No description available.

No description available.

Herausgegeben (transkribiert, redigiert und kommentiert) von Peter Sühring, abgeschlossen 2005, durchgesehen 2019. Auszüge aus den Vorlesungen von 'Die Schuldigkeit des Ersten Gebots' bis 'La finta semplice' sind bereits veröffentlicht worden in dem Buch des Herausgebers: Die frühesten Opern Mozarts. Untersuchungen im Anschluss an Jacobsthals Straßburger Vorlesungen, Kassel 2006.

Diese Abhandlung umreißt die früheste Entwicklung der kompositorischen Fähigkeiten Wolfgang Amadé Mozarts in ihren Grundzügen anhand jener Werke, die in den beiden Notenbüchern – einmal das sogenannte Nannerl–Notenbuch, zum anderen das Londoner Skizzenbuch – erhalten sind, und beschreibt damit Entwicklungslinien und Momentaufnahmen von kurz vor Mozarts 5. bis nach seinem 8. Geburtstag. Der Schwerpunkt der Darstellung liegt dabei auf der Analyse der hier überlieferten Werke, stellt diese jedoch nicht nur einen in Zusammenhang mit den pädagogischen Zielsetzungen und Idealen des Vaters Leopold Mozart wie sie dessen »Versuch einer gründlichen Violinschule« überliefert, sondern zeigt auch wie sich andere Vorbilder in Mozarts ersten Kompositionen niederschlugen. Damit gibt diese Arbeit Impulse nicht nur für eine wesentliche Neubewertung der Rolle Leopold Mozarts als Vater und musikalischem Erzieher sondern auch für das Verständnis des musikalischen Werdegangs von Wolfgang Mozart als Kind. / This treatise outlines the early musical development of Wolfgang Amadé Mozart and his beginnings as a composer by a close look on those compositions which were passed on in the two famous notebooks: the Nannerl Notebook and the London Sketchbook. Thus we can follow the earliest steps and the turningpoints of the musical genius from shortly before his fifth birthday until the age of about eight years. The author analyses these works not only within the context of the educational aims and ideals of Mozart’s father Leopold, who had laid his ideas down in his didactic work »Versuch einer gründlichen Violinschule«, but shows also how certain examples influenced Mozart’s own works. So this thesis not only develops new aspects of the role of Leopold Mozart as a father and musical teacher but also conveys a fascinating insight into the mind of the musical genius as a child.

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

The thesis speculates on the possible influence of Mozart's Requiem on Cherubini's Requiem in D Minor, concluding that Cherubini's setting of the Sequence ("Dies irae") was indeed influenced by Mozart's setting of this liturgical text both on the micro and macro levels.

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.

Thesis (Ph. D.)--Ohio State University, 2007. / Title from first page of PDF file. Includes bibliographical references (p. 64-65).

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

Thesis (doctoral)--University of Utrecht, 1987. / Vita. Includes short summaries in German and Dutch and index. Includes bibliographical references (p. [411]-418).