2. Be able to summarize the main points of Haydn’s career--p. 484-487

3. What three forms for the different movements may be found in Haydn’s early
      symphonies?--p. 487

4. How does Haydn employ sonata (first-movement) form in his symphonies?--p.
      487-489

5. What changes did Haydn make to the final movement of symphonies in the late
      1760s?--p. 489

6. What are the characteristics of Haydn’s early symphonies (before 1768)?--p.
      490* of the symphonies from the period 1768-1774?--p. 490 of the sympho-
      nies from the period 1774-1778?--p. 491

7. What is the orchestration and thematic structure of the first movement of
      Haydn’s Symphony No. 56?--p. 492 (and NAWM 97)

8. What changes in orchestration, harmonic structure, and form may be found in
      Haydn’s London Symphonies?--p. 494-495

9. In general, be able to trace the development of Haydn’s symphonic style.

10. What are Köchel numbers?--p. 509 How did Mozart’s music become a synthe-
      sis of national styles?--p. 509-510

11. What composers influenced Mozart during his early years? What stylistic char-
      acteristics did he inherit from each of them?--p. 510-511**

12. In what respects was Mozart a "commercial" composer?--p. 511

13. What further influences did Mozart receive during his Vienna
      period?--p.515-516

14. What is the form of the first movement of a typical Mozart piano concerto? How
      is it adapted or modified in the A-major concerto, K.488?--p. 523-525 (and
      NAWM 102)

15. How did Mozart’s "cadenza" style change after the 1780s?--p. 525

16. What is significant about the opera librettos of da Ponte?--p. 525

17. How does Mozart treat characterization in Don Giovanni? What is the form of
      the "catalogue" aria of Leporello?--p. 526-527 (and NAWM 103).***