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DJELA .23o$%# u "42o*u8 (o$)&r- !# (*#/r or(&.-#r8 (o$)&r- !# /o*$u or(&.-#r0 So$#-# !# (*#/r u )42o*u0 O+&r# Silgisunelm%  K#$-#-#  3onte land ,' !1oro/8 .o*o4+%&.2&0 ABAO, !. Evari"to #eli$e %ali& '. Giuee le*ente #er%inan%o -?( Dall=A#a1o A BA+++A -#*0 0o mjeri, u taktu), o!$#(# !# /r#9#$%& $# +r/o1-#$ -&2+o, +o/r&2&$o $#+u-&$0 I!r#! # 1, r&"o/$o .& u+o-r&1*%#/# $# !#/r&-(u
r&)-#-/$o4"&(*# 2#-or.(5 o"*o2#(# u (o%2# .& !/o"*#) 2o7& .*o1o"$%& o"$o.- +r&2# -&2+u, u1r!#/#%u9 g# * u.+oru%u9 4= A 0ia1ere, 4=  Ad li#itum)%
ABBA-ORNAGIA, Pietro, -#*%#$.( (o2+o!-or, orgu*%# 2u!( +.#) A*&..#$"r#, P%&2o$-, @0 III ??    @0 V ?0 S-u"r#o $# M*#$.(o2 (o$!&r/#-or%u0 O" ? orgu*%# (#-&"r#*& u A*&..#$"r%, g"%& %& o.$o/#o 2u!(u (o*u0
DJELA (o2+o!)%& !# (*#/r !# orgu*%&0 O+&r&  Isa #el la S0i nol a, ?8 Maria di @arden, ? na 0artita a s1a115i, ?@0 P%&.2&0  Aiessa di reBuiem ?0  SISI Sulla introdu!ione del 1anto 0o0olare in tutte le tnasse di 1omunitd e s0edalmente nella s1uola, ?8 Storia e .iloso.ia della muši1a%
LIT0 7% Con!ani di :evignano, P&-ro A11#4Cor$#g*# & *# .u# M#r# " #r"&$, M&2or& 1ogr#3*)5& & )r-)5&, A*&..#$"r# ?0  ;% :ossi, Mu.).- $o.-r, P&-ro A11#4Cor$#g*#, R/.-# " .-or#, #r-& & #r)5&o*og# "&**# +ro/$)# " A*&..#$"r#, ?Q@0
ABBAO, i. /i$helan0elo, -#*%#$.( /o*$.- 2u!( +.#) A11#, @@0 IX ? 0 S-u"r#o $# M*#$.(o2 (o$!&r/#-or%u, /o*$u E0 P o*o (o2+o!)%u G0 Or&3)&0 I!2&6u ?? ?@ (o$)&r-r#o +o E/ro+, A2&r) A3r)8 +r/# /o*$# (/#r-&-# M#*+&ro ?@Q, *#$ -r%# V"u..o A0   Cr&+# ?Q -& o.$/# "rg&$- ??@ +r/og -#*0 #$.#21*# !# .-#ru -#*0 2u!(u Or15estra d=ar15i di Milano% U! -o +r&"#/#o $# (o$!&r/#-or%2# u P#*&r2u P#r2, # ?@ +r&u !&o (#-&"r u !# /o*$u $# Ko$!&r/#-or%u u M*#$u0 Go"0 ? "o(#!#o &(.+&r2&$-#*$o, +o.-o%#$%& "o$%5  +#r)%#*$5 -o$o/#0
DJELA0 SISI A% 7ivaldi, ?Q8 4e1ni1a dei suoni armoni1i 0er violino ./0, ?Q8 Sul7esisten!a dei suoni armoni1i in.eriori, AML, ?8 *#$) .-u"%&0 O1r#"1& r&/!%& "%&*# Cor&**%#, Tor&**%#, V/#*"%#, P#g#$$%#, P&r4go*&.%# "r0
 
ABBADO ABENDMUSIK 
DJELA0 O:K>S4:A2EA Con1erto, ?8  Do00io 1on 1er to !# /o*$u, (*#/r "/o.-ru( (o2or$ or(&.-#r, ?8  Muši1a, ?8 V#r%#)%& $# Mo!#r-o/u -&2u !# (o2or$ or(&.-#r, ?8  3ommage d De#ussF, ?8 Costru!ioni !# 2#*5 or(&.-#r#, ?Q0  KOMO: EA% Tr gu"#(# (/#r-&-# ?, ?Q ?8  Divertimento !# "u5## (*#/r8 Con1ertante !# (*#/r, (*#r$&-, 3#go-, /o*o$&*o u"#r#*%(&8 Q 3#$-#!%& I, !# ?@ $.-ru2&$#-#, II, !# "u5## Q? u"#r#*%(u, III, !# rogo/&8 .o$#-# !# 3*#u-u .o*o -"0   K2A7 I:SKA @  :i1er1ara G Can!onaG 7aria!ioni so0ra un minuetto di $a15 "r0 B#*&- S1ena sen!a storia, ?Q0 7OKA2EA K#$-#-#8 Cia0o !# g*#. $.-ru2&$#-#8 H oene 4=ang  !# g*#. $.-ru2&$-#8 !1oro/0
ABBASSANO -#*0 umanjujui), u2#$%u%u9, +rguu%u9 .$#gu !/u(#0
ABBA+INI, Antonio /aria, -#*%#$.( (o2+o!-or C--# " C#.-&**o, o(o ??0 U&$( 1r#9& N#$$o0 Bo 2#&.-ro " )#++&**# r#!*-5 r2.(5 )r(#/# ?, ? ?@  )r(/& Santa Maria Maggiore)% Po ./o%2 /&!1or$2, (o$)&r4 -#$-$2 )r(/&$2 "%&*2# "& u g*#/$& +r&".-#/$(& r2.(og /.o(o1#ro($og, 2o$u2&$-#*$og .-*#0 K#o o+&r$ (o2+o!-or  #o !# "r#2#-!#)%o2 !r#!# "#o /#7#$ +r*og o1*(o/#$%u 1u33o .-*#, +o.&1)& o+&ro2 Dal male #ene, %&"$o2 o" +r/5 (o2$5 o+&r# uo+9&0
DJELA0 O0ere Dal male #ene u .ur#"$% .# A*0 M#r#!!o*%&2, #u-oro2 @0 $#8 *1r&-o G0 Ro.+g*o., ?Q8  <one, ?8  2a Comi1a del Cielo ovvero  2a $altasara, ?0 [ Dr#2#-.(# (#$-#-# Ilianto di :odomonte, ?QQ0 C:K- 7>EA M.& !# ? g*#.o/#, Q ($%0, ?Q8 Sa1re Can!oni !# @ g*#.o/#, ($%08 P.#*2 !# ? g*#.o/#, ($%0 T&or&-.(o "%&*o HJ Dis1orsi e 2e!ioni  A11ademi15e% Sur#6/#o $# A0 Kr)5&ro/u -r#(-#-u  Musurgia universalis% Ur&"o /#-(#$.(o !"#$%& Inni della 15iesa in 1anto gregoriano ?0
LIT0  3% ;olds1 5midt, S-u"&$ !ur G&.)5)5-& "&r -#*&$.)5&$ O+&r 2 ?0 J#5r5u$"&r-, L&+!g ??0  6% Coradini, A$-o$o M#r# A11#-$, Ar&!!o ?@@0  :% 3aas, Mu.( "&. B#ro)(., Po-."#2 ?@0  K% ;% 6ellerer, A$-o$o M#r# A11#-$, MGG, I, ??0
ABBEI/EN+I -#*0, 2&*o"%.( u(r#. 2&*!2 * or$#4 2&$-0
ABBE1, John, &$g*&.( gr#"-&*% orgu*%# 5*-o$, @@0 XII ? V&r.#**&., ?0 II ?0 Go"0 ?@Q r#"o u P#r!u (o" S0 Er#r"#, # !#-2 .& o.#2o.-#*o0 U/&o u 3r#$)u.(u orgu*%.(u gr#"$%u &$g*&.(u +$&u2#-.(u 2&5#$(u0 S#gr#"o 1ro%$& orgu*%& u Fr#$)u.(o% !# (#-&"r#*& u R5&2.u, N#$-&.u, V&r.#**&.u, 3/r&uu, C#&$u, A2&$.u, Ro)5&**&u, B#&uu, !# +#r(u O+&ru $&(o*(o +#r(5 )r(#/#8 gr#"o !# Ju7$u A2&r(u0
ABBIA+I, #ran$o, -#*%#$.( 2u!( +.#) (o2+o!-or  V&r"&**o, B&rg#2o, ?0 IX ? 0 S-u"r#o (o2+o!)%u $# Ko$!&r/#-or%u u Tor$u, # 2u!(o*og%u (o" G0 C&.#r%#0 Mu!( (r-#r *.-o/# Se1olo Sera o" ?@ Corriere della sera M*#$o, o" ?Q0 O.$o/#o ? ur&"u%& 2%&.&$( 2a S1ala%
DJELA0 SISI Storia della muši1a ./0, ?Q "o "#$#. $#%o+.&7$% -#*%#$.( +rru$( !# o+9u +o/%&.- 2u!(&8 $o/o !"0 ?8  2a vita e le o0ere di ;% 7erdi ./0, ?8 S1ritti inediti di ;% Cesari, ?Q8 /o" o+&r  eter  ;rinies B0 Br--&$#, ?0  KOMOIC I<> .23o$%.(# +%&.2#  II Cant o d=Avila%  Gu"#( (/#r -&- 8 .o$#-# !# /o*$u (*#/ r8 .o$#-# !# /o*o$&*o (*#/r0 K*#/r.(& (o2+o!)%&0 Z1oro/8 +%&.2&0
ABBREVIA+RE 4;  Mu!ike krati1e AB A-2AIR IBN GAIB3 A-4A#I5 A-/ARAG-
4I, +&r!%.( 2u!( -&or&-#r M#r#g5#, A!&r1#%"7#$, o(o .r&4 "$& XIV .-0 H&r#-, A3g#$.-#$, ?Q0 G*#/$ +%&/# 2u! 4 #r $# "/oru .u*-#$# A52#"# ?Q@??, T2r# $%5o/5 $#.*%&"$(# u B#g"#"u u S#2#r(#$"u0 A0 %& %&"#$ o" $#%.-#($u4 -%5 #r#+.(o4+0&r!%.(5 2u!(5 -&or&-#r#0
DJELA ;ami al-al5dn S#(u+*%# 2&*o"%#, ? $#%o+.&7$%& 'A1" #"ro/o "%&*o, .#"r7#/# o+9 +r(#! #r#+.(& +&r!%.(& 2u!(& 2u!(& $#u(&8 #u-ogr#3 .& u/# u 11*o-&) Bo"*&#$# u O3or"u8  MaBasid al-al5dn S2.#o 2&*o"%#, ?? (o+%# #u-ogr#3# u/# .& u 11*o-&) Bo"*&#$#8  Kan! al-al5dn Bog#-.-/o 2&*o"%#8 Lar5 al-ad!vdr Ko2&$-#r o /r.-#2# -o$#*-&-#8 ru(o+. .& u/# u 11*o-&) Nur4 'O.2#$/# u C#rgr#"u0
LIT0  :% ;% Kies emet ter, D& Mu.( "&r Ar#1&r, L&+!g ?@0  3%;%  6armer, H.-or/ o3 Ar#1#$ Mu.), Lo$"o$ ?@0  Isti, 'A1" #*4#"r 10 G#1 #* H#3! #*4M#r#g*, MGG, I, ??0
ABEEA, /5I6KA, $#!/#$%& -o$o/# .*o/2# ! #1& )&"&0 B*%&7&$%& -o$o/# .*o/2# #1&)&"& %#/*%# .& u gr(o% 2u!) /&9 u \4 VII .r0 U .r&"$%&2 /%&(u .u.r&9& .& u X .-0 *#-$.(# #1&)&"# !# o!$#/#$%& .-u+$%&/# "%#-o$.(& *%&.-/)& A $- C D > 6 ;, u !$#&$%u $#&g# "#$#$%&g $!# 1 d e . g a 5% T# .& #1&)&"# u+o-r&1*%#/# +r/&$.-/&$o !# orgu*%&, +.#*-&r%, ro--u "r0 To$ $ o!$#/#o %& "#$#$% -o$ 5 4=] $ durum  $ molle)% K#(o .& $, /&9 %& u X .-0 O0 "& C*ug$ "#o .*o/u a $%&go/o "#$#$%& !$#&$%&0 K#.$%&, u XVI XVII .-0, +o.-#%& o.$o/)o2 )%&*o(u+$og# 2u!(og ..-&2# $! CD>6;A3*3se r#!/o o" $duruni), E$g*&.(# 2u!(# #1&)&"# !#"r7#*# %& "#$#. # u2%&.-o $#&g# 5% Ro2#$.( $#ro" u2%&.-o #1&)&"& u+o-r&1*%#/#%u .o*4 2!#)%u *ut, re, mi, .a, sol, la, si)0 S/#( o" o.$o/$5 $#!/# 2u !(& #1&)&"& 2o7& o!$#/#- +o/&$ -o$ "o"#-(o2 -is *1-1is), * .$7&$ -o$ "o"#-(o2 -es *1-1es, #* es, $& ees as, $& aes)0 U2%& .-o 5es %o u/%&( .& o+9&$-o u+o-r&1*%#/# $#! / #% B0 S0
ABE, Karl #rie%ri$h, $%&2#( (o2+o!-or /r-uo! $# /o* "# g#21# Ko-5&$, @@0 XII ?@Q Lo$"o$, @0 VI ?0 S$ u&$( g#21.-& C5r.-#$# F&r"$#$"# A1&*#0 Go"0 ? 
*#$ "/or.(& (#+&*& u Dr&."&$u0 O" ? (o$)&r-r#o u L) "o$u, g"%& "o.(or# +o.-#%& (o2or$ 2u!#r (r#*%)& C5#r*o- Z#%&"$o .# J0 C50 B#)5o2 +o(r&$uo ? .&r%u $a15-A#el C1 1erts, (o% .u o"gr#* /#7$u u*ogu u *o$"o$.(o2 2u!(o2 /o-u XVIII .-0 Go"0 ?? o"r7#/#* .u (o$)&r-& u /*#.- r#.(o$o ur&6&$o% "/or#$  3anover SBuare :ooms -o %& ./& ? %&"$# o" $#%/#7$%5 (o$)&r-$5 "/or#$# Lo$"o$#0 N#(  B#)5o/& .2r- ?@ A0 %& (o$)&r-r#o u P#r!u u N%&2#(  # o" ? $#.-u+#o +o$o/o u Lo$"o$u (#o g#21.- (o2+o!u o(/ru $o/5  ro.essional Con1erts Su#s1ri0tion Con1erts% I  %&  +o.*%&"$% /r-uo! $# g#21, g*#.o/- ro2 E/ro+&0 U&$) 2u  1* 2&"u o.-#*2# /o*$.- F0 H0 B#r-5&*&2o$, /o*o$&* J0 Cro."** J0 C&r/&--o, -& (o2+o!-or +%#$.- J0 B0 Cr#2   S*%&"1&$( M#$$5& 2.(& (o*&, A0 %& (o2+o$r#o 2&*o"% "o+#"*%/u, &*&g#$-$u $.-r0 2u!(u0 K#r#(-&r.-$& .u $%&g& /&"r& -ro.-#/#$& .23o$%& &.-o $#!/#$& u/&r-r#2#, "/o. /#$ (o$)&r- !# &21#*o . 2&$u&-o2 (#o !#/r$2 .-#/(o -& -r%# (/#r-&- .# +%&/$2 A"#go4.-#/)2#0
DJELA0 O:K>S4:A2EA Q S23o$%#8 ? (o$)&r#-# !# &21#*o (*#/r8 (o$)&r-# !# 3*#u-u0  KOMO:EA @ gu"#(5 (/#r-&-#8 *o-ro.o$ ? .o$#-# o" (o%5 Q@ !# /o*u "# g#21# )o$-$uo0
 NOVA IZD0 45e Adagios, t5e Com0osition o. t5e late C% 6r% A#el, - J0B0 Cr#2&r .#"r7 A1&*o/u 1ogr#3.(u .()u o" C50 Bur$&/#, ?@8 @ . 3o$%&, u D4"uru o+0 ? u A4"uru o+0 ?, o1%0 H0 Ho)($&r ?Q@8 .o$#-. /o*u "# g#21# )o$-$uo o1%0 J0 B#)5&r 0 o&5* ?Q@0
LIT0 C5% urneF, A G&$&r#* H.-or/ o3 Mu.), Lo$"o$ ?0   S0itta, J0 S0 B#)5, I, L&+!g ?Q0  3% A#ert, Mo!#r-, III, L&+!g ??0    C5% S% 4errF, J0 C5r0 B#)5, Lo$"o$ ?@0  A% 2oe!ven#erg, A$$#*. o3 O+ C#21r"g& ?Q0  3% 6% :edli15, A1&*, ?0 C5r.-#$ F&r"$#$", @0 B Fr&"r)5, MGG, I, ??0 0  M% 3el m, C#r* Fr&"r)5 A1&* S2+5o$ A$$ Ar1or ?@0  ,
ABEN/SIK, )(*u. %#/$5 )r(/&$5 (o$)&r#-# (o% .u o"r7#/#* u XVII XVIII .-0 u L1&)(u8 u%&"$o or#-or%. (o2+o!)%& !/o6&$& $# -2 (o$)&r-2#0 R#!/* .u .& ! ./o /r.$5 orgu*%.(5 (o$)&r#-# (o%& %& u/&o Fr#$! Tu$"&r ??  u L1&)(u8 o$ %& -rgo/)2# (o% 1 .& +r%& 1ur!o/$5 .(u+.- .#(u+*%#* u )r(/ ./0 M#r%& !/o"o +o $&(o*(o (o2+o!)%# orgu*%&0 V&*(o !#$2#$%& $o/#$ +r*o! o2ogu9* .u 2u #$g#7r#$%&2 +%&/## $.-ru2&$-#*$5 .o*.-# o1og#- +ro  +rogr#2& ./o%5 +rr&"#1#0 U .-o /r%&2& o"r7#/#*& .u .& .* 2u!(& +rr&"1& u "rug2 -rgo/#(2 gr#"o/2# A2.-&r"# H#21urg, U-r&)5-, Ko1&$5#/$, #* $.u "o.-g*& r#!$u o$5 L1&)(u0 Tu$"&ro/ $#.*%&"$( D&-r)5 B2&5u"& orgu*%# &r ./0 M#r%&, ?? "#o %& -2 +rr&"1#2# (o$#$ o1** r#!/o 5 u +r#/& (o$)&r-&0 N#+u.-/ +r/o-$u ./r5u 2u!)r#% !# r#!o$o"u, Bu-&5u"& %& +roro !/o"*#( #$.#21*, "o"# 2u !1or or(&.-#r0 Ko$)&r-, (o% +r/*#& ./& r (rug .*u#*# o"r7#/#* .u .& $&"%&*%o2 +r&"/&&r, -o .#2o +&- +u-# go" !2&6u M#r-$%# Bo79#0 Pr.-u+ %& 1o .*o1o"#$, %&r .u !# u!& 7#/#$%& "o.-#%#* "o1ro/o*%$ +r*o! 2u9$5 gr#6#$#0 Prog$ .& .#.-o%#o .+r/# o" $&(o*(o (r#95 !1or$5 (o2+o!)%# (#$-#-#0 K#.$%& Bu-&5u"& +r&*#! 5# /&9# !#o(ru7&$# "% "r#2#-.(og (#r#(-&r# (o%# .u .+u$%#/#*# +rogr#2 )%&*& /& * .u .& #( +ro-&!#*# $# ./5 +&- /&&r0 S#"r7#% o/5 "%&*# 1o  11*%.(, &9& .-#ro!#/%&-$, # 2u!(# .& .#.-o%#*# o" or(&.-r#*r  u/o"# .o$#-# (o%& .u +r&-5o"*& +o%&"$2 "%&*o/2# (o2%8 !)%&, %&"$og*#.$5 /&g*#.$5 #r%# .-ro3$# o1*(#, r&)-#-/ !1oro/# (o% .u $#.-u+#* (#o +ro2#-r# r#"$%& * (#o $o. "r#2.(5 !1/#$%# * .u +#( !#/r#/#* o"*o2#( (or#*$o2 o1r.  1o20 Bu-&5u"&o/ $#.*%&"$) I0 C50 S)5&3&r"&)(&r, J0 P0 Kur  !&$, A0 K0 Ku$!&$ C0 Ko$g.*o o"r7#/#* .u A1&$"2u. ./& "o +o&-(# XIX .-0 !#"r7#/ u.#/ru%u9 $%5o/ "o-#"#0 o1*( o" .#"r7#%$o +o/&!#$5 )%&*o/&&r$%5 "%&*#0 I!/o" .u /&9$o2 /*#.--& (o2+o!)%& (o%& .u $#!/#* or#-or%$ O" +r#/og or#-or%# r#!*(o/#*# .& A0 +o -o2& -o .u .& u $%u u2 -#* (or#* $#& uo1#%&$ .#2o u +#.%#2# "u5o/$2 (#$-#-#rr  (o% .u +o%##/#* "u5o/$ (#r#(-&r "%&*#8 . -2& .u 1*& u o- .u+ro-$o.- $#+-$)& *%u1#/$& .)&$& (o%& .u u A0 +ro"r*& + u-%&)#%&2 o+&r&0 S-ro3$u #r%u !#2%&$*# %& o(o ?Q o+&r  #r%# "# )#+o0 Z1or$ "%&*o/ o1*(o/#$ .u +r&-&7$o 5o2o3o !u!&/ +o*3o$o gr#6&$5 11*%.(5 !r&(#, # or(&.-#r .& 2%&.-2 u+o-r&1*%#/#o !# -o$.(o .*(#$%& +o%&"$5 .)&$#0 Z#$2*%/o "# %& J0 P0 Ku$-!&$ u/&o o" ?@ %#/$& g&$&r#*$& +ro1& A1&$ 2u.(& (o%& .u .& o"r7#/#*&, u! $#+*#-u u*#!$$&, u .#* gr#". /%&9$)&0 O" ?, +o-o %& gr#".( .#/%&- ! #1r#$o (o$)& u )r(/, -& .u +ro1& +o.-#*& g*#/$& (o$)&r-$& !/&"1& ./& "o ? (#"# o$& &!#/#%u !1og r#-$5 +r*(#0 A0 .u "/o%#(o 5.-or% /#7$& +o ./o2 u-%&)#%u $# r#!/o% or#-or%# (#o +r/& %# $& (o$)&r-$& !/&"1& )r(/&$& 2u!(& !/#$ o(/r# )r(/&$ o1r&"#0
 
ABENDMUSIK ABRAHAM
2$ A0 u+o-r&1*%#/# .& u $o/%& "o1# -#2o g"%& .& 7&* !1%&9 $#!/ kon1ertNG $#%&9& %& -o (o" +rr&"#1# (o2or$og (#r#(-&r#0
LIT0 M% Se i.ert, Bu-&5u"&4H#$"&*4B#)5, PJB, ?@0 @% Sta5l, Fr#$! Tu$"&r u$" D&-r)5 Bu-&5u"&, L&+!g ?@0  Isti, D& L1&)(&r A1&$"4 2u.(&$ 2 ?0 u$" ?0 J#5r5u$"&r-, L1&)( ?Q0  Isti, A1&$"2u.(, MGG, I, I?4 O4 So5ngen, D& L1&)(&r A1&$"2u.( #*. (r)5&$g&.)5)5-*)5&. u$" -5&o*og.)5&. Pro1*&2, Mu.( u$" Kr)5&, ?0 ;% Karsta=dt, D& [=E-r#or"$#r&$< A0 D0 Bu-&5u"&., L1&)( ?@0 I0 A90
ABENRO+4, 4er*ann, $%&2#( "rg&$- Fr#$(3ur- $# M#%$, ?0 I ?Q J&$#, @0 V ?0 S-u"r#o u M$)5&$u L0 T5u**&, F0 Mo--*, A0 Hr!&*4L#$g&$5#$0 K#r%&ru !#+o&o ?Q (#o "rg&$- 2$)5&$.(og Or15estervereina, ? #$g#7r#$ u L1&)(u *7erein der Musik.reunde, Gr#".(o (#!#*-&, ??? u E..&$u Gr#".( 2u!( "r&(-or, # o" ?? u Ko*$u (#o "r4 g&$- (o$)&r#-# ;ur!eni15, "r&(-or Ko$!&r/#-or%# ?? gr#".( g&$&r#*$ 2u!0 "r&(-or0 Go"0 ?Q /o"o g*#.o/- or(&.-#r  ;e!1and5aus u L&+!gu, ? +o/%&r&$# 2u %& r&org#$!#)%# 2u!(og 7/o-# u &2#ru ? /o".-/o S23o$%.(og r#"o44 or(&.-r# u L&+!gu0 Go.-o/#o u go-o/o ./2 /#7$%2 2u!0 .r&"-2# ro2 E/ro+&0 Po.&1$o .& .-#($uo (#o $-&r+r&- Mo!#r-#, B&&-5o/&$#, Br#52.# Bru)($&r#8 !/o"o &.-o "%&*# .u/r&2&$5 (o2+o!-or#0
LIT0  K% 2a u , H&r2#$$ A1&$"ro-5, MGG, I, ??0 ABENRO+4, 7alter, $%&2#( (o2+o!-or, 2u!( +.#)
(r-#r H#$$o/&r, @0 V ? 0 S-u"r#o u B&r*$u M$4 )5&$u0 Mu!( (r-#r u Ko*$u, H#21urgu B&r*$u ?QQ ur&"$( #.o+.# Allgemeine Musik!eitung , ?QQ .ur#6/#o u $erliner 2okalan!eiger)% O" ? ur&6/#o u H#21urgu -%&"$(  Die eit, o" ? "o+.$( -og -%&"$(# u M$)5&$u0
DJELA0  KE<I;> 3ans .i t!ner, ?Q8  Deu ts15 e Musik der ei tio ende ?Q $o/o !"0 ?8  <o5annes $ra5ms, ?Q8 Die SFm05onien A% $ru1kners, ?8 7om @erden und 7erge5en der Musik, ?8 7ier Meister der Musik, ?^@8  3% .it!ner *:eden, S15ri.ten, $rie.e), ?8  Musikkritik 3eute, ?0   O:K>S4:A2EA% P&- .23o$%# I, ??8 II, ?@8 III, ?8 IV, ? V, ? 8 (o$)&r- !# /o*u8 (o$)&r- !# or(&.-#r8 (o$)&r-$# 3#$-#!%# !# &21#*o 2#* or(&.-#r, ?@8 (o$)&r-$# u/&r-r#8 "/&r-2&$-o !# (o2or$ or(&.-#r8 /#r%#)%& +#..#)#g*#0  KOMO:EA  +&- gu"#(5 (/#r-&-#8 -ro !# 3*#u-u, /o*u rog8 "/&r-2&$-o !# 3*#u-u /o*u8 .o$#-# !# /o*$u (*#/r8 @ .o$#-& !# /o*u (*#/r0 So$#-# !# (*#/r0 P%&.2&0
LIT0  K% ;re# e, #*-&r A1&$"ro-5, Mu)#, K#..&* ? ?, 0 A BENE PAI+O (a 8enela$ito9 -#*0 0o volji), o!naka !#
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ABER, A%ol3, $%&2#( 2u!(o*og !"#/# A+o*"#, @0 I ?Q Lo$"o$, @?0 V ?0 S-u"r#o $# U$/&r!-&-u u B&r*$u H0 Kr&-!.)52#r, C0 S-u2+3, M0 Fr&"*#$"&r, J0 o*38 ??Q  ? #..-&$- Mu!(o45.-or%.(og .&2$#r# u B&r*$u ??QQ 2u!( (r-#r *.-#  2ei0!iger neueste Ea15ri15ten% O" ?Q "r&(-or $#(*#"$og +o"u!&9# No/&**o _ C0 u Lo$"o$u0
DJELA Die .lege der Musik unter den @ettinern und tvettinis15en >rnesti- nern von den An.dngen #is !ur Au.losung der @eimarer 3o.ka0elle HPP& ".&r4 -#)%#, ?@?8  3and#u15 der Musikliteratur, ?@@8 Die Musikinstrumente und i5re S0ra15e, ?@8 Die Musik in S15aus0iel, ?@8 7er!ei15nis der @erke von $ra5ms, ?@8  3% @ol.=s 0ost5umous @orks, Mu.) R&/&, I I, ??8 .-u"%& *#$) u .-ru$2 $%&20 &$g*0 #.o+.2#0
ABER+, i. Johann Jo"eh, &( (o2+o!-or (o$-r#1#..- Ko4 5o/)&, &(#, @0 IX ?Q@ S-u--g#r-, ?0 IV ??0 S-u"r#o $# Pr#(o2 (o$!&r/#-or%u J0 Hr#1&, J0 F0 K--*, A0 0 A21ro.8 o" ?Q (o$-r#1#..- ? "rg&$- "/or.(& (#+&*& u S-u--4 g#r-u0 Ko2+o$r#o u $%&2#4 (o2 (#.$oro2#$-(o2 .-*u0
DJELA0 O:K>S4:A2EA% S&4 "#2 .23o$%# II, u )42o*u8 IV, Co- lum#us VI, 2Fris15e SFm05onie u/&r4 -r&0 Ko2or$# "%&*#0 K*#/r.(& (o2+o!)%&0  D:AMSKA% O+&r&  Anna von 2andskron, ?8  K#=nig   >n!io, ?@ +r&r#6&$# ? (#o >n!io von 3o5enstau.en)8  Astorga, ?  >kke5ard, ?8  Die Almo5aden, ?0   Ko2or$# 2u!(#0 S/%&-o/$& (#$-#-&8 .o*o4+%&.2&0 &-/&rog*#.$# 2.# o+0 @Q8 ?0 +.#*#2 !# 2u( !1or "u5#( or(&.-#r0
LIT0  3% A#ert, Jo5#$$ Jo.&+5 A1&r-, L&+!g ??0
'. 4er*ann, $%&2#( 2u4 !(o*og +&"#gog S-u--g#r-, @0 III ?? ?Q0 VIII ?@0 Uo $#%+r%& (o" ./og o)# Jo4 5#$$# Jo.&+5#$# Ko$!&r/#-or%u u S-u--g#r-u, !#-2 .-u"r#o (*#.$u 3*o*og%u u T1$g&4$u, # 2u!(o*og%u u B&r*$u M0
Fr&"*#$"&r0 Go"0 ?@
H0 ABERT
H0 B&**&r2#$$, O0 F*&.)5&r, 5#1*-r#o .& !# 2u!(o*og%u
 
u B&r*$u0 Vo"o Collegium musi1um u H#**&u, L&+!gu B&r4 *$u0 O1%#/o /&*( 1ro% /r*o !#+#7&$5 .-u"%# u ZFM, AFM, u !"#$%2# IMG u G*u)(o/2 Mo!#r-o/2 go4 "$%#)2#, (o%& %& .#2 !"#/#o0 Prou#/#o %& +ro1*&2& 2u!4 (& 5.-or%&, o" A$-(& "o .u/r&2&$5 (r&-#$%#, $o $%&go/o %& $#%4 !$##%$%& "%&*o o+.&7$# 2o$ogr#3%# o Mo!#r-u, (o%# %& $#.-#*# -&2&*%-o2 +r&r#"1o2 Mo!#r-o/& 1ogr#3%& O--# J#5$#8 -2 "%&*o2 A0 %& +ro"u7o u.#/ro -r#")%u $%&2#(& (*#.$& 2u!(& 1ogr#4 3(& J#5$ C5r/.#$"&r S+--#, u+o-r&1*%#/#%u9 .u/r&2&$& !$#$4 .-/&$o4.-r#7/#(& 2&-o"&0 S/o%2 !#2#$2 ./&u(u+$2 2u!4 (o*o(2 +&"#go(2 r#"o2, A0 %& u-&2&*%o (o*u, ! (o%& .u !* 2u!(o*o! F0 B*u2&, H0 Bo&--)5&r, M0 E0 Dou$#., K0 G0 F&**&r&r, R0 G&r1&r, E0 L## 33, 0 V&--&r "r0
DJELA0 KE<I;>% Die 2e5re vom >t5os in der grie15 is15en Musik ".&r-#4 )%#, ?8  Die dst5et is15en ;rundsdt!e der mittelalterl i15en Melodie#ildung, ?@8  :o#ert S15umann, ?Q8  Die Musikans15auung des Mittelalters und i5re ;rundlagen, ?8 ;es15i15te der :o#ert-6ran!-Singakademie !u 3alle *HQ   HR8Q), ?8 Ei11olo <omelli a5 O0ernkom0onist, ?8 <o5% <ose05 A#ert, ??8 @% A% Mo!arl V +r&r#6&$o +ror&$o !"#$%& O0 J#5$o/# "%&*#, III, ?? @? A1&r-o/# (9&r(# A$$# A2#*& +rr&"*# $o/o, VII !"#$%&, (o%&2u %& "o"#*# III ($%gu, ?8 ;oet5e und die Musik, ?@@0 S4DI<> I 2AECI Die s0atantike Musikast5etik, IMG, ?8 Die musikdst5e tis15en Ans15auungen der .ru5esten 15ristli15en Kir15e, Z&-.)5r3- 3r A&.-5&-( u$" #**g&2&$& Ku$.-4 ..&$.)5#3-, ?8 J0 G0  Eoverre und sein >in.luss au. die dramatis15e $allet- kom0osition, PJB, ? 8  $er i15 te u#e r die 2it era tur !ur gri e15 is15e n Musik, I II, ?Q ?@?8 ur ;es15i15te der O0er in @iirttem#erg, IMG, ?8  Antike Musikerlegenden, ??8  i11ini als $u..okom0onist, PJB, ??Q8 ;ia1omo MeFer#eer, 1"0, ??8  aisiellos $u..okunst, AFM, ??8 tj#er  Au.ga#en und iele der musikalis15en $iogra05ie, 1"0, ??8  <% C5r% $a15s italienis15e O0ern, ZFM, ??8 <ose05 3aFdns KlavierTerke , 1"0, ?@@?8 3andel als Dra-matiker, ?@@8  >in neuentde1kter .ru515ristli15er 3Fmnus mit  antiken Musiknoten, ZFM, ?@@8 @ort und 4on in der Musik des HQ% <a5r5underts, AFM, ?@Q8  Kunst, Kunst Tissens15a .t und Kunst krit ik, D& Mu.(, ?@Q8  :oman tis15es in Mo!arts und $eet5ovens O0ern, A*2#$#)5 "&r  D&u-.)5&$ Mu.(1)5&r&, ?@@8 ;rund0ro#leme der O0ernges15i15te, IMG, ?@8  $a15 und die moderne 2iturgie, ?@8  u $eet5ovens ersonli15keit und  Kunst, PJB, ?@8 4onart und 45ema in $a15s Instrumental.ugen, I@ 8 Carl Maria von @e#er und sein 6reis15ut!, PJB, ?@8 >ntste5ung und @ur!eln des #egleiteten deuts15en Sololiedes, ?@8  :i15ard @agner, ?@8 ;lu1k und Mo!art, Q0 J#5r&.1&r)5- "&. Mo!#r-&u2., ?@8  $a15-$eet5oven-$ra5ms, M, ?@8  Die Au.ga#en der 5eutigen 3a=ndel-.ors15ung, H#$"&*4J#5r1u)5, ?@0 I!"#o Illustriertes Musikleikon . 2$og2 /*#.--2 *#$)2#, ?@0 Ur&6/#o ;lu1k-<a5r#u15 go"-#, ??Q?  Mo!art <a5r#u15 *& go"-#, ?@@Q0 Prr&"o $o/# !"#$%# o+&r$5 "%&*# E% <ome li ij a DDT, ;% $% ergolesija DDT, C% @% ;lu1ka DTB, DTO, C% allavidnija DDT, C% M% @e#era, @% A% Mo!arta "rug50 A1&r-o/# .#1r#$# "%&*# +r&"#/#$%# !"#o F0 B*u2& ;esammelte S15ri.ten und 7ortrage, H#**& ?@0
LIT0  3% <% Mos er, H&r2#$$ A1&r-, M, ?@?0  Ist i, H&r2#$$ A1&r-, ZFM, ?@0 @% 7etter, H&r2#$$ A1&r- !u2 G&"#)5-$., PJB, ?@0    6% $lume, H&r2#$$ A1&r- u$" "& Mu.(..&$.)5#3-, G&"&$(.)5r3- 3-r H&r  2#$$ A1&r-, H#**& ?@0[ >% 2aa.., H&r2#$$ A1&r-. S)5r3-&$ 11*ogr#3%#, 1"0  <% etersen, H&r2#$$ A1&r-, ?@0  K% ;% 6ellerer, H&r2#$$ A1&r-, J#5r&.1&r)5- 1&r "& For-.)5r--& "&r (*#...)5&$ A*-&r-u2...&$.)5#3-, ?Q0 K0 Ko0
Q0 Anna A*alie, $%&2#( 2u!(o*og H#**&, ?0 IX ? 0 U*# $#%+r%& (o" ./og o)# H&r2#$$# A1&r-#, !#-2 ?@Q .-u"r#*# "o(-orr#*# 2u!(o*og%u $# U$/&r!-&-u u B&r*$u F0 B*u2&, H0 J0 Mo.&r, A0 S)5&r$g0 O" ?Q #..-&$- o" ?  +ro3&.or 2u!(& 5.-or%& $# U$/&r!-&-u u K&*u0 Sur#"$( %& &$)(*o+&"%&  Die Musik in ;es15i15te und ;egentvart .-ru$5 #.o+.#0
DJELA Die Stilistis15en 7orausset!ungen der Cantiones Sa1rae von 3einri15 S15iit! ".&r-#)%#, K&*&r B&-r#g& !ur Mu.(..&$.)5#3-, ?Q8 Claudio  Monteverdi und das musikalis15e Drama, ?Q, o1%0 ?8  Die $e5andlung der   Instr umente in $ru1kners Strei15auin tett , D&u-.)5& Mu.((u*-ur, ??8 Claudio Monteverdi !um 88% 4odestag, 1"0, ?Q0 Prr&"*# !# -#2+u  Mel15ior 6ran1k, 3o5elied-Motetten, C5or&r(, ?QQ8 C5risto05 Demantius,  Deuts15e Motetten, 1"0, ?Q0 Sur#6u%& $# $o/2 !"#$%2# "%&*# C0 0 G*u)(#, 0 A0 Mo!#r-# F0 H#$"&*#0
LIT0  6% $lume, A1&r-, ?0 Jo5#$$ Jo.&+5, @0 H&r2#$$, Q0 A$$# A2#*&, MGG I, ??0
ABRA4A/, Geral%, &$g*&.( 2u!(o*og N&+or-, o-o(  g5-, 0 III ? 0 O" ?Q .ur#"$( BBC4# u Lo$"o$u, .+r/# (#o .u!"#/# *.-#  :adio 4imes, o" ?Q ur&"$(   2istenera ?@ &3 ".(o-&(&0 O" ? +ro3&.or U$/&r!-&-# u L/&r+o4o*u0 U! -o o" ? ur&"$( #.o+.# 45e Mont5lF  Musi1al :e1ord% I!/r.-#$ %& +o!$#/#*#) ru.(& 2u!(&0
DJELA 45is Modem Stu.., ?QQ $o/o r&/"r#$o !"0 45is Modem Musi1, ?@8 Studies in :ussian Musi1, ?Q8  Masters o. :ussian Musi1, ?Q +o.*%&"4 $%# "/# "%&*# .# M0 D0 C#*/o)or&..%&28  A% 3un dred Uears o. Mus i1, ?Q8 On :ussian Musi1, ?Q8 C5o0in=s Musi1al StFle, ?Q8  $eet5oven =s Se1ond--  eriod Ouartets, ?@8 >ig5t Soviet Com0osers , ?Q8 :imski-Korsakov, ?0 I!"#%& .&r%u ;.2+o!%#< ($%g#  Musi1 o. Masters u o(/ru (o%& %& $#+.#o 415aikovskF, ?8 S15u#ert, ?8 Si#elius, ?8 S15umann, ?@8 3andel, ?0 Do/ro C#*/o)or&..%&/u .-u"%u o Mu.org.(o2 ?0 Ur&"o VIII IX ./&!#( Ee!u O.ord 3istorF o. Mus i1%
 
ABRAHAM ABSIL
o1r$u-# (oro$# !# #gog(# .(r#9&$%#, .0, (o% !1og !$#-$5 $&"o.-#-#(# $%& o+9&$-o +r5/#9&$0
DJELA @a5rne5mung kiir!ester 4one und ;erdus15e .# L0 J0 Br5*o2, Z&-.)5r3- 3r P.)5o*og& u$" +5.o*og&, ?8 O#er die maimale ;es15!uin- digkeit von 4on.olgen .# K0 L0 S)5#&3&ro2, 1"0, ?8 #er das A#5lingen von 4onem0.indungen, 1"0, ?8 Studien u#er nter#re15ungstone .# K0 L0 S)5#&3&ro2, Ar)5/ 3r "& g&.#2-& P5.o*og&, ?8  Das a#solute 4on#eumsstsein, SBIMG, III ?? VIII?0 S# E0 M0 /o$ Hor$1o.-&*o2 Studien u#er das 4onsFstem und die Musik der <a0aner, 1"0, IV, ?8  5onogra-  05ierte turkis15e Melodien, ?8  5onogra05ier te indis15e Melodien, SBIMG, V, ?8 5onogra05ierte Indianermelodien aus $ritis 15 Colum#ia, ?8 O#er  die 5armonisier#arkeit eotis15er Melodien, SBIMG, VII, ? 4ranskri0tion eotis15er Melodien, 1"0, XI, ?0 >ine 15inesis15e Eotation *C5=ao t=ien t!e) und i5re Aus.u5rungen, AFM, ??0
LIT0 @% 3einit!, O--o A1r#5#2, MGG, I, ??0 ABRA4A/, Pal (Paul), 2#"7#r.( (o2+o!-or A+#-$, @0
XI ?@ H#21urg, 0 V ?0 U2%&-$(u (#r%&ru !#+o&o (#o (o2+o!-or .23o$%#, (o2or$5 $.-ru2&$-#*$5 "%&*#, #*  %& ./%&-.(u .*#/u .-&(#o $# +o"ru%u /&"rog 2u!(og (#!#*-#0 D%&*o/#o u Bu"2+&- ?Q?QQ u B&r*$u, # !#-2 +r&(o P#r!# &2grr#o u N& `or(0 Po.*%&"$%& go"$& 7/o-# +ro/&o  %&, 1o*&.-#$ +o-+u$o o.ro2#&$, +o$o/$o u N%&2#(o%0
DJELA0  D:AMSKA % Tr$#&.- o+&r&-#  A! utol sd 7ere#elF-l dnF, ?@8 S!eretem a .elesegem, ?@8 7iktoria und i5r 3usar B&, ?Q8 %ug0 +r&2%&r# Z#gr&1, ?0 IX ?Q?8  Die $lum e von 3atv ai L&+!g, ?Q?8 %ug0 +r&2%&r# Z#gr&1, @0 III ?Q8  $ali im SavoF B&r*$, ?Q@8 %ug0 +r&2%&r# Z#gr&1, Q0 IX ?QQ8 Mad15en im ;rand-3otel, ?Q8 :oF und i5r 7i=underteam B&, ?Q8 %ug0 +r&2%&r# Z#gr&1, @0 XI ?Q "r0 Mu!(# !# /& o" Q 3*2o/#0
ABRA4A/SEN, Eri:, "#$.( 2u!(o*og Br#$"&, J/**#$", 0 IV ?Q K1&$5#/$, ?0 II ?0 S-u"r#o $# Ko$!&r/#-or%u $# U$/&r!-&-u u Ko1&$5#/$u8 ??@? /o"o 2u!( o"%&* -#2o+%& Kr#*%&/.(& 11*o-&(&0 Go"0 ?@Q +ro2o/r#o u Fr4  1ourgu ?@ +o.-#o +ro3&.or 2u!(o*og%& $# U$/&r!-&-u u K4  1&$5#/$u0 I.-#(#o .& (#o +r&"#/#, (o2&$-#-or 2u!( (r-#r0
DJELA  2iturgisk Musik i den Danske Kirke e.ter :e.ormatio nen, ??8  >lements romans et allemands dans le 15ant ;regorien et la 15anson 0o0ulaire en  Danemark ".&r-#)%#, ?@Q8 4onekunsten, ?@8 Musik og Sam.und, ??8 3vem er musikalsk, ?Q0 I!"#o !1r(u "#$.(5 $#ro"$5 $#+%&/#  Melodier III u o(/ru &")%&  Danmarks ;amle 6olke viser ), ?Q ?Q0
ABRA/OVI;, Au0u"t 4= Adel#urg, August  ABRAN1I, I. Korn<l !/or$o o1-&*%.(o 2& Eor%o0h),
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