Embedded Files
Piano trio, an image used by the Viennese music publisher Artaria on the title page of several of its publications of the mid-1780s. Unlike the string quartet (largely considered an all-male ensemble in the eighteenth century), the piano trio encouraged men and women to make music together.
Websites
Digital version of the New Mozart Edition: http://dme.mozarteum.at/DME/nma/start.php
Viennese pianos (Metropolitan Museum of Art): http://www.metmuseum.org/toah/hd/vien/hd_vien.htm
Archival research on Viennese music by the Austrian musicologist Michael Lorenz: michaelorenz.blogspot.com
Mozart: New Documents, edited with commentary by Dexter Edge and David Black: http://sites.google.com/site/mozartdocuments
http://dx.doi.org/10.7302/Z20P0WXJ
The newly discovered autograph score of part of Mozart's Sonata in A major, K. 331 (first published in Vienna in 1784), with a facsimile of the manuscript and a discussion of its significance: http://mozart.oszk.hu/index_en.html#bekoszonto
Recordings
Example 14.1: Mozart, Piano Concerto in D Minor, K. 466, movement 1. John Gibbons, piano, Orchestra of the Eighteenth Century, on Youtube
Example 14.5: Haydn, String Quartet in G Major, Op. 33, No. 5. Buchberger Quartet, on Youtube
Example 14.7: Mozart, Così fan tutte, overture, on Youtube
Also see "Audio and Video Recordings to Accompany Anthology" (click on left)
The life drawing room at the Vienna Academy of the Arts in 1787, the year of Mozart's Don Giovanni. This remarkable painting by Martin Ferdinand Quadal suggests that music was not the only art being cultivated with seriousness and success during Mozart's decade in Vienna; it also demonstrates the effectiveness of the artificial light available in the 1780s—light that could have been used in Mozart's operas as well.
Videos
Examples 14. 2 and 3: Mozart, Piano Concerto in G Major, K. 453. Kristian Bezuidenhout, piano, Freiburg Baroque Orchestra, on Youtube
Example 14.8: Mozart, Così fan tutte, "Una bella serenata," on Youtube
Mozart, Gigue in G Major, played by Michael Tsalka on the Metropolitan Museum's grand piano by Ferdinand Hofmann (Vienna, ca. 1790), on Youtube
Mozart, excerpt from Variations in F, K. 613, played by Michael Tsalka on the Metropolitan Museum's piano by Johann Schmidt (Salzburg, ca. 1790), on Youtube
Kristian Bezuidenhout introduces Mozart's piano, on Youtube
Mozart vs Clementi. Film by Philippe Radault featuring the pianist Helge Antoni, on Youtube
Digital Facsimile
Kelly, Michael. Reminiscences of Michael Kelly, 2nd ed., 2 vols. (London: Henry Colburn, 1826) Google Books
The title page of the first violin part of the first edition of Mozart's "Haydn" Quartets, Vienna, 1785. Harvard University Library
Reading
Allanbrook, Wye Jamison. Rhythmic Gesture in Mozart: Le nozze di Figaro and Don Giovanni (Chicago: University of Chicago Press, 1984) Worldcat
Allanbrook, Wye Jamison. The Secular Commedia: Comic Mimesis in Late Eighteenth Century Music, ed. Mary Ann Smart and Richard Taruskin (Berkeley: University of California Press, 2014) Worldcat
Bauman, Thomas. W. A. Mozart: Die Entführung aus dem Serail (Cambridge: Cambridge University Press, 1987) Worldcat
Bauman, Thomas. "Salieri, Da Ponte, and Mozart: The Renewal of Viennese Opera Buffa in the 1780s," Internationaler Musikwissenschaftlicher Kongress zum Mozart-Jahr 1991. Baden-Wien: Bericht, ed. Ingrid Fuchs (Tutzing: Schneider, 1993), 65–70 Worldcat
Branscombe, Peter. W. A. Mozart: Die Zauberflöte (Cambridge: Cambridge University Press, 1991) Worldcat
Brown, Bruce Alan. W. A. Mozart: Così fan tutte (Cambridge: Cambridge University Press, 1995) Worldcat
Brown, Bruce, Alan, and John A. Rice. "Salieri's Così fan tutte," Cambridge Opera Journal 8 (1996), 17–43 http://journals.cambridge.org/action/displayAbstract?fromPage=online&aid=1588292
Buch, David J. “Die Zauberflöte, Masonic Opera, and Other Fairy Tales,” Acta Musicologica 76 (2004), 193–219 http://www.jstor.org/stable/25071239
Burnham, Scott. Mozart's Grace (Princeton: Princeton University Press, 2012) Worldcat
Francesco Benucci, who created the roles of Figaro in Mozart's Le nozze di Figaro and Guilelmo in Così fan tutte
Butler, Margaret. “Italian Opera in the Eighteenth Century,” The Cambridge History of Eighteenth-Century Music, Simon Keefe, ed. (Cambridge: Cambridge University Press, 2009), 244–48 Worldcat
The Cambridge Companion to Haydn, ed. Caryl Clark (Cambridge: Cambridge University Press, 2005) Worldcat
Carter, Tim. W. A. Mozart: Le nozze di Figaro (Cambridge: Cambridge University Press, 1987) Worldcat
Edge, Dexter. “Mozart’s Fee for Così fan tutte,” Journal of the Royal Musical Association 116 (1991), 211–35 http://www.jstor.org/stable/766339 Also accessible on academia.edu
Edge, Dexter, “Mozart’s Viennese Orchestras,” Early Music 20 (1992), 64–88 http://em.oxfordjournals.org/content/XX/1/64.extract Also accessible on academia.edu
Edge, Dexter. “Mozart’s Reception in Vienna, 1787–1791,” Wolfgang Amadé Mozart: Essays on his Life and His Music, ed. Stanley Sadie (Oxford: Oxford University Press, 1996), 66–117 Worldcat Copy on Academia.edu
Eisen, Cliff. "The String Quartet," The Cambridge History of Eighteenth-Century Music, Simon Keefe, ed. (Cambridge: Cambridge University Press, 2009), 648–60 Worldcat
Gjerdingen, Robert O. Music in the Galant Style (New York: Oxford University Press, 2007), 107–10, 122–28, 241–51, 359–68 Worldcat
Goehring, Edmund. Three Modes of Perception in Mozart: The Philosophical, Pastoral, and Comic in Così fan tutte (Cambridge: Cambridge University Press, 2004) Worldcat
Grave, Floyd K., and Margaret G. Grave. The String Quartets of Joseph Haydn (Oxford, 2006) Worldcat
The Burgtheater in the 1880s, shortly before its demolition
Grayson, David. Mozart: Piano Concertos Nos. 20 and 21 (Cambridge: Cambridge University Press, 1998)
Heartz, Daniel. Mozart's Operas, edited, with contributing essays by Thomas Bauman, (Berkeley: University of California Press, 1990) Worldcat
Heartz, Daniel. Mozart, Haydn, and Early Beethoven, 1780–1802 (New York: Norton, 2009), 3–402 Worldcat
Hunter, Mary. The Culture of Opera Buffa in Mozart’s Vienna: A Poetics of Entertainment Worldcat (Princeton, NJ: Princeton University Press, 1999) Worldcat
Hunter, Mary. Mozart’s Operas: A Companion (New Haven, CT: Yale University Press, 2008) Worldcat
Ivanovitch, Roman. "Mozart's Art of Retransition," Music Analysis 30 (2011), 1–36 http://onlinelibrary.wiley.com/doi/10.1111/j.1468-2249.2011.00305.x/abstract
Jan, Steven. "The Evolution of a 'Memeplex' in Late Mozart: Replicated Structures in Pamina's 'Ach ich fühl's'," Journal of the Royal Musical Association 128 (2003), 330–70
Keefe, Simon P. Mozart's Piano Concertos: Dramatic Dialogue in the Age of Enlightenment (Rochester, NY: Boydell, 2001) Worldcat
Keefe, Simon P. Mozart's Viennese Instrumental Music: A Study of Stylistic Re-invention (Woodbridge: Boydell, 2007) Worldcat
Kinderman, William. Mozart's Piano Music (New York: Oxford University Press, 2006) Worldcat
Gustav Klimt, painting the Burgtheater before its demolition in 1888, preserved for posterity a view of the hall in which Mozart presented the first performances of Figaro, Così fan tutte, and several of his piano concertos.
Landon, H. C. Robbins. Mozart: The Golden Years, 1781–1791 (New York: Schirmer, 1989) Worldcat
The Letters of Mozart and His Family, ed. and trans. Emily Anderson, 3rd ed. (New York: Norton, 1985) Worldcat
Levin, Robert. "Mozart's Working Methods in the Piano Concertos," The Century of Bach and Mozart: Perspectives on Historiography, Composition, Theory, and Performance, ed. Thomas Forrest Kelly and Sean Gallagher (Harvard University Press, 2009), 379–408 Worldcat
Link, Dorothea. The National Court Theatre in Mozart’s Vienna: Sources and Documents, 1783–1792 (Oxford: Oxford University Press, 1998) Worldcat
Link, Dorothea. “The Fandango Scene in Mozart’s Le nozze di Figaro,” Journal of the Royal Musical Association 133 (2008), 69–92 http://muse.jhu.edu/login?auth=0&type=summary&url=/journals/journal_of_the_royal_musical_association/v133/133.1.link.pdf
Lorenz, Michael. “Mozart’s Apartment on the Alsergrund,” Newletter of the Mozart Society of America 14 (2010), 4–9 http://mozartsocietyofamerica.org/publications/newsletter/archive/MSA-AUG-10.pdf
McClary, Susan. “A Musical Dialectic from the Enlightenment: Mozart’s Piano Concerto in G Major, K. 453, Movement 2,” Cultural Critique 4 (1986), 129–69 http://www.jstor.org/stable/1354338
Morrow, Mary Sue. Concert Life in Haydn’s Vienna: Aspects of a Developing Musical and Social Institution (Stuyvesant, NY: Pendragon, 1989) Worldcat
Playbill announcing the first performance of Cosi fan tutte
Mozart’s Piano Concertos: Text, Context, Interpretation, ed. Neal Zaslaw (Ann Arbor, MI: University of Michigan Press, 1997) Worldcat
Opera Buffa in Mozart's Vienna, ed. Mary Hunter and James Webster (Cambridge: Cambridge University Press, 1997) Worldcat
Parker, Mara. The String Quartet, 1750–1797: Four Types of Musical Conversation (Aldershot: Ashgate, 2002) Worldcat
Platoff, John. "The Buffa Aria in Mozart's Vienna," Cambridge Opera Journal 2 (1990), 99–120 JSTOR
Platoff, John. “How Original Was Mozart? Evidence from Opera Buffa,” Early Music 20 (1992), 105–17 http://em.oxfordjournals.org/content/XX/1/105.extract
Rice, John A. Antonio Salieri and Viennese Opera (Chicago: University of Chicago Press, 1998), 281–306, 330–492 Worldcat
Adriana Ferrarese, alumna of the Venetian ospedali who created the role of Fiordiligi in Mozart's Così fan tutte.
Ridgewell, Rupert. "Mozart's Publishing Plans with Artaria in 1787: New Archival Evidence," Music and Letters 83 (2002), 30–74 JSTOR
Rumph, Stephen C. Mozart and Enlightenment Semiotics (Berkeley: University of California Press, 2012) Worldcat
Sisman, Elaine. Mozart: The ‘Jupiter’ Symphony, No. 41 in C Major, K. 551 (Cambridge: Cambridge University Press, 1993 Worldcat
Solomon, Maynard. Mozart: A Life (New York: HarperPerrenial, 1996) Worldcat
Sutcliffe, W. Dean. Haydn: String Quartets, Op. 50 (Cambridge: Cambridge University Press, 1992) Worldcat
Taruskin, Richard. The Oxford History of Western Music (New York, Oxford University Press, 2005), vol. 2, 470–85, 542–55, 589–639 Worldcat
Waldoff, Jessica. Recognition in Mozart's Operas (New York: Oxford University Press, 2006) Worldcat
Webster, James. "Mozart's Operas and the Myth of Musical Unity," Cambridge Opera Journal 2 (1990), 197–218 JSTOR
Wolff, Christoph. Mozart at the Gateway to His Fortune: Serving the Emperor, 1788–1791 (New York: Norton, 2012) Worldcat Author's website
Woodfield, Ian. Mozart's Così fan tutte: A Compositional History (Woodbridge: Boydell, 2008) Worldcat
Zaslaw, Neal. Mozart's Symphonies: Context, Performance Practice, Reception (Oxford: Oxford University Press, 1989), 365–444 Worldcat
Zaslaw, Neal. "One More Time: Mozart and His Cadenzas," The Century of Bach and Mozart: Perspectives on Historiography, Composition, Theory, and Performance, ed. Thomas Forrest Kelly and Sean Gallagher (Harvard University Press, 2009), 239–49 Worldcat ; also on the website Apropos Mozart
Emperor Joseph II, preparing to accompany his sisters in the performance of a duet by Salieri
Study Guide
Names, titles, and terms introduced in chapter 14
Emperor Joseph II
Aufklärung
Ignaz Umlauf
Die Bergknappen
Die Entführung aus dem Serail
Gottlieb Stephanie
Prince Dmitry Golitsin
Baron Gottfried van Swieten
Leopold Mozart
Mozart, Piano Concerto in D Minor, K. 466
Mozart, Piano Concerto in G Major, K. 453
Marianne von Genzinger
Marianna Martines
Haydn, String Quartets, Op. 33
Mozart, "Haydn Quartets"
Mozart, String Quartet in A, K. 464
Giambattista Casti
Lorenza Da Ponte
Le nozze di Figaro
Così fan tutte
Topics for discussion
Read the two letters that Mozart wrote to his father about the composition of his opera Die Entführung aus dem Serail, published in English translation in Strunk's Source Readings in Music History: The Late Eighteenth Century, ed. Wye Jamison Allanbrook (New York: Norton, 1998), 232–35. What do they tell us about Mozart's attitudes toward opera and operatic composition?
Read the discussion of the concerto by the theorist Heinrich Christoph Koch, published two years after Mozart's death and reprinted in Strunk's Source Readings in Music History: The Late Eighteenth Century, 80–85. Study one of the piano concertos that Mozart wrote in Vienna (Nos. 11–27). In what way does it fulfill (and surpass) the parameters prescribed by Koch?
Mozart was a master of the operatic finale, as described in chapter 12 (p. 178) and exemplified in the anthology by an excerpt from the last finale of Paisiello's Il barbiere di Siviglia, an opera performed often in Vienna and familiar to Mozart. The anthology contains no finale by Mozart; but it does contain his duet "Fra gli amplessi." How does this duet exemplify the musical and dramatic techniques that Paisiello used so effectively in his finale?
Watch the film Mozart vs Clementi, which consists of a skillful and effective mixture of facts and fiction. How are we to separate the facts from the fiction?
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