Figure 4.1. Anfossi 1778, first rotation (Romina Basso, soprano)
(n.b. This setting is misattributed to Luigi Cherubini on this recording.)
Figure 4.7b. Galuppi 1742, Morì PAC exemplar (Romina Basso, soprano)
Figure 4.9. Borghi 1784; orchestral interjections.
Figure 4.10[a]. Dov'è? HC Variant 1: Mysliveček 1778 (Ann Hallenberg, soprano)
Figure 4.10[b]. Dov'è? HC Variant 2: Anfossi 1778
Figure 4.10[c]. Dov'è? HC Variant 3: Cafaro 1769
Figure 4.10[d]. Dov'è? HC Variant 4: Sarti 1778
Figure 4.10[e]. Question Comma: Sarti 1784
Figure 4.10[f]. Leaping 5th: Gassmann 1764
Figure 4.11a. The Frage in Hasse’s L’Olimpiade (1756); I/10, recitative (Randall Wong, soprano)
Figure 4.11b The Frage in Hasse’s L’Olimpiade (1756); II/10, "Se cerca, se dice"
Figure 4.12a. Sacchini 1766; opening stanza (exposition)
Figure 4.12b. Sacchini 1766; opening stanza (recapitulation)
Figure 4.13a. First stanza launches; Sarti 1784
Figure 4.13a. First stanza launches; Sarti 1784
Figure 4.14. Andreozzi 1782; extension of HC dominant into P’s second half
Figure 4.15. Cimarosa 1784; deformational first stanza modulation.
Figure 4.16. Mysliveček 1778; first stanza. (Ann Hallenberg, soprano)
Figure 4.17. Piccinni 1768; Dominant assertion TR.
Figure 4.18a. Sequential TRs; Pergolesi 1735.
Figure 4.18b. Sequential TRs; Traetta 1758.
Figure 4.19. Sarti 1778; extended TR sentence.
Figure 4.20. Mysliveček 1778; tonal response to opening stanza deformations. (Ann Hallenberg, soprano)