Study Sheet for Exam 1 (4 October 2007)

MUS 622 (Fall 2007): Study Guide for Test 1 (4 October 07)

Final Version (9/29/07)

Here is the final form of the study guide that will help you focus on specific topics so you can prepare for the exam efficiently and without excess stress. It is best to listen to pieces in a relaxed manner, not “third-circle” freaked out, trying to cram. You can’t enjoy the music that way. I know this is easy to say, but I have to make the suggestion anyway, just to offer you the opportunity to listen in different ways, and perhaps experience the contrast between pragmatic listening (to identify form or stylistic features) and in an open manner (to make friends with the piece and get to know it more intimately). Your choice.

I. Identification (I will not necessarily play the beginnings of movements, so do not just listen to the opening measures, please).
A. Six recorded excerpts will be played, 4 from the assigned listening and 2 that are not required. For each you should list the composer, work, and approximate date, if you know these, and include two of the most obvious stylistic traits that led you to name that composer. If you do not recognize the work, list a likely composer, type of piece and two style traits that led you to this answer.
B. There will also be 3 score excerpts (two from the assigned list, one not assigned), and you will be asked to choose 2 of them to write about, answering the same questions as I. A., above.

II. Essays and Outlines: Questions in Four Sections are given below. During the exam I will ask you to choose one question from two of the four categories to answer. You can prepare these questions before hand and be sure that they will be asked on the exam, but I do not want you to bring in previously written materials for the exam. I would like your answers to be as thorough as possible I the time allows (you should have 20-25 minutes for each essay). You may also answer in the form of key words and phrases, but make them coherent and well organized. Note that if you choose to make up your own question (in D.), you must have my approval first. These questions should address a broad area or representative work, not a highly specialized topic, but you can try out the questions of me beforehand.

A. The Early Classical Orchestra: formation and repertory
1. Stauffer article—what are some of the principal contributing factors to the formation of the orchestra?
2. Describe the style of either Sammartini or Stamitz Symphony

B. Haydn and Mozart
1. Kyle Gann, in the review we read of his called “No More Heroes,” claimed that Haydn’s music was experimental and radical, often introducing elements of surprise or humor into his music. Through specific examples from the symphonies we studied (or other ones), show some of the most important ways Haydn was an innovator and an “experimental” composer.
2. How was Haydn and his music received during his two trips to London? How effects did his trips there have on Haydn’s style and musical life?
3. In what ways did Mozart’s symphonic output differ from that of Haydn? Discuss especially the quantity of symphonies and their reception among contemporaries. Why were Haydn’s symphonies more popular?
4. Mozart’s “Jupiter” Symphony (K. 551) is considered a tour de force in
symphonic writing. What is so special about this symphony?
5. Contrast how you hear the music of Haydn and Mozart.

C. Beethoven
1. Discuss how Beethoven’s “Heiligenstadt testament” is reflected in one or more of his symphonies.
2. The Eroica Symphony is considered a monument in the history of symphonic literature. Why? Consider especially first movement, but also overall form. How was symphonic writing different after the Eroica? (Botstein’s article is useful, as well as Lockwood’s writing on Symphony No. 3 (among others, of course).
3. What is special about Symphony # 5, movement1 and the overall symphony?
4. Discuss the program of the Pastoral Symphony. How is it realized?

D. Your own questions: Several of you have submitted sample questions which I have not included here. However, I would like to give you the freedom to ask and answer one of your own questions, if you would like. But you must submit question (or two if you like) to me for my approval to make sure it is appropriate for the exam (that is not too narrow or outside of our topic). Once I have given approval of the question, you are free to use it in this section of the exam.
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Note: The scores and recordings for the Schubert Assignment for Tuesday, 2 October, did not get on E-reserve yet (the reading assignment did, though). But you can get the scores to Symphonies Nos. 8 and 9 at one of the following two sites. You already know the sites where you can get the recordings through the FA Library electronic resources (although you can’t download those files, I am sorry to say).

Score library:

http://www.dlib.indiana.edu/variations/scores/symphonic.html

http://imslp.org/wiki/Main_Page
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NOTE: All of this will be up on the Blog, along with Erica’s report on the London Symphonies by tonight or early in the morning, but this should be enough to get you going.
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MUS622 Listening/Score IDs for Identification on Exam (4 October 2007)
[All Selections on E-reserve]

1.) Beethoven, Ludwig / Symphony no.3, Eroica, all 4 movements
2.) Beethoven, Ludwig / Symphony no.5 in C minor, op.67, all 4 movmenets
3.) Beethoven, Ludwig / Symphony no.6 in F Major, op.68 "Pastoral," movement 1 only
4.) Haydn, Joseph / Symphony no.45, movement 1 only
5.) Mozart, Wolfgang / Piano Concerto No. 40 in D minor, K.466, movements 1 & 2 (recognize)
6.) Mozart, Wolfgang / Symphony no.38 in D, K.504 movements 1 & 3
7.) Mozart, Wolfgang / Symphony no.40, all 4 movements
8.) Mozart, Wolfgang / Symphony no.41 "Jupiter" all 4 movmenets
9.) Sammartini, Giovanni / Symphony in F Major, no.32, first movement
10.) Stamitz, Johann / Sinfonia no.8 in Eb Major, first movement

Haydn's London Symphonies, Report by Erica Rumbley

September 11, 2007
Report by Erica Rumbley

Haydn's London Symphony's

For nearly 30 years, Haydn had been an employee of the Esterhazy court, functioning virtually as a servant or slave to the Prince. While other offers of employment and opportunity had lurked in the distance, he was always afraid to leave the court, afraid of upsetting his employers. Even when Johann Peter Salomon, a German composer, conductor, and mainly impresario in England, tried to lure him to London, he refused, unable to leave Prince Nicholas. However, all of that changed in September, 1790, when the Prince died. Nicholas’ successor, Anton, disbanded the orchestra and Haydn was no longer needed in a full-time basis. Thus, Salomon saw his big chance and marched (okay, sailed) over to Austria to tell the great composer: “I am Salomon from London, and I have come to fetch you to England!” While not everyone believed this to be in Haydn’s best interest—Mozart strongly objected that the older man was not prepared for such a trip and couldn’t even speak English, Haydn decided to go, saying: “my language is understood all over the world.”
Thus began the greatest adventure and happiest period of Haydn’s long and productive life.

SLIDE
Welcome to London, circa 1790. It was a place of power—the ruling bodies of Britain resided within its confines; a place of prestige—movements taking place in the city influenced the rest of the country and the world; a place of unrest—religious reform and political upheaval were rampant; a place of fashion and wealth—such power and prestige could only lead to elegant ladies, fine gentlemen, and numerous social occasions. London also boasted a flourishing music and concert industry with a well-educated middle class eager for new music. Into this sparkling world came Franz Joseph Haydn, one of the greatest and most pivotal composers of the century.

SLIDE
He did not come without experience, which he had garnered at the Esterhazy court, as well as ambition and backing. Salomon had guaranteed him 300 lbs for an opera for Gallini, 300 for six new symphonies, 200 for the publishing rights to those symphonies, 200 for 20 other new compositions, and at least 200 from a benefit concert—a total of 1200 lbs! Thus Haydn had some assurance of financial gain, although now it was up to him to make the venture a success.
Haydn braved the English Channel in December, a stormy time of year for such a crossing. After an agonizing voyage, he arrived on the British coast and made it to London on January 2, 1791.
It did not take long for the Austrian master to develop quite a following in the new city; Salomon had obviously already done some publicity for his visit, for Haydn wrote a friend: “My arrival caused a great sensation through the whole city, and I went the round of all the newspapers for three successive days. Everyone seems anxious to know me. I have already dined out six times, and could be invited every day if I chose; but I must in the first place consider my health, and in the next my work.” A poem by Charles Burney, written in 1791, shows such warm feelings for Haydn, saying; “At length great Haydn’s new and varied strains of habit and indiff’rence broke chains…To Germany pre-eminence allow for instrumental powers, unknown before thy happy flights had taught her sons to soar…” He goes on in extravagant praise of the composer, exaggerating his greatness and contribution to the musical scene in London. Thus Haydn quickly became a “superstar” in the city and was soon caught up into its social life, even attending a Court Ball.

SLIDE
However, he did not neglect his work, as he mentioned in his comment about dining out. In 1791, Haydn composed Symphonies 93, 94, 95, and 96, starting on 98. The next year saw the completion of this work as well as no. 97. The first to debut, in February 1791, was No. 96, which was a rousing success. Haydn’s Symphonies usually played at the beginning of the second half of the concert, so that latecomers would definitely be present for their performance. Other concerts soon followed, with more excellent receptions of Haydn’s new symphonies. A reporter had this to say on March 11 (about no. 95 or 96):

Never, perhaps, was there a richer musical treat. […] His new Grand Overture [what they called a symphony] was pronounced by every scientific ear to be a most wonderful composition; but the first movement in particular rises in grandeur of the subject…
Thus read many of the reports on Haydn’s works, making the composer even more popular and loved, so that soon he had many friends in England. He used the summer break between concert seasons to visit many of them, traveling through the country to their homes. In this period Haydn also moved out to live with some friends in Hertfordshire, where he greatly enjoyed the quiet and found it the ideal place for composition, writing much of Symphonies no. 93 and 94.
Life seemed a little too easy, though, and soon some difficulties inevitably popped up. First of all, Prince Anton Esterhazy, became impatient for Haydn to return, and was therefore quite upset when Haydn asked for another’s year’s leave. Thus Haydn feared losing his job when he opted to stay on in London, but this did not occur. At the beginning of the next season, yet another obstacle met the Salomon-Haydn team—the “Professional Concert Series,” a rival concert series (not unusual for London at the time) set up by some organizers who had tried to enlist Haydn’s services for themselves in the 1780s. They began to slander his composing skills, saying that his talent had “dried up” and soon recruited Haydn’s own pupil, Ignaz Pleyel, to compose for their series in direct competition to Haydn. Although the old master remained calm and courteous on the surface, dining with Pleyel and attending his concerts, he nevertheless felt the stress of competition. In January, 1792, he wrote a friend that

At present I am [composing] for Salomon’s concerts, and I am making every effort to do my best, because our rivals, the Professional Concert, have had my pupil Pleyel from Strasbourg come here to conduct their concerts. So now bloody harmonious war will commence between master and pupil…

Into this volatile atmosphere, on February 17, 1792, came Symphony no. 94, perhaps Haydn’s most enduringly famous composition, the “Surprise” Symphony. The stories behind this work vary…but it serves to highlight Haydn’s humor and wit, as well as being an immense success with the public. A review of its debut comments:

“The second movement was equal to the happiest of this great Master’s conceptions. The surprise might not be unaptly likened to the situation of a beautiful Shepherdess who, lulled to slumber by the murmer of a distant Waterfall, starts alarmed by the unexpected firing of a fowling-piece. The flute obligato was delicious.”

Such comments show a contemporary’s appreciation of Haydn’s wit in composition and provide yet another example of the glorification his works so often received. Even this Symphony, however, shows the pressure of the rival concert, as Haydn’s friend Griesinger wrote

I jokingly asked him once if it was true that he composed the Andante…in order to wake up the dozing English audience. ‘No…my intention was to surprise the public with something new, and to debut in a brilliant manner, in order to prevent my rank from being usurped by Pleyel, my pupil…’

Perhaps time has been the ultimate judge of this competition, declaring Haydn the hands-down, undisputed winner.
The rest of Haydn’s 6 new Symphonies were debuted to resounding approval, and the concert series ended in June. At this point, Haydn’s contentment with London and his standing there was so great that he nearly changed his allegiance from Austria to England, yet he ultimately remained loyal to his homeland. In August of 1792 Haydn arrived back in Vienna, where he was to spend 18 months mostly preparing for a return to the city of his success, although he did take on a notable new pupil during this period—Beethoven.

SlIDE
It was in early February, 1794, that Haydn again arrived in London. This visit met with even greater success than the first, partly due to the lack of a rival concert series. Haydn continued to circulate among English society, and his Symphonies recorded enthusiastic audiences and a receptive press, which now described him as “the inexhaustible, the wonderful, the sublime HAYDN!”
The orchestra available to Haydn on his second visit was larger than the first time, now including clarinets as a standard member of the ensemble. Thus he was able to further extend his composition and orchestration. The greatest success of Haydn’s life—the debut of his Symphony No. 100, the Military, was to take place in the spring of 1794, on March 31. The Morning Chronicle reported about its reception:

‘Another new Symphony by Haydn, was performed for the second time; and the middle movement was again received with absolute shouts of applause. Encore! Encore! Encore! Resounded from every seat: the Ladies themselves could not forbear…”

Obviously the audience was stirred into a furor over this stirring piece, cheering as crowds today might at a sports event. Why such an uproar? Well, as this report goes on to say:

‘…Is the advancing to battle; and the march of men, the sounding of the charge, the thundering of the onset, the clash of arms, the groans of the wounded, and what may well be called the hellish roar of war increased to a climax of horrid sublimity! Which, if others can conceive, [Haydn] alone can execute.”

This is the type of brilliant work which truly “moves the passion” as Haydn so often sought to do in his compositions. In it he included timpani, triangle, cymbals and bass drum in addition to the regular instruments. This Symphony provides a great example of the ‘other side’ of this technical genius, the side of emotion and even depiction in his music.
The next (1795) season brought with it a change of venues for Haydn; Salomon was forced to cancel his series because of difficulties in obtaining singers from Europe, thus Haydn moved to the “Opera Concerts,” a series complete with a 60-piece orchestra under G.B. Viotti, a famous Violinist from Italy.
Despite this move, Haydn’s works continued to meet with resounding approval, down to No. 104, his “farewell” to Symphonic form. His popularity was so astounding that at a benefit concert in May at which he conducted nos. 100 and 104, he made about 400 lbs in one evening, a huge return for one concert.
After this season ended, Haydn stayed on in London for about two months, perhaps sorry to see his time there end. He arrived back in Vienna at the end of August, never again to return to the city of his triumph, happiness and success.
However, the years Haydn spent in London and the Symphonies he composed for the concerts there have left an indelible mark on music to the present day. Not only are they technically inventive and forward-looking, but these works also “stir the soul” of the listener and allow one to catch a glimpse of an even deeper level of Haydn’s character.

SLIDE
In considering the impact of these Symphonies, perhaps Mozart himself says it best:
“But there is no one who can do it all—to joke and to terrify, to evoke laughter and profound sentiment—and all equally well: except Joseph Haydn.”


Cite Grove—Salomon, Haydn in London

Speaking of Beethoven!

I would like to start a class discussion on issues involving Beethoven's symphonic music. Lorne said he would like to post some things, and as I have said in class, I would like to get discussion going on the blog. I have some things to post myself, but will do that in the morning. You can post a "comment" if you wish to contribute. So here goes...
LB

Assignment for Tuesday, 9/18

MUS 622: Assignment sheet #5

For Tuesday, September 18

Listening
Required [on E-reserve]:

Mozart, Symphony in C Major, No. 41, K. 551 [CD 1915, CD 5412, etc. ]
[If you do not know it already, listen to:
Mozart, Symphony in G Minor No. 40, K. 550 [CD 1915, CD 2415, etc.], score not on E-reserve, only shelf reserve
Mozart, Piano Concerto in D Minor No. 20, K. 466 [CD 1920, CD 1518 etc.], score not on E-reserve, only shelf reserve

Readings
Required:
1) Elaine Sisman, Mozart: The Jupiter Symphony: No. 41, K. 551, Chapters 4, “Design: 4 movement-plans; 5, “Gesture and Expectation: Allegro vivace,” pp. 46-54, and 8, “The rhetoric of the learned style, Finale,” pp. 45-48 (E-reserve)
2) A. Peter Brown, The Symphonic Repertoire, Vol. II, pp. 424-435 [includes discussion of Symphony 41, “Mozart’s Symphonies in Historical Context,” and a Bibliographic Overview (E-reserve) Brown book also on shelf reserve. [ML 1255 .B87 2002, Vol. 2]
3) Jonathan D. Kramer, Listen to Music, pp, 436-38. (Piano Concert No. 20) (E-reserve)

Supplementary:
Materials on G-minor symphony:

1. Simon P. Keefe, “The Concertos in Aesthetic and Stylistic Context,” The Cambridge Companion to Mozart, pp. 78-91 (E-reserve)
2. A. Peter Brown, The Symphonic Repertoire, Vol. II, pp. 419-423 (E-reserve)
3. P. Stedman, The Symphony, pp. 49-54 [Mozart, Sym. 40] (E-reserve)

Notes on Haydn's Symphonies

NOTES ON HAYDN SYMPHONIES

Symphonic Output

The first chronological list of authentic symphonies prepared by Mandyczewski for Breitkopf & Härtel included 104 works, with Symphony No. 104 in D Major (1795) given as his last symphony. The total number of symphonies now attributed to Haydn is 108. (See the work list in New Grove.) Nos. 105-108 were written prior to 1795: of these, No. 105 is designated a Symphony Concertante; only the first movement of No. 106 is extant; and No. 107 has also been attributed to Wagenseil. Because of the rarity of Haydn’s autographs and the vast numbers of inauthentic copies and prints, the problem of false attribution, which began in the 18th century, has continued into the 20th, despite efforts of musicologists to make new lists of “doubtful” or “spurious” works, including symphonies (see Hoboken catalog and Landon appendices). Over 100 symphonies have been falsely attributed to Haydn over the years.

“Overture” or “Sinfonie”?

By 1782 and probably before, Haydn made a clear distinction between the terms. In a letter dated Oct. 20, 1782, he requested that his publisher Artaria should “use the title Overture instead of Sinfonie” for six overtures to operas soon to be published. (The publisher ignored his wishes, titling the set as “Sei Sinfonie a gran orchestre opera XXXV.”)

Haydn’s Orchestras

Esterházy court (1761-1784): In Haydn’s early years at the court of Prince Esterházy, the orchestral players numbered approximately 12. In the 1780s, the orchestra numbered approximately 25 musicians. However, the differences between personnel (as documented in payroll lists, etc.) and performing forces must be noted, taking into account a number of factors which could affect orchestral size or make-up: e.g., many orchestral musicians played two or more instruments and part-time players were often added.

Paris (1787): Six symphonies were commissioned by and performed at the Concert Spirituel by the Parisian concert organization, Les Concerts de la Loge Olympique, which featured a large orchestra--including 40 violins, 10 double basses, and paired woodwinds (according to Landon).

London (1791-92; 1794-95): Twelve symphonies were commissioned by the London impresario Salomon and performed on his concert series in the Hanover Square Rooms. According to New Grove, the orchestra of 1791-93 consisted of 16 violins, 4 violas, 4 cellos, 4 double basses, 2 flutes, 2 oboes, 2 bassoons, 2 horns, 2 trumpets, timpani, and keyboard (fortepiano). Six of Haydn’s 12 were scored for clarinet.

Periods of Haydn's Symphonic Writing (after Landon)

Earliest Symphonies: Landon includes nine symphonies written in the years before Haydn's Eisenstadt-Esterháza employment, all containing 3 movements: Allegro (C, 3/4), Andante (2/4), and Presto (3/8). The finale of No. 4 in D is a Tempo di Minuetto in 3/8. The andantes are often in V, IV, or I; the outer movements in I. The instrumentation is: 2 oboes, 2 horns, strings, continuo. Wind instruments are omitted from andantes. The first movements are in "rudimentary sonata form"; andantes in hybrid binary-ternary form; finales in ternary or rondo. Basic features compare to pre-Classic Viennese symphonists and their Italian predecessors. New Grove dates only No. 1 (1759) before 1760, but gives dating options for No. 20 as early as 1757. (See New Grove work list.)

Symphonies of 1761-1765:
Early years as Vice-Kapellmeister at the Esterházy court. The first symphonies, Nos. 6-8, composed for the Prince form a trilogy with the titles (considered authentic or "probably" authentic): Le Matin, Le Midi, Le Soir, suggesting a programmatic basis. Landon also includes Nos. 9 (?), 12, 13, 14, 18, 20-25, 28-31, 33, 36, 72. In many of these works, Haydn incorporates features from the concerto (division of orchestra into concertino and ripieno elements), opera or cantata (instrumental recitative), French overture (slow, dotted-rhythm introduction), etc. Nos. 6-8 are scored for flute, 2 oboes, bassoon, 2 horns, and strings, but of this group Haydn designated two solo violins, ripieno violins, solo cello and violone (contrabass); he also gives the bassoon solo passages. Nos. 6 & 7 begin with a slow intro; minuets are introduced into each of the three, and are included in most symphones from here on out. Symphonies following the trilogy include those with a typical ordering of movements (with or without minuet); Nos. 18, 21, 22, which begin with a slow movement, in a sonata da chiesa mold; and hybrid types such as No. 31 (the Hornsignal).

Symphonies of 1766-1770:
Landon includes only 9 symphonies during this period: Nos. 26, 34-35, 38, 41, 49, 58-59, and a lost symphony. (See New Grove work list to compare.) Began writing symphonies in minor keys, including No. 26 in D Minor (Lamentatione), No. 39, and No. 49. No. 34 begins with a slow movement in D Minor, followed by 3 movements in D Major. No. 26 is noteworthy for its use of church melodies. In many finales of this period, there is more variety of expression than in earlier works.

Symphonies of 1771-1774:
Haydn reaches his full maturity by 1771. During these years, he wrote Nos. 42-48, 50-52, 54, 56, 64-65, which display a great variety of form and character. Those symphonies in minor keys, Nos. 44, 45, 52, along with those from his 1766-70 period, best represent Haydn's Sturm und Drang writing. Features of first movements include unison opening themes, wide range of thematic material, double statement of main theme, adoption of the regular, 8-m. period, use of false recapitulation. He gives a new character to the slow movements, using muted violins in most and including wind instruments. General characteristics of this period include an increase in harmonic breadth (with greater use of major/minor alternations), increased dynamic range, skillful use of counterpoint, and use of syncopated patterns.

Symphonies of 1774-1784
Works include Nos. 53, 55, 57, 60-63, 66-71 (written 1774-1780) and Nos. 73-81 (c. 1780-1784). Particularly in symphonies up to 1780, Haydn moved away from Sturm und Drang style, away from fiery expression, harmonic freedom, and contrapuntal developments. Most symphonies are in major keys (7 symphonies of these years are in D Major); those few in minor end in the tonic major. Cheerful themes are more evident, and theme-and-variation form is frequently used in the slow movements. (Landon attributes changes of this period to Prince Esterházy’s objections to the style of his Sturm und Drang works.) In Symphony No. 77 in Bb Major (1782), he casts the fourth movement in a hybrid Sonata-Rondo form for the first time (the rondo technique of returning to the principal A section, plus a real development and recapitulation). Landon cites some influence of Mozart in the frequent use of chromatic passing tones in Nos. 79-81 (particularly in the slow movements).

Symphonies of 1785-1788
Haydn wrote the so-called “Paris” symphonies, Nos. 82-87 (commissioned for the Parisian concert organization, Les Concerts de la Loge Olympique); the two “Tost” symphonies, Nos. 88 and 89 (commissioned by violinist Johann Peter Tost to use as an “introduction” to Paris); and Nos. 90-92, commissioned by Comte d’Ogny, a French nobleman. Of the Paris symphonies, only three, or possibly four, were newly written after the commission. These works have been judged as ones closest to the classic ideal: in Landon’s words, “he now combines the popular style with intellectuality, technical devices with inspiration, humour with the most Mozartean spirituality.” Of the Paris symphonies, only No. 86 calls for trumpets & timpani; No. 82 gives an option between horns or trumpets, plus timpani; none are scored for clarinet.

Haydn writes a slow introduction, usually marked Largo or Adagio, in all but three (Nos. 82, 89, 95) of his last 21 symphonies. In most sonata form allegros, the principal theme is given twice, the second time reorchestrated or with an additional part; in the recapitulation, he often enhances themes with new subordinate parts. Haydn’s “second theme” is often related to the first theme or is a repetition of the first in the dominant; subsidiary themes are often related to the principal theme by melodic or rhythmic elements.

Symphonies of 1791-95
The 12 “London” (or “Salomon”) symphonies, Nos. 93-98/99-104, were written for London performances of 1791-92 and 1794-95. (See Landon’s documentary account of the first performances of these symphonies in London, Ch. 12 in Symphonies.)

Assignment for Thursday, 9/13

MUS 622: Assignment sheet #4

For Thursday, September 13

Listening
Required [on E-reserve]:

Symphony in A Major, No. 29, K. 201 (186a) [CD 1915, CD 42, etc. ]
Symphony in D Major No. 38, K. 504 (“Prague”) [CD 1915, CD 41, etc.]

Supplementary:

Symphony in G Minor No. 25, K. 183 (173d) [CD 1915, CD 41, etc.]
Symphony in D Major No. 35, K. 385 (“Haffner”) [CD 1916, etc.]

Readings

Required:
1) P. Stedman, The Symphony, pp. 45-48 [Mozart, Sym. 29] (E-reserve)
2) A. Peter Brown, The Symphonic Repertoire, Vol. II, pp. 375-379; 406-415 (E-reserve)
3) Simon P. Keefe, “The Orchestral Music,” The Cambridge Companion to Mozart, pp. 92-104 (E-reserve)
4) Jonathan D. Kramer, Listen to Music, pp, 465-67. 474-476 (E-reserve)

Supplementary:

Neal Zaslaw, Mozart’s Symphonies: Context, Performance Practice, Reception. ML 410. M9 Z28 1988, (on shelf reserve) various articles and observations

Slow movements, Haydn Symphonies 88, 104

Those of you who have looked at the on-line versions of the scores for Haydn Symphonies 88 and 104 have found that the slow movements are missing. These will be up on line this afternoon. Sorry for the inconvenience.
LB