Simon P. Keefe - The Cambridge Companion to Mozart

The Cambridge Companion to Mozart

The Cambridge Companion to Mozart paints a rounded yet focussed picture of one of the most revered artists of all time. Bringing the most recent scholarship into the public arena, this volume bridges the gap between scholarly and popular images of the composer, enhancing the readers appreciation of Mozart and his extraordinary output, regardless of their prior knowledge of the music. offers insight into Mozarts career as a performer as well as theoretical and practical perspectives on historically informed performances of his music.

SIMON P. KEEFE is Lecturer in Music at Queens University, Belfast. He is the author of Mozarts Piano Concertos: Dramatic Dialogue in the Age of Enlightenment (2001).

The Cambridge Companion to

MOZART

............

EDITED BY

Simon P. Keefe

CAMBRIDGE UNIVERSITY PRESS

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Information on this title: www.cambridge.org/9780521001922

Cambridge University Press 2003

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First published 2003

Fifth printing 2010

Printed in the United Kingdom at the University Press, Cambridge

A catalogue record for this publication is available from the British Library

ISBN 978-0-521-80734-0 Hardback

ISBN 978-0-521-00192-2 Paperback

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Contents

Simon P. Keefe

Simon P. Keefe

Cliff Eisen

Dorothea Link

Ian Woodfield

David Schroeder

W. Dean Sutcliffe

Simon P. Keefe

Simon P. Keefe

Cliff Eisen

Paul Corneilson

Edmund J. Goehring

Julian Rushton

David J. Buch

John Daverio

Jan Smaczny

William Stafford

Katalin Komls

Robert D. Levin

Contributors

David J. Buch is Professor of Music History at the University of Northern Iowa. His publications include Dance Music from the Ballets de cour 15751651 (1994) and recent articles in Acta Musicologica, The Musical Quarterly, Journal of the Royal Musical Association, Acta Mozartiana, Mozart-Jahrbuch and Cambridge Opera Journal. He is currently preparing a book, Magic Flutes and Enchanted Forests: Music and the Supernatural in the Eighteenth-Century Theatre. He was the University of Northern Iowa Distinguished Scholar in 19989, and received the Donald N. McKay Research Award (1998) and the Iowa Board of Regents Award for Faculty Excellence (1999).

Paul Corneilson is managing editor of Carl Philipp Emanuel Bach: The Collected Works. He has published articles in Mozart-Jahrbuch, Journal of Musicology, Early Music and Journal of the American Musicological Society. His critical edition of Gian Francesco de Majos Ifigenia in Tauride is available from A-R Editions as vol. 46 in the series Recent Researches in the Music of the Classical Era (1996).

John Daverio is Professor of Music and Chairman of the Musicology Department at Boston University, School of Music. The author of numerous articles on nineteenth-century topics, he has written two books: Nineteenth-Century Music and the German Romantic Ideology (1993) and Robert Schumann: Herald of a New Poetic Age (1997). A third book Crossing Paths: Schubert, Schumann, and Brahms is forthcoming.

Cliff Eisen is Reader in Music at Kings College London. His recent publications chiefly concern Mozart, performance practice and music of the late eighteenth century. He is co-author, with Stanley Sadie, of The New Grove Mozart (2001) and co-editor of the journal Eighteenth-Century Music, the first issue of which will appear in 2004.

Edmund J. Goehring is Assistant Professor in the Program of Liberal Studies at the University of Notre Dame. He is the author of recent articles on Mozart and late eighteenth-century opera in Cambridge Opera Journal and Opera Buffa in Mozarts Vienna (edited by Mary Hunter and James Webster, Cambridge University Press, 1997) and is currently completing a monograph on Cos fan tutte.

Simon P. Keefe, Lecturer in Music at Queens University, Belfast, is the author of Mozarts Piano Concertos: Dramatic Dialogue in the Age of Enlightenment (Boydell and Brewer, 2001) and recent articles on late eighteenth-century aesthetic and stylistic issues pertaining to Mozart in Music and Letters, The Musical Quarterly, Journal of Musicology, Journal of Musicological Research and Acta Musicologica. He is currently working on a monograph on Mozarts Viennese instrumental music.

Katalin Komls, musicologist and fortepiano recitalist, is Professor of Music Theory at the Liszt Academy of Music, Budapest. She received her Ph.D. in musicology from Cornell University. Professor Komls has written extensively on the history of eighteenth-century keyboard instruments and styles, her publications including Fortepianos and Their Music (1995).

Robert D. Levin, Dwight P. Robinson Jr Professor of the Humanities at Harvard University, divides his performance activities between the Steinway and a variety of historic keyboard instruments, appearing in recital, with leading orchestras, and as chamber musician in North America, Europe, Australia and Asia. His recordings include ten CDs in the Edition Bachakademie, a Beethoven concerto cycle with Sir John Eliot Gardiner and a Mozart concerto cycle with Christopher Hogwood. His cadenzas and completions to unfinished works by Mozart have been published by Breitkopf & Hrtel, Hnssler, Henle, Peters and Universal Editions.

Dorothea Link teaches at the University of Georgia. Her publications include The National Court Theatre in Mozarts Vienna (1998), Arias for Nancy Storace (A-R Editions, in press) and recent articles in Cambridge Opera Journal, Journal of the Royal Musical Association and Wolfgang Amad Mozart: Essays on His Life and His Music (edited by Stanley Sadie, 1996). She is the editor of Mozart Essays (forthcoming).

Julian Rushton, West Riding Professor of Music at the University of Leeds (19822002), is Chairman of Musica Britannica, for which he has edited a symphony by Cipriani Potter. He has also edited four volumes of the New Berlioz Edition. His books include The Musical Language of Berlioz (1983), Classical Music: A Concise History (1986), The Music of Berlioz (Oxford University Press, 2001) and Cambridge Handbooks on Mozarts Don Giovanni and Idomeneo, Berliozs Romo et Juliette, and Elgars Enigma Variations. He was President of the Royal Musical Association from 1994 to 1999, and was elected a Corresponding Member of the American Musicological Society in 2000.