The Cambridge Companion to Mozart (Cambridge Companions to Music)

The Cambridge Companion to Mozart paints a rounded yet focussed picture of one of the most revered artists of all time. Bringing the most recent scholarship into the public arena, this volume bridges the gap between scholarly and popular images of the composer, enhancing the readers' appreciation of Mozart and his extraordinary output, regardless of their prior knowledge of the music. Part I situates Mozart in the context of late eighteenth-century musical environments and aesthetic trends that played a pivotal role in his artistic development and examines his methods of composition. Part II surveys Mozart's works in all of the genres in which he excelled and Part III looks at the reception of the composer and his music since his death. Part IV offers insight into Mozart's career as a performer as well as theoretical and practical perspectives on historically informed performances of his music. Cover......Page 1 Half-title......Page 3 Title......Page 5 Copyright......Page 6 Contents......Page 7 Contributors......Page 9 Acknowledgements......Page 12 Journals......Page 13 Chronology of Mozart’s life and works......Page 14 Introduction......Page 21 PART I Mozart in context......Page 25 1 Mozart and Salzburg......Page 27 The court......Page 42 The church......Page 46 Freelance teaching......Page 48 Freelance performing......Page 49 Freelance publishing......Page 50 The nobility......Page 52 The Tonkünstlersozietät......Page 53 Conclusion......Page 54 3 Mozart’s compositional methods: writing for his singers......Page 55 Leopold Mozart......Page 68 The Mozart correspondence......Page 70 Mozart’s reading......Page 71 Friends and acquaintances......Page 72 Aesthetic approaches......Page 74 Enlightenment issues......Page 77 PART II The works......Page 79 5 The keyboard music......Page 81 The Quintet for Piano and Winds, piano quartets and piano trios......Page 82 Piano duos and duets......Page 86 Solo keyboard music......Page 89 Variations......Page 90 Miscellaneous pieces......Page 92 Sonatas......Page 93 6 The concertos in aesthetic and stylistic context......Page 98 Mozart's Piano Concertos, K.413 –91......Page 104 Mozart’s final concertos......Page 107 7 The orchestral music......Page 112 The orchestral music: 1769–1779......Page 114 Mozart’s Viennese symphonies, 1782–1788......Page 121 8 Mozart’s chamber music......Page 125 Early chamber music to 1780......Page 127 Vienna 1781–1788......Page 129 Vienna 1789–1791......Page 133 9 Mozart as a vocal composer......Page 138 Mozart as a provincial church musician......Page 140 Mozart and operatic church music......Page 144 Mozart as a Viennese Kapellmeister......Page 147 Deutsche Arien or lieder?......Page 148 10 The opere buffe......Page 151 The early opere buffe......Page 153 New stylistic paths in opera buffa......Page 156 Moral ambiguity in the Da Ponte operas......Page 161 11 Mozart and opera seria......Page 167 The aria......Page 168 Dramatic themes......Page 170 Conclusion......Page 175 12 Mozart’s German operas......Page 176 Mozart’s early German opera......Page 178 German operas for the Imperial Court......Page 180 Die Zauberflöte and the Theater auf der Wieden......Page 182 PART III Reception......Page 189 I......Page 191 II......Page 195 III......Page 199 14 Mozart and the twentieth century......Page 205 Mozart and musicology in the twentieth century......Page 207 Mozart and the performer......Page 211 The composer’s Mozart......Page 214 The global Mozart......Page 216 The sources for Mozart’s biography......Page 220 The first biographies and the standard lives......Page 221 Themes and narrative patterns......Page 224 Recent scholarship and future directions......Page 229 PART IV Performance......Page 233 Childhood and youth......Page 235 Mozart at the keyboard......Page 239 Concert career in Vienna......Page 241 Artistic personality......Page 245 Society, tempo and character......Page 247 Repeats......Page 248 Articulation......Page 249 Idiosyncrasies of notation and execution......Page 251 Textual issues and conflicts......Page 252 Ornaments and embellishments......Page 253 Cadenzas, lead-ins (Eingänge ) and Fermaten......Page 256 Strings......Page 258 Execution......Page 259 Woodwind and brass......Page 260 Keyboard......Page 261 Orchestral size, make-up and seating arrangements......Page 262 Continuo......Page 263 1 Mozart and Salzburg......Page 266 2 Mozart in Vienna......Page 268 4 Mozart and late eighteenth-century aesthetics......Page 270 5 The keyboard music......Page 271 6 The concertos in aesthetic and stylistic context......Page 272 7 The orchestral music......Page 274 8 Mozart’s chamber music......Page 275 9 Mozart as a vocal composer......Page 277 11 Mozart and opera seria......Page 279 13 Mozart in the nineteenth century......Page 280 14 Mozart and the twentieth century......Page 283 15 The evolution of Mozartian biography......Page 285 16 Mozart the performer......Page 286 17 Performance practice in the music of Mozart......Page 287 Reference works......Page 290 Mozart in Vienna......Page 291 Aesthetics......Page 292 Keyboard music......Page 293 Orchestral music......Page 294 Vocal music......Page 295 Opera buffa......Page 296 German opera......Page 297 Nineteenth-century reception......Page 298 Biographies and biographical literature......Page 299 Mozart the performer......Page 300 Mozart and performance practice......Page 301 General index......Page 302 Index of Mozart’s works......Page 308 Cover 1 Half-title 3 Title 5 Copyright 6 Contents 7 Contributors 9 Acknowledgements 12 Abbreviations 13 Books and editions 13 Journals 13 Chronology of Mozart’s life and works 14 Introduction 21 PART I Mozart in context 25 1 Mozart and Salzburg 27 2 Mozart in Vienna 42 The court 42 The church 46 Freelance teaching 48 Freelance performing 49 Freelance publishing 50 The nobility 52 The Tonkünstlersozietät 53 Conclusion 54 3 Mozart’s compositional methods: writing for his singers 55 4 Mozart and late eighteenth-century aesthetics 68 Leopold Mozart 68 The Mozart correspondence 70 Mozart’s reading 71 Friends and acquaintances 72 Aesthetic approaches 74 Enlightenment issues 77 PART II The works 79 5 The keyboard music 81 Ensemble music with piano 82 The Quintet for Piano and Winds, piano quartets and piano trios 82 Piano duos and duets 86 Solo keyboard music 89 Variations 90 Miscellaneous pieces 92 Sonatas 93 6 The concertos in aesthetic and stylistic context 98 Stylistic issues 104 Mozart's Piano Concertos, K.413 –91 104 Mozart’s final concertos 107 7 The orchestral music 112 The orchestral music: 1769–1779 114 Mozart’s Viennese symphonies, 1782–1788 121 8 Mozart’s chamber music 125 Early chamber music to 1780 127 Vienna 1781–1788 129 Vienna 1789–1791 133 9 Mozart as a vocal composer 138 Mozart as a provincial church musician 140 Mozart and operatic church music 144 Mozart as a Viennese Kapellmeister 147 Deutsche Arien or lieder? 148 10 The opere buffe 151 The early opere buffe 153 New stylistic paths in opera buffa 156 Moral ambiguity in the Da Ponte operas 161 11 Mozart and opera seria 167 The aria 168 Dramatic themes 170 Conclusion 175 12 Mozart’s German operas 176 Mozart’s early German opera 178 German operas for the Imperial Court 180 Die Zauberflöte and the Theater auf der Wieden 182 PART III Reception 189 13 Mozart in the nineteenth century 191 I 191 II 195 III 199 14 Mozart and the twentieth century 205 Mozart and musicology in the twentieth century 207 Mozart and the performer 211 The composer’s Mozart 214 The global Mozart 216 15 The evolution of Mozartian biography 220 The sources for Mozart’s biography 220 The first biographies and the standard lives 221 Themes and narrative patterns 224 Recent scholarship and future directions 229 PART IV Performance 233 16 Mozart the performer 235 Childhood and youth 235 Mozart at the keyboard 239 Concert career in Vienna 241 Artistic personality 245 17 Performance practice in the music of Mozart 247 Society, tempo and character 247 Rubato and tempo flexibility 248 Repeats 248 Dynamics 249 Articulation 249 Idiosyncrasies of notation and execution 251 Textual issues and conflicts 252 Ornaments and embellishments 253 Cadenzas, lead-ins (Eingänge ) and Fermaten 256 Instruments 258 Strings 258 Vibrato and portamento 259 Execution 259 Woodwind and brass 260 Keyboard 261 Voice 262 Orchestral size, make-up and seating arrangements 262 Continuo 263 Notes 266 Introduction 266 1 Mozart and Salzburg 266 2 Mozart in Vienna 268 3 Mozart’s compositional methods: writing for his singers 270 4 Mozart and late eighteenth-century aesthetics 270 5 The keyboard music 271 6 The concertos in aesthetic and stylistic context 272 7 The orchestral music 274 8 Mozart’s chamber music 275 9 Mozart as a vocal composer 277 10 The opere buffe 279 11 Mozart and opera seria 279 12 Mozart’s German operas 280 13 Mozart in the nineteenth century 280 14 Mozart and the twentieth century 283 15 The evolution of Mozartian biography 285 16 Mozart the performer 286 17 Performance practice in the music of Mozart 287 Selected further reading 290 Reference works 290 Secondary literature on specialized topics 291 Mozart in context 291 Mozart and Salzburg 291 Mozart in Vienna 291 Mozart’s compositional methods 292 Aesthetics 292 The works 293 Keyboard music 293 Concertos 294 Orchestral music 294 Chamber music 295 Vocal music 295 Opera (general) 296 Opera buffa 296 Opera seria 297 German opera 297 Reception 298 Nineteenth-century reception 298 Twentieth-century reception 299 Biographies and biographical literature 299 Performance 300 Mozart the performer 300 Mozart and performance practice 301 General index 302 Index of Mozart’s works 308 Bringing the most recent scholarship into the public arena, this volume bridges the gap between scholarly and popular images of Mozart. It provides comprehensive coverage of all his important works, the reception of his music since his death, the contexts which inform his work and his significance as a performer. Chronology Of Mozart's Life And Works -- Mozart In Context -- The Works -- Reception -- Performance. Edited By Simon B. Keefe. Includes Bibliographical References (p. 270-281) And Indexes.