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Journal articles on the topic 'Wolfgang Amadeus Mozart'

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Published: 4 June 2021
Last updated: 28 February 2023

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1

Von Hildebrand, Dietrich, and John Henry Crosby. "Wolfgang Amadeus Mozart." Logos: A Journal of Catholic Thought and Culture 7, no. 2 (2004): 189–212. http://dx.doi.org/10.1353/log.2004.0015.

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2

Hatzinger, M., A. Häcker, S. Langbein, S. Bross, P. Honeck, and P. Alken. "Wolfgang Amadeus Mozart." Der Urologe 45, no. 4 (April 2006): 489–92. http://dx.doi.org/10.1007/s00120-005-0978-2.

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3

Law, J. K. "Idomeneo. Wolfgang Amadeus Mozart." Opera Quarterly 14, no. 1 (January 1, 1997): 169–72. http://dx.doi.org/10.1093/oq/14.1.169.

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4

Glasow, E. T. "Zaide. Wolfgang Amadeus Mozart." Opera Quarterly 15, no. 2 (January 1, 1999): 336–38. http://dx.doi.org/10.1093/oq/15.2.336.

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5

Law, Joe K. "Idomeneo. Wolfgang Amadeus Mozart." Opera Quarterly 5, no. 1 (1987): 153–55. http://dx.doi.org/10.1093/oq/5.1.153.

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6

Leupp, Roderick T. "Review: Wolfgang Amadeus Mozart." Christianity & Literature 36, no. 1 (December 1986): 39–40. http://dx.doi.org/10.1177/014833318603600117.

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7

Glasow, E. T. "Der Schauspieldirektor. Wolfgang Amadeus Mozart." Opera Quarterly 13, no. 1 (January 1, 1996): 123–24. http://dx.doi.org/10.1093/oq/13.1.123.

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8

Graeme, R. "Don Giovanni. Wolfgang Amadeus Mozart." Opera Quarterly 18, no. 1 (January 1, 2002): 114–17. http://dx.doi.org/10.1093/oq/18.1.114.

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9

Huck, William. "Don Giovanni. Wolfgang Amadeus Mozart." Opera Quarterly 3, no. 1 (1985): 152–53. http://dx.doi.org/10.1093/oq/3.1.152.

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10

Pines, Roger G. "Don Giovanni. Wolfgang Amadeus Mozart." Opera Quarterly 4, no. 4 (1986): 105–6. http://dx.doi.org/10.1093/oq/4.4.105.

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11

Jellinek, George. "Don Giovanni. Wolfgang Amadeus Mozart." Opera Quarterly 5, no. 4 (1987): 128–30. http://dx.doi.org/10.1093/oq/5.4.128.

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12

Glasow, E. Thomas. "Die Zauberflöte. Wolfgang Amadeus Mozart." Opera Quarterly 7, no. 1 (1990): 220–22. http://dx.doi.org/10.1093/oq/7.1.220.

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13

Richardson, Paul A. "Book Review: Wolfgang Amadeus Mozart." Review & Expositor 84, no. 2 (May 1987): 345–46. http://dx.doi.org/10.1177/003463738708400235.

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14

Wolff, Christoph. ": Wolfgang Amadeus Mozart. Requiem . Alfred Schnerich. ; Wolfgang Amadeus Mozart. Requiem, K. 626 . Gunter Brosche." 19th-Century Music 15, no. 2 (October 1991): 162–65. http://dx.doi.org/10.1525/ncm.1991.15.2.02a00070.

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15

Lippmann, Friedrich. "Mozart, Jommelli, Cimarosa: zu einigen Arien." Die Musikforschung 59, no. 1 (September 22, 2021): 31–48. http://dx.doi.org/10.52412/mf.2006.h1.561.

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Vier Arien Wolfgang Amadeus Mozarts (KV 528, 578, 294, 538) werden mit textgleichen Arien Niccolò Jommellis und Domenico Cimarosas verglichen. Es wird offenbar, dass Mozart Jommellis entsprechende Arie gut kannte, als er KV 528 vertonte. Und es zeigt sich deutlich, dass etwa 1785-1790 von allen italienischen Komponisten Cimarosa dem Salzburger Meister am nächsten stand.
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16

Maurer Zenck, Claudia. "Einige ungewohnte Bemerkungen über die "Zauberflöte" oder: Pamina walzt, Tamino sitzt im Wirtshaus." Die Musikforschung 57, no. 1 (September 22, 2021): 36–55. http://dx.doi.org/10.52412/mf.2004.h1.653.

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Die Dramaturgie in Wolfgang Amadeus Mozarts "Zauberflöte", insbesondere das Verhalten Taminos Pamina gegenüber, ist von einer psychologischen Unlogik geprägt. Zum einen geht dies sicher auf das Libretto Emanuel Schikaneders zurück, zum anderen ging es Mozart darum, das Publikum mit Komik zu konfrontieren. bms online (Oliver Schöner)
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17

Hunter, Mary, and Christoph-Hellmut Mahling. "Wolfgang Amadeus Mozart. Violinkonzerte und Einzelsatze." Notes 43, no. 1 (September 1986): 166. http://dx.doi.org/10.2307/897854.

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18

Glasow, E. Thomas. "Il re pastore. Wolfgang Amadeus Mozart." Opera Quarterly 10, no. 2 (1993): 184–86. http://dx.doi.org/10.1093/oq/10.2.184.

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19

McKee, David. "Two Don Giovannis. Wolfgang Amadeus Mozart." Opera Quarterly 10, no. 2 (1993): 191–95. http://dx.doi.org/10.1093/oq/10.2.191.

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20

Glasow, E. Thomas. "La finta giardiniera. Wolfgang Amadeus Mozart." Opera Quarterly 10, no. 3 (1994): 188–90. http://dx.doi.org/10.1093/oq/10.3.188.

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21

Glasow, E. T. "Three Coslfan tuttes. Wolfgang Amadeus Mozart." Opera Quarterly 16, no. 4 (January 1, 2000): 673–77. http://dx.doi.org/10.1093/oq/16.4.673.

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22

Pines, Roger G. "Così fan tutte. Wolfgang Amadeus Mozart." Opera Quarterly 4, no. 4 (1986): 86–88. http://dx.doi.org/10.1093/oq/4.4.86.

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23

Jellinek, George. "Così fan tutte. Wolfgang Amadeus Mozart." Opera Quarterly 5, no. 1 (1987): 134–35. http://dx.doi.org/10.1093/oq/5.1.134.

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24

Bomberger, E. Douglas. "Cosȶ fan tutte. Wolfgang Amadeus Mozart." Opera Quarterly 10, no. 1 (1993): 131–33. http://dx.doi.org/10.1093/oq/10.1.131.

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25

Till, N. "Wolfgang Amadeus Mozart: Cosi fan tutte." Opera Quarterly 25, no. 1-2 (November 8, 2009): 145–49. http://dx.doi.org/10.1093/oq/kbp022.

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26

Бояркина, А. В. "Father of a Genius: The Letters of Leopold Mozart from His First Trip to Italy." Научный вестник Московской консерватории, no. 1(36) (March 27, 2019): 46–73. http://dx.doi.org/10.26176/mosconsv.2019.36.1.004.

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В статье впервые подробно рассматривается корреспонденция Леопольда Моцарта, ее лингвостилистические и текстуальные особенности. Фрагменты писем отца Вольфганга Амадея публиковались практически во всех биографиях композитора, но даже небольшая подборка полных текстов писем из первого путешествия в Италию в переводе автора статьи (девять текстов, датированных периодом с 14 декабря 1769 года по 27 марта 1770 года) позволяет подвергнуть сомнению устойчивые представления об отце Вольфганга Амадея Моцарта. Круг тем, манера подачи материала и особенный авторский стиль писем рисуют неожиданно многогранную, динамичную, неординарную личность Леопольда, раскрывают его философские и эстетические воззрения. Эпистолярный стиль отца в целом демонстрирует практически полное сходство со стилем Вольфганга Амадея Моцарта, что позволяет сделать предположение, что сын в основном заимствовал его от отца, так и оставшегося незаметным в тени гения. The article first examines in detail the correspondence of Leopold Mozart, its linguistic and textual features. Fragments of letters from the father of Wolfgang Amadeus Mozart were published practically in every biography of the composer, but even a small selection of complete texts from letters from the first trip to Italy, translated by the author of this article (nine texts from 14.12.1769 to 27.03.1770) allows to question the commonly upheld perception of Wolfgang Amadeus Mozart’s father. The range of topics, the manner in which the material is presented, and the particular writing style in his letters show Leopold’s unexpectedly multifaceted, dynamic, unordinary personality, reveal his philosophical and aesthetic views, and on the whole show almost a complete resemblance to the epistolary style of Wolfgang Amadeus Mozart, which suggests that the son basically borrowed it from his father, who remained unnoted in the shadow of the genius.
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27

Rice, John A., Baird Hastings, Peter J. Davies, Alexander Wheelock Thayer, and Theodore Albrecht. "Wolfgang Amadeus Mozart: A Guide to Research." Notes 47, no. 4 (June 1991): 1128. http://dx.doi.org/10.2307/941632.

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28

Glasow, E. Thomas. "Le nozze di Figaro. Wolfgang Amadeus Mozart." Opera Quarterly 11, no. 1 (1994): 136–38. http://dx.doi.org/10.1093/oq/11.1.136.

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29

McKee, David. "Le nozze di Figaro. Wolfgang Amadeus Mozart." Opera Quarterly 11, no. 3 (1995): 151–53. http://dx.doi.org/10.1093/oq/11.3.151.

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30

Buller, Jeffrey L. "La clemenza di Tito. Wolfgang Amadeus Mozart." Opera Quarterly 12, no. 2 (1995): 133–35. http://dx.doi.org/10.1093/oq/12.2.133.

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31

Glasow, E. T. "Mitridate, re di Ponto. Wolfgang Amadeus Mozart." Opera Quarterly 16, no. 2 (January 1, 2000): 301–3. http://dx.doi.org/10.1093/oq/16.2.301.

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32

Glasow, E. T. "Die Gartnerin aus Liebe. Wolfgang Amadeus Mozart." Opera Quarterly 17, no. 2 (January 1, 2001): 304–6. http://dx.doi.org/10.1093/oq/17.2.304.

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33

Glasow, E. T. "Il sogno di Scipione. Wolfgang Amadeus Mozart." Opera Quarterly 17, no. 4 (January 1, 2001): 739–43. http://dx.doi.org/10.1093/oq/17.4.739.

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34

Hamilton, David. "Le nozze di Figaro. Wolfgang Amadeus Mozart." Opera Quarterly 6, no. 4 (1989): 107–11. http://dx.doi.org/10.1093/oq/6.4.107.

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35

Zegers, Richard H. C., Peerooz Saeed, and Wilmar M. Wiersinga. "The large eyes of Wolfgang Amadeus Mozart." International Ophthalmology 26, no. 6 (February 6, 2007): 201–6. http://dx.doi.org/10.1007/s10792-006-9014-9.

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36

Sacau, E. "Wolfgang Amadeus Mozart: La clemenza di Tito." Opera Quarterly 22, no. 3-4 (April 7, 2008): 571–74. http://dx.doi.org/10.1093/oq/kbn014.

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37

Irving, John. ""Er hat geschmack, und über das die größte Compositionswissenschaft"." Die Musikforschung 57, no. 1 (September 22, 2021): 2–17. http://dx.doi.org/10.52412/mf.2004.h1.651.

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Leopold Mozart's letter to his daughter of 16 February 1785, describing a performance of Wolfgang Amadeus Mozart's latest string quartets in the presence of Joseph Haydn claims that Haydn considered Mozart to have taste, and also a profound knowledge of composition. Contrasting interpretations of this statement are considered, including the relationship between taste and compositional technique, involving discussion of some sketches for Mozart's quartets and investigation of Haydn's statement against the background of 18th-century aesthetics.
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38

Pérez Martel, José María. "El mundo clásico en las primeras óperas de Wolfgang Amadeus Mozart." FORTUNATAE. Revista Canaria de Filología, Cultura y Humanidades Clásicas 28 (July 2018): 275–86. http://dx.doi.org/10.25145/j.fortunat.2018.28.021.

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39

Pereira Domínguez, Carmen, and Laura Touriñán Morandeira. "Nannerl, la hermana de Mozart." Padres y Maestros / Journal of Parents and Teachers, no. 389 (March 9, 2022): 54–57. http://dx.doi.org/10.14422/pym.i389.y2022.009.

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Anne-Marie Mozart —Nannerl es el apodo afectivo familiar— fue hermana mayor del afamado compositor Wolfgang Amadeus Mozart. Ella también tuvo prodigiosas dotes musicales: cantaba, tocaba el violín y el piano y componía. Sin embargo, las convenciones socioculturales de la época, arraigadas en la mentalidad del patriarca de la familia, el director de orquesta y violinista Leopold Mozart, propiciaron que Nannerl quedase poco a poco a la sombra de su hermano y que se viese obligada a renunciar a su sueño de una carrera dedicada a la música, pues este no era destino apropiado para una dama de su posición social. La familia viajó regularmente por las cortes europeas luciendo el talento de sus dos portentosos hijos, Wolfgang Amadeus Mozart y Anne-Marie Mozart, en busca de mecenazgo. Nannerl conocerá en Versalles al delfín de Francia y heredero del rey Luis XIV, quien queda prendado de su talento y belleza, y la anima a perseguir su sueño. Esta película, además, aborda en su trasfondo un problema de género existente en la Historia de la Música y que se refleja en la invisibilidad de la mujer-músico fuera del ámbito doméstico.
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40

Dawson, William J. "Wolfgang Amadeus Mozart—Controversies Regarding His Illnesses and Death: A Bibliographic Review." Medical Problems of Performing Artists 25, no. 2 (June 1, 2010): 49–53. http://dx.doi.org/10.21091/mppa.2010.2011.

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More has been written about Mozart’s illnesses and death than for any other composer. An exploration of PAMA’s Bibliography of Performing Arts Medicine provides the data for this review. The bibliography contained 136 entries that pertained to Wolfgang Amadeus Mozart. Of these, 81 were available to the author, either in printed or electronic copy. In order to provide a clearer historical perspective on this topic, this review assembles information pertaining to illnesses and other medical problems that occurred during Mozart’s life as well as those purportedly contributing to his death.
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41

Otero Luque, Frank. "Portrait in Don Juan: Individualization of Myth and Redemption from Sin." Studium, no. 26 (September 1, 2020): 121–38. http://dx.doi.org/10.26754/ojs_studium/stud.2020264558.

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Abstract. There are many types of artistic representations (theatre, music, opera, ballet, literature, cinema, television, painting, sculpture, etc.) of the legend of Don Juan, i.e. the universal archetype of the seducer who, through deception, conquers a woman and, once she succumbs to his charms, he boasts of his triumph, despises her, and shifts his interest towards another lady. In this work, I compare three of the most famous versions don Juan: The Trickster of Seville and the Stone Guest (1630) by Tirso de Molina, Don Giovanni (1787) by Wolfgang Amadeus Mozart and Lorenzo Da Ponte, and Don Juan Tenorio (1844) by José Zorrilla. The first and third are theatrical pieces, while the second is an opera. The myth of Don Juan is essentially the same in all three, but the message and the moral vary according to the cultural movement the works belong to, namely the Baroque, the Enlightenment and the Romanticism, respectively. Key words: The Trickster of Seville and the Stone Guest, Don Giovanni, Don Juan, Tirso de Molina, Wolfgang Amadeus Mozart, Lorenzo Da Ponte, José Zorrilla, sin, redemption, sociopath. Resumen. Son muchos los tipos de representación artística —teatro, música, ópera, ballet, literatura, cine, televisión, pintura, escultura, etc.— de la leyenda de Don Juan, el arquetipo universal del seductor que, mediante engaños, conquista a una mujer y, una vez que ella sucumbe a sus encantos, se jacta de su triunfo, las desprecia y reenfoca su interés en otras damas. En este trabajo, comparo a tres de los don Juanes más famosos: El burlador de Sevilla y convidado de piedra (1630) de Tirso de Molina, Don Giovanni (1787) de Wolfgang Amadeus Mozart y Lorenzo Da Ponte, y Don Juan Tenorio (1844) de José Zorrilla. La primera y la tercera son piezas teatrales, en tanto que la segunda es una ópera. El mito de Don Juan es, esencialmente, el mismo en estas tres obras, aunque varían el mensaje y la moraleja según el movimiento cultural al que pertenecen: Barroco, Ilustración y Romanticismo, respectivamente. Palabras clave: Burlador de Sevilla, Don Giovanni, Don Juan, Tirso de Molina, Wolfgang Amadeus Mozart, Lorenzo Da Ponte, José Zorrilla, pecado, redención, sociópata.
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42

Gribenski, Jean, and Gertraut Haberkamp. "Die Erstdrucke der Werke von Wolfgang Amadeus Mozart." Revue de musicologie 77, no. 2 (1991): 349. http://dx.doi.org/10.2307/947435.

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43

Glasow, E. T. "Die Entfuhrung aus dem Serail. Wolfgang Amadeus Mozart." Opera Quarterly 18, no. 1 (January 1, 2002): 108–10. http://dx.doi.org/10.1093/oq/18.1.108.

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44

Steptoe, A. "Wolfgang Amadeus Mozart: A Biography. By Piero Melograni." Music and Letters 89, no. 1 (February 1, 2008): 117–18. http://dx.doi.org/10.1093/ml/gcm074.

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45

Carretero, Mª B. "Wolfgang Amadeus Mozart nos ayuda a estudiar anatomía." Revista Eureka sobre enseñanza y divulgación de las ciencias. 4, no. 1 (2007): 176–88. http://dx.doi.org/10.25267/rev_eureka_ensen_divulg_cienc.2007.v4.i1.11.

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46

Keynes, Milo. "The Personality and Illnesses of Wolfgang Amadeus Mozart." Journal of Medical Biography 2, no. 4 (November 1994): 217–32. http://dx.doi.org/10.1177/096777209400200405.

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47

Hatzinger, M., A. Haecker, J. K. Badawi, S. Kamp, and P. Alken. "WOLFGANG AMADEUS MOZART. THE DEATH OF A GENIUS." European Urology Supplements 5, no. 2 (April 2006): 173. http://dx.doi.org/10.1016/s1569-9056(06)60609-x.

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48

Gasenzer, Elena Romana, Ayhan Kanat, and Edmund Neugebauer. "Neurosurgery and Music; Effect of Wolfgang Amadeus Mozart." World Neurosurgery 102 (June 2017): 313–19. http://dx.doi.org/10.1016/j.wneu.2017.02.081.

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49

Mamatov, Gleb M. "Johann Sebastian Bach and Wolfgang Amadeus Mozart in the works of Boris Poplavsky." Sibirskiy filologicheskiy zhurnal, no. 3 (2022): 110–24. http://dx.doi.org/10.17223/18137083/80/10.

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The paper is devoted to studying the images of 18th-century German composers Johann Sebastian Bach and Wolfgang Amadeus Mozart in the works of Boris Poplavsky, including diaries, articles, poems, and prose. It was found that the image of Bach was transformed, starting from the articles of the early 1930s to the final work “About substantiality of personality”. In early works, Bach is a symbol of Apollonian art, perfect and harmonious, but cold-blooded towards man. However, in the final work, the music of the German Baroque composer is a symbol of “Pan, who resurrected in Christ” and embodies harmony and integrity of the Universe. The image of Mozart shows other connotations. He is a Dionysian artist, understood in terms of sensuality, “playing on the low and sweet” nature of man. This nature principle of Mozart, which Poplavsky names “sweet melodiousness”, is considered necessary for the formation of the creator, his initiation. This is related to Boris Poplavsky’s conception of the spirit of music, according to which an artist must die and sacrifice himself to the sacred spirit of music. For this reason, Mozart in Poplavsky’s conception of music has a mortal origin. In prose (novel “Apollon Bezobrazov”) and poems, the motive of Mozart’s “Requiem” arises, connected with apocalyptical themes and harmony of the world. This paper compares Poplavsky’s views and works with the concepts of his modernist predecessors and proves that the poet created original myths about musicians based on the traditions of modernity but acquiring uniqueness due to aesthetic principles.
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50

Kanat, Ayhan, Elena Romana Gasenzer, and Edmund Neugebauer. "A different aspect of the unexpected death of Mozart at the age of 35 years." CNS Spectrums 24, no. 6 (April 23, 2019): 628–31. http://dx.doi.org/10.1017/s1092852918001736.

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The cause of the early death of Wolfgang Amadeus Mozart (1756–1791) at the age of 35 has been the source of much discussion in the medical community. Investigators attributed to Mozart nearly 150 different medical diagnoses. However, the neurosurgical aspect of the early death of Mozart has yet to be well-analyzed, and this subject was investigated herein. The key words “Mozart” and “Mozart’s death” were searched in PubMed as well as the libraries of universities. The main source was the archive and website of Internationale Stiftung MOZARTEUM/Salzburg (www.mozarteum.at) and the cranium stored in the Internationale Stiftung Mozarteum in Salzburg/Austria. The linear fracture of the cranium is important, since it shows the neurosurgical aspect of the early death of Mozart. Mozart’s disease was most likely a neurotraumatologic one. His fracture likely occurred several months before his death, as evidenced by signs of healing. Intense headaches and declining musical performance in his last year may have been influenced by intracranial hemorrhage induced by the linear fracture. His final disease therefore may have been chronic postconcussion syndrome depending on chronic calcified epidural hematoma.
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