Simon P. Keefe - Mozart in Vienna: The Final Decade

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Simon P. Keefe 2017

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First published 2017

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ISBN 978-1-107-11671-9 Hardback

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For Celia, Abraham and Madeleine

A biographical study of this length and scope invariably incurs debts to institutions and individuals. It is a pleasure to record thanks to colleagues at the University of Sheffield, my place of work since April 2008, especially for granting me extended periods of sabbatical leave in 20112012 and 20152016. I am also grateful to All Souls College Oxford for a visiting fellowship in autumn 2016, which provided an ideal, collegial environment for completing the volume, and to Vicki Cooper and Kate Brett, commissioning editors at Cambridge University Press, for their warm support of my project throughout its extended genesis. Audiences in recent years at papers and seminars at the universities of Leeds, Sheffield, Huddersfield, Manchester and Oxford, at the Akademie fr Mozartforschung of the Internationale Stiftung Mozarteum in Salzburg, and at the Mozart Colloquia at Harvard University offered advice and encouragement, regularly pointing out potential new lines of enquiry. And a very memorable week in early February 2014 filming Mozart in Prague: Rolando Villazn on Don Giovanni in the Czech capital for the BBC provided inspiration for ; I extend special thanks to Villazn and to the director, Guy Evans. At the University of Sheffield Library, the British Library in London, the Knight Library of the University of Oregon and the Bodleian Library in Oxford, staff responded courteously and efficiently to my numerous requests for books, articles, facsimiles and editions.

I am grateful to late eighteenth-century scholars and friends for acts of generosity, including David Wyn Jones, Cliff Eisen, Ian Woodfield and Paul Corneilson for sending me unpublished materials, and to the three anonymous readers at Cambridge University Press for their comments and constructive criticism. I am indebted to Cliff Eisen and John Rice for taking time away from their own work in order to help me with mine: Cliff read the volume in its entirety, and John read drafts of . Their trenchant observations, born of deep knowledge of Mozart and his repertory, working methods and Viennese environments, were much appreciated.

My families in the US and UK have provided unconditional love and support. My in-laws, Robert and Virginia Hurwitz, Rachel Hurwitz, Martha Westland, Alison Hurwitz and Charlie Holst have offered encouragement from near and far; and my parents, Terry and Sheila Keefe, and sister and brother-in-law Rosanna Keefe and Dominic Gregory, are always on hand in Sheffield for drinks, meals and chats, providing most welcome distractions from the rigours of scholarly work. Fittingly, my earliest thoughts for this book, scribbled on a Continental Airlines napkin in summer 2009, date from a family trip between the UK and US, with my wife and children around me. Each has helped immeasurably in their own way. My daughter Madeleine enquired more than once whether I was still working on The Magic of Figaro . Happily accompanying me to a recent production of Don Giovanni at the Lyceum in Sheffield, and eagerly anticipating the entry of the Commendatore in the Act 2 finale, she somehow contrived to sleep through this most dramatic of operatic moments. My son Abraham, no great lover of opera (Mozartian or otherwise), has developed his own individual appreciation of classical music performance and composition, seemingly uninfluenced by the interests of his parents. And my wife, Celia Hurwitz-Keefe, offers a wonderful example to the three of us of dedicated and committed instrumental teaching and music making, day after day. I dedicate my book to them, as a small token of my love and appreciation.