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.--Wien, 2000. / Notes ibliogr.

Diss.--Histoire de la musique et littérature--Los Angeles (Calif.)--Faculty of the Graduate School, Univ. of Southern California, 2001. / Bibliogr. p. 2119-2152.

Thesis (doctoral) - Universität, Köln, 2004. / Includes bibliographical references (p. 341-346).

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.

Die Rede ist hier von der Prager Erstaufführung von Mozarts Entführung aus dem Serail im Herbst 1782 durch die Schauspiel- und Operntruppe des 1745 in St. Petersburg geborenen Carl Wahr im Kotzen-Theater, was geradezu eine Revolution in der Prager und böhmischen Mozart-Rezeption zur Folge hatte, bis dann Mozart selbst am 11. Januar 1787 auf Einladung des Grafen Johann Joseph Anton Thun in Prag eintraf, wo er acht Monate nach der Wiener Uraufführung seines La nozze di Figaro bereits am 17. Januar einer Prager Aufführung durch die Bondini’sche Operntruppe beiwohnen konnte.

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.

In dieser Sammlung von Aufsätzen aus den Jahren 2004 bis 2023 werden neben einer methodischen Einführung und einem Resümee über kindliches Komponieren einige Kompositionen verschiedener Gattungen des 7- bis 12-jährigen Mozart auf ihre Denk- und Kompositionsweise hin untersucht. Sie werden als eine Auseinandersetzung mit den kompositions- und instrumentaltechnischen Traditionen einerseits und als Eröffnung anderer, eigener Wege andererseits bei dem jungen Komponisten beschrieben und bewertet. Peter Sühring, geb. 1946 in Berlin, studierte Musik- und Literaturwissenschaften sowie Philosophie in den Jahren 1967–1970 und 2001/02, promovierte über Mozarts Kindheitsopern und erschloss den Nachlass von Gustav Jacobsthal. Publikationen zur Musik vom europäischen Mittelalter bis zur Moderne und zur Fachgeschichte der deutschen Musikwissenschaft.

Zugl.: München, Univ., Diss., 2007