The attentive listener: three centuries of music criticism

pt. I. The Eighteenth Century. 1. Joseph Addison, [On Italian Opera]. 2. Johann Mattheson, Preface to Critica musica. 3. Anonymous, 'Defence of Operas'. 4. Johann Adolph Scheibe, [A Plea for German Opera]. 5. Friedrich Wilhelm Marpurg, [The Attentive Listener]. 6. Marc-Antoine Laugier, 'Zoroastre'. 7. Friedrich Melchior Grimm, [Obituary of Jean-Philippe Rameau]. 8. Johann Adam Hiller, 'Report on the Comic Opera Lisuart und Dariolette'. 9. Michel-Paul-Guy de Chabanon, 'Letter on the Musical Properties of the French Language'. 10. Francois Arnaud, 'The Evening Wasted at the Opera'. 11. Nicolas Etienne Framery, 'On the Best Means of Naturalizing a Taste for Good Music in France'. 12. Georg Joseph Vogler, 'On the State of Music in France'. 13. Johann Friedrich Reichardt, 'On Musical Performance'. 14. Anonymous, 'From a Letter from Hamburg [to the Magazin der Musik]'. 15. Charles Burney, Review of Observations on the Present State of Music, in London, by William Jackson of Exeter. 16. Anonymous, 'On Fashion in Music: Second Letter'. 17. Friedrich Rochlitz, 'Difference of Opinion about Works of Music' --
pt. II. The Nineteenth Century. 18. Leigh Hunt, ['Pantomime with Its Tongue Cut']. 19. E.T.A. Hoffmann, 'Casual Reflections on the Appearance of This Journal'. 20. Anonymous, 'To the Editor [of the Quarterly Musical Magazine and Review]'. 21. William Ayrton, [Beethoven's Ninth Symphony]. 22. Adolf Bernhard Marx, 'Lost Loves, or German Composers in Paris'. 23. Ludwig Rellstab, 'Moser's Symphony Soiree'. 24. Francois-Joseph Fetis, 'On the Future of Music'. 25. Robert Schumann, 'To Chiara'. 26. Vladimir Fyodorovich Odoyevsky, 'Letter to a Music Lover about an Opera by Glinka: Ivan Susanin' and 'A New Russian Opera: Ivan Susanin'. 27. Castil-Blaze, 'On Musical Imitation'. 28. Henry F. Chorley, 'Contemporary Musical Composers: Giuseppe Verdi'. 29. Heinrich Heine, 'Musical Season of 1844'. 30. John Sullivan Dwight, 'Mr. Fry and His Critics'. 31. Abramo Basevi, 'Italy and Music'. 32. James W. Davison, 'A Leonine Virtuoso'. 33. Hector Berlioz, 'Beethoven in the Ring of Saturn: Mediums'. 34. Jozef Sikorski, 'Music and Citizenship'. 35. William Henry Fry, 'Academy of Music'. 36. Arrigo Boito, 'Musical Chronicle'. 37. Bedrich Smetana, 'Public Musical Life in Prague: Opera'. 38. Aleksandr Nikolayevich Serov, 'Ruslan and the Ruslanists'. 39. Filippo Filippi, 'Wagner: Musical Voyage in the Land of the Future'. 40. Antonio Pena y Goni, 'Zubiaurre and His First Opera'. 41. Pyotr Ilich Tchaikovsky, 'Musical Chronicle: Don Giovanni and Zora at the Italian Opera'. 42. Cesar Cui, 'The New Russian School: Boris Godunov, Opera by Mussorgsky'. 43. Eduard Hanslick, 'Wagner Cult'. 44. Vladimir Vasilyevich Stasov, 'Twenty-five Years of Russian Art: Our Music'. 45. Hugo Wolf, 'Haydn's Creation'. 46. Leos Janacek, [Carmen and the Bridegrooms]. 47. Camille Bellaigue, 'Boredom in Music'. 48. Willy (Henry Gauthier-Villars), ['A Mishmash of Eroticism and Prayer']. 49. Paul Dukas, 'The Debussy Quartet'. 50. George Bernard Shaw, [Wagner as Dramatic Poet]. 51. William Foster Apthrop, 'Canons' --
pt. III. The Twentieth Century. 52. John F. Runciman, 'English Music in the Nineteenth Century'. 53. Claude Debussy, 'Conversation with Monsieur Croche'. 54. Silvio Benco, 'The Post-Wagnerians'. 55. Felipe Pedrell, 'Snobs'. 56. Edward H. Krehbiel, 'The Salome of Wilde and Strauss'. 57. Phillip Hale, 'Debussy's Pelleas Stirs up Critics'. 58. Julius Korngold, [Mahler's Ninth Symphony]. 59. William J. Henderson, 'The Function of Musical Criticism'. 60. Zoltan Kodaly, 'On the Occasion of the Premiere of Bluebeard's Castle'. 61. Adolfo Salazar, 'Goyescas and "Local Colour"'. 62. James Gibbons Huneker, 'The Music of Yesterday?'. 63. Max Brod, 'On Vitezslav Novak's Storm'. 64. Emile Vuillermoz, 'Arnold Schonberg, Pierrot lunaire'. 65. Adolf Weissmann, 'Race and Modernity'. 66. Boris de Schloezer, 'A Proletarian Music'. 67. Boris Asafyev, 'Prokofiev's Third Piano Concerto'. 68. Hans Heinz Stuckenschmidt, 'The Mechanization of Music'. 69. Brunoi Barilli, 'Stravinsky'. 70. Willem Pijper, 'Neo-classicism'. 71. Adolphe Boschot, Pan-Germanism and Der Rosenkavalier'. 72. Ernest Newman, 'A "Physiology" of Criticism'. 73. Leo-Pol Morin, 'In Search of Genius'. 74. Elmer Diktonius, 'Sibelius'. 75. Alois Haba, 'What would Leos Janacek Do if He Were still among Us?'. 76. Theodor Adorno, 'Background Music'. 77. Ivan Sollertinsky, 'Lady Macbeth of Mtsensk District'. 78. Wihelm Peterson-Berger, 'On Musical Form'. 79. Olin Downes, 'On Misreading Meanings into Sibelius'. 80. Zofia Lissa, 'Karol Szymanowski'. 81. Robert Aloys Mooser, 'Works by German Nazi Composers'. 82. Gianandrea Gavazzeni, 'Cinematic Images and Musical Images'. 83. Alfred Einstein, 'Universality and Music Today'. 84. Paul Rosenfeld, 'Ives's Concord Sonata'. 85. Reynaldo Hahn, 'To Please'. 86. Heinrich Strobel, 'Farewell to Schonberg'. 87. Willi Schuh, 'Stravinsky and Tradition'. 88. Willem Andriessen, 'Two Kinds of Music of the Future'. 89. Neville Cardus, 'The Pioneer's Dusty Path'. 90. Guido Pannain, 'To Know Music'. 91. Virgil Thomson, 'Music's Tradition of Constant Change'. 92. Stefan Kisielewski, 'The Seventh Autumn'. 93. Ivan Vojtech, 'To Change Only Opinions?'. 94. Martin Cooper, 'Composers and the Influence of Politics'. 95. Joachim Kaiser, 'Music and Recordings'. 96. Massimo Mila, 'Benjamin Britten Is Dead'. 97. Jorge Velazco, 'Television Music'. 98. Gerard Conde, 'Consonances for Tomorrow'. 99. Alexander Ivashkin, 'The Paradox of Russian Non-Liberty'. 100. Andrew Porter, 'A Feast for the Willing Ear'