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Published online by Cambridge University Press: 27 August 2008
1 Georgiades, Thrasyboulos, ‘Aus der Musiksprache des Mozart-Theaters’, Mozart-Jahrbuch (1950), 76–98, connected both Haydn and Mozart with Kant; see also Gallarati, pp. 15 and 43.Google Scholar
2 Referring to Starobinski, Jean, L'invention de la liberté (Geneva, 1964)Google Scholar
3 Ilia's aria ‘Se il padre perdei’ for some reason receives two different descriptions, the second of which interrupts the discussion of the following scene (pp. 165–70).
4 Stanley Sadie offers a synopsis of Act III in Rushton, Julian, ed., Idomeneo (Cambridge, 1993) 42–3.CrossRefGoogle Scholar
5 Some instruction in these matters is provided in Julian Rushton's monograph (see n. 4), 97–9.
6 See, for example, her Le passioni della ragiom. Studi sul Settecento (Pisa, 1984),Google Scholarand ‘Le peripezie di un libretto’, in Gronda, G., ed., La carriera di un librettista: Pietro Pariati da Reggio di Lombardia (Bologna, 1990), 289–737 [sic].Google Scholar
7 Feil, Arnold, Satztechnische Fragen in den Knmpositionslehren von F.E. Niedt, J. Riepel und H. Chr.Koch (Heidelberg, 1955).Google Scholar
8 For a short explanation of open-phrase structure, see Strohm, Reinhard, ‘Musical Analysis as Part of Musical History’, in Pozzi, Raffaele, ed., Tendenze e metodi nella ricerca musicologica. Atti del convegno Internazionale (Latina 27–29 settembre 1990) (Florence, 1995), 61–81.Google Scholar
9 Strohm, Reinhard, Italienische Opemarien des frühen Settecento (1720–1730), 2 vols (Cologne, 1976), 111–51.Google Scholar