Marianna Martines: A Woman Composer in the Vienna of Mozart and Haydn / Irving Godt, John A. Rice 
SYSNO 6523072, přírůstkové číslo 7731

Seznam obrázků v dokumentu:
Picture 01: Anton von Maron, Marianna Martines, Wien Museum, Vienna
Figure 1.1: Bird’s-eye view of the walled city of Vienna, 1785, by Joseph Daniel Huber. As if looking at the city from the northeast (with its southwestern edge at the top) we see the Stephansdom a little to the left of the center of the image and, at the top, the Hofburg and the Michaelerplatz, where Martines spent most of her life. Wien Museum, Vienna
Figure 1.2: Meeting of the staff of the court library, ca. 1781. Drawing by Adam Bartsch. Österreichische Nationalbibliothek, Bildarchiv, Vienna
Figure l.3: View of the Kohlmarkt in the late eighteenth century, with part of the Michaelerplatz in the foreground and the Altes Michaelerhaus on the right. Engraving by Carl Schütz
Figure 1.4: The Michaelerplatz, with part of the facade of the Michaelerkirche on the left, next to it the Neues Michaelerhaus, and on the right the Burgtheater. Engraving by Carl Schütz. Wien Museum, Vienna
Example 2.1: Martines, “L’onda dal mar divisa,” from the Scelta d’arie (1767), mm. 36–47, voice and bass only
Example 2.2: Hasse, Artaserse (Naples, 1760), “L’onda dal mar divisa,” mm. 32–45, voice and bass only
Example 2.3: Martines, Regina caeli (1767), III, mm. 16–21, violin 1 and bass only
Example 2.4: Dixit Dominus (1774), I, mm. 1–6, violin 1 and bass only
Example 2.5: Mass No. 3 (1761), Gloria, mm. 16–18, violin 1, 2 and bass only
Example 2.6: “Mi lagnerò tacendo,” from the Scelta d’arie, mm. 31–36, voice and bass only
Example 2.7: “Sol può dir che sia contento,” from the Scelta d’arie, mm. 1–4, voice and bass only
Example 2.8: “Io lo so che il bel sembiante,” from the cantata Il consiglio (1778), mm. 62–69, voice and bass only
Example 2.9: Metastasio, “Ecco quel fiero istante,” mm. 1–4
Example 2.10: Ad te mi Deus recurro (1768), “In te felix et tranquilla,” mm. 28–31, voice and bass only
Example 2.11: Isacco figura del Redentore (1781), “Dal gran peso ogni momento,” mm. 20–30, voice and bass only; for fuller accompaniment see Ex. 8.1 on pp. 184–85
Example 2.12: In exitu Israel de Aegypto, “Orecchie e nari inutili,” mm. 71–76, vocal parts only; for accompaniment see ex. 5.9 on pp. 122–24
Example 2.13: Litany in G (1775), Kyrie, mm. 81–86, vocal parts only; for accompaniment see ex. 7.5 on pp. 169–79
Example 2.14: Keyboard Sonata in A (1765 or before), I, mm. 1–3
Example 2.15: Keyboard Sonata in G (1769), II, mm. 1–5
Example 3.1: Mass No. 2, Benedictus, mm. 1–12
Example 3.2: Mass No. 1, Kyrie, mm. 10–27
Example 3.3: Mass No. 1, Kyrie, mm. 56–66, voices and bass only
Example 3.4: Mozart, “Waisenhausmesse,” K. 139, Christe eleison, mm.1–11. voices and bass only
Example 3.5: Martines, Mass No. 3, fugal subjects
Example 3.6: Mass No. 3, Kyrie, mm. 1–8
Example 3.7: Mass No. 3, Kyrie, mm. 57–64
Example 3.8: Mass No. 3, Gloria, mm. 1–16
Example 3.9: Mass No. 3, Credo, mm. 139–44
Example 3.10: O virgo cui salutem, mm. 24–46

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