Words about Mozart : essays in honour of Stanley Sadie
著者
書誌事項
Words about Mozart : essays in honour of Stanley Sadie
Boydell Press, 2005
大学図書館所蔵 全1件
注記
Includes bibliographical references and indexes
収録内容
- Trends in Mozart research since the bicentenary / Peter Branscombe
- A reconciliation motif in Idomeneo / Julian Rushton
- Observations on the first phase of Mozart's 'Haydn' quartets / Elaine Sisman
- Mozart's late piano sonatas (K457, 533, 545, 570, 576) : aesthetic and stylistic parallels with his piano concertos / Simon P. Keefe
- The figures of hell in the Don Giovanni libretto / Felicity Baker
- The primacy of performance : text, act and continuo in Mozart's keyboard concertos / Cliff Eisen
- Freedom and restraint in recordings of Mozart / Robert Philip
- Bearding Ritter von Köchel in his lair / Neal Zaslaw
- Mozart's appointment to the Viennese court / Dorothea Link
- Anton Dreyssig (c1753/4-1820) : Mozart's and Beethoven's Zauberflötist / Theodore Albrecht
- Varieties of childhood : John Ella and the construction of a Victorian Mozart / Christina Bashford
- Two tributes / Andrew Porter, Leanne Langley
- Stanley Sadie : writings, editions, broadcasts / writings and editions compiled by Julie Anne Sadie with Alison Latham ; broadcasts compiled by Jenny Doctor
内容説明・目次
内容説明
Published as a tribute to the late Stanley Sadie, these eleven essays look at compositional and performance matters, consider new archival research and provide an overview of work since the bicentenary in 1991.
Words About Mozart is published as a tribute to the late Stanley Sadie, musicologist, critic and editor of The New Grove Dictionary of Music and Musicians. Of the eleven essays presented here, three focus on compositional matters: Julian Rushton examines the dramatic meaning of a recurring motif in Idomeneo; Elaine Sisman sifts through the facts surrounding the genesis of Mozart's 'Haydn' quartets; and Simon Keefe matches up pairs of piano sonatas and concertos on the basis of their common compositional features. Cliff Eisen considers some problems of performing practice posed by the solo keyboard parts in Mozart's concertos, and Robert Philip surveys tempo fluctuations in a selection of historical recordings. Felicity Baker's detailed analysis of aspects of the Don Giovanni libretto is a welcome contribution from the field of literary criticism. Three studies offer new archivalresearch: Neal Zaslaw uncovers the background to one of Mozart's nonsense compositions; Dorothea Link examines the Viennese Hofkapelle and creates a new context for understanding Mozart's court appointment; and Theodore Albrecht proposes a candidate for Mozart's Zauberfloetist. Christina Bashford considers an aspect of Mozart reception in 19th-century England connected with John Ella, and Peter Branscombe presents a comprehensive overview of research published since the bicentenary in 1991. The volume includes a full bibliography of Stanley Sadie's publications and broadcasts.
Contributors: THEODORE ALBRECHT, FELICITY BAKER, CHRISTINA BASHFORD, PETER BRANSCOMBE, CLIFF EISEN, SIMON P. KEEFE, LEANNE LANGLEY, DOROTHEA LINK, ANDREW PORTER, ROBERT PHILIP, JULIAN RUSHTON, ELAINE SISMAN, NEAL ZASLAW
目次
Trends in Mozart research since the bicentenary - Peter Branscombe ***
A reconciliation motif in Idomeneo - Julian Rushton
Observations on the first phase of Mozart's `Haydn' quartets - Elaine Sisman
Mozart's late piano sonatas (K457, 533, 545, 570, 576): aesthetic and stylistic parallels with his piano concertos - Simon P. Keefe
The figures of hell in the Don Giovanni libretto - Felicity Baker
The primacy of performance: text, act and continuo in Mozart's keyboard concertos - Cliff Eisen
Freedom and restraint in recordings of Mozart - Robert Philip
Bearding Ritter von Koechel in his lair - Neal Zaslaw
Mozart's appointment to the Viennese court - Dorothea Link
Anton Dreyssig (c1753/4-1820): Mozart's and Beethoven's Zauberfloetist -
Varieties of childhood: John Ella and the construction of a Victorian Mozart -
Two tributes [with Andrew Porter] - Leanne Langley
Two tributes [with Leanne Langley] - Andrew Porter
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