This thesis provides evidence that a particular "topos" from the high Baroque's exalted style, the so-called chaconne bass, made a profound impact on a considerable body of Mozart's compositions from the last ten years of his life in Vienna. After identifying the topos in the first chapter, a detailed study in chapter two shows how Mozart's faith in the extraordinary emotional power carried by this topos was enough for him to work it into all of the completed keyboard fantasias. Chapter three illustrates that an understanding of the chaconne bass and its unmistakable association with the fantasia style can shed new light on three of Mozart's most enigmatic compositions from his final period, K. 465, K. 491, and K. 527.

Though there has long been debate concerning the dating and the inception of the Serenade for Thirteen Instruments in B Flat Major, K. 370a (K. 361), the greatest inquiry has arisen in this century with the public discovery and examination of the autograph score. Coincidental with traditional Mozart scholarship has been that which finds parallels in the wind band movement of this country encompassing the past twenty-five to thirty years. With the growing importance of the wind ensemble and its capacity to perform literature of various instrumentations, many contemporary scholars from the U.S. as well as Europe have responsibly probed questions directly related to early wind music, particularly the period of the late eighteenth century. Notable among these are Frederick Fennell, David Whitwell, Daniel Leeson and Neal Zaslaw of the United States, and Marius Flothuis, Erik Smith, and Roger Hellyer of Europe. Through their efforts much new information has come to light which both changes the perspective by which certain works have come to be viewed, and the very nature of performance practice itself. Indeed, the current deepening involvement with the wind ensemble approach in our colleges, universities, and even selected high schools, demands that solid historical inquiry be made concerning all early wind literature. Only in this way will wind players, conductors, and eventually the listening public become conscious of the aesthetic value of this music in our society. The Serenade in B Flat, despite the ambiguity surrounding its inception and the accuracy of the various manuscript and printed editions, is a vital staple in the repertoire of the wind band as well as that of the orchestra. In that it comes from the pen of Mozart's maturity and constitutes such an extensive display of imaginative writing within its seven movement span, the unreserved attention it receives in performance is easily matched by its musicological significance. This paper attempts to examine in general terms the period of harmoniemusik, Mozart's contributions to this genre, as well as the critical aspects of K. 370a in some detail. Included in the Appendices is a chronological list of owners of the autograph score, a survey list of Mozart's strictly wind works, a formal analysis of K. 370a, and a complete harmonic analysis of the Neue Mozart Ausgabe (NMA) score. Frequent use of the following abbreviations should be noted: AMA = Gesammtausgabe Mozart's Werke (1878 -1905); NMA = Neue Mozart Ausgabe (1955 and on); K1, K3, K6, K7 = respective Köchel catalogue editions. The use of Köchel numbers is in accordance with the latest major revision of the catalogue, namely, the sixth edition; older Köchel numbers appear in brackets. A comparison of Köchel equivalents between K1, K3 and K6 is given in Appendix A.

This study of large-scale closure in Mozart's sonata-form first movements focusses on the structure and function of the closing section in these works, the section that brings the exposition and recapitulation sections to an end. Also taken into account are closural effects of the coda (when present) and the subordinate theme area. Because sonata form in the 18th-century involves a variety of differently-functioning sections such as themes and transitions, the analytical approach adopted centers on matters of form—the ways in which all the various channels of musical structure (primarily rhythm, melody, and harmony) interact to shape a particular piece—and in particular on the form of the closing section. The study is limited to one composer's use of one section in one formal type, thereby reaching highly specific conclusions about this facet of sonata form at a particular stage in music history. Since each section of sonata form has a distinct, unique structure and function, the study aims at identifying these in the closing section, and at contrasting them with the other sections of the form. If closure is primarily generated in the closing section, then there must be particular structures found mainly in that section that are responsible for closure. The majority of Mozart's closing sections are based on a model which can be simplified to aabbcc, where each letter symbolizes one group. The second, fourth, and sixth entries may be either exact repeats or variants of the first, third, and fifth entries respectively. The most common lengths in measures are (4 + 4) + (2 + 2) + (1+1). An example is the Sonata for Violin and Piano in B-flat Major, K. 454, mm. 50-65. Chapter 1 is primarily a survey of previous writing on the subject of closure. Chapter 2 presents a theory that accounts for structure at various levels of Mozart's sonata form. Chapters 3 through 6 contain discussion and analysis of different types of closing sections and movements. Chapter 7 includes a summary of the research undertaken. / Arts, Faculty of / Music, School of / Graduate

For this study, the forms of the movements of forty-four symphonies of Mozart-those appearing in the Breitkopf and Hartel "complete" edition of his works- were analyzed. For convenience of reference, the symphonies are discussed in this thesis in their conventional numbering-that of the Breitkopf and Hartel edition- except for six symphonies that appeared in a supplementary volume and are inserted in this study into their approximately correct chronological positions.

This thesis presents an historical and technical analysis of the Mozart horn concerti.

It is obvious that the Mozart Eb Major Concertos for Piano, K. 271 and K. 482, bear certain resemblances to each other. The primary conclusion of this study is that Mozart consciously looks to K. 271 as a guide for his later composition. Consider the fact that the "Jeunehomme" concerto establishes Mozart as a mature musician and wins him public acclaim. He seeks to regain public favor with the later work.

De nombreux préjugés entourant les sonates pour piano de Mozart, notamment leur trop grande simplicité, font en sorte qu’elles ne font pas partie du répertoire de prédilection (Newman 1983). De manière générale, les problèmes d’interprétation reliés à la musique de Mozart ont souvent été relevés (Badura-Skoda 1980; Levin 1992; Ogata 2012) et sa musique instrumentale a fait l’objet d’analyses comparatives avec sa musique vocale (Chantavoine 1948; Keefe 2001; Klorman, 2013). Plus précisément, Jones (1985) compare les sonates pour piano de Mozart avec ses opéras, mais ne suggère pas un renouvellement concret du jeu pianistique –et donc une revalorisation de ce répertoire. De plus, Irving soutient que la sonate K.457 emprunte le langage de l’opéra (1997: 100): «The material is of narrative, even dramatic kind. This is evident from the beginning, which presents a dialogue suggestive of two radically conflicting characters, [...]» (Irving 2010 : 99). Nous aborderons donc la sonate K.457 en tant que «récit» au sens de Grabócz (2009b), c’est-à-dire: des productions sonores qui se déroulent comme une «intrigue». Ainsi, suivant une démarche narratologique, en quoi un examen des stratégies d’écriture opératiques de Mozart permettrait-il de mieux comprendre celles présentes dans la sonate K.457 ? Comment cette approche pourrait-elle influencer notre jeu pianistique ? Nous associerons d’abord les paramètres musicaux caractérisant quelques personnages de certains des opéras de Mozart (Idomeneo 1781, Die Entführung aus dem Serail 1782, Le Nozze di Figaro 1786, Don Giovanni 1789, Die Zauberflöte 1791) aux éléments musicaux propres au 1er mouvement de la sonate K / Mozart’s piano sonatas suffer from prejudices, such as unnecessary difficulties, which lead pianists to set this music aside(Newman 1983). Mozart’s performance practice is often discussed (Badura-Skoda 1980; Levin 1992; Ogata 2012) and his instrumental music is the purpose of many comparative analysiswith his vocal music (Chantavoine 1948; Keefe 2001; Klorman, 2013). More precisely, Jones’ (1985) compares Mozart’s piano sonatas with his operas, but he does not propose new interpretation tools. Moreover, Irving suggests that Mozart’s piano sonata K.457 shows an operatic language (1997 : 100): «The material is of narrative, even dramatic kind. This is evident from the beginning, which presents a dialogue suggestive of two radically conflicting characters, [...]» (Irving 2010: 99).Thus, this work will be regarded as a “story” following Grabócz’s definition (2009), whic his, sounds’continuity taking the form of a plot . How could narratology give a new understanding of the writing strategies specific to the first movement of this sonata? How could it influence our influence our own piano playing? We will first compare writing strategies related to the opera’s characters appearing at the same time in some of Mozart’soperas(Idomeneo 1781, Die Entführung aus demSerail 1782, Le Nozze di Figaro 1786, Don Giovanni 1789, Die Zauberflöte 1791) and in this movement. These similarities will then be associated with Grabócz’s “figures dynamiques de la mise en intrigue”, which are “suspense” and “curiosity”. Finally, we will take a look at how these analyses influencedour interpretation of this work, and how our creative process impacted our researches.

The purpose of this study was to create a document which would provide a variety of insights into Mozart's Trio in E-Flat, K. 498, for piano, clarinet, and viola. Three specific areas were investigated. A melodic analysis of the work was developed with the intention of illuminating the structure of the musical material itself. This analysis explored the dual forces of unity and contrast. Specific motivic shapes were explored which serve to unite the various thematic areas of the work; other elements were identified which are consistently utilized to create contrast and conflict.Secondly, the writer undertook a comparison of current editions of K. 498. Editions were identified as one of three types. Those editions identified as Authentic sought to reflect Mozart's original manuscript; Interpretive editions presented an editorial view of the Trio. Imitative editions were developed entirely from previously existing editions. Comparisons were made both within individual categories as well as between categories. The writer conducted a personal investigation of Mozart's manuscript which provided valuable information regarding the authenticity of certain passages.The study concluded with an investigation of current views on the presentation of K. 498 in performance. Information was obtained from recorded performances of the Trio. In addition, the writer conducted a survey of the opinions of teachers and performers. Comments on the revision of specific passages relative to pitch are included, as well as opinions on tempo, meter, dynamics, articulations, stresses, balance, the interpretation of specific phrases, and musical character. / School of Music

Este trabalho trata do processo de transcrição do Concerto em Dó Maior K 299 para Flauta e Harpa de Wolfgang Amadeus Mozart. O objetivo geral foi a transcrição da parte da harpa do concerto para violão de sete cordas. Por meio da análise comparativa de transcrições do próprio compositor do concerto e do estudo de referencial teórico, foram classificados os procedimentos necessários para a realização da transcrição, que são: compressão de registro, supressão de notas, mudança na disposição de notas, e transferência da parte da harpa para a orquestra. Esses procedimentos vão diretamente ao encontro da adaptação idiomática e musical ao instrumento para o qual verte a transcrição, e à fidelidade ao original da obra. Concluiu-se, por fim, que a transcrição de uma obra, deve se embasar em uma metodologia aplicada, que defina as diretrizes do processo e adapte a linha composicional do original às escolhas pessoais do transcritor. / The present work deals with the Concerto in C Major for Flute and Harp K299 by Wolfgang Amadeus Mozart. The main objective was the transcription of the Harp part of the concerto for a seven-string guitar. Through comparative analysis of transcriptions made by the composer himself, along with further reading, the necessary procedures to accomplish this transcription were identified and classified. They are: range compression, suppression of notes, change in the disposition of notes and the transference of accompaniment material from the harp part to the orchestra. Such procedures agree with an idiomatic and musical adaptation for the target instrument, while remaining accurate to the original work. It was concluded that the transcription of a work must be based on an applied methodology that define the guidelines and adapt the original compositional idiom to the personal choices of the transcriber.

Este trabalho trata do processo de transcrição do Concerto em Dó Maior K 299 para Flauta e Harpa de Wolfgang Amadeus Mozart. O objetivo geral foi a transcrição da parte da harpa do concerto para violão de sete cordas. Por meio da análise comparativa de transcrições do próprio compositor do concerto e do estudo de referencial teórico, foram classificados os procedimentos necessários para a realização da transcrição, que são: compressão de registro, supressão de notas, mudança na disposição de notas, e transferência da parte da harpa para a orquestra. Esses procedimentos vão diretamente ao encontro da adaptação idiomática e musical ao instrumento para o qual verte a transcrição, e à fidelidade ao original da obra. Concluiu-se, por fim, que a transcrição de uma obra, deve se embasar em uma metodologia aplicada, que defina as diretrizes do processo e adapte a linha composicional do original às escolhas pessoais do transcritor. / The present work deals with the Concerto in C Major for Flute and Harp K299 by Wolfgang Amadeus Mozart. The main objective was the transcription of the Harp part of the concerto for a seven-string guitar. Through comparative analysis of transcriptions made by the composer himself, along with further reading, the necessary procedures to accomplish this transcription were identified and classified. They are: range compression, suppression of notes, change in the disposition of notes and the transference of accompaniment material from the harp part to the orchestra. Such procedures agree with an idiomatic and musical adaptation for the target instrument, while remaining accurate to the original work. It was concluded that the transcription of a work must be based on an applied methodology that define the guidelines and adapt the original compositional idiom to the personal choices of the transcriber.