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Among the “multiple audiences” for Haydn's Masses were nonbelievers and catechumens: that is, congregants in the process of converting to Catholicism. The clue to this interpretation is Haydn's omission of a crucial article of faith in the Credo settings of four masses. In three settings, the textual omission relates to the conversionary experiences of the patron saint in whose name the mass is offered: St. John of God, St. Teresa of Avila, and St. Martin of Tours. A detailed examination of the circumstances surrounding the composition of the Missa St. Joannis de Deo (ca. 1775), a missa brevis honoring the patron saint of the Barmherzige Bruder (Brothers Hospitalers), suggests that Haydn was sensitive to the needs of both the clergy and the congregants to whom they ministered. Haydn's use of brevior practices disguises the textual omission by declaiming different lines of text simultaneously. The resulting polytextuality produces the aural equivalent of Mauscheln, a term associated with the muddle or mixt...

Torquato Tasso's 16th-century epic poem Gerusalemme liberata, the opera received its premiere on 26 February 1784, the year in which Prince Nicholas Esterhizy officially acknowledged the completion of his fairyland estate on the southern shores of the Neusiedlersee (in present-day western Hungary). Stage and costume records tell of the high costs associated with the re-creation of the magical isle of the Saracen enchantress at Eszterhiza. In a docu

I have suffered through an execrable performance of a Vivaldi pastiche in Nice; the production was so pitiable, I have even forgotten the name of the work. On the other hand, I have exulted in performances of Dido and Aeneas in Toronto, Tosca at the Met in New York, and Der Rosenkavalier at the Staatsoper in Vienna. Like Oblomov, the protagonist in Gonchorov's novel who cannot get the aria `Casta diva' out of his mind, I can be `shattered' by a phrase from Mozart, Donizetti, or Puccini. Oblomov falls in love with Olga because she sings `Casta diva.' I spend days letting phrases from Le Nozze di Figaro, Madama Butterfly, or Eugene Onegin drift through my mind like a private soundtrack. I have learned from Oblomov that a single aria can give access to love. This is a productive fantasy for Oblomov, for it rouses him from lethargy. It is a productive fantasy for many opera lovers.

Few works can lay claim to a reception history as extensive and eclectic as Beethovenss Ninth Symphony. From the time of its Viennese premiere on 7 May 1824,1 Beethovenss choral symphony has probably captivated more musicians and critics, and rallied or vindicated more people, societies, nations, and ideologies, than any other musical work. From Adolf Berhnard Marx and Richard Wagner to the governments and workplaces

Part I. Haydn in Context: 1. Haydn's career and the idea of the multiple audience Elaine Sisman 2. A letter from the wilderness: revisiting Haydn's Esterhazy environments Rebecca Green 3. Haydn's aesthetics James Webster 4. First among equals: Haydn and his fellow composers David Wyn Jones Part II. Stylistic and Interpretive Contexts: 5. Haydn and humour Scott Burnham 6. Haydn's exoticisms: 'difference' and the Enlightenment Matthew Head Part III. Genres: 7. Orchestral music: symphonies and concertos David Schroeder 8. The quartets Mary Hunter 9. Intimate expression for a widening public: the keyboard sonatas and trios Michelle Fillion 10. Sacred music James Dack 11. The sublime and the pastoral in The Creation and The Seasons James Webster 12. Miscellaneous vocal genres Katalin Komlos 13. Haydn in the theatre: the operas Caryl Clark Part IV. Performance and Reception: 14. A composer, his dedicatee, her instrument, and I: thoughts on performing Haydn's keyboard sonatas Tom Beghin 15. Haydn and posterity: the long nineteenth century James Garrett 16. The kitten and the tiger: Tovey's Haydn Lawrence Kramer 17. Recorded performances: a symphonic study Melanie Lowe.

Ralph P. Locke and Cyrilla Barr, eds. Cultivating Music in America: Women Patrons and Activists since 1860. Berkeley and Los Angeles: University of California Press, 1997. xi, 357 pp. ISBN 0-520-083-954 (hardcover). Mona Mender. Extraordinary Women in Support of Music. Lanham, Md., and London: Scarecrow Press, 1997. x, 309 pp. ISBN 0-8108-3278-X (hardcover). Cultivation. Allusions and associations for this word abound. To cultivate is to prepare for growth, to till, foster, further, refine, and encourage. Thus the latent power lying dormant in the image of a seed being planted, nurtured, and harvested, while not exclusively within the domain of the female, nevertheless invokes the power and potential inherent in the feminine. Cultivation's engagement with fertility, growth, and new life forms the germinating kernel of the essays contained in Cultivating Music in America and the activities of the enterprising women eloquently recorded therein. The joint editors, Ralph Locke and Cyrilla Barr, each of whom have contributed individual chapters to this volume, are to be congratulated for the wonderful set of essays gathered here. Locke and Barr, who have each published articles on related subjects before (he in 19th-century Music and she in the Journal of Musicology, both in 1993), now join together to create a truly powerful book. They also manage to bring coherence to a potentially disparate collection of essays by several different authors while permitting extended individual evaluations of the four main subjects: the Bostonian art collector Isabella Stewart Gardiner; Jeanette Thurber, who brought Antonfn Dvofak to New York as head of the National Conservatory; the pianist, composer, and patron Elizabeth Sprague Coolidge who commissioned works from several important composers including Bartok, Copland, and Stravinsky; and Sophie Drinker, whose Women and Music: The Story of Women in Their Relation to Music, published in 1948, represents a musicological milestone. The work of these four enterprising women, presented roughly chronologically, are further elucidated through documentary vignettes (letters, diaries, newspaper reports, etc.) scattered throughout the text which allow the lost voices of relevant individuals to be heard, unmediated. Additional chapters discuss other musical activists of lesser renown, describe relevant trends - including the institution of musical clubs and other kinds of organizations in various locales - and provide further contextual information, permitting a more complete survey of the activities of women in musical America in the late nineteenth and early twentieth centuries. The introductory chapter, "Music Patronage as a 'Female-Centered Cultural Process,'" embeds the customary summary of forthcoming chapters within a lively and thought-provoking discussion of the broader sociological issues and challenges to conventional musicology raised by the topic of women and patronage. Because male composers and the now canonic musical masterpieces they created have dominated traditional musicology, "the different ways in which other members of the social body - the professional or amateur performer, the patron, the music educator, the critic, the audience member or compact disk purchaser - experience and influence music," is rarely considered. "All these individuals play essential roles in the musical life of a given place and time, enabling as they do the creation - and the continued meaningful existence, in performance and interpretation - of those great musical works that we are taught to admire and love" (p. 3). Social feminism and political and ideological developments are inevitably at the core of the collection, although some authors seem more comfortable than others with the large and looming questions these positions pose (more on this later). The role of selected women patrons and the importance of unremunerated work and volunteer efforts in the development of American musical culture forms the core of the individual essays. …

necessity. The patriarchs of the discipline were faced with the huge task of sorting fact from fantasy in the composer's long life and of 245 determining his authentic canon. Neither of these two enterprises has been entirely completed and, by their very nature, neither is likely ever to be. New biographical and source information will continue to be unearthed, augmenting and modifying both the standard modern biography of the composer, H.C. Robbins Landon's five-volume Haydn: Chronicle and Works,' and the scholarly complete edition, the Joseph Haydn Werke (hereafter JHW) published by Henle. Now that a significant base of detail concerning Haydn's life and works has been established and ordered, recent research has begun to build upon this musicological legacy, exploring new territory by adopting more diverse, indeed more speculative approaches. Haydn research is on the threshold of greater interpretive, analytical and critical studies. The first compilation of this "new wave" research appears in the published proceedings of the 1975 Washington Haydn Conference.2 An international Haydn retrospective of such large proportions had never before been attempted, but the organizers rightly realized that a