| Contents |
Introduction -- Part I. Biographical perspectives. 'Mozart and Salzburg', in Simon P. Keefe (ed.), The Cambridge Companion to Mozart, Cambridge: Cambridge University Press, pp. 7-21 / Cliff Eisen (2003) -- 'Court, government and society in Mozart's Vienna', in Stanley Sadie (ed.), Wolfgang Amadeus Mozart: Essays on His Life and His Music, Oxford: Clarendon Press, pp. 3-20 / Derek Beales (1996) -- 'Mozart's appointment to the Viennese court', in Dorothea Link and Judith Nagley (eds), Words About Mozart: Essays in Honour of Stanley Sadie, Woodbridge and Rochester, NY: Boydell Press, pp. 153-78 / Dorothea Link (2005) -- 'Mozart in the market-place', Journal of the Royal Musical Association, 64, pp. 18-42 / Julia Moore (1989) -- 'The Rochlitz anecdotes: issues of authenticity in early Mozart biography', in Cliff Eisen (ed.), Mozart Studies, Oxford: Clarendon Press, pp. 1-59 / Maynard Solomon (1991) -- Part II. Vocal music: Contexts and interpretations. 'Goldoni, opera buffa, and Mozart's advent in Vienna', in Mary Hunter and James Webster (eds), Opera Buffa in Mozart's Vienna, Cambridge: Cambridge University Press, pp. 25-49 / Daniel Heartz (1997) -- 'Sentimental and anti-sentimental in Le nozze di Figaro', Journal of the American Musicological Society, 53, pp. 1-24 / Stefano Castelvecchi (2000) -- 'The fandango scene in Mozart's Le nozze di Figaro', Journal of the Royal Musical Association, 133, pp. 69-92 / Dorothea Link (2008) -- 'Mozart's felix culpa: Così fan tutte and the irony of beauty', Musical Quarterly, 78, pp. 77-98 / Scott Burnham (1994) -- 'Mozart and the Theater auf der Wieden: new attributions and perspectives', Cambridge Opera Journal, 9, pp. 195-232 / David J. Buch (1997) -- 'Requiem, but no piece', 19th Century Music, 15, pp. 151-61 / Thomas Bauman (1991) -- Part III. Instrumental music: sources and influences. Haydn and Mozart's 1773 stay in Vienna: weeding a musicological garden', Journal of Musicology, 10, pp. 192-230 / A. Peter Brown (1992) -- 'The sincerest form of flattery? Mozart's "Haydn" quartets and the question of influence', Studi musicali, 22, pp. 365-409 / Mark Evan Bonds (1993) -- 'Cadenza contra text: Mozart in Beethoven's hands', 19th Century Music, 15, pp. 116-31 / Richard Kramer (1991) -- 'Another look at the "corrupt passage" in Mozart's G minor Symphony K. 550: its sources, "solution" and implications for the composition of the final trilogy', Early Music, 25, pp. 373-81 / Cliff Eisen (1997) -- '"We hardly knew what we should pay attention to first": Mozart the performer-composer at work on the Viennese piano concertos', Journal of the Royal Musical Association, 134, pp. 185-242 / Simon P. Keefe (2009) -- Part IV. Performance. 'Performance practice in the music of Mozart', in Simon P. Keefe (ed.), The Cambridge Companion to Mozart, Cambridge: Cambridge University Press, pp. 227-45 / Robert D. Levin (2003) -- 'Manuscript parts as evidence of orchestral size in the eighteenth-century Viennese concerto', in Neal Zaslaw (ed.), Mozart's Piano Concertos: Text, Context, Interpretation, Ann Arbor, MI: University of Michigan Press, pp. 427-60 / Dexter Edge (1996) -- '"Ich praeludirte und spielte Variazionen": Mozart the fortepianist', in R. Larry Todd and Peter Williams (eds), Perspectives on Mozart Performance, Cambridge: Cambridge University Press, pp. 27-54 / Katalin Komlós (1991). |
