I detta självständiga arbete redovisar och analyserar jag min instudering av de två första satserna i Wolfgang Amadeus Mozarts fagottkonsert. Därtill redovisar jag den historiska kontexten kring Mozart och fagottkonserten med hjälp av relevant litteratur. Analysen av stycket består av en harmonisk analys, redovisning av motiven i en motivkatalog och en grafisk översikt. I metoddelen berättar jag även hur jag lagt upp min övning i samband med instuderingen av verket.

Den här uppsatsen beskriver arbetet bakom föreställningen Figaro. Figaro är en omarbetad och nedkortad version av Mozarts älskade opera Figaros bröllop. Föreställningen har arbetats fram utifrån ett genusperspektiv och har gemensamt skapats och formats av hela sångensemblen och dirigenten. Ambitionen har varit att behålla operans ursprungliga hierarkier och maktförhållande mellan rollfigurerna, men att göra en översättning av handlingen till modern tid. Ett stort arbete har gjorts med att försöka skapa situationer och rollfigurer som känns verklighetstrogna. I föreställningen vill vi synliggöra några av de strukturer och mönster som vi är vana att möta på operascenen, på våra arbetsplatser och på musikhögskolan. Central i handlingen står Rosina Almaviva och hennes förhållande till de övriga karaktärerna. / <p><strong>Figaro</strong> </p><p>Musik: W A Mozart</p><p>Libretto: L. da Ponte, sv. översättning Britt G. Hallqvist</p><p>Bearbetning musik: Sofia Winiarski, Cecilia Eriksson, Ninni Molin,</p><p>Bearbetning text: Nils Löfgren och Cecilia Eriksson</p><p>Regi: Ninni Molin, Nils Löfgren, Cecilia Eriksson och Sofia Winiarski</p><p>Göran Almaviva: Viktor Rydén</p><p>Rosina Almaviva: Cecilia Eriksson</p><p>Susanna: Anna Sandström</p><p>Figaro: Nils Löfgren</p><p>Cherubino: Linnéa Törnqvist</p><p>Marcellina: Ninni Molin</p><p>Bartolo: Martin Hillberg</p><p>Basilio: Patrik Kesselmark</p><p>Dirigent: Sofia Winiarski</p><p>Violin: June Gustavsson Lyng (Konsertmästare) Emma Alrikson, Markus Bäckerud, Antonia</p><p>Somersalo, Siri Sperling</p><p>Viola: Doris Mägi, Lila Arha, Ellen Alveteg</p><p>Cello: Rebecka Ericsson, Erik Elvkull</p><p>Kontrabas: Linnea Fredriksson</p><p>Flöjt: Kajsa Nilsson</p><p>Oboe: Gabriela Dogaru, Victor Sjögren</p><p>Klarinett: Astrid le Clercq</p><p>Fagott: Gabriella Varga Karlsson, Jonathan Bauer</p><p>Trumpet: Ludwig Frydén Kristensson</p><p>Horn: Mikael Larsson</p><p>Timpani: Henrik Wassenius</p><p>Recitativ: Sofia Winiarski</p>

Mozart's Concerto for Bassoon, K. 191 has long been an important part of the Classical era bassoon repertory. Few composers of the Classical period wrote for the bassoon as a solo instrument, and even fewer still paired it with an orchestral backing. K. 191 not only is unique within the bassoon repertory, but also stands out in the compositional career of Mozart as being his first completed wind concerto, composed at the age of eighteen. Mozart did not write cadenzas for K. 191; therefore a large part of the performance itself is untouched by Mozart's hand. Depending on personal (or teacher) preference, the performer may write an original cadenza for the performance or use an existing cadenza written by a well-known bassoonist or composer. In either case, the cadenza is removed stylistically from Mozart and almost always removed from the Classical period. While there are many guides on how to write a cadenza in the Classical style, there are none specific to the bassoon and its capabilities, strengths, or weaknesses during this period. Also lacking is an informational resource that critiques cadenzas on how they adhere to or stray from Classical performance practice, and more specifically to the performance abilities of the bassoon. A document that analyzes the abilities of the Classical era bassoon would be a useful guide in an era where accurate performance practice is increasingly sought after, even expected, in live performance.

This graduate recital in voice presents a wide scope of the soprano recital repertoire and explores the relationship between music and literature throughout the centuries. Mozart���s ���Bella mia fiamma��� Resta, o cara,��� K. 528 represents the Italian Classical period; the text is based on the Roman myth of the goddess Ceres. Strauss��� Drei Lieder der Ophelia, Op. 67 represents German Lieder from the late-Romantic period; the set presents a German translation of Ophelia���s mad scene from Shakespeare���s Hamlet. Argento���s Six Elizabethan Songs represent 20th-century music, but Argento draws the text from various poets of the Elizabethan era. Selected songs by Franz Liszt are representative of the French m��lodie from the Romantic period; they set the text of the Romantic poet Victor Hugo. Rachmaninoff���s Six Songs, Op. 38 represent the post-Romantic (nearly Impressionist) period and explore Russian Symbolist poetry. / Mary Pappert School of Music / Music Performance / MM; / Recital;

This document uses historical research and performance practices in choral music to reveal the meaning of Mozart’s Missa Brevis in C, K. 220. The focus of this research compares the development of Mozart’s composition to the Hungarian Twentieth-century composer, Zoltan Kodaly’s, setting of the Missa Brevis written for choir and organ. The author gives a detailed analysis of both compositions, which further explains the influences and musical nuances of the 18th century Catholic church music. In addition to preparing a choral performance for K. 220, other missa brevis by Mozart are briefly discussed and organized by origin, performing forces, difficulty level, and duration. This analytical approach ultimately reveals that Mozart’s K. 220 serves as a festive and unified model of choral excellence throughout the history of sacred choral music. INDEX WORDS: W.A Mozart, 1756-1791, Missa brevis, K.220, Zoltan Kodaly, 1882- 1897, Spatzenmesse, Masses, Eighteenth- Century church music, Thesis (M.Mu), Choral Conductor’s analysis, Georgia State University, College of Arts and Science

Det här arbetet handlar om hur jag utvecklar mitt oboespel och min musikaliska förståelse för två stycken: Mozarts oboekonsert (sats 1 och 2) och Strauss oboekonsert (sats 1). Anledningen till att jag har valt just dessa stycken är att de vanligtvis är obligatoriska på provspelningar. Eftersom jag gärna vill ha ett orkesterjobb måste jag först vinna en provspelning. Syftet är därför att utvecklas både tekniskt och musikaliskt för att öka mina chanser att vinna en provspelning. Jag har även valt att spela Mozart på min examenskonsert för att sen kunna jämföra provspelningssituationen med konsert- situationen.Metoden jag har valt är att göra inspelningar för att sen lyssna och analysera vad jag kan förbättra. Dessutom ska jag åka på provspelningar och utvärdera min insats samt försöka få kritik från juryn.Jag har genomfört inspelningar vid fem tillfällen under ett års tid och under samma period varit på fyra provspelningar.I slutsatsen kom jag fram till att jag i den sista inspelningen spelar mer rytmiskt och har bättre intonation. Jag märker också en stor utveckling i linjen i mitt spel och hur jag får fram fraseringarna. Utvecklingen har också påverkat spelet i konsertsituationen på ett positivt sätt framförallt när det gäller faktorer som tekniska aspekter och automatisering. De här faktorerna har förbättrat helheten och mitt spel har blivit mer intressant att lyssna på. / <p>Bilaga: 1 CD och 1 DVD</p><p></p>

W. A. Mozart¡¥s compositions for clarinet played a significant role in the music history. Many scholars took their attention to Concerto in A major for Clarinet and Orchestra. However, the importance of Clarinet Quintet for Clarinet and String Quartet is unneglectable. According to the literature, the development of clarinet in the musical history is no earlier than the seventeenth century. Clarinet had a variety of sizes and tonalities in the beginning of development. Mozart composed lots of brilliant compositions for the combination with the clarinet in A. A. Stadler, a clarinetist, had excellent skill in playing clarinet. He cooperated with T. Lotz, an instrumental maker, extended the compass of basset clarinet lower to C. Inspired by Stadler and the invented instrument, Mozart wrote Clarinet Quintet, K. V. 581 and Clarinet Concerto, K. V. 622 for the basset clarinet. Mozart¡¦s Clarinet Quintet, K. V. 581 is undeniably important to the history of chamber music. Clarinet Quintet, K. V. 581 is composed in four movements. Harmony, form, texture, idiom and expression in every movement were discussed in Chapter3. The setting of clarinet and string quartet was also an innovation for the chamber music in his time. This setting of Clarinet Quintet became one of the standard settings which several composers tried to compose music for. Among the works, J. Brahms¡¦ Clarinet Quintet, op. 115 and M. Reger¡¦s Clarinet Quintet, op. 146 have gained the same respect as Mozart¡¦s Clarinet Quintet, K. V. 581. These works have several similarities. For example, they were all created in one or two years before the composers¡¦ death, and the inspiration for creating the music all came from the cooperation with the outstanding performers ¡Ketc. To sum up, Mozart¡¦s Clarinet Quintet, K. V. 581 is important and influential to the history of chamber music.

Under the leadership of the King Joseph II, various musical activities were flourishing in Vienna during the late 18th century. Among all, the opera buffa was one of the major forms of musical performances. During the stay in Vienna, Mozart and Theater Poet Da Ponte composed three opere buffe together, and the last one was Cos&#x00EC; fan tutte composed in 1790. Among all the opere buffe performed in Vienna from 1783 to 1791, the ratio of ensembles to arias in Cos&#x00EC; fan tutte was the highest. Therefore, the purpose of this thesis is to study the ensembles in this work, analyze the musical characterization of all characters, and carefully examine the dramatic meaning from the musical structure. In this thesis, there are three chapters except the preface and conclusion. The first chapter introduces the opere buffe performed in Vienna from 1783 to 1791 and describes its social meaning at the time, which provides the background as Mozart composed his opere buffe. The second chapter discusses the origin of the libretto and the influence of the Commedia dell'arte to the characteristic structure. This chapter therefore expresses its ideas more distinctly about two origins of the major play, the historical basis of six characters¡¦ temperaments, and Da Ponte¡¦s inductive composition technique. In addition, the third chapter further probes the musical intention of the ensembles in Cos&#x00EC; fan tutte. Furnishing characters in this play with vivid portraits and energetic vitality, Mozart composed this opera by innovative music language and various structure. Cos&#x00EC; fan tutte was harshly disparaged by critics in 19th century and being neglected for almost one century. Nevertheless, it was being highly recognized as moral standard was gradually dropped. It is fairly stated that Cos&#x00EC; fan tutte is a major achievement of opera buffa in late 18th century for Mozart¡¦s overflowing creativity in composing ensembles as well as his keen penetration for drama.

This thesis begins with the origin and development of cadenza. Then the structure of W.A.Mozart¡¦s cadenza is discussed. Mozart¡¦s Piano Concerto K.V.453 first movement is used as an example to explain the ritornello form and the cadenza structure. Finally, those of other composers, such as Johannes Brahms (1833-97), Ferruccio Busoni (1866-1924), Ernst von Dohn&#x00E1;nyi (1877-1961) and Edwin Fischer (1886-1960), their cadenzas for K.V.453 first movement will also be analyzed and compared. Most of Mozart¡¦s cadenzas can be analyses as three-part form: The first part starts either themes from the concerto movement or virtuoso runs which appeared in the movement before or newly invented. The second part usually over a sustained bass note or chord continually develops sequences of an important theme or motive from the concerto movement. This will leads into the third part with a number of virtuoso runs, passages in thirds, etc., until the close of the cadenza which usually ends with a long trill. During the 19th and 20th centuries, performers performed Mozart Piano Concerto, seldom adopted the cadenza of Mozart's. Rather, they would replace Mozart's cadenza with those written by themselves. Those cadenzas according to the treatises and Mozart¡¦s own cadenzas usually did not have the so-called ¡§Mozart's style¡¨. Because the authenticity movement of performing early music in the late 20th, when a performer decides to perform Mozart Piano Concerto, it becomes very important for him to figure out how to choose or create the proper cadenza for himself to perform. Yet, the change of time with different personality and style will influence the result of creating and performing a cadenza. Maybe this is one the main reason that make the cadenza so very and interesting always.

This paper is a study of the relationship between piano and orchestra in Mozart¡¦s piano concerto, K.467. The paper includes an introduction followed by three sections and a conclusion. The introduction briefly reviews the origins of the solo concerto. The following section discusses the changing nature of the relationship between tutti and soloist as the solo concerto evolved up until the time of Mozart. The next section is an analysis, with diagrams, of the form of K.467, the first movement being in concerto-sonata form, the second movement in three-stanza song form, and the third movement in rondo form. This is followed by the most important section of the paper which categorizes and discusses four types of solo-tutti relationships used by Mozart in K.467, showing examples from the score. These four types, suggested by Girdlestone in his book Mozart and His Piano Concertos, include: first, the orchestra as accompaniment supporting the soloist; second, the soloist as accompaniment to the orchestra; third, orchestra and soloist cooperating or competing on an equal basis; and fourth, orchestra and soloist entering in turn, answering one another.