The era of Haydn, Mozart, and early Beethoven not only produced music of enduring appeal, it also gave us significant writings that explain how music should be composed, performed, listened to, and understood. Included are selections from the great German pedagogical treaties of Quantz (on playing the flute), C. P. E. Bach (keyboard), Leopold Mozart (violin), and Kirnberger and Koch (on composition); opinions about opera by Rousseau, Diderot, and Gluck; ideas on expression by W. A. Mozart and G. de Sta�l; and historical/descriptive writings of Forkel, Charles Burney, and Susannah Burney.

�ber die Autorinnen und Autoren:

Leo Treitler, Distinguished Professor of Music at the City University of New York, is the author of Music and the Historical Imagination, as well as other books and articles on music historiography and medieval music.

Wye Jamison Allanbrook (1943-2010) was an American musicologist who served on the faculty at St. John's College in Maryland and at the University of California, Berkeley. Much of her work examined how the music of Mozart and his contemporaries was influenced by the social dances of the time.

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