Zugl.: Hannover, Hochsch. für Musik und Theater, Diss., 2003. / EAN: 9783890076836.

Diss.--Philosophie--New York, N.Y.--Columbia Univ., 1975. / Nombreux extraits de textes en français. Catalogue des oeuvres de Cherubini p. 371-390. Bibliogr. et discogr. p. 394-417.

Mémoire--Fort Worth, Tex.--School of church music Southwestern Baptist theological seminary, 1993. / Bibliogr. p. 162-166.

Diss.--Music--University of Yale, 1951. / Bibliogr. p. I-XVII.

Zugl.: Hannover, Hochsch. für Musik und Theater, Diss., 2003

Diss.--Philosophie--Denton, Tex.--North Texas state university, 1968. / Bibliogr. f. 313-330 (t.1). Index.

The thesis speculates on the possible influence of Mozart's Requiem on Cherubini's Requiem in D Minor, concluding that Cherubini's setting of the Sequence ("Dies irae") was indeed influenced by Mozart's setting of this liturgical text both on the micro and macro levels.

The subject of the present study, Florence, Biblioteca del Conservatorio di Musica Luigi Cherubini, MS Basevi 2439, abbreviated Florence 2439,1 contains secular and sacred vocal music of the late fifteenth and early sixteenth centuries, with texts in French, Dutch, Italian, and Latin.

Was die Zeitung für die elegante Welt im titelgebenden Zitat 1803 am Beispiel einer Oper von Domenico Della Maria beschreibt, ist am 1801 eröffneten Theater an der Wien kein Sonderfall: Gerade die zu dieser Zeit populären Werke des postrevolutionären französischen Musiktheaters werden in ihren Wiener Fassungen nicht nur den üblichen Adaptierungsprozessen wie Übersetzung, Kürzung oder Einlage unterzogen, sondern systematisch in ihrer Orchestrierung verändert. Dieser klangliche Stil des Hauses unterscheidet sich insbesondere in der Behandlung der Blasinstrumente von den französischen Vorlagen ebenso wie von der Praxis anderer Wiener Theater. / The quotation in the title here is taken from the journal Zeitung für die elegante Welt of 1803, and it refers to an opera by Domenico Della Maria. But what it describes was no isolated case at the Theater an der Wien, which had opened in 1801. The works of post-Revolutionary French music theater that were popular at this time were not merely subjected to the usual processes of adaptation as Viennese versions (such as translating the texts, making cuts or adding new material), for their orchestration was also systematically altered. The treatment of wind instruments that created the sound of this »house style« was different not just from the French originals themselves, but also from the practices of other Viennese theaters of the day.