Articles


"Operatic Culture at the Court of Leopold II and Mozart's La clemenza di Tito," Mozart's La clemenza di Tito: A Reappraisal, ed. Magnus Tessing Schneider and Ruth Tatlow, Stockholm, 2018, 33–55

"Weigl's Venere e Adone (1791) and the End of Musical Drama at Eszterház," Beethoven und andere Hofmusiker seiner Generation, ed. Birgit Lodes, Elisabeth Reisinger and John D. Wilson, Bonn, 2018; abstract

"'Amore mio bellissimo': Cimarosa's 'quartetto di nuova invenzione' and the Conti del Nord," Commedia e musica al tramonto dell'ancien régime: Cimarosa, Paisiello e i maestri europei, ed. Antonio Caroccia, Avellino, [2017], 269–81

"Twin Portraits: Morichelli and Martín y Soler in Vienna, 1787," in Newsletter of the Mozart Society of America, 21.2 (2017), 11–12; Academia.edu

"Gli sciti: Voltaire's Play, Beretti's Ballet, Mayr's Opera," Simon Mayr – Der bayerische Komponist im europäischen Kontext, ed. Franz Hauk and Iris Winkler, Munich, 2016, 119–35; prepublication version on Academia.edu

"Adding to the Galant Schematicon: The Lully," Mozart-Jahrbuch 2014 (Kassel, 2015), 205–225; prepublication version at Academia.edu; compilation of musical examples on Youtube

"The Morte: A Galant Schema as Emblem of Lament and Compositional Building-Block," Eighteenth-Century Music 12 (2015), 157–81; abstract and handout
"Operatic Pyrotechnics in the Eighteenth Century," in Theatrical Heritage: Challenges and Opportunities, ed. Bruno Forment and Christel Stalpaert, Leuven, 2015, 23–40


Lycopodium torch with an alcohol-fueled pilot light:
a) exterior illustrated in Morel 1800; 
b) interior illustrated in Ruggieri 1802















"Elisabeth Vigée-Lebrun's Portrait of Giovanni Paisiello," in Daniel Heartz, Artists and Musicians: Portrait Studies from the Rococo to the Revolution, ed. Beverly Wilcox, Ann Arbor, 2014, 312–37  Academia.edu


"The Heartz: A Galant Schema from Corelli to Mozart," Music Theory Spectrum 36 (2014), 315–32. Pre-publication version available at Academia.edu


"Some Little-Known References to Early Performances of Mozart's Operas," Newsletter of the Mozart Society of America 18 (2014), No. 1, 8–9. Pre-publicaton version available at Academia.edu

"The Staging of Salieri's Les Danaïdes as Seen by a Cellist in the Orchestra," Cambridge Opera Journal 26 (2014), 65–82     Version for digital indexing

"The Farewell Symphony Between Paris and Russia," Haydn: The Online Journal of the Haydn Society of North America 3.2 (2013)  Academia.edu

"Did Haydn Attend the Handel Commemoration in Westminster Abbey?" Early Music 40 (2012), 73–80   Academia.edu

“Antonio Baglioni, Mozart’s First Don Ottavio and Tito, in Italy and Prague,” Böhmische Aspekte des Lebens und des Werkes von W. A. Mozart, ed. Milada Jonásová and Tomislav Volek (Prague, 2012), 295–321

“La secchia rapita: An Experiment in the Sustained Parody of Opera seria,” Antonio Salieri (1750–1825) e il teatro musicale a Vienna: Convenzioni, innovazioni, contaminazioni stilistiche, ed. Rudolph Angermüller and Elena Biggi Parodi (Lucca, 2012), 135–52; available on Academia.edu    Cecilia Bartoli sings the grand concertante aria "Sulle mie tempie in dono": Youtube

“‘Lodi al gran Dio’: The Final Chorus of Metastasio’s Betulia liberata as set by Mozart and Gassmann,” Quinto Seminario di Filologia Musicale: Mozart 2006, ed. Giacomo Fornari, Pisa: ETS, 2011    PDF    Text (without musical examples)      Recording of Mozart's "Lodi al gran Dio": Youtube

"'Handel's Grandson': The Augmented Sixth Chord as Emblem of Modernity," Society for Eighteenth Century Music Newsletter 18 (2011), 14     Renee Fleming sings "Ho perduto il caro sposo" from Handel's Rodelinda, which Burney said could be made to sound more modern by changing a single F to F sharp: Youtube

"The Public Amusements of Vienna, Including Die Zauberflöte, as witnessed by a Traveler in 1793," Newsletter of the Mozart Society of America, 15 (2011), No. 1, 19

http://sites.google.com/site/johnaricecv/articles/AT%20g%202-7.jpg?attredirects=0
Violante Vestri (Vestris) as Apamia in Carcani's Il Tigrane (Milan, 1750)

“Mid Eighteenth-Century Opera Seria Evoked in an Engraving of Marc’Antonio dal Re,” Music in Art: International Journal for Music Iconography 34 (2009), 153–64  Vestri-article.pdf   Text (without illustrations)

"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 

"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

"Mozart as Soprano," in Mozart-Jahrbuch 2006 (published 2008), 345-353; available on Academia.edu Mozart's "Per pietà bell'idol mio," K. 78, probably written, around 1766, for the prepubescent musician to sing himself: Youtube


                                                                                                            Chocolate pot, Meissen, 1735–40

"Music in the Age of Coffee," Eighteenth-Century Music 4 (2007), 301-305 (shorter version in German: "Musik im Kaffee-Zeitalter," Mozart: Experiment Aufklärung, ed. Herbert Lachmayer, Osfildern, 2006, 127-30)   Illustrated version of this article

Musicological Introduction to a facsimile of the autograph score of Mozart's Così fan tutte, Los Altos, California, 2007

"Bearbeitungen italienischer Opern für Wien, 1765-1800," Bearbeitungspraxis in der Oper des späten 18. Jahrhunderts, ed. Ulrich Konrad, Tutzing, 2007, 81-101  TEXT in English translation

"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

"La folia in late eighteenth- and early nineteenth-century Vienna," Festschrift Otto Biba, ed. Ingrid Fuchs, Tutzing, 2006  PDF   Text  Performance of "Va pure in buon'ora," the Folia-duet in Francesco Bartolommeo Conti's Don Chisciotte in Sierra Morena (1719)

Michel Coxcie, St. Cecilia and angels performing Clemens non Papa's motet Cecilia virgo gloriosa

"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  TEXT

"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 

"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


"A Dispute Involving the Musico Giovanni Manzoli and Mozart's Ascanio in Alba," Fonti musicali italiane IX (2004), 85-97
"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 Academia.edu   Abstract

"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 

"Problems of Genre and Gender in Mozart's Scena 'Misero! o sogno, o son desto,' K. 431," Mozart-Jahrbuch 2000, 73-89  Keywords: Caterino Mazzolà, L'isola capricciosa, Il mondo alla rovescia       

"Salieri's Semiramide and the End of the Metastasian Tradition in Munich," Mozarts Idomeneo und die Musik in München zur Zeit Karl Theodors, ed. Theodor Göllner and Stephan Hörner, Munich, 2001



"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  

"The Roman intermezzo and Sacchini's La contadina in corte," Cambridge Opera Journal 12 (2000), 91–107  JSTOR  academia.edu

"New Light on Dittersdorf's Ovid Symphonies," Studi musicali XXIX (2000), 453-98   Abstract  PDF at academia.edu  Symphony No. 2 in D, "The Fall of Phaeton": Youtube

"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   Abstract
"Se spiegar potessi appieno," performed by Diana Damrau

"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 

"The Musical Bee: References to Mozart and Cherubini in Hummel's 'New Year' Concerto," Music & Letters LXXVII (1996), 401-424   JSTOR Academia.edu   Abstract  A fine performance of Hummel's Trumpet Concerto in the original key of E major by Manuel Blanco Gomez-Limon: Youtube

Stein's vis-à-vis piano-harpsichord in Verona

"Stein's Favorite Instrument: A Vis-à-vis Piano-Harpsichord in Naples," Journal of the American Musical Instrument Society XXI (1995), 30-64; a shorter version of this article, under the title "Improvising Face to Face," in Newsletter of the Mozart Society of America 3 (1999), No. 2, 5–6 

Leopold II, Mozart, and the Return to a Golden Age," Opera and the Enlightenment, ed. Thomas Bauman and Marita McClymonds, Cambridge, 1995, 271-96

"Mozart and His Singers: The Case of Maria Marchetti Fantozzi, the First Vitellia," Opera Quarterly 11 (1995), 31–52  academia.edu

"Benedetto Frizzi on Singers, Composers and Opera in Late Eighteenth-Century Italy," Studi musicali XXIII (1994), 367-93   abstract  Revision with illustrations

                                                                                            Johann Ulrich Moll, Grand Duke Pietro Leopoldo and His Family


"The Tuscan Piano in the 1780s: Some Builders, Composers and Performers," Early Music XXI (1993), 4-26 JSTOR  academia.edu

"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 

"The Blind Dülon and His Magic Flute," Music & Letters LXXI (1990), 25-51    Abstract    academia.edu French translation (abridged) in Traversières Magazine 94 (2009), 17–28

"Muzzarelli, Kozeluh, e La ritrovata figlia di Ottone II (1794): il balletto viennese rinato nello spirito di Noverre," Nuova rivista musicale italiana XXIV (1990), 1-46  Keywords: pantomime ballet, Leopold Kozeluch, Antonio Muzzarelli   Expanded, updated version in English

"An Early Handel Revival in Florence," Early Music 18 (1990), 62–71  academia.edu

"Vienna under Joseph II and Leopold II," The Classical Era, ed. Neal Zaslaw, London, 1989, 126-65

Adriana Ferrarese in London, shortly before creating the roles of Eurilla in Salieri's La cifra and Fiordiligi in Mozart's Così fan tutte

"Rondò vocali di Salieri e Mozart per Adriana Ferrarese," I vicini di Mozart, Florence, 1989, I, 185-209  Cecilia Bartoli's performance of Salieri's scena "Alfin son sola" / Sola e mesta"

                                                                                                                                                        Mozart's piano, built around 1780 by Anton Walter

"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

John Nixon, drawing of the musico Luigi Marchesi and the cellist James Cervetto 
participating in a concert at Hanover Square in 1789

"Sense, Sensibility and Opera Seria: An Epistolary Debate," Studi musicali XV (1986), 101-138  abstract  PDF

“Sarti's Giulio Sabino, Haydn’s Armida, and the Arrival of Opera Seria at Eszterhaza,” Haydn Yearbook 15 (1984), 181–98; Italian translation in Haydn, ed. Andrea Lanza (Bologna, 1999)   abstract PDF

                                                                                Epponina. Print by Charles Wilkin after Benjamin West


"Gossec as Symphonic Composer," François-Joseph Gossec: Eight Symphonic Works, New York, 1983, xiv-xxiv


                                                                                   
















Ċ
John Rice,
Apr 10, 2014, 2:13 PM
Ċ
John Rice,
Jul 30, 2013, 7:40 PM
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John Rice,
Jul 31, 2013, 6:25 AM
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