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Cabals and Satires
Cabals and Satires: Mozart's Comic Operas in Vienna is a study of the political context in which Mozart wrote his three most famous Italian comedies, Figaro, Don Giovanni, and Così fan tutte. Joseph II's decision to place his opera buffa troupe in competition with the Singspiel provoked a struggle between the rival national genres, both supported by vociferous cabals. Mozart's deft navigation of the turbulent political waters of this period and the ensuing Austro-Turkish War left him well placed to benefit from the revival of the commercial stage in Vienna--the most enduring musical consequence of the lean war years.
Mozart Studies
This volume comprises a series of essays on the life and works of Mozart.
Assembling Identities
This collection of sixteen essays, drawn from across the arts, humanities and social sciences, represents a cross-disciplinary exploration of some of the ways in which identities - whether of individuals, communities, or nations - are constructed, maintained and contested. It is introduced by the editor, Sam Wiseman, with a preface by Regenia Gagnier, and the essays are subdivided into four sections: Performative Identities; British Identities; Ethnic, Bodily and Sexual Identities; and Visual ...
Music, Sensation, and Sensuality
Divided into three sections, Linda Phyllis Austern collects eighteen, cross-disciplinary essays written by some of the most important names in the field to look at this stimulating topic. The first section focuses on the cultural and scientific ways in which music and the sense of hearing work directly on the mind and body. Part Two investigates how music works on the socially constructed, representational or sexualized body as a means of healing, beautifying and maintaining a balance between the mental and physical. Finally, the book explores the action of music as it is heard and sensed by wider social units, such as the body politic, mass communication, from print to sound recording, and broadcast technologies.
Three Modes of Perception in Mozart
This 2004 book is a full-length, scholarly study of what is widely regarded as Mozart's most enigmatic opera and Lorenzo Da Ponte's most erudite text. Against the long-standing judgement that the opera uses a misguided confidence in reason to traduce feeling, Goehring's study shows how Cosi affirms comedy's regenerative powers and its capacity to grant access to modes of sympathy and understanding that are otherwise inaccessible. In making this argument, the book surveys a rich literary, operatic and intellectual territory. It offers fresh perspective on the relationships between text and tone in the opera, on the tension between comedy and philosophy and its representation in stage works and on the pastoral mode which the opera uses in subtle ways. Throughout, Goehring's argument is sustained by close readings of primary sources, many of them little known, and is richly illustrated with musical examples.
The Cambridge Companion to The Magic Flute
A comprehensive, up-to-date, resource providing an essential framework for understanding Mozart's most-performed opera and its extraordinary afterlife.
The Holy Veil of Manoppello
The horrific 1915 earthquake that leveled tiny Manoppello, Italy, brought forth from the local church’s rubble one of Christendom’s long-lost, but most precious relics: the small cloth that lay on Jesus’s face in the tomb. Saint John speaks of it in his Gospel: “When Peter went into the tomb, he saw linen wrappings lying there, and the cloth that had been on Jesus’ head, not lying with the linen wrappings but rolled up in a place by itself.” Tradition says that Our Lady herself laid this cloth on His face before He was wrapped in His shroud for burial. This small veil — now known as the Holy Face of Manoppello — absorbed the very first new breath of the Risen Christ . . . and...
Opera Buffa in Mozart's Vienna
This collection of essays, presented by an internationally known team of scholars, explores the world of Vienna and the development of opera buffa in the second half of the eighteenth century. Although today Mozart remains one of the most well-known figures of the period, the era was filled with composers, librettists, writers and performers who created and developed opera buffa. Among the topics examined are the relationship of Viennese opera buffa to French theatre; Mozart and eighteenth-century comedy; gender, nature and bourgeois society on Mozart's buffa stage; as well as close analyses of key works such as Don Giovanni and Le nozze di Figaro.
Opera in the Viennese Home from Mozart to Rossini
Domestic musical arrangements of opera provide a unique window on the world of nineteenth-century amateur music-making. These arrangements flourished in especially rich variety in early nineteenth-century Vienna. This study reveals ways in which the Viennese culture of musical arrangements opened up opportunities, especially for women, for connoisseurship, education, and sociability in the home, and extended the meanings and reach of public concert life. It takes a novel stance for musicology, prioritising musical arrangements over original compositions, and female amateurs' perspectives over those of composers, and asks: what cultural, musical, and social functions did opera arrangements serve in Vienna c.1790–1830? Multivalent musical analyses explore ways Viennese arrangers tailored large-scale operatic works to the demands and values of domestic consumers. Documentary analysis, using little-studied evidence of private and semi-private music-making, investigates the agency of musical amateurs and reinstates the central importance of women's roles.
Mozart, Haydn and Early Beethoven: 1781-1802
A vivid portrait of Mozart and Haydn's greatest achievements and young Beethoven's works under their influence. Completing the trilogy begun with Haydn, Mozart and the Viennese School, 1740-1780 and continued in Music in European Capitals: The Galant Style, 1720-1780, Daniel Heartz concludes his extensive chronicle of the Classical Era with this much-anticipated third volume. By the early years of the nineteenth century, "Haydn, Mozart and Beethoven" had become a catchphrase—a commonplace expression signifying musical excellence. Indeed, even in his early career, Beethoven was hailed as the only musician worthy to stand beside Haydn and Mozart. In this volume, Heartz winds up the careers of Haydn and Mozart (who during the 1780s produced their most famous and greatest works) and describes Beethoven's first decade in Vienna, during which he began composing by patterning his works on the two masters. The tumult and instability of the French Revolution serves as a vivid historical backdrop for the tale.
