In 1879-1880, E. W. Fritzsch in Leipzig issued a most unusual collection entitled <i>Arrangements of Mozart Piano Sonatas with a freely composed second piano part without opus numbers</i>, prepared by the noted Norwegian composer, Edvard Grieg (1843-1907). The collection of Griegs arrangement of Mozarts works comprises the <i>Piano Sonata in F major, KV 533/494</i> (composed in 1788), <i>Fantasia and the Piano Sonata in C minor, KV 475 and KV 457</i>(composed in 1784), the <i>Piano Sonata in C major, KV 545</i> (composed in 1788), and the <i>Piano Sonata in G major, KV 189h=283</i> (composed in 1775). According to the letter to Dr. Max Abraham, Grieg originally prepared his arrangements of Mozarts four sonatas for pedagogical reasons. In his article Mozart (November 1897), Grieg also mentions his own Mozart editions:<p> <i>The writer of this article has himself attempted, by using a second piano, to impart to several of Mozarts pianoforte sonatas a tonal effect appealing to our modern ears; and he wishes to add, by way of apology, that he did not change a single one of Mozarts notes, thus preserving the respect we owe to the great master. It is not my opinion that this was an act of necessity; far from it. But provided a man does not follow the example of Gounod, who transformed a Bach prelude into a modern, sentimental, and trivial show piece, of which I absolutely disapprove, but seeks to preserve the unity of style, there is surely no reason for raising an outcry over his desire to attempt a modernization as one way of showing his admiration for an old master.</i><p> With regard to this collection of Mozart sonatas, this thesis documents the influence of Mozart, a Viennese classical composer, on Grieg, a Norwegian Romantic composer, with a special focus on Mozarts <i>Piano Sonata in F Major, KV 533/494</i> in the arrangement by Grieg. With Griegs bold claim that he did not change a single one of Mozarts notes, this study reveals the authenticity through the critical examination of the musical text in the context of the primary sources.

Mozart's opera Così fan tutte encapsulates various theories of Enlightenment sexual expression and presents a didactic program aiming at appropriate male comportment in a love situation. Through various musical devices, Mozart establishes ideal Rousseauist gender characteristics and their debased forms, and applies them to the respective sexes as evidence of weakened or enlightened states. Mozart also provides an educative voice in the character of Don Alfonso, whose musical lines are appropriately instructive. An exploration of sexual ideals in the Enlightenment as expressed in contemporary texts and civil documents will provide a framework for Rousseau's theories of education and gender formation as postulated in Emile, ou de l'education and Sophie, ou la Nouvelle Héloïse. A musical analysis of several numbers in Cosi demonstrates the unfolding weaknesses of the characters. While the men progress towards an enlightened education in the natures of the sexes, the women undergo a regression of character.

In 1879-1880, E. W. Fritzsch in Leipzig issued a most unusual collection entitled <i>Arrangements of Mozart Piano Sonatas with a freely composed second piano part without opus numbers</i>, prepared by the noted Norwegian composer, Edvard Grieg (1843-1907). The collection of Griegs arrangement of Mozarts works comprises the <i>Piano Sonata in F major, KV 533/494</i> (composed in 1788), <i>Fantasia and the Piano Sonata in C minor, KV 475 and KV 457</i>(composed in 1784), the <i>Piano Sonata in C major, KV 545</i> (composed in 1788), and the <i>Piano Sonata in G major, KV 189h=283</i> (composed in 1775). According to the letter to Dr. Max Abraham, Grieg originally prepared his arrangements of Mozarts four sonatas for pedagogical reasons. In his article Mozart (November 1897), Grieg also mentions his own Mozart editions:<p> <i>The writer of this article has himself attempted, by using a second piano, to impart to several of Mozarts pianoforte sonatas a tonal effect appealing to our modern ears; and he wishes to add, by way of apology, that he did not change a single one of Mozarts notes, thus preserving the respect we owe to the great master. It is not my opinion that this was an act of necessity; far from it. But provided a man does not follow the example of Gounod, who transformed a Bach prelude into a modern, sentimental, and trivial show piece, of which I absolutely disapprove, but seeks to preserve the unity of style, there is surely no reason for raising an outcry over his desire to attempt a modernization as one way of showing his admiration for an old master.</i><p> With regard to this collection of Mozart sonatas, this thesis documents the influence of Mozart, a Viennese classical composer, on Grieg, a Norwegian Romantic composer, with a special focus on Mozarts <i>Piano Sonata in F Major, KV 533/494</i> in the arrangement by Grieg. With Griegs bold claim that he did not change a single one of Mozarts notes, this study reveals the authenticity through the critical examination of the musical text in the context of the primary sources.

Diss.--Tübingen, 1998. / Bibliogr. p. 244-253.

Diss.--Regensburg, 1999. / Bibliogr. p. 355-382.

The aim of this dissertation is to comparatively analyse the set designs for Wolfgang Amadeus Mozart’s (1756-1791) opera, The Magic Flute (1791), with specific reference to selected set designers from the 18th to the early 21st century. The selection was made in light of each set designer’s unique design concepts for The Magic Flute which were all realised as stage settings in a proscenium arch theatre. In order to analyse the designs, it is necessary to trace theatrical practices and chronologically examine the reforms that affected the visual and spatial representation of scenography from the 18th to the 20th Chapter one provides a brief overview of the development of the proscenium arch stage. It examines the architectural reforms that were made to the proscenium arch in order to accommodate deeper stages and changes in stage settings. In addition, Chapter one investigates methods that theatre architects used to alter the proscenium arch and forestage in order to create a unity between the audience members and the performance. century. The set designs for The Magic Flute by Emanuel Johann Schikaneder (1791), Karl Friederich Schinkel (1816), David Hockney (1978) and William Kentridge (2007) will be analysed within the context of this investigation. Chapter two further considers the architectural modifications that were made to the stage and auditoria of opera theatres in more detail, from the first U-shaped auditorium onwards. It is essential to consider the different architectural structures of opera theatres because in order for each designer to initiate their design concept, they would be required to consider the architectural limitations of their chosen auditoria. The architectural structure would be determined by the foyer area, the style and arrangement of seating and the size of the proscenium arch and stage. Chapter three, by means of a comparative analysis, considers the social and cultural influences on the design concepts of Schikaneder, Schinkel and Hockney and how they informed those of Kentridge for The Magic Flute. It also provides a brief overview of stage lighting, scenic styles and stage machinery used in opera from the 16th to the 20th Chapter four classifies the theatrical spaces used in opera theatres by examining three key areas in an opera theatre, in relation to the foyer, auditorium and stage area. This investigation will be conducted with specific reference to the Theatre Auf Der Wieden, The Royal Opera House, the old Glyndebourne Opera House and The Artscape Opera House. In addition to this it will examine the selected designers’ approach to their design concepts by comparatively analysing the stage settings of Schikaneder, Schinkel, Hockney and Kentridge for The Magic Flute and the stage technology that was used to realise their design concepts. Thereafter, the set designs for Kentridge’s production and how they were conceptualised from a South African perspective will be examined. century Chapter five summarises the ways in which scenography is influenced by architectural, cultural and theatrical discourses, from the analysis of the designs and concepts for The Magic Flute. / Thesis (M.A.)-University of KwaZulu-Natal, Durban, 2013.

Thesis (M. Mus.)--Michigan State University. Dept. of Music Theory, 2008. / Title from PDF t.p. (viewed Sept. 11, 2009). Includes bibliographical references (p. 41). Also issued in print.

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

This diploma thesis deals with the theme of Mozart's opera The Marriage of Figaro, focusing on the role of the Countess and her contextualisation into the work of W. A. Mozart. The fundamental objective of this thesis is to analyze Mozart's work in the broader context of the composer's life story, the plot of the opera and interpretative concept of the role of Countess by three selected protagonists. A secondary aim of the thesis highlights the importance of Mozart's operas in music history. The introductory part covers the life of Mozart, followed by an overview and analysis of the formation of his operas. The main part is the analysis of The Marriage of Figaro and the Countess role in various concepts. Conclusion of the thesis confirms the hypothesis of Mozart importance for the neo-classical opera.

The following theoretical work titled MOZART'S SONGS FROM THE PERSPECTIVE OF THE INTERPRETER has been written on the grounds of the personal experience of the author with the interpretation of Mozart's work. It discusses the history of the origin of nine selected songs, which have been analysed from the vocal-interpretive standpoint and from the standpoint of tectonic structure and musical form. Primarily, the analysis is an expert treatise of the vocal technique field enriched by the components of the historically informed interpretation.