Movie Review: Barry Lyndon

Directed by Stanley Kubrick. 1975.

"How did they make a movie of Lolita?"

Kubrick might have adapted Lolita's tagline for his 1975 film, perhaps something like, "Why make a movie about Barry Lyndon?" The director could not say then, in 1975, what drew him to Thackery's upstart ("It's like trying to say why you fell in love with your wife–it's meaningless." [1]) and I cannot say now. Indeed out of the film's great menagerie Barry is one of the less appealing characters, drawing less attention than the buffoon Captain Quin, the portly and avuncular Grogan, the genteel Chevalier, the cynical Sir Charles Lyndon, or even the highwayman with his baleful glare. Barry, on the other hand. . . he's just there. Kubrick surely was on to something, though, when he said, "People like Barry are successful because  they are not obvious–they don't announce themselves." [1] Verily, and how often are events simply happening when Barry is coming through as opposed to Barry seeking any one goal in particular?

Take the first issue, that of his cousin's engagement to Captain Quin. Having never announced his feelings for her and having turned down her scrumptious, and unqualified, challenge to find exactly where she hid her ribbon, she accepts the proposal of Captain Quin.  Incensed, Barry (still Redmond Barry of Barryton) challenges Quin to a duel. Victorious, he sets out for Dublin to hide out for a time and avoid the authorities. Why did he undertake the risk in the first place? After all, he did not even hint at, let alone announce, let alone attempt to court Nora, and he risks a duel, endangering two lives and the money the marriage would bring to his teetering family. We learn later the duel was set up, sans bullets, by his family to get rid of Barry since Quin was too scared to marry Nora while Barry was there. So it is that Barry's vapid valiance ended up setting him on his way from home.

Consider the next happenstances, such as Barry getting robbed on the road to Dublin, necessitating him joining the army to improve his rank and funds. In the army he happens to meet old friend Captain Grogan, who happens to get killed when his regiment tries to clear a road otherwise meaningless except for the need of the main army to pass near. Shortly later, having survived the engagement but jolted by Grogan's death, Barry happens upon two soldiers who have left their horses and gear to bathe and overhears one discussing his orders to deliver letters. Seizing the opportunity, Barry steals the soldier's orders, identity, and horse, and deserts. Thus for nor reason in particular, 55-minutes in to the film, we find Redmond Barry of Barryville taking up with a beautiful woman somewhere in central Europe.

After being caught in a series of preposterous lies while traveling through Prussian-occupied Europe Barry is forced to enlist again, this time for the Prussians. While defending a fort, a tale he will later wildly embellish in telling his son, he rescues his captain and during the commendation ceremony we get a truly frank description of Barry from a higher-up:

Corporal Barry, you're a gallant soldier and have evidently come of good stock, but you're idle, dissolute, and unprincipled. You've done a great deal of harm to the men. And for all your talents and bravery I am sure you will come to no good.

This is quite accurate. Indeed Barry is gallant, having challenged Quin to a duel, having boxed a British serviceman who insulted him, pulled an injured Captain Grogan off the field, and having rescued Captain Potzdorf at the fort. Let us consider Barry's reply before analyzing the situation:

I hope the Colonel is mistaken. I have fallen into bad company, but I've only done as other soldiers do. I've never had a friend or protector before. . . to show that I was worthy of better things. The Colonel may say I'm ruined, and send me to the Devil. But, I would go to the Devil to serve the Regiment.

His first recourse is to relativism. The second statement is interesting insofar as it denies both the goodwill and guidance of his uncle and Captain Grogan and implies if he had such a protector, he would prosper. Yet when Potzdorf steps into the role, Barry betrays reward him with betrayal.  What of Barry's feats, then? They add up to practically nothing: Quin marries Nora, Grogan dies anyway, and he betrays Potzdorf. Without any underlying principles Barry's "feats" are just one thing after another. There is no "why" of them. Actually the assessment is more damning when we recall we were told the Prussian army at the time was made up "of men from the lowest levels of humanity" and according to the colonel, Barry was a bad influence on them!

Richard Schickel makes the critical observation about Barry's great flaw:

In the novel, Thackeray used a torrent of words to demonstrate Barry's lack of self-knowledge. . . Daringly, Kubrick uses silence to make the same point. . . So it is mainly by the look of Ran O'Neal's eyes–a sharp glint when he spies the main chance, a gaze of hurt befuddlement when things go awry–that we understand Barry's motives. And since she cannot see his own face, we can be certain he is not aware of these self-betrayals.  According to Kubrick, Barry's silence also implies that "he is not very bright" he is an overreacher who "gets in over his head in situations he doesn't fully understand." [1]

Even Lord Bullingdon, Lady Lyndon's son not yet a teenager, pegs Barry and the situation to a tee: "He seems to me little more than a common opportunist. I don't think he loves my mother at all. And it hurts me very much to see her make such a fool of herself." In the absence of any concept of what he wants for himself or what he wants to be, he just sees and reacts. Though he does not love Nora, or does not understand that he does, he despises Quin for proposing to her. He simply "grew tired" of the military life and thought nothing of deserting the British army. Potzdorf outlived his usefulness and Barry went to follow someone else. He sought to mimic the distingué of the chevalier. He saw Lady Lyndon and decided to marry her and part company with the chevalier. Then Barry grew tired of her company and lived apart from her. His mother said he needed a title for security so he sought one.

Indeed Barry's one significant attribute, his love of his son, is somewhat of an aberration. It occurs not upon the boy's birth and in fact he continues to ignore his son, Bryan, and his wife, living separately from and cheating on her while Bryan is an infant. Quite spontaneously he walks over to his wife one afternoon, apologizes, and becomes a doting father. Yet this seemingly laudable attribute has a curious lack of weight as it is just another happenstance. We think no more highly of Barry now that love of his son proceeds alongside his rank opportunism. We can simply say it is "not bad" just like not shooting Lord Bullingdon in the duel. After all, why does he refuse to shoot? Because of something vaguely to do with his wife or the death of his son? There is no way of knowing, it's just another one of those things along Barry's way.

The only constants for Barry are his character and his thinking, i.e. his dashing and his dimness. His son's death, the ensuing misery of his wife, and the duel do not provide for any recognition for Barry, i.e. any recognition of his mistakes, faults, or situation. When the narrator makes the last comments about Barry and his tale, Barry is described not just as "beaten" but "baffled." Whence comes, then, the pleasure of watching Barry Lyndon? Is there some curiosity satisfied by watching this fool, by taking in this curious observation, beautifully told? Why does Lady Lyndon, when signing her bills and going to sign Barry's annuity, become excited and short of breath? Is it with thoughts of Barry himself, or just the flood of emotions from recalling tumultuous times?

The concept of telling an epic tale about a non-heroic character is telling itself. Against a backdrop of clashing empires, scorched battlefields, sumptuous villas, and curious characters. . . there's Barry just wandering through, insignificant yet curious. 

It was in the reign of George III that the aforesaid personages lived and quarrelled; good or bad, handsome or ugly, rich or poor, they are all equal now.

 –

[1] Phillips, Gene D. (ed.) Stanley Kubrick Interviews. (Conversations with Filmmakers series. Essay and interview by Richard Schickel. 1975. pp. 162-163.) 2001. University Press of Mississippi.

Smashing Myths and Restoring Sound Money

Lecture from the Mises Institute

Presented by Thomas E. Woods, Jr. at "Depression, Monetary Destruction, and the Path to Sound Money": the Mises Circle in Greenville, South Carolina, 3 October 2009. Sponsored by Atlantic Bullion and Coin, and Professional Planning of Easley, LLC. 

A selection from the lecture:

Problems with fiat money: It's hard to save for the future.

It's hard to save for the future under a fiat system where the government can create all this money. It was the case in the 19th century that to save for the future you could simply acquire precious metal coins. Just acquire them. Now of course you could invest them, that's true, but the point is you didn't have to. You didn't have to be a speculator. You didn't have to go into the stock market. You didn't have to say, "Where can I put my money so that it will at least hold onto its value?" You didn't have to worry about the because it held its value. When these metals served as money they held their value or increased their value over time and any graph you look at and any set of statistics you look at will bear this out.

Whereas today, only a fool would save for the future by piling up federal reserve notes. You would have to factor in a depreciation factor of at least three. So, in other words, it makes it harder to save because just to hold onto the purchasing power you have earned you have to become a speculator and most people, myself included, are not fit to be speculators. We don't belong in the stock market, we don't belong in some of these financial instruments. But we feel like we have to do that as a self-defense mechanism. And that was not the as under hard money.

 –

On the same topic, a story from Theodore Dalrymple in City Journal: Inflation's Moral Hazard. 

A Selection:

Yet this was a crude way of looking at things, as my father’s fate should have instructed me. He sold his business in the sixties, at the end of the period of price stability that had reigned throughout his life, for what then seemed a large amount of money. He was a man who, for both temperamental and ideological reasons, held a deep contempt for financial speculation and wheeling and dealing, with the result that he did nothing as inflation inexorably eroded his savings. He grew poorer and poorer through the remaining 30 years of his life, and might have sunk into poverty had he not moved into a house that I owned. And this after reaching a level of wealth that, relatively speaking, was greater than I shall probably ever know.

For a while, I was angry about what seemed my father’s improvidence and lack of foresight. As the current financial crisis has conclusively demonstrated, however, not everyone is blessed with foresight, not even those whose livelihood depends primarily on the claim of possessing it. My father was born of a generation that saw money as a store of value, a far from dishonorable notion—and one that, when it reflected reality, helped give a lot of people peace of mind. And as I reach the age when inflation might cause me some embarrassment, even hardship, my sympathy with my father’s plight has grown. I am no longer young enough to fight another day, economically speaking: the destruction of my wealth by inflation would be final. In an aging population, more and more people are in my position, which helps explain why an age of prosperity can be an age of anxiety, even without a financial crisis.

Movie Review: Bottle Shock

Directed by Randall Miller. 2008.

In the absence of flashiness and spectacle and without technical polish and narrative novelty Bottle Shock is left to rise or fall by its ideas. It is appropriate, though, that this film should be so modest in presentation since its characters too are so. Bottle Shock quite simply tells the story of Jim Barrett in 1976 Napa Valley, California struggling to perfect his Chardonnay and make his business fly. Struggle he does, with the Franco-centric wine world and prejudices against American wine, with the need to pay back the debt he has accumulated in his risky venture, with embarrassment in the face of those who thought his endeavor foolish, and with the sheer difficulty of his task.

Jim has one philosophy for growing grapes and it is a tough one:

Jim: The vineyard's best fertilizer is the owner's footsteps. . . its eluvial volcanic soil. . . you want to limit the irrigation because it makes the vines struggle, intensifies the flavor. A comfortable grape, well-watered, well-fertilized grape grows into a lazy ingredient of a lousy wine.

Sam: So from hardship comes enlightenment.

Jim: For a grape.

His philosophy, peppered with references to struggling and being stronger where one has been hurt, rather seems not to have been working in his personal life. His struggles have not brought success to his business. His hippie son, Bo, is neither employed nor educated and without prospects for either. Perhaps his son, Jim thinks, has simply had it too easy to want to reach out and struggle for something. In addition to his entrepreneurial spirit and stoic take on suffering, Jim is characterized by his insistence that he himself succeed and without charity. When Bo borrows money from his mother, who has left Jim and re-married his law partner from his old firm, for some needed casks, Jim is outraged and unwilling even to consider it a gift,  "a gift like that costs more than money. . . I don't want to owe anybody." It's his land, his grapes, his wine, his toil, and it has it be his success.

Jim is particularly suspicious of Steven Spurrier, a British sommelier on his own entrepreneurial quest selecting Napa wines for a competitive taste-testing against French ones. Jim suspects a plot to embarrass the Americans on the bicentennial with a rigged competition and refuses to give Spurrier the wines for testing. His son, though, once again in secret, gives Spurrier the wines and. . . well the rest is history.

The mix-up about the wine's color is successful in adding some dynamism and tension to the end of the movie, but that it feels slightly contrived is perhaps a triumph and not a failing. You see, there are really no villains in the movie. The French wine snobs are characterized as such, but they figure only slightly into the story. The movie is not about whether Jim defeats his rivals, indeed all the Napa viticulturists realize if any ones of them wins the new Napa reputation will benefit them all. Bottle Shock is likewise not about Jim overcoming the contrivances, crimes, or machinations of someone, but whether he has it within himself to succeed unaided. In fact Jim's success party comes not when he wins the competition, but when he opens his bottle of perfect, clear Chardonnay in his old office and stands there in the triumph of his challenge.

Perhaps it was this success that motivated Bo to follow in his father's footsteps. Perhaps at last he glimpsed the connections among a person, one's work and the intensely personal joy of achievement and was inspired to take on a struggle for himself.

Vergil. Georgics II.
O fortunatos nimium, sua si bona norint, [458]
agricolas! quibus ipsa procul discordibus armis
fundit humo facilem victum iustissima tellus.
Si non ingentem foribus domus alta superbis
mane salutantum totis vomit aedibus undam,
nec varios inhiant pulchra testudine postis
inlusasque auro vestes Ephyreiaque aera,
alba neque Assyrio fucatur lana veneno
nec casia liquidi corrumpitur usus olivi:
at secura quies et nescia fallere vita,
dives opum variarum, at latis otia fundis—
speluncae vivique lacus et frigida Tempe
mugitusque boum mollesque sub arbore somni—
non absunt; illic saltus ac lustra ferarum
et patiens operum exiguoque adsueta iuventus,
sacra deum sanctique patres; extrema per illos
iustitia excedens terris vestigia fecit.

Translation I. | Translation II.

Around the Web

For the week of Saturday, January 2 through Friday, January 8.

1) Roger Kimball's introduction to “The New Statism and the Assault on Individual Liberty,” a symposium organized jointly by The New Criterion and London’s Social Affairs Unit.

2) In the WSJ, Judith H. Dobrzynski on Albrecht Altdorfer's "The Battle of Issus."

3) The "Edge Annual Question 2010": How is the internet changing the way you think?

4) In Standpoint, Fisun Güner on Vincent van Gogh and "an end to the myth of the tortured soul."

5) From Jessica Duchen in Standpoint: Pianist Kirill Gerstein has been named the 2010 Gilmore Artist.

A Mozart Bibliography

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

Preface

W. A. Mozart, 1789.

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

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

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

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

I hope you find this listing useful.

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

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

http://tinyurl.com/mozartbib

Last Updated: 1/16/14

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

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

The Bibliography

Contents

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

I. Comprehensive

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

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

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


II. Biography

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

Blom, Eric. Mozart. 1935.

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

Breakspeare, Eustace J. Mozart. 1902.

Buchner, Alexander. Mozart and Prague. 1962.

Buenzod, E. Mozart. 1930.

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

Davenport, Marcia. Mozart. 1932.

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

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

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

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

Haas, Robert. Wolfgang Amadeus Mozart. 1933.

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

Hildesheimer, Wolfgang. Mozart. 1982.

Hussey, Dyneley. Wolfgang Amade Mozart. 1928.

Holmes, Edward. The Life of Mozart. 1845.

Johnson, Paul. Mozart: A Life. 2013.

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

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

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

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

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

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

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

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

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

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

Mersman, Hans. Mozart. 1925.

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

Nettl, Paul. Mozart and Masonry. 1957.

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

Ottaway, Hugh. Mozart. 1979.

Paumgartner, Bernhard. Mozart. 1927.

Publig, Maria. Mozart. 1991.

Rosselli, John. The Life of Mozart. 1998.

Rushton, Julian. Mozart. 2009.

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

Schenk, Erich. Mozart and His Times. 1955.

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

Sitwell, Sacheverell. Mozart. 1932.

Solomon, Maynard. Mozart: A Life. 1995.

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

Talbot, J. E. Mozart. 1930.

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

Tenschert, Roland. Mozart. 1930.

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

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

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

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

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


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

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

Eisen, Cliff. Mozart Studies. 1992.

Eisen, Cliff. Mozart Studies 2. 1998.

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

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

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

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

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

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

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

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

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

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

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

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


IV. Musicological Analysis

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

Lawson, Colin. Mozart: Clarinet Concerto. 1996.

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

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

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

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

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

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

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

Sadie, Stanley. Mozart Symphonies. 1986.

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

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

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

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

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

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

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

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

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


V. Opera

Angermüller, Rudolph. Mozart's Operas. 1988.

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

Benn, Christopher. Mozart on the Stage. 1946.

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

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

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

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

Cairns, David. Mozart and His Operas. 2006.

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

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

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

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

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

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

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

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

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

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

Heartz, Daniel. Mozart's Operas. 1992.

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

King, Alec Hyatt. Mozart Chamber Music. 1968.

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

Mann, William. The Operas of Mozart. 1977.

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

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

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

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

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

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

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

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

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


VI. Performance Practice

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

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

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

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

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

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

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

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

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

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

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

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

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

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


VII. Essays in Other Books

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

1. What Did Mozart Know. 4 pgs.

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

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

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

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

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

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

Berger, Melvin. Guide to Chamber Music. 2001.

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

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

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

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

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

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

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

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

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

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

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

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

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

Engel, Carl. Discords Mingled. 1931.

1. The Mozart Couple.

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

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

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

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

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

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

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

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

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

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

1. Chapter, Mozart.

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

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

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

1.  6. Wolfgang Amadeus Mozart. 15 pgs.

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

1. Chapters 7-9. 231 pgs.

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

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

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

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

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

Kerman, Joseph. Opera as Drama. 1956.

1. Chapter 5. Mozart. 29 pgs.
   

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

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

Kierkegaard, Søren. Either/Or. 1843.

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

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

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

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

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

1. Mozart and his Constance. 22 pgs.

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

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

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

1. Chapter "Mozart, Wolfgang Amadeus"

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

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

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

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

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

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

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

1. Chapter XIV. Mozart. 25 pgs.

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

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

1. Mozart.

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

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

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

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

Rosen, Charles. The Classical Style. 1971.

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

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

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

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

1. Music in the Home II, 41 pgs.

Sampson, George. Seven Essays. 1947.

1. The Operas of Mozart. 25 pgs.

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

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

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

1. Violinists around Mozart, 15 pgs.

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

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

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

Includes Short Plot Summaries of:

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

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

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

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

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

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

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

1. Chapter 5. Mozart. 38 pgs.

Steinberg, Michael. Choral Masterworks. 2005.

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

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

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

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

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

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

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

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

Ulrich, Homer. Chamber Music. 1948.

1. Wolfgang Amadeus Mozart. 30 pgs

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

1. Quirino Gasparini and Mozart, 20 pgs.

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

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

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

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

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

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

1. Mozart. 33 pgs.

VIII. Other Mozart

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

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

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

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

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

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

Gruber, Gernot. Mozart and Posterity. 1994.

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

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

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

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

Nottebohm, Gustav. Mozartiana. 1880.

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

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

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


IX. On Others in Mozart's Life

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

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

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

Clive, Peter. Mozart and His Circle. 1993.

Da Ponte, Lorenzo. Memoirs. 1823–1827.

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

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

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

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

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

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

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

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

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

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

Moser, Nancy. Mozart's Sister. 2006.

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

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

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


X. Compilations of Primary Sources

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

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

Irving, John. The Treasures of Mozart. 2012.

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

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

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

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

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

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

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

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


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

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

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

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

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

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

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

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

Buchner, Alexander. Mozart and Prague. 1962.

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

Schenk, Erich. Mozart and His Times. 1955.

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

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

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

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

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

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

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

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

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


XII. Articles

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

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

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

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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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

XIII. Journals

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


XIV. Miscellaneous

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

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

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

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