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<!DOCTYPE html><html><head><title>Mozart Studies - Google Books</title><link rel="stylesheet" href="/books/css/_a33f2a89320471e58c940b9287b9d4eb/kl_viewport_kennedy_full_bundle.css" type="text/css" /><link rel="stylesheet"href="https://fonts.googleapis.com/css2?family=Product+Sans:wght@400"><script src="/books/javascript/v2_a33f2a89320471e58c940b9287b9d4eb__en.js"></script><script>_OC_Hooks = ["_OC_Page", "_OC_SearchReload", "_OC_TocReload", "_OC_EmptyFunc", "_OC_SearchPage", "_OC_QuotePage" ];for (var _OC_i = 0; _OC_i < _OC_Hooks.length; _OC_i++) {eval("var " + _OC_Hooks[_OC_i] + ";");}function _OC_InitHooks () {for (var i = 0; i < _OC_Hooks.length; i++) {var func = arguments[i];eval( _OC_Hooks[i] + " = func;");}}</script><link rel="canonical" href="https://books.google.com/books/about/Mozart_Studies.html?id=7AiUpfaK3QUC"/><meta property="og:url" content="https://books.google.com/books/about/Mozart_Studies.html?id=7AiUpfaK3QUC"/><meta name="title" content="Mozart Studies"/><meta name="description" content="Since the bicentennial of Mozart's death in 1991, the principal concern of much Mozart research has been to situate the composer and his music in increasingly well informed biographical, historical, critical and analytical contexts. The contributors to Mozart Studies share this desire to paint ever-more rounded, focused and sensitive pictures of the composer by drawing upon wide-ranging historical materials and critical tools, and to project scholarly understandings considerably beyond the narrow frames of reference that traditionally characterised Mozart research. While chapters are grouped according to the principal areas and topics covered, it is intended that other thematic links between chapters will also emerge, drawing scholars' attention to areas primed for future investigation. In the best traditions of Mozart research, it is hoped that these essays will collectively affirm the vitality of Mozart scholarship and the significant role that this scholarship continues to play in defining and re-defining musicological priorities."/><meta property="og:title" content="Mozart Studies"/><meta property="og:type" content="book"/><meta property="og:site_name" content="Google Books"/><meta property="og:image" content="https://books.google.com.sg/books/content?id=7AiUpfaK3QUC&printsec=frontcover&img=1&zoom=1&edge=curl&imgtk=AFLRE72HBAnU46ojU2FKtE4Cwodh17FvKZaBuO__kt5b2_dWHQPoItSQwBkRvVppYKad3dSn2sbQetT31CttOgSv7nVTVU2RsaGzSrbLHAZfnpjP0ynSpGCo3h_DT2XEBwLAQP5v19cm"/><link rel="image_src" href="https://books.google.com.sg/books/content?id=7AiUpfaK3QUC&printsec=frontcover&img=1&zoom=1&edge=curl&imgtk=AFLRE72HBAnU46ojU2FKtE4Cwodh17FvKZaBuO__kt5b2_dWHQPoItSQwBkRvVppYKad3dSn2sbQetT31CttOgSv7nVTVU2RsaGzSrbLHAZfnpjP0ynSpGCo3h_DT2XEBwLAQP5v19cm"/><script></script><style>#gbar,#guser{font-size:13px;padding-top:1px !important;}#gbar{height:22px}#guser{padding-bottom:7px !important;text-align:right}.gbh,.gbd{border-top:1px solid #c9d7f1;font-size:1px}.gbh{height:0;position:absolute;top:24px;width:100%}@media all{.gb1{height:22px;margin-right:.5em;vertical-align:top}#gbar{float:left}}a.gb1,a.gb4{text-decoration:underline !important}a.gb1,a.gb4{color:#00c !important}.gbi .gb4{color:#dd8e27 !important}.gbf .gb4{color:#900 !important} #gbar { padding:.3em .6em !important;}</style></head><body class=""><div id=gbar><nobr><a target=_blank class=gb1 href="https://www.google.com.sg/search?tab=pw">Search</a> <a target=_blank class=gb1 href="https://www.google.com.sg/imghp?hl=en&tab=pi">Images</a> <a target=_blank class=gb1 href="https://maps.google.com.sg/maps?hl=en&tab=pl">Maps</a> <a target=_blank class=gb1 href="https://play.google.com/?hl=en&tab=p8">Play</a> <a target=_blank class=gb1 href="https://www.youtube.com/?tab=p1">YouTube</a> <a target=_blank class=gb1 href="https://news.google.com/?tab=pn">News</a> <a target=_blank class=gb1 href="https://mail.google.com/mail/?tab=pm">Gmail</a> <a target=_blank class=gb1 href="https://drive.google.com/?tab=po">Drive</a> <a target=_blank class=gb1 style="text-decoration:none" href="https://www.google.com.sg/intl/en/about/products?tab=ph"><u>More</u> »</a></nobr></div><div id=guser width=100%><nobr><span id=gbn class=gbi></span><span id=gbf class=gbf></span><span id=gbe></span><a target=_top id=gb_70 href="https://www.google.com/accounts/Login?service=print&continue=https://books.google.com.sg/books%3Fid%3D7AiUpfaK3QUC%26q%3Dessay%26source%3Dgbs_word_cloud_r%26hl%3Den&hl=en&ec=GAZACg" class=gb4>Sign in</a></nobr></div><div class=gbh style=left:0></div><div class=gbh style=right:0></div><div role="alert" style="position: absolute; left: 0; right: 0;"><a href="https://books.google.com.sg/books?id=7AiUpfaK3QUC&q=essay&source=gbs_word_cloud_r&hl=en&output=html_text" title="Screen reader users: click this link for accessible mode. 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href=\"https://books.google.com.sg/url?id=7AiUpfaK3QUC\u0026pg=PA109\u0026q=http://www.cambridge.org\u0026clientid=ca-print-cambridge\u0026linkid=1\u0026usg=AOvVaw2ipFV1dJPG8693KowEvyrU\u0026source=gbs_pub_info_r\"\u003eCambridge University Press\u003c/a\u003e","is_ebook":false,"volumeresult":{"has_flowing_text":false,"has_scanned_text":true,"can_download_pdf":false,"can_download_epub":false,"is_pdf_drm_enabled":false,"is_epub_drm_enabled":false},"publisher":"Cambridge University Press","publication_date":"2006.11.02","subject":"Music","num_pages":252,"sample_url":"https://play.google.com/books/reader?id=7AiUpfaK3QUC\u0026source=gbs_vpt_hover","synposis":"Since the bicentennial of Mozart's death in 1991, the principal concern of much Mozart research has been to situate the composer and his music in increasingly well informed biographical, historical, critical and analytical contexts. The contributors to Mozart Studies share this desire to paint ever-more rounded, focused and sensitive pictures of the composer by drawing upon wide-ranging historical materials and critical tools, and to project scholarly understandings considerably beyond the narrow frames of reference that traditionally characterised Mozart research. While chapters are grouped according to the principal areas and topics covered, it is intended that other thematic links between chapters will also emerge, drawing scholars' attention to areas primed for future investigation. In the best traditions of Mozart research, it is hoped that these essays will collectively affirm the vitality of Mozart scholarship and the significant role that this scholarship continues to play in defining and re-defining musicological priorities.","my_library_url":"https://www.google.com/accounts/Login?service=print\u0026continue=https://books.google.com.sg/books%3Fop%3Dlibrary\u0026hl=en","is_magazine":false,"is_public_domain":false,"last_page":{"pid":"PA242","order":242,"title":"242"}},{"enableUserFeedbackUI":true,"pseudocontinuous":true,"is_cobrand":false,"sign_in_url":"https://www.google.com/accounts/Login?service=print\u0026continue=https://books.google.com.sg/books%3Fid%3D7AiUpfaK3QUC%26q%3Dessay%26source%3Dgbs_word_cloud_r%26hl%3Den\u0026hl=en","isEntityPageViewport":false,"showViewportOnboarding":false,"showViewportPlainTextOnboarding":false},{"page":[{"pid":"PA109","highlights":[{"X":435,"Y":410,"W":24,"H":13},{"X":235,"Y":517,"W":20,"H":10},{"X":245,"Y":540,"W":20,"H":10},{"X":292,"Y":609,"W":20,"H":10}],"flags":8,"order":109,"vq":"essay"}]},null,{"number_of_results":38,"search_results":[{"page_id":"PA42","page_number":"42","snippet_text":"... a sustained note. In the finale of K. 482, too, Mozart often. 26Ibid., pp. 56–64. 27Francoeur, Diapason ge ́ne ́ral, pp. 54–5. 28Augustus Frederick Kollmann, An \u003cb\u003eEssay\u003c/b\u003e on Practical Musical Composition (London, 42 Simon P. Keefe."},{"page_id":"PA43","page_number":"43","snippet_text":"... \u003cb\u003eEssay\u003c/b\u003e on Practical Musical Composition (London, 1799), p. 18; Be ́thizy, Exposition, p. 306; Francoeur, Diapason ge ́ne ́ral, p. 22. 1See for instance Charles Rosen, The Classical Stanley Sadie (ed.), 43 Strategies of wind writing in\u0026nbsp;..."},{"page_id":"PA47","page_number":"47","snippet_text":"... \u003cb\u003eEssays\u003c/b\u003e on his Life and Music (Oxford, 1996), 1971), pp. 72–3; James Webster. \u0026#39;Sonata pp. 121–31 (see esp. 128–31), a paper derived Form\u0026#39;, in NG2, vol. 23, p. 688. from an analysis symposium at the 1991 2Esther Cavett-Dunsby, \u0026#39;Mozart\u0026#39;s\u0026nbsp;..."},{"page_id":"PA48","page_number":"48","snippet_text":"... \u003cb\u003eEssay\u003c/b\u003e ot squeeze an extra semitone above f 000 on the keyboard. He could, however, do more than merely cope with ... \u003cb\u003eEssays\u003c/b\u003e in Honour of Richard Andrews (Leeds, 2004), pp. 107–22. 8See James Webster, \u0026#39;Are Mozart\u0026#39;s Concertos\u0026nbsp;..."},{"page_id":"PA52","page_number":"52","snippet_text":"... \u003cb\u003eessay\u003c/b\u003e is an attempt to classify Mozart\u0026#39;s solutions, roughly in ascending order of inventiveness. No. real. alteration. needed,. because. of. instrumentation. As already mentioned, problems of tessitura in the recapitulations of works for\u0026nbsp;..."},{"page_id":"PA55","page_number":"55","snippet_text":"... \u003cb\u003eessay\u003c/b\u003e, it is a good one, by someone who understood at least this aspect of Mozart\u0026#39;s procedures. 13The fourth flute quartet, in A (K. 298), despite its Ko ̈chel numbering, was composed in the late 1780s (Tyson, \u0026#39;Proposed New Dates\u0026#39;, p\u0026nbsp;..."},{"page_id":"PA59","page_number":"59","snippet_text":"... outcome for the recapitulation more than a semitone higher than the exposition. 16Donald Tovey, \u003cb\u003eEssays\u003c/b\u003e in Musical Analysis: Chamber Music (London, 1944), 59 Variation in recapitulations in Mozart\u0026#39;s music for wind instruments."},{"page_id":"PA61","page_number":"61","snippet_text":"... \u003cb\u003eEssays\u003c/b\u003e in Musical Analysis: Chamber Music (London, 1944), p. 119; he quotes the relevant part of the slow movement passage on p. 116. 17See Mozart\u0026#39;s letter to his father of 28 December 1782,. 61 Variation in recapitulations in Mozart\u0026#39;s\u0026nbsp;..."},{"page_id":"PA74","page_number":"74","snippet_text":"... \u003cb\u003eessay\u003c/b\u003e is apply Johnson\u0026#39;s advice to Mozart\u0026#39;s operas. The connection between them, strangely enough, is Richardson\u0026#39;s Pamela, or Virtue Rewarded. Mozart\u0026#39;s La finta giardiniera is one of a group of late eighteenth-century Italian operas\u0026nbsp;..."},{"page_id":"PA76","page_number":"76","snippet_text":"... \u003cb\u003eessay\u003c/b\u003e, I shall argue not only that the sentimental is a much more common presence in the operatic theatre of Mozart\u0026#39;s day – and a far more significant one – than anyone has yet suggested, but also that it is the indispensable context in\u0026nbsp;..."},{"page_id":"PA78","page_number":"78","snippet_text":"... \u003cb\u003eEssay\u003c/b\u003e on the Theatre: or, A Comparison between Sentimental and Laughing Comedy\u0026#39; (1773), in Arthur Friedman (ed.), Collected Works of Oliver Goldsmith (Oxford, 1966), vol. 3, p. 212. 15Janet Todd, Sensibility: An Introduction (London\u0026nbsp;..."},{"page_id":"PA79","page_number":"79","snippet_text":"... \u003cb\u003eessay\u003c/b\u003e must be considered a preliminary (and almost certainly partial) catalogue of \u0026#39;Pamela\u0026#39; operas. This list, which appears as Table 4.1, includes the premie`res of all the \u0026#39;Pamela\u0026#39; operas known to me, in chronological order. It will\u0026nbsp;..."},{"page_id":"PA102","page_number":"102","snippet_text":"... \u003cb\u003eessay\u003c/b\u003e, I would like to suggest that the sentimental is a significant presence in Mozart\u0026#39;s later and better-known operas, and in ways that have not been recognized. Die Entfu ̈hrung aus dem Serail (1782), for example, though it\u0026nbsp;..."},{"page_id":"PA105","page_number":"105","snippet_text":"... \u003cb\u003eEssays\u003c/b\u003e on His Life and Music (Oxford, 1996), pp. 269–74. 42See Waldoff, \u0026#39;Don Giovanni: Recognition Denied\u0026#39;, in Hunter and Webster (eds.), Opera Buffa in Mozart\u0026#39;s Vienna, pp. 286–307. 43Lawrence Lipking\u0026#39;s \u003cb\u003eessay\u003c/b\u003e \u0026#39;Donna Abbandonata\u0026#39; (in\u0026nbsp;..."},{"page_id":"PA109","page_number":"109","snippet_text":"... \u003cb\u003eessay\u003c/b\u003e was read at the 1993 meeting of the American Musicological Society in Montreal. The \u003cb\u003eessay\u003c/b\u003e continues a topic begun in Dorothea Link, \u0026#39;The Viennese Operatic Canon and Mozart\u0026#39;s Cosı` fan tutte\u0026#39;, Mitteilungen der Internationalen\u0026nbsp;..."},{"page_id":"PA112","page_number":"112","snippet_text":"... \u003cb\u003eessay\u003c/b\u003e are hymn canons. Some rounds, however, exhibit a high degree of contrapuntal complexity resulting from the use of irregular phrasing at the low structural level. This is true of Mozart\u0026#39;s round in Cosı` fan tutte, Salieri\u0026#39;s in Axur\u0026nbsp;..."},{"page_id":"PA113","page_number":"113","snippet_text":"... \u003cb\u003eessay\u003c/b\u003e also wrote learned canons of the sort cultivated by Padre Martini and Albrechtsberger,6 chiefly Joseph Haydn, as will be seen. While the round and the learned canon appear to us sufficiently different to merit separate terms, the\u0026nbsp;..."},{"page_id":"PA116","page_number":"116","snippet_text":"... \u003cb\u003eessay\u003c/b\u003e. The text is a quotation from Metastasio\u0026#39;s libretto Demetrio (Act 3, scene 3), first set as an opera in 1731 by Antonio Caldara, who made at least one setting of this text as a canon (see Ex. 5.3).17 This is one of approximately\u0026nbsp;..."},{"page_id":"PA119","page_number":"119","snippet_text":"... \u003cb\u003eEssays\u003c/b\u003e on his Life and Times, (Aldershot, 1987), pp. 329–31. bAntonio Caldara. . . . .[35] Kanons, ed. E. Mandiczewski, DTO ̈, 75 (1932), pp. 100–107. cAntonio Caldara: Ein Madrigal und Achtzehn Kanons, ed. Karl Geiringer, Das Chorwerk\u0026nbsp;..."},{"page_id":"PA129","page_number":"129","snippet_text":"... \u003cb\u003eessay\u003c/b\u003e. The second manuscript, entitled Canoni di diversi autori and containing seventy-six canons, is found in the Austrian National Library.60 According to an annotation in the library\u0026#39;s card catalogue, the manuscript was compiled by\u0026nbsp;..."},{"page_id":"PA135","page_number":"135","snippet_text":"... \u003cb\u003eEssays\u003c/b\u003e in Honour of Stanley Sadie (Woodbridge and Rochester, NY, 2005), pp. 139–52. 85Weinmann, Wiener Musikverlag \u0026#39;Am Rande\u0026#39;, p. 105: \u0026#39;Salieri, Scherzi armonici continenti 25 Canoni, con un Terzettino (Introd.) a` tre voci.\u0026#39; Not listed\u0026nbsp;..."},{"page_id":"PA137","page_number":"137","snippet_text":"... \u003cb\u003eessay\u003c/b\u003e. This study is made possible in part by support from the National Endowment for the Humanities and the Institute for Scholarship in the Liberal Arts, University of Notre Dame. 1\u0026#39;Il eut un grand succe`s sur le the ́aˆtre irre\u0026nbsp;..."},{"page_id":"PA138","page_number":"138","snippet_text":"... \u003cb\u003eEssays\u003c/b\u003e on His Life and His Music (New York, 1996), pp. 241–9; Sabine Henze-Do ̈hring, opera seria, opera buffa und Mozarts \u0026#39;Don Giovanni\u0026#39;: zur 8S ren Kierkegaard, Either/Or (1843), trans. Howard V. Hong and Edna 138 Edmund J. Goehring."},{"page_id":"PA143","page_number":"143","snippet_text":"... \u003cb\u003eEssays\u003c/b\u003e in Schenkerian Theory and Analysis (New York, 1999), p. 222; and Allanbrook, Rhythmic Gesture, pp. 227 and 368, n. 7. My own argument follows Rushton (\u0026#39;Don Giovanni\u0026#39;, p. 99): even if the actual revelation takes place in the\u0026nbsp;..."},{"page_id":"PA163","page_number":"163","snippet_text":"... , 1991); Gary Tomlinson, Metaphysical Song: An \u003cb\u003eEssay\u003c/b\u003e on Opera (Princeton, 1995), pp. 61–7; Michael P. Steinberg, Listening to Reason: Culture, Subjectivity, and Nineteenth-Century Music 163 7 The marriages of Don Giovanni: persuasion, ..."},{"page_id":"PA164","page_number":"164","snippet_text":"... \u003cb\u003eessay\u003c/b\u003e takes a prismatic approach to the \u0026#39;essential elements\u0026#39; and \u0026#39;founding assumption\u0026#39; just cited, refracting their larger themes into the text and music as they connect both to the Don Juan tradition and to their historical resonances\u0026nbsp;..."},{"page_id":"PA167","page_number":"167","snippet_text":"... in Dorothea Link and Judith Nagley (eds.), Words About Mozart: \u003cb\u003eEssays\u003c/b\u003e in Honour of Stanley Sadie (Woodbridge and Rochester, NY, 2005), pp. 77–106. 15Each of these set pieces was present in the very 167 The marriages of Don Giovanni."},{"page_id":"PA179","page_number":"179","snippet_text":"... \u003cb\u003eessay\u003c/b\u003e on \u0026#39;Seduction and Betrayal\u0026#39; describes the seducer \u0026#39;at his work\u0026#39; as \u0026#39;essentially comic\u0026#39;, the numbers in his catalogue revealing an \u0026#39;exhausting dedication\u0026#39;. See the title \u003cb\u003eessay\u003c/b\u003e in Seduction and Betrayal: Women and Literature (New\u0026nbsp;..."},{"page_id":"PA181","page_number":"181","snippet_text":"... \u003cb\u003eEssays\u003c/b\u003e on His Life and His Music (Oxford, 1996), pp. 296–311; Daniela Goldin, \u0026#39;In margine al catalogo di Leporello\u0026#39;, La vera Fenice: Librettisti e libretti tra Sette e Ottocento (Turin, 1985), pp. 149–63. On \u0026#39;analogy\u0026#39; as one of Mozart\u0026#39;s\u0026nbsp;..."},{"page_id":"PA183","page_number":"183","snippet_text":"... \u003cb\u003eessay\u003c/b\u003e in this volume. 48Allanbrook, Rhythmic Gesture in Mozart, p. 248. Rushton notes that \u0026#39;its graceful shape hovers over the rest of the piece\u0026#39; (\u0026#39;Don Giovanni\u0026#39;, p. 94). 49Goehring considers the quartet to be a crucial moment in 183\u0026nbsp;..."},{"page_id":"PA193","page_number":"193","snippet_text":"... , \u0026#39;Mozart\u0026#39;s Reception in Vienna, 1787–1791\u0026#39;, in Stanley Sadie (ed.), Wolfgang Amade` Mozart: \u003cb\u003eEssays\u003c/b\u003e on his Life and Music (Oxford, 1996), pp. 66–117. 4For some demythologization, see, for example, William Stafford, Mozart\u0026#39;s Death: 193 8 ..."},{"page_id":"PA196","page_number":"196","snippet_text":"... , in Link and Judith Nagley (eds.), Words About Mozart: \u003cb\u003eEssays\u003c/b\u003e in Honour of Stanley Sadie (Woodbridge and Rochester, NY, 2005), pp. 153–78. 22Roland Barthes, Mythologies, trans. Annette Lavers (New York, 1990), p. 196 Daniel K. L. Chua."},{"page_id":"PA197","page_number":"197","snippet_text":"... \u003cb\u003eessay\u003c/b\u003e will use the more familiar term. On the history of absolute music, see Daniel K. L. Chua, Absolute Music and the Construction of Meaning (Cambridge, 1999). 25Ibid., p. 129. As a discourse that insinuates itself as \u0026#39;nature\u0026#39;, the\u0026nbsp;..."},{"page_id":"PA199","page_number":"199","snippet_text":"... \u003cb\u003eEssays\u003c/b\u003e on Music and Performance (Oxford, 1995), p. 264. 35Theodor W. Adorno, Aesthetic Theory, ed. Gretel Adorno and Rolf Tiedemann, trans. C. Lenhardt (London, 1984), p. 322, and also Introduction to the Sociology of Music, trans\u0026nbsp;..."},{"page_id":"PA216","page_number":"216","snippet_text":"... \u003cb\u003eessay\u003c/b\u003e will show, this should neither lead us to conclude that postmodernism has had an unfruitful relationship with mirrors, nor that it would reject the concept (in the style of Jeff Koons) of a mirror- coated Mozart.6 Although\u0026nbsp;..."},{"page_id":"PA223","page_number":"223","snippet_text":"... \u003cb\u003eEssays\u003c/b\u003e in Honor of Leonard G. Ratner (Stuyvesant, NY, 1992), pp. 125–71. 26Allanbrook, \u0026#39;Theorizing the Comic Surface\u0026#39;, p. 203. 27Ibid. 28Allanbrook, \u0026#39;A Millenial Mozart?\u0026#39; p. 4. 29\u0026#39;Theorizing the Comic Surface\u0026#39;, p. 214. To emphasize her\u0026nbsp;..."},{"page_id":"PA224","page_number":"224","snippet_text":"... \u003cb\u003eessay\u003c/b\u003e, \u0026#39;Idea for a Universal History with a Cosmopolitan Purpose\u0026#39; (1784) and the Marquis de Condorcet\u0026#39;s Sketch for ... \u003cb\u003eEssays\u003c/b\u003e in Cultural Criticism (Baltimore and London, 1978), pp. 135–50. 31In defining learned style, I have\u0026nbsp;..."},{"page_id":"PA226","page_number":"226","snippet_text":"... \u003cb\u003eessay\u003c/b\u003e, \u0026#39;U ̈ber das neue Fugensystem\u0026#39;. In fact, in these radical, if not to say downright quirky pieces, the musical characteristics of what might constitute a fugue are loosened to such an extent that the music frequently bears no\u0026nbsp;..."}],"search_query_escaped":"essay"},{});</script></div></div></div><script>(function() {var href = window.location.href;if (href.indexOf('?') !== -1) {var parameters = href.split('?')[1].split('&');for (var i = 0; i < parameters.length; i++) {var param = parameters[i].split('=');if (param[0] == 'focus') {var elem = document.getElementById(param[1]);if (elem) {elem.focus();}}}}})();</script>