Introduction Mary Hunter and Richard Will; Part I. Cultures of Vocal Music: 1. Fantasy island: Haydn's metastasian 'Reform' opera Elaine Sisman; 2. Haydn invents Scotland Richard Will; 3. Haydn's English canzonettas in their local context Katalin Komlós; 4. Revolution, rebirth and the sublime in Haydn's L'anima del filosofo and The Creation Caryl Clark; 5. 'Achieved is the glorious work': the creation and the choral work concept Nicholas Mathew; Part II. Analytical Readings and Rereadings: 6. Imagination, continuity, and form in the first movements of Haydn's Opus 77 Quartets Lewis Lockwood; 7. Does Haydn have a 'C-minor mood'? Jessica Waldoff; 8. Form, rhetoric, and the reception of Haydn's Rondo Finales Michelle Fillion; 9. Haydn and the Metamorphoses of Ovid Pierpaolo Polzonetti; 10. Credo ut intelligam: Haydn's reading of the Credo text Tom Beghin; Part III. Performance: 11. Haydn's string quartet fingerings: communications to performer and audience Mary Hunter; 12. Haydn's orchestras and his orchestration to 1779, with an excursus on the times of day symphonies Neal Zaslaw; Bibliography.
Introduction Mary Hunter and Richard Will; Part I. Cultures of Vocal Music: 1. Fantasy island: Haydn's metastasian 'Reform' opera Elaine Sisman; 2. Haydn invents Scotland Richard Will; 3. Haydn's English canzonettas in their local context Katalin Komlós; 4. Revolution, rebirth and the sublime in Haydn's L'anima del filosofo and The Creation Caryl Clark; 5. 'Achieved is the glorious work': the creation and the choral work concept Nicholas Mathew; Part II. Analytical Readings and Rereadings: 6. Imagination, continuity, and form in the first movements of Haydn's Opus 77 Quartets Lewis Lockwood; 7. Does Haydn have a 'C-minor mood'? Jessica Waldoff; 8. Form, rhetoric, and the reception of Haydn's Rondo Finales Michelle Fillion; 9. Haydn and the Metamorphoses of Ovid Pierpaolo Polzonetti; 10. Credo ut intelligam: Haydn's reading of the Credo text Tom Beghin; Part III. Performance: 11. Haydn's string quartet fingerings: communications to performer and audience Mary Hunter; 12. Haydn's orchestras and his orchestration to 1779, with an excursus on the times of day symphonies Neal Zaslaw; Bibliography.
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