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1 (Johann Christian Bach, ) (Johann Sebastian, ) (W. A. Mozart, ) 1 ( ) ( ) ( ) F B D E G (1763) (1770) (1777) 1 (Pre-Classical period) Pre-Classical period 1

2 2 3 (Harpsichord) 4 2 John Harley, British Harpsichord Music: History (Hants: Scolar Press, 1991), Virginia Pleasants, "The Early Piano in Britain(c )," Early Music 13-1(1985): 2

3 (Vauxall Garden) (Ranelagh Garden) 5 (King's Theatre) (Carl F. Abel, ) The New Grove Dictionary of Music and Musicians (1980), S. v. "London: Pleasure 3

4 (Zaide Elisabeth Pixley) Gardens," by Edward Croft-Murray. 6 Zaide Elisabeth Pixley, The Keyboard Concerto in London Society, 1760~1790 (Ph. D. diss., The University of Michigan, 1986). 4

5 (Bryan Gillingham) F B D E G 7 Bryan Gillingham, "Social and Musical Matters Pertaining to J. C. Bach's Third Set of Keyboard Concertos," The Music Review 42 (1981): 225~237. 5

6 (C. P. E. Bach, ) 6

7 7

8 (Johann Sebastian Bach, ) (C. P. E. Bach, ) (Johann Christian Bach, ) (W. F. Bach, ) (Padre Giovanni Battista Martini, ) 8

9 9 8 Heinz Gätner, John Christian Bach: Mozart's Friend and Mentor, trans. Reinhard G. Pauly (Orgon: Amadeus Peess, 1994), Charles Sanford Terry, John Christian Bach (London: Oxfoed University Press, 1929), Hans T. David and Arthur Mendel, eds., The New Bach Reader (New York: Norton, 1998): 9

10 (Charles Burney, ) 11 (Versuch über die wahre Art das Clavier zu spielen, 1753) (Johann Friedrich Agricola, ) (Christophe Nichelmann, ) (Johann Philipp Kirnberger, ) Versuch einer Anweisung die Flöte traversiere zu spielen 11 Charles Burney, The Present State of Music in Germany, the Netherlands, and the United Provinces (New York: Broude Bros, 1969), 213, Gätner,

11 Saggio sopra l'opera in musica, 1755) Gätner, , Beth Mekota, The Solo and Ensemble Keyboard Works of J. C. Bach (Ph.D. diss., University of Michigan, 1969), Ernest Warburton ed, The Collected Works of Johann Christian Bach , Vol. 48, Part 2: Sources & Documents (New York: Garland Publishing, 1999),

12 17 (Artaserse) (Pietro A. D. B. Metastasio, ) 18 (Catone in Utica) (Orione) (Zanaida) 17 The New Grove Dictionary of Music and Musicians (1980), s. v. "Johann Christian Bach," by Ernest Warburton

13 (Pietro Guglielmi, ) (Orfeo ed Euridice, 1762) (Carl Friedrich Abel, ) (serenata) The New Grove Dictionary of Music and Musicians (1980), s. v. "Johann Christian Bach," by Ernest Warburton

14 (Cecilia Grassi) 1000 (Richmond) (Antonio Sacchini, ) 22 (sinfonia concertante) 22 The New Grove Dictionary of Music and Musicians (1980), s. v. "Johann Christian Bach," by Ernest Warburton. 14

15 (L'olimpe) Ernest Warburton ed, The Collected Works of Johann Christian Bach , Vol. 48, Part 1: Thematic Catalogue (New York: Garland Publishing, 1999) Terry,

16 (Artaserse, 1761) (da capo) (Orione, 1763) (opera seria) (da capo) (Six Grand Overtures, op. 18) (Lucio Silla, 1774) Amadis de Gaule) 16

17 26 26 The New Grove Dictionary of Music and Musicians (1980), s. v. "Johann Christian Bach," by Ernest Warburton

18 18

19 28 (concertare) (Medici) (intermedio) (Andrea Gabrieli, ) (Giovanni Gabrieli, ) (Concerti di Andrea, et di Gio) 29 (concerto grosso) (concertino) (Alessandro Stradella, ) (Sinfonia a violini e bassi a concertino e concerto grosso distinit) (trio sonata) 30 ripieno ripieno ripieno concerto ripieno concerto (Arnold Schering, ) (ripieno concerto) Kozertsinfonie (Antonio Vivaldi, ) (sinfonia) 31 (Arcangelo Corelli, ) (concerti grossi, op.6, 1714) (sonata da chiesa) (sonata da camera) 19

20 32 Hutchings. 32 The New Grove Dictionary of Music and Musicians (1980), s. v. "concerto," by Arthur 20

21 (concerti musicali, op. 6) (concerti grossi con una pastorale per il Santissimo Natale, op. 8) 33 Michael Thomas Roeder, A History of The Concerto(Organ: Amadeus Press, 1994), Roeder, sinfonia ritornello ritornello form ritornello (ritornello, tutti) (solo) Ritornello form 21

22 L'estro armonico, op.3, 1712) 37 Roader,

23 Clavier-Übung, vol. 2, 1735) Italian Concerto Arthur Hutchings, "The Keyboard Concerto," Music and Letters 23, (April, 1941):

24 (Johann Schobert, ) (George Wagenseil, ) (Wq 1~3) 40 (Wq 4~40, 46) (Wq 41-45, 47) 40 Wq Alfred Wotquenne C. P. E. Bach 24

25 Leon Crickmore, "C. P. E. Bach's Harpsichord Concertos," Music & Letters 39, (1958): 25

26 (Franz Joseph Haydn, ) Hutchings. 42 The New Grove Dictionary of Music and Musicians (1980), s. v. "concerto," by Arthur 26

27 (concerti grossi, op.6) (Twelve Grand Concertos, op.6, 1740) (Trio sonata) Walsh 44 Ed. Gerld Abraham, Concert Music( ), The New Oxford History of Music, vol. 6(New York: Oxford University, 1986), Il tyionfo del Tempo e del Disinganno 48 (viola da gamba) ( ) 27

28 49 50 (Alexander's Feast, 1736) (Pippa Drummond)... (Six concertos for the organ or harpsichord, op. 4, 1738) (op.7, 1760) ( ) Ed. Abraham, 260, The first of these took place on Tuesday 20 March 1739 at the King's Theatre in the Haymarket. On this occasion Handel's Alexander's Feast was performed, together with several concertos on the organ and other instruments, particularly a new concerto composed by Mr. Handel on purpose for this occasion. Pippa Drummond, "The Royal Society of Musicians in Eighteenth-Century England," Music and Letters 54, (July, 1978): The New Grove Dictionary of Music and Musicians (1980), s. v. "concerto," by Arthur 28

29 53 (ad libitum) 54 (for the organ or harpsichord) Hutchings Roeder,

30 (Charles Avison, ) (Zaide Elisabeth Pixley) (Swan and Castle Concerts, ) (Bach-Abel 55 Ed. Abraham,

31 Concerts, ) (The Professional Concerts, ) Zaide Elisabeth Pixley, The Keyboard Concerto in London Society, 1760~1790 (Ph. D. diss., The University of Michigan, 1986), Bryan Gillingham, "Social and Musical Matters Pertaining to J. C. Bach's Third Set of Keyboard Concertos," The Music Review 42, (1981):

32 (Elizabeth Weichsel) Pixley, Gillingham,

33 33

34 (G. F. Handel, 1712) (K. F. Abel, 1759) (J. C. Bach, 1762) (W. Cramer, 1772) (M. Clemeti, 1773) (J. L. Dussek, 1789) (G. B. 60 Viotti, 1792) (J. Haydn, , ) 60 34

35 61 (Caroline) (anthem) ( ) 61 (King George I, r ) (King George II, r ) (King George III, r ) 35

36 ~ ~

37 (Monthly Mask of Vocal Music) 64 (Walshes) (John Johnson) (Bremner) (Welcker) (Preston) 65 (Harris) (Haward) (Stephen Keene) (John Player) (spinet) 66 (Burkat Shudi, ) (Jacob 64 The New Grove Dictionary of Music and Musicians (1980), s. v. "London: Music Publishing," by Kathleen Dale and Peter W. Jones. 65 John Harley, British Harpsichord Music : History (Hants: Scolar Press, 1991), spinet 37

38 Kirkman, ) 67 (Johannes Zump) 68 (Stodart) (Broadwood) The New Grove Dictionary of Music and Musicians (1980), s. v. "Harpsichord: Eighteenth century, England," by Edwin Ripin and Howaed Schott. 68 The New Grove Dictionary of Music and Musicians (1980), s. v. "The pianoforte: England and France to 1800," by Edwin Ripin. 69 The New Grove Dictionary of Music and Musicians (1980), s. v. "London: Instrument making," by Kathleen Dale and William J. Conner. 38

39 (Covent Garden) (Vauxall Garden) (Ranelagh Garden) The New Grove Dictionary of Music and Musicians (1980), s. v. "London: Pleasure Gardens," by Edward Croft-Murray. 39

40 (Lord George Gordon) Bryan Gillingham, "Social and Musical Matters Pertaining to J. C. Bach's Third Set of Keyboard Concertos," The Music Review 42, (1981):

41 72 (John Banister, ) 73 (Ancient) (Modern) ( ) 72 Simon McVeigh, Concert life in London from Mozart to Haydn (New York: Cambridge University Press, 1993), xiv. 73 The New Grove Dictionary of Music and Musicians (1980), s. v. "London: Concert life," by Noel Goodwin. 41

42 (Academy of Ancient Music) (Giovanni Pierluigi da Palestrina, ) (Luca Marenzio, ) (Madrigal Society) 74 (Thomas Tallis, ) (William Byrd, ) (Orlando Gibbons, ) (Thomas Morley, ) Percy Lovell, " 'Ancient' Music in Eighteenth-Century England," Music and Letters 60, (October, 1979): Academy of Ancient Music, Academy of Vocal Musick, Castle Swan McVeigh, (1) 1766 Anacreontic Society (2) 1788 Glee Club (3) 1790 Handelian Society Cecilian Society (4) 1798 Concentores Society William Weber, The Rise of Musical Classics in Eighteenth-Century England (Oxford: Clarendon Press, 1992),

43 (Galant style) 77 (Ignaz Josef Pleyel, ) (Johann Bapist Cramer, ) (Henry Purcell, ) (Francesco 78 Geminiani, ) 77 Galant Style Galant Style Thomas B. Milligan, The Concerto and London's Musical Culture in the Late Eighteenth Century (Michigan: UMI Research Press, 1983), 4. 43

44 (The Chapel Royal) 79 (Odes) (William Boyce, ) (John Stanley, ) (William Parsons, ) The New Grove Dictionary of Music and Musicians (1980), s. v. "London: Music at Court," by Roger Broewrs

45 81 82 (Anna Storace, ) 81 Simon McVeigh, Concert life in London from Mozart to Haydn (New York: Cambridge U 45

46 83 84 (Percy A. Scholes) The New Grove Dictionary of Music and Musicians (1980), s. v. "London: Music at Court," by Roger Broewrs This "Queen's Band" was a small body than the King's. In 1775 it comprised four violinists, a viola player, a violoncellist and a double-bass player, two oboe player and an organist(kelway). In addition the Queen had what is called a "Chamber Band". It was a mere quartet, but one of virtuosi, consisting of "Signor Bach"(i.e. J. S. Bach's youngest son, John Christian), "Signor Abel"(J. S. Bach's pupil and a famous performer on the viola da gamba), "Master Simpson" and "Mr. F. Nicolai". Percy. Scholes, "George the Third as Music Lover," Musical Quarterly 28, (January, 1942):

47 86 (The Concert of Ancient Music) 87 (Catch Club) McVeigh, Scholes, , Heinz Härtner, John Christian Bach: Mozart's Friend and Mentor, trans. Reinhard G. Pauly (Oregon: Amadeus Press, 1994),

48 Härtner, McVeigh, (John Gallini) Milligan, 1. 48

49 93 94 (James Hook, ) McVeigh, McVeigh Clendar of London Concerts (Goldsmiths' College, University of London) McVeigh Concert life in London from Mozart to Haydn (New York: Cambridge University Press, 1993) 95 Sixteen concerts in a week. McVeigh, 1. 49

50 (King's Theatre) 96 (Covent Garden) (The Beggar's Opera) 97 (subscription concerts) (benefit concerts) (Lent) (Bach-Abel Concert) 98 O (Ranelagh Garden) The New Grove Dictionary of Music and Musicians (1980), s. v. "London: Opera," by Harold Rosenthal. 98 Milligan, 6. 50

51 (Covent Garden) (Vauxall Garden) (T. Lea Southgate) 100 (Johm Worgan, ) 101 O O (Vauxhall Songs, 1776, 1770, 1771) Dating from this period, the newspapers contain a number of announcements of public concerts, often with some particular attraction, such as A rare concert of 4 Trumpet Marine never heard of before in England. Again, To begin the Musick next Thursday, a young gentleman of 12 years of age; the room being put in good condition, and there to continue this season. T. Lea Southgate, "Music at the Public Pleasure Gardens of the Eighteenth Century," Proceedings of The Royal Musical Association ( ), The New Grove Dictionary of Music and Musicians (1980), s. v. "London: Pleasure 51

52 Gardens," by Edward Croft-Murray. 52

53 103 (Pasticcio) 104 (Orione) (Zanaida) (Anna Lucia de Amicis, ) 103 "Having been presented with the opportunity to go to England there to compose two operas with a very good fee and to his best advantage." Ernest Warburton ed, The Collected Works of Tohann Christian Bach , Vol. 48, Part 2: Sources & Documents (New York: Garland Publishing, 1999), Pasticcio 53

54 105 (Signora Colomba Mattei) 105 (Christoph Willibald Gluck, ) (Orfeo, 1762) Heinz Gätner, John Christian Bach: Mozart's Friend and Mentor, trans. Reinhard G. Pauly (Orgon: Amadeus Peess, 1994), "I certainly thought that I would be able to go to Italy thisyear, but the great consideration I have received from their Majesties, the King and the Queen, has obliged me to remain here at their 54

55 (Heinz Gätner) request." Ed. Warburton, Part 2, The works are little gems, full of grace and melodic charm, and characterized by Christ s singing allergo manner.... In deference to the royal parton, Bach concluded the third movement of the sixth concerto with imaginative variations on God Save the King. Gätner, Thanks Be to God Who rules the Deep J. Lockman Gätner,

56 (New Concertos) (S. Quincy) 109 Gätner, McVeigh,

57 (Leopold Mozart) This entertainment, so peculiarly agreeable to me, consists of the finest music performed by the best masters, viz., Mr. Bach(the Queens tutor) on the harpsichard; Abel on the Viola da Gamba;... It is thought to be the most perfect concert in Europe.... The company was splendid and brilliant, all dressed, and in number between five and six hundred, chiefy nobility and persons of first fashion. Gillingham, The Music Review 42, (1981): "The King placecd before him some pieces by Wagenseil, and also others by Bach, Abel and Handel, and he play them all off,... He took up the cello part of one of Handel's arias(which chanced to lie before him), And upon the mere bass played the most beautiful melody... What he knew when we set out from Salzburg was a mere shadow compared with what he knows now. Hans Mersmann, selected and edited, Letters of Wolfgang Amadeus Mozart (New York: Dover Publications),

58 (Adriano in Siria) (Carattaco) (Mrs.Weichsell) ( a solo on the 113 Piano Forte by Mr. Bach ) (1768) 113 Gätner,

59 (1770) ("Per il cembalo o piano e forte") 114 (Canzonettas, op.6) (Keyboard Concerto, op.7) (Quartet, op. 8) (Symphony, op.9) (Sonata, op.10) (R. J. S. Stevens) The New Grove Dictionary of Music and Musicians (1980). S. v. "Johann Christian Bach," 115 Gioas, re di Giuda 116 Between the acts of these Italian oratorios, Bach endeavoured to play a concerto upon the organ,... But this Concerto gave no pleasure to the audience, and was absolutely hissed: all our boys laughed at the exhibition. Zaide Elisabeth Pixley, "The Keyboard Concerto in London Society, 1760~1790," (Ph. D. diss., The University of Michigan, 1986),

60 (Carl Theodor) (Académie Royale de Musique) 117 (Keyboard Concerto, op.13) The New Grove Dictionary of Music and Musicians (1980). s. v. "Johann Christian Bach,"

61 61

62 F B D E G Ernest Warburton ed, The Collected Works of Johann Christian Bach , Vol. 48, Part 1: Thematic Cateloge, New York: Garland Publishing, 1999) C (C73) "nach Tartinis Manier", C7 C. F. E. Bach C. P. E. Bach op. 13, no. 6) Symphonie Concertante in E-flat major) 120 (Charles Sanford Terry)

63 B (C68) F (C69) D (C70) E (C71) G (C72) F (C73) F F (C69) F (C73) 63

64 F (C69) F B F E (C71) G (C72) ( ) E (C71) (Allegro assai) (Adagio) (Presto) ( ) (con sordini) D (Adagio affettuoso con sordini) F (C69) (Andante e grazioso con sordini) 122 (Concerto ritornello form) ( ) vi F D E G F (C73) 64

65 B I Allegretto B II Andante con sordine F (C68) III Presto B F I Allegretto F II Andante e grazioso con sordini B (C69) III Allegro F D I Allegro assai D II Adagio affettuoso con sordini B (C70) III Allegro D E I Allegro assai E II Adagio E (C71) III Presto E G I Allegro G II Poco adagio con sordini G (C72) III Allegro G F I Allegro di molto F II Andante C (C73) III Prestissimo F 123 R1 S1 R2 S2 R3 S3 R4 abcde 1 abde 2 acd 3 abcde ( ) I X V X I vi X I ( ) i X III X i v X i

66 B (C68) ( ) a f, g, h, i a c f B G vi a d G B (C68) 66

67 R1 S1 R2 S2 R3 S3 R4 a, b, c, d, e, f, g, a, h, i, a, c, d, e, f, a, d, a, h, i, (cadenza) a, b, c, d, e, I I-V V Vxxx-vi vi-i I I B F (C69) B (C68) ( ( ) a a (R1, S1, R2, S2, R3) a a a F (C69) R1 S1 R2 S2 R3 S3 R4 a, b, c, d, e, a, f, g, h, i, a, d, e, a, j, a,, b, c, e, e, h', a, e', i' a, d, e, i i-iii III IIIxxx-v v-i i i 67

68 F (C69) B (C68) F (C69) D (C70) E (C71) G (C72) F (C73) F (C69) F (C73) F (C69) G (C72) F (C73) B (C68) D (C70) E (C71) E (C71) (C72) (C72) 68

69 B (C68) F (C69) E (C71) (C72) F (C73) F (C69) (4+6) (f-p) (N6) D (C70) F (C69) F A (III ) F (C69) F A 69

70 F (C69) ( ) F (C69) ( ) F (C69)

71 F (C69) 71

72 (1763) (1770) (1777) 72

73 ( ) (Allegro) (Allegretto) (Andante) (Adagio) (Presto) ( ) (Allegro assai) E (C71) William S. Newman, The Sonata in the Classic Era (New York: Norton, 1983),

74 I Allegretto B II Minuetto B I Andante A II Minuetto A I Allegro F II Minuetto F I Allegro assai G (1763) II Andante C III Presto F I Non tanto allegro C II Allegretto C I Allegro assai D II Andante G III Allegro moderato D I Allegretto C II Minuetto C I Allegro F II Tempo di Minuetto F I Allegro con spirito D II Rondeau: Allegretto D I Allegro giusto B II Allegro di molto B (1770) I Allegro di molto E II Andante C III Allegro E I Allegro G II Andante C III Allegro G I Allegro C II Rondeau: Allegretto C I Allegro con spirito D II Andante G III Allegro non tanto D I Allegro con brio F II Rondeau: Allegro F I Allegro B II Andante E (1777) III Andante con moto B I Allegretto G II Tempo di Menuetto G I Allegro E II Tempo di Menuetto: Andante E 74

75 (Allegro con spirito) (Allegro con brio) (Concerto-sonata form) (Sonata-concerto form) (Ritornello-concerto form) (Concerto-sonata form) [Douglass N. Green, Form in Tonal Music (London: Holt, Rinehart and Winston, 1979)] [A. Roeder, A History of the Concerto (Oregon: Amadeus Press, 1994)] R3 R3 R3 75

76 ( ) 129 (a ) (c ) 130 (f ) 131 T1 S1 T2 S2 T3 - S3 abcde abfg ae a abg e ( ) I I-V V Vxxx vi-i I I I T4 129 Green, a, b a b b

77 T S T S T T S T S T S T a b c a a b c I V V V V : : V xxx I I I I I : ( ) ( E ) ( B ) 133 ( ) E ( T(=Tutti) R(=Ritornello) 132 Roeder, (double exposition) Op. 7, no. 5 Concerto -sonata form 77

78 ) T1 S1 T2 S2 S3 T ( - - )- - I I-V V VxxxV I I (Scotch snap) (Lombardic rhythm) 78

79 (4+4) (God Save the King) (Saw you my father) (The yellow hair'd Laddie) Richard Maunder, ed., The Collected Works of J. C. Bach 1735~1782, vol. 35 (New York: Garland Publishing, 1987), viii. 79

80 136 (Alberti bass) (Murkey bass)

81 137 ( ) D (C70) ( ) 137 Alberti bass Murky bass 81

82 C D (C70)

83 ( ) Zaide Elisabeth Pixley, The Keyboard Concerto in London Society, (Ph. D. diss., The University of Michigan, 1986),

84 ( ) (Andante) (Adagio) 84

85 139 (Cuthbert Girdlestone) K.37, K. 39, K. 41, K. 107 K. 175, K. 238, K.242. K. 246, K. 271, K. 365, K. 413, K. 414, K. 415, K.449, K.450, K. 451, K. 453, K. 456, K. 459, K. 466, K. 467, K. 482, K K. 491, K. 503, K. 537, K. 595, 140 Cuthbert Girdlestone, Mozart and His Piano Concertos (New York: Dover, 1964),

86 K. 107 K. 107 K Heinz Gätner, John Christian Bach: Mozart's Friend and Mentor, trans. Reinhard G. Pauly (Orgon: Amadeus Peess, 1994), Hans Mersmann, selected and edited, Letters of Wolfgang Amadeus Mozart (New York: Dover Publications),

87 K. 211, K. 218 K. 219 K. 107 K

88 ? ( ) (S1) (S2) (S3) ( ) ( ) I-V VxxxV I (Alberti bass) (Murkey bass) (Sei concerti per il cembalo o piano e forte, op.7) 88

89 89

90 144 (1763) (1770) (1777)

91 ?? ( ) (The Concert of Ancient Music) 91

92 145 (Charles Burney) (Joseph Kelway) Simon McVeigh, Concert life in London from Mozart to Haydn (New York: Cambridge University Press, 1993), Pixly,

93 (Richmond) (Mrs. Papediek) Pixly, "John Bach, a Saxon Music Master". Beth Mekota, The Solo and Ensemble Keyboard Works of J. C. Bac. (Ph.D. diss., University of Michigan, 1969), "Mr. Bach, a Saxon Music Professor". Mekota,

94 (1763) (1770) (1777) Charles Dibdin 94

95 152 (per il cembalo o piano e forte) Brickler J. C. Fisher 151 Solo on the Piano Forte by Mr. Bach. Carl Parrish, The Early Piano and Keyboard Technique qnd Composition in the Eighteenth Century (Ph. D. diss., Harvard University, 1993), Charles Burney Pixley, (1768) (1770) Newman, Thomas Busby Bryan Gillingham, The Music Review, (1980): Karl Geiringer, Instruments in the History of Western Music (New York: Oxford University Press, 1978),

96 McVeigh, xiv. 157 Thomas B Milligan, The Concerto and London s Musical Culture in the Late Eighteenth Century (Michigan: UMI Research Press, 1983), Milligan, 6. 96

97 (God Save the King) (Saw you my father) (The yellow hair'd Laddie) Richard Maunder, ed., The Collected Works of J. C. Bach 1735~1782, vol. 35 (New York: Garland Publishing, 1987), viii. 97

98 (Welcker) (King's College) Pixley, Gillingham, Gillingham,

99 99

100 (1763) (1770) (1777) (John Johnson) (Bremner) (Welcker) (Preston) (Burkat Shudi, ) 100

101 (Jacob Kirkman, ) (Johannes Zump) 101

102 (Vauxhall Songs, 1776, 1770,1771) ( ) 102

103 (God Save the King) (Saw you my father) (The yellow hair'd Laddie) 103

104 K. 175, K. 238, K.242. K. 246, K. 271, K. 365, K. 413, K. 414, K. 415, K.449, K.450, K. 451, K. 453, K. 456, K. 459, K. 466, K. 467, K. 482, K K. 491, K. 503, K. 537, K

105 (K. 107) (Alberti bass) (Murkey bass) 105

106 164 "Philip Emmanuel lives to compose; I compose in order to live," Cuthbert Girdlestone, Mozart and His Piano Concertos (New York: Dover, 1964),

107 (Hibbert, Christopher) Abraham, Gerald, ed. Concert Music( ). Vol. 6 of The New Oxford History of Music. New York: Oxford University Press, Bach, Carl Philipp Emanuel. Essay on True Art of Playing Keyboard Instruments. Translated and edited by William J. Mitchell. New York: W. W. Norton, Badura-Skoda, Eva and Paul. Interpreting Mozart at the Keyboard. Da Capo Press, New York: Balthazar, Scott L. "Intellectual History and Concepts of the Concerto." Journal of The American Musicological Society 36 (1983): Boyden, David. "When is a Concerto Not a Concerto?" Musical Quarterly 43, no.2 (April, 1957): Brauchli, Bernard. The Clavichord. New York: Cambridge University Press, Burney, Charles. The Present State of Music in Germany, the Netherlands, and the United Provinces. New York: Broude Bros, Burrows, Donald. "London: Commercial Wealth and Cultural Expansion." In The Late Baroque Era. Ed. G. H. Buelow. London: The Macmillan Press,

108 Caldwell, John. English Keyboard Music: Before the Nineteenth Century England. Oxford: Clarendon Press, Caplin, William E. Classical Form: A Theory of Formal Functions for the Instrumental Music of Haydn, Mozart, and Beethoven. New York: Oxford University Press, Crickmore, Leon. "C. P. E. Bach's Harpsichord Concertos." Music & Letters 39 (1958): David, Hans T., and Mendel, Arthur, eds. The New Bach Reader. New York: Norton, Davis, Shelley. "H. C. Koch, the Classic Concerto, and the Sonata-Form Retransition." Journal of Musicology 2 (Winter, 1983): Downs, Philip G.. Classical Music: The Era of Haydn, Mozart, and Beethoven. New York: Norton, Drummond, Pippa. "The Royal Society of Musicians in Eighteenth-Century England," Music and Letters 54 (July, 1978), Einstein,Alfred. Mozart, His Character, His Work. London: Oxford University Press, Fuller, David. "Accompanied Keyboard Music." Musical Quarterly 60 (April, 1974): Gärtner, Heinz. John Christian Bach: Mozart's Friend and Mentor. Trans. Reinhard G. Pauly. Oregon: Amadeus Press, Geiringer, Karl. Instruments in the History of Western Music. 3rd ed. New York: Oxford University Press, Gillingham, Bryan. "Social and Musical Matters Pertaining to J. C. Bach's Third Set of Keyboard Concertos." The Music Review 42 (1981): 225~237. Girdlestone, Cuthbert. Mozart and His Piano Concertos. New York: Dover, Green, Douglass M. Form in Tonal Music. London: Holt, Rinehart 1nd Winston, Harley, John. British Harpsichord Music: History. Hants: Scolar Press, "Music at the English Court in the Eighteenth and Nineteenth Century." Music and Letters 50 (July, 1969): Hinson, Maurice. Music for Piano and Orchestra. Bloomingto: Indiana University Press, Hutchings, Arthur. "The Keyboard Concerto." Music and Letters 23. (April, 1941): 298~311.. "The English Concerto with or for Organ." Musical Quarterly 47 (April, 1961): A Companion to Mozart's Piano Concertos. New York: Oxford 108

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