Inaug.-diss.--Leipzig. / Vita. Master microform held by: UmF. Includes bibliographical references.

Inaug.-Diss.-Würzburg. / Vita. Bibliography: p. 124-125.

Thesis--Helsinki. / Errata slip inserted. Includes bibliography. "Nuottiliitteet": [22] p. at end.

Diss. Nr. 3087 Wirtschaftswiss. St. Gallen, 2005. / Enth. auch Notenbeispiele. Literaturverz.

Thesis (D.M.A.)--Eastman School of Music of the University of Rochester, 1973. / Typescript. Vita. Includes bibliographical references (leaves 221-222).

Diss.--Giessen--Justus-Liebig-Universität, 1993. / Bibliogr. p. 271-282. Index.

This thesis is an historical, thechnical dn stylistic investigation of Mozart horn concertos. It includes a description of Mozart's life; the moment in his life where the concertos were developed. It contains information about Inaz Leitgeb, the horn player who has a close friendship with Mozart. Also, the explanation of his technical characteristics of the natural horn and the way of Mozart deal with the resources and limis instrument, as well as the way of the interpretation of these pieces had beed facilitated by the arrival of the chromatic horn. I found out that the knowledge of these concertos is essential for their interpreation.

The wind octet was a popular ensemble of the classical period. In 1782, the Viennese Emperor formed a wind octet which specialized in playing opera arrangements. This music was used primarily as a form of background entertainment for dinners. This guide analyzes and compares the works of several well-known arrangers from the classical period in order to demonstrate arranging styles of the time. The arrangers of the period were often the performers of these various wind octets who were writing specifically for the players in their own ensembles. The style of Mozart’s original wind music is also discussed, in contrast to the arrangements of his works made by others. This guide is intended for serve performers of today as a tool to learn the art of arranging in an historical style. Idiosyncrasies of the classical-period wind instruments are discussed, as they relate to the style of wind arranging. The role of the contemporary arranger is compared with that of the classical period, and the case is made for the need for more contemporary arrangements of classical works using period arrangers as models.

No description available.

No description available.