> From 《Music in European Capitals: The Galant Style, 1720-1780》by Daniel Heartz (2nd book in his trilogy, published in 2003):
Section on CPE Bach (p.389-424): CPE Bach does not really identify himself with the galant style. Heartz feels his impact is mostly in his keyboard concertos of his Berlin period.
Section on JC Bach (p.883-929): JC Bach was successful in opera somewhat but later eclipsed by Sacchini in London. His work in 1760's definitely influenced Mozart, but JC Bach's best works were probably in the 1770's. JC Bach's textures are light, but he knows his harmonies being from the Bach family and trained to write choral music.
Section on Boccherini (p.964-998) : Heartz feels the most important works are his Cello String Quintets. Influence-wise probably the once he wrote in the early 1770's (my take is op.10, 11, 13, 18, 20 - 30 in total as each set has 6, the famous minuet is from Op. 11 #5). Heartz thinks his symphonies can rival that of JC Bach's.
Epilogue (p.999-1008): Heartz distinguished two phases of galant style, Halle's opera is the representative of the first phase; the second phase integrating use of harmonies to enhance the music (JC Bach / Boccherini considered the best representatives, probably Sacchini also if his works have survived the London theater file). Feels Mozart can be considered the last representative of the galant style.
Section on Venice including Vivaldi & Tartini: ...
[Heartz also wrote 《Mozart, Haydn, and early Beethoven》, clear to me now he was advocating Mozart comes before Haydn in terms of musical chronology. Mozart in 1780's is the last representative of the galant style while his works are clearly "classical"; Haydn's best works in 1790's were influenced by Mozart (and the pianoforte) and many of the trends Haydn explored were taken up by Beethoven. The piece I am missing is how Heartz judges Haydn's strength, influence and contribution before 1780.]
> 《Mozart, Haydn, and early Beethoven》, Last Chapter on early Beethoven: the chapter covers till the year 1802 and essentially ends with Symphony #2 Op.36. Some works to highlight:
- Heartz writes about String Trio Serenade Op.8 of 1797 well (and don't compare it unfavorably with the more "serious" Op.9)
- Passes through the "very entertaining Piano Trio for Op.11 (Clarinet/Violin, Cello, 1798)
- I also forgot what he said about Septet Op.20 of 1799
- About the cello sonatas Op.5 (1796), Heartz gave a clinical analysis without saying much else (#2 is better than #1)
- String Quartet Op.18 (1800): Heartz writes about Op.18 unfavorably vs. earlier ones for Mozart and Haydn - he is probably right. For sets of 6 quartets, my impression is Haydn Op.76 > Mozart Haydn quartets > Beethoven Op.18. But these are three good/great sets anyway? I still need to form my personal opinion here. I feel Op.76 #3 Emperor is definitely appealing, probably followed by Mozart's K.458 ("Hunt"). Maybe Beethoven's Op.18 #5 or #6 are closed to that level?
- The great works before the end of 1802 are primarily 4 sonatas: Piano sonatas Op.13 ("Pathetique", 1798), Op.27#2 ("Moonlight", 1801), Op.30#2 ("Tempest", 1802), Violin Sonata Op.24 ("Spring", 1801)
- BTW, Heartz says Beethoven wrote two cadenzas for Mozart K.466 either between 1802-1809 (exactly when not known).
12。《Cambridge Companion to Haydn》
13。《The Music of Carl Philipp Emanuel Bach》by David Schulenberg
Note as of March 7, 2018:
Ok - I stopped early on in Q4-'17, and not planning to continue (I have been reading mostly music books and practicing my musical instrument since). I started documenting my readings in the beginning of 2010. Almost 8 full years.