Skip to main content Accessibility help
×
Hostname: page-component-84b7d79bbc-2l2gl Total loading time: 0 Render date: 2024-07-28T18:27:47.835Z Has data issue: false hasContentIssue false

Select Bibliography

Published online by Cambridge University Press:  21 September 2017

Simon P. Keefe
Affiliation:
University of Sheffield
Get access

Summary

Image of the first page of this content. For PDF version, please use the ‘Save PDF’ preceeding this image.'
Type
Chapter
Information
Mozart in Vienna
The Final Decade
, pp. 607 - 636
Publisher: Cambridge University Press
Print publication year: 2017

Access options

Get access to the full version of this content by using one of the access options below. (Log in options will check for institutional or personal access. Content may require purchase if you do not have access.)

References

Primary Sources

[K. 284, K. 333, K. 454] Mozart, , Trois sonates pour le clavecin ou pianoforte. La troisième est accomp. d’un Violon oblg: composées par Mr W. A. Mozart. Vienna: Torricella, 1784.Google Scholar
[K. 296, K. 376, K. 377, K. 378, K. 379, K. 380] Mozart, , Six sonates pour le clavecin, ou pianoforte avec l’accompagement d’un violon. Vienna: Artaria, 1781.Google Scholar
[K. 330] Biblioteka Jagiellońska Kraków Mus. ms. autogr. W. A. Mozart 330.Google Scholar
[K. 330, K. 331, K. 332] Trois sonates pour le clavecin ou pianoforte composée par W. A. Mozart (Vienna: Artaria, 1784): https://iiif.lib.harvard.edu/manifests/view/drs:14495231$1i.Google Scholar
[K. 331] Biblioteca Mozartiana der Internationalen Stiftung Mozarteum Salzburg, Signatur: KV 300i.Google Scholar
[K. 332] Scheide Music Library, Princeton, New Jersey, MS 134.Google Scholar
[K. 333] Staatsbibliothek zu Berlin, Mus. ms. autogr. W. A. Mozart 333.Google Scholar
[K. 361] Gran Partita, K. 361 by Wolfgang Amadeus Mozart: A Facsimile of the Holograph in the Whittall Foundation Collection. Washington, DC: The Library of Congress, 1976.Google Scholar
[K. 373] Rondo pour le violon avec accompagnement de grand orchestra composé par Mozart. Offenbach: Johann André, 1800.Google Scholar
[K. 374] Staatsbibliothek zu Berlin, Mus. ms. autogr. W. A. Mozart 374.Google Scholar
[K. 375] Staatsbibliothek zu Berlin, Mus. ms. autogr. W. A. Mozart 375.Google Scholar
[K. 376] Mozart, , Sonatas, Violin, Piano, K. 376, F Major. The Morgan Library and Museum. Cary 28.Google Scholar
[K. 377] British Library, London, Zweig MS 53.Google Scholar
[K. 379] Library of Congress, Washington, ML30.8b.M8 K.379.Google Scholar
[K. 382, K. 413, K. 414, K. 415] Biblioteka Jagiellońska, Kraków, Mus. ms. autogr. W. A. Mozart 382.413.414.415.Google Scholar
[K. 384] Mozart, , Die Entführung aus dem Serail’, K. 384: Facsimile of the Autograph Score. 2 vols. Los Altos, CA: The Packard Humanities Institute, 2008.Google Scholar
[K. 385] Mozart, , Symphony no. 35 in D, K. 385. ‘Haffner’ Symphony. Facsimile of the Original Manuscript owned by the Orchestral Association, New York, ed. Beck, Sydney. New York: Oxford University Press, 1968.Google Scholar
[K. 387, K. 421, K. 428, K. 458, K. 464, K. 465] Mozart, , The Six ‘Haydn’ Quartets: Facsimile of the Autograph Manuscripts in the British Library, Add. MS 37763. London: The British Library, 1985.Google Scholar
[K. 387, K. 421, K. 428, K. 458, K. 464, K. 465] Sei Quartetti per due violini, viola, e violoncello composti e dedicati al Signor Giuseppe Haydn… dal suo amico W.A Mozart. Vienna: Artaria, 1785.Google Scholar
[K. 388] Staatsbibliothek zu Berlin, Mus. ms. autogr. W. A. Mozart 388.Google Scholar
[K. 406] British Library Add MS 31748.Google Scholar
[K. 412] Biblioteka Jagiellońska Kraków, Mus. ms. autogr. W. A. Mozart 412.Google Scholar
[K. 417, K. 447, K. 487, K. 495] Das Horn bei Mozart: Facsimile Collection, ed. Pizka, Hans. Munich: Schöttner, 1980.Google Scholar
[K. 422] Staatsbibliothek zu Berlin, Mus. ms. autogr. W. A. Mozart 422.Google Scholar
[K. 423, K. 424] Mozart, , Zwei Duos für Violone und Viola: Faksimile der autographen Partitur von 1783 und Stimmen-Ausgabe nach dem Urtext, und Berücksichtigung der Varianten des Artaria-Erstdrucks von 1792, ed. Drüner, Ulrich. Winterthur, Switzerland: Amadeus Verlag, 1980.Google Scholar
[K. 427] Mozart, , Messe c-moll KV427: Faksimile der autographen Partitur. Kassel: Bärenreiter, 1983.Google Scholar
[K. 431] Mozart, , ‘Misero! O sogno’ – ‘Aura, che intorno spiri’: Arie für Tenor und Orchester, KV431. Kassel: Bärenreiter, 1988.Google Scholar
[K. 449] Biblioteka Jagiellońska Kraków, Mus. ms. autogr. W. A. Mozart 449.Google Scholar
[K. 450] Herzogin Anna Amalia Bibliothek, Weimar: Mus V: 125.Google Scholar
[K. 451] Biblioteka Jagiellońska Kraków, Mus. ms. autogr. W. A. Mozart 451.Google Scholar
[K. 452] Mozart, , Quintette pour piano, hautbois, clarinette, cor et basson, K. 452: manuscript autographe 1784, ed. Giboureau, Michel. Courlay: Editions J. M. Fuzeau, 1999.Google Scholar
[K. 453] Biblioteka Jagiellońska Kraków, Mus. ms. autogr. W. A. Mozart 453.Google Scholar
[K. 454] Sonat för cembalo och violin av W. A. Mozart Köchel nr 454. Stockholm: Stiftelsen Musikkulturens Främjande, 1982.Google Scholar
[K. 456] Staatsbibliothek zu Berlin, Mus. ms. autogr. W. A. Mozart KV 456.Google Scholar
[K. 457, K. 475] Mozart, , Fantasie und Sonate C-moll: Die Originalhandschrift an Mozarts Clavier Interaktiv zum Klingen gebracht. Salzburg: Internationale Stiftung Mozarteum, 2006.Google Scholar
[K. 457, K. 475] Mozart, , Fantaisie et sonate pour le forte-piano composées pour Madame Therese de Trattnern. Vienna: Artaria, 1785.Google Scholar
[K. 459] Mozart, , Klavierkonzert in F-Dur, KV459: Faksimile der autographen Partitur. Kassel: Bärenreiter, 1988.Google Scholar
[K. 466] Gesellschaft der Musikfreude Wien: VII 3405.Google Scholar
[K. 467] Mozart, , Piano Concerto No. 21 in C major, K. 467: The Autograph Score (New York: Dover, 1985).Google Scholar
[K. 476] Arthur, John and Schachter, Carl, ‘Mozart’s Das Veilchen’. Musical Times, 130 (1989), pp. 149155, 163164.CrossRefGoogle Scholar
[K. 477] Staatsbibliothek zu Berlin, Mus. ms. autogr. W. A. Mozart 477.Google Scholar
[K. 478] Mozart, , Quartett in g für Klavier, Violine, Viola und Violoncello KV 478. Faksimile nach dem Autograph im Museum der Chopin-Gesellschaft Warschau mit einer Einführung von Faye Ferguson. Salzburg: Internationale Stiftung Mozarteum, 1991.Google Scholar
[K. 478] Quatuor pour le clavecin ou forte piano, violon, tallie et basses composé par Mr Wolfg. Amad. Mozart (Vienna: Hoffmeister, 1785]): https://iiif.lib.harvard.edu/manifests/view/drs:14728776$3i.Google Scholar
[K. 480] Staatsbibliothek zu Berlin, Mus. ms. autogr. W. A. Mozart 480.Google Scholar
[K. 482] Staatsbibliothek zu Berlin, Mus. ms. autogr. W. A. Mozart 482.Google Scholar
[K. 486] Mozart, , Der Schauspieldirektor: The Impresario, K. 486: A Facsimile of the Autograph Manuscript. London and Oxford: Oxford University Press, 1976.Google Scholar
[K. 488] Mozart, , Klavierkonzert A-dur, KV 488: Faksimile nach dem Autograph Ms. 226 im Besitz der Musikabteilung der Bibliothèque nationale de France, Paris. Munich: Henle, 2005.Google Scholar
[K. 491] Mozart, , Klavierkonzert C-moll, KV 491: Bärenreiter Facsimile. Kassel: Bärenreiter, 2014.Google Scholar
[K. 492] Mozart, , ‘Le nozze di Figaro’, K. 492: Facsimile of the Autograph Score. 3 vols. Los Altos, CA: The Packard Humanities Institute, 2007.Google Scholar
[K. 495] Mozart, , Concertos, horn, orchestra, K. 495, E-flat major. Autograph manuscript The Morgan Library and Museum. Cary 35.Google Scholar
[K. 498] Paris, Bibliothèque nationale de France, Département de la musique, Malherbe Collection, MS. 222.Google Scholar
[K. 499, K. 575, K. 589, K. 590, K. 614] Mozart, , The Late Chamber Works for Strings: Facsimile of the Autograph Manuscripts in the British Library. London: The British Library, 1987.Google Scholar
[K. 499] Quatuor à deux Violons, alto, et Violoncello, composeé par Mr W. A. Mozart (Vienna: Hoffmeister, 1786): https://iiif.lib.harvard.edu/manifests/view/drs:14193088$1i.Google Scholar
[K. 502, K. 542, K. 564] Kraków, , Biblioteka Jagiellońska, Mus. ms. autogr. W. A. Mozart 502.542.564.Google Scholar
[K. 502, K. 542, K. 548] Tre sonate per il clavicembalo o forte-piano … composte dal Sigr W. A. Mozart (Vienna: Artaria, 1788): https://iiif.lib.harvard.edu/manifests/view/drs:14786494$1i.Google Scholar
[K. 503] Staatsbibliothek zu Berlin, Mus. ms. autogr. W. A. Mozart 503.Google Scholar
[K. 504] Biblioteka Jagiellońska Kraków, Mus. ms. autogr. W. A. Mozart 319.338. 444.504.Google Scholar
[K. 505] Biblioteka Jagiellońska Kraków, Mus. ms. autogr. W. A. Mozart 505.Google Scholar
[K. 511] Mozart, , Rondo a-Moll KV511: Edition, Faksimile, ed. Leisinger, Ulrich. Vienna: Schott/Universal Edition, 2006.Google Scholar
[K. 513] Staatsbibliothek zu Berlin, Mus. ms. autogr. W. A. Mozart 513.Google Scholar
[K. 515] Autograph score, Library of Congress, Washington DC, ML30.8b. M8 K. 515 Case.Google Scholar
[K. 515, K. 516] Mozart, , Streichquintette (C-Dur) KV 515 und (g moll) KV 516, Stimmen, Abschrift: Beethoven-Haus Bonn, Sammlung Hanns J. Eller, NE 228.Google Scholar
[K. 527] Mozart, , ‘Il dissoluto punito ossia il Don Giovanni’: Facsimile of the Autograph Score. 3 vols. Los Altos, CA: The Packard Humanities Institute, 2009.Google Scholar
[K. 527] Mozart, W. A., Don Giovanni; 1 C 276/1–4, Prague Conservatory, Czech Republic.Google Scholar
[K. 533 + K. 494] Mozart, , Sonate pour le fortepiano, ou clavecin. Vienna: Hoffmeister, 1788.Google Scholar
[K. 537] Mozart, , Piano Concerto No. 26 in D major (‘Coronation’), K. 537: The Autograph Score. New York: Dover, 1991.Google Scholar
[K. 546 (fugue only)] British Library, London, MS 28966.Google Scholar
[K. 551] Mozart, , Symphonie C (Jupiter): Facsimile Reproduction of the Original Manuscript. Vienna: Wien Philharmonischer Verlag, 1923.Google Scholar
[K. 563] Mozart, , Gran trio per violino, viola, e basso. Vienna: Artaria, 1792.Google Scholar
[K. 575, K. 589, K. 590] Mozart, , Tre quartetti per due violini, viola e basso. Vienna: Artaria, 1791.Google Scholar
[K. 583] Staatsbibliothek zu Berlin, Mus. ms. autogr. W. A. Mozart 583.Google Scholar
[K. 588] Mozart, , ‘Così fan tutte ossia La scuola degli amanti’, K. 588: Facsimile of the Autograph Score. 3 vols. Los Altos, CA: Packard Humanities Institute, 2007.Google Scholar
[K. 595] Mozart, , Klavierkonzert in B-dur, KV595: Faksimile der autographen Partitur. Kassel: Bärenreiter, 1989.Google Scholar
[K. 613] Ariette ‘Ein Weib ist das herrlichste Ding’ avec Variations pour le clavecin ou piano forte par W. A. Mozart. Vienna: Artaria, 1791: https://iiif.lib.harvard.edu/manifests/view/drs:17525734$1i.Google Scholar
[K. 617] British Library London, Zweig MS61.Google Scholar
[K. 620] Mozart, , ‘Die Zauberflöte’, K. 620: Facsimile of the Autograph Score. 3 vols. Los Altos, CA: The Packard Humanities Institute, 2009.Google Scholar
[K. 621] Mozart, , ‘La clemenza di Tito’: Facsimile of the Autograph Score. 2 vols. Los Altos, CA: The Packard Humanities Institute, 2008.Google Scholar
[K. 626] Mozart, , Requiem, KV 626: vollständige Faksimile-Ausgabe im Originalformat der Originalhandschrift in zwei Teilen nach Mus. Hs. 17.561 der Musiksammlung der Österreichischen Nationalbibliothek, ed. Brosche, Günter. Kassel: Bärenreiter, 1990.Google Scholar

Secondary Sources

Abbate, Carolyn. In Search of Opera. Princeton: Princeton University Press, 2004.Google Scholar
Abert, Hermann. W. A. Mozart (1919–1921). Trans. Spencer, Stewart, ed. Eisen, Cliff. New Haven, CT: Yale University Press, 2007.Google Scholar
Agawu, V. Kofi. Playing with Signs: A Semiotic Interpretation of Classic Music. Princeton: Princeton University Press, 1991.Google Scholar
Albrecht, Theodore. ‘Anton Dreyssig (c. 1753/4–1820): Mozart’s and Beethoven’s Zauberflötist’. In Link, Dorothea and Nagley, Judith (eds.), Words About Mozart: Essays in Honour of Stanley Sadie. Woodbridge and Rochester, NY: The Boydell Press, 2005, pp. 179192.Google Scholar
Albrecht, Theodore. ‘The Soloists in “Martern aller Arten”, Mozart’s Sinfonia Concertante Movement for Flute, Oboe, Violin, Violoncello, and One-Eyed Soprano’. Mozart Society of America Newsletter, 17/1 (January 2013), pp. 611.Google Scholar
Albrechtsberger, Johann Georg. Gründliche Anweisung zur Composition. Leipzig: Breitkopf, 1790.Google Scholar
Allanbrook, Wye Jamison. Rhythmic Gesture in Mozart: ‘Le nozze di Figaro’ and ‘Don Giovanni’. Chicago, IL: University of Chicago Press, 1983.Google Scholar
Allanbrook, Wye Jamison. ‘“To Serve the Private Pleasure”: Expression and Form in the String Quartets’. In Sadie, Stanley (ed.), Wolfgang Amadè Mozart: Essays on His Life and His Music. Oxford: Clarendon Press, 1996, pp. 132160.Google Scholar
Alwis, Lisa de (trans. and ed.). Anti-Da Ponte. Malden, MA: Mozart Society of America, 2015.Google Scholar
Anderson, Emily (trans. and ed.). The Letters of Mozart and his Family. 3rd edn, London: Macmillan, 1985.Google Scholar
Angermüller, Rudolph. ‘Francesco Bussani – Mozarts erster Bartolo, Antonio und Alfonso und Dorothea Bussani – Mozarts erster Cherubino und erste Despina’. Mozart Studien, 10 (Tutzing: Hans Schneider, 2001), pp. 213231.Google Scholar
Angermüller, Rudolph. Mozart, 1485 bis 2003. Band 1: 1485/86 – 1809. Tutzing: Hans Schneider, 2004.Google Scholar
Arnold, Ignaz. Joseph Haydn: seine kurze Biographie und ästhetische Darstellung seiner Werke: Bildungsbuch für junge Tonkünstler. Erfurt, 1810.Google Scholar
Arnold, Ignaz. Mozarts Geist: seine kurze Biographie und ästetische Darstellung seiner Werke. Erfurt: Henningschen Buchhandlung, 1803.Google Scholar
Arthur, John. ‘“N.N.” Revisited: New Light on Mozart’s Late Correspondence’. In Brandenburg, Sieghard (ed.), Haydn, Mozart, and Beethoven: Studies in the Music of the Classical Period. Essays in Honour of Alan Tyson. Oxford: Clarendon Press, 1998, pp. 127145.Google Scholar
Arthur, John. ‘Some Chronological Problems in Mozart: The Contribution of Ink Studies’. In Sadie, Stanley (ed.), Wolfgang Amadè Mozart: Essays on His Life and His Music. Oxford: Clarendon Press, 1996, pp. 3552.Google Scholar
Arthur, John., and Schachter, Carl. ‘Mozart’s Das Veilchen’. Musical Times, 130 (1989), pp. 149155.Google Scholar
Autexier, Philippe A. ‘Wann würde die Maurerische Trauermusik uraufgeführt?’ Mozart-Jahrbuch 1984–85, pp. 68.Google Scholar
Badura-Skoda, Eva. ‘On Improvised Embellishments and Cadenzas in Mozart’s Piano Concertos’. In Zaslaw, Neal (ed.), Mozart’s Piano Concertos: Text, Context, Interpretation. Ann Arbor, MI: University of Michigan Press, 1996, pp. 365371.Google Scholar
Badura-Skoda, Eva, and Badura-Skoda, Paul. Interpreting Mozart: The Performance of His Piano Pieces and Other Compositions. 2nd edition, New York and London: Routledge, 2008.Google Scholar
Baker, Felicity. ‘The Figures of Hell in the Don Giovanni Libretto’. In Link, Dorothea and Nagley, Judith (eds.), Words About Mozart: Essays in Honour of Stanley Sadie. Woodbridge and Rochester, NY: The Boydell Press, 2005, pp. 77106.Google Scholar
Baker, Nancy Kovaleff, and Christensen, Thomas (eds.). Aesthetics and the Art of Musical Composition in the German Enlightenment: Selected Writings of Johann Georg Sulzer and Heinrich Christoph Koch. Cambridge: Cambridge University Press, 1995.Google Scholar
Bamhart, Russell T.The Two “Albanian Noblemen” in Così fan tutte’. Mitteilungen der Internationalen Stiftung Mozarteum, 46 (1998), pp. 3841.Google Scholar
Bär, Carl. Mozart: Krankheit, Tod, Begräbnis. Kassel: Bärenreiter, 1972.Google Scholar
Barak, Helmut. ‘Valentin Adamberger: Mozarts Belmonte und Freund’. In Fuchs, Ingrid (ed.), Internationaler Musikwissenschaftlicher Kongress zum Mozartjahr 1991, Baden-Wien. Tutzing: Hans Schneider, 1993, pp. 463474.Google Scholar
Bauer, Günther G.Mozarts hohe Licht- und Heizkosten 1781–1792’. Mitteilungen der Gesellschaft für Salzburger Landeskunde. Salzburg: Gesellschaft für Salzburger Landeskunde, 2008, pp. 147186.Google Scholar
Bauer, Wilhelm A., Deutsch, Otto Erich, and Eibl, Joseph Heinz (eds.). Mozart: Briefe und Aufzeichnungen, Gesamtausgabe. 8 vols. Kassel: Bärenreiter, 1962–2005.Google Scholar
Bauman, Thomas. ‘At the North Gate: Instrumental Music in Die Zauberflöte’. In Heartz, Daniel, Mozart’s Operas, ed. Bauman, . Berkeley: University of California Press, 1990, pp. 277297.Google Scholar
Bauman, Thomas. ‘Coming of Age in Vienna: Die Entführung aus dem Serail’. In Heartz, Daniel, Mozart’s Operas, ed. Bauman, . Berkeley: University of California Press, 1990, pp. 6487.Google Scholar
Bauman, Thomas. ‘Mozart Belmonte’. Early Music, 19 (1991), pp. 556563.Google Scholar
Bauman, Thomas. ‘The Three Trials of Don Giovanni’. In Oswald, Peter and Zegans, Leonard S. (eds.), The Pleasures and Perils of Genius: Mostly Mozart. Madison, CT: International Universities Press, 1993, pp. 133144.Google Scholar
Bauman, Thomas. W. A. Mozart: ‘Die Entführung aus dem Serail’. Cambridge: Cambridge University Press, 1987.Google Scholar
Bayly, Anselm. Practical Treatise on Singing and Playing with Just Expression and Real Elegance. London, 1771.Google Scholar
Beales, Derek. Joseph II: Against the World, 1780–1790. Cambridge: Cambridge University Press, 2009.Google Scholar
Beales, Derek. Joseph II: In the Shadow of Maria Theresa, 1741–1780. Cambridge: Cambridge University Press, 1987.Google Scholar
Beghin, Tom. ‘“Delivery, Delivery, Delivery!” Crowning the Rhetorical Process of Haydn’s Keyboard Sonatas’. In Beghin, and Goldberg, Sander M. (eds.), Haydn and the Performance of Rhetoric. Chicago, IL: University of Chicago Press, 2007, pp. 131171.Google Scholar
Beghin, Tom. The Virtual Haydn: Paradox of a Twenty-First Century Keyboardist. Chicago: University of Chicago Press, 2015.Google Scholar
Beicken, Suzanne J. (ed. and trans.). Treatise on Vocal Performance and Ornamentation by Johann Adam Hiller (1780). Cambridge: Cambridge University Press, 2001.Google Scholar
Berger, Karol. Bach’s Cycle, Mozart’s Arrow: An Essay on the Origins of Musical Modernity. Berkeley, CA: University of California Press, 2007.Google Scholar
Bernoulli, Johann. Sammlung kurzer Reisebeschreibungen und anderer zur Erweitung der Länder und Menschenkenntniss dienender Nachtrichten. Berlin, 1783.Google Scholar
Béthizy, Jean-Laurent de. Exposition de la théorie et de la pratique de la musique. Paris, 1764.Google Scholar
Black, David Ian. ‘Mozart and the Practice of Sacred Music, 1781–1791’. PhD thesis, Harvard University, 2007.Google Scholar
Black, David Ian. ‘Mozart’s Association with the Tonkünstler-Societät’. In Keefe, Simon P. (ed.), Mozart Studies 2. Cambridge: Cambridge University Press, 2015, pp. 5575.Google Scholar
Blom, Eric. Mozart. New York: Collier, 1962.Google Scholar
Böheim, Ferdinand Carl. Chronik von Wiener-Neustadt. Vienna, 1830.Google Scholar
Bonds, Mark Evan. ‘Listening to Listeners’. In Mirka, Danuta and Agawu, V. Kofi (eds.), Communication in Eighteenth-Century Music. Cambridge: Cambridge University Press, 2008, pp. 3452.Google Scholar
Bonds, Mark Evan. ‘Replacing Haydn: Mozart’s “Pleyel” Quartets’. Music & Letters, 88/2 (2007), pp. 201225.Google Scholar
Bonds, Mark Evan. ‘The Sincerest Form of Flattery? Mozart’s “Haydn” Quartets and the Question of Influence’. Studi musicali, 22 (1993), pp. 365409.Google Scholar
Bonds, Mark Evan. Wordless Rhetoric: Musical Form and the Metaphor of the Oration. Cambridge, MA: Harvard University Press, 1991.Google Scholar
Brandenburg, Irene. ‘Mozart, Davide penitente, and Saverio Mattei’. Mozart Society of America Newsletter, 15/2 (August 2011), pp. 1112, 14.Google Scholar
Brandenburg, Irene. ‘Neues zum Text von Mozarts Davide penitente KV 469’. In Laubhold, Lars E. and Walterskirchen, Gerhard (eds), Klang-Quellen: Festschrift Ernst Hintermaier zum 65. Geburtstag. Munich: Strube-Verlag, 2010, pp. 209229.Google Scholar
Branscombe, Peter. W. A. Mozart: ‘Die Zauberflöte’. Cambridge: Cambridge University Press, 1991.Google Scholar
Braunbehrens, Volkmar. Maligned Master: The Real Story of Antonio Salieri. Trans. Kanes, Eveline L.. New York: Fromm, 1992.Google Scholar
Braunbehrens, Volkmar. Mozart in Vienna, 1781–1791. Trans. Bell, Timothy. New York: Grove Weidenfeld, 1989.Google Scholar
Brauneis, Walther. ‘“Dies Irae, Dies Illa” – “Tag des Zornes, Tag der Klage”: Auftrag, Entstehung and Vollendung von Mozarts “Requiem”’. Jahrbuch des Vereins für Geschichte der Stadt Wien, 47–48 (1991–1992), pp. 3348.Google Scholar
Brauneis, Walther. ‘“… wegen schuldigen 1435 f 32 xr”: Neuer Archivfund zur Finanzmisere Mozarts im November 1791’. Mitteilungen der Internationalen Stiftung Mozarteum, 39 (1991), pp. 159163.Google Scholar
Breene, Samuel. ‘Mozart’s Violin Sonatas and the Gestures of Embodiment: The Subjectivities of Performance Practice’. PhD thesis, Duke University, 2007.Google Scholar
Brophy, Brigid. Mozart the Dramatist. New York: Da Capo, 1964.Google Scholar
Brown, A. Peter. The Symphonic Repertoire, Volume II. The First Golden Age of the Viennese Symphony: Haydn, Mozart, Beethoven, and Schubert. Indianapolis, IN: Indiana University Press, 2002.Google Scholar
Brown, Bruce Alan. ‘Beaumarchais, Paisiello and the Genesis of Così fan tutte’. In Sadie, Stanley (ed.), Wolfgang Amadè Mozart: Essays on His Life and His Music. Oxford: Clarendon Press, 1996, pp. 312338.Google Scholar
Brown, Bruce Alan. ‘In Defense of Josepha Duschek (and Mozart): Patronage, Friendship, and Evidence’. In Libin, Kathryn (ed.), Mozart in Prague: Essays on Performance, Patronage, Sources, and Reception. Prague: Czech Academy of Sciences, 2016, pp. 155174.Google Scholar
Brown, Bruce Alan. ‘Gluck’s Rencontre Imprévue and Its Revisions’. Journal of the American Musicological Society, 36 (1983), pp. 498518.Google Scholar
Brown, Bruce Alan. W. A. Mozart: ‘Così fan tutte’. Cambridge: Cambridge University Press, 1995.Google Scholar
Brown, Bruce Alan, and Rice, John. ‘Salieri’s Così fan tutte’. Cambridge Opera Journal, 8 (1996), pp. 1743.Google Scholar
Brown, Clive. Classical and Romantic Performing Practice, 1750–1900. Oxford and New York: Oxford University Press, 1999.Google Scholar
Buch, David J. (ed.). Der Stein der Weisen. Middleton, WI: A-R Editions, 2007.Google Scholar
Buch, David J. (ed.). ‘Der Stein der Weisen, Mozart, and Collaborative Singspiels at Emanuel Schikaneder’s Theater auf der Wieden’. Mozart-Jahrbuch 2000, pp. 91126.Google Scholar
Buch, David J. (ed.). ‘Die Zauberflöte, Masonic Opera, and Other Fairy Tales’. Acta musicologica, 76 (2004), pp. 193219.Google Scholar
Buch, David J. (ed.). Liedersammlung für Kinder und Kinderfreunde am Clavier (1791). Middleton, WI: A-R Editions, 2014.Google Scholar
Buch, David J. (ed.). Magic Flutes and Enchanted Forests: The Supernatural in Eighteenth-Century Musical Theater. Chicago: University of Chicago Press, 2008.Google Scholar
Buch, David J. (ed.). ‘Mozart and the Theater auf der Wieden: New Attributions and Perspectives’. Cambridge Opera Journal, 9 (1997), pp. 295–232. Reprinted in Keefe, Simon P. (ed.), Mozart. Aldershot: Ashgate Publishing, pp. 249286.Google Scholar
Buch, David J. (ed.). ‘On the Context of Mozart’s Variations to the Aria, “Ein Weib ist das herrlichste Ding auf der Welt”, K. 613’. Mozart-Jahrbuch 1999, pp. 7180.Google Scholar
Buch, David J. (ed.). ‘The House Composers of the Theater auf der Wieden in the Time of Mozart (1789–91)’. Israel Studies in Musicology Online, 5 (2006), pp. 1419.Google Scholar
Buch, David J. (ed.). ‘Three Posthumous Reports Concerning Mozart in His Late Viennese Years’. Eighteenth-Century Music, 2 (2005), pp. 125129.Google Scholar
Burney, Charles. The Present State of Music in Germany, the Netherlands and United Provinces (1775). New York: Broude, 1969.Google Scholar
Burnham, Scott. ‘Mozart’s felix culpa: Così fan tutte and the Irony of Beauty’. Musical Quarterly, 78 (1994), pp. 7798. Reprinted in Keefe, Simon P. (ed.), Mozart. Aldershot: Ashgate Publishing, pp. 227248.Google Scholar
Burnham, Scott. Mozart’s Grace. Princeton: Princeton University Press, 2013.Google Scholar
Butt, John. Playing with History: The Historical Approach to Musical Performance. Cambridge: Cambridge University Press, 2002.Google Scholar
Cairns, David. Mozart’s Operas. London: Allen Lane, 2006.Google Scholar
Campana, Alessandra. ‘Il libretto de “Lo sposo deluso”’. Mozart-Jahrbuch 1988–1989, pp. 573588.Google Scholar
Campana, Alessandra. ‘The Performance of Opera Buffa: Le nozze di Figaro and the Act IV Finale’. In La Via, Stefano and Parker, Roger (eds.), Pensieri per un maestro: Studi in onore di Pierluigi Petrobelli. Turin: EDT, 2002, pp. 125134.Google Scholar
Carew, Derek. The Mechanical Muse: The Piano, Pianism and Piano Music, c. 1760–1850. Aldershot: Ashgate Publishing, 2007.Google Scholar
Chailly, Jacques. The Magic Flute. Trans. Weinstock, Herbert. London: Gollancz, 1972.Google Scholar
Charlton, David (ed.). E.T.A. Hoffmann’s Musical Writings: ‘Kreisleriana’, ‘The Poet and the Composer’, Music Criticism. Trans. Clarke, Martyn. Cambridge: Cambridge University Press, 1989.Google Scholar
Clive, Peter. Mozart and His Circle: A Biographical Dictionary. New Haven, CT: Yale University Press, 1993.Google Scholar
Cole, Malcolm S.Mozart and Two Theaters in Josephinian Vienna’. In Radice, Mark A. (ed.), Opera in Context: Essays on Historical Staging from the Late Renaissance to the Time of Puccini. Portland, OR: Amadeus Press, 1998, pp. 111145.Google Scholar
Cone, Edward. The Composer’s Voice. Berkeley, CA: University of California Press, 1974.Google Scholar
Cook, Nicholas. Beyond the Score: Music as Performance. Oxford and New York: Oxford University Press, 2013.Google Scholar
Cooper, Anthony Ashley, 3rd Earl of Shaftesbury. Characteristics of Men, Manners, Opinions, Times. 3 vols. London, 1711. Reprint, Hildesheim: Georg Olms, 1978.Google Scholar
Corneilson, Paul. ‘“aber nach geendigter Oper mit Vergnügen”: Mozart’s Arias for Mme Duschek’. In Libin, Kathryn (ed.), Mozart in Prague: Essays on Performance, Patronage, Sources, and Reception. Prague: Czech Academy of Sciences, 2016, pp. 175200.Google Scholar
Corneilson, Paul. ‘Josepha Hofer, First Queen of the Night’. In Mozart-Studien, forthcoming.Google Scholar
Corneilson, Paul. ‘Liedersammlung für Kinder und Kinderfreunde: A Context for Mozart’s Songs K. 596–598’. Mozart-Jahrbuch 2011, pp. 101117.Google Scholar
Corneilson, Paul. (ed. and trans.). The Autobiography of Ludwig Fischer: Mozart’s First Osmin. Malden, MA: Mozart Society of America, 2011.Google Scholar
Corneilson, Paul. ‘The Mannheim Years of Ludwig Fischer (1745–1825)’. In Finscher, Ludwig, Pelker, Baerbel and Thomsen-Fuerst, Ruediger (eds.), Mannheim: Ein ‘Paradies der Tonkünstler’? Kongressbericht Mannheim 1999. Frankfurt: Peter Lang, 2002, pp. 375386.Google Scholar
Corneilson, Paul. ‘The Vocal Music’. In Keefe, Simon P. (ed.), The Cambridge Companion to Mozart. Cambridge: Cambridge University Press, 2003, pp. 118130.Google Scholar
Corneilson, Paul. ‘Vogler’s Method of Singing’. Journal of Musicology, 16 (1998), pp. 91109.Google Scholar
Cowgill, Rachel. ‘“Proofs of Genius”: Wolfgang Amadeus Mozart and the Construction of Musical Prodigies in Early Georgian London’. In MacPherson, Gary (ed.), Musical Prodigies: Interpretations from Psychology, Music Education, Musicology and Ethnomusicology. New York: Oxford University Press, 2016, pp. 511549.Google Scholar
Cowgill, Rachel. ‘An Unknown Handel Arrangement by Mozart? The Halifax Judas’. Musical Times, 143 (2002), pp. 1936.Google Scholar
Cremeri, Anton. Sympathien mit Joseph den II. Linz, 1784.Google Scholar
Rev. Dallaway, James. Observations on English Architecture, Military, Ecclesiastical, and Civil. London, 1806.Google Scholar
Damschroeder, David. Harmony in Haydn and Mozart. Cambridge: Cambridge University Press, 2012.Google Scholar
Davies, Peter J. Mozart in Person: His Character and Health. New York: Greenwood, 1989.Google Scholar
Dell’Antonio, Andrew. ‘“Il compositore deluso”: The Fragments of Lo sposo deluso’. In Sadie, Stanley (ed.), Wolfgang Amadè Mozart: Essays on His Life and His Music. Oxford: Clarendon Press, 1996, pp. 403412.Google Scholar
Dent, Edward. Mozart’s Operas: A Critical Study (2nd edition, 1947). Oxford: Clarendon Press, 1991.Google Scholar
Derr, Ellwood. ‘Some Thoughts on the Design of Mozart’s Opus 4, the “Subscription Concertos” (K. 414, 413, and 415)’. In Zaslaw, Neal (ed.), Mozart’s Piano Concertos: Text, Context, Interpretation. Ann Arbor: University of Michigan Press, 1996, pp. 187210.Google Scholar
Deutsch, Otto Erich. Mozart: Die Dokumente seines Leben. Kassel: Bärenreiter, 1961. Trans. Blom, Eric, Branscombe, Peter and Noble, Jeremy as Mozart: A Documentary Biography. 3rd edition, London: Simon & Schuster, 1990.Google Scholar
Dittersdorf, Karl Ditters von. Lebensbeschreibung. Seinem Sohne in die Feder diktirt, ed. Spazier, Carl. Leipzig, 1801. Trans. Coleridge, A. D. as The Autobiography of Karl von Dittersdorf. London: Richard Bentley and Son, 1896.Google Scholar
Dlabacz, Johann. Allgemeines historisches Künstler-Lexikon für Böhmen. Prague, 1815.Google Scholar
Dolan, Emily. The Orchestral Revolution: Haydn and the Technologies of Timbre. Cambridge: Cambridge University Press, 2013.Google Scholar
Donoghue, Denis. ‘Approaching Mozart’. In Morris, James M. (ed.), On Mozart. Cambridge: Cambridge University Press, 1994, pp. 1535.Google Scholar
Dreyfus, Laurence. ‘The Hermeneutics of Lament: A Neglected Paradigm in a Mozartian Trauermusik’. Music Analysis, 10 (1991), pp. 329343.Google Scholar
Duport, Jean-Pierre. Six sonates pour le violoncelle ou violon et basse dédiées à son altesse Sérénissime Monseigneur Le Prince de Conty. Paris, c. 1761–1769?Google Scholar
Durante, Sergio. ‘“La clemenza di Tito” and Other Two-Act Reductions of the Late 18th Century’. Mozart-Jahrbuch 1991, vol. 2, pp. 733741.Google Scholar
Durante, Sergio. ‘Mozart and the Idea of “Vera” Opera: A Study of La clemenza di Tito’. PhD thesis, Harvard University, 1993.Google Scholar
Durante, Sergio. ‘The Chronology of Mozart’s La clemenza di Tito Reconsidered’. Music & Letters, 80 (1999), pp. 560594.Google Scholar
Edge, Dexter. ‘Attributing Mozart (i): Three Accompanied Recitatives’. Cambridge Opera Journal, 13 (2001), pp. 197237.Google Scholar
Edge, Dexter. ‘Manuscript Parts as Evidence of Orchestral Size in the Eighteenth-Century Concerto’. In Zaslaw, Neal (ed.), Mozart’s Piano Concertos: Text, Context, Interpretation. Ann Arbor, MI: University of Michigan Press, 1996, pp. 427460.Google Scholar
Edge, Dexter. ‘Mozart’s Fee for Così fan tutte’. Journal of the Royal Musical Association, 116 (1991), pp. 211235.Google Scholar
Edge, Dexter. ‘Mozart’s Reception in Vienna, 1787–1791’. In Sadie, Stanley (ed.), Wolfgang Amadè Mozart: Essays on His Life and His Music. Oxford: Clarendon Press, 1996, pp. 66117.Google Scholar
Edge, Dexter. ‘Mozart’s Viennese Copyists’. PhD thesis, University of Southern California, 2001.Google Scholar
Edge, Dexter. ‘Mozart’s Viennese Orchestras’. Early Music, 20 (1992), pp. 6388.Google Scholar
Edge, Dexter. ‘Musicological Introduction’, in Mozart, Wolfgang Amadeus, ‘Le nozze di Figaro’, K. 492: Facsimile of the Autograph Score. 3 vols. Los Altos, CA: The Packard Humanities Institute, 2007, vol. 3, pp. 1324.Google Scholar
Edge, Dexter. ‘Recent Discoveries in Viennese Copies of Mozart’s Concertos’. In Zaslaw, Neal (ed.), Mozart’s Piano Concertos: Text, Context, Interpretation. Ann Arbor: University of Michigan Press, 1996, pp. 5165.Google Scholar
Edge, Dexter. ‘Review Article: Mary Sue Morrow, Concert Life in Haydn’s Vienna: Aspects of a Developing Musical and Social Institution’. Haydn Yearbook, 17 (1992), pp. 108166.Google Scholar
Edge, Dexter, and Black, David (eds.). Mozart: New Documents, http://dx.doi.org/10.7302/Z20P0WXJ.Google Scholar
Eibl, Joseph (ed.). Mozart: Die Dokumente seines Lebens, Addenda und Corrigenda. Kassel: Bärenreiter, 1978.Google Scholar
Eibl, Joseph (ed.). ‘Süssmayrs “Requiem”-Brief vom 8. Februar 1800’. Mitteilungen der Internationalen Stiftung Mozarteum, 24 (1976), pp. 2123.Google Scholar
Einstein, Alfred. Mozart: His Character, His Work. Trans. Broder, Nathan and Mendel, Arthur. London: Cassell, 1945.Google Scholar
Eisen, Cliff. ‘Another Look at the “Corrupt Passage” in Mozart G Minor Symphony, K. 550: Its Sources, “Solution” and Implications for the Composition of the Final Trilogy’. Early Music, 25/3 (1997), pp. 373380.Google Scholar
Eisen, Cliff. (ed.). Four Viennese String Quintets. Madison, WI: A-R Editions, 1998.Google Scholar
Eisen, Cliff. (ed.). Mozart: A Life in Letters. Trans. Spencer, Stewart. London: Penguin, 2006.Google Scholar
Eisen, Cliff. ‘Mozart and Salzburg’. In Keefe, Simon P. (ed.), The Cambridge Companion to Mozart. Cambridge: Cambridge University Press, 2005, pp. 721.Google Scholar
Eisen, Cliff. ‘Mozart and the Viennese String Quintet’. In Eisen, and Seiffert, Wolf-Dieter (eds.), Mozarts Streichquintette. Stuttgart: Fritz Steiner, 1994, pp. 127152.Google Scholar
Eisen, Cliff. ‘Mozart Plays Haydn’. Mozart-Jahrbuch 2006, pp. 409421.Google Scholar
Eisen, Cliff. ‘Mozart’s Chamber Music’. In Keefe, Simon P. (ed.), The Cambridge Companion to Mozart. Cambridge: Cambridge University Press, 2003, pp. 105117.Google Scholar
Eisen, Cliff. ‘Mozart’s Leap in the Dark’. In Keefe, Simon P. (ed.), Mozart Studies. Cambridge: Cambridge University Press, 2006, pp. 124.Google Scholar
Eisen, Cliff. ‘New Light on Mozart’s “Linz” Symphony’. Journal of the Royal Musical Association, 113 (1988), pp. 8196.Google Scholar
Eisen, Cliff. (ed.). New Mozart Documents: A Supplement to O. E. Deutsch’s Documentary Biography. London and Palo Alto, CA: Stanford University Press, 1991.Google Scholar
Eisen, Cliff. ‘The Mozarts’ Salzburg Copyists: Aspects of Attribution, Chronology, Text, Style and Performance Practice’. In Eisen, (ed.), Mozart Studies. Oxford: Oxford University Press, 1991, pp. 253307.Google Scholar
Eisen, Cliff. ‘The Primacy of Performance: Text, Act and Continuo in Mozart’s Piano Concertos’. In Link, Dorothea and Nagley, Judith (eds.), Words About Mozart: Essays in Honour of Stanley Sadie. Woodbridge: Boydell & Brewer, 2005, pp. 107119.Google Scholar
Eisen, Cliff. ‘The Rise (and Fall) of the Concerto Virtuoso in the Late Eighteenth and Nineteenth Centuries’. In Keefe, Simon P. (ed.), The Cambridge Companion to the Concerto. Cambridge: Cambridge University Press, 2005, pp. 177191.Google Scholar
Eisen, Cliff. ‘The Scoring of the Orchestral Bass Part in Mozart’s Salzburg Keyboard Concertos: The Evidence of the Authentic Copies’. In Zaslaw, Neal (ed.), Mozart’s Piano Concertos: Text, Context, Interpretation. Ann Arbor: University of Michigan Press, 1996, pp. 411425.Google Scholar
Eisen, Cliff, and Keefe, Simon P. (eds.). The Cambridge Mozart Encyclopedia. Cambridge: Cambridge University Press, 2006.Google Scholar
Eisen, Cliff, and Wintle, Christopher. ‘Mozart’s C minor Fantasy, K. 475: An Editorial “Problem” and Its Analytical Consequences’. Journal of the Royal Musical Association, 124 (1999), pp. 2652.Google Scholar
Everist, Mark. ‘“Madame Dorothea Wendling Is ‘arcicontentissima’”: The Performers of Idomeneo’. In Rushton, Julian, W. A. Mozart: ‘Idomeneo’. Cambridge: Cambridge University Press, 1993, pp. 4861.Google Scholar
Everson, Jane. ‘Of Beaks and Geese: Mozart, Varesco and Francesco Cieco’. Music & Letters, 76 (1995), pp. 369383.Google Scholar
Feldman, Martha. ‘Staging the Virtuoso: Ritornello Procedure in Mozart, from Aria to Concerto’. In Zaslaw, Neal (ed.), Mozart’s Piano Concertos: Text, Context, Interpretation. Ann Arbor: University of Michigan Press, 1996, pp. 149186.Google Scholar
Finscher, Ludwig. ‘Aspects of Mozart’s Compositional Process in the Quartet Autographs: I. The Early Quartets, II. The Genesis of K. 387’. In Wolff, Christoph (ed.), The String Quartets of Haydn, Mozart and Beethoven: Studies of the Autograph Scores. Cambridge, MA: Harvard University Press, 1980, pp. 121153.Google Scholar
Flothuis, Marius. ‘A Close Reading of the Autographs of Mozart’s Ten Late Quartets’. In Wolff, Christoph (ed.), The String Quartets of Haydn, Mozart and Beethoven: Studies of the Autograph Scores. Cambridge, MA: Harvard University Press, 1980, pp. 154173.Google Scholar
Flothuis, Marius. Mozart’s Piano Concertos. Amsterdam: Rodolpi, 2001.Google Scholar
Flothuis, Marius. ‘Welche Arien sang Josepha Duschek am 26. April 1791?’. Mitteilungen der Internationalen Stiftung Mozarteum, 37 (1989), pp. 8182.Google Scholar
Framery, Nicolas-Étienne, and Ginguené, Pierre-Louis (eds.). Encyclopédie méthodique: musique. Paris, 1791; reprint New York: Da Capo, 1971, 2 vols.Google Scholar
Francoeur, Louis Joseph. Diapason général de tous les instrumens à vent avec des observations sur chacun d’eux. Paris, 1772.Google Scholar
Frankl, Ludwig August. ‘Die erste Pamina’. Unterhaltungsblatt zur Augsburger Postzeitung, no. 40 (1 October 1842), n.p.Google Scholar
Funke, G. Ph. Naturgeschichte und Technologie für Lehrer in Schulen und für Liebhaber dieser Wissenschaften. Braunschweig, 1806.Google Scholar
Gallarati, Paolo. ‘Mozart and Eighteenth-Century Comedy’. In Hunter, Mary and Webster, James (eds.), Opera Buffa in Mozart’s Vienna. Cambridge: Cambridge University Press, 1997, pp. 98111.Google Scholar
Georgiou, Christina. ‘The Historical Editing of Mozart’s Keyboard Sonatas: History, Context and Practice’. PhD thesis, City University London, 2011.Google Scholar
Gerber, Ernst Ludwig. Historisch-biographisches Lexicon der Tonkünstler. 2 vols. Leipzig, 1790–1792.Google Scholar
Gerber, Ernst Ludwig. Neues historisch-biographisches Lexicon der Tonkünstler. 4 vols. Leipzig, 1812–1814.Google Scholar
Ghéon, Henri. In Search of Mozart. Trans. Pru, Alexander. London: Sheed & Ward, 1934.Google Scholar
Gidwitz, Patricia. ‘Mozart’s Fiordiligi: Adriana Ferrarese del Bene’. Cambridge Opera Journal, 8 (1996), pp. 199214.Google Scholar
Gidwitz, Patricia. ‘“Ich bin die erste Sängerin”: Vocal Profiles of Two Mozart Sopranos’. Early Music, 19 (1991), pp. 565579.Google Scholar
Gidwitz, Patricia. ‘Vocal Portraits of Four Mozart Sopranos’. PhD thesis, University of California at Berkeley, 1991.Google Scholar
Giglberger, Veronica. ‘“Man hört drei vernünftige Leute sich untereinander unterhalten”: Beobachten zur Satztechnik im Divertimento KV 563’. Mozart-Jahrbuch 2001, pp. 6170.Google Scholar
Girdlestone, Cuthbert. Mozart and His Piano Concertos. London: Cassell, 1948; reprint New York: Dover, 1964.Google Scholar
Glauert, Amanda. ‘The Lieder of Carl Philipp Emanuel Bach, Haydn, Mozart, and Beethoven’. In Parsons, James (ed.), The Cambridge Companion to the Lied. Cambridge: Cambridge University Press, 2004, pp. 6383.Google Scholar
Glover, Jane. Mozart’s Women: His Family, His Friends, His Music. London: Macmillan, 2006.Google Scholar
Goehr, Lydia. The Imaginary Museum of Musical Works. Oxford: Clarendon Press, 1992.Google Scholar
Goehring, Edmund J.Much Ado About Something; or, Così fan tutte in the Romantic Imagination: A Translation of an Early Nineteenth-Century Critique of the Opera’. Eighteenth-Century Music, 5 (2008), pp. 91105.Google Scholar
Goehring, Edmund J.The Lamentations of Don Juan and Macbeth’. Proceedings of the Modern Language Association, 120 (2005), pp. 15241542.Google Scholar
Goehring, Edmund J.The Opere Buffe’. In Keefe, Simon P. (ed.), The Cambridge Companion to Mozart. Cambridge: Cambridge University Press, 2003, pp. 131146.Google Scholar
Goehring, Edmund J. Three Modes of Perception in Mozart: The Philosophical, Pastoral, and Comic in ‘Così fan tutte’. Cambridge: Cambridge University Press, 2004.Google Scholar
Gooley, Dana. The Virtuoso Liszt. Cambridge: Cambridge University Press, 2004.Google Scholar
Grave, Floyd, and Grave, Margaret. The String Quartets of Haydn. New York: Oxford University Press, 2006.Google Scholar
Grayson, David. ‘Whose Authenticity? Ornaments by Hummel and Cramer for Mozart’s Piano Concertos’. In Zaslaw, Neal (ed.), Mozart’s Piano Concertos: Text, Context, Interpretation. Ann Arbor: University of Michigan Press, 1996, pp. 373391.Google Scholar
Gruber, Gernot. Mozart and Posterity. Trans. Furness, R. S.. London: Quartet Books, 1991.Google Scholar
Gülke, Peter. ‘Triumph der neuen Tonkunst’: Mozarts späte Sinfonien und ihr Umfeld. Kassel, Stuttgart and Metzler: Bärenreiter and Metzler, 1998.Google Scholar
Gutman, Robert. Mozart: A Cultural Biography. New York: Harcourt Brace, 1999.Google Scholar
Haberkamp, Getraut. Die Erstdrücke der Werke von Wolfgang Amadeus Mozart. 2 vols. Tutzing: Hans Schneider, 1986.Google Scholar
Halliwell, Ruth. The Mozart Family: Four Lives in a Social Context. Oxford: Clarendon, 1998.Google Scholar
Harlow, Martin. ‘Action, Reaction and Interaction, and the Play of Style and Genre in Mozart’s Piano and Wind Quintet, K. 452’. In Harlow, (ed.), Mozart’s Chamber Music with Keyboard. Cambridge: Cambridge University Press, 2012, pp. 198219.Google Scholar
Harlow, Martin. ‘The Clarinet in Works of Franz Xaver Süssmayr (1766–1803): Anton Stadler and the Mozartian Example’. Acta mozartiana, 57 (2010), pp. 147165.Google Scholar
Haynes, Bruce. ‘Mozart and the Classical Oboe’. Early Music, 20 (1992), pp. 4363.Google Scholar
Haynes, Bruce. The End of Early Music: A Period Performer’s History of Music for the Twenty-First Century. New York: Oxford University Press, 2007.Google Scholar
Head, Matthew. Orientalism, Masquerade and Mozart’s Turkish Music. London: Royal Musical Association, 2000.Google Scholar
Heartz, Daniel. Haydn, Mozart and the Viennese School, 1740–1780. New York: Norton, 1995.Google Scholar
Heartz, Daniel. Mozart, Haydn and Early Beethoven, 1781–1802. New York: Norton, 2009.Google Scholar
Heartz, Daniel. Mozart’s Operas, ed. Bauman, Thomas. Berkeley: University of California Press, 1990.Google Scholar
Heartz, Daniel. ‘Nancy Storace, Mozart’s Susanna’. In Forney, Kristine K. and Smith, Jeremy L. (eds.), Sleuthing the Muse: Essays in Honor of William F. Prizer. New York: Pendragon Press, 2012, pp. 219233.Google Scholar
Heartz, Daniel. ‘When Mozart Revises: The Case of Guglielmo in Cosi fan tutte’. In Sadie, Stanley (ed.), Wolfgang Amadè Mozart: Essays on His Life and His Music. Oxford: Clarendon Press, 1996, pp. 355361.Google Scholar
Hellyer, Roger. ‘Mozart’s “Gran partita” and the Summer of 1781’. Eighteenth-Century Music, 8 (2011), pp. 93104.Google Scholar
Hellyer, Roger. ‘The Transcriptions for Harmonie of Die Entführung aus dem Serail’. Proceedings of the Royal Musical Association, 102 (1975–1976), pp. 5366.Google Scholar
Herttrich, Ernst. ‘Eine neue, wichtige Quelle zu Mozarts Streichquintetten KV 515 und 516’. In Mai, Paul (ed.), Im Dienst der Quellen zur Musik: Festschrift Gertraut Haberkamp zum 65. Geburtstag. Tutzing: Hans Schneider, 2002, pp. 435445.Google Scholar
Hess, Ernst. ‘Die ursprüngliche Gestalt des Klarinettenkonzerts KV622’. Mozart-Jahrbuch 1967, pp. 1830.Google Scholar
Hildesheimer, Wolfgang. Mozart. Trans. Faber, Marion. New York: Vintage, 1983.Google Scholar
Hodges, Sheila. Lorenzo Da Ponte: The Life and Times of Mozart’s Librettist. London: Granada, 1985.Google Scholar
Hoeprich, Eric. Clarinet. New Haven and London: Yale University Press, 2008.Google Scholar
Hogwood, Christopher, and Smaczny, Jan. ‘The Bohemian Lands’. In Zaslaw, Neal (ed.), The Classical Era: From the 1740s to the End of the 18th Century. London: Macmillan, 1989, pp. 188212.Google Scholar
Holmes, Edward. The Life of Mozart (1845), ed. Hogwood, Christopher. London: Folio Society, 1991.Google Scholar
Hortschansky, Klaus. ‘Autographe Stimmen zu Mozarts Klavierkonzerten KV 175 im Archiv André zu Offenbach’. Mozart-Jahrbuch 1989–1990, pp. 3754.Google Scholar
Howell, John (ed.). The Life and Adventures of John Nichol, Mariner. Edinburgh, 1822.Google Scholar
Hughes, Rosemary, and Medici, Nerina (eds.). A Mozart Pilgrimage. Being the Travel Diaries of Vincent and Mary Novello in the Year 1829. London: Novello, 1955.Google Scholar
Humphries, John. The Early Horn: A Practical Guide. Cambridge: Cambridge University Press, 2000.Google Scholar
Hunter, Mary. ‘Haydn’s London Piano Trios and His Salomon String Quartets: Private vs. Public?’ In Sisman, Elaine (ed.), Haydn and His World. Princeton: Princeton University Press, 1997, pp. 103130.Google Scholar
Hunter, Mary. ‘Haydn’s String Quartet Fingerings: Communications to Performer and Audience’. In Hunter, and Will, Richard (eds.), Engaging Haydn: Culture, Context, and Criticism. Cambridge: Cambridge University Press, 2012, pp. 281301.Google Scholar
Hunter, Mary. Mozart’s Operas: A Companion. New York: Oxford University Press, 2008.Google Scholar
Hunter, Mary. ‘Rousseau, the Countess, and the Female Domain’. In Eisen, Cliff (ed.), Mozart Studies 2. Oxford: Clarendon Press, 1996, pp. 126.Google Scholar
Hunter, Mary. The Culture of Opera Buffa in Mozart’s Vienna: A Poetics of Entertainment. Princeton: Princeton University Press, 1999.Google Scholar
Hunter, Mary. ‘“To Play as if from the Soul of the Composer”: The Idea of the Performer in Early Romantic Aesthetics’. Journal of the American Musicological Society, 58/2 (2005), pp. 357398.Google Scholar
Hunter, Mary, and Webster, James (eds.). Opera Buffa in Mozart’s Vienna. Cambridge: Cambridge University Press, 1997.Google Scholar
Hutchings, Arthur. A Companion to Mozart’s Piano Concertos. London: Oxford University Press, 1948; 8th edition, Oxford: Oxford University Press, 1998.Google Scholar
Ingrao, Charles W. The Habsburg Monarchy 1618–1815. 2nd edition, Cambridge: Cambridge University Press, 2000.Google Scholar
Irving, John. Mozart’s Piano Concertos. Aldershot: Ashgate, 2003.Google Scholar
Irving, John. Mozart’s Piano Sonatas: Contexts, Sources, Style. Cambridge: Cambridge University Press, 1997.Google Scholar
Irving, John. Understanding Mozart’s Piano Sonatas. Aldershot: Ashgate Publishing, 2010.Google Scholar
Ivanovitch, Roman. ‘Variation in the Display Episodes of Mozart’s Piano Concertos’. Journal of Music Theory, 52 (2008), pp. 181218.Google Scholar
Jahn, Otto. Life of Mozart (1856). Trans. Townsend, Pauline D.. 3 vols. London: Novello, Ewer & Co., 1891.Google Scholar
Jamason, Corey. ‘The Performer and the Composer’. In Lawson, Colin and Stowell, Robin (eds.), The Cambridge History of Musical Performance. Cambridge: Cambridge University Press, 2012, pp. 105134.Google Scholar
Jerold, Beverly. The Complexities of Early Instrumentation: Winds and Brass. Turnhout: Brepols, 2015.Google Scholar
John, Nicholas (ed.). ‘Così fan tutte’: Wolfgang Amadeus Mozart. London: Calder, 1983.Google Scholar
Jonášová, Milada. ‘A Performance of the G minor Symphony K. 550 at Baron van Swieten’s Rooms in Mozart’s Presence’. Newsletter of the Mozart Society of America, 16/1 (January 2012), pp. 14, 17.Google Scholar
Jonášová, Milada. ‘Eine Aufführung der g-moll-Sinfonie KV 550 bei Baron van Swieten im Beisein Mozarts’. In Mozart Studien, 20 (Tutzing: Schneider, Hans, 2011), pp. 253268.Google Scholar
Joncus, Berta. ‘“Ich bin eine Engländerin, zur Freyheit geboren”: Blonde and the Enlightened Female in Mozart’s Die Entführung aus dem Serail’. Opera Quarterly, 26 (2010), pp. 552587.Google Scholar
Jones, David Wyn. ‘Mozart’s Spirit from Seyfried’s Hands’. In Keefe, Simon P. (ed.), Mozart Studies 2. Cambridge: Cambridge University Press, 2015, pp. 195228.Google Scholar
Jones, David Wyn. Music in Vienna: 1700, 1800, 1900. Woodbridge and Rochester, NY: The Boydell Press, 2016.Google Scholar
Jones, David Wyn. ‘Why Did Mozart Compose His Last Three Symphonies?Music Review, 51 (1990), pp. 280289.Google Scholar
Karhausen, Lucien. The Bleeding of Mozart: A Medical Glance on His Life, Illness and Personality. Dartford: Xlibris Corporation, 2011.Google Scholar
Keefe, Simon P.A Complementary Pair: Stylistic Experimentation in Mozart’s Final Piano Concertos, K. 537 in D and K. 595 in B-Flat’. Journal of Musicology, 18/4 (2001), pp. 658684.Google Scholar
Keefe, Simon P.Across the Divide: Currents of Musical Thought in Europe, c. 1790–1810’. In Keefe, (ed.), Cambridge History of Eighteenth-Century Music. Cambridge: Cambridge University Press, 2009, pp. 663687.Google Scholar
Keefe, Simon P.“Die Ochsen am Berge”: Franz Xaver Süssmayr and the Orchestration of Mozart’s Requiem, K. 626’. Journal of the American Musicological Society, 60 (2008), pp. 165.Google Scholar
Keefe, Simon P.“Die trefflich gewählte Instrumente”: Orchestrating Don Giovanni’s Defeat’. In Libin, Kathryn (ed.), Mozart in Prague: Essays on Performance, Patronage, Sources, and Reception. Prague: Czech Academy of Sciences, 2016, pp. 343369.Google Scholar
Keefe, Simon P.“Greatest Effects with the Least Effort”: Strategies of Wind Writing in Mozart’s Piano Concertos’. In Keefe, (ed.), Mozart Studies. Cambridge: Cambridge University Press, 2006, pp. 2546.Google Scholar
Keefe, Simon P.Harmonies and Effects: Haydn and Mozart in Parallel’. In Horton, Julian (ed.), The Cambridge Companion to the Symphony. Cambridge: Cambridge University Press, 2013, pp. 155174.Google Scholar
Keefe, Simon P.Mozart “Stuck in Music” in Paris (1778): Towards a New Biographical Paradigm’. In Keefe, Simon P. (ed.), Mozart Studies 2. Cambridge: Cambridge University Press, 2015, pp. 2354.Google Scholar
Keefe, Simon P.Mozart the Child Performer-Composer: New Musical-Biographical Perspectives on the Early Years to 1766’. In MacPherson, Gary (ed.), Musical Prodigies: Interpretations from Psychology, Music Education, Musicology and Ethnomusicology. New York: Oxford University Press, 2016, pp. 550575.Google Scholar
Keefe, Simon P. Mozart’s Piano Concertos: Dramatic Dialogue in the Age of Enlightenment. Woodbridge and Rochester, NY: The Boydell Press, 2001.Google Scholar
Keefe, Simon P. Mozart’s Requiem: Reception, Work, Completion. Cambridge: Cambridge University Press, 2012.Google Scholar
Keefe, Simon P. Mozart’s Viennese Instrumental Music: A Study of Stylistic Re-Invention. Woodbridge and Rochester, NY: Boydell Press, 2007.Google Scholar
Keefe, Simon P.On Instrumental Sounds, Roles, Genres and Performances: Mozart’s Piano Quartets K. 478 and K. 493’. In Harlow, Martin (ed.), Mozart’s Chamber Music with Keyboard. Cambridge: Cambridge University Press, 2012, pp. 154181.Google Scholar
Keefe, Simon P. ‘The Aesthetics of Wind Writing in Mozart’s “Paris” Symphony in D, K. 297’. Mozart-Jahrbuch 2006, pp. 329344.Google Scholar
Keefe, Simon P.The Concertos in Aesthetic and Stylistic Context’. In Keefe, (ed.), The Cambridge Companion to Mozart. Cambridge: Cambridge University Press, 2003, pp. 7891.Google Scholar
Kelly, Michael. Reminiscences of Michael Kelly, of the King’s Theatre, and Theatre Royal Drury Lane (1826). 2 vols. Cambridge: Cambridge University Press, 2011.Google Scholar
Kerman, Joseph. Concerto Conversations. Harvard, MA: Harvard University Press, 1999.Google Scholar
Kerman, Joseph. ‘Mozart’s Piano Concertos and Their Audience’. In Morris, James M. (ed.), On Mozart. Cambridge: Cambridge University Press, 1994, pp. 151168.Google Scholar
Keyßler, Johann Georg. Neueste Reisen durch Deutschland, Böhmen, Ungarn, die Schweiz, Italien und Lothringen. Hannover, 1751.Google Scholar
Kinderman, William. Mozart’s Piano Music. New York: Oxford University Press, 2006.Google Scholar
Kivy, Peter. ‘Mainwaring’s Handel: Its Relation to English Aesthetics’. Journal of the American Musicological Society, 17 (1964), pp. 170178.Google Scholar
Kivy, Peter. The Possessor and the Possessed: Handel, Mozart, Beethoven and the Idea of Musical Genius. New Haven: Yale University Press, 2001.Google Scholar
Klorman, Edward. Mozart’s Music of Friends: Social Interplay in the Chamber Works. Cambridge: Cambridge University Press, 2016.Google Scholar
Knepler, Georg. Wolfgang Amadé Mozart. Trans. Robinson, J. Bradford. Cambridge: Cambridge University Press, 1994.Google Scholar
Koch, Henrich Christoph. Musikalisches Lexikon. Frankfurt, 1802.Google Scholar
Kohler, Karl-Heinz. ‘Zu den Methoden und einigen Ergebnissen der philologischen Analyse am Autograph der “Zauberflöte”’. Mozart-Jahrbuch 1980–1983, pp. 283287.Google Scholar
Kollmann, Augustus Frederick Christopher. An Essay on Practical Musical Composition. London, 1799.Google Scholar
Komlós, Katalin. ‘“Ich praeludirte und spielte Variazionen”: Mozart the Fortepianist’. In Todd, R. Larry and Williams, Peter (eds.), Perspectives on Mozart Performance. Cambridge: Cambridge University Press, 1991, pp. 2754.Google Scholar
Konrad, Ulrich. ‘Compositional Method’. In Eisen, Cliff and Keefe, Simon P. (eds.), The Cambridge Mozart Encyclopedia. Trans. Halliwell, Ruth. Cambridge: Cambridge University Press, 2006, pp. 100108.Google Scholar
Konrad, Ulrich. ‘“Mithin liess ich meinen gedanken freyen Lauf”: Erste Ueberlegungen und Thesen zu den “Fassungen” von W. A. Mozarts Die Entführung aus dem Serail KV384’. In Breig, Werner (ed.), Opernkomposition als Prozess. Kassel: Bärenreiter, 1996, pp. 4764.Google Scholar
Konrad, Ulrich. Mozart: A Catalogue of His Works. Trans. Robinson, J. Bradford. Kassel: Bärenreiter, 2006.Google Scholar
Konrad, Ulrich. ‘Mozart the Letter Writer and His Language’. Trans. Buchanan, William. In Keefe, Simon P. (ed.), Mozart Studies 2. Cambridge: Cambridge University Press, 2015, pp. 122.Google Scholar
Konrad, Ulrich. Mozarts Schaffensweise: Studien zu den Werkautographen, Skizzen und Entwürfen. Göttingen: Vandenhoeck & Ruprecht, 1992.Google Scholar
Konrad, Ulrich. ‘Musicological Introduction’. In Mozart, W. A., Die Entführung aus dem Serail’, K. 384: Facsimile of the Autograph Score. Trans. Robinson, J. Bradford. Los Altos, CA: The Packard Humanities Institute, 2008, 2 vols., vol. 2, pp. 1219.Google Scholar
Kopp, James B. The Bassoon. New Haven: Yale University Press, 2012.Google Scholar
Kramer, Lawrence. Interpreting Music. Berkeley, CA: University of California Press, 2011.Google Scholar
Krug, William Traugott. Allgemeines Handwörterbuch der philosophischen Wissenschaften, nebst ihrer Literatur und Geschichte. Leipzig: Brockhaus, 1827.Google Scholar
Küster, Konrad. ‘Don Giovannis Canzonetta: Rollenporträt an den Grenzen des Theaters’. In Schaal, Susanne, Seedorf, Thomas and Splitt, Gerhard (eds.), Musikalisches Welttheater: Festschrift Rolf Dammann zum 65. Geburtstag. Laaber: Laaber Verlag, 1995, pp. 161175.Google Scholar
Küster, Konrad. ‘Lorenzo Da Ponte’s Viennese Librettos’. In Jones, David Wyn (ed.), Music in Eighteenth-Century Austria. Cambridge: Cambridge University Press, 1996, pp. 221231.Google Scholar
Küster, Konrad. Mozart: A Musical Biography. Translated by Whittall, Mary. Oxford: Clarendon Press, 1996.Google Scholar
Lacépède, Bernard Germain, Comte de. La poëtique de la musique. 2 vols. Paris, 1785.Google Scholar
Landon, H. C. Robbins. 1791: Mozart’s Last Year. London: HarperCollins, 1990.Google Scholar
Landon, H. C. Robbins. Haydn, Chronicle and Works: Volume 2, Haydn at Eszterháza, 1766–1790. London: Thames & Hudson, 1978.Google Scholar
Landon, H. C. Robbins. Haydn, Chronicle and Works: Volume 5, Haydn: The Late Years, 1801–1809. London: Thames & Hudson, 1977.Google Scholar
Landon, H. C. Robbins. Mozart and Vienna. New York: Schirmer, 1991.Google Scholar
Landon, H. C. Robbins. Mozart: The Golden Years, 1781–1791. London: Thames & Hudson, 1989.Google Scholar
Landon, H. C. Robbins. (ed.). The Mozart Compendium. London: Thames & Hudson, 1990.Google Scholar
Landon, H. C. Robbins. The Mozart Essays. London: Thames & Hudson, 1995.Google Scholar
Landon, H. C. Robbins, and Mitchell, Donald (eds.). The Mozart Companion. New York: Norton, 1956.Google Scholar
Lawson, Colin. ‘A Winning Strike: The Miracle of Mozart’s “Kegelstatt”’. In Harlow, Martin (ed.), Mozart’s Chamber Music with Keyboard. Cambridge: Cambridge University Press, 2012, pp. 123137.Google Scholar
Lawson, Colin. ‘Case Study: Mozart, Symphonies in E flat major K543, G minor K550 and C major K551’. In Lawson, and Stowell, Robin (eds.), The Cambridge History of Musical Performance. Cambridge: Cambridge University Press, 2012, pp. 552573.Google Scholar
Lawson, Colin. Mozart: Clarinet Concerto. Cambridge: Cambridge University Press, 1996.Google Scholar
Lawson, Colin. The Early Clarinet: A Practical Guide. Cambridge: Cambridge University Press, 2000.Google Scholar
Leeson, Daniel N. ‘A Revisit: Mozart’s Serenade for Thirteen Instruments, K. 361 (370a), the “Gran Partitta”’. Mozart-Jahrbuch 1997, pp. 181223.Google Scholar
Leeson, Daniel N., and Whitwell, David. ‘Concerning Mozart’s Serenade in B-flat for Thirteen Instruments, K. 361 (370a)’. Mozart-Jahrbuch 1976–1977, pp. 97130.Google Scholar
Le Guin, Elisabeth. Boccherini’s Body: An Essay in Carnal Musicology. Berkeley, CA: University of California Press, 2006.Google Scholar
Leopold, Silke. ‘Händels Geist in Mozarts Händen: Zum “Qui Tollis” aus der C-Moll Messe KV427’. Mozart-Jahrbuch 1994, pp. 8999.Google Scholar
Leopold, Silke. (ed.). Mozart Handbuch. Kassel: Bärenreiter, 2005.Google Scholar
Levey, Michael. The Life and Death of Mozart. London: Penguin, 1971.Google Scholar
Levin, Robert D.Improvisation and Embellishment in Mozart’s Piano Concertos’. Musical Newsletter 5/2 (1975), pp. 314.Google Scholar
Levin, Robert D.Improvising Mozart’. In Solis, Gabriel and Nettl, Bruno (eds.), Musical Improvisation: Art, Education, and Society. Urbana and Chicago: University of Illinois Press, 2009, pp. 143149.Google Scholar
Levin, Robert D.Instrumental Ornamentation, Improvisation and Cadenzas’. In Brown, Howard Mayer and Sadie, Stanley (eds.), Performance Practice After 1600. London: Macmillan, 1990, pp. 267291.Google Scholar
Levin, Robert D.Mozart’s Working Methods in the Keyboard Concertos’. In Gallagher, Sean and Kelly, Thomas Forrest (eds.), The Century of Bach and Mozart: Perspectives on Historiography, Composition, Theory and Performance in Honor of Christoph Wolff. Cambridge, MA: Harvard University Press, 2008, pp. 379406.Google Scholar
Levin, Robert D.Speaking Mozart’s Lingo: Robert Levin on Mozart and Improvisation’. In Sherman, Bernard (ed.), Inside Early Music: Conversations with Performers. Oxford: Oxford University Press, 1997, pp. 315338.Google Scholar
Levin, Robert D.The Devil’s in the Details: Neglected Aspects of Mozart’s Piano Concertos’. In Zaslaw, Neal (ed.), Mozart’s Piano Concertos: Text, Context, Interpretation. Ann Arbor, MI: University of Michigan Press, 1996, pp. 2950.Google Scholar
Levin, Robert D., Maunder, Richard, Druce, Duncan, Black, David, Wolff, Christoph, and Keefe, Simon P.. ‘Colloquy: Finishing Mozart’s Requiem. On “‘Die Ochsen am Berge’: Franz Xaver Süssmayr and the Orchestration of Mozart’s Requiem, K. 626” by Simon P. Keefe, Spring 2008’. Journal of the American Musicological Society, 61 (2008), pp. 583608.Google Scholar
Levy, Janet M.Texture as a Sign in Classic and Early Romantic Music’. Journal of the American Musicological Society, 35 (1982), pp. 482531.Google Scholar
Liebner, Janos. Mozart on the Stage. London: Calder & Boyars, 1972.Google Scholar
Liechtenstein, Joseph Marx von. Beiträge zur genauern Kenntniss der österreichischen Staaten und Provinzen. Vienna and Leipzig, 1791.Google Scholar
Link, Dorothea. ‘A Newly Discovered Accompanied Recitative to Mozart’s “Vado, ma dove”, K. 583’. Cambridge Opera Journal, 12 (2000), pp. 2950.Google Scholar
Link, Dorothea. (ed.). Arias for Francesco Benucci, Mozart’s First Figaro and Guglielmo. Middleton, WI: A-R Editions, 2004, pp. xivxvi.Google Scholar
Link, Dorothea. (ed.). Arias for Nancy Storace, Mozart’s First Susanna. Middleton, WI: A-R Editions, 2002.Google Scholar
Link, Dorothea. (ed.). Arias for Stefano Mandini, Mozart’s First Count Almaviva. Middleton, WI: A-R Editions, 2015.Google Scholar
Link, Dorothea. (ed.). Arias for Vincenzo Calvesi, Mozart’s First Ferrando. Middleton, WI: A-R Editions, 2011.Google Scholar
Link, Dorothea. ‘“È la fede degli amanti” and the Viennese Operatic Canon’. In Keefe, Simon P. (ed.), Mozart Studies. Cambridge: Cambridge University Press, 2006, pp. 109136.Google Scholar
Link, Dorothea. ‘L’arbore di Diana: A Model for Così fan tutte’. In Sadie, Stanley (ed.), Wolfgang Amadè Mozart: Essays on His Life and His Music. Oxford: Clarendon Press, 1996, pp. 362373.Google Scholar
Link, Dorothea. ‘Mozart’s Appointment to the Viennese Court’. In Link, and Nagley, Judith (eds.), Words About Mozart: Essays in Honour of Stanley Sadie. Woodbridge and Rochester, NY: The Boydell Press, 2005, pp. 153173. Reprinted in Keefe, Simon P. (ed.), Mozart. Aldershot: Ashgate Publishing, 2015, pp. 3964.Google Scholar
Link, Dorothea. ‘Mozart in Vienna’. In Keefe, Simon P. (ed.), The Cambridge Companion to Mozart. Cambridge: Cambridge University Press, 2003, pp. 2234.Google Scholar
Link, Dorothea. ‘Nancy Storace’s annus horribilis, 1785’. Mozart Society of America Newsletter, 18/1 (2014), pp. 1, 37.Google Scholar
Link, Dorothea. ‘The Fandango Scene in Mozart’s Le nozze di Figaro’. Journal of the Royal Musical Association, 133 (2008), pp. 6992. Reprinted in Keefe, Simon P., Mozart. Aldershot: Ashgate Publishing, 2015, pp. 203226.Google Scholar
Link, Dorothea. The National Court Theatre in Mozart’s Vienna: Sources and Documents 1783–1792. Oxford: Clarendon Press, 1998.Google Scholar
Lipowsky, Felix Joseph (ed.). Baierisches Lexikon. Munich: Jakob Giel, 1811.Google Scholar
Lister, Warwick. ‘Amico’: The Life of Giovanni Battista Viotti. New York: Oxford University Press, 2009.Google Scholar
Livingston, Arthur (ed.). Memoirs of Lorenzo Da Ponte, Mozart’s Librettist. Trans. Abbott, Elisabeth. New York: Dover, 1967.Google Scholar
Lockwood, Lewis. ‘Performance and Authenticity’. Early Music, 19 (1991), pp. 501508.Google Scholar
Lorenz, Michael. ‘Mozart’s Apartment on the Alsergrund’. https://homepage.univie.ac.at/michael.lorenz/alsergrund/.Google Scholar
Lorenz, Michael. ‘New and Old Documents Concerning Mozart’s Pupils Barbara Ployer and Josepha Auernhammer’. Eighteenth-Century Music, 3/2 (2006), pp. 311322.Google Scholar
Lowe, Melanie. Pleasure and Meaning in the Classical Symphony. Indianapolis: Indiana University Press, 2007.Google Scholar
Lubin, Ernest. The Piano Duet: A Guide for Pianists. New York: Da Capo, 1976.Google Scholar
Lütteken, Laurenz. ‘Konversation als Spiel: Überlegungen zur Textur von Mozarts Divertimento KV 563’. Mozart-Jahrbuch 2001, pp. 7186.Google Scholar
Lütteken, Laurenz. ‘Negating Opera Through Opera: Così fan tutte and the Reverse of the Enlightenment’. Eighteenth-Century Music, 6 (2009), pp. 229242.Google Scholar
Mainwaring, John. Memoirs of the Late G. F. Handel. London: Dodsley, 1760. Translated by Mattheson, Johann as Georg Friedrich Händels Lebensbeschreibung nebst einem Verzeichnisse seiner Ausübungswerke und deren Berurtheilung. Hamburg, 1761.Google Scholar
Marty, Jean-Pierre. ‘Mozart’s Tempo Indications and the Problems of Interpretation’. In Todd, R. Larry and Williams, Peter (eds.), Perspectives on Mozart Performance. Cambridge: Cambridge University Press, 1991, pp. 5573.Google Scholar
Massin, Jean, and Massin, Brigitte. Wolfgang Amadeus Mozart. Paris: Fayard, 1959.Google Scholar
Mathew, Nicholas. Political Beethoven. Cambridge: Cambridge University Press, 2013.Google Scholar
Maunder, Richard. Mozart’s Requiem: On Preparing a New Edition. Oxford: Clarendon Press, 1988.Google Scholar
Maunder, Richard. The Scoring of Early Classical Concertos, 1750–1780. Woodbridge and Rochester, NY: The Boydell Press, 2014.Google Scholar
Maurer-Zenck, Claudia. ‘Dramaturgie und Philologie der Zauberflöte: Eine Hypothese und vielen Fragen zur Chronologie’. Mozart-Jahrbuch 2001, pp. 383426.Google Scholar
Maus, Fred. ‘Musical Performance as Analytical Communication’. In Kemal, Salim and Gaskell, Ivan (eds.), Performance and Authenticity in the Arts. Cambridge: Cambridge University Press, 1999, pp. 129153.Google Scholar
McClymonds, Marita P. ‘Mozart’s “La Clemenza di Tito” and Opera Seria in Florence as a Reflection of Leopold II’s Musical Taste’. Mozart-Jahrbuch 1984–1985, pp. 6170.Google Scholar
McKee, Eric. Decorum of the Minuet, Delirium of the Waltz: A Study of Dance-Music Relations in 3/4 Time. Bloomington, IN: Indiana University Press, 2012.Google Scholar
Melamed, Daniel R. ‘Evidence on the Genesis of Die Entführung aus dem Serail from Mozart’s Autograph Score’. Mozart-Jahrbuch 2003–2004, pp. 2542.Google Scholar
Melograni, Piero. Wolfgang Amadeus Mozart: A Biography. Trans. Cochrane, Lydia G.. Chicago, IL: University of Chicago Press, 2007.Google Scholar
Meusel, Johann Georg. Teutsches Künstlerlexikon oder Verzeichniss der jetztlebenden teutschen Künstler. Lemgo, 1809.Google Scholar
Mikusi, Balázs. ‘“Possible, Probable or Certain Errors in the First Edition”? Evaluation of a Newly Found Autograph Fragment of the Sonata in A major, K. 331’. Mozart-Jahrbuch 2014, pp. 335346.Google Scholar
Mirka, Danuta, and Agawu, V. Kofi (eds.). Communication in Eighteenth-Century Music. Cambridge: Cambridge University Press, 2008.Google Scholar
Monelle, Raymond. The Musical Topic: Hunt, Military and Pastoral. Bloomington: Indiana University Press, 2006.Google Scholar
Moore, Julia. ‘Mozart in the Market Place’. Journal of the Royal Musical Association, 114 (1989), pp. 1842. Reprinted in Keefe, Simon P. (ed.), Mozart. Aldershot: Ashgate, 2015, pp. 6589.Google Scholar
Morrow, Mary Sue. Concert Life in Haydn’s Vienna: Aspects of a Developing Social Institution. Stuyvesant, NY: Pendragon Press, 1989.Google Scholar
Morrow, Mary Sue. ‘Vienna’. In Eisen, Cliff and Keefe, Simon P. (eds.), The Cambridge Mozart Encyclopedia. Cambridge: Cambridge University Press, 2006, pp. 517526.Google Scholar
Mozart, Leopold. Versuch einer gründlichen Violinschule. Augsburg, 1756. Trans. Knocker, Editha as A Treatise on the Fundamental Principles of Violin Playing. London: Oxford University Press, 1948.Google Scholar
Mozart, Wolfgang Amadeus. Konzert für Klavier und Orchester (‘Jeunehomme’) Es-dur KV 271, ed. Eisen, Cliff and Levin, Robert D.. Wiesbaden: Breitkopf, 2001.Google Scholar
Mozart, Wolfgang Amadeus. Neuer Ausgabe sämtlicher Werke. [NMA] Kassel: Bärenreiter, 1955–2007. Available at Digital Mozart Edition: http://dme.mozarteum.at.Google Scholar
Mozart, Wolfgang Amadeus. Symphonie D-dur (Prager) KV504, ed. Eisen, Cliff. Wiesbaden: Breitkopf, 2002.Google Scholar
Mozart, Wolfgang Amadeus. Symphony in C major, No. 36, K. 425 ‘Linz’, ed. Eisen, Cliff. London: Edition Peters, 1992.Google Scholar
Mozart, Wolfgang Amadeus. Violin Sonatas, K301–306, ed. Eisen, Cliff. London: Peters, 2003.Google Scholar
Müller, Johann Christian. Anleitung zum Selbstunterricht auf der Harmonika. Leipzig, 1788.Google Scholar
Müller, Johann Heinrich Friedrich. Genaue Nachrichten von beyden Kaiserl. Königl. Schaubühnen in Wien, vol. 2. Vienna: Kurzböck, 1773.Google Scholar
Nedbal, Martin. Morality and Viennese Opera in the Age of Mozart and Beethoven. London: Routledge, 2017.Google Scholar
Nettl, Paul. Mozart and Masonry. New York: Dorset Press, 1987.Google Scholar
Nettl, Paul. ‘Mozart and the Czechs’ (trans. Mendel, Arthur). Musical Quarterly, 27 (1941), pp. 329342.Google Scholar
Neue Mozart-Ausgabe. See Mozart, Wolfgang Amadeus.Google Scholar
Neumann, Frederick. Ornamentation and Improvisation in Mozart. Princeton, NJ: Princeton University Press, 1986.Google Scholar
Neumann, Frederick. Performance Practices of the Seventeenth and Eighteenth Centuries. New York: Schirmer, 1993.Google Scholar
Nicolai, Friedrich. Beschreibung einer Reise durch Deutschland und die Schweiz im Jahre 1781. Berlin, 1783.Google Scholar
Niemetschek, Franz. Leben des K. K. Kapellmeisters Wolfgang Gottlieb Mozart (1798), ed. Rychnovsky, E.. Munich: Bibliothek zeitgenössicher Literatur, 1987. Trans. Mautner, Helen as Life of Mozart. London: Hyman, 1956. 2nd edition: Lebensbeschreibung des K. K. Kapellmeisters Wolfgang Amadeus Mozart. Prague, 1808.Google Scholar
Nissen, Georg Nikolaus. Biographie W. A. Mozarts (1828). Hildesheim: Georg Olms, 1991.Google Scholar
Otter, F. J., and Schinn, G. J.. Biographie Skizze von J. M. Haydn. Salzburg, 1808.Google Scholar
Oulibicheff, Alexandre. Nouvelle Biographie de Mozart. 3 vols. Moscow: Auguste Semen, 1843.Google Scholar
Page, Janet K., and Edge, Dexter. ‘A Newly Uncovered Sketch for Mozart’s “Al desio di chi t’adora” K577’. Musical Times, 132 (1991), pp. 601606.Google Scholar
Parakilas, James. ‘The Afterlife of Don Giovanni: Turning Production History into Criticism’. Journal of Musicology, 8 (1990), pp. 251265.Google Scholar
Parker, Roger. ‘Ersatz Ditties: Adriana Ferrarese’s Susanna’. In Remaking the Song: Operatic Revisions from Handel to Berio. Berkeley, CA: University of California Press, 2006, pp. 4266.Google Scholar
Parsons, James. ‘The Eighteenth-Century Lied’. In Parsons, (ed.), The Cambridge Companion to the Lied. Cambridge: Cambridge University Press, 2004, pp. 3562.Google Scholar
Pezzl, Johann. ‘Sketch of Vienna’ (1786–1790). In Landon, H. C. Robbins, Mozart and Vienna. New York: Schirmer, 1991, pp. 54191.Google Scholar
Pierre-Petit, . Mozart, ou la musique instantanée. Paris: Perrin, 1991.Google Scholar
Pirrotta, Nino. Don Giovanni’s Progress: A Rake Goes to the Opera. Trans. Saunders, Harris. New York: Marsilio, 1994.Google Scholar
Plantinga, Leon. Clementi: His Music and Life. London: Oxford University Press, 1977.Google Scholar
Platoff, John. ‘“Non tardar amato bene”: Completed – But Not by Mozart’. Musical Times, 132 (1991), pp. 557560.Google Scholar
Platoff, John. ‘Review-Essay: A New History for Martín’s Una cosa rara’. Journal of Musicology, 12 (1994), pp. 85115.Google Scholar
Polzonetti, Pierpaolo. Italian Opera in the Age of the American Revolution. Cambridge: Cambridge University Press, 2011.Google Scholar
Polzonetti, Pierpaolo. ‘Mesmerizing Adultery: Così fan tutte and the Kornman Scandal’. Cambridge Opera Journal, 14 (2002), pp. 263296.Google Scholar
Poppe, Johann Heinrich Moritz. Geschichte der Technologie. Göttingen, 1810.Google Scholar
Poulin, Pamela. ‘A Little-Known Letter of Anton Stadler’. Music & Letters, 69 (1988), pp. 4956.Google Scholar
Poulin, Pamela. ‘A View of Eighteenth-Century Musical Life and Training: Anton Stadler’s Music Plan’, Music & Letters, 71 (1990), pp. 215224.Google Scholar
Ratner, Leonard. Classic Music: Expression, Form, and Style. New York: Schirmer, 1980.Google Scholar
Rees, Siân. The Floating Brothel: The Extraordinary True Story of an 18th-Century Ship and Its Cargo of Female Convicts. London: Headline Book Publishing, 2001.Google Scholar
Reichardt, Johann Friedrich. Briefe eines aufmerksamer Reisenden die Musik betreffend. Frankfurt and Leipzig, 1774.Google Scholar
Reitzenstein, Baron Carl Philipp Caspar von. Reise nach Wien. Hof, 1795.Google Scholar
Rice, Albert R. From Clarinet d’Amour to the Contra Bass: A History of Large Size Clarinets, 1740–1800. New York: Oxford University Press, 2009.Google Scholar
Rice, Albert R. The Baroque Clarinet. Oxford: Oxford University Press, 1992.Google Scholar
Rice, Albert R. The Clarinet in the Classical Period. New York: Oxford University Press, 2003.Google Scholar
Rice, John. ‘Antonio Baglioni, Mozart’s First Don Ottavio and Tito, in Italy and Prague’. In Jonášová, Milada, and Volek, Tomislav (eds.), Böhmische Aspekte des Lebens und des Werkes von W. A. Mozart. Prague: Czech Academy of Sciences, 2012, pp. 2438.Google Scholar
Rice, John. Antonio Salieri and Viennese Opera. Chicago: University of Chicago Press, 1998.Google Scholar
Rice, John. ‘Benedetto Frizzi on Singers, Composers and Opera in Late Eighteenth-Century Italy’. Studi musicali, 23 (1994), pp. 367393.Google Scholar
Rice, John. ‘Leopold II, Mozart, and the Return to a Golden Age’. In Bauman, Thomas and McClymonds, Marita Petzoldt (eds.), Opera and the Enlightenment. Cambridge: Cambridge University Press, 1995, pp. 271296.Google Scholar
Rice, John. ‘Mozart and His Singers: The Case of Maria Marchetti Fantozzi, the First Vitellia’. Opera Quarterly, 11 (1995), pp. 3152.Google Scholar
Rice, John. Mozart on the Stage. Cambridge: Cambridge University Press, 2009.Google Scholar
Rice, John. Music in the Eighteenth Century. New York: Norton, 2013.Google Scholar
Rice, John. ‘Problems of Genre and Gender in Mozart’s Scena “Misero! O sogno, o son desto” K. 431’. Mozart-Jahrbuch 2000, pp. 7389.Google Scholar
Rice, John. ‘Vienna under Joseph II and Leopold II’. In Zaslaw, Neal (ed.), The Classical Era: From the 1740s to the End of the 18th Century. London: Macmillan, 1989, pp. 126165.Google Scholar
Rice, John. W. A. Mozart: ‘La clemenza di Tito’. Cambridge: Cambridge University Press, 1991.Google Scholar
Richards, Annette. ‘Automatic Genius: Mozart and the Mechanical Sublime’. Music & Letters, 80 (1999), pp. 366389.Google Scholar
Ridgewell, Rupert. ‘Biographical Myth and the Publication of Mozart’s Piano Quartets’. Journal of the Royal Musical Association, 135 (2010), pp. 41114.Google Scholar
Ridgewell, Rupert. ‘Mozart’s Publishing Plans with Artaria in 1787: New Archival Evidence’. Music & Letters, 83 (2002), pp. 3074.Google Scholar
Riesbeck, Johann Kaspar. Briefe eines Reisenden Franzosen über Deutschland an seine Bruden zu Paris. 2nd edition, Zurich, 1784.Google Scholar
Riggs, Robert. ‘Authenticity and Subjectivity in Mozart Performance: Türk on Character and Interpretation’. College Music Symposium, 36 (1996), pp. 3358.Google Scholar
Riggs, Robert. ‘Mozart’s Sonata for Piano and Violin, K. 379: Perspectives on the “One-Hour” Sonata’. Mozart-Jahrbuch 1991, pp. 708715.Google Scholar
Rochlitz, Friedrich. Für Freunde der Tonkunst. Leipzig: Carl Knobloch, 1825.Google Scholar
Rochlitz, Friedrich. ‘Nachschrift zur Recension von Eyblers Requiem’, Allgemeine musikalische Zeitung, 28 (1826), cols. 337340.Google Scholar
Roesner, Valentin. Essai d’instruction à l’usage de ceux qui composent pour la clarinette et cor. Paris, 1764.Google Scholar
Rohrer, Joseph. Bemerkungen auf einer Reise von der Türkischen Gränze über die Bukowina durch Ost und Westgalizien Schlesien und Mähren nach Wien. Vienna, 1804.Google Scholar
Röllig, Karl Leopold. Über die Harmonika: Ein Fragment. Berlin, 1787.Google Scholar
Rosen, Charles. The Classical Style: Haydn, Mozart, Beethoven. London: Faber, 1971.Google Scholar
Rosen, David. ‘“Unexpectedness” and “Inevitability” in Mozart’s Piano Concertos’. In Zaslaw, Neal (ed.), Mozart’s Piano Concertos: Text, Context, Interpretation. Ann Arbor: University of Michigan Press, 1996, pp. 261284.Google Scholar
Rosselli, John. The Life of Mozart. Cambridge: Cambridge University Press, 1998.Google Scholar
Rowland, David. Early Keyboard Instruments: A Practical Guide. Cambridge: Cambridge University Press, 2001.Google Scholar
Rushton, Julian. ‘Buffo Roles in Mozart’s Vienna: Tessitura and Tonality as Signs of Characterization’. In Hunter, Mary and Webster, James (eds.), Opera Buffa in Mozart’s Vienna. Cambridge: Cambridge University Press, 1997, pp. 406425.Google Scholar
Rushton, Julian. Mozart: Master Musicians. New York: Oxford University Press, 2006.Google Scholar
Rushton, Julian. ‘Play or Compulsion? Variation in Recapitulations in Mozart’s Music for Wind Instruments’. In Keefe, Simon P. (ed.), Mozart Studies. Cambridge: Cambridge University Press, 2006, pp. 4773.Google Scholar
Rushton, Julian. ‘Theatre Music from Vienna’. Early Music, 36 (2008), pp. 474476.Google Scholar
Rushton, Julian. The New Grove Guide to Mozart and His Operas. Oxford: Oxford University Press, 2007.Google Scholar
Rushton, Julian. W. A. Mozart: ‘Don Giovanni’. Cambridge: Cambridge University Press, 1982.Google Scholar
Rushton, Julian. W. A. Mozart: ‘Idomeneo’. Cambridge: Cambridge University Press, 1993.Google Scholar
Russell, Charles. The Don Juan Legend Before Mozart. Ann Arbor: University of Michigan Press, 1993.Google Scholar
Sadie, Stanley. Mozart: The Early Years, 1756–1781. Oxford: Oxford University Press, 2006.Google Scholar
Sadie, Stanley. (ed.). New Grove Dictionary of Music and Musicians, Revised Edition. London: Macmillan, 2001. Oxford Music Online: www.oxfordmusiconline.com.Google Scholar
Saint-Foix, Georges de, and Wyzewa, Théodore de. W.-A. Mozart: sa vie musicale et son oeuvre. Paris: Desclée de Brouwer, 1912–1946.Google Scholar
Sala, Massimiliano (ed.). Giovanni Battista Viotti: A Composer Between Two Revolutions. Bologna: Ut Orpheus Edizioni, 2006.Google Scholar
Schick, Harmut. ‘Originalkomposition oder Bearbeitung? Zur Quellenlage und musikalischen Faktur von Mozarts Klaviertrio KV 564’. Mozart-Jahrbuch 2001, pp. 273285.Google Scholar
Schilling, Gustav (ed.). Encyclopädie der gesammten musikalischen Wissenschaften, oder Universal-Lexicon der Tonkunst. Leipzig, 1825.Google Scholar
Schlichtegroll, Friedrich. Johannes Chrysostomus Wolfgang Gottlieb Mozart (1793), ed. Müller von Asow, Erich Hermann. Leipzig, 1942.Google Scholar
Schmid, Manfred Hermann. ‘Ein Violinkonzert von Viotti als Herausforderung für Mozart und Haydn’. Mozart-Studien, 5 (1995), pp. 149171.Google Scholar
Schmid, Manfred Hermann. ‘Variation oder Rondo? Zu Mozarts Wiener Finale KV 382 des Klavierkonzerts KV 175’. Mozart Studien, 2 (1992), pp. 5980.Google Scholar
Schmidt, Dagmar. ‘“… fieri contrasti …”: Mozarts Bass-Arie KV 512’. Mozart Studien, 10 (2001), pp. 139180.Google Scholar
Schneider, Magnus. ‘Laughing with Casanova: Luigi Bassi and the Original Production of Don Giovanni’. In Libin, Kathryn (ed.), Mozart in Prague: Essays on Performance, Patronage, Sources, and Reception. Prague: Czech Academy of Sciences, 2016, pp. 403419.Google Scholar
Schönfeld, Johann von. Jahrbuch der Tonkunst von Wien und Prag. Vienna, 1796. Partial translation by Talbot, Kathrine as ‘A Yearbook of the Music of Vienna and Prague, 1796’. In Sisman, Elaine (ed.), Haydn and His World. Princeton: Princeton University Press, 1997, pp. 289–320.Google Scholar
Schroeder, David P. Experiencing Mozart: A Listener’s Companion. Lanham, MD: Scarecrow Press, 2013.Google Scholar
Schubart, Christian Friedrich Daniel. Ideen zu einer Aesthetik der Tonkunst. Vienna, 1806; reprint Hildesheim: Georg Olms, 1969.Google Scholar
Schuler, Heinz. ‘Mozarts Maurerische Trauermusik KV 477/479a: Eine Dokumentation’. Mitteilungen der Internationalen Stiftung Mozarteum, 40 (1992), pp. 4670.Google Scholar
Schulz, Friedrich. Reise eines Liefländers von Riga nach Warschau. Berlin, 1796.Google Scholar
Schumann, Christiane. Mozart und seine Sänger: Am Beispiel der ‘Entführung aus dem Serail’. Frankfurt: Peter Lang, 2005.Google Scholar
Seiffert, Wolf-Dieter. ‘Mozart’s “Haydn” Quartets: An Evaluation of the Autographs and First Edition, with Particular Attention to mm. 125–42 of the Finale of K. 387’. In Eisen, Cliff (ed.), Mozart Studies 2. Oxford: Clarendon, 1997, pp. 175200.Google Scholar
Senici, Emanuele. ‘“Adapted to the Modern Stage”: La clemenza di Tito in London’. Cambridge Opera Journal, 7 (1995), pp. 122.Google Scholar
Senici, Emanuele. La clemenza di Tito: I premi trent’anni (1791–1821). Amsterdam and Cremona: Brepols, 1997.Google Scholar
Sisman, Elaine. ‘Genre, Gesture, and Meaning in Mozart’s “Prague” Symphony’. In Eisen, Cliff (ed.), Mozart Studies 2. Oxford: Clarendon Press, 1997, pp. 2784.Google Scholar
Sisman, Elaine. Haydn and the Classical Variation. Cambridge, MA: Harvard University Press, 1993.Google Scholar
Sisman, Elaine. Mozart: The ‘Jupiter’ Symphony. Cambridge: Cambridge University Press, 1993.Google Scholar
Sisman, Elaine. ‘Observations on the First Phase of Mozart’s “Haydn” Quartets’. In Link, Dorothea and Nagley, Judith (eds.), Words About Mozart: Essays in Honour of Stanley Sadie. Woodbridge and Rochester, NY: The Boydell Press, 2005, pp. 3358.Google Scholar
Sisman, Elaine. ‘The Marriages of Don Giovanni: Persuasion, Impersonation and Personal Responsibility’. In Keefe, Simon P. (ed.), Mozart Studies. Cambridge: Cambridge University Press, 2006, pp. 163192.Google Scholar
Sitwell, Sacheverell. Mozart. London: Peter Davies Limited, 1932.Google Scholar
Smallman, Basil. The Piano Quartet and Quintet: Style, Structure, and Scoring. Oxford: Clarendon, 1994.Google Scholar
Solomon, Maynard. Mozart: A Life. New York: HarperCollins, 1995.Google Scholar
Solomon, Maynard. ‘The Rochlitz Anecdotes’. In Eisen, Cliff (ed.), Mozart Studies. Oxford: Clarendon Press, 1991, pp. 159. Reprinted in Keefe, Simon P. (ed.), Mozart. Aldershot: Ashgate Publishing, 2015, pp. 91149.Google Scholar
Spaethling, Robert (ed. and trans.). Mozart’s Letters, Mozart’s Life. London: Faber, 2000.Google Scholar
Spitzer, John, and Zaslaw, Neal. The Birth of the Orchestra: History of an Institution, 1650–1815. New York: Oxford University Press, 2004.Google Scholar
Stafford, William. The Mozart Myths: A Critical Reassessment. Stanford: Stanford University Press, 1991.Google Scholar
Steblin, Rita. ‘A Problem Solved: The Identity of Georg Friedrich Richter, Virtuoso “Claviermeister” from Holland, Mozart’s Friend and Partner in the Trattnerhof Subscription Concerts of 1784’. Mozart Society of America Newsletter, 13/2 (2009), pp. 59.Google Scholar
Steptoe, Andrew. ‘Mozart and His Last Three Symphonies: A Myth Laid to Rest?Musical Times, 132 (1991), pp. 550551.Google Scholar
Steptoe, Andrew. The Mozart- Da Ponte Operas: The Cultural and Musical Background to ‘Le nozze di Figaro’, ‘Don Giovanni’, and ‘Così fan tutte’. Oxford: Clarendon Press, 1990.Google Scholar
Stock, Jonathan P. J.Orchestration as Structural Determinant: Mozart’s Deployment of Woodwind Timbre in the Slow Movement of the C Minor Piano Concerto K. 491’. Music & Letters, 78 (1997), pp. 210219.Google Scholar
Stowell, Robin. ‘“Good Execution and Other Necessary Skills”: The Role of the Concertmaster in the Late 18th Century’. Early Music, 16/1 (1988), pp. 2133.Google Scholar
Stowell, Robin. Violin Technique and Performance Practice in the Late Eighteenth and Early Nineteenth Centuries. Cambridge: Cambridge University Press, 1985.Google Scholar
Subotnik, Rose Rosengard. ‘Whose Magic Flute? Intimations of Reality at the Gates of Enlightenment’. 19th Century Music, 15 (1991), pp. 132150.Google Scholar
Sulzer, Johann Georg (ed.). Allgemeine Theorie der schöne Künste. 4 vols. Leipzig, 1771–1774.Google Scholar
Taruskin, Richard. Text and Act: Essays on Music and Performance. New York: Oxford University Press, 1995.Google Scholar
Thompson, Katharine. The Masonic Thread in Mozart. London: Lawrence & Wishart, 1977.Google Scholar
Till, Nicholas. Mozart and the Enlightenment: Truth, Virtue and Beauty in Mozart’s Operas. London: Faber, 1992.Google Scholar
Tomita, Yo. ‘Bach Reception in Pre-Classical Vienna: Baron van Swieten’s Circle Edits the “Well-Tempered Clavier” II’. Music & Letters, 81 (2000), pp. 364391.Google Scholar
Töpelmann, Viktor Yün-Liang. ‘The Mozart Family and Empfindsamkeit: Enlightenment and Sensibility in Salzburg 1750–1790’. PhD thesis, King’s College London, 2016.Google Scholar
Triest, Johann Karl Friedrich. ‘Remarks on the Development of the Art of Music in Germany in the Eighteenth Century’. Trans. Gillespie, Susan. In Sisman, Elaine (ed.), Haydn and His World. Princeton: Princeton University Press, 1997, pp. 321394.Google Scholar
Tromlitz, Johann Georg. The Virtuoso Flute Player (1791). Trans. and ed. Powell, Ardal. Cambridge: Cambridge University Press, 1991.Google Scholar
Türk, Daniel Gottlob. School of Clavier Playing (1789). Trans. Haagh, Raymond H.. Lincoln: University of Nebraska Press, 1982.Google Scholar
Tyler, Linda. ‘Aria as Drama: A Sketch from Mozart’s Der Schauspieldirektor’. Cambridge Opera Journal, 2 (1990), pp. 251267.Google Scholar
Tyson, Alan. Mozart: Studies of the Autograph Score. Harvard, MA: Harvard University Press, 1987.Google Scholar
Tyson, Alan. ‘Proposed New Dates for Many Works and Fragments Written by Mozart from March 1781 to December 1791’. In Eisen, Cliff (ed.), Mozart Studies. Oxford: Clarendon Press, 1991, pp. 213226.Google Scholar
Tyson, Alan. ‘Some Features of the Autograph Score of Don Giovanni’. Israel Studies in Musicology, 5 (1990), pp. 526.Google Scholar
Tyson, Alan. ‘The 1786 Prague Version of Mozart’s “Le nozze di Figaro”’. Music & Letters, 69/3 (1988), pp. 321333.Google Scholar
Vandenbroek, Othon-Joseph. Traité général de tous les instrumens à vent à l’usage des compositeurs. Paris: Boyer, 1793.Google Scholar
Volek, Tomislav. ‘Über den Ursprung von Mozarts Oper “La clemenza di Tito”’. Mozart-Jahrbuch 1959, pp. 274286.Google Scholar
Waidelich, Till Gerrit. ‘“Don Juan von Mozart, (für mich componirt.)” Luigi Bassi – eine Legende zu Lebzeiten, sein Nekrolog und zeitgenössiche Don Giovanni-Interpretationen’. Mozart Studien, 10 (2001), pp. 181211.Google Scholar
Walch, Johann Georg. Philosophisches Lexikon. Leipzig, 1775; reprint, Hildesheim, 1968, 2 vols.Google Scholar
Waldoff, Jessica. ‘Reading Mozart’s Operas “for the sentiment”’. In Keefe, Simon P. (ed.), Mozart Studies. Cambridge: Cambridge University Press, 2006, pp. 74108.Google Scholar
Waldoff, Jessica. Recognition in Mozart’s Operas. New York: Oxford University Press, 2006.Google Scholar
Walls, Peter. ‘Opus 1, take 2: Mozart’s Mannheim and Paris Sonatas for Keyboard and Violin’. In Harlow, Martin (ed.), Mozart’s Chamber Music with Keyboard. Cambridge: Cambridge University Press, 2012, pp. 4568.Google Scholar
Wangermann, Ernst. The Austrian Achievement 1700–1800. London: Thames and Hudson, 1973.Google Scholar
Webster, James. ‘Aria as Drama’. In DelDonna, Anthony R. and Polzonetti, Pierpaolo (eds.), The Cambridge Companion to Eighteenth-Century Opera. Cambridge: Cambridge University Press, 2009, pp. 2449.Google Scholar
Webster, James. Haydn’s ‘Farewell’ Symphony and the Idea of Classical Style: Through-Composition and Cyclic Integration in His Instrumental Music. Cambridge: Cambridge University Press, 1991.Google Scholar
Webster, James. ‘Joseph Haydn’s Early Ensemble Divertimenti’. In Eisen, Cliff (ed.), Coll’astuzia, col giudizio: Essays in Honor of Neal Zaslaw. Ann Arbor: Steglein Publishing, 2009, pp. 111126.Google Scholar
Webster, James. ‘The Analysis of Mozart’s Arias’. In Eisen, Cliff (ed.), Mozart Studies. Oxford: Clarendon Press, 1991, pp. 101199.Google Scholar
Webster, James. ‘The Rhetoric of Improvisation in Haydn’s Keyboard Music’. In Beghin, Tom and Goldberg, Sander M. (eds.), Haydn and the Performance of Rhetoric. Chicago: University of Chicago Press, 2007, pp. 172212.Google Scholar
Webster, James. ‘The Scoring of Mozart’s Chamber Music for Strings’. In Atlas, Allan W. (ed.), Music in the Classic Period: Essays in Honor of Barry S. Brook. New York: Pendragon Press, 1985, pp. 259296.Google Scholar
Webster, James. ‘Towards a History of Viennese Chamber Music in the Early Classical Period’. Journal of the American Musicological Society, 27 (1974), pp. 212247.Google Scholar
Wheelock, Gretchen. Haydn’s Ingenious Jesting with Art: Contexts of Musical Wit and Humor. New York: Schirmer, 1992.Google Scholar
Whitton, Kenneth. Lieder: An Introduction to German Song. London: Julia McRae Books, 1984.Google Scholar
Wolf, Eugene K.The Rediscovered Autograph of Mozart’s Fantasy and Sonata in C Minor, K. 475/457’. The Journal of Musicology, 10/1 (1992), pp. 347.Google Scholar
Wolff, Christoph. ‘Creative Exuberance vs. Critical Choice: Thoughts on Mozart’s Quartet Fragments’. In Wolff, (ed.), The String Quartets of Haydn, Mozart, and Beethoven: Studies of the Autograph Manuscripts. Cambridge, MA: Harvard University Press, 1980, pp. 191210.Google Scholar
Wolff, Christoph. Mozart at the Gateway to His Fortune: Serving the Emperor, 1788–1791. New York: Norton, 2012.Google Scholar
Wolff, Christoph. Mozart’s Requiem: Historical and Analytical Studies, Documents, Score. Trans. Whittall, Mary. Berkeley: University of California Press, 1994.Google Scholar
Wolff, Christoph. ‘Musikalische “Gedankenfolge” und “Einheit des Stoffes.” Zu Mozarts Klaviersonate in F-Dur (K. 533 + 494)’. In Danuser, Hermann, de la Motte-Haber, Helga, Leopold, Silke and Miller, Norbert (eds.), Das musikalische Kunstwerk: Geschichte, Ästhetik, Theorie: Festschrift Carl Dahlhaus zum 60. Geburtstag. Laaber: Laaber-Verlag, 1988, pp. 241255.Google Scholar
Wolff, Christoph. ‘The Many Faces of Authenticity: Problems of a Critical Edition of Mozart’s Piano Concertos’. In Zaslaw, Neal (ed.), Mozart’s Piano Concertos: Text, Context, Interpretation. Ann Arbor: University of Michigan Press, 1996, pp. 1928.Google Scholar
Wolff, Christoph. ‘Two Köchel Numbers, One Work’. In Bucciarelli, Melania and Joncus, Berta (eds.), Music as Social and Cultural Practice: Essays in Honour of Reinhard Strohm. Woodbridge and Rochester, NY: Boydell Press, 2007, pp. 8199.Google Scholar
Woodfield, Ian. Cabals and Satires: Mozart’s Comic Operas in Vienna. Oxford and New York: Oxford University Press, forthcoming 2018.Google Scholar
Woodfield, Ian. ‘Così fan tutte’: A Compositional History. Woodbridge and Rochester, NY: The Boydell Press, 2008.Google Scholar
Woodfield, Ian. ‘Mozart’s Compositional Methods: Writing for His Singers’. In Keefe, Simon P. (ed.), The Cambridge Companion to Mozart. Cambridge: Cambridge University Press, 2003, pp. 3547.Google Scholar
Woodfield, Ian. Performing Operas for Mozart: Impresarios, Singers and Troupes. Cambridge: Cambridge University Press, 2012.Google Scholar
Woodfield, Ian. ‘The Trouble with Cherubino …’. In Keefe, Simon P. (ed.), Mozart Studies 2. Cambridge: Cambridge University Press, 2015, pp. 168194.Google Scholar
Woodfield, Ian. The Vienna ‘Don Giovanni’. Woodbridge and Rochester, NY: Boydell Press, 2010.Google Scholar
Zaslaw, Neal. ‘Contexts for Mozart’s Piano Concertos’. In Zaslaw, (ed.), Mozart’s Piano Concertos: Text, Context, Interpretation. Ann Arbor: University of Michigan Press, 1996, pp. 716.Google Scholar
Zaslaw, Neal. (ed.). Der neue Köchel. Wiesbaden: Breitkopf & Härtel, forthcoming.Google Scholar
Zaslaw, Neal. (ed.). Mozart’s Piano Concertos: Text, Context, Interpretation. Ann Arbor: University of Michigan Press, 1996.Google Scholar
Zaslaw, Neal. Mozart’s Symphonies: Context, Performance Practice, Reception. Oxford: Clarendon, 1989.Google Scholar
Zaslaw, Neal. ‘Waiting for Figaro’. In Sadie, Stanley (ed.), Wolfgang Amadè Mozart: Essays on His Life and His Music. Oxford: Clarendon, 1996, pp. 413435.Google Scholar
Zaslaw, Neal. ‘Wolfgang Amadè Mozart’s Allegro and Andante (“Fantasy”) in F Minor for Mechanical Organ, K. 608’. In Newsom, Jon and Mann, Alfred (eds.), The Rosaleen Moldenhauer Memorial: Music History from Primary Sources. Washington: Library of Congress, 2000, pp. 327340.Google Scholar
Zaslaw, Neal, and Cowdery, William (eds.). The Compleat Mozart. New York: Norton, 1990.Google Scholar
Ziegenhagen, Franz Heinrich. Lehre vom richtigen Verhältnisse zu den Schöpfungswerken, und die durch öffentliche Einfürung deselben allein zu bewürkende algemeine Menschenbeglükkung [sic]. Hamburg, 1792.Google Scholar
Zohn, Steven. ‘The Overture-Suite, Concerto Grosso, Ripieno Concerto and Harmoniemusik in the Eighteenth Century’. In Keefe, Simon P. (ed.), The Cambridge History of Eighteenth-Century Music. Cambridge: Cambridge University Press, 2009, pp. 556582.Google Scholar

Save book to Kindle

To save this book to your Kindle, first ensure coreplatform@cambridge.org is added to your Approved Personal Document E-mail List under your Personal Document Settings on the Manage Your Content and Devices page of your Amazon account. Then enter the ‘name’ part of your Kindle email address below. Find out more about saving to your Kindle.

Note you can select to save to either the @free.kindle.com or @kindle.com variations. ‘@free.kindle.com’ emails are free but can only be saved to your device when it is connected to wi-fi. ‘@kindle.com’ emails can be delivered even when you are not connected to wi-fi, but note that service fees apply.

Find out more about the Kindle Personal Document Service.

  • Select Bibliography
  • Simon P. Keefe, University of Sheffield
  • Book: Mozart in Vienna
  • Online publication: 21 September 2017
  • Chapter DOI: https://doi.org/10.1017/9781316337752.015
Available formats
×

Save book to Dropbox

To save content items to your account, please confirm that you agree to abide by our usage policies. If this is the first time you use this feature, you will be asked to authorise Cambridge Core to connect with your account. Find out more about saving content to Dropbox.

  • Select Bibliography
  • Simon P. Keefe, University of Sheffield
  • Book: Mozart in Vienna
  • Online publication: 21 September 2017
  • Chapter DOI: https://doi.org/10.1017/9781316337752.015
Available formats
×

Save book to Google Drive

To save content items to your account, please confirm that you agree to abide by our usage policies. If this is the first time you use this feature, you will be asked to authorise Cambridge Core to connect with your account. Find out more about saving content to Google Drive.

  • Select Bibliography
  • Simon P. Keefe, University of Sheffield
  • Book: Mozart in Vienna
  • Online publication: 21 September 2017
  • Chapter DOI: https://doi.org/10.1017/9781316337752.015
Available formats
×