Mozart’s c minor fantasy, K.475: An editorial «problem» and its analytical and critical consequences

Journal of the Royal Musical Association

Volumn 124, Issue 1, 1999, Pages 26-52

  Eisen, Cliff ^a   Wintle, Christopher ^a  

^a KING'S COLLEGE LONDON   (United Kingdom)

Author keywords

[No Author keywords available]

Indexed keywords

EID: 66449121081     PISSN: 02690403     EISSN: None     Source Type: Journal    
DOI: 10.1093/jrma/124.1.26     Document Type: Article

References (23)

1. William Drabkin, trans. Ian Bent, William Drabkin et al, 3 vols. (Cambridge, 1994-7).
2. ClifF Eisen, ‘Another Look at the “Corrupt Passage’ in Mozart’s G minor Symphony K.550: Its Sources, “Solution” and Implications for the Composition of the Final Trilogy’, Early Music, 25 (1997), 373-81.
3. John Deathridge, ‘Vollzugsbeamte oder Interpreten? Zur Kritik der Quellenforschung bei Byron und Wagner’, Der Text im musikalischen Werk: Editionsprobleme aus musikwissenschaftlicher und literaturwissenschaftlicher Sicht, ed. Walter Dürr, Helga Lühning, Norbert Oellers and Hartmut Steinecke, Beihefte zur Zeitschrift für deutsche Philologie, 8 (Berlin, 1998), 263-74.
4. Leonard G. Rainer, Classic Music: Expression, Form, and Style (London, 1980), 60, 312-13,326.
5. Wolfgang Amadeus Mozart, Neue Ausgabe sämtlicher Werke, ix/25/2, ed. Wolfgang Plath and Wolfgang Rehm (Kassel and Basle, 1986), 70-9.
6. Wolfgang Plath and Wolfgang Rehm (Salzburg, 1991); the facsimile of the first edition, ed. Norbert Kaltz (Courlay, 1991)
7. Eugene K. Wolf, ‘The Rediscovered Autograph of Mozart’s Fantasy and Sonata in C minor, K.475/457' Journal of Musicology, 10 (1992), 3-47.
8. Gertraut Haberkamp, Die Erstdrucke der 1 Verkevon Wolfgang Amadeus Mozart (Tutzing, 1986).
9. Cliff Eisen, ‘The Old and New Mozart Editions’, Early Music, 19 (1991), 513-32.
10. Jcrome-Joseph de Momigny, in his Cours complet d’harmonie et de composition (1803-6), iii, 109ff.
11. Ian Bent, ‘Analysis’, The New Grove Dictionary of Music and Musicians (London, 1980), i, 340-88 (p. 349).
12. Donald Francis Tovey, ‘Mozart, Symphony No. 40’ (1935-9), Essays in Musical Analysis: Symphonies and Other Orchestral Works (London, 1981), 439-43.
13. Hans Keller, ‘Mozart and Boccherini’, Music Review, 8 (1947), 214-47
14. Hans Keller, ‘The Musical Character’, Benjamin Britten: A Commentary on his Worksfrom a Group of Specialists, ed. Donald Mitchell and Hans Keller (London, 1952), 319-51
15. Brigid Brophy, Mozart the Dramatist: The Value of his Operas to Him, to his Age, and to Us (1964; rev. edn, London, 1988), 274.
16. Maynard Solomon, Mozart (London, 1995), 507.
17. Arnold Schoenberg, The Musical Idea and the Logic, Technique and Art of its Presentation, ed., trans. and with a commentary by Patricia Carpenter and Severine Neff (New York, 1995).
18. Carl Philipp Emanuel Bach, Essay on the True Art of Playing Keyboard Instruments (1753), trans. and ed. William J. Mitchell (London, 1974), 430-45.
19. Janet M. Levy, ‘Texture as a Sign in Classic and Early Romantic Music’, Journal of the American Musicological Society, 35 (1982), 482-531
20. Rita Steblin, A History of Key Characteristics in the Eighteenth and Early Nineteenth Centuries (1981; rev. edn, New York, 1996), 227-31.
21. Birgitte Moyer, ‘Ombra and Fantasia in Late Eighteenth-Century Practice’, Convention inEight-eenlh-Century and Nineteenth-Century Music: Essays in Honor of Leonard G. Rainer, ed. Wye J. Allanbrook, Janet M. Levy and William P. Mahrt (New York, 1992), 283-306.
22. Janet M. Levy, ‘“Something Mechanical Encrusted on the Living”: A Source of Musical Vit and Humor’, Convention in Eighteenth-Century and Nineteenth-Century Music, 225-56.
23. Alastair Fowler, Kinds of Literature: An Introduction to the Theory of Genres and Modes (Oxford, 1982), 187.