A Mozart Bibliography

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

Preface

W. A. Mozart, 1789.

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

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

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

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

I hope you find this listing useful.

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The Bibliography

Contents

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

I. Comprehensive

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

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

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


II. Biography

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

Blom, Eric. Mozart. 1935.

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

Breakspeare, Eustace J. Mozart. 1902.

Buchner, Alexander. Mozart and Prague. 1962.

Buenzod, E. Mozart. 1930.

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

Davenport, Marcia. Mozart. 1932.

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

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

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

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

Haas, Robert. Wolfgang Amadeus Mozart. 1933.

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

Hildesheimer, Wolfgang. Mozart. 1982.

Hussey, Dyneley. Wolfgang Amade Mozart. 1928.

Holmes, Edward. The Life of Mozart. 1845.

Johnson, Paul. Mozart: A Life. 2013.

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

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

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

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

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

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

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

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

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

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

Mersman, Hans. Mozart. 1925.

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

Nettl, Paul. Mozart and Masonry. 1957.

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

Ottaway, Hugh. Mozart. 1979.

Paumgartner, Bernhard. Mozart. 1927.

Publig, Maria. Mozart. 1991.

Rosselli, John. The Life of Mozart. 1998.

Rushton, Julian. Mozart. 2009.

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

Schenk, Erich. Mozart and His Times. 1955.

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

Sitwell, Sacheverell. Mozart. 1932.

Solomon, Maynard. Mozart: A Life. 1995.

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

Talbot, J. E. Mozart. 1930.

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

Tenschert, Roland. Mozart. 1930.

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

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

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

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

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


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

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

Eisen, Cliff. Mozart Studies. 1992.

Eisen, Cliff. Mozart Studies 2. 1998.

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

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

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

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

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

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

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

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

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

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

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

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


IV. Musicological Analysis

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

Lawson, Colin. Mozart: Clarinet Concerto. 1996.

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

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

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

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

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

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

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

Sadie, Stanley. Mozart Symphonies. 1986.

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

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

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

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

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

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

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

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

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


V. Opera

Angermüller, Rudolph. Mozart's Operas. 1988.

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

Benn, Christopher. Mozart on the Stage. 1946.

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

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

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

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

Cairns, David. Mozart and His Operas. 2006.

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

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

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

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

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

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

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

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

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

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

Heartz, Daniel. Mozart's Operas. 1992.

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

King, Alec Hyatt. Mozart Chamber Music. 1968.

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

Mann, William. The Operas of Mozart. 1977.

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

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

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

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

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

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

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

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

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


VI. Performance Practice

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

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

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

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

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

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

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

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

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

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

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

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

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

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


VII. Essays in Other Books

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

1. What Did Mozart Know. 4 pgs.

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

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

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

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

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

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

Berger, Melvin. Guide to Chamber Music. 2001.

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

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

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

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

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

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

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

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

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

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

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

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

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

Engel, Carl. Discords Mingled. 1931.

1. The Mozart Couple.

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

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

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

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

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

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

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

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

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

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

1. Chapter, Mozart.

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

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

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

1.  6. Wolfgang Amadeus Mozart. 15 pgs.

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

1. Chapters 7-9. 231 pgs.

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

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

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

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

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

Kerman, Joseph. Opera as Drama. 1956.

1. Chapter 5. Mozart. 29 pgs.
   

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

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

Kierkegaard, Søren. Either/Or. 1843.

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

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

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

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

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

1. Mozart and his Constance. 22 pgs.

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

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

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

1. Chapter "Mozart, Wolfgang Amadeus"

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

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

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

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

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

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

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

1. Chapter XIV. Mozart. 25 pgs.

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

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

1. Mozart.

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

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

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

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

Rosen, Charles. The Classical Style. 1971.

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

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

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

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

1. Music in the Home II, 41 pgs.

Sampson, George. Seven Essays. 1947.

1. The Operas of Mozart. 25 pgs.

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

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

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

1. Violinists around Mozart, 15 pgs.

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

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

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

Includes Short Plot Summaries of:

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

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

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

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

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

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

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

1. Chapter 5. Mozart. 38 pgs.

Steinberg, Michael. Choral Masterworks. 2005.

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

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

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

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

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

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

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

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

Ulrich, Homer. Chamber Music. 1948.

1. Wolfgang Amadeus Mozart. 30 pgs

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

1. Quirino Gasparini and Mozart, 20 pgs.

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

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

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

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

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

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

1. Mozart. 33 pgs.

VIII. Other Mozart

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

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

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

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

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

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

Gruber, Gernot. Mozart and Posterity. 1994.

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

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

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

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

Nottebohm, Gustav. Mozartiana. 1880.

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

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

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


IX. On Others in Mozart's Life

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

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

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

Clive, Peter. Mozart and His Circle. 1993.

Da Ponte, Lorenzo. Memoirs. 1823–1827.

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

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

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

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

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

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

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

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

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

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

Moser, Nancy. Mozart's Sister. 2006.

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

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

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


X. Compilations of Primary Sources

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

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

Irving, John. The Treasures of Mozart. 2012.

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

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

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

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

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

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

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

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


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

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

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

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

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

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

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

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

Buchner, Alexander. Mozart and Prague. 1962.

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

Schenk, Erich. Mozart and His Times. 1955.

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

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

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

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

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

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

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

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

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


XII. Articles

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

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

Allanbrook, Wye J. Pro marcellina: The Shape of 'Figaro', Act IV. Music & Letters, Vol. 63, No. 1/2 (Jan. - Apr., 1982), pp. 69-84

Anderson, Robert. Haydn and Mozart. The Musical Times, Vol. 126, No. 1711 (Sep., 1985), p. 539

Arthur, John and Schachter, Carl. Mozart's "Das Veilchen" The Musical Times, Vol. 130, No. 1753 (Mar., 1989), pp. 149-155+163-164

Badura-Skoda, Paul. Mozart without the Pedal? The Galpin Society Journal, Vol. 55 (Apr., 2002), pp. 332-350

Baker, Jack. Elgar and Mozart's G Minor Symphony. The Musical Times, Vol. 76, No. 1114 (Dec., 1935), pp. 1123-1124

Balthazar, Scott. L. Tonal and Motivic Process in Mozart's Expositions. The Journal of Musicology, Vol. 16, No. 4 (Autumn, 1998), pp. 421-466

Barshack, Lior. The Sovereignty of Pleasure: Sexual and Political Freedom in the Operas of Mozart and Da Ponte. Law and Literature, Vol. 20, No. 1 (Spring 2008), pp. 47-67

Barth, George. Mozart Performance in the 19th Century. Early Music, Vol. 19, No. 4, Performing Mozart's Music I (Nov., 1991), pp. 538-555

Batley, E. M. Emanuel Schikaneder: The Librettist of 'Die Zauberflöte'. Music & Letters, Vol. 46, No. 3 (Jul., 1965), pp. 231-236

Bauman, Thomas. Mozart's Belmonte. Early Music, Vol. 19, No. 4, Performing Mozart's Music I (Nov., 1991), pp. 556-563

Bauman, Thomas. Requiem, but No Piece. 19th-Century Music, Vol. 15, No. 2, Toward Mozart (Autumn, 1991), pp. 151-161

Benade, Arthur H. Woodwinds: The Evolutionary Path Since 1700. The Galpin Society Journal, Vol. 47 (Mar., 1994), pp. 63-110

Bilson, Malcolm & Tassel, Eric van. Interpreting Mozart. Early Music, Vol. 12, No. 4, The Early Piano I (Nov., 1984), pp. 519-522

Blume, Friedrich & Broder, Nathan. Requiem but No Peace. The Musical Quarterly, Vol. 47, No. 2 (Apr., 1961), pp. 147-169

Bonds, Mark Evan. Replacing Haydn: Mozart's ‘Pleyel’ Quartets. Music and Letters (2007) 88 (2): 201-225.

Broder, Nathan. The First Guide to Mozart. The Musical Quarterly, Vol. 42, No. 2 (Apr., 1956), pp. 223-229

Broder, Nathan. Mozart and the "Clavier." The Musical Quarterly, Vol. 27, No. 4 (Oct., 1941), pp. 422-432

Broder, Nathan. The Wind-Instruments in Mozart's Symphonies. The Musical Quarterly, Vol. 19, No. 3 (Jul., 1933), pp. 238-259

Brofsky, Howard. Doctor Burney and Padre Martini: Writing a General History of Music. The Musical Quarterly, Vol. 65, No. 3 (Jul., 1979), pp. 313-345

Brook, Peter & Laurent, Feneyrou & Sidgwick, John. A Conversation: Peter Brook on Mozart's Don Giovanni. Grand Street, No. 66, Secrets (Fall, 1998), pp. 17-31

Brown, Peter. Haydn and Mozart's 1773 Stay in Vienna: Weeding a Musicological Garden.

Brown, A. Peter. Notes on Some Eighteenth-Century Viennese Copyists. Journal of the American Musicological Society, Vol. 34, No. 2 (Summer, 1981), pp. 325-338

Brown, Bruce Allen & Rice, John A. Salieri's 'Cosi fan tutte.' Cambridge Opera Journal, Vol. 8, No. 1 (Mar., 1996), pp. 17-43

Buch, David J. Fairy-Tale Literature and "Die Zauberflöte". Acta Musicologica, Vol. 64, Fasc. 1 (Jan. - Jun., 1992), pp. 30-49

Buch, David J. Die Zauberflöte, Masonic Opera, and Other Fairy Tales. Acta Musicologica, [Vol.] 76, [Fasc.] 2 (2004), pp. 193-219

Branscombe, Peter. Die Zauberflöte: Some Textual and Interpretative Problems. Proceedings of the Royal Musical Association, 92nd Sess. (1965 - 1966), pp. 45-63

Brown, Marshall. Mozart, Bach, and Musical Abjection. The Musical Quarterly, Vol. 83, No. 4 (Winter, 1999), pp. 509-535

Brunswick, Mark. Beethoven's Tribute to Mozart in "Fidelio". The Musical Quarterly, Vol. 31, No. 1. (Jan., 1945), pp. 29-32.

Caplin, William E. The Classical Cadence: Conceptions and Misconceptions. Journal of the American Musicological Society, Vol. 57, No. 1 (Spring, 2004), pp. 51- 117

Cavett-Dunsby, Esther. Mozart's Codas. Music Analysis, Vol. 7, No. 1 (Mar., 1988), pp. 31-51

Cavett-Dunsby, Esther. Mozart's 'Haydn' Quartets: Composing up and down without Rules. Journal of the Royal Musical Association, Vol. 113, No. 1 (1988), pp. 57-80

Chapin, Keith. Strict and Free Reversed: The Law of Counterpoint in Koch’s Musikalisches Lexikon and Mozart’s Dauberflöte. Eighteenth-Century Music 3/1, 91–107

Chestnut, John Hind. Mozart's Teaching of Intonation. Journal of the American Musicological Society, Vol. 30, No. 2 (Summer, 1977), pp. 254-271

Churgin, Bathia. Beethoven and Mozart's Requiem: A New Connection. The Journal of Musicology, Vol. 5, No. 4 (Autumn, 1987), pp. 457-477

Clarke, Bruce Cooper. Albert von Mölk: Mozart Myth-Maker? Study of an 18th Century Correspondence. MJb 1995, 155-91

Clive, Geoffrey. The Demonic in Mozart. Music & Letters, Vol. 37, No. 1 (Jan., 1956), pp. 1-13

Cohn, Richard. Metric and Hypermetric Dissonance in the Menuetto of Mozart's Symphony in G Minor, K. 550. Intégral, Vol. 6 (1992), pp. 1-33

Corneilson, Paul. An Intimate Vocal Portrait of Dorothea Wendling: Mozart's "Basta, vincesti. . . Ah non lasciarmi, no" K.295a. MJb 2000

Cuming, Geoffrey. Mozart's Oboe Concerto for Ferlendis. Music & Letters, Vol. 21, No. 1 (Jan., 1940), pp. 18-22

Davies, Peter J. Mozart's Illnesses and Death - 1. The Illnesses, 1756 - 90. The Musical Times, Vol. 125, No. 1698 (Aug., 1984), pp. 437-442

Davies, Peter J. Mozart's Illnesses and Death - 2. The Last Year and the Fatal Illness. The Musical Times, Vol. 125, No. 1700 (Oct., 1984), pp. 554-557+559-561

Davies, Peter. Mozart's Manic-Depressive Tendencies. 2. The Musical Times, Vol. 128, No. 1730 (Apr., 1987), pp. 191+193-196

Deutsch, O. E. Count Deym and His Mechanical Organs. Music & Letters, Vol. 29, No. 2 (Apr., 1948), pp. 140-145

Donington, Robert. Don Giovanni Goes to Hell. The Musical Times, Vol. 122, No. 1661 (Jul., 1981), pp. 446-448

Dreyfus, Laurence. The Hermeneutics of Lament: A Neglected Paradigm in a Mozartian 'Trauermusik'. Music Analysis, Vol. 10, No. 3. (Oct., 1991), pp. 329-343.

Dreyfus, Laurence. Mozart as Early Music: A Romantic Antidote. Early Music, Vol. 20, No. 2, Performing Mozart's Music III (May, 1992), pp. 297- 298+300-303+305-306+308-309

Durante, Sergio. The Chronology of Mozart's 'La clemenza di Tito' Reconsidered. Music & Letters, Vol. 80, No. 4 (Nov., 1999), pp. 560-594

Durante, Sergio. Considerations on Mozart's Changing Approach to Recitatives and on Other Choices of Dramaturgical Significance. MJb 2001, 231-44

Ebisawa, Bin. The Requiem: Mirror of Mozart Performance History. Early Music, Vol. 20, No. 2, Performing Mozart's Music III (May, 1992), pp. 279- 283+285-286+289-294

Edgar, Clifford B. Mozart's Early Efforts in Opera. Proceedings of the Musical Association, 32nd Sess. (1905 - 1906), pp. 45-58

Edge, Dexter. Attributing Mozart (i): Three Accompanied Recitatives. Cambridge Opera Journal, Vol. 13, No. 3 (Nov., 2001), pp. 197-237

Edge, Dexter. Mozart's Fee for 'Così fan tutte'. Journal of the Royal Musical Association, Vol. 116, No. 2 (1991), pp. 211-235

Edge, Dexter. Mozart's Viennese Orchestras. Early Music, Vol. 20, No. 1, Performing Mozart's Music II (Feb., 1992), pp. 63-65+67- 69+71-88

Einstein, Alfred. Two Missing Sonatas by Mozart. Music & Letters, Vol. 21, No. 1 (Jan., 1940), pp. 1-17

Einsten, Alfred & Mendel, Arthur. Mozart's Choice of Keys. The Musical Quarterly, Vol. 27, No. 4 (Oct., 1941), pp. 415-421

Eisen, Cliff. Another Look at the 'Corrupt Passage' in Mozart's G Minor Symphony, K550: Its Sources, 'Solution' and Implications for the Composition of the Final Trilogy. Early Music, Vol. 25, No. 3 (Aug., 1997), pp. 373-380

Eisen, Cliff. Contributions to a New Mozart Documentary Biography. Journal of the American Musicological Society, xxxix (1986), 620-23

Eisen, Cliff. Mozart Apocrypha. Musical  Times, cxxvii (1986), 685

Eisen, Cliff. Mozart's Salzburg Orchestras. Early Music, Vol. 20, No. 1, Performing Mozart's Music II (Feb., 1992), pp. 89-90+93- 96+98-100+103

Eisen, Cliff & Wintle, Christopher. Mozart's C Minor Fantasy, K.475: An Editorial 'Problem' and Its Analytical and Critical Consequences. Journal of the Royal Musical Association, Vol. 124, No. 1 (1999), pp. 26-52

Eisen, Cliff. The Old and New Mozart Editions. Early Music, Vol. 19, No. 4, Performing Mozart's Music I (Nov., 1991), pp. 513-532

Englander, Richard & Mendel, Arthur. The Sketches for "The Magic Flute" at Upsala. The Musical Quarterly, Vol. 27, No. 3 (Jul., 1941), pp. 343-355

Ferguson, Faye. The Classical Keyboard Concerto: Some Thoughts on Authentic Performance. Early Music, Vol. 12, No. 4, The Early Piano I (Nov., 1984), pp. 437-445

Fitzpatrick, Horace. Some Historical Notes on the Horn in Germany and Austria. The Galpin Society Journal. Vol. 16 (May, 1963), pp. 33-48

Freyhan, Michael. Toward the Original Text of Mozart's "Die Zauberflöte." Journal of the American Musicological Society, Vol. 39, No. 2 (Summer, 1986), pp. 355 -380

Galand, Joel. Form, Genre, and Style in the Eighteenth-Century Rondo. Music Theory Spectrum, Vol. 17, No. 1 (Spring, 1995), pp. 27-52

Galand, Joel. The Large-Scale Formal Role of the Solo Entry Theme in the Eighteenth-Century Concerto. Journal of Music Theory, Vol. 44, No. 2 (Autumn, 2000), pp. 381-450

Geiringer, Karl. Leopold Mozart. The Musical Times, Vol. 78, No. 1131 (May, 1937), pp. 401-404

Geiringer, Karl. W. A. Mozart the Younger. The Musical Quarterly, Vol. 27, No. 4 (Oct., 1941), pp. 456-473

Griswold, Harold E. Mozart's 'Good Wood-Biter': Georg Wenzel Ritter (1748-1808). The Galpin Society Journal, Vol. 49 (Mar., 1996), pp. 103-112

Hellyer, Roger. Mozart's Harmoniemusik and Its Publishers. The Musical Times, Vol. 122, No. 1661 (Jul., 1981), pp. 468-472

Hepokiski, James. Beyond the Sonata Principle. Journal of the American Musicological Society, Vol. 55, No. 1 (Spring, 2002), pp. 91- 154

Hutchings, Arthur. The Keyboard Concerto. Music & Letters, Vol. 23, No. 4 (Oct., 1942), pp. 298-311

Istel, Edgar & Baker, Theodore. Mozart's "Magic Flute" and Freemasonry. The Musical Quarterly, Vol. 13, No. 4 (Oct., 1927), pp. 510-527

Jan, Steven. The Evolution of a 'Memeplex' in Late Mozart: Replicated Structures in Pamina's 'Ach ich fühl's'. Journal of the Royal Musical Association, Vol. 128, No. 1 (2003), pp. 30-70

Johnson, Lee. 'The Last Scene of "Don Giovanni" ': A Newly Discovered Delacroix. The Burlington Magazine, Vol. 138, No. 1122 (Sep., 1996), pp. 605-607

Fowler, W. Warde. Mozart and the Europe of His Day. I. Music & Letters, Vol. 1, No. 2 (Apr., 1920), pp. 111-122

Grave, Floyd K. Common-Time Displacement in Mozart.

Goertzen, Chris. Compromises in Orchestration in Mozart's "Coronation" Concerto. The Musical Quarterly, Vol. 75, No. 2 (Summer, 1991), pp. 148-173

Hacker, Alan. Mozart and the Basset Clarinet. The Musical Times, Vol. 110, No. 1514 (Apr., 1969), pp. 359-362

Haggin, B. H. Three Mozart Andantes. The Sewanee Review, Vol. 73, No. 4 (Autumn, 1965), pp. 622-629

Hall, Vernon Jr. Joyce's Use of Da Ponte and Mozart's Don Giovanni. PMLA, Vol. 66, No. 2 (Mar., 1951), pp. 78-84

Harutunian, John. Haydn and Mozart: Tonic, Dominant Polarity in Mature Sonata-Style Works. Studia Musicologica Academiae Scientiarum Hungaricae, T. 31, Fasc. 1/4 (1989), pp. 217- 240

Haynes, Bruce. Mozart and the Oboe. Early Music, Vol. 20, No. 1, Performing Mozart's Music II (Feb., 1992), pp. 43- 50+53+55-57+59-63

Heartz, Daniel. Constructing Le nozze di Figaro. Journal of the Royal Musical Association, cxii (1987), 77-98

Heartz, Daniel. The Genesis of Mozart's 'Idomeneo.' The Musical Quarterly, Vol. 55, No. 1 (Jan., 1969), pp. 1-19

Heartz, Daniel. The Great Quartet in Mozart's Idomeneo. Music Forum, v (1980), 233-56

Heartz, Daniel. La clemenza di Sarastro. Masonic Benevolence in Mozart's Last Operas. The Musical Times, Vol. 124, No. 1681 (Mar., 1983), pp. 152-157

Heartz, Daniel. Mozart, His Father and 'Idomeneo.' The Musical Times
Vol. 119, No. 1621 (Mar., 1978), pp. 228-231

Heartz, Daniel. Mozart's Sense for Nature. 19th-Century Music, Vol. 15, No. 2, Toward Mozart (Autumn, 1991), pp. 107-115

Heartz, Daniel. Raaff's Last Aria: A Mozartian Idyll in the Spirit of Hasse. Musical Quarterly, lx (1974), 517-43

Heartz, Daniel. Tonality and Motif in Idomeneo. Musical Times, cxv (1974), 382-6

Hellyer, Roger. The Transcriptions for 'Harmonie' of 'Die Entführung aus dem Serail'. Proceedings of the Royal Musical Association, Vol. 102 (1975 - 1976), pp. 53-66

Hoffman, E. T. A. & Loft, Abram. "Don Giovanni": A Marvelous Adventure Which Befell a Traveling Enthusiast. The Musical Quarterly, Vol. 31, No. 4 (Oct., 1945), pp. 504-516

Holmes, E. Mozart's Masses. No. 1. The Musical Times and Singing Class Circular, Vol. 5, No. 101 (Oct. 1, 1852), pp. 67-70

Holmes, E. Mozart's Masses (In Continuation). The Musical Times and Singing Class Circular, Vol. 5, No. 106 (Mar. 1, 1853), pp. 147- 149

Hunter, Mary. 'Se voul ballare' Quoted: An Early Moment in the Reception History of 'Figaro.' The Musical Times, Vol. 130, No. 1758 (Aug., 1989), pp. 464-467

Hutchings, Arthur. Viennese Counterpoint. The Musical Times, Vol. 83, No. 1194 (Aug., 1942), pp. 237-239

Irving, John. Haydn's Influence on Mozart's Sonatas, K. 279-84: Fact or Fiction? Revue belge de Musicologie / Belgisch Tijdschrift voor Muziekwetenschap, Vol. 53 (1999), pp. 137-150

Judd, Percy. Delacroix on Music. Music & Letters, Vol. 43, No. 4 (Oct., 1962), pp. 340-344

Kamien, Roger & Wagner, Naphtali. Bridge Themes within a Chromaticized Voice Exchange in Mozart Expositions. Music Theory Spectrum, Vol. 19, No. 1 (Spring, 1997), pp. 1-12

Kearns, Andrew. The Orchestral Serenade in Eighteenth-Century Salzburg. Journal of Musicological Research, xvi (1997), 163-97

Keefe, Simon P. A Complementary Pair: Stylistic Experimentation in Mozart's Final Piano Concertos, K.537 in D and K.595 in B♭. The Journal of Musicology, Vol. 18, No. 4 (Autumn, 2001), pp. 658-684

Keefe, Simon P. Dramatic Dialogue in Mozart's Viennese Piano Concertos: A Study of Competition and Cooperation in Three First Movements. The Musical Quarterly, Vol. 83, No. 2 (Summer, 1999), pp. 169-204

Keefe, Simon P. The 'Jupiter' Symphony in C, K. 551: New Perspectives on the Dramatic Finale and Its Stylistic Significance in Mozart's Orchestral Œuvre. Acta Musicologica, [Vol.] 75, [Fasc.] 1 (2003), pp. 17-43

Keller, Hans. Mozart. The Revolutionary Chamber Musician. The Musical Times, Vol. 122, No. 1661 (Jul., 1981), pp. 465-468

Keller, Hans. Mozart's Wrong Key Signature. Tempo, New Series, No. 98 (1972), pp. 21-27

Kinderman, William. Subjectivity and Objectivity in Mozart Performance. Early Music, Vol. 19, No. 4, Performing Mozart's Music I (Nov., 1991), pp. 593-600

King, A. Hyatt. A Census of Mozart Musical Autographs in England. The Musical Quarterly, Vol. 38, No. 4 (Oct., 1952), pp. 566-580

King, A. Hyatt. The Melodic Sources and Affinities of "Die Zauberflöte." The Musical Quarterly, Vol. 36, No. 2 (Apr., 1950), pp. 241-258

King, A. Hyatt. Mozart. The Musical Times, Vol. 128, No. 1728 (Feb., 1987), p. 90

King, A. Hyatt. Mozart's Counterpoint: Its Growth and Significance. Music & Letters, Vol. 26, No. 1 (Jan., 1945), pp. 12-20

King, A. Hyatt. Mozart and Cramer. The Facsimile of a Lost Autograph. The Musical Times, Vol. 89, No. 1259 (Jan., 1948), pp. 11-14

King, A. Hyatt. Mozart on the Gramophone. Music & Letters, Vol. 37, No. 1 (Jan., 1956), pp. 22-26

King, A. Hyatt. Mozart's "Prussian" Quartets in Relation to His Late Style. Music & Letters, Vol. 21, No. 4 (Oct., 1940), pp. 328-346

King, A. Hyatt. Mozart and the Organ. The Musical Times, Vol. 87, No. 1236 (Feb., 1946), pp. 41-43

King, A. Hyatt. Mozart's Works for Mechanical Organ: Their Background and Significance. The Musical Times, Vol. 88, No. 1247 (Jan., 1947), pp. 11-14

King, A. Hyatt. Some Aspects of Recent Mozart Research. Proceedings of the Royal Musical Association, Vol. 100 (1973 - 1974), pp. 1-18

King, Alexander. The Fragmentary Works of Mozart. The Musical Times, Vol. 81, No. 1172 (Oct., 1940), pp. 401-403

Kirkendale, Warren. More Slow Introductions by Mozart to Fugues of J. S. Bach?. Journal of the American Musicological Society, Vol. 17, No. 1 (Spring, 1964), pp. 43-65

Kivy, Peter. Child Mozart as an Aesthetic Symbol. Journal of the History of Ideas, Vol. 28, No. 2. (Apr. - Jun., 1967), pp. 249-258.

Kurz, Otto. Hagenauer, Posch, and Mozart. The Burlington Magazine, Vol. 110, No. 783 (Jun., 1968), pp. 325-329

Latcham, Michael. Mozart and the Pianos of Gabriel Anton Walter. Early Music, Vol. 25, No. 3 (Aug., 1997), pp. 382-400

Lawson, Colin. The Basset Clarinet Revived. Early Music, Vol. 15, No. 4 (Nov., 1987), pp. 487-501

Leeson, Daniel N. & Whitwell, David. Mozart's Thematic Catalogue. The Musical Times, Vol. 114, No. 1566 (Aug., 1973), pp. 781-783

Leeson, Daniel. N. & Whitwell, David. Mozart's 'Spurious' Wind Octets. Music & Letters, Vol. 53, No. 4 (Oct., 1972), pp. 377-399

Leeson, Daniel N. & Levin, Robert D. On the Authenticity of K. Anh. C14.01 (297b), a Symphonia Concertante for Four Winds and Orchestra. MJb 1976-7, 70-96

Leeson, Daniel N. A Revisit: Mozart's Serenade for Thirteen Instruments, K.361 (370a), the "Gran Partitta." MJb 1997, 181-223

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Oldman, Cecil B. Beckford and Mozart. Music and Letters, xlvii (1966), 110-15.

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Oldman, Cecil. B. Mozart and Modern Research. Proceedings of the Musical Association, 58th Sess. (1931 - 1932), pp. 43-66

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Ord-Hume, Arthur W. J. G. Ornamentation in Mechanical Music. Early Music, Vol. 11, No. 2 (Apr., 1983), pp. 185-193

Orr, N. Lee. The Effect of Scoring on the "Sonata-Form" in Mozart's Mature Instrumental Ensembles. College Music Symposium, Vol. 23, No. 2 (Fall, 1983), pp. 46-83

Neumann, Frederick. Dots and Strokes in Mozart. Early Music, Vol. 21, No. 3, French Baroque II (Aug., 1993), pp. 429-435

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Pesic, Peter. The Child and the Daemon: Mozart and Deep Play. 19th-Century Music, Vol. 25, No. 2/3, The Long Century, 1780-1920 (Autumn, 2001 - Spring, 2002), pp. 91-107

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Polzonetti, Pierpaolo. Mesmerizing Adultery: "Così fan tutte" and the Kornman Scandal. Cambridge Opera Journal, Vol. 14, No. 3 (Nov., 2002), pp. 263-296

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Pryer, Anthony. Mozart's Operatic Audition: The Milan Concert. Eighteenth-Century Music, ii (2005)

Raeburn, Michael. Dr. Burney, Mozart and Crotch. The Musical Times. Vol. 97, No. 1364 (Oct., 1956), pp. 519-520

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

Ullrich, Hermann. Maria Theresia Paradis and Mozart.

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

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

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

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

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

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

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

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

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

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

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

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

XIII. Journals

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


XIV. Miscellaneous

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

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

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

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Last Updated: 11/6/14
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Beethoven: Piano Trio in D

Ludwig van Beethoven. Piano Trio in D. Op. 70.
Largo assai ed espressivo.

Jacqueline du Pré, Cello. Pinchas Zuckerman, Violin.
Daniel Barenboim, Piano.

Part I  |  Part II

Movie Review: Immortal Beloved

Directed by Bernard Rose. 1994.

In the DVD commentary track to Immortal Beloved director Bernard Rose suggested the conundrum of the immortal beloved was a natural locus around which to structure a story of Beethoven. I am not entirely convinced of that observation and with the structure of Immortal Beloved, the film itself is more like a trip through the life of Beethoven featuring remembrances and reminiscing with the people who knew him. What makes the film succeed, though, is the significance it is able to demonstrate in the contrast between Beethoven’s stormy personal relationships and the degree to which he was cut off from virtually everyone, and the universality of his music.

Foremost among these characters is Beethoven’s factotum, Anton Felix Schindler, who revisits the women in the late Beethoven’s life in order to find the one the composer referred to in his last will as his immortal beloved and to whom he left his estate. Schindler comes off as the historical Schindler does in his biography of the composer (Beethoven As I Knew Him), i.e. as Beethoven’s conservator. Not just as the protector of Beethoven’s estate, though, but of his character and how he would be remembered. Sometimes Schindler comes across as noble, enduring abuse from his boss but remaining loyal to the composer because he understands the magnitude of Beethoven’s loneliness and genius. Other times he comes off an obsequious fool, hopelessly in awe of a man he permits to exist in his own moral world because of his infirmities.

In visiting the women of Beethoven’s life, Schindler discovers despite their tempestuous time with him, they remember him fondly or have at least made their peace with him. One woman, Countess Giulietta Guicciardi, was one of his pupils. In order to receive her father’s consent to marry Beethoven, she had to prove to him Beethoven could still play and support her, so she tested him, offering Beethoven a supposedly empty room and a new English Broadwood on which to experiment in private. The girl and her father spied on Beethoven as he tested the piano playing the adagio of the C-sharp minor piano sonata*. When she reveals herself to him during his playing, he jumps up and stumbles away, shocked at the violation. Outraged, he storms out shouting, “It is terrible! Terrible to rob me in this way! Of my most treasured feelings!” Such is the significance of music to the composer, of his intensely personal ability and need to express himself through his compositions.

Another woman, countess Anna Marie Erdödy, first meets Beethoven at the disastrous debut performance of the Choral Fantasia at which his deafness was made evident to all. Outraged at the thoughtless and childish response of the audience to the composer’s affliction, she escorts him out and away from their contemptuous laughter. After she loses her young son in Napoleon’s invasion of Austria, Beethoven, growing still more deaf but wanting to console her, hands her some music and says, “We will speak through music.” He then begins the largo to the Op. 70 D major piano trio for her*.

Last Schindler visits Johanna Reiss, with whom Beethoven had the most intense and tumultuous relationship after she went on to marry his brother, Caspar Anton Carl Beethoven. Despite protracted legal proceedings in which Beethoven sought custody over her son and Beethoven’s violent denunciations of her, even before sharing the letter with her identifying her as his immortal beloved, Schindler discovers she has made peace with Beethoven, a peace she discovered after hearing his Ninth Symphony. She regrettably only takes note of the final movement, but nonetheless says the Ode to Joy made manifest Beethoven’s capacity for love so much she could no longer despise him.

Thus we see again, like with his relationships with the countesses and his gift of the bagatelle Für Elise to his nephew, Beethoven was most successful in communicating through music. As he said to Schindler, music’s unique power is to transport the listener into the mind of the composer, and when others were able to be transported, they were able to know Beethoven. The final act of Immortal Beloved dwells somewhat too much on the resolution of the mystery. Fair enough, perhaps, given the title and structure, but the film’s significance lies not so much in the resolution of that particular thread as with the two larger contrasting elements of Beethoven’s life, his personal relationships in general and his music. The concept of music being so pure a form of expression that, when it is brilliant, it can emotionally affect us the way it does is more significant than Ludwig and Johanna’s near-miss at the hotel. Nonetheless Immortal Beloved succeeds in showing us both the Beethoven that struggled his whole life to achieve a communion with those he loved, and also the one who succeeded in expressing himself to all humanity through his music.

–

* N.B. Regarding Dedications:

1) Op.27/2. Piano Sonata No. 14 in C sharp minor. 1800-1801. Dedicated to Countess Giulietta Guicciardi.
2) Op.70/1. Piano Trio in D major. 1808. Dedicated to Countess Anna Marie Erdödy.
3) WoO.59. Bagatelle for Piano in A minor: "Für Elise." 1810. Autograph missing, but "Elise" probably denotes a dedication to Therese Malfatti.

via Ludwig van Beethoven: List of Works.

Around the Web

For the week of Saturday, December 26 through Friday, January 1.

1) Victor Davis Hanson reviews, The Enemy at the Gate: Hapsburgs, Ottomans, and the Battle for Europe by Andrew Wheatcroft.

2) "How to Improve the Culture," by Jeffrey Tucker at the Mises Daily Blog.

The culture is going to hell in a handbag, we've been told for hundreds of years, and the free market gets a large share of the blame. The observation stretches from Left to Right and everywhere in between. It is universally agreed that letting markets run loose runs roughshod over all the finer things in life, from books to arts to clothing to manners.

Mises himself traces this ideological tendency to 19th-century critic John Ruskin, who "popularized the prejudice that capitalism, apart from being a bad economic system, has substituted ugliness for beauty, pettiness for grandeur, trash for art." The same argument appears today in conservative periodicals, every week, as a built-in bias; everyone knows that markets have unleashed a race to the bottom.

. . . So what we need is not the overthrow of private property but more freedom for cultural entrepreneurship, and more individual initiative to do more than complain that the world is not conforming to your own values. The next time someone complains about what the market is doing to the culture, ask that person what he or she has done to enter the market and make a difference. And ask what that person has done to make the world freer for those who seek to make the world a more beautiful place.

3) James Bowman at The New Criterion Blog:

Witness [President Obama's] reaction to the uproar over Janet Napolitano’s unfortunate comment that "the system worked" with respect to the apprehension of Umar Farouk Abdulmutallab before he could blow up his underwear, himself, Northwest Airlines Flight 253 and all or as many as possible of its passengers on Christmas Day.

Why, we may wonder, did he not rather insist that a non-systemic success had occurred with the heroic action of Jasper Schuringa in preventing Mr Abdulmutallab from detonating himself? The answer can only be that he is tethered by unbreakable bonds to the media’s self-serving assumption that only the systemic counts — and only systemic failures at that, since systemic successes, of which there must be many, are rarely reported.

4 ) In The Journal of the American Enterprise Institute, Roger Scruton on "The High Cost of Ignoring Beauty":

. . . We should certainly recognize that the old cities whose organic complexity Jacobs admired show the mark of planning: not comprehensive planning, certainly, but the insertion, into the fabric of the city, of localized forms of symmetry and order, like the Piazza Navona in Rome, or the Suleimaniye mosque and its precincts in Istanbul. And those are projects entirely motivated and controlled by aesthetic values. The principal concern of the architects was to fit in to an existing urban fabric, to achieve local symmetry within the context of a historically given settlement. No greater aesthetic catastrophe has struck our cities—European just as much as American—than the modernist idea that a building should stand out from its surroundings, to become a declaration of its own originality. As much as the home, cities depend upon good manners; and good manners require the modest accommodation to neighbors rather than the arrogant assertion of apartness. . .

. . . I have concentrated on architecture since it provides such a clear illustration of the social, environmental, and economic costs of ignoring beauty. But there is another cost, too, and it is one that we witness in individual lives as well as in the community. This is the aesthetic cost. People need beauty. They need the sense of being at home in their world, and being in communication with other souls. In so many areas of modern life—in pop music, in television and cinema, in language and literature—beauty is being displaced by raucous and attention-grabbing clichés. We are being torn out of ourselves by the loud and insolent gestures of people who want to seize our attention but to give nothing in return for it. Although this is not the place to argue the point it should perhaps be said that this loss of beauty, and contempt for the pursuit of it, is one step on the way to a new form of human life, in which taking replaces giving, and vague lusts replace real loves.

5) Julia M. Klein on Iraq's Ancient Past in the WSJ:

"Iraq's Ancient Past" situates the Ur finds in the context of modern Iraqi history, provides a history of the expedition itself, and shows how the two were intertwined. The formidable Gertrude Bell (1868-1926), Iraq's honorary director of antiquities, founded what is now the Iraq Museum in Baghdad and filled it with Ur treasures. The 1924 Iraq Antiquities Law, which she wrote, mandated that half of Woolley's finds remain in Iraq. The rest were divided between the Penn Museum and its excavation partner, the British Museum.

Many Thanks

Something about the arrival of a new year makes people uncharacteristically introspective, a phenomenon for which I am quite grateful. Those for whom such a state is in fact a chronic condition may still, though, take this opportunity to reflect. I shall do so here and now.

First and foremost, many thanks to my esteemed and excellent co-blogger Mr. Northcutt. He kindly invited me to share this space with him and I have been most honored and pleased to do so. I much look forward to his coming writings this next year and toward collaboration.

Second, thank you dear readers. We have attempted to provide you with commentary, considerations, and findings both scholarly and significant, enjoyable and enlightening. We hope you have found them so.

Expect in the future more on conservatism and liberalism and significant disagreement between your humble bloggers. Expect more thoughts on Classics and the Classical world. I intend to continue my essays in musical analysis and film reviews and welcome any suggestions as to what to review.

We have largely refrained from entering the fray of partisan politics and intend only to do so at the service of discussing a philosophical question.

I will leave Herr Mozart the last words of 2009:

Le nozze di Figaro, Act IV: Contessa Perdono. . .

  Bryn Terfel, Alison Hagley, Rodney Gilfry, Hillevi Martinpelto.

The English Baroque Soloists conducted by John Eliot Gardiner.
Filmed at the Théâtre du Châtelet, Paris. 1993.

ALL Then let us all Be happy. This day of torment, Of caprices and folly, Love can end Only in contentment and joy. Lovers and friends, let's round things off In dancing and pleasure, And to the sound of a gay march Let's hasten to the revelry!

TUTTI Ah, tutti contenti saremo così. Questo giorno di tormenti, di capricci, e di follia, in contenti e in allegria solo amor può terminar. Sposi, amici, al ballo, al gioco, alle mine date foco! Ed al suon di lieta marcia corriam tutti a festeggiar!

Translation via Opera Guide: The Virtual Opera House.

Movie Review: Dr. No

Directed by Terence Young. 1962.

I recently revisited Dr. No, this time with the DVD commentary track turned on. The commentary features a variety of clips from people associated with the film’s production and one phrase came up with disturbing frequency, tongue-in-cheek; first from the director, incredibly referring to the first shot of Bond when he introduces himself, and then regarding the art direction. Let us add a quote from Richard Maibaum, who adapted Ian Fleming’s novel into the Dr. No screenplay:

A bright young producer accosted me one day with glittering eyes. ‘I’m making a parody of the James Bond films.’ How, I asked myself, does one make a parody of a parody? For that is precisely, in the final analysis, what we have done with Fleming’s books. Parodied them. [1]

I had, in fact, known about Maibaum’s quote before my recent viewing of Dr. No, but there was something about hearing it directly from the horse’s mouth that set me aghast. Dr. No, tongue-in-cheek. . . really? You are making fun of James Bond. . . why?! What exactly about him do you find it necessary to mock? His wit, cleverness, adaptability, strength, dashing, success? That he is irresistible to women, that he trounces his enemies with cunning and technological superiority, that he defends his country? To my mind I have yet to list something I would not consider an asset or laudable characteristic. Aside from being the hero of the plot in the films and novels, why would one mock someone who embodies these characteristics? When one hears the name James Bond what comes to your mind? Some months ago in The Chronicle of Higher Education Michael Dirda wrote:

The first words we think of when we describe James Bond — at least the 007 of the films — are suave, debonair, cosmopolitan. All those are shorthand for Bond's supreme personal characteristic, what Renaissance courtiers always aspired to exemplify: sprezzatura. That is the ability to perform even the most difficult task with flair, grace, and nonchalance, without getting a wrinkle in your clothes or working up a sweat. Bond not only is cool, he always looks cool, at ease in his skin, at home in the world. Whatever his surroundings, he's the best-dressed guy in the room. [2]

Do you think of that, or something like it, or do you laugh, and think, “Oh silly James Bond, he thinks he can do those things! No one can do those things!” With the inevitable and dejected, if suppressed, conclusion following, “I certainly can’t.” And how do you feel? Exhilarated at the thought of such feats and desirous of emulating them in some fashion, or envious?*

As I have observed, the public reaction to the series has been overwhelmingly closer to the former. The situation is not dissimilar from that of the television program The Avengers, which was apparently conceived of as a parody but went onto be taken seriously by the public and likewise on to great success.[3]

In her book, The Romantic Manifesto, Ayn Rand discussed this issue of self-mockery and succinctly summarized the contradiction:

One may laugh with a hero, but never at him–just as a satire may laugh at some object, but never at itself. . .

In Fleming’s novels, James Bond is constantly making witty, humorous remarks, which are part of his charm. But, apparently this is not what Mr. Maibaum meant by humor. What he meant, apparently, was humor at Bond’s expense–the sort of humor intended to undercut Bond’s stature, to make him ridiculous. . .

[Such tongue-in-cheek thrillers] require one employ all the values of a thriller in order to hold the audience’s interest, yet turn these values against themselves, that one damage the very elements one is using and counting on. It means an attempt to cash in on the thing one is mocking, to profit by the audience’s hunger for romanticism while seeking to destroy it. [3]

The audacity of James Bond: taking himself seriously! I recall once reading an introduction to Rostand’s Cyrano de Bergerac, one which went to various lengths to try to explain away the fact that title character too, like Bond, takes himself seriously, though we should not. (I tore the introduction from the book.)

—

Regardless of the director, screenwriter, and production crew’s intentions, in Dr. No James Bond is in full form and people love him. He is indomitable, getting the better of the increasingly-dangerous array of goons until defeating the arch villain himself. He is indefatigable, engaging in hand-to-hand combat, gun fighting, and working his way through the defenses of Dr. No’s island. Whether he is laying traps setting up his room so he will know if it was searched, or springing the henchmen’s traps and then turning the tables on them, Bond remains unfazed. He is irresistible, winning over several gorgeous women. Indeed, Bond is so incontestable when Dr. No, whose unlimited resources have failed to get the better of Bond, remarks to the spy, “you cost me time, money, effort. . . you damage my organization. . . and my pride. I was curious to see what kind of a man you were” we rather appreciate the praise for Bond, despite its source.


In the same article, Dirda concluded, “Bond has become as archetypal as Hamlet or Sherlock Holmes, a hero with a thousand faces — and among them are yours and mine.” [2] Indeed. Junior year in high school I was asked by a teacher what literary character I would like to be and replied: James Bond. I haven’t changed my mind.

—

[1] NY Times. December 13, 1964. Selection reprinted in The Romantic Manifesto. Rand, Ayn. 1971. Signet, A Division of Penguin Group. NY, NY.

[2] Dirda, Michael. James Bond as Archetype (and Incredibly Cool Dude). The Chronicle of Higher Education. June 2008. [Link] (subscription required)

[3] Rand, Ayn. The Romantic Manifesto. 1971. Signet, A Division of Penguin Group. NY, NY.

*In the Aristotelian usage.

Bonus: Six Lessons in Manliness from James Bond, via The Art of Manliness.

Around the Web

Christmas Edition for the week of Saturday, December 19 through Friday, December 25.

1-4) In The WSJ:

• Julia Vitullo-Martin on King's College Chapel.
• Heidi Waleson on  Les Contes d'Hoffmann (at The Metropolitan Opera Dec. 23, 26, 30 and Jan. 2)
• John J. Miller on Sir Arthur Conan Doyle and "The Burden of Holmes."
  
• David Mermelstein interviews pianist Leif Ove Andsnes, who will be playing Mozart's Piano Concerto No. 23 KV.488 at Lincoln Center Dec. 29, 30 and Jan. 2. ("Though the repertory may seem unexciting. . ." Surely Mr. Mermelstein jests!)

5) In City Journal Stefan Kanfer reviews "Pops: A Life of Louis Armstrong" by Terry Teachout.

. . .the noise of axes grinding could never drown out the immortal sound of Louis Armstrong’s music. To Teachout, that constitutes a “sunlit, hopeful art, brought into being by the labor of a lifetime.” Second the emotion.

6) In City Journal, Guy Sorman reviews "Last Exit to Utopia: The Survival of Socialism in a Post-Soviet Era" by Jean-Francois Revel.

7) "A Tale of Two Libertarianisms" by Brian Doherty at Reason.

. . . as Rothbard makes abundantly clear here, very important differences exist between the fallibilistic, utilitarian, small-government thinking of Hayek (and Friedman, and to a great degree Mises) and the rights-based anarchism of Rothbard and many of his followers, both of which coexist uneasily under the label libertarian.

8) "Impermissible Ratemaking in Health-Insurance Reform: Why the Reid Bill is Unconstitutional" by Richard A. Epstein at Point of Law.

9) At Reason, Jacob Sullum on "the folly of a 'right to health care.'"

While liberty rights such as freedom of speech or freedom of contract require others to refrain from acting in certain ways, “welfare rights” such as the purported entitlement to health care (or to food, clothing, or shelter) require others to perform certain actions. They represent a legally enforceable claim on other people’s resources.

10) Michael Ramirez on "healthcare reform":

via IBD Editorials. 

–

11) "Jesus in the Eyes of Josephus" by Geza Vermes at Standpoint.

12-13) At Big Hollywood:

• John Nolte's 25 favorite Christmas films.
• Kurt Schlichter: 10 films that take place on Christmas.

Movie Review: The Shawshank Redemption

Directed by Frank Darabont. 1994.

The Shawshank Redemption could easily have been a banal exercise in politically correct finger-wagging or a hackneyed parable about hope. Two features elevate Shawshank, first is its intense focus on its characters; not simply their current feelings, but their natures, the men they were and who they came to be, and their journey of self-understanding. The film could have gone astray into the territory of police procedurals, legal dramas, or documentary-style exposé. Indeed, the prison’s corruption, Red’s parole denials, and the set-up that led Andy into prison are not central elements the film’s theme. Second is Shawshank does not venture to make foolish generalizations about prisons, prison life, prisoners, “the system” or anything else. Shawshank is about these men and their personal journeys.

It is actually worth noting at greater length where this film does not go wrong, given how many directions in which it could easily have veered and how many other films take those tired paths. First, the film is not mindlessly and vaguely "anti-prison." Shawshank Prison is indeed a dehumanizing place but not on account of some abstract sense of injustice but rather on account of the criminals and the abuses of its authoritarian warden and his right-hand, neither of whom represent the law but rather simple force. The warden is happy to ignore heinous acts, so long as he benefits and the prison is run well. He even uses such violence, violence that he permits, as a threat against Andy. Likewise the film is not foolishly "anti-law" either. You see when Red’s case comes up for review, he is not subjected to an objectively understandable law or criterion, but rather the whims of the review board. Consider Red’s response when asked by the parole board if he thinks he has been “rehabilitated:”

MAN #1
Shall I repeat the question?

RED
I heard you. Rehabilitated. Let's see now. You know, come to think of it, I have no idea what that means. I know what you think it means. Me, I think it's a made-up word, a politician's word. A word so young fellas like you can wear a suit and tie and have a job. What do you really want to know? Am I sorry for what I did?

MAN #2
Well. . . are you?

RED
Not a day goes by I don't feel regret, and not because I'm in here or because you think I should. I look back on myself the way I was...stupid kid who did that terrible crime. . . wish I could talk sense to him. Tell him how things are. But I can't. That kid's long gone, this old man is all that's left, and I have to live with that. . . Rehabilitated? That's a bullshit word, so you just go on ahead and stamp that form there, sonny, and stop wasting my damn time. Truth is, I don't give a shit.

Consider the honesty of this scene for a moment. Red does not shy away from referring to his act as a terrible crime, nor does he try to explain that he should be freed by offering excuses. He knows he deserves to be in jail, but he refuses to continue play the political game with the parole board, who themselves have no definition of “rehabilitated.” Is it supposed to mean he is sorry, that he would not do it again, that he is a “normal” person now? Why should he be, what did he do, or what is prison expected to do to him, that would make him so? What is the standard for “rehabilitation?” The definition of the word is up to their whims.

Let us now move on to what Shawshank does well. We said above the prison was a dehumanizing place, first on account of the hard criminals and second on account the corrupt officials. What Andy brings to the prison is something wholly lacking there: a sense of the sacredness of the individual, a sacredness that can only be marred by choice and not force, a sentiment reflected in efforts great and small done over long periods of time. It is something rejected by the criminals when they were free men, something suppressed by the warden, and thus something only an innocent man could have brought to Shawshank. The first example is requesting a couple of beers for his “coworkers” when they roof a nearby factory in outdoor detail. Red aptly summarizes the significance of Andy’s deed:

You could argue he'd done it to curry favor with the guards. Or maybe make a few friends among us cons. Me, I think he did it just to feel normal again. . . if only for a short while.

Sure they are prisoners and they are not free, nor does Andy argue they should be, but they need to remember the significance of the concept. They cannot forget it, as freedom or lack thereof defines their experiences. What is significant but unspoken about this scene, though, is that Andy stays apart from them. He does not enjoy the beers with his coworkers and his experience on the roof is a strictly personal one. Gradually, though, Andy’s relationships with his fellow inmates, especially Red, begin to define his life there. For example, though he maintains personal projects like shaping his chess pieces from stones, they are stones gathered by his friends as a little welcome back present when he is beaten by a group of inmates. Andy’s life is gradually having the threads of others’ woven in. Similarly, after his relentless requesting for library funds pays off and the state sends him some money and donated books and records, Andy risks much to share some of that with everyone in the prison.

The scene opens with a wonderful contrast: the lame guard, a free man, condescends to read Jughead of his own free will, while Andy, a prisoner, risks his personal safety not simply to hear but to share Mozart. This particular piece of music, a duet from Mozart’s opera Le nozze di Figaro, is particularly significant here. While Red says he hopes they were singing about something too beautiful for words, the significance is how they are singing the piece. Neither voice in the piece is singing anything intelligible on her own, but rather one must piece together both parts to understand what they are saying. Likewise the oboe is essentially an equal third partner to the human voices. On the one hand this is quite simply a beautiful piece of music Andy shares with the inmates of Shawshank, and even as such the act symbolizes his growing ability to act with his emotions and engage more intimately with others. The very act of the inmates listening to the music at the same time, that very shared experience, is significant on these terms. This piece of music, though, itself is especially appropriate for its use in the film. That fact, and the unique way we experience music (as we discussed in light of Bergman and Solaris), accounts for the tremendous power of this scene.

After spending time in silent, dark, solitary for his stunt, Andy shares his thoughts on music and the sacredness of the individual with Red and his circle of friendly inmates:

ANDY (taps his heart, his head)
The music was here. . . and here. That's the one thing they can't confiscate, not ever. That's the beauty of it. Haven't you ever felt that way about music, Red?

RED
Played a mean harmonica as a younger man. Lost my taste for it. Didn't make much sense on the inside.

ANDY
Here's where it makes most sense. We need it so we don't forget.

RED
Forget?

ANDY
That there are things in this world not carved out of gray stone. That there's a small place inside of us they can never lock away, and that place is called hope.

RED
Hope is a dangerous thing. Drive a man insane. It's got no place here. Better get used to the idea.

Later, Andy acquires a harmonica for Red, again emphasizing how Andy is trying to get Red to experience the joy he knows through music. That Red, first staring at the instrument in his dark cell before bed, only gives it a toot is not a symbol of failure, but rather that he has grown to understand its significance, both coming from Andy, and coming from Andy as his friend, and he is not emotionally ready to play yet. This gift represents perhaps the height of what Andy has learned about himself, his emotions and demeanor, and living with others. His last conversation with Red makes the development explicit:

ANDY
My wife used to say I'm a hard man to know. Like a closed book. Complained about it all the time. She was beautiful. I loved her. But I guess I couldn't show it enough. I killed her, Red. I didn't pull the trigger. But I drove her away. That's why she died. Because of me, the way I am.

RED
That don't make you a murderer. Bad husband, maybe. Feel bad about it if you want. But you didn't pull the trigger.

ANDY
No. I didn't. Someone else did, and I wound up here. Bad luck, I guess.

RED
Bad luck? Jesus.

ANDY
It floats around. Has to land on somebody. Say a storm comes through. Some folks sit in their living rooms and enjoy the rain. The house next door gets torn out of the ground and smashed flat. It was my turn, that's all. I was in the path of the tornado. I just had no idea the storm would go on as long as it has.

Like Red’s statement before the parole board, Andy is not filled with bitterness toward “the system” or anger towards his cheating wife or even the man who framed him, but regret for the man he was when he was free. He regrets that he was free but imprisoned anyway, albeit unknowingly and in a different way. As such, what he brought to Shawshank and what he did and learned when he was there enabled his redemption. What Andy brought was something Red had lost before he entered prison also, just as what Andy learned was something he had missed in life outside Shawshank. Indeed it is their friendship that becomes the touchstone of the movie and that which grows alongside their personal developments, in fact it enables them.

RED
Those of us who knew him best talk about him often. I swear, the stuff he pulled. It always makes us laugh. Sometimes it makes me sad, though, Andy being gone. I have to remind myself that some birds aren't meant to be caged, that's all. Their feathers are just too bright. . . and when they fly away, the part of you that knows it was a sin to lock them up does rejoice. . . but still, the place you live is that much more drab and empty that they're gone.

Their reconciliation at the end achieves its weight not just from their many years together at Shawshank, but from a certain gratefulness that they should have met in the first place; that Andy Dufresne, a stolid banker who wrongfully went to jail, should have met someone there he could care about, and that Ellis Redding, a dumb kid who committed a terrible crime, should have gone to jail and had his soul reawakened by the imperturbable Andy Dufresne. 


Yet as Andy says of the storm above, need his redemption have gone on so long? Indeed the scenes of Shawshank roll by as do the years at the prison and we acutely feel the passage of time. One of Red’s sayings towards the end of the film, "get busy living or get busy dying," has the sense and appeal of a bromide, but is it not true? How different was Andy’s life inside prison from his old life outside in terms of his happiness? Andy's journey was one of self-discovery, as was Red's; their delays in starting that journey greatly cost them. True probably most people are not introspective by nature, but thinking of Andy and Red, perhaps we should not fritter away our free lives by not first stopping reflect. Perhaps, then, Red’s saying would have more weight if we included the above concept of introspection, which would leave us with something not dissimilar from, “the unexamined life is not worth living."