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"Guglielmi's drammi sacri in Naples and Vienna," Pietro Alessandro Guglielmi (1728-1804): Musicista italiano nel Settecento europeo, ed.
Carolyn Gianturco and Patrizia Radicchi, Pisa, 2008, 357-75 [Giuseppe Trabalza, Debora e Sisara, La morte di Oloferne]
"Paër's Il trionfo della chiesa and Italian Oratorio
in Vienna at the Beginning of the Nineteenth Century," in Ferdinando
Paër tra Parma e l'Europa, ed. Paolo Russo, Venice, 2008, 245-56 [Pietro Bagnoli, Umili t'adoriam]
"Mozart as Soprano," in Mozart-Jahrbuch 2006 (published
2008), 345-353 [Giovanni Manzoli, Franz Benda, Domenico Alberti, Michael Kelly, Venanzio Rauzzini]
"Music in the Age of Coffee," Eighteenth-Century Music
IV (2007), 301-305 (shorter version in German: "Musik im Kaffee-Zeitalter," Mozart: Experiment Aufklärung, ed. Herbert Lachmayer, Osfildern, 2006, 127-30)
Click here to download.
Musicological Introduction to a facsimile of the autograph score of Mozart's Così fan tutte, Los Altos, California, 2007
For information on this series of facsimiles, click here.
"Bearbeitungen italienischer Opern für Wien, 1765-1800," Bearbeitungspraxis
in der Oper des späten 18. Jahrhunderts, ed. Ulrich Konrad, Tutzing, 2007, 81-101 [La contadina di spirito, Il matrimonio inaspettato]
"German Opera in Vienna around 1800: Joseph Weigl and Die Schweitzer
Familie," Oper im Aufbruch: Gattungskonzepte des deutschsprachigen
Musiktheaters um 1800, ed. Marcus Chr. Lippe, Kassel, 2007, 313-22 [Die Schweitzerfamilie, Carl Weinmüller, Befreiungsgeschichte]
"La folia in late eighteenth- and early nineteenth-century Vienna," Festschrift Otto Biba, ed. Ingrid Fuchs, Tutzing, 2006
click here to download "La Folia"
"Palestrina's Saint Cecilia Motets and the Missa Cantantibus
Organis," Palestrina e l'Europa: Atti del III Convegno Internazionale
di Studi, Palestrina, 2006, 817-29 [Cantibus organicis Christi Cecilia sponsa, Carlo Emilio Sfondrati]
"Hasse's Viennese Setting of Sant'Elena al Calvario
and the Tonkünstler-Sozietät Oratorio of the 1770s," Johann Adolf
Hasse in seiner Zeit, ed. Reinhard Wiesend, Stuttgart, 2006, 261-72 [Florian Gassmann, Ester, Il ritorno di Tobia, La passione di Gesù Cristo, 1772]
"Mayr's Music in the Private Concerts of Empress Marie Therese, 1801-1803," Johann Simon Mayr und Wien, ed. Franz Hauk and Iris Winkler, Munich, 2005, 230-48
click here to download "Mayr"
"A Dispute Involving the Musico Giovanni Manzoli and Mozart's Ascanio
in Alba," Fonti musicali italiane IX (2004), 856-97 [Giovanni
Manzuoli]
click here to download "Manzoli"
"L'imperatrice Maria Teresa (1772-1807), collezionista ed esecutrice delle musiche di Cimarosa," Domenico Cimarosa: Un 'napoletano' in Europa, ed. Paologiovanni Maione and Marta Columbro,
2 vols., Lucca, 2004, I, 329-45
"Salieris Beitrag zur Wiener Oper," Salieri sulle tracce di
Mozart (exhibition catalogue), ed. Herbert Lachmayer, Kassel, 2004, 102-106
"A Libretto collection from the Circle of Vincenzo Calvesi, Mozart's Ferrando," Music Observed: Studies in Memory of William C. Holmes, ed. Colleen Reardon and Susan Parisi, Warren, Michigan,
2004, 429-45 [Federico Marchesi, Lorenzo da Ponte, Rome, Roma, Accademia Santa Cecilia, Raccolta Carvalhaes Collection]
"Adding Birds to Mozart's Sparrow Mass: An Arrangement with Children's Instruments by Paul Wranitzky," Mozart Society of America Newsletter VIII (2004), No. 2, 8-9 [Berchtesgadener Instrumente,
Toy instruments]
"Problems of Genre and Gender in Mozart's Scena 'Misero! o sogno, o son desto,' K. 431," Mozart-Jahrbuch 2000, 73-89 [Caterino Mazzolà, L'isola capricciosa, Aura che intorno spiri,
Valentin Adamberger]
"Salieri's Semiramide and the End of the Metastasian
Tradition in Munich," Mozart's Idomeneo und die Musik in München
zur Zeit Karl Theodors, ed. Theodor Göllner and Stephan Hörner, Munich, 2001 [Ah non è vano il pianto, Bernasconi,
Metastasio, Sente l'amica speme, Vedo l'amiche insegne, Fuggi dagli occhi miei, Crudel! morir me vedi, Saper bramate tutto
il mio core, Giovanni Battista Zonca]
"Music in the Duomo during the Reign of Pietro Leopoldo I (1765-1790)," Cantate Domino: Musica nei secoli per il Duomo di Firenze, ed. Piero Gargiulo, Florence, 2001, 259-74 [Carl'Antonio
Campion]
"New Light on Dittersdorf's Ovid Symphonies," Studi musicali
XXIX (2000), 453-98 [Artaria, Les Metamorphoses d'Ovide, Carl Ditters von Dittersdorf, Vienna, 1786]
"Violence, Pathos, and Comedy in Salieri's La finta scema," Music in the Theater, church, and Villa: Essays in Honor
of Robert Lamar Weaver and Norma Wright Weaver, ed. Susan Parisi, Warren, Michigan, 2000, 213-26 [Giovanni De Gamerra, Questa
gamba è all'Ercolina, Quando ascolto il dolce moto, Questa è un'aria d'Egiziello, Questo fioco urlo dolente, 1775]
"The Operas of Antonio Salieri as a Reflection of Viennese Opera, 1770-1800," Music in Eighteenth-Century Austria, ed.
David Wyn Jones, Cambridge, 1996, 210-20 [All'erta zovenotti, Axur re d'Ormus]
"The Musical Bee: References to Mozart and Cherubini in Hummel's 'New Year' Concerto," Music & Letters LXXVII (1996), 401-424
"Stein's Favorite Instrument: A Vis-à-vis Piano-Harpsichord in Naples," Journal of the American Musical Instrument Society XXI (1995), 30-64 [Johann Andreas Stein, Norbert Hadrava,
Giovanni Paisiello, Napoli, 1789]
Leopold II, Mozart, and the Return to a Golden Age," Opera and the Enlightenment, ed. Thomas Bauman and Marita McClymonds,
Cambridge, 1995, 271-96 [Sebastiano Nasolini, Teseo a Stige, No, che non sei capace, O zitt're nicht, mein lieber Sohn, Der
Hölle Rache, Thamos]
"Benedetto Frizzi on Singers, Composers and Opera in Late Eighteenth-Century Italy," Studi musicali XXIII (1994), 367-93 [Gasparo Pacchierotti, Girolamo Crescentini, Giovanni Rubinelli, Luigi
Marchesi, Brigida Banti, Elizabeth Billington, Angelica Catalani, Anna Morichelli, Giovanni Ansani, Matteo Babbini, Giacomo
David]
"The Tuscan Piano in the 1780s: Some Builders, Composers and Composers," Early Music XXI (1993), 4-26
"Political Theater in the Age of Revolution: Mozart's La clemenza di Tito," Austria in the Age of the French Revolution,
1789-1815, ed. Kinley Brauer and William E. Wright, Minneapolis, 1990, 125-49 [Emperor Titus, Joseph Sartori, Leopoldinische
Annalen, 1791]
"The Blind Dülon and His Magic Flute," Music & Letters
LXXI (1990), 25-51
"Muzzarelli, Kozeluch, e La ritrovata figlia di Ottone II (1794): il balletto viennese rinato nello spirito di Noverre,"
Nuova rivista musicale italiana XXIV (1990), 1-46 [Antonio Muzzarelli, ballo, ballet, Leopold Kozeluch]
"Vienna under Joseph II and Leopold II," The Classical Era, ed. Neal Zaslaw, London, 1989, 126-65
"Rondò vocali di Salieri e Mozart per Adriana Ferrarese," I
vicini di Mozart, Florence, 1989, I, 185-209 [Al desio di chi t'adora, Per pietà ben mio perdona, Sole e mesta fra
tormenti. 1789, 1790]
"Anton Walter, Instrument Maker to Leopold II," Journal of the American Musical Instrument Society XV (1989), 32-51
"Pergolesi's Ricimero reconsidered," in Pergolesi Studies I (1986), 30-88 [Francesco Silvani, La fede tradita e vendicata, Il prigionier superbo]
"Sense, Sensibility and Opera Seria: An Epistolary Debate," Studi
musicali XV (1986), 101-138 [Francesco Albergati Capacelli, Francesco Zacchiroli, Luigi Marchesi, Giuseppe Sarti, Mia
speranza io pur vorrei, enthusiasm, Armida, Myslivecek, 1780]
"Sarti's Giulio Sabino, Haydn's Armida, and the Arrival of Opera Seria at Eszterhaza," Haydn Yearbook XV (1984), 181-98;
Italian translation in Haydn, ed. Andrea Lanza, Bologna, 1999 [Sabinus, Epponina, Greuze, Benjamin West, Cari figli, un altra
amplesso, Già vi sento, e già v'intendo, Tu mi sprezzi e mi deridi, Tigre ircana, Vada a pugnar contento, Nicolas Etienne
Framery. 1783, 1784]
"Gossec as Symphonic Composer," François-Joseph Gossec: Eight
Symphonic Works, New York, 1983, xiv-xxiv
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