Mozart wrote two arias (KV 418 and KV 419) for soprano Aloisa Lange and a
rondeau (KV 420) for Valentin Adamberger; these were heard in the produc-
tion of Il curiosoin Vienna, 30 June 1783.George Antheil (1900–1959)
- Whitesitt, Linda. The Life and Music of George Antheil, 1900–1959.Studies
in Musicology, 70. Ann Arbor, Mich.: UMI Research, 1983. xxi, 351p. ISBN
0-8537-1462-4. ML410 .A638.
Avant-gardist Antheil was popular in Europe in the 1920s and from 1936 as a
film composer in Hollywood. His opera Transatlantic(1930) is examined
here: genesis, production, and reception, with commentary. Musical examples,
index.
Dominick Argento (1927–)
- Saya, Virginia Cotta. “The Current Climate for American Musical Eclecticism
as Reflected in the Operas of Dominick Argento.” Ph.D. diss., U. of Cincin-
nati, 1989. 266p.
Daniel François Esprit Auber (1782–1871)
Gustaveis in ERO,v.31, and La muette de Porticiis in ERO,v.30.
- Pendle, Karin. Eugène Scribe and French Opera of the Nineteenth Century.
Ann Arbor, Mich.: UMI Research, 1977. vi, 624p. ISBN 0-8357-1004-1.
ML1727 .P398.
Librettist Scribe (see #277) wrote the texts for many composers, among them
Auber. This book, based on the author’s dissertation (U. of Illinois, 1970), has
much detail on Auber’s work, with special attention to La muette de Portici
(1828). Extensive backnotes, bibliography of about 300 entries, expansive
index of names, titles, and topics. An article drawn from this material, with the
same title as the book, appeared in MQ57-4 (October 1971): 535–561. - Schneider, Herbert.Chronologisch-thematisches Verzeichnis sämtlicher Werke
von Daniel François Esprit Auber.Musikwissenschaftliche Publikationen, 1.
Hildesheim: Olms, 1994. 2v. ML134 .A78 S36.
Not seen. Described in Duckles6.16 as a classified thematic catalogue, gener-
ously supplied with publication and performance details of the dramatic works. - Schneider, Herbert. “Das Finale in den frühen opéra-comiquesvon D. F. E.
Auber.” In Grétry et l’Europe(#927), 167–190.
The structure of the finale differed, in the 18th century, between French vaude-
villeand operas of Germany and Italy. In the French style, “action and pas-
sions occupy the scene in turns” with no stops for recitatives. This can be seen
in works of Leseur, Méhul, Cherubini, Berton, and Dalayrac, and in works not
in French by Rossini and Mozart. Auber’s finale style culminated in Fra
diavolo;he gave growing importance to the act 3 finale. Measure-tabulations
and five pages of musical examples.
Daniel François Esprit Auber 107