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727:("Society of Associated Cavaliers" or "Society of Noblemen"), an organization of music-loving nobles. With the financial backing of this group, he was able to stage full-scale performances of major works. Generally, these concerts were first given in one of the palaces of the members or in the large hall of the Imperial Library, then in a public performance in the
1291:. He is seen in the play as helping Mozart to be inducted into Masonry, only to be somewhat concerned when it seems that some of Mozart's work is referencing their organisation's practices, as well as the fact that he is beginning to beg fellow members for money. In the film, he is one of the few attendees at Mozart's funeral.
943:, respectively. He also translated in the reverse direction, putting the German back into English in a way that would fit the rhythm of Haydn's music. This reverse translation, though often awkward, enabled the first published editions of these oratorios to serve both German- and English-speaking audiences.
1140:. Bach wrote the six Symphonies for String Orchestra (1773; H. 657–662) on commission from Van Swieten; according to Goodwin and Clark, the commission specified that "the composer's creative imagination might have free rein, unfettered by any regard for technical difficulties". The third set of Bach's
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I belong, as far as music is concerned, to a generation that considered it necessary to study an art form thoroughly and systematically before attempting to practice it. I find in such a conviction food for the spirit and for the heart, and I return to it for strength every time I am oppressed by new
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of
Sebastian Bach, which Herr Neefe put into his hands. Whoever knows this collection of preludes and fugues in all the keys – which might almost be called the non plus ultra of our art – will know what this means." However, in the case of Swieten's invitation there is concrete evidence preserved in
798:
The
Gesellschaft's concerts were an important source of income for Mozart during this time when he was experiencing severe financial worries. Van Swieten's loyalty to Mozart at this time is also indicated by one of Mozart's letters of 1789, in which he reported that he had solicited subscriptions to
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technique." Many were left incomplete, and even the completed ones are not often performed today; Olleson suggests they have "a dryness which is absent from most of music." Later, Mozart assimilated Bach and Handel's music more fully into his style, where it played a role in the creation of some of
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fitted him to the task of implementing the
Emperor's plans." Olleson adds that, because Joseph's reforms increased the freedom of the press, a "flood of pamphlets" was published critical of the Imperial government—thus increasing Van Swieten's responsibilities in supervising the censorship apparatus
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wrote that he was "not so much a friend as a very self-opinionated patron of Haydn and Mozart". Olleson suggests that "in his own time Van
Swieten won little affection" (adding: "but almost universal respect."). He also was not close to his fellow aristocrats; although his public roles in music and
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exerted all his influence in the cause of music, even for so subordinate an end as to enforce silence and attention during musical performances. Whenever a whispered conversation arose among the audience, his excellence would rise from his seat in the first row, draw himself up to his full majestic
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Van
Swieten is thought to have played a role in changing the social customs of music. As William Weber points out, in Van Swieten's time, it was still the normal practice for performers to play mostly newly composed music; often music that had been written by the performers themselves. The practice
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Concerning Van
Swieten's contributions to music, posthumous judgment seems most critical of his role as librettist. Olleson observes that in the three successive oratorio libretti that Van Swieten prepared for Haydn, his own involvement in the writing was greater for each than in the previous one.
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The evening gatherings at
Swieten's home had a marked effect on Beethoven, for it was here that he first became acquainted with the music of Handel and Bach. He generally had to stay long after the other guests had departed, for his elderly host was musically insatiable and would not let the young
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Mozart took on the task of conducting these concerts in 1788. He had previously been too busy with other tasks, but with a decline in his career prospects elsewhere he was willing to take up the post. In addition to having him conduct, the
Gesellschaft commissioned Mozart to prepare four works by
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Even Van
Swieten's musical taste has been harshly criticized, but here the consensus is perhaps more positive. Van Swieten seems to have singled out for his favor—from among many composers whose reputation is now obscure—the composers that posterity has judged very highly. As Olleson notes, "One
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remained in performance after his death in 1759." As Weber notes, Van
Swieten was one of the pioneers of this trend, particularly in his work reviving the music of Bach and Handel, and in his encouragement of contemporary composers to learn from the old masters and create new work that would be
501:
Van Swieten was well off financially, though by no means as wealthy as the great princes of the Empire. He had inherited money from his father, and he was also well paid for his government posts. Braunbehrens estimates his income as about "ten times Mozart's", which would make it (very roughly)
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expressing his discontent: "since an essential aspect of the education of young people, namely religion and morality, is treated far too lightly, since ... no feeling for one's true duties is being developed, the state is deprived of the essential advantages of having raised right-thinking and
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Joseph attempted to pass the blame for events on to ... Van Swieten. As President of the Censorship Commission, had been more liberal than Joseph was willing to countenance. ... As Minister for Education had aimed to strip education of any religious character; he was more concerned about the
351:
In 1780, when Joseph II came to the throne, Van Swieten's career reached its peak of success. He was appointed a Councillor of State and Director of the State Education Commission in 1781, then also as Director of a new Censorship Commission in 1782. Van Swieten was strongly sympathetic to the
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Van Swieten's strong interest in music extended to the creation of his compositions. While in Paris he staged a comic opera of his own composition. He also composed other operas as well as symphonies. These works are not considered of high quality and are seldom if ever performed today. The
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during his early years in Vienna. Beethoven's experience with Van Swieten was in some ways parallel to Mozart's about 12 years earlier. He visited the Baron in his home, where there were still regular gatherings centred around the music of Bach and Handel. Beethoven's early biographer
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explains "nightcap" as follows: "This aspect of Swieten's invitation was as much practical and considerate as it was hospitable: if Beethoven had returned home after the citywide 9 p.m. curfew, he would have had to pay Lichnowsky's turnkey a fee to let him in the locked house doors."
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The relationship between patron and artist was not one of social equals. An 1801 letter of Haydn to Van Swieten, by then his longtime collaborator, used no second person pronouns, instead addressing the Baron as "Your Excellency"; presumably this reflected their everyday practice.
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A corollary of a "taste for the great and exalted" is the idea that concert audiences should maintain silence, so that each note can be heard by all. This was not the received view in the 18th century, but was clearly Van Swieten's opinion. In his 1856 Mozart biography,
263:(1772), in which much of the territory of this nation was annexed by the more powerful neighboring empires of Austria, Russia, and Prussia. Austria rather unrealistically wanted Silesia (and other territories) back as part of the terms of the partition. According to
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In the margins of his libretti, Van Swieten made many specific artistic suggestions to Haydn about how various passages should be musically set, suggestions which in general Haydn "observed closely" (Olleson). One example is the moving episode in
332:(1780). Libraries had had catalogs before, in the form of bound volumes. Van Swieten's innovation of using cards permitted new entries to be freely added in a conveniently searchable order. Card catalogs were soon adopted elsewhere, notably in
720:
The keyboard-accompanied, one-on-a-part performances of Handel oratorios in Van Swieten's rooms whetted the interest of Van Swieten and his colleagues in full-scale performances of these works. To this end, in 1786 Van Swieten organized the
459:, which further undermined Van Swieten's position. A "bitter" (Olleson) power struggle took place which Van Swieten ultimately lost. He was relieved of his commission post on 5 December 1791, coincidentally the day his protégé Mozart died.
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later wrote, "Of all composers, Beethoven valued Mozart and Handel most highly, then S. Bach. ... Whenever I found him with music in his hands, or saw some lying on his desk, it was certain to be a composition by one of these idols."
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evidence of decadence in the arts. My principal comforters at such times are Handel and the Bachs and those few great men of our own day who, taking these as their masters, follow resolutely in the same quest for greatness and truth.
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On his return the following year, Haydn and Van Swieten developed a close working relationship, with Van Swieten serving as his librettist and artistic adviser. The collaboration began in 1795/1796 with the small oratorio version of
196:, was a physician who achieved a high reputation for raising standards of scientific research and instruction in the field of medicine. In 1745, the elder Van Swieten agreed to become personal physician to the Holy Roman Empress
1373:, "Only a profoundly experienced, as well as profoundly inspired, musician could have endowed the recitative 'Be fruitful all' with the shrouded depth and richness suggested by its accompaniment of divided lower strings alone."
224:, the young Van Swieten had "excelled in his studies" and was fluent in many languages. Thus it was natural that he would pursue (following a brief stint in the civil service) a career as a diplomat. His first posting was to
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Others also attended these gatherings, and Van Swieten gave Mozart the task of transcribing a number of fugues for instrumental ensembles so that they could be performed before the assembled company. Mozart also sat at the
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as an independent musician might have gone much more successfully. Van Swieten's rise to power eventually met with obstacles and trouble. In 1787, the Emperor launched a "disastrous, futile, and costly"
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Van Swieten also expanded the library's collection, notably with books on science, as well as older books from the libraries of monasteries that had been dissolved under the decrees of Emperor
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that Van Swieten's symphonies were "as stiff as the man himself." He maintained a firm social distance between himself and the composers he patronized, a distance rooted in the system of
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in 1768, when he was 35 years old and Mozart a boy of 11. The Mozart family was visiting Vienna, hoping to achieve further fame and income following the earlier completion of their
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that "He patronized me occasionally with several ducats." This was a common way of paying musicians in the age of aristocracy; Haydn had received similar payments from his employer
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masters had a very strong effect on Mozart. Olleson suggests that the process took place in two stages. Mozart responded first with rather direct imitations, writing fugues and
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Schindler's testimony is not generally trusted by modern musicologists. Indeed, Swieten's soirées were not Beethoven's first encounter with Bach's fugues. Beethoven's teacher,
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Van Swieten never married. Unlike his father, who remained a Protestant after coming to Austria, Gottfried converted to Roman Catholicism, the state religion of the empire.
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DeNora describes the devotion to earlier masters as a "fringe" view during the 1780s, but eventually others were following Swieten's lead, particularly with the success of
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as a benefit concert for Constanze; it yielded a profit of 300 ducats, a substantial sum. He was also reported to have helped arrange for the education of Mozart's son
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in the brain, but I've only got it in my legs." Van Swieten shifted the negotiations to his backup plan and the Partition went forward with Silesia remaining Prussian.
408:). Van Swieten's suggestion was overruled by the Emperor. The historian Nicholas Till suggests that had Van Swieten's law been implemented, the career of his protégé
267:, it was Van Swieten's "thankless task" to negotiate on this basis; the 60-year-old Frederick replied to him: "That's the sort of suggestion you could make if I had
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This shift began in Van Swieten's century. Some of the early cases of performers playing older music are pointed out by Weber: "In France the tragedies lyriques of
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a projected concert series (as he had previously done with great success in the mid-1780s) and found that—after two weeks—the Baron was still the only subscriber.
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Van Swieten was responsible for the translations from English into German of the libretti for these works, a task he would perform later on for Haydn (see below).
204:, where he also became the director of the court library and served in other government posts. The young Van Swieten was educated for national service in an elite
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If you are not hindered this coming Wednesday, I wish to see you at my home at 8:30 in the evening with your nightcap in your bag. Give me your immediate answer.
811:(1:00 am on 5 December 1791), Van Swieten attended his home and made the funeral arrangements. He may have temporarily helped support the surviving Mozarts, as
1273:
Unlike his protégés Mozart and Beethoven, Van Swieten is seldom portrayed in works of modern popular culture. He does appear as a supporting character in
545:. This means that the composers did not work for Van Swieten on salary or commission, but received payments from him from time to time in the manner of a
872:. He moved to Vienna and thus became more free to accept Van Swieten's patronage. Olleson suggests that Haydn participated in the Handel concerts of the
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never take their eyes off him, seeking to read in his features, not always intelligible to everyone, what ought to be their opinion of the music.
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of cultivating the music of previous decades and centuries only gradually increased. By about 1870, older works had come to dominate the scene.
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I go every Sunday at twelve o'clock to the Baron van Swieten, where nothing is played but Handel and Bach. I am collecting at the moment the
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with a political responsibility towards the State depended on great advances in elementary education, and on the universities. Van Swieten's
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critics. Van Swieten told him that his works were nevertheless in high demand in Berlin. Haydn mentioned this appreciatively in his 1776
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height, measure the offenders with a long, serious look and then very slowly resume his seat. The proceeding never failed of its effect.
774:, for which Mozart wrote new parts for flutes, clarinets, bassoons, horns, and trombones, as well as more notes for the timpani (1789).
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and his successors were performed regularly up through the 1770s. In England music of the sixteenth century was revived in the
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government were prominent, he avoided salon society, and after 1795 expressed content that he lived in "complete retirement".
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887:). In 1794, when Haydn set off for London on his second journey there, he rode in a carriage provided to him by Van Swieten.
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Van Swieten has not fared well in assessments of his personal demeanor. In a frequently reprinted remark, Haydn remarked to
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could scarcely quarrel with his choice of composers of the past, Sebastian Bach and Handel; and of those of his own time,
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815:'s correspondence in several places mentions his "generosity". On 2 January 1793, he sponsored a performance of Mozart's
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By 1782, Van Swieten had invited Mozart to visit him regularly, in order to inspect and play his manuscripts of works by
849:
In 1776, during a visit home to Vienna from his posting in Berlin, Van Swieten offered encouragement to the 43-year-old
136:(29 October 1733 – 29 March 1803) was a Dutch-born Austrian diplomat, librarian, and government official who served the
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During this period of his career Van Swieten assiduously cultivated his musical interests. His supervisor in Brussels,
908:. Liking the idea, Haydn then prepared his own choral version, with Van Swieten revising the lyrics used by Friebert.
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1454:, who suggests that Swieten's fondness for Baroque polyphony reflected a superficial, mechanical musical outlook (
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1437:. A 1781 of Mozart's reports the composer's pleasure that his playing had been interrupted by shouts of "bravo" (
1180:
1178:
Van Swieten expressed some of his views about the value of earlier music in the pages of the first volume of the
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897:. This work was composed by Haydn as an orchestral piece in 1785. In the course of his second London journey, in
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1000:. However, he only partly followed this suggestion, and after pondering, added to his bass line a rich layer of
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The evidence suggests that Van Swieten's relationship with the great composers of his day was primarily one of
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which Joseph sought to impose on his empire, and his position in government was a critical one, considered by
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Exposure to Bach and Handel's music seems to have been important to Beethoven just as it had been to Mozart.
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the form of a letter from Swieten to Beethoven. The letter dates from 1794, when Beethoven was 23 years old:
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Haydn's musical setting stems from a suggestion of Van Swieten's that the words should be sung by the bass
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923:(1801). Van Swieten translated (from English to German) and adapted the source material, which came from
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Tomita, Yo (August 2000). "Bach Reception in Pre-Classical Vienna: Baron van Swieten's Circle Edits the
1306:
For extensive discussion, including the many frustrations the patronage system posed for musicians, see
278:, reported in 1756 that "music takes up the best part of his time". In Berlin, Van Swieten studied with
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in which God tells the newly created beasts to be fruitful and multiply. Van Swieten's paraphrase of
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during the 18th century. He was an enthusiastic amateur musician and is best remembered today as the
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The last posting involved serious responsibility. Frederick had previously defeated Austria in the
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According to Olleson, "many critics would say that this progressive originality was disastrous".
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of music. He has taste only for the great and exalted. ... When he attends a concert our semi-
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In 1781, shortly after Mozart had moved to Vienna, Van Swieten met him again: at the salon of
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wrote in a letter promoting Beethoven's abilities: "a boy of eleven years ... plays chiefly
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2376:. Vol. VIII. The American and French Revolutions 1763–93. Cambridge University Press.
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Anton Schindler § Subsequent discredit and recent attempts at revival of credibility
1339:, p. 792 identifies the singers: Van Swieten, descant (soprano line); Mozart, alto;
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853:, who at the time was vexed by the hostile reception his work was receiving from certain
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opines that "the chief characteristics of conservative, three-movement symphonies are
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Olleson, Edward (23 April 1963). "Gottfried van Swieten: Patron of Haydn and Mozart".
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scores of Handel's oratorios in a spontaneous keyboard reduction (while, according to
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Earlier in his career, while in Berlin, Van Swieten had also supported the career of
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602:(the opera was later blocked by intrigues, and could be performed only in Salzburg).
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Weber, William (1984) "The Contemporaneity of Eighteenth-Century Musical Taste,"
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Haydn and Van Swieten then moved on to larger projects: the full-scale oratorios
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On his return to Vienna in 1777, Van Swieten was appointed as the prefect of the
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Edward Olleson describes the political situation: "The projected reforms of the
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Beethoven and the Construction of Genius: Musical Politics in Vienna, 1792–1803
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596:, Van Swieten was involved in the early planning of Wolfgang's ill-fated opera
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of the government. His letters of the time report an extremely heavy workload.
282:, a former pupil of J. S. Bach, and was part of the musical circle of Princess
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2336:. Berkeley and Los Angeles; London, England: University of California Press.
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The Emperor was already terminally ill when he wrote the quoted letter, and
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Sources differ in whether this occurred on the outbound or return journey (
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Frederick Christian II, Duke of Schleswig-Holstein-Sonderburg-Augustenburg
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Mozart and the Enlightenment: Truth, Virtue, and Beauty in Mozart's Operas
2291:(in German), vol. 25, Berlin: Duncker & Humblot, pp. 731–732
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in the style of his models. These works "have the character of studies in
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and paucity of invention ... As a composer Van Swieten is insignificant."
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than Joseph was prepared to accept, had failed. In 1790, Joseph wrote to
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Portrait of Beethoven as a young man by Carl Traugott Riedel (1769–1832)
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pianist go until he had 'blessed the evening' with several Bach fugues.
557:, though he also drew a salary. The patronage system also financed the
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367:... were the most fundamental of all. Joseph's goal of building up a
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Olleson, Edward (2001). "Swieten, Gottfried (Bernhard), Baron van".
1201:. The music publisher Johann Ferdinand von Schönfeld wrote in 1796:
438:". But his reforms, which indicated a far more radical rejection of
1150:, the first biographer of Bach, dedicated his book to Van Swieten.
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2663:. Translated by Constance S. Jolly (3rd ed.). Courier Dover.
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The Collected Correspondence and London Notebooks of Joseph Haydn
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Dutch-born Austrian diplomat, librarian, and government official
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868:, Haydn became semi-independent of his long-time employers the
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401:; such a law had already been in effect in England since 1709 (
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2613:"History of the Austrian National Library: A multimedia Essay"
2398:. Translated by Vernon Gotwals. Leipzig: Breitkopf und Härtel.
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his most widely admired works. Of these, Olleson mentions the
2275:. Translated by Timothy Bell. New York: Grove and Weidenfeld.
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Bewohner der Luft, vermehret euch, und singt auf jedem Aste!
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236:(1763–1764) and ultimately (as ambassador) to the court of
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Friedrich Ferdinand Constantin von Sachsen-Weimar-Eisenach
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430:, and believed that students should be taught a system of
360:(1990) to be the equivalent of being minister of culture.
2834:. with the assistance of Mari Griffith. Washington D.C.:
1997:
1995:
1913:
1891:
1889:
1887:
1885:
1872:
1870:
2796:
Webster, James (2005). "The sublime and the pastoral in
1831:
1744:
1707:
1705:
1663:
577:
Mozart, about 1780. Detail of Mozart family portrait by
493:. He also wrote ten symphonies, of which seven survive.
1968:
980:
Dwellers of the air, multiply and sing on every branch.
685:
It appears that encountering the work of the two great
2277:
Includes a chapter covering Van Swieten and his times.
1992:
1944:
1882:
1867:
1843:
715:
328:
As librarian Van Swieten introduced the world's first
3923:
2160:
2148:
2136:
1956:
1792:
1780:
1702:
2489:; Burnham, Scott G. (2001). "Ludwig van Beethoven".
2112:
2083:
2071:
2031:
2019:
2007:
1804:
1732:
1624:
1585:
255:; and had successfully defended his conquest in the
2172:
2102:
2100:
2098:
1934:
1932:
1930:
1928:
1821:
1819:
1675:
1653:
1651:
1636:
1573:
682:parts and correcting errors of the other singers).
624:
455:. He was replaced by his more conservative brother
259:(1756–1763). Van Swieten was ambassador during the
2481:
2358:. Stanford, California: Stanford University Press.
2312:Beethoven and His World: A Biographical Dictionary
2202:. translated by Stewart Spencer with additions by
2064:
2062:
2060:
2058:
1986:
1487:
1485:
536:
2410:The Mozart Family: Four Lives in a Social Context
1692:
1690:
1612:
1551:
1549:
1547:
1545:
1543:
1510:
1508:
1506:
1504:
1502:
1500:
743:for performance according to contemporary taste:
3959:
2095:
1925:
1816:
1648:
1470:
752:, performed in (approximately) November 1788 in
549:. Thus, Joseph Haydn remarked to his biographer
3198:Karl August, Grand Duke of Saxe-Weimar-Eisenach
2055:
1482:
802:
609:, Mozart played extracts from his recent opera
251:(1740–1748), seizing from her the territory of
3862:Memoirs Illustrating the History of Jacobinism
2635:
1774:
1762:
1687:
1540:
1497:
1319:Van Swieten's Berlin sources were students of
1265:, Emanuel Bach, Haydn, Mozart and Beethoven."
2941:
2226:Letters to Beethoven and Other Correspondence
2913:performance of Mozart's version of Handel's
2550:Proceedings of the Royal Musical Association
2432:Mozart, Haydn and Early Beethoven, 1781–1802
2362:
2267:
2049:
1895:
1861:
1849:
1726:
1606:
1324:
2955:
2505:
2404:, Milwaukee: University of Wisconsin Press.
1357:
1154:Van Swieten and the social customs of music
2948:
2934:
2647:. London: Barrie and Rockliff – via
2396:Biographical Notes Concerning Joseph Haydn
2390:
2283:"Swieten, Gottfried Bernhard Freiherr von"
1750:
1050:Van Swieten was a patron and supporter of
31:
3538:Honoré Gabriel Riqueti, comte de Mirabeau
2808:. Cambridge: Cambridge University Press.
2655:
2467:. Cambridge: Cambridge University Press.
2407:
1974:
1307:
1030:all took place under the auspices of the
969:Seid fruchtbar, wachset, und mehret euch!
621:, his first great success as a composer.
3440:Wenzel Anton, Prince of Kaunitz-Rietberg
3282:Ferdinand, Prince of Brunswick-LĂĽneburg
2899:, from the Los Angeles Chamber Orchestra
2854:
2822:
2610:
2220:
2001:
1738:
1630:
1567:
1041:
836:
592:of Europe. According to Mozart's father
572:
481:Known works include three comic operas:
378:
301:
74:Republic of the Seven United Netherlands
3356:Leopold Friedrich GĂĽnther von Goeckingk
3303:Frederick V, Landgrave of Hesse-Homburg
3268:Ernest II, Duke of Saxe-Gotha-Altenburg
2795:
2767:
2701:
2677:
2594:10.1093/gmo/9781561592630.article.27216
2577:
2546:
2499:10.1093/gmo/9781561592630.article.40026
2350:
2178:
2166:
2154:
2142:
2106:
1962:
1950:
1938:
1919:
1907:
1876:
1837:
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1786:
1711:
1669:
1657:
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1535:
1531:
1529:
1527:
1525:
1523:
1491:
1438:
1415:Jahrbuch der TonkĂĽnst von Wien und Prag
1369:Of the passage, Rosemary Hughes writes
1323:, who had worked in Berlin up to 1768 (
1294:
3960:
2732:
2527:
2448:
2426:
2328:
2118:
2089:
2077:
2037:
1798:
1555:
1418:
1370:
1248:still in force in Austria in his day.
393:In 1784 Van Swieten proposed that the
309:("hall of splendor"), part of today's
2929:
2457:
2309:
2300:
2280:
2242:
2194:
2130:
2025:
2013:
1810:
1618:
1579:
1514:
1476:
1455:
1336:
1268:
1222:reported the following anecdote from
1131:
3612:Dietrich Heinrich Ludwig von Ompteda
3342:Otto Heinrich von Gemmingen-Hornberg
3226:Karl Theodor Anton Maria von Dalberg
3043:Charles Theodore, Elector of Bavaria
2860:The Historians' History of the World
2713:
2206:. New Haven: Yale University Press.
1696:
1681:
1642:
1520:
1144:(1781) is dedicated to Van Swieten.
533:Van Swieten died in 1803 in Vienna.
3850:New World Order (conspiracy theory)
3710:Johan Philip Stadion von Warthausen
2532:. Oxford: Oxford University Press.
2412:. Oxford: Oxford University Press.
2314:. Oxford: Oxford University Press.
2305:. New Haven: Yale University Press.
982:Multiply, ye dwellers of the tides,
716:The Society of Associated Cavaliers
13:
3993:Patrons of Wolfgang Amadeus Mozart
3086:August von Sachsen-Gotha-Altenburg
1413:Schönfeld's words appeared in the
167:
144:of several great composers of the
14:
4024:
2868:
2768:Waldoff, Jessica Pauline (2006).
2464:The Cambridge Companion to Mozart
2402:Haydn: Two Contemporary Portraits
2245:"1780: The Oldest Card Catalogue"
1124:In 1801, Beethoven dedicated his
4003:Austrian people of Dutch descent
3945:
3933:
3906:
3893:
3892:
2874:
2806:The Cambridge Companion to Haydn
2804:". In Caryl Leslie Clark (ed.).
2373:The New Cambridge Modern History
2228:. University of Nebraska Press.
1987:Kerman, Tyson & Burnham 2001
1142:Sonaten fĂĽr Kenner und Liebhaber
625:Sharing works by Bach and Handel
2895:, Mozart's version of Handel's
2356:Mozart: A Documentary Biography
1444:
1424:
1407:
1388:
1376:
1363:
1350:
1330:
1313:
1300:
1205:, as it were, looked upon as a
1181:Allgemeine musikalische Zeitung
1012:, crucial to the final result.
965:Mehret euch, ihr Flutenbewohner
706:sung by the two armored men in
537:Relation to classical composers
297:
3668:Ernst Friedrich von Schlotheim
2770:Recognition in Mozart's Operas
894:The Seven Last Words of Christ
462:
346:
249:War of the Austrian Succession
220:According to the musicologist
215:
192:to the age of 11. His father,
134:Gottfried Freiherr van Swieten
25:Gottfried Freiherr van Swieten
1:
3877:Illuminati in popular culture
3496:Ludwig I, Grand Duke of Hesse
3156:Johann Joachim Christoph Bode
1464:
1235:
1032:Gesellschaft der Associierten
971:Erfreuet euch in eurem Gott!
874:Gesellschaft der Associierten
841:Joseph Haydn as portrayed by
724:Gesellschaft der Associierten
618:Die EntfĂĽhrung aus dem Serail
384:
200:and moved with his family to
117:diplomat, librarian, official
4013:18th-century philanthropists
3978:18th-century Austrian people
3738:François-Charles de Velbrück
3682:Samuel Thomas von Sömmerring
1037:
986:Be fruitful, grow, multiply,
803:Mozart's death and aftermath
7:
3647:Christian Gotthilf Salzmann
3598:Christoph Friedrich Nicolai
3545:Daniel Gotthilf Moldenhawer
3275:Johann Georg Heinrich Feder
3107:Aloys Basselet von La Rosée
2832:– The Painting's Afterlife"
2772:. Oxford University Press.
1170:, and many of the works of
1015:The premieres of the three
878:Johann Baptist von Alxinger
864:In 1790, with the death of
109:, a Jesuit school in Vienna
10:
4029:
3626:Johann Heinrich Pestalozzi
3482:Franz Michael Leuchsenring
3468:Christian Gottfried Körner
3405:Christoph Wilhelm Hufeland
3384:August Adolph von Hennings
3370:Karl August von Hardenberg
3349:Johann Wolfgang von Goethe
3247:Christian Wilhelm von Dohm
2862:. The History Association.
2434:. New York: W. W. Norton.
2187:
678:, also singing one of the
579:Johann Nepomuk della Croce
325:for the rest of his life.
3983:18th-century Dutch people
3886:
3806:Rite of Strict Observance
3790:
3703:Anton Matthias Sprickmann
3696:Ludwig Timotheus Spittler
3619:Christian Adolph Overbeck
3582:
3573:Johann Karl August Musäus
3426:Friedrich Heinrich Jacobi
3319:
3128:Johann Joachim Bellermann
3063:
3059:
3052:
2963:
2617:Austrian National Library
2449:Hughes, Rosemary (1970).
2249:Austrian National Library
1321:Carl Philipp Emanuel Bach
1138:Carl Philipp Emanuel Bach
1075:The Well-Tempered Clavier
988:And rejoice in your God!
568:
311:Austrian National Library
280:Johann Philipp Kirnberger
261:First Partition of Poland
150:Carl Phillip Emanuel Bach
121:
113:
102:
80:
39:
30:
23:
3745:Franz Michael Vierthaler
3731:Johann Nepomuk von Triva
3654:Friedrich Schlichtegroll
3552:Maximilian von Montgelas
3454:Johann Friedrich Kleuker
3212:Hieronymus von Colloredo
3121:Rudolph Zacharias Becker
3072:Jacob Friedrich von Abel
2528:Kramer, Richard (2008).
2408:Halliwell, Ruth (1998).
2392:Griesinger, Georg August
2310:Clive, Peter H. (2001).
2288:Neue Deutsche Biographie
2050:Goodwin & Clark 1976
1168:Academy of Ancient Music
957:
832:
780:Ode for St Cecilia’s Day
528:
496:
294:was played and admired.
3998:Patrons of Joseph Haydn
3766:Lorenz von Westenrieder
3752:Wilderich of Walderdorf
3591:Christian Gottlob Neefe
3524:August Gottlieb MeiĂźner
3391:Johann Gottfried Herder
3363:Johann Casimir Häffelin
3240:Johann Georg von Dillis
3036:Congress of Wilhelmsbad
2957:Order of the Illuminati
2836:National Gallery of Art
2824:Wheelock, Arthur K. Jr.
2714:Till, Nicholas (1995).
2661:Beethoven As I Knew Him
2611:Petschar, Hans (n.d.).
2586:Oxford University Press
2509:; Feder, Georg (1997).
1358:Larsen & Feder 1997
1242:Georg August Griesinger
1070:Christian Gottlob Neefe
859:autobiographical sketch
586:Wolfgang Amadeus Mozart
447:well-behaved citizens."
158:Wolfgang Amadeus Mozart
3820:Enlightened absolutism
3661:Johann Georg Schlosser
3633:Karl Leonhard Reinhold
3489:Justus Christian Loder
3447:Martin Gottlieb Klauer
3398:Andreas Joseph Hofmann
3377:Lorenz Leopold Haschka
3254:Karl von Eckartshausen
3184:Joachim Heinrich Campe
3002:Freemasonry in Germany
2281:BrĂĽck, Marion (2013),
1233:
1215:
1191:
1172:George Frideric Handel
1148:Johann Nikolaus Forkel
1066:
1047:
967:Und fĂĽllet jede Tiefe!
846:
663:
584:Van Swieten first met
581:
561:of the Mozart family.
491:La chercheuse d'esprit
449:
390:
314:
3724:Gottfried van Swieten
3689:Joseph von Sonnenfels
3433:Karl von Hesse-Kassel
3100:Karl Friedrich Bahrdt
2983:Liberalism in Germany
2881:Gottfried van Swieten
2856:Williams, Henry Smith
2789:The Musical Quarterly
2735:Well-Tempered Clavier
2637:Robbins Landon, H. C.
2303:Mozart and His Circle
2301:Clive, Peter (1993).
2269:Braunbehrens, Volkmar
1450:By Mozart biographer
1394:Alstergasse is today
1228:
1203:
1186:
1061:
1045:
840:
643:
576:
487:Colas, toujours Colas
483:Les talents Ă la mode
422:dangers of religious
419:
415:war against the Turks
382:
305:
286:, where the music of
244:in Berlin (1770–77).
172:Van Swieten was born
3773:Franz Xaver von Zach
3531:Ludwig August Mellin
3135:Johann Erich Biester
2972:Age of Enlightenment
2883:at Wikimedia Commons
2563:10.1093/jrma/89.1.63
1295:Notes and references
1052:Ludwig van Beethoven
1020:The Seven Last Words
984:And fill every deep.
959:Seid fruchtbar alle,
649:of Bach—not only of
453:died later that year
405:History of copyright
358:Volkmar Braunbehrens
334:Revolutionary France
174:Godefridus Bernardus
162:Ludwig van Beethoven
44:Godefridus Bernardus
3988:Austrian librarians
3559:Johannes von MĂĽller
3205:Philipp von Cobenzl
3191:Christian Cannabich
3163:Johann Michael Böck
2921:The English Concert
2830:The Art of Painting
2828:"Johannes Vermeer:
2753:10.1093/ml/81.3.364
2740:Music & Letters
2511:The New Grove Haydn
2491:Oxford Music Online
2352:Deutsch, Otto Erich
1777:, pp. 193–194.
1775:Robbins Landon 1959
1763:Robbins Landon 1959
1570:, pp. 453–454.
1164:Jean-Baptiste Lully
1086:Monday, 15 December
444:Chancellor Kolowrat
440:religious education
238:Frederick the Great
188:and grew up in the
4008:People from Leiden
3913:Society portal
3475:Karl Heinrich Lang
2623:on 14 January 2005
2581:Grove Music Online
2507:Larsen, Jens Peter
2364:Goodwin, Elliot H.
2222:Albrecht, Theodore
1430:See, for instance
1269:In popular culture
1175:inspired by them.
1132:Other associations
1090:Alstergasse No. 15
1048:
996:over an unadorned
866:Nikolaus Esterházy
847:
582:
555:Nikolaus Esterházy
515:Van Swieten owned
391:
365:educational system
354:program of reforms
315:
228:(1755–1757), then
194:Gerard van Swieten
126:Gerard van Swieten
3921:
3920:
3827:Weimar Classicism
3786:
3785:
3782:
3781:
3517:Christoph Meiners
3412:Gottlieb Hufeland
3261:Rudolf Eickemeyer
3024:French Revolution
2916:Alexander’s Feast
2879:Media related to
2725:978-0-393-31395-6
2709:. Harper Collins.
2694:978-0-573-60572-7
2687:. Samuel French.
2670:978-0-486-29232-8
2603:978-1-56159-263-0
2539:978-0-19-532682-6
2520:978-0-393-30359-9
2474:978-0-521-00192-2
2441:978-0-393-06634-0
2383:978-0-521-29108-8
2343:978-0-520-21158-2
2321:978-0-19-816672-6
2235:978-0-8032-1033-2
2213:978-0-300-07223-5
2068:Weber (1984, 175)
1896:Braunbehrens 1990
1862:Braunbehrens 1990
1850:Braunbehrens 1990
1840:, pp. 66–67.
1727:Braunbehrens 1990
1672:, pp. 67–68.
1607:Braunbehrens 1990
1325:Braunbehrens 1990
1250:Sigismund Neukomm
1224:Sigismund Neukomm
1094:Prince Lichnowsky
1002:four-part harmony
788:Alexander’s Feast
670:and rendered the
641:(10 April 1782):
599:La finta semplice
395:Holy Roman Empire
138:Holy Roman Empire
131:
130:
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3902:
3896:
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3857:Augustin Barruel
3852:
3845:
3843:Anti-Catholicism
3838:
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3808:
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3775:
3768:
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3717:Maximilian Stoll
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3675:Nikolaus Simrock
3670:
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3640:Franz Anton Ries
3635:
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3566:Friedrich MĂĽnter
3561:
3554:
3547:
3540:
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3379:
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3358:
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3344:
3337:
3335:Friedrich Gedike
3330:
3312:
3305:
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3284:
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3214:
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3158:
3151:
3149:Johann von Böber
3144:
3137:
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3116:
3109:
3102:
3095:
3088:
3081:
3079:Franz von Albini
3074:
3061:
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3057:
3056:
3045:
3038:
3031:
3019:
3012:
3010:Anti-clericalism
3005:
2993:
2986:
2974:
2950:
2943:
2936:
2927:
2926:
2878:
2863:
2851:
2849:
2847:
2838:. Archived from
2819:
2783:
2764:
2729:
2718:. W. W. Norton.
2710:
2703:Solomon, Maynard
2698:
2674:
2657:Schindler, Anton
2652:
2649:Internet Archive
2646:
2632:
2630:
2628:
2619:. Archived from
2607:
2584:(8th ed.).
2574:
2543:
2530:Unfinished Music
2524:
2513:. W. W. Norton.
2502:
2478:
2454:
2445:
2423:
2399:
2387:
2359:
2347:
2325:
2306:
2295:full text online
2292:
2276:
2273:Mozart in Vienna
2264:
2262:
2260:
2251:. Archived from
2239:
2217:
2182:
2176:
2170:
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2158:
2152:
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1311:
1304:
1289:film based on it
1128:to Van Swieten.
1104:
1099:
1085:
886:
870:Esterházy family
749:Acis and Galatea
471:Grove Dictionary
389:
386:
319:Imperial Library
257:Seven Years' War
87:
62:October 29, 1733
61:
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3957:
3956:
3952:Classical music
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3924:
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3882:
3875:
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3835:Sturm und Drang
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3503:Jakob Mauvillon
3501:
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3328:Christian Garve
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3301:
3294:
3287:
3280:
3273:
3266:
3259:
3252:
3245:
3238:
3231:
3224:
3217:
3210:
3203:
3196:
3189:
3182:
3175:
3168:
3161:
3154:
3147:
3140:
3133:
3126:
3119:
3112:
3105:
3098:
3091:
3084:
3077:
3070:
3048:
3041:
3034:
3022:
3015:
3008:
2996:
2989:
2977:
2970:
2959:
2954:
2871:
2866:
2845:
2843:
2816:
2792:LXX(2):175–194.
2780:
2726:
2695:
2671:
2626:
2624:
2604:
2540:
2521:
2475:
2459:Keefe, Simon P.
2453:. London: Dent.
2442:
2420:
2384:
2370:, eds. (1976).
2344:
2322:
2258:
2256:
2255:on 2 March 2022
2236:
2214:
2190:
2185:
2177:
2173:
2165:
2161:
2153:
2149:
2141:
2137:
2129:
2125:
2117:
2113:
2105:
2096:
2088:
2084:
2076:
2072:
2067:
2056:
2048:
2044:
2036:
2032:
2024:
2020:
2012:
2008:
2000:
1993:
1985:
1981:
1973:
1969:
1961:
1957:
1949:
1945:
1937:
1926:
1918:
1914:
1906:
1902:
1894:
1883:
1875:
1868:
1860:
1856:
1848:
1844:
1836:
1832:
1824:
1817:
1809:
1805:
1797:
1793:
1785:
1781:
1773:
1769:
1761:
1757:
1751:Griesinger 1810
1749:
1745:
1737:
1733:
1725:
1718:
1710:
1703:
1695:
1688:
1680:
1676:
1668:
1664:
1656:
1649:
1641:
1637:
1629:
1625:
1617:
1613:
1605:
1598:
1590:
1586:
1578:
1574:
1566:
1562:
1554:
1541:
1534:
1521:
1513:
1498:
1490:
1483:
1475:
1471:
1467:
1462:
1449:
1445:
1441:, p. 310).
1429:
1425:
1412:
1408:
1398:
1393:
1389:
1381:
1377:
1368:
1364:
1355:
1351:
1335:
1331:
1327:, p. 318).
1318:
1314:
1305:
1301:
1297:
1271:
1238:
1156:
1134:
1107:
1102:
1101:
1097:
1096:
1091:
1089:
1087:
1083:
1057:Anton Schindler
1040:
990:
987:
985:
983:
981:
979:
977:
976:Be fruitful all
973:
970:
968:
966:
964:
962:
960:
906:Joseph Friebert
880:
835:
805:
718:
709:The Magic Flute
704:chorale prelude
702:(1784) and the
627:
571:
539:
531:
518:Art of Painting
512:
499:
489:, and the lost
465:
387:
349:
300:
218:
170:
168:Life and career
148:era, including
98:
96:Habsburg Empire
89:
85:
76:
63:
57:
55:
54:
53:
26:
17:
12:
11:
5:
4026:
4016:
4015:
4010:
4005:
4000:
3995:
3990:
3985:
3980:
3975:
3970:
3955:
3954:
3942:
3919:
3918:
3916:
3915:
3903:
3887:
3884:
3883:
3881:
3880:
3873:
3866:
3853:
3846:
3839:
3830:
3823:
3816:
3809:
3802:
3799:Owl of Minerva
3794:
3792:
3788:
3787:
3784:
3783:
3780:
3779:
3777:
3776:
3769:
3762:
3759:Adam Weishaupt
3755:
3748:
3741:
3734:
3727:
3720:
3713:
3706:
3699:
3692:
3685:
3678:
3671:
3664:
3657:
3650:
3643:
3636:
3629:
3622:
3615:
3608:
3605:Franz OberthĂĽr
3601:
3594:
3586:
3584:
3580:
3579:
3577:
3576:
3569:
3562:
3555:
3548:
3541:
3534:
3527:
3520:
3513:
3506:
3499:
3492:
3485:
3478:
3471:
3464:
3457:
3450:
3443:
3436:
3429:
3422:
3415:
3408:
3401:
3394:
3387:
3380:
3373:
3366:
3359:
3352:
3345:
3338:
3331:
3323:
3321:
3317:
3316:
3314:
3313:
3306:
3299:
3292:
3285:
3278:
3271:
3264:
3257:
3250:
3243:
3236:
3229:
3222:
3215:
3208:
3201:
3194:
3187:
3180:
3173:
3170:Ignaz von Born
3166:
3159:
3152:
3145:
3142:Aloys Blumauer
3138:
3131:
3124:
3117:
3110:
3103:
3096:
3089:
3082:
3075:
3067:
3065:
3054:
3050:
3049:
3047:
3046:
3039:
3032:
3020:
3013:
3006:
2994:
2987:
2975:
2967:
2965:
2961:
2960:
2953:
2952:
2945:
2938:
2930:
2924:
2923:
2911:BBC Proms 2006
2900:
2884:
2870:
2869:External links
2867:
2865:
2864:
2852:
2842:on 18 May 2016
2820:
2814:
2793:
2784:
2778:
2765:
2747:(3): 364–391.
2730:
2724:
2711:
2707:Mozart: A Life
2699:
2693:
2679:Shaffer, Peter
2675:
2669:
2653:
2633:
2608:
2602:
2575:
2544:
2538:
2525:
2519:
2503:
2483:Kerman, Joseph
2479:
2473:
2455:
2446:
2440:
2428:Heartz, Daniel
2424:
2418:
2405:
2388:
2382:
2360:
2348:
2342:
2326:
2320:
2307:
2298:
2278:
2265:
2243:Anon. (n.d.).
2240:
2234:
2218:
2212:
2196:Abert, Hermann
2191:
2189:
2186:
2184:
2183:
2171:
2159:
2147:
2135:
2123:
2111:
2094:
2082:
2070:
2054:
2042:
2030:
2028:, p. 229.
2018:
2016:, p. 148.
2006:
1991:
1979:
1975:Schindler 1996
1967:
1955:
1953:, p. 150.
1943:
1924:
1912:
1900:
1881:
1879:, p. 330.
1866:
1864:, p. 320.
1854:
1842:
1830:
1815:
1813:, p. 221.
1803:
1801:, p. 367.
1791:
1779:
1767:
1755:
1743:
1731:
1716:
1701:
1686:
1684:, p. 130.
1674:
1662:
1647:
1645:, p. 100.
1635:
1623:
1611:
1609:, p. 317.
1596:
1584:
1582:, p. 787.
1572:
1560:
1539:
1519:
1496:
1481:
1468:
1466:
1463:
1461:
1460:
1443:
1423:
1421:, p. 25).
1406:
1387:
1375:
1362:
1360:, p. 67).
1349:
1341:Joseph Starzer
1329:
1312:
1308:Halliwell 1998
1298:
1296:
1293:
1270:
1267:
1237:
1234:
1155:
1152:
1133:
1130:
1126:First Symphony
1118:Ferdinand Ries
1088:Herr Beethoven
1081:
1039:
1036:
974:
834:
831:
804:
801:
793:
792:
784:
775:
757:
717:
714:
653:, but also of
626:
623:
570:
567:
538:
535:
530:
527:
498:
495:
464:
461:
432:secular values
397:should have a
348:
345:
299:
296:
217:
214:
190:Dutch Republic
169:
166:
129:
128:
123:
119:
118:
115:
111:
110:
104:
100:
99:
90:
88:(aged 69)
84:March 29, 1803
82:
78:
77:
64:
43:
41:
37:
36:
28:
27:
24:
15:
9:
6:
4:
3:
2:
4025:
4014:
4011:
4009:
4006:
4004:
4001:
3999:
3996:
3994:
3991:
3989:
3986:
3984:
3981:
3979:
3976:
3974:
3971:
3969:
3966:
3965:
3963:
3953:
3943:
3941:
3931:
3930:
3927:
3914:
3909:
3904:
3901:
3900:
3889:
3888:
3885:
3878:
3874:
3871:
3867:
3864:
3863:
3858:
3854:
3851:
3847:
3844:
3840:
3837:
3836:
3831:
3828:
3824:
3821:
3817:
3814:
3810:
3807:
3803:
3800:
3796:
3795:
3793:
3789:
3774:
3770:
3767:
3763:
3760:
3756:
3753:
3749:
3746:
3742:
3739:
3735:
3732:
3728:
3725:
3721:
3718:
3714:
3711:
3707:
3704:
3700:
3697:
3693:
3690:
3686:
3683:
3679:
3676:
3672:
3669:
3665:
3662:
3658:
3655:
3651:
3648:
3644:
3641:
3637:
3634:
3630:
3627:
3623:
3620:
3616:
3613:
3609:
3606:
3602:
3599:
3595:
3592:
3588:
3587:
3585:
3581:
3574:
3570:
3567:
3563:
3560:
3556:
3553:
3549:
3546:
3542:
3539:
3535:
3532:
3528:
3525:
3521:
3518:
3514:
3511:
3507:
3504:
3500:
3497:
3493:
3490:
3486:
3483:
3479:
3476:
3472:
3469:
3465:
3462:
3461:Adolph Knigge
3458:
3455:
3451:
3448:
3444:
3441:
3437:
3434:
3430:
3427:
3423:
3420:
3416:
3413:
3409:
3406:
3402:
3399:
3395:
3392:
3388:
3385:
3381:
3378:
3374:
3371:
3367:
3364:
3360:
3357:
3353:
3350:
3346:
3343:
3339:
3336:
3332:
3329:
3325:
3324:
3322:
3318:
3311:
3307:
3304:
3300:
3297:
3293:
3290:
3286:
3283:
3279:
3276:
3272:
3269:
3265:
3262:
3258:
3255:
3251:
3248:
3244:
3241:
3237:
3234:
3233:Anton Dereser
3230:
3227:
3223:
3220:
3219:Ignaz Cornova
3216:
3213:
3209:
3206:
3202:
3199:
3195:
3192:
3188:
3185:
3181:
3178:
3177:Karl Böttiger
3174:
3171:
3167:
3164:
3160:
3157:
3153:
3150:
3146:
3143:
3139:
3136:
3132:
3129:
3125:
3122:
3118:
3115:
3114:August Batsch
3111:
3108:
3104:
3101:
3097:
3094:
3093:Jens Baggesen
3090:
3087:
3083:
3080:
3076:
3073:
3069:
3068:
3066:
3062:
3058:
3055:
3051:
3044:
3040:
3037:
3033:
3029:
3025:
3021:
3018:
3014:
3011:
3007:
3003:
2999:
2995:
2992:
2988:
2984:
2980:
2976:
2973:
2969:
2968:
2966:
2962:
2958:
2951:
2946:
2944:
2939:
2937:
2932:
2931:
2928:
2922:
2918:
2917:
2912:
2908:
2905:by conductor
2904:
2903:Program notes
2901:
2898:
2894:
2893:
2888:
2887:Program notes
2885:
2882:
2877:
2873:
2872:
2861:
2857:
2853:
2841:
2837:
2833:
2831:
2825:
2821:
2817:
2815:0-521-83347-7
2811:
2807:
2803:
2799:
2794:
2791:
2790:
2785:
2781:
2779:0-19-515197-6
2775:
2771:
2766:
2762:
2758:
2754:
2750:
2746:
2742:
2741:
2736:
2731:
2727:
2721:
2717:
2712:
2708:
2704:
2700:
2696:
2690:
2686:
2685:
2680:
2676:
2672:
2666:
2662:
2658:
2654:
2650:
2645:
2644:
2638:
2634:
2622:
2618:
2614:
2609:
2605:
2599:
2595:
2591:
2587:
2583:
2582:
2576:
2572:
2568:
2564:
2560:
2556:
2552:
2551:
2545:
2541:
2535:
2531:
2526:
2522:
2516:
2512:
2508:
2504:
2500:
2496:
2492:
2488:
2484:
2480:
2476:
2470:
2466:
2465:
2460:
2456:
2452:
2447:
2443:
2437:
2433:
2429:
2425:
2421:
2419:0-19-816371-1
2415:
2411:
2406:
2403:
2397:
2393:
2389:
2385:
2379:
2375:
2374:
2369:
2365:
2361:
2357:
2353:
2349:
2345:
2339:
2335:
2331:
2327:
2323:
2317:
2313:
2308:
2304:
2299:
2296:
2290:
2289:
2284:
2279:
2274:
2270:
2266:
2254:
2250:
2246:
2241:
2237:
2231:
2227:
2223:
2219:
2215:
2209:
2205:
2201:
2197:
2193:
2192:
2180:
2175:
2169:, p. 70.
2168:
2163:
2157:, p. 72.
2156:
2151:
2145:, p. 73.
2144:
2139:
2132:
2127:
2121:, p. 27.
2120:
2115:
2108:
2103:
2101:
2099:
2092:, p. 13.
2091:
2086:
2080:, p. 26.
2079:
2074:
2065:
2063:
2061:
2059:
2052:, p. 88.
2051:
2046:
2040:, p. 84.
2039:
2034:
2027:
2022:
2015:
2010:
2004:, p. 36.
2003:
2002:Albrecht 1996
1998:
1996:
1988:
1983:
1977:, p. 49.
1976:
1971:
1965:, p. 71.
1964:
1959:
1952:
1947:
1940:
1935:
1933:
1931:
1929:
1921:
1916:
1909:
1904:
1898:, p. 320
1897:
1892:
1890:
1888:
1886:
1878:
1873:
1871:
1863:
1858:
1852:, p. 318
1851:
1846:
1839:
1834:
1827:
1822:
1820:
1812:
1807:
1800:
1795:
1789:, p. 80.
1788:
1783:
1776:
1771:
1764:
1759:
1753:, p. 38.
1752:
1747:
1740:
1735:
1728:
1723:
1721:
1714:, p. 68.
1713:
1708:
1706:
1699:, p. 231
1698:
1693:
1691:
1683:
1678:
1671:
1666:
1659:
1654:
1652:
1644:
1639:
1632:
1627:
1620:
1615:
1608:
1603:
1601:
1594:, p. 64.
1593:
1588:
1581:
1576:
1569:
1568:Williams 1907
1564:
1557:
1552:
1550:
1548:
1546:
1544:
1537:
1532:
1530:
1528:
1526:
1524:
1517:, p. 151
1516:
1511:
1509:
1507:
1505:
1503:
1501:
1493:
1488:
1486:
1478:
1473:
1469:
1457:
1453:
1452:Hermann Abert
1447:
1440:
1436:
1434:
1427:
1420:
1416:
1410:
1402:
1397:
1391:
1385:
1379:
1372:
1366:
1359:
1353:
1346:
1343:, tenor; and
1342:
1338:
1333:
1326:
1322:
1316:
1309:
1303:
1299:
1292:
1290:
1286:
1282:
1281:
1277:'s 1979 play
1276:
1275:Peter Shaffer
1266:
1264:
1258:
1254:
1251:
1247:
1243:
1232:
1227:
1225:
1221:
1214:
1212:
1208:
1202:
1200:
1196:
1190:
1185:
1183:
1182:
1176:
1173:
1169:
1165:
1160:
1151:
1149:
1145:
1143:
1139:
1129:
1127:
1122:
1119:
1114:
1111:
1106:
1095:
1080:
1077:
1076:
1071:
1065:
1060:
1058:
1053:
1044:
1035:
1033:
1029:
1025:
1021:
1018:
1013:
1011:
1007:
1003:
999:
995:
989:
978:And multiply.
972:
956:
954:
950:
944:
942:
941:
936:
935:James Thomson
932:
931:
930:Paradise Lost
926:
922:
921:
916:
915:
909:
907:
904:
903:Kapellmeister
900:
896:
895:
888:
884:
879:
875:
871:
867:
862:
860:
856:
852:
844:
839:
830:
828:
824:
820:
819:
814:
810:
800:
796:
790:
789:
785:
782:
781:
776:
773:
772:
767:
766:
762:
758:
755:
751:
750:
746:
745:
744:
742:
736:
734:
730:
726:
725:
713:
711:
710:
705:
701:
696:
692:
688:
683:
681:
677:
673:
669:
662:
660:
656:
652:
648:
642:
640:
636:
632:
622:
620:
619:
614:
613:
608:
607:Countess Thun
603:
601:
600:
595:
591:
587:
580:
575:
566:
562:
560:
559:early travels
556:
552:
548:
544:
534:
526:
524:
520:
519:
513:
510:
507:
505:
494:
492:
488:
484:
479:
477:
473:
472:
460:
458:
454:
448:
445:
441:
437:
433:
429:
425:
418:
416:
411:
407:
406:
400:
399:copyright law
396:
383:Van Swieten,
381:
377:
374:
373:liberal views
370:
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232:(1760–1763),
231:
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3860:
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3419:Isaak Iselin
2914:
2907:Andrew Manze
2896:
2890:
2859:
2844:. Retrieved
2840:the original
2829:
2805:
2801:
2798:The Creation
2797:
2787:
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2621:the original
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2368:Clark, G. N.
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2293:; (
2286:
2272:
2257:. Retrieved
2253:the original
2225:
2200:W. A. Mozart
2199:
2179:Shaffer 2003
2174:
2167:Olleson 1963
2162:
2155:Olleson 1963
2150:
2143:Olleson 1963
2138:
2126:
2114:
2109:, p. 73
2107:Olleson 1963
2085:
2073:
2045:
2033:
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2009:
1982:
1970:
1963:Olleson 1963
1958:
1951:Webster 2005
1946:
1941:, p. 69
1939:Olleson 1963
1920:Solomon 1995
1915:
1908:Solomon 1995
1903:
1877:Deutsch 1965
1857:
1845:
1838:Olleson 1963
1833:
1828:, p. 66
1826:Olleson 1963
1806:
1794:
1787:Deutsch 1965
1782:
1770:
1765:, p. 7.
1758:
1746:
1739:Wheelock n.d
1734:
1712:Olleson 1963
1677:
1670:Olleson 1963
1665:
1660:, p. 67
1658:Olleson 1963
1638:
1631:Petschar n.d
1626:
1614:
1592:Olleson 1963
1587:
1575:
1563:
1558:, p. 62
1536:Olleson 2001
1494:, p. 64
1492:Olleson 1963
1472:
1458:, p. ).
1446:
1439:Waldoff 2006
1433:The Creation
1432:
1426:
1414:
1409:
1396:Alser StraĂźe
1390:
1378:
1365:
1352:
1345:Anton Teyber
1332:
1315:
1302:
1285:Miloš Forman
1278:
1272:
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1211:connoisseurs
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1004:for divided
991:
975:
961:Mehret euch!
958:
949:The Creation
948:
945:
938:
928:
918:
914:The Creation
912:
910:
892:
889:
863:
851:Joseph Haydn
848:
843:Thomas Hardy
816:
806:
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763:
747:
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700:C minor Mass
695:contrapuntal
684:
676:Joseph Weigl
664:
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420:
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369:middle class
362:
350:
338:
330:card catalog
327:
316:
306:
298:As librarian
273:
246:
219:
208:school, the
181:
177:
173:
171:
154:Joseph Haydn
133:
132:
86:(1803-03-29)
49:
45:
18:
3973:1803 deaths
3968:1733 births
3813:Josephinism
3289:Junius Frey
2998:Freemasonry
2991:Rationalism
2892:Der Messias
2802:The Seasons
2487:Tyson, Alan
2330:DeNora, Tia
2204:Cliff Eisen
2133:, p. .
2119:DeNora 1995
2090:DeNora 1995
2078:DeNora 1995
2038:Kramer 2008
1910:, p. .
1799:Tomita 2000
1729:, p. .
1556:Heartz 2008
1419:DeNora 1995
1399: [
1371:(1970, 135)
1246:aristocracy
1199:The Seasons
1028:The Seasons
940:The Seasons
925:John Milton
920:The Seasons
917:(1798) and
881: [
809:Mozart died
765:Der Messias
754:Jahn's Hall
733:Jahn's Hall
729:Burgtheater
463:As composer
388: 1790
347:In politics
284:Anna Amalia
216:As diplomat
210:Theresianum
182:van Swieten
107:Theresianum
52:van Swieten
3962:Categories
3028:Jacobinism
3017:Secularism
2979:Liberalism
2627:31 January
2131:Abert 2007
2026:Clive 2001
2014:Clive 2001
1811:Keefe 2003
1580:Abert 2007
1515:Clive 1993
1477:BrĂĽck 2013
1465:References
1456:Abert 2007
1337:Abert 2007
1236:Assessment
672:orchestral
659:Friedemann
631:J. S. Bach
590:Grand Tour
551:Griesinger
506:per year.
436:philosophy
58:1733-10-29
3940:Biography
3510:Beda Mayr
2659:(1996) .
2557:: 63–74.
1922:, ch. 30.
1697:Till 1995
1682:Till 1995
1643:Till 1995
1619:Anon. n.d
1220:Otto Jahn
1207:patriarch
1038:Beethoven
1017:oratorios
998:bass line
813:Constanze
651:Sebastian
543:patronage
476:tautology
424:orthodoxy
341:Joseph II
323:librarian
307:Prunksaal
146:Classical
103:Education
3899:Category
3791:See also
2858:(1907).
2826:(n.d.).
2705:(1995).
2681:(2003).
2639:(1959).
2461:(2003).
2430:(2008).
2394:(1810).
2354:(1965).
2332:(1995).
2271:(1990).
2224:(1996).
2198:(2007).
1287:'s 1984
1110:Albrecht
1105:Swieten
937:'s poem
927:'s poem
761:oratorio
712:(1791).
668:keyboard
612:Idomeneo
226:Brussels
178:Godfried
48:Godfried
3926:Portals
3053:Members
2964:History
2909:on the
2897:Messiah
2684:Amadeus
2259:17 July
2188:Sources
1435:(Haydn)
1347:, bass.
1283:and in
1280:Amadeus
1059:wrote:
994:soloist
955:reads:
953:Genesis
818:Requiem
771:Messiah
687:Baroque
655:Emanuel
639:Leopold
594:Leopold
523:Vermeer
504:florins
502:20,000
457:Leopold
253:Silesia
242:Prussia
3891:
2846:11 May
2812:
2776:
2761:854858
2759:
2722:
2691:
2667:
2600:
2571:765997
2569:
2536:
2517:
2471:
2438:
2416:
2380:
2340:
2318:
2232:
2210:
1989:, § 1.
1010:violas
1006:cellos
899:Passau
855:Berlin
845:, 1792
827:Prague
791:(1790)
783:(1790)
768:after
741:Handel
691:suites
680:choral
647:fugues
635:Handel
569:Mozart
428:heresy
410:Mozart
292:Handel
234:Warsaw
206:Jesuit
202:Vienna
186:Leiden
160:, and
142:patron
122:Father
92:Vienna
66:Leiden
2757:JSTOR
2567:JSTOR
2451:Haydn
1403:]
1263:Gluck
885:]
833:Haydn
807:When
529:Death
497:Other
426:than
403:see:
265:Abert
230:Paris
2848:2009
2810:ISBN
2800:and
2774:ISBN
2720:ISBN
2689:ISBN
2665:ISBN
2629:2008
2598:ISBN
2534:ISBN
2515:ISBN
2469:ISBN
2436:ISBN
2414:ISBN
2378:ISBN
2338:ISBN
2316:ISBN
2261:2023
2230:ISBN
2208:ISBN
1382:See
1197:and
1092:c/o
1026:and
1008:and
933:and
823:Karl
777:the
759:the
657:and
633:and
290:and
288:Bach
269:gout
81:Died
40:Born
3859:'s
3583:N—Z
3320:G—M
3064:A—F
2919:by
2889:on
2749:doi
2737:".
2590:doi
2559:doi
2495:doi
2400:In
825:in
731:or
547:tip
521:by
240:of
184:in
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1869:^
1818:^
1719:^
1704:^
1689:^
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