Albrechtsberger, Johann Georg, Gründliche Anweisung zur Composition (Leipzig, 1790).
Anderson, Emily, ed., Letters of Mozart and His Family, 3 vols. (London: Macmillan, 1938/1985).
Applegate, Celia, Bach in Berlin: Nation and Culture in Mendelssohn’s Revival of the St. Matthew Passion (Ithaca, NY and London: Cornell University Press, 2005).
Applegate, Celia, “How German Is It? Nationalism and the Idea of Serious Music in the Early Nineteenth Century,” 19th-Century Music 21/3 (Spring, 1998), 274–296.
Barger, Judith, Elizabeth Stirling and the Musical Life of Female Organists in Nineteenth-Century England (Aldershot: Ashgate, 2007).
Bauer, WilhelmA. and Otto Erich Deutsch, eds., Mozart Briefe und Aufzeichnungen: Gesamtausgabe, 7 vols. (Kassel: Bärenreiter, 1962–1975).
Becker, C. F., review of Le Clavecin bien tempéré– par J. S. Bach: Edition nouvelle par Ch. Czerny, Euterpe 2 (January, 1842), 8–10.
Beedell, A. V., The Decline of the English Musician 1788–1888 (Oxford: Clarendon Press, 1992).
Blume, Friedrich, Two Centuries of Bach: An Account of Changing Taste, trans. Stanley Godman (London: Oxford University Press, 1950).
Breig, Werner, “Grundzüge einer Geschichte von Bachs vierstimmigem Choralsatz,” Archiv für Musikwissenschaft 45/3 (1988), 165–185.
Brown, A. Peter, “Haydn and Mozart’s 1773 Stay in Vienna: Weeding a Musicological Garden,” Journal of Musicology 10/2 (Spring, 1992), 192–230.
Bruckner-Bigenwald, Martha, Die Anfänge der Leipziger Allgemeinen Musikalischen Zeitung (Hilversum: Frits Enuf, 1965).
Buelow, George J., “In defense of J. A. Scheibe against J. S. Bach,” Proceedings of the Royal Musical Association 101 (1974/1975), 85–100.
Burney, Charles, “Account of an Infant Musician,” Philosophical Transactions of the Royal Society of London 5/69 (1779), 202.
Burney, Charles, A General History of Music, from the Earliest Ages to the Present Period (London, 1789).
Burney, Charles, The Present State of Music in Germany, the Netherlands, and United Provinces; or, The Journal of a Tour through Those Countries, Undertaken to Collect Materials for a General History of Music (London, 1773).
Butler, Gregory G., “J. S. Bach and the Schemelli Gesangbuch Revisited,” Studi musicali 13 (1984), 241–257.
Butler, Gregory G., “Der vollkommene Capellmeister as a Stimulus to J. S. Bach’s Late Fugal Writing,” in New Mattheson Studies, ed. George J. Buelow and Hans-Joachim Marx (Cambridge University Press, 1983), 293–305.
Butt, John, “Bach’s Metaphysics of Music,” in The Cambridge Companion to Bach, ed. John Butt (Cambridge University Press, 1999), 46–59.
Butt, John, Music Education and the Art of Performance in the German Baroque (Cambridge University Press, 1994).
Capell, Richard, “Wesley, Mrs. Oom and the Forty-Eight,” The Musical Times 61 (March 1, 1920), 170–171.
Christensen, Thomas, “Bach among the Theorists,” in Bach Perspectives 3: Creative Responses to Bach from Mozart to Hindemith, ed. Michael Marissen (Lincoln: University of Nebraska Press, 1998), 23–46.
Clark, Stephen L., ed. and trans., The Letters of C. P. E. Bach (Oxford: Clarendon Press, 1997).
Clarke, Mary Cowden, The Life and Labours of Vincent Novello, by His Daughter (London: Novello, 1862).
Cowart, Georgia, The Origins of Modern Music Criticism: French and Italian Music 1600–1750 (Ann Arbor: UMI Press, 1981).
Cowart, Georgia, “Sense and Sensibility in Eighteenth-Century Musical Thought,” Acta musicologica 45 (1984), 251–266.
Croll, Gerhard, “Eine neuentdeckte Bach-Fuge für Streichquartett von Mozart,” Österreichische Musikzeitschrift 21 (1966), 508–514.
Crotch, William, Elements of Musical Composition: Comprehending the Rules of Thorough Bass, and the Theory of Tuning (London, 1812).
Crotch, William, Specimens of Various Styles of Music Referred to in a Course of Lectures Read at Oxford & London, 3 vols., Vol. iii (London, [c. 1809]).
Czerny, Carl, The Art of Playing the Ancient and Modern Piano Forte Works, trans. John Bishop (London: Cocks, n.d.).
Czerny, Carl, Erinnerungen aus meinem Leben, ed. Walter Kolneder (Strasbourg and Baden-Baden, 1968).
Czerny, Carl, Die Kunst des Vortrags der älteren und neueren Klavier-Kompositionen: Vollständige theoretisch-practische Pianoforte-Schule, Op. 500, 4 vols., Vol. iv (Vienna: Diabelli, 1846).
Dahlhaus, Carl, “Zur Entstehung der romantischer Bach-Deutung,” BJ 64 (1978), 192–210.
Daub, Peggy, “The Publication Process and Audience for C. P. E. Bach’s Sonaten für Kenner und Liebhaber,” in Bach Perspectives 2, ed. George B. Stauffer (Lincoln: University of Nebraska Press, 1996), 65–84.
Daw, Stephen, “Muzio Clementi as an Original Advocate, Collector and Performer, in Particular of J. S. Bach and D. Scarlatti,” in Bach, Handel, Scarlatti: Tercentenary Essays, ed. Peter Williams (Cambridge University Press, 1985), 61–74.
Deutsch, Otto Erich, Mozart: A Documentary Biography, trans. Eric Blom, Peter Branscombe, and Jeremy Noble (Stanford University Press, 1965).
Diettenhofer, Joseph, A Set of Ten Miscellaneous Fugues with Two Introductions and One Voluntary for the Organ or the Piano Forte … Third Set (London, [c. 1802]).
Dreyfus, Laurence, Bach and the Patterns of Invention (Cambridge, MA: Harvard University Press, 1996).
Dreyfus, Laurence, “The Hermeneutics of Lament: A Neglected Paradigm in a Mozartian Trauermusik,” Music Analysis 10/3 (1991), 329–343.
Dreyfus, Laurence, “Matters of Kind: Genre and Subgenre in Bach’s Well-Tempered Clavier, Book i,” in A Bach Tribute: Essays in Honor of William Scheide, ed. Paul Brainard and Ray Robinson (Kassel: Bärenreiter; Chapel Hill: Hinshaw, 1994), 101–119.
Dürr, Alfred, “On the Earliest Manuscripts and Prints of Bach’s Well Tempered Clavier in England,” in A Bach Tribute: Essays in Honor of William H. Scheide, ed. Paul Brainard and Ray Robinson (Kassel: Bärenreiter; Chapel Hill: Hinshaw, 1994), 121–134.
Edwards, Frederick George, “Bach’s Music in England,” The Musical Times 37 (September–December, 1896), 585–587, 652–657, 722–726, 797–800.
Edwards, Frederick George, “A Celebrated Nonconformist Organist: Benjamin Jacob, of Surrey Chapel,” The Nonconformist Musical Journal (April–May, 1890), 57–58, 71–74.
Einstein, Alfred, Mozart: His Character, His Work, trans. A. Mendel and N. Broder (New York: Oxford University Press, 1945).
Eisen, Cliff, New Mozart Documents (Stanford University Press, 1991).
Emerson, Isabelle Putnam, “The Role of Counterpoint in the Formation of Mozart’s Late Style,” Ph.D. dissertation, Columbia University, 1977.
Fellinger, Imogen, “Mattheson als Begründer der ersten Musikzeitschrift,” in New Mattheson Studies, ed. George J. Buelow and Hans Joachim Marx (Cambridge University Press, 1983), 179–197.
Fétis, François-Joseph, “Concerts historiques de la musique de piano,” Revue et Gazette Musicale de Paris 5/6 (February 11, 1838), 62–64.
Fétis, François-Joseph, Traité du contrepoint et de la fugue (Paris, 1824, 1846).
Fink, Gottfried Wilhelm, review of J. S. Bach, L’art de la fugue, ed. Carl Czerny for C. F. Peters, AMZ 41/1 (January 2, 1839), 3–5.
Fink, Gottfried Wilhelm, Review of J. S. Bach, Six grandes sonates, ed. Carl Czerny for C. F. Peters, AMZ 43/7 (February 17, 1841), 145–148.
Finscher, Ludwig, “Bach and the Viennese Classics,” Miscellanea musicologica: Adelaide Studies in Musicology 10 (1979), 47–59.
Finscher, Ludwig, “Bach und die Wiener Klassik,” in Bachtage Berlin, ed. Günther Wagner (Neuhausen-Stuttgart: Hänssler Verlag, 1985), 139–151.
Forkel, Johann Nikolaus, Allgemeine Geschichte der Musik, 2 vols. (Leipzig, 1788, 1801).
Forkel, Johann Nikolaus, Über Johann Sebastian Bachs Leben, Kunst und Kunstwerke (Leipzig: Hoffmeister & Kühnel, 1802).
Gauntlett, Henry John, “John Sebastian Bach & Geo. Frederic Handel,” The Musical World 5/62 (May 19, 1837), 145; 5/63 (May 26, 1837), 162.
Gerber, Ernst Ludwig, Historisch-biographisches Lexicon der Tonkünstler (Leipzig, 1790).
Gerber, Ernst Ludwig, Neues historisch-biographisches Lexicon der Tonkünstler (Leipzig, 1812/1814).
Glöckner, Andreas, “‘Ich habe den alten Bachen wieder lebendig gemacht, aber er hat mich weidlich schwitzen lassen’: Carl Friedrich Zelter und die Bach-Aufführungen der Sing-Akademie zu Berlin,” in “Zu groß, zu unerreichbar”: Bach-Rezeption im Zeitalter Mendelssohns und Schumanns, ed. Anselm Hartinger, Christoph Wolff, and Peter Wollny (Wiesbaden: Breitkopf & Härtel, 2007), 329–355.
Glöckner, Andreas, “Neuerkenntnisse zu Johann Sebastian Bachs Aufführungskalender zwischen 1729 und 1735,” BJ 67 (1981), 60–69.
Godman, Stanley, “The Early Reception of Bach’s Music in England,” Monthly Musical Record 82 (1952), 255–260; 83 (1953), 32–39, 69–71.
Gramit, David, Cultivating Music: The Aspirations, Interests, and Limits of German Musical Culture, 1770–1848 (Berkeley: University of California Press, 2002).
Griepenkerl, Friedrich Konrad, “Noch einmal: J. S. Bach’s chromatische Phantasie,” AMZ 50/7 (February 16, 1848), 97–100.
GutsMuths, J. C. F., “Wollen alle Deutschen Musikanten werden?” Bibliothek der pädagogischen Literatur (November, 1804), 295–299.
Hammerstein, Reinhold, “Der Gesang der geharnischten Männer: Eine Studie zu Mozarts Bachbild,” Archiv für Musikwissenschaft 13 (1956), 1–24.
Haupt, Carl August, “Recensionen von Ciaccona 3 Sonate no. 2 per il violino solo, composta da Joh. Seb. Bach. Per il violino con accompagnamento di pianoforte ed. da F. W. Ressel,” Cäcilia 25/98 (1846), 103–106.
Hawkins, John, A General History of the Science and Practice of Music (London, 1776).
Herl, Joseph, Worship Wars in Early Lutheranism: Choir, Congregation and Three Centuries of Conflict (Oxford University Press, 2004).
Hinrichsen, Hans-Joachim, “Johann Nikolaus Forkel und die Anfänge der Bachforschung,” in Bach und die Nachwelt, 4 vols., Vol. i, ed. Michael Heinemann and Hans-Joachim Hinrichsen (Laaber Verlag, 1997), 193–253.
Holmes, Edward, The Life of Mozart (London, 1845; New York: Da Capo Press, 1979).
Holmes, Edward, “Progress of Bach’s Music in England,” The Musical Times 2 (June, 1851), 192–193.
Holschneider, Andreas, “Die musikalische Bibliothek Gottfried van Swietens,” Bericht über den Internationalen musikwissenschaftlichen Kongress Kassel 1962 (Kassel: Bärenreiter, 1963), 174–178.
Holschneider, Andreas, “Zu Mozarts Bearbeitungen Bachscher Fugen,” Die Musikforschung 17 (1964), 51–56.
Hosler, Bellamy, Changing Aesthetic Views of Instrumental Music in 18th-Century Germany (Ann Arbor: UMI Research Press, 1978/1981).
Hughson, David, London: Being an Accurate History and Description of the British Metropolis and Its Neighbourhood, 6 vols., Vol. iv (London, 1807).
Hummel, Johann Nepomuk, A Complete Theoretical and Practical Course of Instructions on the Art of Playing the Piano Forte, 3 vols. (London: Boosey, [c. 1828]).
Johnson, Claudia L., “‘Giant HANDEL’ and the Musical Sublime,” Eighteenth-Century Studies 19/4 (Summer, 1986), 515–533.
Kaiser, Rainer, “Palschaus Bach-Spiel in London: Zur Bach-Pflege in England um 1750,” BJ 79 (1993), 225–229.
Kassler, Michael, “The Bachists of 1810: Subscribers to the Wesley/Horn Edition of the ’48,’” in The English Bach Awakening: Knowledge of J. S. Bach and His Music in England 1750–1830, ed. Michael Kassler (Aldershot: Ashgate, 2004), 315–340.
Kassler, Michael, “Broderip, Wilkinson and the First English Edition of the ’48,’” Musical Times 147/1895 (Summer, 2006), 67–76.
Kassler, Michael, “Chronology of the English Bach Awakening,” in The English Bach Awakening: Knowledge of J. S. Bach and His Music in England 1750–1830, ed. Michael Kassler (Aldershot: Ashgate, 2004), 1–33.
Kassler, Michael, The English Bach Awakening: Knowledge of J. S. Bach and His Music in England 1750–1830 (Aldershot: Ashgate, 2004).
Kassler, Michael, “The English Translations of Forkel’s Life of Bach,” in The English Bach Awakening: Knowledge of J. S. Bach and His Music in England 1750–1830, ed. Michael Kassler (Aldershot: Ashgate, 2004), 169–209.
Kerman, Joseph, “A Few Canonic Variations,” Critical Inquiry 10 (September, 1983), 107–125.
Kevorkian, Tanya, Baroque Piety: Religion, Society, and Music in Leipzig, 1650–1750 (Aldershot: Ashgate, 2007).
King, Alec Hyatt, “Mozart’s Counterpoint: Its Growth and Significance,” Music and Letters 26 (1945), 12–20.
Kirkendale, Warren, Fugue and Fugato in Rococo and Classical Chamber Music (Durham, NC: Duke University Press, 1979).
Kirkendale, Warren, “KV 405: Ein unveröffentlichtes Mozart-Autograph,” Mozart Jahrbuch 10 (1962/1963), 140–155.
Kirkendale, Warren, “Mehr Licht,” Die Musikforschung 18 (1965), 195–199.
Kirkendale, Warren, “More Slow Introductions by Mozart to Fugues of J. S. Bach?” Journal of the American Musicological Society 17 (1964), 43–65.
Kittel, Johann Christian, Der angehende praktische Organist (Erfurt, 1808).
Koch, Heinrich Christoph, Versuch einer Anleitung zur Composition, 3 vols. (Rudolstadt and Leipzig, 1782–1793).
Köhler, Hans-Joachim, “Bach als Katalysator der Identitätssuche Robert Schumanns,” in “Zu groß, zu unerreichbar”: Bach-Rezeption im Zeitalter Mendelssohns und Schumanns, ed. Anselm Hartinger, Christoph Wolff, and Peter Wollny (Wiesbaden: Breitkopf & Härtel, 2007), 237–254.
Kollmann, August Friedrich Christoph, Essay on Practical Musical Composition (London, 1799).
Kollmann, August Friedrich Christoph, “Of John Sebastian Bach, and His Works,” Quarterly Musical Register 1 (January, 1812), 30.
Konrad, Ulrich, Mozarts Schaffensweise (Göttingen: Vandenhoeck & Ruprecht, 1992).
Kropfinger, Klaus, “Klassik-Rezeption in Berlin (1800–1830),” in Studien zur Musikgeschichte Berlins im frühen 19. Jahrhundert, ed. Carl Dahlhaus (Regensburg: Gustav Bosse, 1980), 301–379.
Krummacher, Friedhelm, “Bach- und Händel-Traditionen,” in Handbuch der Musikwissenschaft v: Die Musik des 18. Jahrhunderts (Laaber Verlag, 1985), 383–395.
Lampadius, Wilhelm Adolf, The Life of Felix Mendelssohn-Bartholdy, trans. W. L. Gage (Boston: Oliver Ditson, 1849/1887).
le Huray, Peter, and James Day, eds., Music and Aesthetics in the Eighteenth and Early Nineteenth Centuries (Cambridge University Press, 1988).
Leaver, Robin, “Bach and Hymnody: The Evidence of the Orgelbüchlein,” Early Music 13/2 (May, 1985), 227–236.
Leaver, Robin, “Bach, Hymns and Hymnbooks,” The Hymn 36/4 (1985), 7–13.
Lehmann, Karen, Die Anfänge einer Bach-Gesamtausgabe 1801–1865: Editionen der Klavierwerke durch Hoffmeister und Kühnel (Bureau de musique) und C. F. Peters in Leipzig 1801–1865 (Hildesheim: Georg Olms, 2004).
Lehmann, Karen, “‘Eines der vortrefflichsten Kunstwerke, die aus deutschem Geist entsprossen sind’: Zur Rezeption von Bachs chromatischer Fantasie und Fugue im Zeitalter Mendelssohns und Schumanns,” in “Zu groß, zu unerreichbar”: Bach-Rezeption im Zeitalter Mendelssohns und Schumanns, ed. Anselm Hartinger, Christoph Wolff, and Peter Wollny (Wiesbaden: Breitkopf & Härtel, 2007), 357–366.
Lehmann, Karen, “Die Idee einer Gesamtausgabe: Projekte und Probleme,” in Bach und die Nachwelt, 4 vols., Vol. i, ed. Michael Heinemann and Hans-Joachim Hinrichsen (Laaber Verlag, 1997), 255–303.
Leppert, Richard, Music and Image: Domesticity, Ideology and Socio-Cultural Formation in Eighteenth-Century England (Cambridge University Press, 1988).
Lippman, Edward, A History of Western Musical Aesthetics (Lincoln: University of Nebraska Press, 1992).
Lippman, Edward, Musical Aesthetics: A Historical Reader (Stuyvesant, NY: Pendragon, 1986).
Litzmann, Berthold, ed., Letters of Clara Schumann and Johannes Brahms, 2 vols. (New York: Vienna House, 1971).
Loesser, Arthur, Men, Women, and Pianos (New York: Simon and Schuster, 1954).
Mainka, Jürgen, “Zum Naturbegriff bei Bach: Aspekte des Scheibe–Birnbaum-Disputs,” in Bericht über die wissenschaftlich Konferenz zum iii. Internationalen Bach-Fest der DDR (Leipzig: Deutscher Verlag für Musik, 1977), 155–163.
Mann, Alfred, The Study of Fugue (New York: Dover, 1987).
Marshall, Robert L., “Bach and Mozart’s Artistic Maturity,” Bach Perspectives 3: Creative Responses to Bach from Mozart to Hindemith, ed. Michael Marissen (Lincoln: University of Nebraska Press, 1998), 47–79.
Marshall, Robert L., The Compositional Process of J. S. Bach, 2 vols. (Princeton University Press, 1972).
Marshall, Robert L., “How J. S. Bach Composed Four-Part Chorales,” Musical Quarterly 56/2 (April, 1970), 198–221.
Martini, Giovanni Battista, Esemplare o sia saggio fondamentale pratico di contrappunto fugato, 2 vols. (Bologna, 1775).
Marx, Adolf Bernhard, Auswahl aus Sebastian Bach’s Kompositionen veranstaltet und mit einer Abhandlung über Auffassung und Vortrag seiner Werke am Piano Forte (Berlin: Challier, 1844).
Marx, Adolf Bernhard, “Seb. Bach’s chromatische Fantasie,” AMZ 50/3 (January 19, 1848), 33–41.
Marx, Adolf Bernhard, A Selection from Seb. Bach’s Compositions for the Piano Forte prefaced with an Essay on the proper study and execution of these and similar Works by Dr. Adolf Bernhard Marx. Translated and Edited … by Augustus H. Wehrnan (London: Robert Cocks & Co., 1853).
Mattheson, Johann, Johann Mattheson’s Der vollkommene Capellmeister:A Revised Translation with Critical Commentary, ed. and trans. Ernest C. Harriss (Ann Arbor: UMI Research Press, 1981).
Michaelis, Christian Friedrich, “Ueber das Erhabene in der Musik,” Monatsschrift für Deutsche 1801, Part i (January, 1801), 49–50; reprinted as “Einige Bemerkungen über das Erhabene in der Musik,” Berlinische musikalische Zeitung 1/46 (1805), 179–181.
Michaelis,
Christian Friedrich, “
Ueber einen Aufsatz mit der Ueberschrift: Wollen alle Deutschen Musikanten werden?”
AMZ 7 (
1805),
229–237.
Miltitz, KarlBorromäus von, “Joh. Sebastian Bach’s Klavierwerke,” AMZ 40/19 (May 9, 1838), 297–299.
Monk, Samuel, The Sublime: A Study of Critical Theories in xviii-Century England (New York: Modern Languages Association, 1935; Ann Arbor: University of Michigan Press, 1960).
Morrow, Mary Sue, German Music Criticism in the Late Eighteenth Century: Aesthetic Issues in Instrumental Music (Cambridge University Press, 1997).
Moscheles, Charlotte, ed., Life of Moscheles, with Selections from His Diaries and Correspondence, trans. A. D. Coleridge, 2 vols. (London: Hurst and Blakett, 1873).
Nägeli, Hans-Georg, Johann Sebastian Bach [1802–1804], ed. Günter Birkner (Zürich: Hug, 1974).
Nägeli, Hans-Georg, “Vorläufige Nachricht … der … Werke von Johann Sebastian Bach,” AMZ 3 (February, 1801), Intelligenz-Blatt vi, 22.
Niemetschek, Franz, Life of Mozart [1798], trans. Helen Mautner, ed. A. Hyatt King (London: Leonard Hyman, 1956).
Olleson, Edward, “Gottfried, Baron van Swieten and His Influence on Mozart and Haydn,” D.Phil. dissertation, Oxford University, 1967.
Olleson, Philip, ed., The Letters of Samuel Wesley: Professional and Social Correspondence, 1797–1837 (Oxford University Press, 2001).
Olleson, Philip, “Samuel Wesley and the English Bach Awakening,” in The English Bach Awakening: Knowledge of J. S. Bach and His Music in England 1750–1830, ed. Michael Kassler (Aldershot: Ashgate, 2004), 251–313.
Olleson, Philip, “Samuel Wesley and the Music Profession,” in Music and British Culture, 1785–1914: Essays in Honour of Cyril Ehrlich, ed. Christina Bashford and Leanne Langley (Oxford University Press, 2000), 23–38.
Olleson, Philip, Samuel Wesley: The Man and His Music (Woodbridge and Rochester: Boydell Press, 2004).
Philippsborn, Magali, “Die Frühdrucke der Werke Johann Sebastian Bachs in der ersten Hälfte des 19. Jahrhunderts: Eine kritisch vergleichende Untersuchung anhand des Wohltemperierten Klaviers i,” Ph.D. dissertation, Frankfurt-am-Main, 1975.
Plantinga, Leon B., “Clementi, Virtuosity, and the ‘German Manner,’” Journal of the American Musicological Society 25 (1972), 303–330.
Poulin, Pamela L., ed. and trans., J. S. Bach’s Precepts and Principles for Playing the Thorough-Bass or Accompanying in Four Parts: Leipzig, 1738 (Oxford: Clarendon Press, 1994).
Poulin, Pamela L., “Noch eine Mozart–Bach-Verbindung,” BJ 76 (1990), 79–80.
Reichardt, Johann Friedrich, Briefe eines aufmerksamen Reisenden die Musik betreffend (Frankfurt, 1774/1776).
Reichardt, Johann Friedrich, “Einige Anmerkungen zu Forkels Schrift: Ueber Joh. Sebast. Bach,” Berlinische Musikalische Zeitung 2/38 (1806): 149–150; 2/40: 157–159; 2/51: 201–202.
Reichardt, Johann Friedrich, “Fortgesetzte Nachricht über Kirchenmusik zu Leipzig,” Berlinische musikalische Zeitung 1/31 (1805), 123–124.
Richards, Annette, “Automatic Genius: Mozart and the Mechanical Sublime,” Music and Letters 80 (1999), 366–389.
Richards, Annette, The Free Fantasia and the Musical Picturesque (Cambridge University Press, 2001).
Riepel, Joseph, Unentbehrliche Anmerkungen zum Contrapunct (Regensburg, 1768).
Riley, Matthew, Musical Listening in the German Enlightenment: Attention, Wonder, and Astonishment (Aldershot: Ashgate, 2004).
Rochlitz, Friedrich, “Geschmack an Sebastian Bachs Kompositionen, besonders für das Klavier,” in Für Freunde der Tonkunst, 4 vols., Vol. ii (Leipzig, 1825), 205–207, 210–229.
Rochlitz, Friedrich, “Über den Geschmack an Sebastian Bachs Kompositionen, besonders für das Klavier,” AMZ 5/31 (April 27, 1803), 509–522.
Rochlitz, Friedrich, “Vorschläge zu Betrachtungen über die neueste Geschichte der Musik,” AMZ 1/40 (July 3, 1799), 625–629.
Rohr, Deborah, The Careers of British Musicians, 1750–1850 (Cambridge University Press, 2001).
Rose, Stephen, “Daniel Vetter and the Domestic Keyboard Chorale in Bach’s Leipzig,”Early Music 33/1 (February, 2005), 39–53.
Rosen, Charles, “The Shock of the Old,” New York Review of Books 37/12 (July 19, 1990), 46–52.
Ruhnke, Martin, “Moritz Hauptman und die Wiederbelebung der Musik J. S. Bachs,” in Festschrift Friedrich Blume zum 70. Geburtstag, ed. Anna Amalie Abert and Wilhelm Pfannkuch (Kassel: Bärenreiter, 1963), 305–319.
Sadie, Stanley, “Mozart, Bach and Counterpoint,” Musical Times 105/1 (January, 1964), 23–24.
Saint-Foix, Georges de, W.-A. Mozart: Sa vie musicale et son oeuvre, 5 vols. (Paris: Desclée, 1937–1946).
Salwey, Nicholas, “Women Pianists in Late Eighteenth-Century London,” in Concert Life in Eighteenth-Century Britain, ed. Susan Wollenberg and Simon McVeigh (Aldershot: Ashgate, 2004), 273–290.
Scheibe, Johann Adolph, Critischer Musikus, 2nd edn. (Leipzig, 1745; Hildesheim: G. Olms, 1970).
Schering, Arnold, “Joh. Phil. Kirnberger als Herausgeber Bachscher Choräle,” BJ 15 (1918), 141–150.
Scholes, Percy A., ed., Dr. Burney’s Musical Tours (London: Oxford University Press, 1959).
Schultz, Johann Abraham Peter, Gedanken über den Einfluß der Musik auf die Bildung eines Volks, und über deren Einführung in den Schulen der königl. dänischen Staaten (Copenhagen: Christian Gottlob Prost, 1790).
Schulze, Hans-Joachim, “‘150 Stücke von den Bachischen Erben’: Zur Überlieferung der vierstimmigen Choräle Johann Sebastian Bachs,” BJ 69 (1983), 81–100.
Schulze, Hans-Joachim, “Sebastian Bachs Choral-Buch in Rochester, NY?” BJ 67 (1981), 123–130.
Schumann, Robert, Gesammelte Schriften über Musik und Musiker, ed. Martin Kreisig, 2 vols. (Leipzig: Breitkopf & Härtel, 1914).
Schumann, Robert, On Music and Musicians, trans. Paul Rosenfeld (New York: Pantheon Books, 1946; Berkeley and Los Angeles: University of California Press, 1983).
Serwer, Howard, “Friedrich Wilhelm Marpurg (1718–1795): Music Critic in a Galant Age,” Ph.D. dissertation, Yale University, 1969.
Serwer, Howard, “Marpurg versus Kirnberger: Theories of Fugal Composition,” Journal of Music Theory 14/2 (Winter, 1970), 209–236.
Shapiro, Alexander H., “‘Drama of an Infinitely Superior Nature’: Handel’s Early English Oratorios and the Religious Sublime,” Music & Letters 74/2 (May, 1993), 215–245.
Sheehan, James J., German History 1770–1866 (Oxford: Clarendon Press, 1989).
Shield, William, An Introduction to Harmony (London, 1800).
Smend, Friedrich, “Zu den ältesten Sammlungen der vierstimmigen Choräle J. S. Bachs,” BJ 52 (1966), 5–40.
Smidak, Emil F., Isaak-Ignaz Moscheles: The Life of the Composer and His Encounters with Beethoven, Liszt, Chopin and Mendelssohn (Aldershot: Ashgate, 1989).
Solomon, Maynard, “The Rochlitz Anecdotes: Issues of Authenticity in Early Mozart Biography,” Mozart Studies, ed. Cliff Eisen (Oxford: Clarendon Press, 1991), 1–59.
Spitta, Philipp, Johann Sebastian Bach [Leipzig, 1873–1880], trans. Clara Bell and J. A. Fuller-Maitland as The Life of Bach (London: Novello, 1884–1889).
Stauffer, George B., ed., The Forkel–Hoffmeister & Kühnel Correspondence: A Document of the Early 19th-Century Bach Revival (New York: Peters, 1990).
Stauffer, George B., “Johann Mattheson and J. S. Bach: The Hamburg Connection,” in New Mattheson Studies, ed. George J. Buelow and Hans-Joachim Marx (Cambridge University Press, 1983), 353–370.
Stinson, Russell, The Reception of Bach’s Organ Works from Mendelssohn to Brahms (Oxford University Press, 2006).
Taling-Hajnali, Maria, Der fugierte Stil bei Mozart (Bern: Schweizerischen Musikforschenden Gesellschaft, 1959).
Talle, Andrew, “J. S. Bach’s Keyboard Partitas and Their Early Audience,” Ph.D. dissertation, Harvard University, 2003.
Talle, Andrew, “Nürnberg, Darmstadt, Köthen: Neuerkenntnisse zur Bach-Überlieferung in der ersten Hälfte des 18. Jahrhunderts,” BJ 89 (2003), 143–172.
Terry, Charles Sanford, The Four-Part Chorals of J. S. Bach with German Text of the Hymns and English Translations (London: Oxford University Press, 1929).
Terry, Charles Sanford, John Christian Bach (London: Oxford University Press, 1929/1967).
Thibaut, A. F., Über Reinheit der Tonkunst (Heidelberg, 1825), trans. John Broadhouse as Purity in Music (London: W. Reeves, 1882).
Tomita, Yo, “The Dawn of the English Bach Awakening Manifested in Sources of the ‘48,’” in The English Bach Awakening: Knowledge of J. S. Bach and His Music in England 1750–1830, ed. Michael Kassler (Aldershot: Ashgate, 2004), 35–167.
Tomita, Yo, J. S. Bach’s Das Wohltemperierte Clavier ii:A Critical Commentary, 2 vols. (Leeds: Household World, 1995).
Tomita, Yo, “‘Most Ingenious, Most Learned, and Yet Practicable Work’: The English Reception of Bach’s The Well Tempered Clavier in the First Half of the Nineteenth Century Seen through the Editions Published in London,” in The Piano in Nineteenth-Century British Culture: Instruments, Performers and Repertoire, ed. Therese Ellsworth and Susan Wollenberg (Aldershot: Ashgate, 2007), 33–67.
Triest, Johann Karl Friedrich, “Bemerkung über die Ausbildung der Tonkunst in Deutschland im achtzehnten Jahrhundert,” AMZ 3/14–26 (January 1–March 25, 1801), trans. Susan Gillespie as “Remarks on the Development of the Art of Music in Germany in the Eighteenth Century,” in Haydn and His World, ed. Elaine Sisman (Princeton University Press, 1997), 321–394.
Vachon, Monique, La fugue dans la musique religieuse de W. A. Mozart (Québec: Les Presses de l’Université Laval; Tours: Editions Van de Velde, 1970).
Wachowski, Gerd, “Die vierstimmigen Choräle Johann Sebastian Bachs: Untersuchungen zu den Druckausgaben von 1765 bis 1932 und zur Frage der Authentizität,” BJ 69 (1983), 51–79.
Wagner, Günther, “Die Bach-Rezeption im 18. Jahrhundert im Spannungsfeld zwischen strengem und freiem Stil,” Jahrbuch des Staatlichen Instituts für Musikforschung 1985–86 (1989), 221–238.
Wagner, Günther, “J. A. Scheibe–J. S. Bach: Versuch einer Bewertung,” BJ 68 (1982), 33–49.
Weber, William, The Rise of Musical Classics in Eighteenth-Century England: A Study in Canon, Ritual, and Ideology (Oxford University Press, 1992).
Wesley, Eliza, ed., Letters of Samuel Wesley to Mr. Jacobs [sic] … Relating to the Introduction into This Country of the Works of John Sebastian Bach (London: William Reeves, 1875).
Wesley, Samuel, “Lectures on Musical Subjects” [1811–1830], BL, MS Add. 35014, 35015.
Wesley, Samuel, “Reminiscences” [c. 1836], BL, MS Add. 27593.
Wesley, Samuel and Carl Friedrich Horn, eds., New and Correct Edition of the Preludes and Fugues of John Sebastian Bach (London: Robert Birchall, 1810–1813).
Whittaker, W. Gillies, The Cantatas of Johann Sebastian Bach, Sacred and Secular (Oxford University Press, 1959).
Williams, Peter, J. S. Bach: A Life in Music (Cambridge University Press, 2007).
Williams, Peter, “J. S. Bach and English Organ Music,” Music & Letters 44 (1963), 140–151.
Williams, Peter ed., The Wesley Bach Letters, in facsimile (London: Novello, 1988).
Wolff, Christoph, Bach: Essays on His Life and Music (Cambridge, MA: Harvard University Press, 1991).
Wolff, Christoph, “Defining Genius: Early Reflections of J. S. Bach’s Self-Image,” Proceedings of the American Philosophical Society 145/4 (December, 2001), 474–481.
Wolff, Christoph, Johann Sebastian Bach, the Learned Musician (New York: Norton, 2000).
Wollenberg, Susan and Simon McVeigh, eds., Concert Life in Eighteenth-Century Britain (Aldershot: Ashgate, 2004).
Wollny, Peter, “Abschriften und Autographe, Sammler und Kopisten: Aspekte der Bach-Pflege im 18. Jahrhundert,” in Bach und die Nachwelt, 4 vols., Vol. i, ed. Michael Heinemann and Hans-Joachim Hinrichsen (Laaber Verlag, 1997), 43–51.
Wollny, Peter, “Wilhelm Friedemann Bach’s Halle Performances of Cantatas by his Father,” Bach Studies 2, ed. Daniel R. Melamed (Cambridge University Press, 1995), 202–228.
Wright, Barbara David, “Johann Sebastian Bach’s Matthäus-Passion: A Performance History 1829–1854,” Ph.D. dissertation, University of Michigan, 1983.
Yearsley, David, Bach and the Meanings of Counterpoint (Cambridge University Press, 2002).
Young, Percy, The Bachs: 1500–1850 (London: J. M. Dent, 1970).
Zenck, Martin, Die Bach-Rezeption des späten Beethoven: Zum Verhältnis von Musikhistoriographie und Rezeptionsgeschichtsschreibung der “Klassik” (Wiesbaden: Steiner Verlag, 1986).
Zenck, Martin, “Stadien der Bach-Deutung in der Musikkritik, Musikaesthetik und Musikgeschichtsschreibung zwischen 1750 und 1800,” BJ 68 (1982), 7–32.