On the Sinfonia to Le Nozze di Figaro

Sinfonia to Le Nozze di Figaro

Wolfgang Amadeus Mozart. (KV.492)

Figaro was commissioned by Emperor Joseph II and the Imperial Italian Opera Company and premiered at the Burgtheater in Vienna on May 1, 1786.

Instrumentation: 2 flutes, 2 oboes, 2 clarinets, 2 bassoons, 2 horns, 2 clarin trumpets, timpani, and strings (2 violins, 2 violas, cello, bass.)

The score is available via the Neue Mozart-Ausgabe.

 Incipit. (click to enlarge)

John Eliot Gardiner conducting The English Baroque Soloists.

The piece–which is all about movement raised to its highest potential–steals in as though from a distance in its famous seven-bar opening phrase, needing two attempts to get under way. But now it stirs in every quarter, laughing, chuckling and triumphing, with new watercourses opening up as the floodtide rushes past, before the piece as a whole races toward its jubilant end in a bacchantic torrent entirely in keeping with Mozart's basic conception of his subject, an apotheosis of an untrammelled life force that could hardly be more infectious. [Abert, 935]

Indeed, what a glorious piece to set Figaro on its way. Where the overture to Die Entfuhrüng paused and took us aside for a look at a more tranquil place, the sinfonia to Figaro sweeps us up and never slows down. Mozart did, in fact, consider for Figaro an overture similar to his for Die Entfuhrüng and the folio shows an andante con moto in 6/8-time with the main melody in the oboe against pizzicato accompaniment in the strings. [1] He struck it out, though, and in its place we have this glorious sinfonia, a designation which, distinct from overture, makes this more of an opening concert piece.

In contrast to Mozart's earlier operas it is not bound to the work as Idomeno's overture is bound to the drama by a tragic pathos, or as Die Entführung's is in depicting an exotic land. It lacks the infamous chord in Don Giovanni and the threefold-chord of Die Zauberflöte that become motives throughout those works. Though it does not contain any explicit musical or dramatic connection to the opera, the mood and energy of the piece nonetheless have a great preparatory effect on the audience, sweeping us into the proper mood or at least sweeping away some of the day's cares with which we entered.

It is perhaps unavoidable to state the piece's form, which is that of a sonata without a development section. We will see in its stead significant contrast between the exposition and recapitulation, which Levarie suggests function as strophe and antistrophe, the latter "fulfilling what the exposition leaves undone." [Levarie, 3]

We open pianissimo in D with the strings offering the main theme along with the bassoon which adds a certain implacable eccentricity to the phrase. The woodwinds respond piano in a four-bar
arpeggio before the whole orchestra bursts forth at m. 12, winds and horns forte and strings fortissimo. Against the basses sputtering out quavers in D the winds, horns, and 2nd violins play crotchets, doubled on the strong beats by the timpani until the horns recede to the strong beats only and the winds subdivide the weak-beat crotchets into quavers, creating a rollicking dactylic motion with which we close the section. We then return (at m.18) to the opening material, now heightened with the oboe and flute and this time piano.

The start of the next section, m.35, beings forte but backs off quickly to piano and a thrice-repeated descending scale followed by forte chord of punctuation. At the fourth repetition, though, the punctuation and scale coincide, only the scale is ascending now and we are launched into a flurry of arpeggios and an "exuberantly powerful" [Abert, 936]  rhythm based on a simple figure of three crotchets before we slide back down again in a descending tonic scale.

Summary of Sections I-III

I. m.1-18

1. 7m. opening theme
2. 4m. arpeggio
3. 7m. descending tonic scale

II. m.19-34

1. 6m. opening theme with winds
2. 4m. arpeggio
3. 6m. descending tonic scale

III.  m.35-58

1. 10m. scalar theme
2. 4m. arpeggios and crotchet figure
3. 10m. descending tonic scale

Subsequent Sections

IV. m.59-84

This bridge passage is a particularly clear example of this overture's habit of proceeding in "fits and starts." [Abert, 936]. The 2nd violin and viola introduce a figure of eight 8th notes, the first of which is both fortepiano and staccato. In the next measure the figure is doubled on the strong beat by a whole note from the 1st violin and then two measures later the oboe joins in and the 1st violin introduces a sprightly, incipient version of the overture's main opening theme. The oboe elaborates a little, followed by the flute before the material repeats and the descending figure in the flute slides down into a forte unison. The tone suddenly waxes serious and we have a grave theme in the first violin repeated between more forte unisons and against incessant quavers in D.

 m.76-77.

The theme, though, quickly gives way to the old three-crotchet motive, increasing the tension as it ascends each measure, from G# on the last forte unison up through D until the basses come in on the dominant at m.85 and present us with a grand and lofty theme.

V. m.85-138

    m.85-106

m.85-87.

Yet this mood quickly reverses as this bass theme is taken up by the violins where it becomes, as Abert states with particular precision, "timid and even supplicatory." [Abert, 936.] The phrase is followed by a short but firm little phrase, first in the bassoon and oboe and then in the oboe and flute, as if the violin phrase is leaning on it for support, or perhaps leaning into the stronger phrase as a suppliant. In its third repetition it seemingly evaporates as it is taken up by the bassoon which chirps it out less seriously and staccato.

    m.107-138

Here the bassoon and violin glide and soar gloriously, free of the earlier turmoil. Yet after the flute joins them they slide right into a forte unison chord and the tension returns. The chord repeats several times, each time cutting off a theme in the 1st violins trying to get underway. After four thwarted attempts the theme gets cut off midway and a descending scale leads us into a recapitulation of the piece's opening, pianissimo. These structured interruptions, with dynamic markings every other measure, characterize the "fits and starts" progression of the sinfonia.

VI. m.139-235

Levarie discusses at length the complexities of the harmonics in the variations of the recapitulation. Rather than repeat his analysis I will note only the most prominent feature, the resolution at m. 203-208 of the a-sharp that derailed and delayed the successful completion of the ascending scale way back in the very 4th measure and set us on our many-coursed adventure.


VII. m.236-294 (end)

The recapitulation runs straightaway into the many-measure crescendo (a "Mannheim" crescendo) that begins the coda. The tension rises bar after bar spanning two octaves until it erupts forte into an outburst of the whole orchestra and a release into the three-crotchet motive (now with more force than ever) and then straightaway again into descending scales, first in the violins and then the woodwinds (against a trill on C# in the strings which gets fulfilled by the grace notes B-C# leading into the unison on D in the following measure.) This structurally and harmonically satisfying run is repeated twice. So precise is the structure of the piece, so measured its rhythmic phrasing and balance and so complementary its harmonic progression and structure to that rhythmic framework, that when we gradually come to a close we feel neither defrauded of more adventure nor exhausted from too much, but rather freed and vivified in perfect degree.

–

[1] This andante is presented both in Abert's W. A. Mozart (on p. 934) in the chapter on Figaro and in the NMA Critical Report on p. 330 in the section, "Striche und Änderungen von Mozarts Hand."

–

Bibliography

Abert, Hermann. W. A. Mozart. Yale University Press. New Haven and New York. 2007.

Levarie, Siegmund. Mozart's Le Nozze di Figaro: A Critical Analysis. University of Chicago Press. Chicago. 1952.

Recommended

Platoff, John. Essay "Tonal Organization in the Opera Buffa of Mozart's Time" in Mozart Studies 2 ed. Cliff Eisen. Oxford University Press. NY. 1997.

Swain, Joseph P. Harmonic Rhythm: Analysis and Interpretation. Part II, Section 12, "Mozart: Overture to The Marriage of Figaro." Oxford University Press, NY. 2002.

Tovey, Donald Francis. Essays in Musical Analysis. (Six Volumes.) Volume IV: Illustrative Music: Overture to Le Nozze di Figaro, KV.492. Oxford University Press. London. 1935.

N.B. Though brief at only about one page, Tovey's essay is worth reading for its comparison to Cimarosa's Il Matrimonio Segreto and Tovey's habitual wit and concise insight.

On the Overture to Die Entführung aus dem Serail

Overture to Die Entführung aus dem Serail

Wolfgang Amadeus Mozart. (KV.384)

Die Entführung was commissioned in 1781 by Joseph II, Emperor of Austria, and premiered with the Nationalsingspiel at the Burgtheater in Vienna on July 16, 1782.

Instrumentation: piccolo, 2 oboes, 2 clarinets, 2 bassoons, 2 horns, 2 clarin trumpets, timpani, triangle, cymbals, bass drum, strings (2 violins, 2 violas, cello, bass.)

The score is available via the Neue Mozart-Ausgabe.  

Incipit. Violins.

Zubin Mehta, conductor.

The overture [. . .] is quite short, and changes from forte to piano all the time, the Turkish music always coming in at the fortes. It keeps modulating, I doubt if anyone could fall asleep during it, even if they hadn't slept a wink the night before.

- W. A. Mozart. (26 September 1781.) [2]

There is a new feature here that not only keeps the Turkish element in check but determines the basic character of the overture as a whole. This is the secretive, fantastical whispering with which the theme – built up on simple triadic intervals – begins. A fairy-tale atmosphere envelops us, as it will later do in the allegro section of the overture to Die Zauberflöte, casting its spell on us and holding us in thrall till the very end with its secretive whispering and brightly darting flames. [1]

–

Only by a willful obstinacy can you avoid getting swept up by the opening of this overture, a 118-bar presto in 2/2 time. The piece opens with jovial and venturous little tune but piano and against a giddy repeated 8th note figure in the bass. It is like a friend telling you of a fantastical discovery, barely able to repress his excitement. We do not wait long, though, for the theme is repeated only once, though higher as if the secret is about to burst out, when it is joined forte by the whole orchestra and we are swept off and away at the urging of the timpani and the jangling of the triangle. The main theme repeats piano in the violins and clarinet with the other strings repeating the 8th note figure, then it is once more joined forte by the rest of the orchestra. The second half of the main theme is then repeated two extra times by only the piccolo and 1st violin, with the 16th note element leading right down into another forte and a rising scalar passage in the strings, piccolo, and bassoon, and topped off with a whole-note doubled by the remainder of the orchestra. Without rest, though, we dart into a more skittish version of the main theme which is repeated piano:

 

mm. 39-42. 1st violin.

Then another forte, and another variation on the theme:

mm. 44-46. 1st violin.

The rest of the section whizzes by in like fashion, with modulation, alternation between forte and piano, and variation on the main theme. It concludes in a whirlwind, with a little figure repeated over and over by the woodwinds and strings,

mm. 84-86. Violins

rising each time, until it gives way to a full version of the main theme with the whole orchestra.

Where the first section was a hasty tour of fantastical sights the next section, starting in m.119, in C minor and marked andante, is a deeper look into this new world. It begins as someone walking into a foreign land, with footsteps both cautious and weary:

mm. 119-123. Violins.

This theme is then taken up by the oboe piano, in whose hands it is less urgent but more vulnerable and full of longing. Abert draws proper attention to the "outburst on the fermata [m. 128], where the whole sense of yearning finds finds particularly concentrated expression." [1] We will later hear this same theme, in C major, from Belmonte when he makes his entrance. As Abert notes also, the  interplay between winds and strings is especially effective here, with the winds both coaxing out and then supporting another sad little phrase from the strings. This phrase is repeated in the violins who play it an octave apart and alternate it a tone each measure until they take it up still higher at a crescendo leading into a forte for all the strings and woodwinds. The theme is then repeated again by the strings before the clarinet and flute heighten the moment with an ascending passage of 16th notes and a dotted G crotchet hovering above as the violins and oboe now together play the little theme, now dotted, in a sublime moment.

Yet we do not dwell in this wondrous land of heightened senses for long and after another "outburst" on a fermata we dive back into the opening material tempo primo. The last notes of the overture fade away with just one lone half-note on the triangle ringing on to remind us of the great fanfare as Belmonte enters like the figure in the andante. 

The overture to Die Entführung is a remarkably efficient and effective piece, first catching the listener's ear and whisking him off to a far away land, and then giving him a slight hint of an exotic, passionate world. So transported, we eagerly look on as the scene hinted at in the andante unfolds  before us.

–

[1] Abert, Hermann. W. A. Mozart. Yale University Press. New Haven and New York. 2007. (p. 668)
[2] Cairns, David. Mozart and His Operas. University of California Press. Berkeley and Los Angeles. 2006. (p. 74)

On the Overture to Idomeneo

Overture to Idomeneo

Wolfgang Amadeus Mozart. (KV.366)

Idomeneo was commissioned in 1780 by Karl Theodor, Elector of Bavaria, and premiered at the Cuvilliés Theatre of the Munich Residenz January 29, 1781.

Instrumentation: 2 flutes, 2 oboes, 2 clarinets, 2 bassoons, 4 horns, 2 trumpets (autograph reads: clarin trumpets), timpani, strings (2 violins, 2 violas, cello, bass.)

The score is available via the Neue Mozart-Ausgabe.

Incipit. 1st violin.

John Eliot Gardiner conducting the English Baroque Soloists.

". . . magnificent in terms of both its design and its execution, a piece aglow from first to last with supremely tragic emotion." [1]

"The overture is the score and the drama in microcosm: grand but ominous, driven forward relentlessly as though by the surge and sweep of the sea felt both as physical presence and as the angry Neptune, a symbol of the power of malignant fate over human affairs. . . This is the pattern of the overture: authority threatened by forces beyond its control." [2]

–

In their observations quoted above, Abert and Cairns capture the essence of Mozart’s overture for Idomeneo. As such I hope simply to elaborate on why and how the piece, in all of its terrifying splendor, is so effective.

The overture opens with a fanfare-like tune in D major for the whole orchestra. Yet like the final piano sonata KV.576, this festive opening quickly gives way to something altogether different. Where the sonata continued into whimsy, though, Idomeneo plunges into strife. In the 7th measure the 2nd violins give way to a series of half-note tremolos as the rest of the strings yield to a menacing motive, amplified by a like response in the woodwinds:

8m. Strings.	9m. Woodwinds.

The contest is repeated two times until the 1st violins break out into a dotted crotchet figure repeated against a persistent, agitating quaver figure in the 2nd violins, one we will hear incessantly through the rest of the piece.

mm. 14-15

The descending figure in the 1st violins is played and then repeated twice, though the third time in abbreviated form with only the descending element. Shortened, as if struggling and weakening against immovable forces, it falls into a skittish crescendo of tremolo crotchets. At m. 23 we have a forte chord with the basses then thrice launching the violins into an ascending passage. The violins then give up a lovely little secondary theme, (perhaps a cousin of the theme from mm. 57-61 of the Sinfonia Concertante, KV.364, written not long before Idomeneo), which is then taken up by the basses before a descending scalar passage leads into that little theme’s full flowering. Yet this glorious blossoming is against that persistent agitating figure in the 2nd violins again. The theme is then taken up in part by the violas and basses as if in support. At bar 41 the little theme, as if deflated and exhausted, falls piano in a little chromatic descent.

The descent leads into a tremolo, out of which the 2nd violins grow into another incessant and agitating quaver figure, now dotted, and against which the first violins cautiously press on:

mm. 49-53

The little theme in the first violins continues on, sighing and meandering until at last the winds take it over and into another forte chord, after which another series of rising passages driven on and up by the timpani follow. The horn and trombone then take up our little theme from mm. 14-15 against the persistent violins, a contest which ends with a slightly innocent little descending dotted passage and little sighs before a forte unison.

We return to a variant of our first two themes, the chromatic crescendo in the strings and the woodwind reply. It is played and then repeated three times, escalating in intensity each, but descends not into a fury but a fortissimo dotted rhythm and another forte unison.

After the recapitulation of the major themes in which the woodwinds see an increased role trading the material with the strings, the movement draws down to an ominous close. At m. 137 we get a rising scale piano in the oboes and clarinets followed by a descending chromatic figure in the flute, cut off by a harsh chord. The pattern repeats, with the woodwinds a tone or semitone lower each time. Eventually just the flute repeats its little figure against the pedal points:

m. 152

Cairns is quite right to note how “the tonality is a chromatically inflected D minor; the grand D major of the opening seems far away.” Both Cairns and Abert have noted the similarity between Mozart’s closing figure here and one from the opening of Gluck’s overture to his Iphigénie en Tauride.

Mozart

Gluck

The quotation is both a fitting homage toward the great Gluck and his masterpiece and an appropriately somber place at which to introduce us to Illia, who we find lamenting the destruction of her Trojan home and longing for Idamante, her rescuer, who is in love Argive princess.

Idomeneo’s overture is an ingenious balance between the sinfonia and the overture, functioning both to set the mood of the opening scene and to introduce the essential theme of the whole opera, the grand tragic struggle.

–

[1] Abert, Hermann. W. A. Mozart. Yale University Press. New Haven and New York. 2007. (p. 613)
[2] Cairns, David. Mozart and His Operas. University of California Press. Berkeley and Los Angeles. 2006. (pp. 54-55)

- Sheet music to Mozart's Idomeneo via the Neue Mozart Ausgabe.
- Sheet music to Gluck's Iphigénie en Auride via the Petrucci Music Library. [PDF]

Happy Birthday Mozart

Johannes Chrysostomus Wolfgangus Theophilus Mozart was born today, the 27th of January, in the year 1756.

Posthumous painting by Barbara Krafft in 1819.

Sinfonia Concertante in E-flat. KV.364

Issac Stern (Violin), Pinchas Zukerman (Viola), and 

Zubin Mehta conducting The New York Philharmonic Orchestra. 1980 . 

Part I | Part II

Three Quotations via  
Phil. G. Goulding's "Classical Music: The 50 Greatest Composers"


"No instrumentation over-refined or over-laden; no development too complex or too slight. Everything is in perfect proportion to everything else–everything is just as it should be. . . For Mozart, besides having genius, had talent; he is one of the few composers in the world who had both, and that one reason is why he is unique."

- a 19th century music critic

"Before God, and as an honest man I tell you that your son is the greatest composer known to me, either in person or by name. He has taste, and, what is more, the most profound knowledge of composition."
- Joseph Haydn

"A phenomenon like Mozart is an explicable thing."
- Johann Wolfgang von Goethe

–

"Mozart's abnormal receptiveness gave him the most complete grasp that has yet been known of that diatonic system which is the basis of European musical training. This may seem an extravagant claim, but we can explain many a Mozartian tour de force only by recognizing that the man could cary in his head not just chords, their inversions, and  few "stock" contrapuntal gambits–for these served all musicians of talent–but the discords, suspensions, and contrapuntal ornaments most of us, even to-day, have to work out, as we do a mathematical problem.

[This passage from the D major Quintet], not a particularly ambitious work, could have been written by no other composer, ancient or modern. Yet its movement opens tamely and serenely and is not disturbed by the writing itself. To hear the passage without seeing it on the score paper, is to be unaware of its astounding technical virtuosity. Thus easily does Mozart seem to have acquired the style; this is a measure of his superb taste."

- Arthur Hutchings, in his "Companion to Mozart's Piano Concertos"

An insightful discussion of Mozart and Così fan tutte with classical music critic Lloyd Schwartz from 2006, the 250th anniversary the composer's birth. (A discussion brought to my attention just today by my esteemed co-blogger Mr. Northcutt.)

Other Mozartiana here at APLV:

- Thoughts on the Magic Flute

- The Music of Milos Forman's 1984 film, Amadeus (an essay in three parts)

- A review of Milos Forman's 1984 film, Amadeus (also in three parts)

- Selected Clips of Don Giovanni

- A Mozart Bibliography

and a new essay, for today: "On the Overture to Mozart's Idomeneo."

A Mozart Bibliography

A Mozart Bibliography
A Listing of Books On Wolfgang Amadeus Mozart, His Life, Music, and World.

Preface

W. A. Mozart, 1789.

This bibliography began as a list of books on Mozart I wanted to read. In time it became a list of books I had read, then one of books I owned. I then began categorizing the list into, "books I want as references," "books on specific pieces I want to study," "books I should only buy if I've read everything else already" and so forth. I decided to post it online to serve as one of intermediate comprehensiveness between the basic list and the bibliographies in Abert and Solomon.

The current edition of Abert's W. A. Mozart (Translated by Stewart Spencer. Edited by Cliff Eisen. Yale University Press. 2007.) contains the largest bibliography at 64 pages. Though short of the bibliography in Abert, Solomon's bibliography in Mozart: A Life is imminently useful and more manageable at 17 pages. Both volumes contain an index of Mozart's works by genre, an index of names and subjects, and a copy of the Köchel-Verzeichnis.

Also, both the Abert and Solomon bibliographies contain substantial listings of non-English sources, papers, journal essays, reports, symposiums, and volumes of original documents, none of which are included here. You will find an online listing of such sources at this site: [link]. Articles in English are listed here.

Dates given below are of the original publication date of the work, whether it is Niemetschek's 1798 biography or the 2003 New Grove Mozart. After publication books may subsequently be published by another press or reissued as a new edition, sometimes under a slightly altered title. As such, I have not included references to specific publishers or specific page numbers. I have, though, provided approximate page lengths where I thought it helpful, mostly so no one goes out of the way to buy a book only to find the essay far shorter than expected.

I hope you find this listing useful.

NB: You can quickly search this page with your web browser's search command: Ctrl + F on the PC and Command ⌘ + F on the Mac.

For convenience the following is a shortened URL to this page:  

http://tinyurl.com/mozartbib

Last Updated: 1/16/14

Monitor this page for changes with http://www.changedetection.com/

Please leave corrections and suggestions for additions in the comments section below.

The Bibliography

Contents

1. Comprehensive
2. Biography
3. Handbooks, Compendiums, Surveys, Overviews,  Et Cetera
4. Musicological Analysis
5. Opera
6. Performance Practice
7. Essays in Books Not Exclusively About Mozart
8. Miscellaneous Books on Mozart
9. Others in Mozart's Life
10. Compilations of Primary Sources
11. 18th Century Culture, Thought, Music, Et Cetera
12. Articles
13. Journals
14. Miscellaneous

I. Comprehensive

Abert, Hermann. W.A. Mozart. 1923-1924.

Deutsch, Otto Erich. Mozart: A Documentary Biography. 1965. (N.B. Excludes Mozart's letters and the Mozart family correspondence.)

Jahn, Otto. W. A. Mozart. 1856.


II. Biography

Banks, Chris A. Mozart: Prodigy of Nature. 1991.

Blom, Eric. Mozart. 1935.

Braunbehrens, Volkmar. Mozart in Vienna: 1781-1791. 1986.

Breakspeare, Eustace J. Mozart. 1902.

Buchner, Alexander. Mozart and Prague. 1962.

Buenzod, E. Mozart. 1930.

Cormican, Brendan. Mozart's Death - Mozart's Requiem: An Investigation. 1991.

Davenport, Marcia. Mozart. 1932.

Einstein, Alfred. Mozart: His Character, His Work. 1945.

Gay, Peter. Mozart. (A Penguin Life) 1999.

Gheon, Henri. In Search of Mozart. 1932. (original French edition, Promenades avec Mozart)

Gutman, Robert. Mozart: A Cultural Biography. 2000.

Haas, Robert. Wolfgang Amadeus Mozart. 1933.

Henry, Jacques. Mozart the Freemason: The Masonic Influence on His Musical Genius. 2006.

Hildesheimer, Wolfgang. Mozart. 1982.

Hussey, Dyneley. Wolfgang Amade Mozart. 1928.

Holmes, Edward. The Life of Mozart. 1845.

Johnson, Paul. Mozart: A Life. 2013.

Keyes, Ivor Christopher Banfield. Mozart: His Music in His Life. 1980.

Koolbergen, Jeroen. Mozart: 1756-1791 (Great Composers). 1998.

Küng, Hans. Mozart: Traces of Transcendence. 1993.

Landon, H. C. Robbins. 1791: Mozart's Last Year. 1988.

Landon, H. C. Robbins. Mozart and the Masons: New Light on the Lodge "Crowned Hope." 1983.

Landon, H.C. Robbins. Mozart and Vienna. 1991.

Landon, H.C. Robbins. Mozart: The Golden Years. 1989.

Lingg, Ann M. Mozart: Genius of Harmony. 1946.

McLean, Ian. Mozart: 1756-1791. 1990.

Melograni, Piero. Wolfgang Amadeus Mozart: A Biography. 2006.

Mersman, Hans. Mozart. 1925.

Morris, James M. (ed.) On Mozart. 1994.

Nettl, Paul. Mozart and Masonry. 1957.

Niemetschek, Franz. Mozart: The First Biography. 1798.

Ottaway, Hugh. Mozart. 1979.

Paumgartner, Bernhard. Mozart. 1927.

Publig, Maria. Mozart. 1991.

Rosselli, John. The Life of Mozart. 1998.

Rushton, Julian. Mozart. 2009.

Sadie, Stanley. Mozart: The Early Years. 2005.

Schenk, Erich. Mozart and His Times. 1955.

Schroeder, David. Mozart in Revolt: Strategies of Resistance, Mischief and Deception. 1999.

Sitwell, Sacheverell. Mozart. 1932.

Solomon, Maynard. Mozart: A Life. 1995.

Stafford, William. The Mozart Myths: A Critical Reassessment. 1991.

Talbot, J. E. Mozart. 1930.

Tchernaya, E. S. Mozart: His Life and Times. 1986.

Tenschert, Roland. Mozart. 1930.

Thomson, Katharine. The Masonic Thread in Mozart. 1977.

Thompson, Wendy. Mozart: A Bicentennial Tribute. 1989.

Turner, W. J. Mozart: The Man and His Works. 1938.

Wates, Roye E. Mozart: An Introduction to the Music, the Man, and the Myths. 2010.

Zaluski, Iwo and Zaluski, Pamela. Mozart in Italy. 2000.


III. Handbooks, Compendiums, Surveys, Overviews,  Et Cetera

Biancolli, Louis. (ed.) The Mozart Handbook: A Guide to the Man and His Music. 1954.

Eisen, Cliff. Mozart Studies. 1992.

Eisen, Cliff. Mozart Studies 2. 1998.

Hutchings, Arthur. Mozart: The Man, The Musician. 1976.

Keefe, Simon P. (ed.) The Cambridge Companion to Mozart. 2003.

Keefe, Simon P. (ed.) Mozart Studies. 2006.

Landon, H.C. Robbins. (ed.) The Mozart Companion. 1969.

Landon, H.C. Robbins. (ed.) The Mozart Compendium. 1990.

Landon, H.C. Robbins. The Mozart Essays. 1995.

Lang, Paul Henry. The Creative World of Mozart. 1963.

Link, Dorothea and Nagley, Judith. Words About Mozart: Essays in Honour of Stanley Sadie. 2005.

Rushton, Julian. The New Grove Guide to Mozart and His Operas. 2007.

Sadie, Stanley and Tyrrell, John. The New Grove Mozart. 2003.

Sadie, Stanley. (ed.) Wolfgang Amadè Mozart: Essays on his Life and his Music. 1996.

Zaslaw, Neal and Cowdery, William. The Compleat Mozart: A Guide to the Musical Works of Wolfgang Amadeus Mozart. 1991.


IV. Musicological Analysis

Allanbrook, Wye Jamison. Rhythmic Gesture in Mozart. 1984.

Caplin, William E. Classical Form: A Theory of Formal Functions for the Instrumental Music of Haydn, Mozart, and Beethoven. 1998.

Damschroder, David. Harmony in Haydn and Mozart. 2012.

Dearling, Robert. The Music of Wolfgang Amadeus Mozart: The Symphonies. 1982.

Dickinson, A. E. F. A Study of Mozart's Last Three Symphonies. 1927.

Dunhill, Thomas. Mozart's String Quartets. 1927.

Etheridge, David. Mozart's Clarinet Concerto: The Clarinetist's View. 1989.

Finscher, L. Wolff, C. (ed.) The String Quartets of Haydn, Mozart, and Beethoven: Studies of the Autograph Manuscripts. 1980.

Flothius, Marius. Mozart's Piano Concertos. 2001.

Fredman, Myer. From Idomeneo to Die Zauberflöte: A Conductor's Commentary on the Operas of Wolfgang Amadeus Mozart. 2002.

Girdlestone, Cuthbert. Mozart and His Piano Concertos. 1948.

Grayson, David. Mozart: Piano Concertos Nos. 20 and 21. 1999.

Greene, David B. The Spirituality of Mozart's Mass in C Minor, Bach's Mass in B Minor, and Messiaen's Quartet for the End of Time: When Hearing Sacred Music Is Relating to God. 2012.

Harlow, Martin. Mozart's Chamber Music with Keyboard. 2012.

Hutchings, Arthur. A Companion to Mozart's Piano Concertos. 1948.

Irving, John. Mozart: The "Haydn" Quartets. 1998.

Irving, John. Mozart's Piano Concertos. 2003.

Irving, John. Mozart's Piano Sonatas: Contexts, Sources, Style. 1997.

Irving, John. Understanding Mozart's Piano Sonatas. 2010.

Keefe, Simon P. Mozart's Piano Concertos: Dramatic Dialogue in the Age of Enlightenment. 2001.

Keefe, Simon P. Mozart's Requiem: Reception, Work, Completion. 2012.

Kinderman, William. Mozart's Piano Music. 2006.

King, Alec Hyatt. Mozart Wind and String Concertos. 1978.

Lawson, Colin. Mozart: Clarinet Concerto. 1996.

Leeson, Daniel N. Opus Ultimum: The Story of the Mozart Requiem. 2004.

Levin, Robert D. Who Wrote the Mozart Four-Wind Concertante? 1998.

Marks, F. H. The Sonata: Its Form and Meaning as Exemplified in the Pianoforte Sonatas of Mozart. 1921.

Maunder, C. Richard F. Mozart's Requiem: On Preparing a New Edition. 1988.

Mercado, Mario R. The Evolution of Mozart's Pianistic Style. 1992.

Mirka, Danuta. Metric Manipulations in Haydn and Mozart: Chamber Music for Strings, 1787-1971. 2009.

Mozart, Wolfgang Amadeus. Practical Elements of Thorough Bass. 1823. (A collection of the composer's lessons compiled by his students and posthumously published.)

Sadie, Stanley. Mozart Symphonies. 1986.

Saint-Foix, Georges de. The Symphonies of Mozart. 1949.

Sisman, Elaine R. Mozart: The Jupiter Symphony. 1993.

Smith, Erik. Mozart Serenades, Divertimenti and Dances. 1982.

Tischler, Hans. A Structural Analysis of Mozart's Piano Concertos. 1966.

Waldoff, Jessica. Recognition in Mozart's Operas. 2006.

Wolff, Christoph. Mozart's Requiem: Historical and Analytical Studies, Documents, Score. 1994.

Yuee, Lai Mee & Yeo, Young-Hwan. A Descriptive Analysis of Mozart Piano Sonata: For the 1st Movement of Mozart Piano Sonata in Bb Major, K.333. 2012.

Zaslaw, Neal. Mozart's Piano Concertos: Text, Context, Interpretation. 1997.

Zaslaw, Neal. Mozart's Symphonies: Context, Performance Practice, Reception. 1989.


V. Opera

Angermüller, Rudolph. Mozart's Operas. 1988.

Bauman, Thomas. W. A. Mozart: Die Entführung aus dem Serail. (Cambridge Opera Handbooks) 1988.

Benn, Christopher. Mozart on the Stage. 1946.

Branscombe, Peter. W. A. Mozart: Die Zauberflöte. (Cambridge Opera Handbooks) 1991.

Brophy, Brigid. Mozart the Dramatist: The Value of His Operas to Him, to His Age, and to Us. 1988.

Brown, Bruce Alan. W. A. Mozart: Così fan tutte. (Cambridge Opera Handbooks) 1995.

Brown-Montesano, Kristi. Understanding the Women of Mozart's Operas. 2007.

Cairns, David. Mozart and His Operas. 2006.

Carter, Tim. W. A. Mozart: Le Nozze di Figaro. (Cambridge Opera Handbooks) 1988.

Chailley, Jacques. The Magic Flute Unveiled: Esoteric Symbolism in Mozart's Masonic Opera. 1992.

Dent, Edward J. Mozart's Operas: A Critical Study. 1913.

Ferrara, William. Staging Scenes from the Operas of Mozart: A Guide for Teachers and Singers. 2014.

Fisher, Burton D. Mozart's Don Giovanni (Opera Classics Library Series) 2002.

Ford, Charles. Così?: Sexual Politics in Mozart's Operas. 1991.

Ford, Charles. Music, Sexuality and the Enlightenment in Mozart's Figaro, Don Giovanni and Cosi Fan Tutte. 2012.

Fredman, Myer. From Idomeneo to Die Zauberflöte: A Conductor's Commentary on the Operas of Wolfgang Amadeus Mozart. 2002.

Gianturco, Carolyn. Mozart's Early Operas. 1981.

Goehring, Edmund J. Three Modes of Perception in Mozart: The Philosophical, Pastoral, and Comic in Cosí fan tutte. 2004.

Heartz, Daniel. Mozart's Operas. 1992.

Hunter, Mary. Mozart's Operas: A Companion. 2008.

King, Alec Hyatt. Mozart Chamber Music. 1968.

Levarie, Siegmund. Mozart's Le nozze di Figaro: A Critical Analysis. 1952.

Mann, William. The Operas of Mozart. 1977.

Miller, Jonathan. The Don Giovanni Book: Myths of Seduction and Betrayal. 1987.

Osborne, Charles. The Complete Operas of Mozart. 1978.

Rice, John A. Mozart on the Stage. 2009.

Rice, John A. W. A. Mozart: La Clemenza di Tito. (Cambridge Opera Handbooks.) 1991.

Rushton, Julian. W. A. Mozart: Don Giovanni. (Cambridge Opera Handbooks) 1981.

Russell, Charles C. The Don Juan Legend Before Mozart: With a Collection of 18th Century Opera Librettos. 1999.

Steptoe, Andrew. The Mozart-Da Ponte Operas: The Cultural and Musical Background to Le nozze di Figaro, Don Giovanni, and Cosi fan tutte. 1988.

Till, Nicholas. Mozart and the Enlightenment: Truth, Virtue and Beauty in Mozart's Operas. 1992.

Woodfield, Ian. Mozart's Così fan tutte: A Compositional History. 2008.


VI. Performance Practice

Badura-Skoda, Eva and Badura-Skoda, Paul. Interpreting Mozart on the Keyboard. 1962.

Brown, Clive. Classical and Romantic Performing Practice 1750-1900. 1999.

Etheridge, David. Mozart's Clarinet Concerto: The Clarinetist's View. 1989.

Fredman, Myer. From Idomeneo to Die Zauberflöte: A Conductor's Commentary on the Operas of Wolfgang Amadeus Mozart. 2002.

Gerig, Reginald R. Famous Pianists and Their Technique. 1974.

Lloyd-Watts, Valery. Ornamentation: A Question & Answer Manual. 1995.

Marty, Jean-Pierre. The Tempo Indications of Mozart. 1989.

Neumann, Frederick. Ornamentation and Improvisation in Mozart. 1986.

Brown, Howard Mayer and Sadie, Stanley. (eds.) Performance Practice: Music After 1600. 1989.

Rosenblum, Sandra P. Performance Practices in Classic Piano Music: Their Principles and Applications. 1988.

Rothschild, Fritz. Musical Performance in the Times of Mozart and Beethoven. 1961.

Taruskin, Richard. Text and Act: Essays on Music and Performance. 1995.

Todd, R. Larry and Williams, Peter. Perspectives on Mozart Performance. 1991.

Wolff, Konrad. Masters of the Keyboard, Enlarged Edition: Individual Style Elements in the Piano Music of Bach, Haydn, Mozart, Beethoven, Schubert, Chopin, and Brahms. 1990.


VII. Essays in Other Books

Adolphe, Bruce. Of Mozart, Parrots, Cherry Blossoms in the Wind. 1999.

1. What Did Mozart Know. 4 pgs.

Bauman, Thomas and McClymonds, Marita Petzoldt (ed.) Opera and the Enlightenment. 1995.

1. Chapter 12: The "storm" music of Beaumarchais' Barbier de Séville. 16 pgs.
   
2. Chapter 13: On Don Giovanni, 2. 10 pgs.
   
3. Chapter 14: Leopold II, Mozart, and the return to a Golden Age. 28 pgs.

Berger, Karol. Bach's Cycle, Mozart's Arrow: An Essay on the Origins of Musical Modernity. 2007.

1. Part II. Mozart's Arrow. 113 pgs.

Berger, Karol in Allanbrook, Wye Jamison and Levy, Janet M. and Mahrt, William P. (eds.) Convention in Eighteenth and Nineteenth Century Music: Essays in Honor of Leonard G. Ratner. 1992.

1. Toward a History of Hearing: The Classical Concerto, a Sample Case. 24pgs.

Berger, Melvin. Guide to Chamber Music. 2001.

Brendel, Alfred. Alfred Brendel on Music: His Collected Essays. 2001.

1. A Mozart Player Gives Himself Advice. 8pgs.
2. Minor Mozart: In Defense of His Solo Works. 7 pgs.

Brown, Jane K. The Persistence of Allegory: Drama and Neoclassicism from Shakespeare to Wagner. 2006.

1. Mozart and Classicism. 9 pgs.
2. Various References

Burrows, Raymond & Redmond, Bessie Carroll. (compiled) Concerto Themes: Over a thousand themes from 144 of the World's Great Concertos. 1951.

Burrows, Raymond & Redmond, Bessie Carroll. (compiled) Symphony Themes. 1942.

Damschroder, David. Harmony in Haydn and Mozart. 2012.

Dirst, Matthew. Engaging Bach: The Keyboard Legacy from Marpurg to Mendelssohn. 2012.

1. 3. What Mozart Learned from Bach. 31 pgs.

Donington, Robert. Opera and Its Symbols: The Unity of Words, Music, and Staging. 1990.

1. 7. The Enlightenment. 8pgs.
2. 8. A Masonic Vision. 13 pgs.

Downs, Philip G. Classical Music: The Era of Haydn, Mozart, and Beethoven. 1992.

1. Part Four. Mozart, Genius Apparent. 73 pgs
2. Part Seven. Mozart, Genius Achieved. 73 pgs.

Engel, Carl. Discords Mingled. 1931.

1. The Mozart Couple.

Fisk, Josiah (ed.) Composers on Music: Eight Centuries of Writings. 1997.

1. Chapter Three. Wolfgang Amadè Mozart. 8 pgs.

Flaherty, G. in Yolton, J. W. & Brown, J. E. Studies in Eighteenth-Century Culture. 1988.

1. Mozart and the Mythologization of Genius. 20 pgs.

Foss, Hubert J. (ed.) The Heritage of Music. 1927

1. Wolfgang Mozart. (Essay by Turner, W. J.)

Gallagher, Sean and Kelly, Thomas Forrest. The Century of Bach and Mozart: Perspectives on Historiography, Composition, Theory and Performance. Essays in Honor of Christoph Wolff. 2009.

Geiringer, Karl. The Bach Family: Seven Generations of Creative Genius. 1954.

1. Various brief mentions throughout, mostly in reference to the sons of J. S.

Gerig, Reginald R. Famous Pianists and Their Technique. 1974.

1. Chapter, Mozart.

Gjerdingen, Robert. Music in the Galant Style. 2007.

1. 25. The Child Mozart. 26 pgs.
2. 26. An Allegro by Wolfgang Amadeus Mozart. 9 pgs.

Gordon, David & Gordon, Peter. Musical Visitors to Britain. 2005.

1.  6. Wolfgang Amadeus Mozart. 15 pgs.

Heartz, Daniel. Haydn, Mozart, and the Viennese School. 1994.

1. Chapters 7-9. 231 pgs.

Heartz, Daniel. Mozart, Haydn and Early Beethoven: 1781-1802. 2008.

1. Chapters 1-3. Mozart. 1781-1791. 289 pgs.

Hinson, Maurice & Roberts, Wesley. The Piano in Chamber Ensemble: An Annotated Guide. 2006.

Hogwood, Christopher. (ed.) The Keyboard in Baroque Europe. 2003.

1. Part IV, Section 12: Mozart's Non-Metrical Keyboard Preludes. 20 pgs.

Kerman, Joseph. Opera as Drama. 1956.

1. Chapter 5. Mozart. 29 pgs.
   

Kerman, Joseph. Opera and the Morbidity of Music. 2008.

1. Chapter 10. Mozart: Four Biographies. 16 pgs.
2. Chapter 11. Mozart's Last Year. 8pgs.
3. Chapter 12. Playing Mozart: The Piano Concertos. 13 pgs.
4. Chapter 13. The Magic Flute. 13 pgs.

Kierkegaard, Søren. Either/Or. 1843.

1. Essay: The Immediate Stages of the Erotic, or Musical Erotic. 90 pgs.
   

Kinderman, William. The Creative Process in Music from Mozart to Kurtag. 2012.

King, A. Hyatt. Musical Pursuits: Selected Essays. 1987.

1. The Mozarts at the British Museum. 20 pgs.

Kobbe, Gustav. The Loves of Great Composers. 2013.

1. Mozart and his Constance. 22 pgs.

Landon, H. C. Robbins in Wolf, Eugene K. and Roesner, Edward H. (eds.) Studies in Musical Sources and Style Essays in Honor of Jan Larue. 1990.

1. Mozart's Mass in C Minor, K.427. 5pgs.

Lebrecht, Norman. A Book of Musical Anecdotes. 1986.

1. Chapter "Mozart, Wolfgang Amadeus"

Levin, David J. Unsettling Opera: Staging Mozart, Verdi, Wagner, and Zemlinsky. 2007.

1. Chapter 3. Fidelity in Translation: Mozart and Da Ponte's Le nozze di Figaro. 30 pgs.
2. Chapter 4. Deconstructing Singspiel: Mozart's Die Entführung aus dem Serail. 37 pgs.

Mann, Alfred. The Great Composer As Teacher and Student: Theory and Practice of Composition.

1. Chapter III. Haydn and Mozart. 21 pgs.
   

Marissen, Michael. (ed.) Bach Perspectives 3: Creative Responses to Bach from Mozart to Hindemith. 1998.

1. Bach and Mozart's Artistic Maturity. 33 pgs. (Essay by Marshall, Robert L.)

Newman, William S. The Sonata in the Classical Era. 1983.

1. Chapter XIV. Mozart. 25 pgs.

Noske, Frits. The Signifier and the Signified: Studies in the Operas of Mozart and Verdi. 1977.

Parry, C. Hubert H. Studies of Great Composers. 1900.

1. Mozart.

Robinson, Paul A. Operas and Ideas: From Mozart to Strauss. 1985.

1. Chapter 1: Enlightenment and Reaction. 49 pgs.

Roeder, Michael Thomas. A History of the Concerto. 1994.

1.  Chapter 9. Wolfgang Amadeus Mozart. 41 pgs.

Rosen, Charles. The Classical Style. 1971.

1. Chapter 2. The Classical Style. 42 pgs.
2. Chapter 4. Serious Opera. 19 pgs.
3. Chapter 5. Mozart. 140 pgs.

Rosen, Charles. Music and the Arts. 2012.
     Part II. Mostly Mozart

1. Dramatic and Tonal Logic in Mozart's Operas. 13 pgs.
2. Mozart's Entry into the Twentieth Century. 9 pgs.
3. The Triumph of Mozart. 7 pgs.
4. Drama and Figured Bass in Mozart's Concertos. 34 pgs.
5. Mozart and Posterity. 7 pgs.
6. Structural Dissonance and the Classical Sonata. 13 pgs.
7. Tradition without Convention. 35 pgs.

Sadie, Stanley in Johnstone, H. Diack and Fiske, Roger. The Blackwell History of Music in Britain: The Eighteenth Century. 1990.

1. Music in the Home II, 41 pgs.

Sampson, George. Seven Essays. 1947.

1. The Operas of Mozart. 25 pgs.

Schonberg, Harold C. The Great Pianists: From Mozart to the Present. 1963.

Schwarm, Betsy. Operatic Insights: Understanding and Enjoying Great Music for the Stage. 2012.

Schwarz, Boris in Atlas, Allan W. (ed.) Music in the Classical Period Essays in Honor of Barry S. Brook. 1995.

1. Violinists around Mozart, 15 pgs.

Shippen, Katherine B. and Seidlova, Anca. The Heritage of Music.

1. Chapter 13. Mozart: Poverty and Genius. 11 pgs.

Simon, Henry W. The Festival of Opera. 1957.

Includes Short Plot Summaries of:

1. Die Entführung aus dem Serail
2. Così fan tutte
3. Don Giovanni
4. Die Zauberflöte
5. Le nozze di Figaro

Singer, Irving. Mozart and Beethoven: The Concept of Love in Their Operas. 1977.

1. Chapter 1. Opera and Expression. 21 pgs.
2. Chapter 2. Mozart: The Conflict in Don Giovanni. 49 pgs.
3. Chapter 3. Mozart: Figaro, Così, and The Magic Flute. 43 pgs.

Smith, Peter Fox. A Passion For Opera: Learning to Love It: The Greatest Masters, Their Greatest works. 2004.

1. Chapter 2. Mozart: The Father of Modern Opera. 40 pgs.

Spaethling, Robert. Music and Mozart in the Life of Goethe. 1987.

Steen, Michael. The Lives and Times of the Great Composers. 2003.

1. Chapter 5. Mozart. 38 pgs.

Steinberg, Michael. Choral Masterworks. 2005.

1. Mass in C Minor. 7 pgs.
   
2. Requiem. 11 pgs.
   

Steinberg, Michael. The Symphony: A Listener's Guide. 1995.

1. Symphony No. 35. 1 pg.
   
2. Symphony No. 36. 5 pgs.
3. Symphony No. 38. 4 pgs.
4. Symphony No. 39. 2 pgs.
5. Symphony No. 40. 3 pgs.
6. Symphony No. 41. 6 pgs.

Swain, Joseph P. Harmonic Rhythm: Analysis and Interpretation. 2002.

1. Part II, Section 12. Mozart: Overture to The Marriage of Figaro. 5 pgs.
   

Tarasti, Eero. Semiotics of Classical Music: How Mozart, Brahms and Wagner Talk to Us. 2012.

Taruskin, Richard. Text and Act: Essays on Music and Performance. 1995.

1. 10. An Icon For Our Time. 10 pgs.
2. 11. A Mozart  Wholly Ours. 19 pgs.
3. 12. Old (New) Instruments, New (Old) Tempos. 6 pgs.

Ulrich, Homer. Chamber Music. 1948.

1. Wolfgang Amadeus Mozart. 30 pgs

Vagliavini, Luigi Ferdinando in Austin, William W. (ed.) New Looks at Italian Opera in Honor of Donald J. Grout. 1968.

1. Quirino Gasparini and Mozart, 20 pgs.

Tovey, Donald Francis. Essays in Musical Analysis. (Six Volumes.)  1935.

1. Volume I: Symphonies I: KV.250 (4 pgs.), KV.338 (3 pgs.), KV.543 (4 pgs.), KV.550 (4 pgs.), KV.551 (4 pgs.), KV.497 (3 pgs.)
2. Volume III: Concertos: KV.414 (3pgs), KV.450 (4 pgs), KV.453 (3.5 pgs.), KV.488 (5.5 pgs.), KV.491 (5 pgs.), KV.313 (1.5 pgs.), KV.314 (3 pgs.), KV.315 (1 pg.), KV.622 (2 pgs.), KV.218 (2 pgs.), KV.219 (3.5 pgs.), KV.261 (1 pg.), KV.299 (3 pgs.)
3. Volume IV: Illustrative Music: Overture to Der Schauspieldirektor, KV.486, (1 pg.), Overture to Le Nozze di Figaro, KV.492, (1 pg.), Overture to Die Zauberflöte, KV.620, (2 pgs.), Overture to La Clemenza di Tito, KV.621, (1 pg.), Orchestral Dances: Three Minuets KV.601 and Six Waltzes, KV.567  (1pg.), Masonic Dirge, KV.477, (1 pg.)
4. Volume VI: Supplementary Essays, Glossary, and Index: KV.297 (5 pgs.) KV.384: Aria, "Martern aller arten" (2 pgs.), KV.621: Aria, "Deh per questo istante" (3 pgs.), KV.588: Overture (1 pg.)
   

Warrack, John. German Opera: From the Beginnings to Wagner. 2006.

1. Chapter 6. The Viennese Singspiel. 29 pgs.
2. Chapter 7. Mozart's German Operas. 29 pgs.

Wolff, Christoph. The String Quartets of Haydn, Mozart, and Beethoven: Studies of the Autograph Manuscripts. 1981.

Wolff, Konrad. Masters of the Keyboard, Enlarged Edition: Individual Style Elements in the Piano Music of Bach, Haydn, Mozart, Beethoven, Schubert, Chopin, and Brahms. 1990.

1. Mozart. 33 pgs.

VIII. Other Mozart

Adolphe, Bruce. Of Mozart, Parrots, Cherry Blossoms in the Wind. 1999.

Burgess, Anthony. On Mozart: A Paean for Wolfgang. 1991.

Cormican, Brendan. Mozart's Death - Mozart's Requiem: An Investigation. 1991.

Davies, Peter J.  Mozart in Person: His Character and Health. 1989.

Du Mont, Mary. The Mozart-Da Ponte Operas: An Annotated Bibliography. 2000.

Farmer, Henry George & Smith, Herbert. New Mozartiana. 1935.

Gruber, Gernot. Mozart and Posterity. 1994.

King, Alec Hyatt. Mozart in Retrospect: Studies in Criticism and Bibliography. 1955.

Leeson, Daniel N. The Mozart Cache: The Discovery and Examination of a Previously Unknown Collection of Mozartiana. 2008.

Maunder, C. Richard F. Mozart's Requiem: On Preparing a New Edition. 1988.

McDonough, Yona Zeldis. Who Was. . . Wolfgang Amadeus Mozart? 2003. (Ages 9-12.)

Nottebohm, Gustav. Mozartiana. 1880.

Solman, Joseph. Mozartiana: Two Centuries of Notes, Quotes, and Anecdotes about Wolfgang Amadeus Mozart. 2002.

Vigeland, Carl. Mostly Mozart Guide to Mozart. 2009.

Woodford, Peggy. Mozart (Illustrated Lives of the Great Composers.) 1990.


IX. On Others in Mozart's Life

Blanning, T. C. W. Joseph II and Enlightened Despotism. 1984.

Bolt, Rodney. The Librettist of Venice: The Remarkable Life of Lorenzo Da Ponte: Mozart's Poet, Casanova's Friend, and Italian Opera's Impresario in America. 2006.

Braunbehrens, Volkmar. Maligned Master: The Real Story of Antonio Salieri. 1992.

Clive, Peter. Mozart and His Circle. 1993.

Da Ponte, Lorenzo. Memoirs. 1823–1827.

Eisen, Cliff. The Symphonies of Leopold Mozart and Their Relationship to the Early Symphonies of Wolfgang Amadeus Mozart: A Bibliographical and Stylistic Study. 1987-1988.

Gärtner, Heinz. Constanze Mozart: After the Requiem. 1991.

Gärtner, Heinz. John Christian Bach: Mozart's Friend and Mentor. 2003.

Glover, Jane. Mozart's Women: His Family, His Friends, His Music. 2005.

Gordon, David & Gordon, Peter. Musical Visitors to Britain. 2005.

Grant, Kerry. S. Dr. Burney as Critic and Historian of Music. 1983.

Halliwell, Ruth. The Mozart Family: Four Lives in a Social Context. 1998.

Hodges, Sheila. Lorenzo Da Ponte: The Life and Times of Mozart's Librettist. 2002.

Holden, Anthony. The Man Who Wrote Mozart: The Extraordinary Life of Lorenzo Da Ponte. 2005.

Honolka, Kurt. Papageno: Emanuel Schikaneder: Man of the Theater in Mozart's Time. 1990.

Moser, Nancy. Mozart's Sister. 2006.

Rice, John A. Antonio Salieri and Viennese Opera. 1999.

Schwerin, Erna. Constanze Mozart: Woman and Wife of A Genius. 1981.

Selby, Agnes. Constanze: Mozart’s Beloved. 1999.


X. Compilations of Primary Sources

Anderson, Emily. (ed.) The Letters of Mozart and His Family. 1938. (Chronologically arranged, translated and edited with an introduction, notes, indices, and extracts from the letters of Constanze Mozart to Johann Anton André. Translated and edited by C. B. Oldman in three volumes.)

Deutsch, Otto Erich. Mozart: A Documentary Biography. 1965.

Irving, John. The Treasures of Mozart. 2012.

Jansen, Johannes. Mozart. 1999. (A book of pictures.)

Kerst, Friedrich. Mozart as Revealed in His Own Words. 1905.

Link, Dorothea. The National Court Theatre in Mozart's Vienna: Sources and Documents 1783-1792. 1998.

Mersmann, Hans. (ed., trans.) [W.A. Mozart] Letters. 1928.

Spaethling, Robert. Mozart's Letters, Mozart's Life. 2000.

Tyson, Alan and Rosenthal, Albi. Mozart's Thematic Catalogue: A Facsimile. 1990.

Neue Mozart Ausgabe Online: The complete editions of Mozart's work, including all the sheet music and critical apparatuses.  [Link]

Köchel-Verzeichnis Online: The complete, chronological listing of Mozart's work. [Link]


XI. Other: 18th Century Culture, Thought, Music, Et Cetera

Atlas, Allan W. (ed.) Music in the Classical Period Essays in Honor of Barry S. Brook. 1995.

Bauman, Thomas. North German Opera in the Age of Goethe. 1985.

Blume, Friedrich. Classic and Romantic Music: A Comprehensive Survey. 1970.

Brandenburg, Sieghard. Haydn, Mozart, and Beethoven: Studies in the Music of the Classical Period: Essays in Honour of Alan Tyson. 1999.

Braunbehrens, Volkmar. Mozart in Vienna: 1781-1791. 1986.

Brown, Clive. Classical and Romantic Performing Practice 1750-1900. 1999.

Brown, Howard Mayer and Sadie, Stanley. (eds.) Performance Practice: Music After 1600. 1989.

Buchner, Alexander. Mozart and Prague. 1962.

Burney, Charles. The Present State of Music in France and Italy. 1771.

Caplin, William E. Classical Form: A Theory of Formal Functions for the Instrumental Music of Haydn, Mozart, and Beethoven. 1998.

DelDonna, Anthony R. and Polzonetti, Pierpaolo (eds.) The Cambridge Companion to Eighteenth-Century Opera. 2009.

Derek, Beales. Enlightenment and Reform in Eighteenth-Century Europe. 2005.

Donington, Robert. Opera and Its Symbols: The Unity of Words, Music, and Staging. 1990.

Downs, Philip G. Classical Music: The Era of Haydn, Mozart, and Beethoven. 1992.

Eisen, Cliff. Orchestral Music in Salzburg, 1750-1780, Recent Researches in the Music of the Classical Era. 1994.

Fiske, Rogert. English Theatre Music in the Eighteenth Century. 1987.

Ford, Charles. Music, Sexuality and the Enlightenment in Mozart's Figaro, Don Giovanni and Cosi Fan Tutte. 2012.

Gjerdingen, Robert. Music in the Galant Style. 2007.

Gordon, David & Gordon, Peter. Musical Visitors to Britain. 2005.

Heartz, Daniel. Haydn, Mozart, and the Viennese School. 1994.

Heartz, Daniel. Music in European Capitals: The Galant Style, 1720-1780. 2003.

Henderson, W. J. The Orchestra and Orchestral Music. 1899.

Hepokoski, James & Darcy, Warren. Elements of Sonata Theory. 2006.

Hunter, Mary. The Culture of Opera Buffa in Mozart's Vienna. 1999.

Jones, David Wyn. (ed.) Music in Eighteenth-Century Austria. 2006.

Johnstone, H. Diack and Fiske, Roger. The Blackwell History of Music in Britain: The Eighteenth Century. 1990.

Keefe, Simon P. Mozart's Piano Concertos: Dramatic Dialogue in the Age of Enlightenment. 2001.

Kirkendale, Warren. Fugue and Fugato in Rococo and Classical Chamber Music. 1979.

Link, Dorothea. The National Court Theatre in Mozart's Vienna: Sources and Documents 1783-1792. 1998.

MacIntyre, Bruce C. The Viennese Concerted Mass of the Early Classical Period. 1986.

Maunder, Richard. Keyboard Instruments in Eighteenth-Century Vienna. 1998.

McVeigh, Simon. Concert Life in London from Mozart to Haydn. Cambridge University Press. 2006.

Morrow, Mary Sue. Concert Life in Haydn's Vienna: Aspects of a Developing Musical and Social Institution. 1989.

Morrow, Mary Sue. German Music Criticism in the Late Eighteenth Century: Aesthetic Issues in Instrumental Music. 1989.

Nelson, David. Vienna for the Music Lover: The Complete Guide to Vienna's Musical Sites and Performances Today. 2009.

Newman, William S. The Sonata in the Classic Era. 1983.

Pestelli, Giorgio. The Age of Mozart and Beethoven. 1984.

Ratner, Leonard G. Classic Music: Expression, Form and Style. 1980.

Roeder, Michael Thomas. A History of the Concerto. 1994.

Rosenblum, Sandra P. Performance Practices in Classic Piano Music: Their Principles and Applications

Rothschild, Fritz. Musical Performance in the Times of Mozart and Beethoven. 1961.

Schenk, Erich. Mozart and His Times. 1955.

Scherer, F. M. Quarter Notes and Bank Notes: The Economics of Music Composition in the Eighteenth and Nineteenth Centuries. 2003.

Scholes, Percy. Dr. Burney's Musical Tours in Europe. 1959.

Sisman, Elaine R. Haydn and the Classical Variation. 1993.

Spaethling, Robert. Music and Mozart in the Life of Goethe. 1987.

Steblin, Rita. History of Key Characteristics in the Eighteenth and Early Nineteenth Centuries. 1983.

Tapié, Victor L. The Rise and Fall of the Habsburg Monarchy. 1969.

Taruskin, Richard. Text and Act: Essays on Music and Performance. 1995.

Whitmore, Philip. Unpremeditated Art: The Cadenza in the Classical Keyboard Concerto. 1991.

Zaslaw, Neal. (ed.) The Classical Era: From the 1740s to the End of the 18th Century. 1989.


XII. Articles

Allanbrook, Wye J. & Hilton, Wendy. Dance Rhythms in Mozart's Arias. Early Music, Vol. 20, No. 1, Performing Mozart's Music II (Feb., 1992), pp. 142-149

Allanbrook, Wye J. Metric Gesture as a Topic in "Le Nozze di Figaro" and "Don Giovanni". The Musical Quarterly, Vol. 67, No. 1 (Jan., 1981), pp. 94-112

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Rice, Albert R. The Clarinette d'Amour and Basset Horn. The Galpin Society Journal, Vol. 39 (Sep., 1986), pp. 97-111

Rice, Albert R. Mozart's Divertimento, K. 113. Music & Letters, Vol. 74, No. 3 (Aug., 1993), pp. 485-487

Rice, John A. Adding Birds to Mozart's "Sparrow Mass." Mozart Society of America Newsletter, vii/2 (2004), 8-9

Richards, Annette. Automatic Genius: Mozart and the Mechanical Sublime. Music & Letters, Vol. 80, No. 3 (Aug., 1999), pp. 366-389

Ridgewell, Rupert. Mozart's Publishing Plans with Artaria in 1787: New Archival Evidence. Music & LettersVol. 83, No. 1 (Feb., 2002), pp. 30-74

Riggs, Robert. Mozart's Notation of Staccato Articulation: A New Appraisal. The Journal of Musicology, Vol. 15, No. 2 (Spring, 1997), pp. 230-277

Ringer, A. Mozart and the Josephian Era: some Socio-Economic Notes on Musical Change. CMc, no. 9 (1969), 158-65

Rosenthal, Karl August & Mendel, Arthur. Mozart's Sacramental Litanies and Their Forerunners. The Musical Quarterly, Vol. 27, No. 4 (Oct., 1941), pp. 433-455

Rosow, Lois. Idomeno and Idomenée: The French Disconnection. paper read at the American Musicological Society, Chicago, 1991

Rossi, Nick. The Land of Mozart Revisited: A Musical Pilgrimage. Music Educators Journal, Vol. 54, No. 8 (Apr., 1968), pp. 75-79

Rumph, Stephen. Mozart’s Archaic Endings: A Linguistic Critique. Journal of the Royal Musical Association, 130 (2005), 159–96

Rushton, Julian. La vittima è Idamante. Did Mozart have a Motive? Cambridge Opera Journal, iii (1991), 1-21

Sadie, Stanley. Mozart, Bach, and Counterpoint. The Musical Times, Vol. 105, No. 1451 (Jan., 1964), pp. 23-24

Sadie, Stanley. Mozart's 'Betulia liberata.' The Musical Times, Vol. 109, No. 1509 (Nov., 1968), pp. 1015-1017

Sadie, Stanley. Mozart and His "Lucio Silla." The Musical Times, Vol. 108, No. 1489 (Mar., 1967), pp. 216-220

Sartori, Claudio & D'Accone, Frank A. Mozart in Brescia. Music & Letters, Vol. 47, No. 2 (Apr., 1966), pp. 141-148

Schmid, Ernst Fritz & Sanders, Ernest. Mozart and Haydn. The Musical Quarterly, Vol. 42, No. 2 (Apr., 1956), pp. 145-161

Seidlin, Oskar. Goethes Zauberflöte. Monatshefte für deutschen Unterricht, Vol. 35, No. 2 (Feb., 1943), pp. 49-61

Simon, Edwin J. Sonata into Concerto. A Study of Mozart's First Seven Concertos. Acta Musicologica, Vol. 31, Fasc. 3/4 (Jul. - Dec., 1959), pp. 170-185

Slonimsky, Nicolas. The Weather at Mozart's Funeral. The Musical Quarterly, Vol. 46, No. 1 (Jan., 1960), pp. 12-21

Somfami, László. Mozart's First Thoughts: The Two Version of the Sonata in D major, K284. Early Music, xix (1991), 601-13

Smithers, Don. L. Mozart's Orchestral Brass. Early Music, Vol. 20, No. 2, Performing Mozart's Music III (May, 1992), pp. 254- 256+258-259+261-265

Smyth, David. "Balanced Interruption" and the Formal Repeat. Music Theory Spectrum, Vol. 15, No. 1 (Spring, 1993), pp. 76-88

Spitzer, J. & Zaslaw, N. Improvized Ornamentation in Eighteenth-Century Orchestras. JAMS, xxxix (1986), 524-77

Statham, H. Heathcote. Mozart as a Pianoforte Composer. The Musical Times and Singing Class Circular, Vol. 20, No. 439 (Sep. 1, 1879), pp. 465- 468

Steptoe, Andrew. Mozart and Poverty: A Re-Examination of the Evidence. The Musical Times, Vol. 125, No. 1694 (Apr., 1984), pp. 196-201

Steptoe, Andrew. The Sources of 'Così fan tutte': A Reappraisal. Music & Letters, Vol. 62, No. 3/4 (Jul. - Oct., 1981), pp. 281-294

St. Foix, Georges de St. & King, Ottomar. Mozart and the Young Beethoven. The Musical Quarterly, Vol. 6, No. 2 (Apr., 1920), pp. 276-295
Temperley, Nicholas. Mozart's Influence on English Music. Music & Letters, Vol. 42, No. 4 (Oct., 1961), pp. 307-318

Temperley, Nicholas. Mozart's Influence on English Music. Music & Letters, Vol. 42, No. 4 (Oct., 1961), pp. 307-318

Thomson, Katharine. Mozart and Freemasonry. Music & Letters, Vol. 57, No. 1 (Jan., 1976), pp. 25-46

Tomita, Yo. Bach Reception in Pre-Classical Vienna: Baron van Swieten's Circle Edits the 'Well-Tempered Clavier' II. Music & Letters, Vol. 81, No. 3 (Aug., 2000), pp. 364-391

Tyler, Linda. Aria as Drama: A Sketch from Mozart's "DerSchaulspieldirektor." Cambridge Opera Journal, Vol. 2 No. 3 (Nov., 1990), pp. 251-267

Tyler, Linda. Bastien und Bastienne: The Libretto, Its Derivation, and Mozart's Text-Setting. The Journal of Musicology, Vol. 8, No. 4 (Autumn, 1990), pp. 520-552

Tyler, Linda. 'Zaide' in the Development of Mozart's Operatic Language. Music & Letters, Vol. 72, No. 2 (May, 1991), pp. 214-235 Published by: Oxford University Press

Tyson, Alan. The Earliest Editions of Mozart's Duet-Sonata K.19d. Music Review, xxx (1969), 98-105

Tyson, Alan. Notes on the Composition of Mozart's 'Così fan tutte.' Journal of the American Musicological Society, Vol. 37, No. 2 (Summer, 1984), pp. 356-401

Tyson, Alan. The Mozart Fragments in the Mozarteum, Salzburg: A Preliminary Study of Their Chronology and Their Significance. Journal of the American Musicological Society, Vol. 34, No. 3 (Autumn, 1981), pp. 471-510

Tyson, Alan. A Reconstruction of Nannerl Mozart's Music Book (Notenbuch). Music & Letters, Vol. 60, No. 4 (Oct., 1979), pp. 389-400

Tyson, Alan. Two Mozart Puzzles: Can Anyone Solve Them? The Musical Times, Vol. 129, No. 1741 (Mar., 1988), pp. 126-127

Ullrich, Hermann. Maria Theresia Paradis and Mozart.

Walls, Peter. Mozart and the Violin. Early Music, Vol. 20, No. 1, Performing Mozart's Music II (Feb., 1992), pp. 7-24+26+28- 29

Ward, Martha Kingdon Ward. Mozart and the Bassoon. Music & Letters, Vol. 30, No. 1 (Jan., 1949), pp. 8-25

Ward, Martha Kingdon. Mozart and the Clarinet. Music & Letters, Vol. 28, No. 2 (Apr., 1947), pp. 126-153

Ward, Martha Kingdon. Mozart and the Flute. Music & Letters, Vol. 35, No. 4 (Oct., 1954), pp. 294-308

Ward, Martha Kingdon. Mozart and the Horn. Music & Letters, Vol. 31, No. 4 (Oct., 1950), pp. 318-332

Watson, J. Arthur. Beethoven's Debt to Mozart. Music & Letters, Vol. 18, No. 3 (Jul., 1937), pp. 248-258

Watson, J. Arthur. Mozart and the Viola. Music & Letters, Vol. 22, No. 1, (Jan., 1941), pp. 41-53

Webster, James. Review: Mozart's Operas and the Myth of Musical Unity. Cambridge Opera Journal, Vol. 2, No. 2 (Jul., 1990), pp. 197-218

Webster, James. Towards a History of Viennese Chamber Music in the Early Classical Period. Journal of the American Musicological Society, Vol. 27, No. 2 (Summer, 1974), pp. 212-247

Webster, James. Violoncello and Double Bass in the Chamber Music of Haydn and His Viennese Contemporaries, 1750-1780. Journal of the American Musicological Society, Vol. 29, No. 3 (Autumn, 1976), pp. 413-438 (See also a correction to this article in Journal of the American Musicological Society, Vol. 31, No. 1 (Spring, 1978), p. 178)

Whewell, Michael. Mozart's Bassethorn Trios. The Musical Times, Vol. 103, No. 1427 (Jan., 1962), p. 19

Williams, Abdy & Ratner, Mozart G. The Rondo Form, as It Is Found in the Works of Mozart and Beethoven.

Winter, Robert S. The Bifocal Close and the Evolution of the Viennese Classical Style. Journal of the American Musicological Society, Vol. 42, No. 2 (Summer, 1989), pp. 275 -337

Winternitz, Emanuel. Gnagflow Trazom: An Essay on Mozart's Script, Pastimes, and Nonsense Letters. Journal of the American Musicological Society, Vol. 11, No. 2/3 (Summer - Autumn, 1958), pp. 200-216

Wolf, Eugene K. The Rediscovered Autograph of Mozart's Fantasy and Sonata in C Minor, K. 475/457. The Journal of Musicology, Vol. 10, No. 1 (Winter, 1992), pp. 3-47

Woodfield, Ian. John Bland: London Retailer of the Music of Haydn and Mozart. Music & Letters, Vol. 81, No. 2 (May, 2000), pp. 210-244

Wollenberg, Susan. The Jupiter Theme: New Light on Its Creation. The Musical Times, Vol. 116, No. 1591 (Sep., 1975), pp. 781-783 Published by: Musical Times Publications Ltd.

Woodfield, Ian. Mozart's 'Jupiter': A Symphony of Light? The Musical Times, Vol. 147, No. 1897 (Winter, 2006), pp. 25-46

Woodfield, Ian. New Light on the Mozarts' London visit: A Private Concert with Manzuoli. Music and Letters, lxvii (1995), 187-207

Yudkin, Jeremy. Beethoven's "Mozart" Quartet. Journal of the American Musicological Society, Vol. 45, No. 1 (Spring, 1992), pp. 30-74

Zaslaw, Neal. Mozart, Haydn and the Sinfonia da Chiesa. The Journal of Musicology, Vol. 1, No. 1 (Jan., 1982), pp. 95-124

Zaslaw, Neal & Eisen, Cliff. Signor Mozart's Symphony in a Minor, K. Anhang 220 = 16a. The Journal of Musicology, Vol. 4, No. 2 (Spring, 1985 - Spring, 1986), pp. 191-206

Zaslaw, Neal. Mozart's Orchestras: Applying Historical Knowledge to Modern Performances. Early Music, Vol. 20, No. 2, Performing Mozart's Music III (May, 1992), pp. 197- 200+203-205

Zaslaw, Neal. Mozart's Paris Symphonies.  The Musical Times, Vol. 119, No. 1627 (Sep., 1978), pp. 753-757

Zeiss, Laurel Elizabeth. Permeable Boundaries in Mozart's 'Don Giovanni.' Cambridge Opera Journal, Vol. 13, No. 2 (Jul., 2001), pp. 115-139

XIII. Journals

Acta Musicologia
American Musicological Society
Early Music
Mozart-Jahrbuch
Musical Quarterly
Musical Review, The
Musicology, The Journal of
Royal Musical Association


XIV. Miscellaneous

Crabtree, Philip D. & Foster, Donald H. & Scott, Allen. Sourcebook for Research in Music. 2005.

Nelson, David. Vienna for the Music Lover: The Complete Guide to Vienna's Musical Sites and Performances Today. 2009.

Wignall, Harrison James. In Mozart's Footsteps: A Travel Guide For Music Lovers. 1991.

–

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