The concert arias of Mozart actually include not only arias written specifically for concert but also interpolations which subsequently assumed the character of concert arias. Those in the following study were written for Aloysia Weber, Mozart's first love and, later, his sister-in-law. These arias are interesting for a number of reasons: First, the fact that they are seldom performed today raises questions about singing technique in the late eighteenth century. Second, the musical requirements which fostered this technique must have been grounded in a tradition of embellishment--a subject worthy of investigation. Third, the concert arias are an example of the close connection between melody and instrument in this period; what was the nature of the voice for which they were written? Fourth, these arias were fully notated at a time when the singer was generally expected to improvise. They are a written record of Classical ornamentation and are therefore a good choice for the study. The method used is as follows: The singing tradition according to which Weber and Mozart were trained is examined. After this discussion follows a chapter on the tradition of ornamentation, which influenced Mozart's melodic writing. Mozart's approach to composition and notation is then described. Finally, the melodies are analyzed through the process of de-ornamentation. A per-formable edition of a concert aria from which all ornamentation has been removed is included. The thesis yields the following conclusions: First, tastes in singing style change from century to century, and these preferences affect the aspects of pedagogy which are emphasized in any given age. Second, the pieces reflect a preference for bright, florid melodies and high, flexible voices. Third, Mozart was complete in his notation for a number of reasons: 1) orchestral accompaniment is necessary in the sections of free ornamentation; 2) Mozart wrote the arias for Aloysia Weber and for particular performances in most instances; 3) by creating a fine composition Mozart showed himself to best advantage over the Italian musicians with whom he felt an intense rivalry. Fourth, late eighteenth-century ornamentation can be divided into two groups--specific ornaments and free ornamentation. Classical ornamentation differs from Baroque in two important respects: 1) in Baroque melodies ornaments are mere frills, but Classical ornaments are so organic to the style that most Mozart melodies would be unthinkable without them; 2) whereas Baroque free ornamentation usually fills in spaces between chord tones, Classical embellishment reinforces structural points. The performable edition mentioned above resembles a simple nineteenth-century cantabile aria, illustrating the basic difference between the later style and that of Mozart. / Arts, Faculty of / Music, School of / Graduate

This thesis presents extended program notes for a sixty-minute vocal graduate recital consisting of the following repertoire for soprano: “How Beautiful are the Feet of Them” and “He Shall Feed His Flock” from Messiah and “Lascia ch’io pianga” from Rinaldo by George Frederick Handel; “La morte d’Ophélie” by Hector Berlioz; the Swedish art songs “Vingar i natten” by Ture Rangström and “Jung fru Blond och jung fru Brunette” by Wilhelm Stenhammar; the contemporary art song “Animal Passion” by Jake Heggie; and the following arias and duets by Wolfgang Amadeus Mozart: “Mi tradi quell ‘alma ingrata” from Don Giovanni, “Bei Männern, welche liebe fuhlen” and “Papageno, Papagena” from Die Zauberflöte, “Deh vieni, non tardar o gioja bella,” “Venite inginochiatevi,” and “Via resti servita” from Le nozze di Figaro, and the Concert Aria “Ch’io mi scordi di te?...non temer, amato bene,” K.505. These works encompass a variety of styles, musical periods and forms spanning over four centuries. The recital itself is documented on the accompanying compact disc, while these program notes contain discuss historical context, musical analysis, and performance practice for this repertoire.

'Lied der Freiheit' KV 506 nach einem Text von Aloys Blumauer ist ein Lied für Singstimme und Klavier von Wolfgang Amadeus Mozart, welches Matthias Drude für Männerchor und Klavier bearbeitet hat. Mit freundlicher Genehmigung des Concertino-Musikverlags.

'Warnung' KV 416c ist ein Lied für Singstimme nach einem Text eines unbekannten Dichters, welches Matthias Drude für Männerchor und Klavier bearbeitet hat. Mit freundlicher Genehmigung des Concertino-Musikverlags.

The relationship between piano manufacturer and composer is interactive, and consequently both compositions and performance styles evolved organically due to this relationship. Early on, the instrument had more influence on the composer, whereas with the instrument’s establishment, composers began to exert more influence on the subsequent development of the instrument through their requests of manufacturers. The relationship between pianist-composers and manufacturers is important for pianists to study and understand, as well as the actual sound of a composer’s fortepiano and the way he performed on it. Through studying the development of the piano and the relationship between manufacturers and composers, pianists can reinterpret compositions before the mid nineteenth century, such as Mozart, Beethoven, Dussek, Chopin, and Liszt, using their knowledge of the aforementioned to bring a different perspective to their performances on the modern piano. There are numerous manufacturers and composers who made important contributions to the development of the piano. This dissertation focuses on selected pianist-composers and fortepiano manufacturers, and the impact of their relationship on piano literature before 1860.

Uppsatsen handlar om W.A. Mozarts Klarinettkvintett i A-dur, K. 581. Arbetet innehåller en musikteoretisk analys av verkets första sats, samt egna erfarenheter från instuderingsprocessen. Viktiga aspekter är arbetet tillsammans med en stråkkvartett, hur det som blåsare är att arbeta med stråkar samt att finna sin plats i en så etablerad kammarmusikkonstellation som en stråkkvartett är. Arbetet fokuserar till stor del på basettklarinetten. En historisk bakgrund för tiden kring basettklarinettens uppkomst, användning, varför ingen annan än Mozart skrivit för instrumentet och hur det skiljer sig att spela kvintetten på A-klarinett och basettklarinett ingår.

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