e Erwahlung eines Kapellmeisters."

OPERAS

Italian Operas:

"La Canterina," 1769;
"L'Incontro Improviso," 1776;
"Lo Speciale," 1768;
"Le Pescatrice," 1780;
"Il Mondo della Luna," 1877;
"L'Isola Disabitata," 1779;
"Armida," 1782;
"L'Infedelta Delusa," 1773;
"La Fedelta Premiata," 1780;
"La Vera Constanza," 1786;
"Acide e Galatea," 1762;
"Orlando Paladino," 1782;
"Orfeo," London, 1794.

German Opera or Singspiel, "Der Neue Krumme Teufel."
5 marionette operas.
Music for "Alfred," a tragedy, and various other plays.

MISCELLANEOUS

SONGS:

12 German lieder, 1782;
12 ditto, 1784;
12 single songs;
6 original canzonets, London, 1796;
6 ditto;
"The Spirit Song," Shakespeare (F minor);
"O Tuneful Voice" (E flat), composed for an English lady of position;
3 English songs in MS.;
2 duets;
3 three-part and 10 four-part songs;
3 choruses, MS.;
1 ditto from "Alfred";
The Austrian National Anthem, for single voice and in 4 parts;
42 canons in 2 and more parts;
2 ditto;
"The Ten Commandments" set to canons; the same
with different words under the title "Die zehn Gesetze der Kunst";
symphonies and accompaniments for national songs
in the collections of Whyte, Napier and George Thomson.
22 airs mostly inserted in operas.
"Ariana a Naxos," cantata for single voice and pianoforte, 1790.
"Deutschlands Klage auf den Tod Friedrichs der Grossen,"
cantata for single voice, with baryton accompaniment, 1787.

APPENDIX C: BIBLIOGRAPHY

The Haydn literature is almost entirely Continental. With the exceptions
of Pohl's article in Grove's "Dictionary of Music" and Miss Townsend's
"Haydn," nothing of real importance has appeared in English. The
following list does not profess to be complete. It seems futile in a
book of this kind to refer amateurs and students to foreign works, many
of which are out of print and others generally inaccessible. For the
benefit of English readers the English works have been placed first and
apart from the Continental. It has not been thought necessary to
follow Pohl in giving a separate list of German and other Continental
critiques. His plan of citing works in the order of their publication
has, however, been adopted as being perhaps preferable to an
alphabetical order of writers.

TITLE OF WORK AUTHOR PLACE AND DATE

"History of Music," Vol. IV.