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Journal articles on the topic 'Wolfgang Amadeus Mozart'

Author: Grafiati

Published: 4 June 2021

Last updated: 26 July 2025

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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 (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 (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 (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 (1986): 39–40. http://dx.doi.org/10.1177/014833318603600117.

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7

Susidko, Irina P., and Pavel V. Lutsker. "Wolfgang Amadeus Mozart: the Composer’s First Steps." Russian Musicology, no. 4 (2024): 5–19. https://doi.org/10.56620/rm.2024.4.005-019.

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The article is based on the materials of the authors’ monograph’s Motsart i ego vremya [Mozart and His Time] (Moscow: Klassika-XXI, 2015). At the focus of the authors’ attention are the questions of the creative evolution of the genius at the earliest period of his compositional activities. The attempt is made to recreate the earliest stage of Mozart’s mastery of composition, and the conditions of the formation of his compositional skills are disclosed. Characterization is made in the article of the notebook of harpsichord pieces presented by Leopold Mozart in 1759 to Nannerl on her name day,

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8

Maurer Zenck, Claudia. "Einige ungewohnte Bemerkungen über die "Zauberflöte" oder: Pamina walzt, Tamino sitzt im Wirtshaus." Die Musikforschung 57, no. 1 (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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9

Lippmann, Friedrich. "Mozart, Jommelli, Cimarosa: zu einigen Arien." Die Musikforschung 59, no. 1 (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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10

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

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11

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

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12

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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13

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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14

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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15

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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16

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

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17

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

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18

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

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19

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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20

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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21

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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22

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

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23

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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24

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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25

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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26

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

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27

An, Le. "“Wolfgang Amadeus Mozart’s Piano Concertos in the Context of Genre Development”." Highlights in Art and Design 7, no. 3 (2024): 1–29. http://dx.doi.org/10.54097/v40kxj92.

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Aim of study is to consider Wolfgang Amadeus Mozart’s piano concertos in the context of genre development. To achieve this aim, the following objectives defined: 1) to trace concerto origins; 2) to identify solo concerto origins; 3) to reveal the peculiarities of the musical language of Mozart piano concertos. The thesis concept contains a comprehensive interdisciplinary approach that contributes to the multidimensional disclosure of the phenomenon of classical concert. Due to the need to determine the individual stylistic amplitude of Mozart's piano concertos, the analytical (structural-compo

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28

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 многогр

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29

Irving, John. ""Er hat geschmack, und über das die größte Compositionswissenschaft"." Die Musikforschung 57, no. 1 (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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30

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 (1991): 1128. http://dx.doi.org/10.2307/941632.

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31

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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32

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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33

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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34

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

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35

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

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36

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

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37

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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38

Heissan, Joseph A. "Die Zauberflöte by Wolfgang Amadeus Mozart (review)." Theatre Journal 76, no. 2 (2024): 226–28. http://dx.doi.org/10.1353/tj.2024.a932171.

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39

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

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40

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

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41

Smets, Paul-F. "Wolfgang Amadeus Mozart, franc-maçon et catholique." Bulletin de la Classe des Beaux-Arts 18, no. 1 (2007): 173–229. http://dx.doi.org/10.3406/barb.2007.21011.

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42

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 po

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43

Thomas, Nathan. "Mozart's Sonata in C Minor K. 457: Classic Gems Analytical Journey Works of Wolfgang Amadeus Mozart." Virtuoso: Jurnal Pengkajian dan Penciptaan Musik 7, no. 1 (2024): 47–63. http://dx.doi.org/10.26740/vt.v7n1.p47-63.

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Wolfgang Amadeus Mozart is a very well-known classical music composer. It doesn't matter whether you are a classical music enthusiast or just a casual listener. You would have heard about Mozart. This research delves into the intricate musical landscape of Mozart's Sonata in C Minor, employing a descriptive qualitative analysis to unravel the underlying structural form within the composition. Focusing on the examination of the sonata's score, the study aims to elucidate the organization and interplay of musical elements made by Mozart in shaping this enduring masterpiece. In conclusion, this r

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44

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 D

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45

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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46

Dawson, William J. "Wolfgang Amadeus Mozart—Controversies Regarding His Illnesses and Death: A Bibliographic Review." Medical Problems of Performing Artists 25, no. 2 (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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47

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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48

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

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49

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

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50

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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