Markedness and the Tradition's Earliest Layers

Figure 3.1a. Wolfgang Amadeus Mozart, Bastien und Bastienne K. 46b (1769), Intrada. (Christian Harrer, conductor)

Figure 3.1a. Wolfgang Amadeus Mozart, Bastien und Bastienne K. 46b (1769), Intrada. (Christian Harrer, conductor)

Figure 3.1b. Ludwig van Beethoven, Symphony no. 3 in E-flat major, “Eroica” Op. 55 (1805), mvt. 1. (Herbert von Karajan, conductor)

Figure 3.2. A model Deutsche from Breitkopf’s Terpsichore im Clavierauszuge of 1790.

Figure 3.3a. Caldara 1733, mm. 1-8.

Figure 3.3b. Vivaldi 1734, mm. 1-14. (Roberta Invernizzi, soprano)

Figure 3.3c. Pergolesi 1735, mm. 1-12. (Olga Pasichnyk, soprano)

Figure 3.10a. Leonardo Vinci, Catone in Utica (1728), Act III Scene 2, "Confusa, smarrita," mm. 1-3. (Max Emanuel Cencic, countertenor)

Figure 3.10b. Nicola Porpora, Semiramide riconnosciuta (1729), Act III Scene 12, "Tradita, sprezzata," mm. 6-9. (Delphine Galou, contralto)

Figure 3.10c. Hasse, Siroe (1733), Act III Scene 4, "Che furia, che mostro," mm. 23-28. (Mary-Ellen Nesi, mezzo soprano)

Figure 3.15. Pergolesi 1735, complete setting. (Olga Pasichnyk, soprano)

Figure 3.17. Caldara 1733, mm. 17-21.

Figure 3.18a. Caldara, Adriano in Siria (1732), Act III Scene 1, "Digli ch’è un infedele," mm. 28-33.

Figure 3.18b. Pergolesi, Adriano in Siria (1734), Act III Scene 1, "Digli ch’è un infedele," mm. 27-31. (Dilyara Idrisova, soprano)

Figure 20. Galuppi 1747, complete setting. (Romina Basso, soprano)