This Element considers the art and culture of arranging music in Europe in the period 1780–1830, using Haydn's London symphonies and Mozart's operas as its principal examples.  Meer

This Companion provides orientation for those embarking on the study of Beethoven's much-discussed Eroica Symphony, as well as providing fresh insights that will appeal to scholars, performers and listeners more generally.  Meer

Early nineteenth-century composers, publishers and writers evolved influential ideals of Beethoven's symphonies as untouchable masterpieces. Meanwhile, many and various arrangements of symphonies, principally for amateur performers, supported diverse and 'hands-on' cultivation of the same works.  Meer

This Companion provides orientation for those embarking on the study of Beethoven's much-discussed Eroica Symphony, as well as providing fresh insights that will appeal to scholars, performers and listeners more generally.  Meer

Beethoven's middle-period quartets, Opp. 59, 74 and 95, are pieces that engage deeply with the aesthetic ideas of their time. In the first full contextual study of these works, Nancy November celebrates their uniqueness, exploring their reception history and early performance.  Meer

Beethoven's middle-period quartets, Opp. 59, 74 and 95, are pieces that engage deeply with the aesthetic ideas of their time. In the first full contextual study of these works, Nancy November celebrates their uniqueness, exploring their reception history and early performance.  Meer

Classical symphonies are often considered as works for full orchestra, demanding fidelity to the composers' orchestral scores in performance, listening and study.  Meer

The many and varied domestic musical arrangements of opera that circulated in Vienna provide a unique window on the world of nineteenth-century amateur music-making.  Meer