Enhanced descriptions from Syndetics:

He demonstrates the enormous diversity and constant change that characterized every aspect of music during this period. By dividing his text into twenty-year spans, Downs is able to trace the development of musical style. Within each span he looks at the social conditions and daily life of the musician, and the aesthetics and audience preferences in structures, performing combinations and styles. The lesser composers, or Kleinmeister, are observed, since they are the most accurate mirrors of their times. Haydn, Mozart and Beethoven receive full biographical scrutiny at each stage of their development. Copious music examples and abundant illustrations are also provided.

Table of contents provided by Syndetics

• List of Illustrations (p. x)
• Preface (p. xiii)
• Part 1. The Transition from Baroque: Music to 1760
• Chapter I The Background to Eighteenth-Century Thought (p. 3)
• Art and the Philosopher
• The Musician as Philosopher
• The Importance of "Taste" in the Eighteenth Century
• Chapter II The Musician in Society (p. 17)
• The System of Patronage
• Printing and Publishing
• The Beginnings of the Public Concert
• Instructional Literature
• Chapter III Music for Private Performance (p. 32)
• The Style Galant
• Solo Sonata with Basso Continuo
• The Trio Sonata
• The Solo Keyboard Sonata
• The Empfindsamer Stil
• Other Keyboard Forms
• The Song
• Chapter IV Music for Public Performance (p. 73)
• The Symphony
• The Concerto
• Chapter V Words and Music on the Stage (p. 83)
• The Theater as a Social Center
• The Singers
• The Dramatic Conventions
• Italian Opera Seria
• Recitative and Aria
• Pastiche
• Italian Opera Buffa
• French Opera
• Opera in Italy
• Opera in German-Speaking Countries
• Opera in London
• Opera in Paris
• Part 2. Embracing the New Style: Music 1760-80
• Chapter VI The Social and Philosophical Milieu (p. 111)
• The Beautiful and the Sublime
• Literary Antiquarianism
• Sturm und Drang
• The Concept of "Classical" and its Opposites
• Chapter VII The Musician's Livelihood (p. 122)
• Concert Organizations
• Music Publishing
• Writings about Music
• Chapter VIII Music in the Home (p. 129)
• Further Evolution of the Sonata with Continuo
• The Keyboard Sonata
• The Keyboard Sonata with Optional Accompaniment
• The String Trio
• The String Quartet
• The String Quintet
• Vocal Music
• Chapter IX Concert and Church Music (p. 154)
• The Emergence of the "Classical" Symphony
• The Symphonie Concertante
• The Solo Concerto
• Music in the Service of God
• Religious Music in Roman Catholic Europe
• Church Music in Non-Catholic Europe
• Chapter X Opera (p. 178)
• Serious Opera in Italy
• The Changing Italian Opera Buffa
• Serious Opera Outside Italy
• Comic Opera in France
• Comic Opera in London
• Comic Opera in Germany
• Part 3. Haydn, the Developing Master
• Chapter XI The Early Years: 1732-60 (p. 199)
• Early Life
• Compositions
• Chapter XII The First Esterhazy Years: to 1770 (p. 211)
• The Beginnings of Recognition
• Compositions
• Chapter XIII The Great Stylistic Break: 1770-79 (p. 238)
• Haydn's Duties at Esterhaza
• Compositions
• Part 4. Mozart, Genius Apparent
• Chapter XIV The Wunderkind Years: 1756-73 (p. 261)
• The First Tours
• Back Home: Salzburg and Vienna
• The Italian Tours
• Chapter XV Early Style (p. 274)
• The First Keyboard Works
• String Quartets
• Symphonies
• Concertos
• Operatic Works
• Church Music
• Chapter XVI The "Colloredo" Years: 1773-31 (p. 295)
• The Patron
• The Products of Patronage
• Broadening Expressivity
• The Second Journey to Paris
• The Salzburg "Employee" Once Again
• Chapter XVII The High Salzburg Style (p. 307)
• Keyboard Works
• Accompanied Sonatas
• Chamber Music without Keyboard
• Symphonies
• Serenades and Divertimentos
• Concertos
• Operatic Works
• Religious Music
• Part 5. The Classical Style at Its Apogee: 1780-1800
• Chapter XVIII Years of Revolution and Change (p. 335)
• Science and Industry
• The French Revolution
• Changing Philosophies
• Chapter XIX The Changing Status of the Musician (p. 344)
• Concert Societies
• Music Publishing: The Beginning of an Industry
• The Virtuoso
• The Musician as Author
• Chapter XX Solo and Chamber Music (p. 353)
• The Decline of the Continuo
• From the Harpsichord to the Fortepiano
• The Accompanied Keyboard Sonata
• Chamber Music for Strings
• Music for Voice and Piano
• Chapter XXI The Preeminence of the Symphony and the Concerto (p. 379)
• The Symphony in Vienna
• The Concerto
• Chapter XXII The Various Faces of Musical Theater (p. 394)
• The Opera Seria
• The Flourishing Opera Buffa
• The Tragedie Lyrique
• The Effect of the Revolution on the Opera Comique
• The Singspiel
• Operatic Entertainment in London
• Part 6. Haydn, the Acknowledged Master
• Chapter XXIII The Last Years at Esterhaza: 1780-90 (p. 423)
• Daily Life and Responsibilities
• The Solo Keyboard Sonatas
• The Accompanied Keyboard Sonata
• The String Quartet
• Songs
• Symphonies
• Concertos
• The Operas
• Church Music
• Chapter XXIV Freedom at Last (p. 446)
• Haydn in London
• Return to Vienna
• Back to London
• The Final Return
• The Last Compositions
• Part 7. Mozart, Genius Achieved
• Chapter XXV The Last Ten Years: 1781-91 (p. 479)
• Breaking with Colloredo
• Mozart's Marriage
• An Ideal Realized: Die Entfuhrung
• Life in Vienna
• Mozart and Da Ponte
• Financial Problems
• Chapter XXVI The Great Works of the Final Decade (p. 500)
• The Late Piano Works
• Sonatas for Violin and Piano
• The Piano Trios
• The Piano Quartets
• The Piano Quintet
• Chamber Music for Strings Alone
• The Song
• The Symphony
• The Concertos
• Serenades, Divertimentos, and Dances
• Operas
• Church Music
• Part 8. Beethoven: 1770-1827
• Chapter XXVII The Giant Astride the Centuries (p. 553)
• The Beginnings in Bonn
• The Early Years in Vienna
• Recognition and Success
• Enlightened Patronage and Other Sources of Income
• The Last Years
• Chapter XXVIII The Entire Oeuvre (p. 579)
• The First Style Period to 1802
• Sonatas for Piano Solo
• The Sonatas for Piano with One Instrument
• The Trios and Larger Works with Piano
• The String Quartet
• Music for Larger Chamber Ensembles
• The Concertos
• The Symphonies and Orchestral Music
• The Second Style Period: 1803-14
• Piano Sonatas
• Sonatas for Piano and One Other Instrument
• Piano Trios
• String Quartets
• The Symphonies
• Concertos
• Fidelio
• The Third Style Period: 1816-27
• Solo Piano Works
• Cello Sonatas and Songs
• The String Quartet
• The Ninth Symphony
• The Missa solemnis
• Part 9. The Eighteenth-Century Heritage at Work in the Early Nineteenth Century
• Chapter XXIX Post-Revolutionary Changes in Society and the Arts (p. 627)
• Napoleonic Power and its Consequences
• Eclecticism in the Arts
• Philosophic Commentary on the Arts
• Chapter XXX The Business and the Institutions of Music (p. 632)
• Concert Organizations
• Music Publishing
• Musical Writings
• The Paris Conservatory
• Chapter XXXI Chamber Music in the Concert Hall (p. 638)
• The Transformation of the Sonata
• The Changing Role of the Piano
• The Piano in Large Chamber Ensembles
• String Music and Virtuosity
• Large Chamber Ensembles
• Chapter XXXII The Loss of Intimacy: Performance Triumphant (p. 653)
• Haydn's Legacy
• The Virtuoso Concerto
• The Persistence of the Operatic Tradition in Italy
• Choral Music at the Start of a New Tradition
• Epilogue
• Bibliography (p. 669)
• Index (p. 677)