p. 292 Loutherbourg

V, p. 409 - Reichard's letter 16 Dec 1808, published 1810 in Vertraute Briefe geschriben auf einter Reise nach Wien, only antecedent to Hoffmann's review that situates Beethoven's music as a progression beyond the works of Haydn and Mozart (Bonds, Listening, 131)

Yearbook 1 (1962) Landon "Marionette Operas and the Repertoire of the Marionette Theatre at Esterhaz Castle"

Yearbook 11 (1980) Robert Green "Haydn's and Regnard's 'Il Disttrato': A Re-examination"

 

Danuta Mirka in Eary Music: "Part One includes a perceptive discussion of texture and ensemble play. Although the issue of texture is one of long standing in scholarship on the Haydn quartets, the authors make a significant contribution by providing a fine-grained specification of textural types. Particularly persuasive is their account of thematic diffusion and conversation. They observe that the texture in which a succession of solo phrases is assigned to different ensemble members (described by Mara Parker as ‘polite conversation’) is not typical of Haydn. Instead, Haydn's string quartet technique is best represented as the flexible collaboration of individual instruments exchanging their functions as leading or subservient voices, and building up unified sound complexes."

W. Dean Sutcliffe review in Early Music: "Hunter focuses on Haydn's preoccupation with ‘sound qua sound’ in the quartets (p.123), something so often overlooked in the musicological reception of these works. She also ventures some analysis of texture and role-play, with particular reference to the first movement of op.64 no.2. If she comes too close perhaps to a straightforward equating of melody with (conversational) speech, and therefore of other parts with ‘listening’, she offers a wonderful metaphor for such apparently subordinate roles: they may be understood as ‘the body language of an interlocutor, subtly shaping the main speaker's utterance’ (p.120)."