Embedded Files
Canaletto, View of the City of London in the mid eighteenth century
Map
John Rocques's map of London, 1746 http://www.motco.com/map/81002/
http://en.wikipedia.org/wiki/File:John_Rocque%27s_Map_of_London,_1746.png
Musical Facsimiles
First edition of The Beggar's Opera (London, 1728) IMSLP
Early edition of J. C. Bach's Keyboard Sonatas, Op. 5 IMSLP
Eighteenth-century manuscripts and prints of Niccolò Piccinni's La buona figliuola IMSLP
Anna Zamperini triumphed in London as Cecchina in Piccinni's La buona figliuola (a role created by a musico when the opera was first performed in Rome).
Websites
A website devoted to English composers of the eighteenth century: http://rslade.co.uk/
Report by Mark Clague, illustrated with music, on the origins of The Star Spangled Banner in Georgian London (the music was first printed in 1779): AMS's Musicology Now blog
Norton Anthology of English Literature: The Restoration and the Eighteenth Century
Recordings
Example 7.1: Niccolò Piccinni, La buona figliuola, Bruno Campanella, cond. (Nuova Era); "Vieni il mio seno" available from Amazon as a separate MP3
Example 7.2: Johann Christian Bach, La clemenza di Scipione, Hermann Max, cond. (CPO): Youtube
See also "Audio and Video Recordings to Accompany Anthology" (click on left)
A riot in Covent Garden Theater during a performance of Arne's Artaxerses, an opera in English, but based on Metastasio's Italian libretto Artaserse
Reading
Brewer, John The Pleasures of the Imagination: English Culture in the Eighteenth Century (New York: Farrar Straus Giroux, 1997) Worldcat
Burden, Michael. "The Lure of Aria, Procession and Spectacle: Opera in Eighteenth-Century London," The Cambridge History of Eighteenth-Century Music, Simon Keefe, ed. (Cambridge: Cambridge University Press, 2009), 385–401 Worldcat
Regina Mingotti sang in Dresden, Madrid, and London before becoming London's first female opera impresario in the 1750s and 1760s.
Burden, Michael. "Pots, Privies and WCs: Crapping at the Opera in London Before 1830," Cambridge Opera Journal 23 (2012), 27–50
Burden, Michael. Regina Mingotti: Diva and Impresario at the King's Theatre, London (Farnham: Ashgate, 2013) Worldcat
Butler, Margaret. “Italian Opera in the Eighteenth Century,” The Cambridge History of Eighteenth-Century Music, Simon Keefe, ed. (Cambridge: Cambridge University Press, 2009), 251–58 Worldcat
Concert at Vauxhall Gardens
Caplin, William E. Classical Form: A Theory of Formal Functions for the Instrumental Music of Haydn, Mozart, and Beethoven (New York: Oxford University Press, 1998) Worldcat
Castelvecchi, Stefano. Sentimental Opera: Questions of Genre in the age of Bourgeois Drama (Cambridge: Cambridge University Press, 2013), 13–39 Worldcat
Concert Life in Eighteenth-Century Britain, ed. Susan Wollenberg and Simon McVeigh (Farnham: Ashgate, 2004) Worldcat
Gjerdingen, Robert O. Music in the Galant Style (New York: Oxford University Press, 2007), 177–80, 263–71 Worldcat
Heartz, Daniel. Music in European Capitals: The Galant Style, 1720–1780 (New York: Norton, 2003) Worldcat
The Rotunda at Ranelagh, another of London's pleasure gardens, with the orchestra on the right. Painting by Canaletto
Heartz, Daniel. From Garrick to Gluck: Essays on Opera in Age of Enlightenment, ed. John A. Rice (Hillsdale: Pendragon, 2004), 178–87 Worldcat
Hepokoski, James and Warren Darcy, Elements of Sonata Theory: Norms, Types, and Deformations in the Late-Eighteenth-Century Sonata (New York: Oxford University Press, 2006) Worldcat
Hogwood, Christopher. "'Gropers into Antique Musick' or 'A very ancient and respectable Society'? Historical Views of the Academy of Ancient Music," Coll'astuzia, col giudizio: Essays in Honor of Neal Zaslaw, ed. Cliff Eisen (Ann Arbor, MI: Steglein, 2009), 127–82
Poster announcing a program of the Concert of Ancient Music, 1780, dominated by music by Handel
Inwood, Stephen. A History of London (New York, 1998) Worldcat
Jarvis, Anne. "German Musicians in London, c. 1750–c. 1850," Migration and Transfer from Germany to Britain, 1660 to 1914, Stefan Manz, ed. (Munich: Saur, 2007), 37–47 Worldcat
McGeary, Thomas. The Politics of Opera in Handel's Britain (Cambridge: Cambridge University Press, 2013) Worldcat
McVeigh, Simon. “The Symphony in Britain,” The Eighteenth-Century Symphony, ed. Mary Sue Morrow and Bathia Churgin(Bloomington: Indiana University Press, 2012), 629–61 Worldcat
Petty, Frederick C. Italian Opera in London, 1760-1800 (Ann Arbor, MI: UMI Research Press, 1980) Worldcat
Rice, John A. "The Blind Dülon and His Magic Flute," Music and Letters 71 (1990), 25–51 (for Dülon in London, see pp. 30–31) JSTOR Also accessible on academia.edu
In addition to the many Continental composers, instrumentalists, and singers who came to London, British audiences also enjoyed the work of foreign dancers and ballet masters, such as Gaetano Vestris, depicted satirically in his tragic ballet Jason et Medée.
Taruskin, Richard. The Oxford History of Western Music (New York, Oxford University Press, 2005), vol. 2, 418–26, 445–52 Worldcat
Weber, William. “London: A City of Unrivalled Riches,” The Classical Era: From the 1740s to the End of the 18th Century, ed. Neal Zaslaw (Englewood Cliffs, NJ: Prentice Hall, 1989), 293–326 Worldcat
Weber, William. The Rise of Musical Classics in Eighteenth-Century England: A Study in Canon, Ritual, and Ideology (Oxford: Oxford University Press, 1996) Worldcat
Women, Popular Culture, and the Eighteenth Century, ed. Tiffany Potter (Toronto: University of Toronto Press, 2012)
Woodfield, Ian. Opera and Drama in Eighteenth-Century London: The King’s Theatre, Garrick and the Business of Performance (Cambridge: Cambridge University Press, 2004) Worldcat
Zaslaw, Neal. Mozart's Symphonies: Context, Performance Practice, Reception (Oxford: Oxford University Press, 1989), 16–43 Worldcat
Portrait of Johann Christian Bach by Thomas Gainsborough
Study Guide
Names, titles, and terms introduced in chapter 7
Johann Mattheson
Queen Anne
King George I
King George III
Hanoverian dynasty
King's Theatre in the Haymarket
Theatre Royal, Drury Lane
Theatre Royal, Covent Garden
Lincoln's Inn Fields
ballad opera
The Beggar's Opera
John Gay
Thomas Arne
Love in a Village
Giovanni Manzoli
Niccolò Piccinni
La buona figliola
Vieni il mio seno
Johann Christian Bach
La clemenza di Scipione
Dal dolor cotanto oppressa
Teresa Cornelys
Friedrich Abel
Hanover Square Rooms
Ludwig Dülon
Vauxhall
Ranelagh
Domenico Gallo
Topics for discussion
The opening of Bach's Dal dolor cotanto oppressa (Example 7.2, mm. 8–11) might have led his London audience to expect a melody in ABB' form, but Bach surprised them with something else. Recompose the end of Bach's melody along more conventional lines, using a repetition of the second line of text ("è quest' alma, oh giusti numi") to bring the melody to a close. Does this act of recomposition help to dramatize the originality of Bach's melody?
How do the experiences in London of the German flutist Ludwig Dülon, as described briefly on pp. 99–101 and more fully in my article "The Blind Dülon and His Magic Flute" (cited above), exemplify aspects of musical life in late eighteenth-century London?
Compare the score of the first movement of Bach's Sonata in D, Op. 5 No 2 (in the Anthology) to the first movement of the concerto (K. 107, No 1: http://dme.mozarteum.at/DME/nma/start.php) that Mozart created as an arrangement of Bach's sonata. Use this comparison as the basis for a discussion of the differences between the sonata form in a sonata and a concerto (in other words, between what Hepokoski and Darcy, in Elements of Sonata Theory, call "Type 3 sonatas" and "Type 5 sonatas").
Susannah Burney (Charles Burney's daughter, sister of the novelist Fanny Burney) loved opera passionately. Read the excerpts from her diary in Strunk's Source Readings in Music History: The Late Eighteenth Century, ed. Wye Jamison Allanbrook (New York: Norton, 1998), 265–78. What do these excerpts tell us about operatic life in eighteenth-century London?
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