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Further Reading

Published online by Cambridge University Press:  13 December 2018

Edited by
Simon P. Keefe
Simon P. Keefe
Affiliation:
University of Sheffield
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Mozart in Context , pp. 305 - 317
Publisher: Cambridge University Press
Print publication year: 2018

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References

Primary Sources

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Thompson, Katharine. The Masonic Thread in Mozart. London: Lawrence and Wishart, 1977.Google Scholar
Tyson, Alan. Mozart: Studies of the Autograph Scores. Cambridge, MA: Harvard University Press, 1987.Google Scholar
Tyson, Alan ‘Proposed New Dates for Many Works and Fragments Written by Mozart from March 1781 to December 1791’. In Eisen, Cliff (ed.), Mozart Studies. Oxford: Clarendon Press, 1991, pp. 213–26.Google Scholar
Angermüller, Rudolph (ed.). Joachim Ferdinand von Schidenhofen – Ein Freund der Mozarts. Bad Honnef: K.H. Bock, 2006.Google Scholar
Arthur, John. ‘Some Chronological Problems in Mozart: The Contribution of Ink Studies’. In Sadie, Stanley (ed.), Wolfgang Amadè Mozart: Essays on His Life and Music. Oxford: Clarendon Press, 1996, pp. 35–52.CrossRefGoogle Scholar
Black, David. ‘Mozart and the Practice of Sacred Music, 1781–91’. PhD thesis, Harvard University, 2007.Google Scholar
Brown, Bruce Alan. ‘In Defense of Josepha Duschek (and Mozart): Patronage, Friendship, and Evidence’. In Libin, Kathryn (ed.), Mozart in Prague: Essays on Performance, Patronage, Sources, and Reception. Prague: Czech Academy of Sciences, 2016, pp. 155–74.Google Scholar
Edge, Dexter. ‘Mozart’s Viennese Copyists’. PhD thesis, University of Southern California, 2001.Google Scholar
Jacob, Margaret C. Living the Enlightenment: Freemasonry and Politics in Eighteenth-Century Europe. New York and Oxford: Oxford University Press, 1991.Google Scholar
Heartz, Daniel. ‘Thomas Attwood’s Lessons in Composition with Mozart’. Proceedings of the Royal Musical Association, 100 (1973–4), pp. 175–83.CrossRefGoogle Scholar
Keefe, Simon P. Mozart’s Piano Concertos: Dramatic Dialogue in the Age of Enlightenment. Woodbridge and Rochester, NY: Boydell Press, 2001.Google Scholar
Konrad, Ulrich. Mozart’s Schaffensweise. Studien zu den Werkautographen, Skizzen und Entwürfen. Göttingen: Vandenhoeck & Ruprecht, 1992.Google Scholar
Konrad, Ulrich ‘Mozart the Letter Writer and His Language’. Trans. William Buchanan. In Keefe, Simon P. (ed.), Mozart Studies 2. Cambridge: Cambridge University Press, 2015, pp. 1–22.Google Scholar
Landon, H. C. Robbins. Mozart and the Masons: New Light on the Lodge ‘Crowned Hope’. London: Thames and Hudson, 1982.Google Scholar
Leisinger, Ulrich. ‘Die Fragmente Mozarts als kompositorisches und aufführungspraktisches Problem’. In Brügge, Joachim (ed.), Sowohl Mozart als auch … Salzburger Jubiläumstagung der Rezeptions- und Interpretationsforschung (2016). Freiburg: Rombach, 2017, pp. 284–304.Google Scholar
Leopold, Silke. ‘Mozarts künstlerisches Selbstverständnis zwischen Anpassung und Autonomie’. In Leopold, (ed.), Mozart Handbuch. Kassel: Bärenreiter, and Stuttgart: Metzler, 2005, pp. 16–20.Google Scholar
Mozart, Wolfgang Amadeus. Eigenhändiges Werkverzeichnis Faksimile, British Library Stefan Zweig MS 63. Kassel: Bärenreiter, 1991.Google Scholar
Plath, Wolfgang. ‘Beiträge zur Mozart-Autographie II: Schriftchronologie 1770–1780’. Mozart-Jahrbuch 1976/77, pp. 131–73.Google Scholar
Plath, Wolfgang Mozart-Schriften: ausgewählte Aufsätze. Ed. Danckwardt, Marianne. Kässel: Bärenreiter, 1991.Google Scholar
Schroeder, David P. ‘Mozart and Late Eighteenth-Century Aesthetics’. In Keefe, Simon P. (ed.), The Cambridge Companion to Mozart. Cambridge: Cambridge University Press, 2003, pp. 48–58.CrossRefGoogle Scholar
Schroeder, David P Mozart in Revolt: Strategies of Resistance, Mischief and Deception. New Haven, CT: Yale University Press, 1999.Google Scholar
Thompson, Katharine. The Masonic Thread in Mozart. London: Lawrence and Wishart, 1977.Google Scholar
Tyson, Alan. Mozart: Studies of the Autograph Scores. Cambridge, MA: Harvard University Press, 1987.Google Scholar
Tyson, Alan ‘Proposed New Dates for Many Works and Fragments Written by Mozart from March 1781 to December 1791’. In Eisen, Cliff (ed.), Mozart Studies. Oxford: Clarendon Press, 1991, pp. 213–26.Google Scholar
Beales, Derek. Joseph II, Volume II: Against the World, 1780–1790. Cambridge: Cambridge University Press, 2009.Google Scholar
Beales, Derek ‘Mozart and the Habsburgs’. In Enlightenment and Reform in Eighteenth-Century Europe. London: I.B. Tauris, 2005, pp. 90–116.Google Scholar
Braunbehrens, Volkmar. Mozart in Vienna: 1781–1791. Trans. Timothy Bell. New York: Grove Weidenfeld, 1986.Google Scholar
Burney, Charles. The Present State of Music in Germany, The Netherlands, and United Provinces. 2 vols. London, 1775.Google Scholar
Colley, Linda. Britons: Forging the Nation 1707–1837. New Haven, CT: Yale University Press, 2009.Google Scholar
Corneilson, Paul and Wolf, Eugene K.. ‘Newly Identified Manuscripts of Operas and Related Works from Mannheim’. Journal of the American Musicological Society, 47 (1994), pp. 244–74.CrossRefGoogle Scholar
Eisen, Cliff (ed.). Orchestral Music in Salzburg 1750–1780. Madison, WI: A-R Editions, 1994.CrossRefGoogle Scholar
Keefe, Simon P. ‘Mozart “Stuck in Music” in Paris (1778): Towards a New Biographical Paradigm’. In Keefe, (ed.), Mozart Studies 2. Cambridge: Cambridge University Press, 2015, pp. 23–54.CrossRefGoogle Scholar
Landon, H. C. Robbins. Mozart and Vienna. London: Thames and Hudson, 1991.Google Scholar
Link, Dorothea. ‘Mozart’s Appointment to the Viennese Court’. In Link, Dorothea and Nagley, Judith (eds.), Words about Mozart: Essays in Honour of Stanley Sadie. Woodbridge and Rochester, NY: Boydell Press, 2005, pp. 153–78.Google Scholar
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Morrow, Mary Sue. Concert Life in Haydn’s Vienna: Aspects of a Developing Musical and Social Institution. Stuyvesant, NY: Pendragon, 1989.Google Scholar
Pelker, Bärbel. ‘The Palatine Court in Mannheim’. In Owens, Samantha et al. (eds.), Music at German Courts, 1715–1760: Changing Artistic Priorities. Woodbridge and Rochester, NY: Boydell Press, 2011, pp. 131–64.Google Scholar
Rawson, Robert G. Bohemian Baroque: Czech Musical Culture and Style, 1600–1750. Woodbridge and Rochester, NY: Boydell Press, 2013.Google Scholar
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Rice, John A. Empress Marie Therese and Music at the Viennese Court, 1792–1807. Cambridge: Cambridge University Press, 2003.Google Scholar
Rice, John A ‘Vienna under Joseph II and Leopold II’. In Zaslaw, Neal (ed.), The Classical Era. London: Macmillan, 1989, pp. 126–65.Google Scholar
Riesbeck, Johann Kaspar. Briefe eines reisenden Franzosen über Deutschland an seinen Bruder zu Paris. Zurich, 1784.Google Scholar
Robins, Brian. Catch and Glee Culture in Eighteenth-Century England. Woodbridge and Rochester, NY: Boydell & Brewer, 2006.Google Scholar
Schmid, Manfred Hermann. Mozart in Salzburg: Ein Ort für sein Talent. Salzburg: Anton Pustet, 2006.Google Scholar
Templeton, Hannah. ‘The Mozarts in London: Exploring the Family’s Professional, Social and Intellectual Networks in 1764–1765’. PhD thesis, King’s College London, 2016.Google Scholar
Wolf, Eugene K. ‘The Mannheim Court’. In Zaslaw, Neal (ed.), The Classical Era. London: Macmillan, 1989, pp. 213–39.Google Scholar
Woodfield, Ian. ‘New Light on the Mozarts’ London Visit: A Private Concert with Manzuoli’. Music & Letters, 76/2 (1995), pp. 187–208.CrossRefGoogle Scholar
Woodfield, Ian Performing Operas for Mozart: Impresarios, Singers and Troupes. Cambridge: Cambridge University Press, 2012.Google Scholar
Beales, Derek. Joseph II, Volume II: Against the World, 1780–1790. Cambridge: Cambridge University Press, 2009.Google Scholar
Beales, Derek ‘Mozart and the Habsburgs’. In Enlightenment and Reform in Eighteenth-Century Europe. London: I.B. Tauris, 2005, pp. 90–116.Google Scholar
Braunbehrens, Volkmar. Mozart in Vienna: 1781–1791. Trans. Timothy Bell. New York: Grove Weidenfeld, 1986.Google Scholar
Burney, Charles. The Present State of Music in Germany, The Netherlands, and United Provinces. 2 vols. London, 1775.Google Scholar
Colley, Linda. Britons: Forging the Nation 1707–1837. New Haven, CT: Yale University Press, 2009.Google Scholar
Corneilson, Paul and Wolf, Eugene K.. ‘Newly Identified Manuscripts of Operas and Related Works from Mannheim’. Journal of the American Musicological Society, 47 (1994), pp. 244–74.CrossRefGoogle Scholar
Eisen, Cliff (ed.). Orchestral Music in Salzburg 1750–1780. Madison, WI: A-R Editions, 1994.CrossRefGoogle Scholar
Keefe, Simon P. ‘Mozart “Stuck in Music” in Paris (1778): Towards a New Biographical Paradigm’. In Keefe, (ed.), Mozart Studies 2. Cambridge: Cambridge University Press, 2015, pp. 23–54.CrossRefGoogle Scholar
Landon, H. C. Robbins. Mozart and Vienna. London: Thames and Hudson, 1991.Google Scholar
Link, Dorothea. ‘Mozart’s Appointment to the Viennese Court’. In Link, Dorothea and Nagley, Judith (eds.), Words about Mozart: Essays in Honour of Stanley Sadie. Woodbridge and Rochester, NY: Boydell Press, 2005, pp. 153–78.Google Scholar
Maitland, William. The History and Survey of London: From its Foundation by the Romans to the Present Time. London, 1756.Google Scholar
McVeigh, Simon. Concert Life in London from Mozart to Haydn. Cambridge: Cambridge University Press, 1993.Google Scholar
Morrow, Mary Sue. Concert Life in Haydn’s Vienna: Aspects of a Developing Musical and Social Institution. Stuyvesant, NY: Pendragon, 1989.Google Scholar
Pelker, Bärbel. ‘The Palatine Court in Mannheim’. In Owens, Samantha et al. (eds.), Music at German Courts, 1715–1760: Changing Artistic Priorities. Woodbridge and Rochester, NY: Boydell Press, 2011, pp. 131–64.Google Scholar
Rawson, Robert G. Bohemian Baroque: Czech Musical Culture and Style, 1600–1750. Woodbridge and Rochester, NY: Boydell Press, 2013.Google Scholar
Reitzenstein, Baron Carl von. Reise nach Wien. Hof, 1795.Google Scholar
Rice, John A. Empress Marie Therese and Music at the Viennese Court, 1792–1807. Cambridge: Cambridge University Press, 2003.Google Scholar
Rice, John A ‘Vienna under Joseph II and Leopold II’. In Zaslaw, Neal (ed.), The Classical Era. London: Macmillan, 1989, pp. 126–65.Google Scholar
Riesbeck, Johann Kaspar. Briefe eines reisenden Franzosen über Deutschland an seinen Bruder zu Paris. Zurich, 1784.Google Scholar
Robins, Brian. Catch and Glee Culture in Eighteenth-Century England. Woodbridge and Rochester, NY: Boydell & Brewer, 2006.Google Scholar
Schmid, Manfred Hermann. Mozart in Salzburg: Ein Ort für sein Talent. Salzburg: Anton Pustet, 2006.Google Scholar
Templeton, Hannah. ‘The Mozarts in London: Exploring the Family’s Professional, Social and Intellectual Networks in 1764–1765’. PhD thesis, King’s College London, 2016.Google Scholar
Wolf, Eugene K. ‘The Mannheim Court’. In Zaslaw, Neal (ed.), The Classical Era. London: Macmillan, 1989, pp. 213–39.Google Scholar
Woodfield, Ian. ‘New Light on the Mozarts’ London Visit: A Private Concert with Manzuoli’. Music & Letters, 76/2 (1995), pp. 187–208.CrossRefGoogle Scholar
Woodfield, Ian Performing Operas for Mozart: Impresarios, Singers and Troupes. Cambridge: Cambridge University Press, 2012.Google Scholar
Alwis, Lisa de (trans. and ed.). Anti-Da Ponte. Malden, MA: Mozart Society of America, 2015.Google Scholar
Bauer, Günther G. Mozart: Geld, Ruhm und Ehre. Bad Honnef: K.H. Bock, 2009.Google Scholar
Baumol, William J. and Baumol, Hilda. ‘On the Economics of Musical Composition in Mozart’s Vienna’. In Morris, James M. (ed.), On Mozart. Cambridge: Cambridge University Press, 1994, pp. 72–101.Google Scholar
Beales, Derek. Joseph II, Volume I: In the Shadow of Maria Theresa, 1741–1780. Cambridge: Cambridge University Press, 1987.Google Scholar
Beales, Derek Joseph II, Volume II: Against the World, 1780–1790. Cambridge: Cambridge University Press, 2009.Google Scholar
Beales, Derek ‘Mozart and the Habsburgs’. In Enlightenment and Reform in Eighteenth-Century Europe. London: I.B. Tauris, 2005, pp. 90–116.Google Scholar
Black, David. ‘Mozart’s Association with the Tonkünstler-Societät’. In Keefe, Simon P. (ed.), Mozart Studies 2. Cambridge: Cambridge University Press, 2015, pp. 55–75.CrossRefGoogle Scholar
Buch, David J. Magic Flutes and Enchanted Forests: The Supernatural in Eighteenth-Century Musical Theater. Chicago: University of Chicago Press, 2008.CrossRefGoogle Scholar
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DeNora, Tia. Beethoven and the Construction of Genius: Musical Politics in Vienna, 1792–1803. Berkeley and Los Angeles: University of California Press, 1998.Google Scholar
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Geffray, Geneviève (ed.). Marie Anne Mozart ‘meine tag ordnungen’. Bad Honnef: K.H. Bock, 1998.Google Scholar
Haberkamp, Getraut. Die Erstdrucke der Werke von Wolfgang Amadeus Mozart. 2 vols. Tutzing: Hans Schneider, 1986.Google Scholar
Hintermaier, Ernst. ‘Die Salzburger Hofkapelle von 1700 bis 1806. Organisation und Personal’. PhD thesis, University of Salzburg, 1972.Google Scholar
Hunter, Mary. The Culture of Opera Buffa in Mozart’s Vienna: A Poetics of Entertainment. Princeton: Princeton University Press, 1999.CrossRefGoogle Scholar
Keefe, Simon P. ‘Composing, Performing and Publishing: Mozart’s “Haydn” Quartets’. In Keefe, (ed.), Mozart Studies 2. Cambridge: Cambridge University Press, 2015, pp. 140–67.CrossRefGoogle Scholar
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Moore, Julia. ‘Mozart in the Market-Place’. Journal of the Royal Musical Association, 114/1 (1989), pp. 18–42.CrossRefGoogle Scholar
Morrow, Mary Sue. Concert Life in Haydn’s Vienna: Aspects of a Developing Musical and Social Institution. Stuyvesant, NY: Pendragon, 1989.Google Scholar
Neff, Teresa M. ‘Baron van Swieten and Late Eighteenth-Century Viennese Music Culture’. PhD thesis, Boston University, 1998.Google Scholar
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Bauer, Günther G. Mozart: Geld, Ruhm und Ehre. Bad Honnef: K.H. Bock, 2009.Google Scholar
Baumol, William J. and Baumol, Hilda. ‘On the Economics of Musical Composition in Mozart’s Vienna’. In Morris, James M. (ed.), On Mozart. Cambridge: Cambridge University Press, 1994, pp. 72–101.Google Scholar
Beales, Derek. Joseph II, Volume I: In the Shadow of Maria Theresa, 1741–1780. Cambridge: Cambridge University Press, 1987.Google Scholar
Beales, Derek Joseph II, Volume II: Against the World, 1780–1790. Cambridge: Cambridge University Press, 2009.Google Scholar
Beales, Derek ‘Mozart and the Habsburgs’. In Enlightenment and Reform in Eighteenth-Century Europe. London: I.B. Tauris, 2005, pp. 90–116.Google Scholar
Black, David. ‘Mozart’s Association with the Tonkünstler-Societät’. In Keefe, Simon P. (ed.), Mozart Studies 2. Cambridge: Cambridge University Press, 2015, pp. 55–75.CrossRefGoogle Scholar
Buch, David J. Magic Flutes and Enchanted Forests: The Supernatural in Eighteenth-Century Musical Theater. Chicago: University of Chicago Press, 2008.CrossRefGoogle Scholar
Da Ponte, Lorenzo. Memoirs. New York: New York Review of Books, 2000.Google Scholar
DeNora, Tia. Beethoven and the Construction of Genius: Musical Politics in Vienna, 1792–1803. Berkeley and Los Angeles: University of California Press, 1998.Google Scholar
Edge, Dexter. ‘Mozart’s Fee for “Così fan tutte”’. Journal of the Royal Musical Association, 116/2 (1991), pp. 211–35.CrossRefGoogle Scholar
Geffray, Geneviève (ed.). Marie Anne Mozart ‘meine tag ordnungen’. Bad Honnef: K.H. Bock, 1998.Google Scholar
Haberkamp, Getraut. Die Erstdrucke der Werke von Wolfgang Amadeus Mozart. 2 vols. Tutzing: Hans Schneider, 1986.Google Scholar
Hintermaier, Ernst. ‘Die Salzburger Hofkapelle von 1700 bis 1806. Organisation und Personal’. PhD thesis, University of Salzburg, 1972.Google Scholar
Hunter, Mary. The Culture of Opera Buffa in Mozart’s Vienna: A Poetics of Entertainment. Princeton: Princeton University Press, 1999.CrossRefGoogle Scholar
Keefe, Simon P. ‘Composing, Performing and Publishing: Mozart’s “Haydn” Quartets’. In Keefe, (ed.), Mozart Studies 2. Cambridge: Cambridge University Press, 2015, pp. 140–67.CrossRefGoogle Scholar
Link, Dorothea. ‘Mozart’s Appointment to the Viennese Court’. In Link, Dorothea and Nagley, Judith (eds.), Words about Mozart: Essays in Honour of Stanley Sadie. Woodbridge: Boydell Press, 2005, pp. 153–78.Google Scholar
Moore, Julia. ‘Mozart in the Market-Place’. Journal of the Royal Musical Association, 114/1 (1989), pp. 18–42.CrossRefGoogle Scholar
Morrow, Mary Sue. Concert Life in Haydn’s Vienna: Aspects of a Developing Musical and Social Institution. Stuyvesant, NY: Pendragon, 1989.Google Scholar
Neff, Teresa M. ‘Baron van Swieten and Late Eighteenth-Century Viennese Music Culture’. PhD thesis, Boston University, 1998.Google Scholar
Olleson, Edward. ‘Gottfried van Swieten: Patron of Haydn and Mozart’. Proceedings of the Royal Musical Association, 89 (1962–3), pp. 63–74.CrossRefGoogle Scholar
Rice, John A. Antonio Salieri and Viennese Opera. Chicago: University of Chicago Press, 1998.Google Scholar
Rice, John A Mozart on the Stage. Cambridge: Cambridge University Press, 2009.Google Scholar
Ridgewell, Rupert. ‘A Newly Identified Viennese Mozart Edition’. In Keefe, Simon P. (ed.), Mozart Studies 2. Cambridge: Cambridge University Press, pp. 106–39.Google Scholar
Ridgewell, Rupert ‘Biographical Myth and the Publication of Mozart’s Piano Quartets’. Journal of the Royal Musical Association, 135/1 (2010), pp. 41–114.CrossRefGoogle Scholar
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  • Further Reading
  • Edited by Simon P. Keefe, University of Sheffield
  • Book: Mozart in Context
  • Online publication: 13 December 2018
  • Chapter DOI: https://doi.org/10.1017/9781316848487.036
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  • Further Reading
  • Edited by Simon P. Keefe, University of Sheffield
  • Book: Mozart in Context
  • Online publication: 13 December 2018
  • Chapter DOI: https://doi.org/10.1017/9781316848487.036
Available formats
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  • Further Reading
  • Edited by Simon P. Keefe, University of Sheffield
  • Book: Mozart in Context
  • Online publication: 13 December 2018
  • Chapter DOI: https://doi.org/10.1017/9781316848487.036
Available formats
×