Tommaso Traetta (1727–1779)
- Riedlbauer, Jörg. Die Opern von Tommaso Trajetta. Studien und Materialen
zur Musikwissenschaft, 7. Hildesheim: Olms, 1994. ix, 585p. ISBN 3-487-
09798-2. ML410 .T76 R6.
“Trajetta” is the spelling on the title page. The book is based on the author’s dis-
sertation, Regensburg U., 1990. It gives a brief life story, then a section on each
opera: program notes with some musical examples and technical comments.
Footnotes, thematic catalogue (with incipits of the arias), bibliography of some
200 items (only a few actually about Traetta), index of names and places. - Cantrell, Byron. “Tommaso Traetta and His Opera Sofonisba.” Ph.D. diss.,
U. of California at Los Angeles, 1957. 256p.
Ignaz Umlauf (1746–1796)
Die schöne Schwesterinis in GO,v.13.
Ralph Vaughan Williams (1872–1958)
- Butterworth, Neil. Ralph Vaughan Williams: A Guide to Research.Garland
Composer Resource Manuals, 21. New York: Garland, 1990. x, 382p. ISBN
0-8240-7746-6. ML134 .V3 B9.
A useful handbook of varied information, including a detailed worklist and
discography. The main section consists of 564 annotated entries for the sec-
ondary literature, in classified arrangement; 64 items relate to the stage
works—nearly all of them synopses and brief notices. General index, index of
works, and index of artists on the cited recordings. - Day, James. Vaughan Williams. 3rd ed. New York: Oxford U.P., 1998. xiii,
343p. ISBN 0-19-816632-X. ML410 .V3 D4.
First edition, 1961. Life and works, with a chapter on the operas (p.157–173),
giving genesis and program notes. Worklist, bibliography of about 100 items,
expansive index. - Reber, William Francis. “The Operas of Ralph Vaughan Williams.” D.Mus.
diss., U. of Texas, 1977. 536p. - Meares, Stanley. “Pilgrim’s Progress.” British Music Society Journal5 (1983):
1–26.
A musical analysis, with critical comments. - Forbes, Anne-Marie. “Motivic Unity in Ralph Vaughan Williams’ Riders to
the Sea.” MR44 (1983): 234–245.
Identifies 23 motives, in four “families,” and relationships among them. The
situation is nicely clarified with diagrams.
Giuseppe Verdi (1813–1901)
To keep this section within reasonable bounds, a number of citations to items in Har-
wood (#1800) are made instead of full bibliographic entries. Indeed, this coverage of
Verdi material is best viewed as a representative sample of important writings in dif-
336 Opera