History Under Erasure: Wellingtons Sieg, the Congress of Vienna, and the Ruination of Beethoven's Heroic Style." Musical Quarterly 89 (2006), 17-61.
Ockelford, Adam. "Relating Musical Structure and Content to Aesthetic Response: A Model and Analysis of Beethoven's Piano Sonata Op. 110." Journal of the Royal Musical Association 130 (2005), 74-118.
Sheer, Miriam. "The Godard-Beethoven Connection: On the Use of Beethoven's Quartets in Godard's Films." Journal of Musicology 18 (2001), 170-188.
Silverman, Gerald. "New Light, but Also More Confusion, on 'Es muss sein.'" Musical Times 144 (Autumn 2003), 51-53.
Skrowroneck, Tilman. "Beethoven's Erard Piano: Its Influence on His Compositions and on Viennese Fortepiano Building." Early Music 30 (2002), 522-538.
Steblin, Rita. "Who Died? The Funeral March in Beethoven's Eroica Symphony." Musical Quarterly 89 (2006), 62-79.
Stroh, Patricia. "Beethoven in the Auction Market: A Twenty-Year Review." Notes 63 (2006-07), 533-564.
Timmers, Renee, Richard Ashley, Peter Desain, Henkjan Honing, and W. Luke Windsor. "Timing of Ornaments in the Theme from Beethoven's Paisiello Variations: Empirical Data and a Model." Music Perception 20 (2002-03), 3-33.
Articles in Beethoven Forum 10/1 (2003):
Tilden Russell. "Unification in the Sixth Symphony: The Pastoral Mode," 1-17. Petra Weber-Bockholdt. "Eliminating Potentiality: Beethoven's Work on the First Movement of the Cello Soanta in G Minor, Op. 5, No. 2," 18-37. Mark Katz. "Beethoven in the Age of Mechanical Reproduction: The Violin Concerto on Record," 38-54.
Other
composers
(alphabetical
by composer)
Brian Capleton. “Carl Friedrich Abel, a Gainsborough Painting, and Viol Temperament: Some Evidence and Enigmas.” Consort 59 (2003), 51-74.
Peter Holman. “‘A Solo on the Viola da Gamba’: Carl Friedrich Abel as a Performer.” Ad Parnassum 2/4 (2004), 45-71.
Reginald L. Sanders. "Carl Philipp Emanuel Bach's Ensemble for Liturgical Performances at the Hamburg Principal Churches." Hamburger Jahrbuch für Musikwissenschaft 18 (2001), 367-403.
Ann Van Allen-Russell. "'For Instruments not Intended': The Second J. C. Bach Lawsuit." Music & Letters 83 (2002), 3-29.
Paul Cienniwa. “Unexpected Examples of Sonata Form: Claude-Bénigne Balbastre’s 1759 ‘Pièces de clavecin, premier livre.’” Ad Parnassum 1 (2003), 133-146.
Rohan H. Stewart-MacDonald. “Canonic Passages in the Later Piano Sonatas of Muzio Clementi: Their Structural and Expressive Roles.” Ad Parnassum 1 (2003), 51-107.
Jen-Yen Chen. “The Sachsen-Hildburghausen Kapelle and the Symphonies of Christoph Willibald Gluck.” Ad Parnassum 2/1 (2003), 81-109.
Chris Walton. “Pocahontas in the Alps: Masonic Traces in the Stage Works of Franz Christoph Neubauer.” Musical Times 146 (Autumn 2005), 43-56.
Donald C. Sanders. “Sunday Music: The Sonatas of Domenico Paradies.” Musical Times 145 (Spring 2004), 68-74.
Richard Will. “Pergolesi’s Stabat Mater and the Politics of Feminine Virtue.” Musical Quarterly 87 (2004), 580-614.
Matthew Haakenson. "Two Spanish Brothers Revisited: Recent Research Surrounding the Life and Instrumental Music of Juan Bautista Pla and José Pla." Early Music 35 (2007), 83-94.
Claudia Schweitzer. “Madame Ravissa de Turin: A Forgotten Women Composer of the 18th Century.” Early Music 32 (2004), 429-439.
Caryl Clark. “Fabricating Magic: Costuming Salieri’s Armida.” Early Music 31 (2003), 451-461.
Christopher H. Gibbs. “Writing Under the Influence? Salieri and Schubert’s Early Opinion of Beethoven.” Current Musicology 75 (2003), 117-144.
Carl Sloane. “Domenico Scarlatti’s ‘tremulo.’” Early Music 30 (2002), 158. Cf. Schott, Early Music 30 (2002), 158.
Warwick Lister. "New Light on the Early Career of G. B. Viotti." Music & Letters 83 (2002), 419-425.
______. "'Suonatore del Principe': New Light on Viotti's Turin Years." Early Music 31 (2003), 233-246.
Alyson McLamore. “‘By the Will and Order of Providence’: The Wesley Family Concerts, 1779-1787.” Research Chronicle 37 (2004), 71-220.
some recent thematic catalogues:
Christine D. de Catanzaro and Werner Reiner. Anton Cajetan Adlgasser (1729-1777): A Thematic Catalogue of His Works. Thematic Catalogues, 22. Hillsdale NY: Pendragon, 2000.
Sang-Chun Yeon. Carl Ditters von Dittersdorf: Die Kammermusik für Streichinstrumente. Quellenkundliche und stilistische Untersuchungen mit einem thematischen Verzeichnis. Studien und Materialien zur Musikwissenschaft, 19. Hildesheim: Georg Olms, 1999.
Martherita Tomasi. Giovanni Battista Grazioli (1746-1820): Catalogo thematico. Studi Musicologici, 3; Cataloghi e bibliografia, 14. Venice: Fondazione Levi, 2005.
Karl Parta, ed. Franz Krommer (1759-1831): Thematischer Katalog seiner musikalischen Werke. Prague: Supraphon, 1997.
Angela Evans and Robert Dearling. Josef Myslivecek (1737-1791): A Thematic Catalogue of His Instrumental and Orchestral Works. Musikwissenschaftliche Schriften, 35. Munich: Katzbichler, 1999.
Wilhelm Ensslin. Chronologisch-thematisches Verzeichnis der Werke Ferdinando Paërs (PaWV), 1: Die Opern. Musikwissenschaftliche Publikationen, 23, 1. Hildesheim: Georg Olms, 2004.
Alberto Iesuè. Le Opere di Giovanni Benedetto Platti 1697-1763. Catalogo tematico. Padua: Edizioni de "I Solisti Veneti," 1999.
Erich Duda. Das musikalische Werk Franz Xaver Süssmayrs. Thematisches Werkverzeichnis (SmWV) mit ausführlichen Quellenangaben und Skizzen der Wasserzeichen. Schriftenreihe der Internationalen Stiftung Mozarteum salzburg, 12. Kassel: Bärenreiter, 2000.
Theory
Braunschweig, Karl David. “Enlightenment Aspirations of Progress in Eighteenth-Century German Theory.” Journal of Music Theory 47 (2003), 273-304.
Eckert, Stefan. “[...] wherein good Taste, Order and Thoroughness Rule”: Hearing Riepel’s Op. 1 Violin Concertos through Riepel’s Theories.” Ad Parnassum 3/1 (2005), 23-44.
Dammann, Guy. “‘Sonate, que me veux-tu?’: Jean-Jacques Rousseau and the Problem of Instrumental Music.” Ad Parnassum 3/1 (2005), 57-67.
Riley, Matthew. "Civilizing the Savage: Johann Georg Sulzer and the 'Aesthetic Force' of Music." Journal of the Royal Musical Association 127 (2002), 1-22.
______. "Johann Nikolaus Forkel on the Listening Practices of 'Kenner' and 'Liebhaber.'" Music & Letters 84 (2003), 414-433.
Other Topics
Caplin, William E. “The Classical Cadence: Conceptions and Misconceptions.” Journal of the American Musicological Society 57 (2004), 52-117.
______. “On the Relation of Musical Topoi to Formal Function.” Eighteenth-Century Music 2/1 (2005), 113-124.
Chantler, Abigail. “The Classical Period: A Musicological Misnomer.” Ad Parnassum 2/1 (2003), 121-142.
______. “The Sturm und Drang Style Revisited.” International Review of the Aesthetics and Sociology of Music 34 (2003), 17-31.
Hogwood, Christopher. "In Defence of the Minuet and Trio." Early Music 30 (2002), 236-251.
Latcham, Michael. "Swirling from One Level of the Affects to Another: The Expressive Clavier in Mozart's Time." Early Music 30 (2002), 502-520.
McClelland, Ryan. “Extended Upbeats in the Classical Minuet: Interactions with Hypermeter and Phrase Structure.” Music Theory Spectrum 28 (2006), 23-56.
Schwartz, Judith L. "Conceptions of Musical Unity in the 18th Century." Journal of Musicology 18 (2001), 56-75.
Telesco, Paula. "Forward-Looking Retrospection: Enharmonicism in the Classical Era." Journal of Musicology 19 (2002), 332-373.
New scholarship on sonata form:
James Hepokoski and Warren Darcy. “The Medial Caesura and Its Role in the Eighteenth-Century Sonata Exposition.” Music Theory Spectrum 19 (1997), 115-154.
James Hepokoski. "Back and Forth from Egmont: Beethoven, Mozart, and the Nonresolving Recapitulation." 19th-Century Music 25 (2001-02), 127-154.
James Hepokoski. "Beyond the Sonata Principle." Journal of the American Musicological Society 55 (2002), 91-154.
James Hepokoski and Warren Darcy. Elements of Sonata Theory: Norms, Types, and Deformations in the Late-Eighteenth-Century Sonata. Oxford: Oxford University Press, 2006.
If you need additional bibliographic information, please feel free to write me at the address below.
