The master thesis "Don Giovanni - history, its origin and interpretation in the 20th century" is dealing with an entire development of the opera and it reflects staging approaches of the 20th century. The thesis offers a brief analysis of the opera and the literary work it is based on. Furthermore it summarizes information about the origin of the work and its creators. Finally in the supplement there are cast lists of the productions of National Theatre Prague, photographs and pictures of the production in various opera houses worldwide.

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

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

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<p>As a representative of the Viennese classical music tradition, Wolfgang Amadeus Mozart (1756-1791) embodies not only an artistic inspiration but also an aesthetic, social, and national expression for musicians, writers, and scholars from diverse fields over the past two and a half centuries. The legend of this genius, together with his timeless music, remains a popular subject in the fields of contemporary textuality, including drama.</p><p>Thomas Bernhard (1931-1989) and Elfriede Jelinek (1946-), two controversial and highly acclaimed writers in the German-speaking world, have much in common. Both, similar to Mozart, have a love-hate relationship with their home country, both offer poeticized provocations of the media and postwar political discussions, and both are critical of Austria’s involvement with National Socialism that positions their literary work as anti-<i>Heimat </i>literature, strengthening their reputation as “Nestbeschmutzer/in” as well as <i>enfants terribles</i>. But most importantly, both had a comprehensive musical education and demonstrate their aesthetic<b> </b>approaches by referring not only to musical form but also to musical personae in their literary creations.<b></b></p><p>In their postmodernist dramas <i>Der Ignorant und der Wahnsinnige</i> (1972) and <i>Raststätte oder Sie machens alle</i>(1994), Bernhard and Jelinek deliberately refer to Mozart and his respective representative operas buffa <i>Cosi fan tutte </i>(1790) and Singspiel <i>Die Zauberflöte</i> (1971). As intertext, Mozart’s opera tends neither toward a certain musicality nor a musical discourse; instead, the playwrights engage the idea of “the presence of the past” to encode the Enlightenment mode of gender discourse within a (post)modern context. The postmodernist approach to intertextuality subsequently leads us to question how writers return to language and use linguistic and rhetorical devices to (de)construct the gender related issues. </p><p>The current research, located in the social, political and historical context of Austrian postmodernism, aims to examine how both playwrights subversively reconfigure the enlightened binary models of gender differences, embedded in Mozart’s operas, in new cultural contexts. It focuses on the gendered alterity that is determined by external sources (i.e., within certain spatio-temporal contexts) as well as framed by interior facts (e.g., language). For a multidimensional analysis, I employ discourse theory and critical linguistics, combining a psychoanalytical reading and a deconstructive reading, to identify Bernhard’s and Jelinek’s specific agendas under the meta-historical category of the Enlightenment while disclosing their postmodernist poetology.</p>

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