chapter five
MUSIC

AnnE.Moyerand

PhilipM.Soergel

Origins and Elements of the Baroque Style … 214
Performers, Performances, and Audiences … 218
Italian Opera in the Seventeenth Century … 223
Opera in France … 226
Opera in the Early Eighteenth-Century World … 231
Oratorio and Cantata … 238
Baroque Instruments … 242
Baroque Keyboard Music … 246
Baroque Music for Instrumental Ensembles … 248
Music During the Rococo … 251
The Reform of Opera … 255
The Rise of Classicism and Romanticism … 258

Johann Sebastian Bach … 266
George Frideric Handel … 268
Josef Haydn … 269
Jean-Baptiste Lully … 271
Wolfgang Amadeus Mozart … 272
Antonio Vivaldi … 273

SIDEBARS AND PRIMARY DOCUMENTS
Primary sources are listed in italics
In Defense of New Music (excerpt from Scacchi's A Brief Discourse on New Music) … 217
The Composer as Schoolmaster (a contract for employment signed by Bach) … 221
Lully's Caution (excerpt from text by Hawkins concerning Jean-Baptiste Lully) … 228
Music as a Science (excerpt from Rameau's Treatise on Harmony) … 230
Rushed Compositions (excerpt from Goldoni's Commedie describing Antonio Vivaldi) … 234
The Opera Scene in Naples (excerpts from letters by Sharp from his Grand Tour of Europe) … 236
On the Glories and Limits of the Keyboard (excerpt from text by C. P. E. Bach discussing the keyboard) … 247
The Appeal to the Sentiments (excerpt from Mattheson's The Complete Chapel Master) … 252
Gluck: An Intimate Portrait of a Composer (excerpt from text by Burney giving an intimate portrait of Christoph Willibald von Gluck) … 256
The Stunted Development of English Music (excerpt from Burney's General History of Music) … 257
A Miracle of Music (excerpt from a letter by Barrington praising Mozart) … 260