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Article

Daniel Heartz

und seine Stellung zur Musik’, SIMG , 15 (1913–14), 427–48 M. Fubini : ‘Dall'Arcadia all'illuminismo: Francesco Algarotti’, La cultura illuministica in Italia (Turin, 1957, enlarged 2/1964), 69–87 G. Roncaglia : ‘Il Conte Francesco Algarotti e il rinnovamento del melodramma’, Chigiana , 21, new ser., i (1964), 63–75 P. Petrobelli : ‘Tartini, Algarotti e la corte di Dresda’, AnMc , no.2 (1965), 72–84 D. Heartz : ‘From Garrick to Gluck: the Reform of Theatre and Opera in the Mid-Eighteenth Century’, PRMA , 94 (1967–8), 111–27 D. Heartz : ‘Operatic Reform

Article

John C.G. Waterhouse, Virgilio Bernardoni and Johannes Streicher

117–20 G. Vigolo : ‘Sakùntala: tramonto in uno specchio’, Mille e una sera all'opera e al concerto (Florence, 1971), 139–41 M. Carner , A. Sievewright and J.C.G. Waterhouse : Turandot , London, Barbican, 1982 [articles in programme book] J.C.G. Waterhouse : ‘Franco Alfano and his Masterpiece Sakùntala ’, 1982 Wexford Festival Opera , 11–14 [programme book] J. Maehder : ‘Puccini's Turandot: a Fragment – Studies in Franco Alfano's Completion of the Score’, Turandot , ENO Opera Guide, 27 (London, 1984), 35–53 J. Maehder : ‘Studies zum Fragmentcharacter

Article

Richard Macnutt

oblong format, evenly distributed between vocal pieces (mainly full scores and orchestral parts of single numbers from operas performed in Venice) and instrumental works (ballet, dance, chamber music and opera overtures). Anfossi, Boccherini, Naumann, Paisiello and Marescalchi himself were the composers of more than half of this output. In his Venice publications Marescalchi worked closely with Alessandri & Scattaglia, who were probably responsible for all his music engraving as well as being named on most of the title-pages as his selling agents, at their premises on the

Article

Alexander Weinmann

y Mozart (Hoffmeister’s personal friend) are all represented (Mozart by several first editions between K 478 and 577, including the ‘Hoffmeister’ Quartet K 499). Hoffmeister’s connection with Kühnel, who had more flair for business, renewed his interest in publishing and prompted serious attempts to produce complete editions of the works of Bach, Haydn and Mozart. As a composer, Hoffmeister was extraordinarily prolific. Many of his Viennese works were also popular in foreign cities: by 1803 his most successful opera, Der Königssohn aus Ithaka (Vienna, 1795

Article

when Chopin's Waltz op.42 made its first appearance in print, as no.68, in June 1840 . Pacini was a friend to all Italian musicians and had especially close links with Rossini and Paganini. For the latter he sometimes acted as concert agent, and he accompanied him on his first journey to England in April 1831 . All Pacini's publications were engraved; his series of plate numbers are generally unreliable for dating purposes. Works all opéras comiques Isabelle et Gertrude (1, C.S. Favart), ?Nîmes, ?1801 (Paris, ?1806) Point d'adversaire (1, J.M. Pain),

Article

fundamental lyricism that runs through all his works. Early examples used the limited vocal range of the pop song (‘Close ev’ry door’, Joseph and the Amazing Technicolor Dreamcoat ), but he gradually adopted a wider melodic range, in Cats drawing on the upper extremes of both the musical theatre ‘belt voice’ in ‘Memory’ and the vernacular ballad singer in ‘The Ballad of Billy McCaw’. With Phantom of the Opera he used a more expansive lyricism suited to the operatic setting, as in the wide melodic leaps of the romantic duet ‘All I Ask of You’, the Puccini-influenced

Article

John W. Wagner

until 1811 , his longest period of residence at one address being from 1801 to 1810 at 59 Maiden Lane. From 1792 until the end of March 1808 , he was conductor of the orchestra at the Park Street Theatre, where his duties included arranging and composing music for many ballad operas and other musical productions. He also operated his own ‘musical repository’, where he gave lessons and sold musical instruments and music composed by himself and others. Although his musical activities in Boston began as early as 1805 , the family did not move there until 1811