Newsletter of the Mozart Society ofAmerica

Volume IX, Number 2 27 August 2005

Guest Column: Pierluigi Petro belli 2005 MSA Study Session

The Mozart Society of America will My first, true "encounter" with Mozart movement in the minor key of the again hold its annual meeting at the happened when I was eighteen, in an opening. The way in which the apparent fall meeting of the American Italian provincial town, Padua (I was simplicity of the theme in the final Musicological Society, this year in born and had grown up there), where rondo was constantly varied at each Washington, D.C. The MSA will public performances of music were return gave me the definite impression convene on Friday, 28 October 2005, usually limited-within a year-to two that behind that simplicity an extremely from 12:00 to 2:00 P.M .. for a brief operas and two parallel concert seasons rigorous-and yet flexible-concept of business meeting followed by a study of chamber music; in this musical the musical discourse was realized: it session. The meeting is open to non­ activity the appearance of Mozart's name seemed to me-and still does-a sort of members as well as members of the was occasional indeed-certainly absent miracle to present with deceiving ease Society. in the opera house, and rare in the such a complex organization of musical The agenda for the business portion chamber music repertory, one exception ideas. is as follows: being, if 1 remember correctly, a piano I would like to stress the fact that, in Announcements recital by Walter Gieseking, the first part the 50's of the previous century, the President's Report of which was entirely devoted to the situation concerning the performance of Treasurer's Report Salzburg master. Mozart's music I have described for my Committee Reports I have not used at random the term native town was, more or less, the same New Business "encounter," it was a 78 recording of the throughout Italy; performances of his Other Piano Concerto in E flat K. 482, played operas were extremely rare; the same and conducted by Edwin Fischer, that was true for chamber music, indeed for Study Session opened up to me, for the first time, the any other Mozart composition. My world of Mozart's music, its richness, its move to Rome in order to complete the The Program Committee has selected complexity of meanings, its constant uni versity studies allowed me to three abstracts [or presentation at the variety of aspects, above all its supreme broaden in some ways my knowledge of study session. Since a leading aim of mastery of the overall shape of the Mozart; I bought a vocal score of Don our Society is to promote scholarly composition. Of course, at that time 1 Giovanni (the only one available in the exchange and discussion among its was aware of all these qualities only in music bookstore) in a French edition members, many of whom are not yet an instinctive way; my musical (with piano reduction of the orchestral familiar with one another's work, we experience having begun with opera, I interludes, derived from the symphonic will again follow the format we have was fascinated by the clarity and repertory, to allow for the changes of used for the last several years. The pithiness of the difference between the sets), perfectly mirroring the study session will break into two parts, two themes in the first movement-and performing practice of that score at the the first for the presentation and of course by the entrance of the soloist, Opera during the nineteenth century; I discussion of the paper by Ellwood like Don Giovanni showing up on the attended a performance of the Requiem Derr, which was selected partly on the stage (I did not know then a single note given by the soloists, chorus, orchestra, basis of its potential to stimulate of that opera). And then the intimate and conductor from Salzburg Cathedral discussion, and the second for melancholy of the second movement, the (no real, striking impression) and a individual discussions between authors constant dialogue between the soloist and ZauberjlOte at the Teatro dell' Opera, of the other distributed abstracts and the winds, and between the winds conducted by Vittorio Gui-and with those interested in their work. themselves; all in C minor and E flat Sena Jurinac, Anton Dermota, Rita major, until the sudden appearance in the Streich and Erich Kunz in the cast. Gui penultimate variation of C major, with continued on page 14 the inexorable conclusion of the continued on page 2 Guest Column In my long life I have listened, Newsletter of the studied, written on, and worked with all continued from page 1 Mozart Society of America sorts of repertoires and composers, from was a leading figure in introducing for the the earliest forms of polyphony to first time to the Italian audience great Volume IX, Number 2 27 August 2005 Dallapiccola; a great part of my pages from music of the past and of his institutional acitivity has been devoted to The Newsletter is published twice yearly time: a friend of Debussy, he was the Verdi. I have always worked with interest, (in January and August) by the Mozart initiator of the Rossini renaissance, he curiosity and also with love on all these Society of America. The Editor welcomes rediscovered Verdi's Macbeth, and forms of music; and yet I never have had submission of brief articles, news items, transcribed and reorchestrated (in a way such ajoy as when I worked (and work) and reviews. Deadlines for submissions totally unacceptable today) a number of with Mozart and with his music. This are 15 November for the January issue Bach cantatas. His interpretation of endless fascination comes from the and 15 June for the August issue. ZauberJlOte opened up to me the world of directness of his musical message, which Mozart's musical theater. deals-I am convinced- with the most Editor I would like to linger for a moment on profound and important questions every John A. Rice my experience as editor of Mozart's human being worthy of the name has to Rochester, Minn. music, and especially of my contact with face in life. Mozart deals with these E-mail: [email protected] his autographs. Often, and in specific questions entirely and exclusively with places in those manuscripts, one has the the musical language, even when-as it is Edmund Goehring definite impression of hearing the sound often the case-he combines it with the Founding Editor he had in mind, the sound he was spoken word. Hence comes-I think-the imagining while he was writing down the consolation he offers, and the joy he gives Board of Directors music just conceived. This is true for to everyone who listens to his music Mozart Society of America many pages in the score of Il re pastore; "with a fine ear." but it is true for other compositions as Isabelle Emerson, President well; a most telling example, in my -University of Rome Jane Stevens, Vice-President opinion, is the opening page in the Daniel Leeson, Treasurer autograph of the D minor Quartet K. 421, Peter Hoyt, Secretary where the way in which the caption "sotto Bruce Alan Brown voce" is written expresses the kind of Gregory Butler sound required for the opening bars better Dexter Edge and more precisely than any other Kathryn L. Shanks Libin indication. Marita McClymonds Mary Sue Morrow John A. Rice Jessica Waldoff Gretchen Wheelock

Honorary Directors

Alessandra Comini Daniel Heartz Jane Perry-Camp Christoph Wolff Barry S. Brook (1918-1997) Jan LaRue (1918-2004)

Business Office

Department of Music University of Nevada, Las Vegas Las Vegas, NV 89154-5025 E-mail: [email protected] Fax: (702) 895-4239 Isabelle Emerson Emma Pease-Byron, Assistant

Web Site: www.unlv.edulmozart ISSN: 1527-3733

-2- From the President Mozart Society of America: Greetings from the oven that is Las I've just returned from Santa Fe Object and Goals Vegas in August! where I attended the brilliantly sung Welcome to our new members and controversially staged performance and thanks to the many faithful of Lucio Silla at the Santa Fe Opera. I Object members who have already renewed was able to confirm arrangements for a their memberships for the coming year. conference jointly sponsored by the The object of the Society shall be the Plans for the February 2006 MSA and the Santa Fe Opera to take encouragement and advancement of conference at Indiana University are place 29 June through 2 July 2006 studies and research about the life, shaping up rapidly. A number of centering around Die Zauberf/.Ote and works, historical context, and reception abstracts for proposed papers have been culminating with the opening night of Wolfgang Amade Mozart, as well as received, and Otto Biba, Director of the performance on 1 July of that opera. the dissemination of information about Gesellschaft fur Musikfreunde in The city of San Diego has announced a study and performance of related Vienna, has agreed to be the keynote festival for Mozart year 2006 which music. speaker. Registration information will involves most of the city's arts be mailed out on 1 October. Since organizations. My own institution, Bloomington is a small town, I UNLV, is planning a four-day Goals recommend making your travel plans as conference in early April. Please let me soon as possible (see the information know of any celebrations at your on page 10). I would like to extend the institutions. l. Provide a forum for communi- Society's thanks to the people already at Mallie Riecken, who has served as cation among scholars (mostly but work on the conference-Bruce Alan the MSA business manager since 2001, not exclusively American); Brown, chair of the program committee, has resigned in order to have more time encourage new ideas about and his committee members Kathryn for her teaching and her family. Those research concerning Mozart and Libin, Mary Sue Morrow, and John of you who attended the Cornell the late eighteenth century. Rice, and Daniel Melamed, chair of conference and met Mallie in person 2. Offer assistance for graduate arrangements at Indiana University. will realize how much she did for us. I student research, performance We return in 2007 to our biennial, am happy to announce, however, that projects, etc. ODD-year schedule. The board is Emma Pease-Byron has accepted the already considering sites for the position, beginning 1 July 2005. We are 3. Present reviews of new publica- conferences in 2007, 2009, and 2011. again in good and competent hands. tions, recordings, and unusual Please contact me if you have My very best wishes to all of you, performances, and information suggestions or recommendations for and as always my thanks for your about dissertations. future meetings. support of the Mozart Society of America. 4. Support educational projects dealing with Mozart and the -Isabelle Emerson eighteenth-century context.

5. Announce activities-symposia, festivals, concerts-local, regional, and national.

6. Report on work and activities in other parts of the world.

7. Encourage interdisciplinary scholarship by establishing connections with such organi- zations as the American Society for Eighteenth-Century Studies and the Goethe Society of North America.

S. Serve as a central clearing house for information about Mozart materials in the Americas.

-3- The Berlin Mozart

In the Mozart-lahrbuch of 1999 Rainer feurige Auge" (great fiery eye). Allowance wife, he considered a distinct honor. In Michaelis and Wolfgang Seiller reported was made for the Edlinger portrait's being that same Munich letter there is no for the first time about a portrait allegedly painted thirteen years after the Bologna mention that any painting of himself had depicting Mozart that had been found in likeness. been made. He surely would have let his storage at Berlin's Gemaldegalerie, of Now in 2005 the German media were wife know had it occurred. When away which Michaelis is the general director. thrilled. Finally, they wrote, we have a from horne, Mozart was meticulous in Evidently their essay did not receive much worthy portrait of Mozart and in frontal recording daily events. Also, there was notice from Mozart hardly any time in aficionados. On 27 the week of his January 2005, Munich sojourn anticipating the for a session with observance of Mozart's Edlinger. This two hundred and painter was fifthieth birthday next known for his year, Rainer Michaelis slow working offically unveiled what habits, requiring he called an unknown dozens of sittings portrait of Mozart as an from his subjects. exciting new "discovery" In a work (see illustration). He catalogue of stated that it was done Edlinger's 247 in the penultimate year portraits (1983), of Mozart's life,1790, in the name Mozart Munich by the well does not appear. known painter Johann Richard Bauer, Georg Edlinger (1741- director of the 1819). It was the same City Archive of picture that he, together Munich, was not with SeiHer, had persuaded by the analyzed in the essay in Berliners'Mozart. the Mozart-lahrbuch. He thoroughly Seiller took pride in researched the being a distant history of the descendant of Edlinger. portrait and the In order to identity of the authenticate the person pictured. portrait, hitherto known He was kind as "Der Herr im griinen enough to make Frack" (The Gentleman his results, which in the Green Frock will he printed Coat), as representing later this year, Mozart, Michaelis and available to me in Seiller took great pains a German to compare prepublication. physiognomic features with an accepted view (in contrast to the renderings in Apparently the painting had been Mozart portrait done in Bologna in 1777. profile by Doris Stock and Joseph Lange). exhibited in 1906 in Munich as the (Of that portrait Leopold Mozart wrote to But was it really Mozart who sat for property of Franz Lindauer. Later it was in Padre Martini on 22 December 1777: "the Edlinger in 1790? the hands of the Munich art dealer Fritz painting is of no great value as a work of Robert Muenster, in his book Ich Ragaller. From a catalogue of the art, but I assure you that it is an excellent wurde Munchen gewis Ehre machen (reviewed Gemaldegalerie Berlin, Bauer learned that likeness. My son is exactly like that.") by me in the MSA Newsletter, Vol. VII, No. it acquired the putative Mozart portrait in Michaelis and SeiHer found similarities in 2), reports on Mozart's last visit to 1934 through a private seller on the nose, mouth, and the area of the eyes. An Munich, from 29 October to 6 November Munich art market. accentuated right eye was detected in both 1790. On 4 November Mozart participated When the Munich architect Franz pictures. Nissen, in his Mozart biography, in a festive court academy for the visiting Lindauer (1854-1919), the former owner, had already spoken of Mozart's "grosse king of Naples, which, in a letter to his loaned the picture for the exhibition of

-4- 1906, it was accompanied by two more Josephine Lindauer (also known as Josefa) and its Munich owners precludes any portraits also by Edlinger. One showed his showed him seven pictures, four of which connection with Mozart. As a final result grandfather Joseph Lindauer (1755-1821), were connected with family history. In of further research into the Lindauer founder of a Munich bookstore and addition, there were three portraits family collections, Richard Bauer came to publishing house; the second was painted by Johann Georg Edlinger. Besides the conclusion that the gentleman characterized as "Female image." The one of Joseph Lindauer, the other two portrayed is the wealthy Munich merchant alleged Mozart had been named "Male were matching companion pieces. They Joseph Anton Steiner (1753-1813), a name image." Bauer made a discovery that portrayed an old Munich couple who had first identified by Josephine Lindauer. eluded the Berlin gallery authorities. The been in close contact with her late Contrary to Mozart's financial situation­ two "image" pictures displayed almost husband's family. The widow only in 1790 he had just returned from exactly the same measurements in size and remembered their family name "Steiner." Frankfurt where his concerts had could have formed pendants. Customarily, But she did mention to Trautmann that produced poor earnings-Steiner could the pendant to a male portrait represents both portraits were given to her father-in­ well afford the prices that Edlinger, as a his wife. But here the Berliners would have law Franz Seraph Lindauer as a gift from popular portrait painter, commanded. had a problem. If it had been Mozart who Mrs. Steiner. The same three Edlinger Joseph Anton Steiner was prominent in was painted in Munich in late 1790, the portraits were hung in close proximity the Munich community and a famous pendant could not have been his wife when shown at the 1906 Munich public person. He was a membre of the Constanze because she had stayed home in exhibition. city council and owned a number of Vienna. In 1933 Josephine Lindauer moved houses. Lindauer, all through his life, into a municipal old age home where she The controversy continues. Quite a concerned himself intensively with painted died in 1944. After she gave up her number of German newspapers carried the memorabilia of his family, which after his residence, some of her pictures, including story At this writing, the Berliners do not death induced the Munich student of "Der Herr im griinen Frack," appeared on want to lose face and have not culture Karl Trautmann to visit his widow the Munich art dealers market from where acknowledged the accuracy of Richard on 16 April 1929. He was collecting it eventually found its way to the Bauer's scrupulous research. They call his information on the famous Lindauer Gemaldegalerie Berlin. identification "questionable." "Der Herr family for an article he was about to write. Scrutinizing the history of the portrait im griinen Frack," a.k.a. Joseph Anton Steiner, is waiting.

-Eric Offenbacher Seattle

Call for Papers

Mozart Society of America Session during the Annual Meeting of the American Society for Eighteenth-Century Studies Montreal, 30 March - 2 April 2006 Making Opera: Mozart in the Theater

Papers may address any aspect of Mozart and the theater Papers should be no more than twenty minutes in length. Please send proposals for papers directly to Isabelle Emerson, session chair ([email protected]) no later than 30 September 2006. Please note that ASECS cannot provide computers or computer-projection equipment. Also remember that the Society's rules permit members to present only one paper at the meeting; if you submit a paper proposal to more than one session, please be sure that you so notify all the chairs to whom you have made a submission For more complete information on the Montreal meeting, see the ASECS web page at http://asecs.press.jhu.edu.

-5- A Mozart Manuscript in the Scheide Library at Princeton University

The only extant autograph score for auctioned. The acquisition of the Schumann, Wagner, Bruckner, Brahms, Mozart's piano sonata K. 332 is found in manuscript in the Scheide collection was Borodin, Tchaikovsky, Dvorak, Rimsky­ the Scheide Library, one of the world's effective on 8 December 1961. Korsakov, Debussy, and Bart6k. At most remarkable private collections of The autograph was originally part of Ammann's death in 1961 K. 332 was manuscripts and printed books. In 1959 the Mozart Nachlass that Johann Andre auctioned together with the rest of the the collection, which was originally bought in November 1799 from the collection, and that same year it became housed at the Scheide family home in composer's widow Constanze. In Andre's part of the Scheide collection. Titusville, Pennsylvania, was moved to catalogue the sonata was numbered 235, Princeton, home of William H. Scheide, and this number is still visible at the K. 332 (300k) present owner of the collection. Since bottom of the first recto. At Andre's then the collection has been housed in death in 1842 the manuscripts were Autograph manuscript. In the collection Firestone Library at Princeton University, divided among his children. But since his of William H. Scheide, Princeton, New where it is available to scholars in daughter Auguste had already died, her Jersey. It is Scheide manuscript No. 134 association with the University's part of the inheritance, which belonged to (S.3.11). Oblong format. Two bifolios, Department of Rare Books and Special her children, was given to her husband quartos from same sheet; visible Collections. The Scheide Library contains Johann Baptist Streicher in their place. watermark; unbound; 23.3 em x 32.1 cm a significant collection of Bibles in Son of the noted Viennese piano maker Brown ink; 10 staves per page. The right manuscripts and prints, including a Nannette Stein Streicher and owner of the hand is in soprano clef, left hand in bass Gutenberg, medieval manuscripts and firm after his mother's death, Streicher clef. The autograph is incomplete. The incunabula, printed books on travel and had married Auguste Andre in 1823. We last measure of the autograph exploration, and Americana. don't know when and to whom Streicher corresponds to measure 16 of the Under Scheide's supervision the sold the autograph of K. 332 (see Mozarts development section of the final collection has been enriched with several Nachlass, ed. W. Rehm, 73), but movement (Allegro assai). In Andre's important musical manuscripts, including according to the Fach-Katalog der catalogue it is already registered as "mit cantatas by Johann Sebastian Bach, Musikhistorischen Abtheilung von 8 Seiten," thus missing the end of the Beethoven's sketchbook from the Koch Deutschland und Oesterreich-Ungarn composition, probably two pages. First collection, two sets of sketches for the (Vienna, 1892), K. 332 was in the leaf recto: Top, center: "Sonata III" in W. Hammerklavier Sonata, a score of collection of the Philharmonische A. Mozart's handwriting. Top, left: "N° Wagner's Das Rheingold, and the Gesellschaft in Ljubljana, and the stamp 25." in Maximilian Stadler's handwriting autograph score of Mozart's piano sonata of the Society appears on every recto of (7) (NK) "Son. 3 aus Breitkopfs Cahier in F major, K. 332 (300k). Additional the autograph. 1." Light brown ink, in Nissen's information on the Scheide collection The Philharmonic Society of Ljubljana handwriting (NK). (This refers to may be found in "The Scheide Library," was established in 1794 and soon became Breitkopf & Hartel Oeuvres compli~tes of The Princeton University Library the most important musical institution in 1798.) Top, right: Unpaginirte Chronicle, 37, no. 2 (Winter 1976); Julian Slovenia. The activity of the Society Bruchstiikke in pencil, in Nissen's P. Boyd, The Scheide Library: A Summary concentrated on instrumental music and handwriting (NK). Gest[ochen] in dark View of Its History and Its Outstanding among its honorary members were Haydn brown, in Nissen's handwriting (NK). Books Together with an Account of Its and Beethoven. The Society owned a Underneath Gest. nO 150. in red ink, in Two Founders: William Taylor Scheide remarkable collection of manuscript and Gleissner's handwriting (NK); and John Hinsdale Scheide (Titusville, printed music, part of which is now held underneath n° 150. 177- in dark brown PA. 1947); M.R. Bryan, "Portrait of a at the National and University Library. ink (Andre). Bottom, center: 235. in a Bibliophile XVII: The Scheide Library, " The autograph was held by the Society box in pencil (Andre). Pages I, 2, 3, and Book Collector, xxi (1972), 489; the until 1928, when it passed into the hands 4 recto have the stamp: "Philharmon. special Festschrift presented to William of Mr. Wilhelm Kux, a Viennese banker Gesellschaft in Laibach." First recto and Scheide on the occasion of his 80th and collector of music manuscripts who last verso are soiled. birthday in January 1994: William fled to Chur, Switzerland, with the Stoneman (compiler), The Same coming of Hitler (Der neue Kochel, ed. First Printed Edition Purposeful Instinct (Princeton, 1994); For Neal Zaslaw, Leipzig and Wiesbaden: William H. Scheide: Fifty Years of Breitkopf & Hartel, in preparation; Trois Sonates / pour Ie Clavecin ou Collecting (Princeton, 2004). henceforth NK). It is not clear when the Pianoforte / Composees par / W. A. Albi Rosenthal, antiquarian and music autograph left his collection, but Mozart. / (Euvre VI. / Publiees a Vienne dealer, purchased the autograph of sonata eventually it entered the impressive chez Artaria Compo [1784] K. 332 on behalf of the Scheide Library collection of music autographs of Dr. on 16 November 1961 at the J. A. Robert Ammann from Aarau, Switzerland, Stargardt sale in Marburg (lot no. 139, which already included autograph scores Cat. 554), when the collection of the and letters by Handel, J.S. Bach, Haydn, previous owner, Dr Robert Ammann, was Beethoven, Schubert, Mendelssohn,

-6- Letter to the Editor Facsimiles of Single Pages I read with great interest Dan Leeson's informative article, "Lorenzo da 1. Folio 3 verso is reproduced in Alan Ponte: Father/Architect of the Library of Congress's Italian Collection," in Tyson, Mozart: Studies of the Autograph the January 2005 issue of this Newsletter. He referred (page 8) to Da Scores (Cambridge: Harvard University Ponte's working with a touring Italian company that produced the first Press, 1987), 31. performance in New York of Don Giovanni. Newsletter readers may be interested to know that this company was led by the tenor Manuel Garcia 2. Folio 1 recto is reproduced in Neue 0775-1832) and, in addition to his wife Maria Joaquina Sitches (1780-- Mozart-Ausgabe, serie IX Werkgruppe 1854) and three other singers, included his son tenor Manuel Jr (1805- 25, Klaviersonaten, Band 2, xx. 1906) who became one of Europe's most prominent voice teachers and invented the laryngoscope in 1855, his daughter Maria (1808-1836) who as 3. Folio 3 recto is reproduced in the mezzo-soprano Maria Malibran had all Europe at her feet during her brief Stargardt catalogue of the auction of Dr. career, and his youngest daughter Pauline Garcia who as the mezzo-soprano Ammann's collection (Kat. 554, Nr 139, Pauline Viardot (1821-1910) became one of the most respected musicians Tafel 13 (1961). of the second half of the nineteenth century. Viardot counted among her friends and admirers George Sand, Frederic Chopin, Franz Liszt, Hector For a long time the autograph was dated Berlioz, Ivan Turgenev. It was Pauline Viardot who in 1855 purchased from between 1778 and 1779. But thanks to the heirs of Andre the autograph of Don Giovanni, left at her death in 1910 Alan Tyson's most recent studies on to the Bibliotheque du Conservatoire de Musique. Just four years old at the paper and watermarks (see his Studies of time of the American tour, Pauline would not of course have been a singing the Autograph Scores, his contribution to member of the troupe. Garcia's company seems to have been the first Italian Mozart Studies, ed. Cliff Eisen, 215-16, opera company to have come to North America (see April FitzLyon, The and his Wasserzeichen-Katalog, NMA XI Price of Genius: A Life of Pauline Viardot [New York: Appleton-Century, 33/Abt 2, 23-24) and to Wolfgang 1964)' and FitzLyon, "Garcia: (1) Manuel (del Popolo Vicente Rodriguez) Plath's analysis of Mozart handwriting Garcia," New Grove Dictionary of Music and Musicians). (see in particular his Beitrage zur -Isabelle Emerson Mozart-Autographie II, 171) it has been established that the date of composition should range between the end of 1780 and the end of 1783. -Valeria De Lucca Princeton Univerity

Thanks to Paula Matthews and Peter Jeffery. I am particularly grateful to Neal Zaslaw for providing me with invaluable information. VDL

-7- Book Review

Edmund Goehring. Three Mode.) of latter, as the reader will recollect, The strength of the concept of Perception in Mozart: The adopts the term "multivalence" to "mode"-borrowed from Alastair Philosophical, Pastoral, and Comic in describe the structural incongruity Fower's Kinds of Literature: An COS! fan tutte. Cambridge: Cambridge among the various operatic domains, an Introduction to the Theory of Genres University Press, 2004 incongruity that enriches the work, and Modes (Cambridge, Mass.: Harvard increasing its aesthetic and intellectual University Press, 1982)-resides in its As Edmund Goehring reminds us at the value. What seems to worry Goehring plasticity: unlike designations of genre, beginning of his book, Mozart's Cosl most about this strand of criticism is which are normally used as nouns, the fan tutte remains a highly enigmatic the possibility that these eminent "modal ones take adjectival form" work. The ambiguity of both its musicologists would actually (page 141), so that the pastoral mode, possible different meanings and the dismember Mozart, as the Bacchantes for example, which shows a "persistent way these meanings are conveyed in dismembered Orpheus. His mission is habit of leeching on to other genres" the libretto and in the score is at the "to preserve the complexity of COS! fan (page 142) appears in late eighteenth­ basis of the opera's rich and tutte without sacrificing its author" century opera buffa more often as an inconsistent reception history, which (page 19), perceiving that "abandoning episode, or as a gestural element of the fluctuates between two extremes: a the autonomy or exiling the author is dramatic and/or musical style, rather widespread annoyance for its lack of not necessary to sustain a complex than as an independent genre or even as unity and coherence and a post-modern reading of the work" (page 18). From a connotative marker of a specific stock appreciation of its protean nature. the beginning of the book the reader type. This approach represents probably Goehring attempts an understanding of perceives its author's pervasive the most valuable contribution of this the opera in line with eighteenth­ protective attitude toward the object of book, offering a methodological century aesthetics and-more his study, an attitude that honestly improvement of the conventional importantly-a reconciliation of the seems unnecessary in our present time, typological approach to eighteenth­ aforementioned fundamental dualism in when COS! is in fact enjoying an century opera. operatic criticism, supported by the unprecedented fortune among critics This is evident already in chapter 2 premise that the aesthetic value of this and audiences alike. As a result, ("The Philosophical Mode"), which opera is in its ability to foster Goehring's useful review and careful examines the figure of Don Alfonso as coherence and unity notwithstanding examination of COS!'S reception history an atypical operatic philosopher, the apparent multiplicity of points of in chapter 1 ("An Overture to Cosl fan comparing it to an impressive array of view that a deep understanding of this tutte: The Poetics of the Opera over the other philosophers populating the world complex opera requires. In order to do Two Centuries") leads him to the of opera buffa, and showing that so, he adopts an interpretative approach predictably convincing counter­ "Mozart and Da Ponte transformed Don that he describes through a metaphor of criticism of ancient and modern Alfonso from the conventional Metastasian flavor: "This approach detractors of Mozart's opera; similar purveyor of esoterica [a role reserved offers a series of perspectives from points of view between nineteenth- and for Despina "in maschera") into a which to inspect the opera, as if one twentieth-century criticism are transmitter of popular lore." "This were looking at a statue by strolling emphasized, and good shots are reconception," Goehring explains, around it, observing-it from different reserved for Joseph Kerman's Opera as "in forms every detail of his operatic angles, or taking a series of snapshots Drama and other sitting ducks. The persona, including his musical style, of it. The resulting images are not underlying assumption is that the which has no precedent in opera, and unrelated, since they all refer to the nineteenth-century perception of which is the musical equivalent of the same object, and together they give a inconsistency and lack of unity has not aphorism. The result is a character with more comprehensive view of the work" changed in modern times, although this an authority found in none of his (page xiv). perception of the work has converted ancestors on the eighteenth-century The ideological standpoint is a from negative to neutral or even stage" (page 54). reaction against, although not a positive. Goehring's belief in the The idea that Don Alfonso plays the rejection of the aesthetic revaluation of structural coherence of the opera and role of guide toward the uncovering of the lack of unity and of the presence of the harmony among its expressive truth, both for the characters on stage . a multiplicity of authorial intentionality domains does not plunge his and to people attending the opera, is and responsibility, which have been interpretative effort immediately back certainly not unheard of; the originality endorsed in two fundamental to modernistic musicology, for his of Goehring's interpretation is that Don contributions of the last decade: underlying idea of unity is a Alfonso's role, as described in chapter Carolyn Abate and Roger Parker's multifaceted one (e pluribus unum), 3, is more hermeneutic than revelatory. "Dismem bering Mozart" (Cambridge which he attains through the concept of The comic mode, on which this chapter Opera Journal 2 [1990]) and James differentiated modes of perception at is centered, has the function of opening Webster's "The Analysis of Mozart's work in COS! fan tutte: the philo­ the path to the truth through the Arias" (Mozart Studies 1 [1991])- the sophical, the pastoral, and the comic. revelation of excessive operatic modes:

-8- the heroic, the pastoral, and the meaningless as descriptions of the the scarce knowledge or sentimental. As Goehring puts it, opera. What usefully remains is a acknowledgment of recent secondary indeed, "the traditional business of comic vision" (page 280), meaning a literature. One gets the impression that comedy is the correction of excesses" vision that "stresses contingency" and this book was put in the freezer in 1997 (page 203). Don Alfonso offers an "presents individual situations from and defrosted for publication in 2004; antidote to sentimentality by enacting it different perspectives and shifts subtly of the almost one hundred and sixty as a comedian, as in his cava tina from ridicule to sympathy and back" sources in the bibliography only seven "Vorrei dir," after which he calls (page 202). were published after 1997 and the few himself a "passable comic" ("non son This book, destined for a recent contributions acknowledged in cattivo comico"), meaning both comic specialized readership that already the bibliography are seldom mentioned actor and actor in general, as Goehring knows the opera inside out (the in the text. In other cases the dialogue points out (page 202). By representing analysis proceeds erratically and no with current musicology is too indirect: the sentimental excess theatrically, Le., reminders of the plot are provided), two lengthy parts in chapter 4, entitled by producing theatrical replicas of what engages the informed reader by "Comedy in the Sentimental Mode" and was then perceived as the truthful challenging shared perceptions and "COSt fan tutte and Anti-Sentimental language of the heart, Don Alfonso interpretations through close readings Opera" (pp. 203-65), although provides an anti-sentimental and anti­ of both text and music, supported by a substantially original, seem to be heroic lesson to the lovers, bringing solid knowledge of the cultural and heavily inspired by and solidly based them back to reality: "The experiment literary context of the opera, especially on sources and problems discussed in that the opera runs does not deny evident in chapter 2, "The Pastoral Stefano Castelvecchi's dissertation passion, as is often claimed, but rather Mode," framed in the context of Tasso, "Sentimental Opera: The Emergence of liberates it and then records the Guarini, Milton, Poliziano, and other a Genre, 1760-1790" (University of outcome. The result is an understanding literary figures. One only wishes that Chicago, 1996) and on his more recent of human nature" (page 280). In the sources of libretti and scores were article "Sentimental and Anti­ Goehring's terms, COS! is a comic opera cited as clearly as poetic literary Sentimental in Le nozze di Figaro" in so far as it "observes and describes sources; only some of the operatic (Journal of the American Musicological rather than synthesizes; it shows a primary sources appear in the Society 53/1 [2000]: 1-24), of which situation from multiple modes of bibliography, and only for a few of only the latter appears in bibliography perception and withholds judgment," them the necessary bibliographical and neither of which is discussed or and one should prize Goehring for information is provided in the even mentioned in the body of the text convincingly explaining why this footnotes. or in the footnotes. quality of the opera should not be The most problematic case concerns Notwithstanding the impression of considered the result of cynicism, the source of the libretto of COSl fan "defrostedness" that one gets from the frivolity, or pusillanimity (page 265). tutte. The reader can infer that critical apparatus, the reader of this Both the craze for the sentimental strain Goehring used the modern edition book is also rewarded with many (its most acclaimed operatic example, published in Memorie; Libretti garden-fresh ideas, recorded in writing Paisiello's Nina, became a sweeping mozartiani (Milan: Garzanti, 1976), with a rare balance of elegance and success during the last decade of the listed in the bibliography, which has no clarity that seems to derive from the century) and its endurance determined pretence of philological accuracy; author's earnest love for and deep the decline in popularity of COS! and of however, one would expect the kind of familiarity with eighteenth-century "artificial comedy" in general (page extremely detailed textual analysis literature. This is certainly a book that 274-76). As Goehring maintains, presented in this book to be based on scholars of Mozart's operas should not Mozart's opera had a great appeal to the only reliable edition, the first miss, and if it came out of the press aristocratic tastes; their decline, the Viennese edition of the printed libretto, with some delay we should still emergence of bourgeois family values, or at least the author should reassure welcome it on our bookshelves (better and the related success of sentimental the reader that the accuracy of the late than never). drama all conspired against the fortune former has been ascertain by careful of COS! fan tutte. In the historical comparison to the latter (Lorenzo Da -Pierpaolo Polzonetti context of the age of bourgeois Ponte, COSl fan tutte 0 sia la scuola University of North Carolina revolutions, COS! fan tutte appears then degli amanti, dramma giocoso in due Greensboro as a reactionary work (pages 278-79); atti da rappresentarsi nel teatro di however, as Goehring argues, the intent corte l' an no 1790 [Vienna: presso la of this opera is more aesthetical than societa tipografica, 1790]; facsimile political: "COS! fan tutte asserts the reproduction in The Librettos of vitality of theatre; it places the artist, Mozart's Operas, ed. Ernest not the moralist, in the role of supreme Warburton, 7 vols [London and New observer of human nature" (page 279), York: Garland, 1992], vol. 3, 193- and therefore, "labels like 278). 'conserva tive,' 'progressive,' or Another more general problem 'reactionary' start to become concerning the sources of this study is

-9- The Mozart Society of America at Indiana University

The Mozart Society of America will hold The keynote speaker of the conference Air Travel [from the IU Web site] its third biennial conference on the theme will be Dr. Otto Biba, head of the archive "Mozart's Choral Music: Composition, of the Gessellschraft der Musikfreunde in From the Indianapolis International Contexts, Performance" at the School of Vienna, and indisputably the foremost Airrport, you can take the Bloomington Muisc at Indiana University in expert on Viennese sacred music of this Shuttle Service or a limousine to IU. The Bloomington, Indiana, from 10 to 12 period. He will speak on "The Beginnings Bloomington Shuttle Service offers February 2006-not exactly two years of Mozart's Presence in the Viennese round-trip transportation between the since the MSA's last conference, but in Church-Music Repertory: Sources, airport and Bloomington seven days a close proximity to the composer's 250th Performance Practice, Questions of week, nine times a day. For more birthday. Local hosts are Prof. Jan Authcnticity." information, call 1-800-589-6004. Thc Harrington, chair of the IU Choral In addition to the scholarly program, following limousine services also offer Conducting Department; and Prof. Daniel the conference will feature several round-trip transportation betwecn the Melamed of the I.U. Department of performances by soloists and ensembles airport and Bloomington: Carey Indiana Musicology (local arrangements chair). from Indiana University's School of (1-800-888-4639), Classic Touch The conference program includes a rich Music. On Saturday, 11 February, there Limousine Service (1-812-339-7269), array of scholarly papers on various will bc a performce of Mozart's C-minor Signature Limousine (1-800-589-6004), aspects of Mozart's work involving Mass, as wen as (following the Banquet) Personal Touch Limousine (1-812-332- chorus, several of which will be a short concert and reception. On Sunday LIMO) illustrated by live examples performed by the 12th the IU Classical Orchestra (on singers from Indiana University's original instruments) and Pro Arte Accommodations renowned choral music program. A good Singers will offer a performance of the many speakers will draw upon archival Requiem. Participants in the MSA Indiana Memorial Union Hotel & materials-some of them very recently conference may also wish to take in the Conference Center, 900 E. 7th Street, uncovered (David Black on use of IU Opera Theatre's production of . Bloomington, IN 47405, Phone: (812) Mozart's music in the Michaelerkirche, Rossini's Il barbiere de Siviglia on Friday 856-6381, Toll free reservations: 800- for instance), while others will take a the 10th. 209-8145, Fax: (812) 855-3426, E-mail: more analytical approach (Edward Green A complete program and abstracts, imuhote l@ indiana. edu, on chromatic saturation in Mozart's late when finalized, will appear on the MSA http://www.imu.indiana.edu/ choral works, Neal Zaslaw on sacred website. Information about registration, ho te Lconfe renee _center/index. html. parodies of choruses in Thamos, Konig in accommodations, and travel to They are holding a block of 60 rooms for Aegyten). Coverage will extend from such Bloomington will be mailed shortly to thc nights of 9, 10, and 11 February for early works as the Metastasian oratorio MSA members, and will appera also on the Mozart Society of America until 9 Betulia liberata (Judith Schwartzi the MSA website. The program January 2006. Rates are at http:// Theodore Karp, John Rice) and the Mass committee consists of Bruce Alan Brown www.imu.indiana.edu! K. 140 (Bruce MacIntyre) to the Requiem (chair), Kathyrn Shanks Libin, Mary Sue hotel_conference_center/ (David Black, Ulrich Leisinger, Michacl Morrow, and John A. Ricc. Qucstions hoteCrates_spees.html, and vary with Lorenz). Naturally sacred music will be about the conference can be directed to room type and number of people. the primary focus, but the participation of Bruce Alan Brown ([email protected]). Reservations may be made at the 800 chorus in theatrical works will likewise number above. This hotel is right at the come under discussion (Dcxter Edge on Resources center of campus. Staying elsewhere will the contracting of choristers in the involve higher rates at many places, along Burgtheater, David Buch on thc usc of Bloomington Visitors Bureau: http:// with the cost of transportation or parking. chorus in the Theater auf der Wiedcn), as www.visitbloomington.com will also concert and ceremonial uses of Directions to IU: http://www.indiana.edu/ choral music (e.g., Jane Hettrick on -iuadmit/visit/directions.shtml Salieri's music for the imperial Dankfest IU Visitors Information Center: of 1804). http:/www.indiana.edu/-iuvis IU School of Music: http://www.music.indiana.edu

-10- TENTATIVE PROGRAM

Mozart's Choral Music Composition, Contexts, Performance Indiana University, 10-12 February 2006

Thursday, 9 February 8:00 PM Welcome concert Friday, 10 February 9:00 A.M. - 12:00 P.M. MSA Board meeting Registration

12:00 - 2:15 P.M. Lunch

2:30p.M. SESSION I: Analytical Approaches: Text and Music MSA President and IV Officials: Welcome Remarks Judith L. Schwartz and Theodore C. Karp: Judith, Mary, and Mozart: Chant Melody in the Finale of La Betulia liberata John A. Rice: "Lodi al gran Dio ": The Final Chorus of Metastasio s La Betulia liberata as Set by Gassmann and Mozart Edward Green: The Saturation of Chromatic Space as a Structural Principle in Mozart's Late Choral Music

5:30 - 7:30 P.M. Dinner

8:00 P.M. IV Opcra Theatre: Rossini, Il barbiere di Siviglia Saturday, 11 February 9:00 A.M. SESSION II: Aus dem Archiv: Sources, Authenticity, Institutions Otto Biba, Keynote Address: The Beginnings of Mozart's Presence in the Viennese Church-Music Repertory: Sources, Performance Practice, and Questions of Authenticity Bruce MacIntyre: Missa brevis in G, K. 140: Mozart or Kracher? Jane Schatkin Hettrick: Remade to Order: Antonio Salieri's Music for the Dankfest of Emperor Franz I 12:00 - 2:30 P.M. Lunch

2:45 - 4:45 P.M. SESSION III: The Chorus in and out of the Theater Dexter Edge: The Chorus of the Viennese Court Theatre in the Time of Mozart Neal Zaslaw: Mozart's Thamos Motets David J. Buch: The Choruses of Die Zauberflote in Context: Choral Music at the Theater auf der Wi eden

5:00p.M. IV Choral & Instrumental Ensembles: Mozart, Mass in C minor, Reconstruction and completion by Robert Levin

7:00 P.M. Banquet Sunday, 12 February 9 A.M. - 12:30 P.M. SESSION IV: Reconsidering the Requiem Vlrich Leisinger: On the Earliest Copies of Mozart's Requiem Michael Lorenz: Freystiidtler's Supposed Copying in the Autograph of K. 626: A Case of Mistaken Identity David Black: The Exequienfor Mozart at St. Michael's

12:30-1:45 P.M. Lunch

2:00p.M. IV Classical Orchestra/Pro Arte Singers: Mozart, Requiem

-11- In Memoriam: Jan LaRue (1918-2004)

Jan LaRue, a founding member tracing not only the major and and Honorary Director of the minor figures and symphonic Mozart Society, died on 17 schools, but also the stylistic trends October 2004 at the age of 86. and features of the massive One of the most eminent, original, symphonic repertoire. Another and influential musicologists of valuable survey of the Classic the twentieth century, Jan concerto remains in manuscript, specialized in many fields, in but incipits of 5000 concertos have particular the eighteenth-century been transferred to a CD-Rom by symphony and concerto, Elizabeth Davis, Music Librarian watermarks and musicology, the of Columbia University. computer and music, thematic Jan was the creator of the most catalogues of the later eighteenth important analytical approach (he century, and, closest to his heart, did not like to use the word style analysis. "system") since Schenker analysis, Born in Sumatra of American an approach embodied in his parents on 31 July 1918, Jan innovative book Guidelines for earned degrees in music at Style Analysis (1970; 2nd ed., Harvard in 1940 and at Princeton 1992), which has been translated in 1942. During his army service, into Italian, Japanese, and Spanish. he was stationed on Okinawa and Unlike Schenker, however, Jan studied the traditional music he aimed at a wide audience, ranging found there. On his return to from the professional musician to Harvard Jan received his Ph.D. in the music lover. The second edition 1952 with one of the first of the Guidelines contains further American dissertations in remarks particularly about rhythm ethnomusicology on the topic, and cataloguing more than 16,500 and on "Writing About Music," so "Okinawan Classical Song." Jan taught symphonies and overtures from the period important for students. It also has an at Wellesley in 1943 and 1946-1957, and c. 1720-1810. First-movement incipits extraordinary example of multistage from 1957 to 1987 he taught graduate were published in an ingenious letter variance in the second movement of students at New York University. He notation in his remarkable book, A Beethoven's String Quartet, Op. 59, No.1. retired in 1988. Active in the American Catalogue of 18th-Century Symphonies. Jan thought constantly about musical Musicological Society, Jan was elected Volume I: Thematic Identifier (1988). meanings and effects. He invented many President 1967-1968, when he devised Succeeding volumes entitled "Composers' new terms to identify various musical the present system of the President-elect. Worklists" were not published, but the procedures, elements, and effects, many He won many awards in support of his information is available in huge files of of which have entered the general research, including a Fulbright research incipit cards. These files will be made analytical vocabulary: surface rhythm, professorship, Guggenheim and ACLS available in the near future in the Fales timeline, bifocal tonality, concinnity, fellowships, and a four-year NEH grant Collection of the Bobst Library at NYU. multistage variance, the acronym for computerizing his symphony No scholar working on a lesser-known SHMRG for the musical elements Sound, catalogue. An honorary member of the symphonist or overture composer can Harmony, Melody, Rhythm, and Growth; AMS, Jan was elected to the American build a catalogue of complete works and the abbreviations PTSK for the Academy of Arts and Sciences a year without consulting these research tools. In thematic functions, etc. As Jan so often before he died. fact, most of the thematic catalogues said, he wished to put music back into Jan's bibliography is actually far published in the Garland collection of musicology. Until his last years, Jan longer than any published list, and it symphonic scores were checked against worked on a second style-analysis book, includes his work as co-editor of the Jan's compilations. The serious problem "Models for Style Analysis," which was International Musicological Society of conflicting attributions was exposed by to demonstrate his approach to style Report of 1961, and the Festschrifts Otto Jan's research and illustrated in his analysis by analyzing compositions from Erich Deutsch and Gustave Reese. His important article, "Major and Minor Gregorian chant to the twentieth century. first major article, the pioneering study Mysteries of Identification in the 18th­ A first version was completed by 1980 "Harmonic Rhythm in the Beethoven Century Symphony" (JAMS, 1960). Jan's and brought to Israel as a textbook for a Symphonies" (Music Review, 1957), was surveys of the Classic symphony through style- analysis seminar at Bar-Ilan actually based on Jan's senior thesis at Haydn and Mozart (The New Grove, 1st University. It is hoped that some of this Harvard, a feat of Mozartian precocity. ed., 1980; 2nd ed., 2001, with Eugene material will be published in the near Jan galvanized research and study of the Wolf; MGG 12, 1965) represent the first future. eighteenth-century symphony by locating significant treatment of the subject, Jan's work on watermarks and

-12- musicology laid the foundation in the These processes can be found at all term, he sent out letters to The Group, as field, and he compiled a valuable levels, from motivic treatment to large he called them, asking for reactions. unpublished catalogue of nearly 1000 sections, and occasionally even between There were always communication and watermark tracings. He authored the whole movements." caring in this special environment. articles on watermarks in both the New Jan was on the Advisory Board of the Jan's unusual generosity in sharing Grove, and MGG, and published a major Mozarteum for many years, and in 1974 information with his colleagues and study, "Watermarks and Musicology" he was the first musicologist-in-residence young scholars is well known. When I (Acta musicologica, 1961). It is no at the Kennedy Center for the Performing worked on my Sammartini dissertation surprise that one of his last writings was a Arts in Washington, acting as advisor for with Jan as unofficial advisor, he brought short but brilliant study dealing with the Mozart Festival that year. me numerous microfilms and German issues in watermark research, A brilliant and dedicated teacher, Jan dissertations in response to desperate "Watermarks are Singles, Too: A produced numerous students of high calls for context. Never was a request Miscellany of Research Notes," published quality, many of whom became leaders in refused. Jan's commitment to the sincere in Haydn, Mozart, and Beethoven: Essays their fields. These include Elaine Brody, student, as his commitment to scholarship in Honour of Alan Tyson, ed. Sieghard A. Peter Brown, George Buelow, David at its best, was never less than total. Brandenburg (1998) and reprinted in the Cannata, Elizabeth Davis, Shelley Davis, An impressive Festschrift was forthcoming Somfai Festschrift. Anneliese Downs, Suzanne Forsberg, dedicated to Jan in 1990, Studies in Although Jan published just a few Floyd Grave, Margaret Grupp Grave, Musical Sources and Style, ed. Eugene K. articles on Mozart, he was always George Hill, Marian Green LaRue, Wolf and Edward H. Roesner. Jan's concerned with defining Mozart's style. Kathryn Shanks Libin, Steven Lubin, second wife, Marian Green LaRue, Many references to Mozart appear in Ellen Rosand, Sandra Rosenblum, Judith reprinted eight key articles (many in more several publications, such as the L. Schwartz, Beth Shamgar, Eve readable formats) in the Journal of Guidelines, "Multistage Variance: Vassiliades, Rachel Wade, Eugene K. Musicology 18 (spring 2001), a volume Haydn's Legacy to Beethoven" (Journal Wolf, and Jeanne Wolf. Jan gave much that contains most of the articles of Musicology, 1982), and the symphony time to his students, time he could well mentioned here. surveys. Most important is his article, have spent on his own work. But his We mourn the passing of a great "The Haydn-Dedication Quartets: students were as important to him as his creative spirit in the world of musicology. Allusion or Influence?" (Mozart­ own research and he took great pride in His legacy will remain an inspiration for Jahrbuch, 1991), where he proposed "two their achievements. His students felt like generations to come. necessarily oversimplified conclusions: an extended family, a feeling reinforced Mozart's fundamental process involves by the delightful parties in the LaRue -Bathia Churgin expressive balance; Haydn's fundamental home in Darien. Often, when Jan had Bar-Ilan University process requires continuous expansion. some new ideas, or had devised a new

Stanley Sadie 1930-2005

It is with great sadness that we note the death on 21 March 2005 of Stanley Sadie, eminent musicologist, author of several books on Mozart, editor of The New Grove Dictionary of Music and Musicians (1980), and long-time member of the Mozart Society.

-13- 2005 Study Session William Kinderman, University of determining a work's author was not Illinois at Urbana-Champaign: always the first order of business. continued from page 1 Mozart's Creativity: The Revision Speaking for many in 1795, Schiller Process in the First Movements of the observed a not uncommon pitfall: of Ellwood Derr, University of "Duernitz" Sonata, K. 284, and the "looking for the poet in the work, Michigan: The Uses of Rhetorical Piano Concerto in C Major K. 503 encountering his heart and reflecting in Figures for Silence in Selected common with him on his subject Instrumental Works by Mozart Each of these examples shows Mozart matter," and of "looking at the object in in the act of fundamentally reshaping the subject." Lessing anticipates Home-schooled, Wolfgang Amadeus his material as contained in an earlier Schiller in his famous 1766 Laokoon Mozart was apparently instructed in the draft version, strengthening the essay. "How frail must be the use of standard rhetorical figures in dramatic continuity and eventfulness of impression made by the work" he asks, music by his father Leopold, who the music while reducing the more "if in that very moment" of confronting owned the two very important repetitive, sectional quality of his initial it "one is curious about nothing else but eighteenth-century treatises on rhetoric versions. I engage with and build upon the figure of the author? The true by Johann Christoph Gottsched; and existing studies of these examples by masterpiece," Lessing continues, "fills who lauded three others in his writings, Somfai and Gerstenberg, respectively. us with itself so completely that we namely those by Johann Adolph In conclusion, I shall offer some forget about its creator and perceive it Scheibe, Meinrad Spiess (a sometime generalizations concerning our changed not as the product of a particular mentor to Leopold), and Johann image of Mozart in the light of individual, but rather of nature as a Gottfried Walther, which suggests, of discoveries during recent decades that whole." course, that he knew the contents of have clarified his compositional habits More recently, critics as diverse as these works. and working methods. Theodor Adorno, 10chen Schulte-Sasse, The presentation deals at length and Barbara Hernnstein Smith have with the two figures which involve advocated a similar sidestepping of the silence (aposiopesis and ellipsis) and . author authenticity conundrum. In this to a lesser extent with the two figures James Parsons, Southwest Missouri paper, I will juxtapose these later (antitheton and hyperbaton) which State University: Confusing Object commentators with observations by Mozart commonly associates with and Subject: Mozart and Siissmayr's Lessing, Goethe, Sulzer, and Schiller. them; these latter two typically follow Requiem K. 626 In so doing, I will argue that the quest silences. In the repertory studied, for composer authenticity has obscured Mozart's uses of these four figures Few subjects within the field of Mozart other pressing concerns relating to the neatly conform to the descriptions of studies have generated more passion or work now known as K. 626 and I also them by the named eighteenth-century ink than Siissmayr's 1792 completion of will revisit a line of Requiem criticism German authorities on rhetoric as well Mozart's Requiem. Beginning with more often than not drowned out in all as to the helpful performance hints Jacob Gottfried Weber in 1825 and the tumult of criticizing Siissmayr's given by Gottsched. extending to Richard Maunder in 1988, compositional shortcomings. As A. B. Following a thorough explication of virtually no one has had anything good Marx asserted in 1825: "If Mozart did the figures (in quotations from the to say about Siissmayr's labors. Thus not write it [the Requiem], well so be eighteenth-century German texts in Christoph Wolff's 1994 pronouncement it, the person who did write it was English translation with additional surprises; for him, banishing Mozart." At length, we have little commentary), a substantial number of Siissmayr's contributions "means choice but to embrace the Requiem musical extracts from Mozart's rejecting the chance of preserving what begun by Mozart but completed by instrumental works is examined with traces there are of Mozart's original Siissmayr. respect to usage. Attention is also material," for the score transmitted by drawn to the importance of awareness Siissmayr is "the only source that offers of the presence of these figures for the opportunity to discover the ideas what additional insights may be that originated with Mozart." brought to bear to create better Although purely practical informed performances. Finally, it is considerations account for this stance, noted that not all silences in Mozart's ideals from Mozart's own day support instrumental works involve the Wolff's position. To be sure, as the aposiopesis/ellipsis; these other preponderance of German aesthetic instances occur in different contexts speculation from Lessing to E. T. A. and serve different purposes. Hoffmann makes clear, the concern for

-14- Call for Papers

Conference Sponsored by the Mozart Society of America and the Santa Fe Opera celebrating The 250th anniversary of Mozart's birth The 50th anniversary of the founding of the Santa Fe Opera The 10th anniversary of the founding of the Mozart Society of America 29 June - 2 July 2006 Santa Fe, New Mexico

This four-day conference will center around Die Zauberf!jjte, scheduled to be performed by the Santa Fe Opera on Saturday, 1 July. In addition to a kaynote address, three paper sessions, and a panel presentation by music and stage directors of Mozart's operas, registrants will attend the dress rehearsal and opening night performance of Die Zauberfljjte, will be guests for a tour of the Santa Fe Opera, and will attend an informal closing session in which participants will be invited to engage in open discussion of issues raised during the conference conference. Papers may address any aspect of the composition, reception, and performance traditions of Die Zaube1jIOte, and should be of two types: general interest aimed at a wide audience of Mozart scholars, students, performers, and aficionados (sessions 1 and 3) and scholarly research for Mozart specialists as well as the wider audience (session 2). Please send abstracts of no more than 250 words by 27 January 2006 to Isabelle Emerson, Department of Music, University of Nevada, Las Vegas, NV 89154-5025 or via e-mail: [email protected].

News of Members The Mozart Year Several MSA members will participate in a conference in San Diego dedicated to Christoph Wolff at Harvard University, 23-25 September 2005, "The Century of Bach and Mozart" (see this Mainly Mozart, a producer of classical issue's Calendar). Among the speakers will be Daniel Melamed music programs in San Diego, has ("Seventeenth-Century Hamburg Passions and Their Shadows in announced a year-long celebration of the Eighteenth Century"), Neal Zaslaw ("One More Time: Mozart's 250th birthday with the Mozart and His Cadenzas"), Gretchen Wheelock ("Mozart's collaboration of over 50 arts and Fantasy, Haydn's Caprice: What's in a Name?"), and Robert cultural organizations. A series of Levin ("Mozart's Working Methods in the Piano Concertos"). orchestral concerts conducted by David Dorothy Potter's essay "Music by the 'Celebrated Mozart': A Atherton, beginning in January, will be Philadelphia Publishing Tradition, 1794-1861," has been followed by a four-month all-Mozart published in Music and History: Bridging the Disciplines, ed. chamber music series, and the premiere Jeffrey Jackson and Stanley Pelkey (University Press of of a jazz suite composed by trumpet Mississippi, 2005). virtuoso Guy Barker based on Isabelle Emerson's book Five Centuries of Women Singers characters from Mozart's operas. The was published in June 2005 by Greenwood Press. Emerson also celebration will continue in May and served on the committee that organized the recent national June with the eighteenth annual Mainly meeting of the American Musical Instrument Society, and she is Mozart Festival, again under the currently working with the Santa Fe Opera to organize a joint direction of David Atherton. For more Mozart Society - Santa Fe Opera symposium to take place in information go to Santa Fe in the summer of 2006. www.mainlymozart. org

-15- Works in English: 2004

Books Van Boer, BertH. "The Case of the Reviews Circumstantial Meeting: Wolfgang Berk, Matheus Franciscus Maria van den. Amadeus Mozart and Joseph Martin Bartlett, Clifford. Review of The The Magic Flute/Die Zauberflote: An Kraus in Vienna." Eighteenth­ Cambridge Companion to Mozart, by Alchemical Allegory. Boston: Brill, Century Music 1 (March 2004): 85- Simon P. Keefe. Early Music Review 2004. 90. 97 (2004): 10.

Goehring, Edmund Joseph. Three Modes Irving, John. Review of The Cambridge of Perception in Mozart: The Dissertations/ Theses Companion to Mozart, by Simon P. Philosophical, Pastoral, and Comic Keefe. Eighteenth-Century Music 1 in "Cosi Fan Tutte." Cambridge: Briggs Roberts, Jeremy Ryan. "The (2004): 307·11. Cambridge University Press, 2004. Influence of Wolfgang Amadeus Mozart on the Creative Life and Lowe, Melanie. Review of The First Hatten, Robert S. Interpreting Musical Output of Ludwig van Beethoven: A Golden Age of the Viennese Gestures, Topics, and Tropes: Mozart, Cross-Genre Investigation." D.M.A. Symphony: Haydn, Mozart, Beethoven, Schubert. Bloomington: diss., University of Washington, Beethoven, and Schubert, by A. Peter Indiana University Press, 2004. 2004. Brown. Beethoven Forum 11 (spring 2004): 116·23. Leeson, Daniel N. Opus Ultimum: The Crain, Beverly J. "Cost fan tutte and The Story of the Mozart Requiem. New Magic Flute: A Practical Application Stevens, Jane R. Review of Mozart's York: Algora, 2004. for Condensing Two Mozart Operas Piano Concertos: Dramatic Dialogue for College and University Opera in the Age of Enlightenment, by Mozart, Wolfgang Amadeus. Mozart's Workshops." D.M.A. diss., The Simon P. Keefe. Ad Parnassum: A Letters, Mozart's Life: Selected Claremont Graduate University; Journal of Eighteenth- and Letters. translated by Robert 2004. Nineteenth Century Instrumental Spaethling. London: Faber, 2004. Music 2 (2004): 182·87. Dauphinais, Kristin Elaine. "Fidelity in the Mozart·Da Ponte Operas." Zeiss, Laurel. E. Review of The Journal Articles D.M.A. diss., Arizona State Cambridge Companion to Mozart, by University, 2004. Simon P. Keefe. Notes: Quarterly Irving, John A. "Variation Technique in Journal of the Music Library the Adagio of Mozart's D Major Ivanovitch, Roman Maximillian. "Mozart Association 61 (September 2004): String Quintet, K. 593." Tijdschrift and the Environment of Variation." 122.24. voor Muziektheorie 9 (February Ph.D. diss., Yale University, 2004. 2004): 12-18. -Compiled by Cheryl Taranto Lee, I·Lin."The Formal Plan of Mozart's University of Nevada, Las Vegas Leeson, Daniel N. "Mozart's Le Nozze di Concerto in G Major for Flute and Figaro: A Hidden Dramatic Detail." Orchestra (K. 313), Mvt. 1. MA. Eighteenth-Century Music 1 Thesis, State University of New York (September 2004): 301-04. at Buffalo, 2004.

Pryer, Anthony. "Mozart's Operatic Shipley, Lori. "Wolfgang Amadeus Audition: The Milan Concert, 12 Mozart: Six Sonatas, K. 10·15: The March 1770: A Reappraisal and Transitional Works from Childhood Revision." Eighteenth-Century Works to Composer of International Music (September 2004): 265-88. Style." M.A. thesis, California State University, Dominguez Hills, 2004.

-16- Calendar

CONFERENCES fax: (819) 376-5173, e-mail: Marc­ Aphra Behn Society for Women in the [email protected]; or Professor Arts, 1660-1830, 28-30 October 2005, EI Arranged chronologically; deadlines for Isabelle Lachance, Department of Caribe Hotel and Conference Center, paper/seminar proposals are given if French,Universite du Quebec Trois­ Daytona Beah, Florida. Theme: "The Sign known or not already passed. Note that Rivieres, C.P. 500, Trois-Rivieres of Angellica: Writing Women, Subversive abstracts of papers are frequently posted (Quebec) G9A 5H7; or Professor Suzanne Texts." Address: Professor Roberta C. on the web sites of societies. Foisy, Department of Philosophy, room Martin, Department of English, East 4059, Universite du Quebec Trois­ Carolina University, Greenville, NC Rivieres, C.P. 500, Trois-Rivieres 27858-4353; e-mail: The Century of Bach and Mozart: (Quebec) G9A 5H7; tel: (819) 376-5011, marti n [email protected]. Perspectives on Historiography, poste 3189, fax: (819) 373-1988; e-mail: Composition, Theory, and [email protected]. Akademie fur Mozart-Forschung, Performance, a conference in honor of Salzburg, 1-5 December 2005, Christoph Wolff, 23-25 September 2005, American Musicological Society, 27-30 International Mozart Congress, "The John Knowles Paine Concert Hall, October 2005, Washington, D. C. For Young Mozart 1756-1780: Philology­ Harvard University, Cambridge, information see the web site: http:// Analysis-Reception." Address: Akademie Massachusetts. For information, see the www.ams-net.org. fur Mozart-Forschung, att: Dr. Faye web site: fas·www.harvard.edu/ Ferguson, SchwarzstraBe 27, A-5020 - musicdpt/conferences.htmL Mozart Society of America, 28 October Salzburg, Austria; e-mail: 2005, 12:00 noon, Washington, D. c., [email protected]. Northeastern American Society for during annual meeting of American Eighteenth-Century Studies, 30 Musicological Society. Address: Jane R. The British Library is pleased to September - 2 October 2005, University Stevens, 3084 Cranbrook Court, La Jolla, announce a two-day conference, 29-30 of New Brunswick, Fredericton, New CA 92037; e-mail: [email protected]. January 2006, to celebrate the 250th Brunswick. Theme: "The Eighteenth­ anniversary of the birth of Wolfgang Century Everyday: Remembrance and Society for Eighteenth-Century Music, Amadeus Mozart. We welcome proposals Representation." Address: Corey 28 October, 7:00 P.M. during annual for individual papers of thirty minutes, Slumkoski: [email protected] meeting of American Musicological themed sessions consisting of three or Department of History,University of New Society. See the web site for further four papers, or round-table discussions of Brunswick, P. O. Box 4400, Fredericton, information: www.secm.org. one-and-a-half hours. Proposals of no NB Canada E3B 5A3 or Beverly Lemire: more than one page can be sent to Cliff [email protected], Department of East-Central Society for Eighteenth­ Eisen at [email protected]; the History and Classics, 2-28 Henry Century Studies, 27 - 30 October 2005, deadline for submission is 30 September. Marshall Tory Building, University of United States Naval Academy. Annapolis, Decisions will be made immediately Alberta, Edmonton, AB, Canada T6G Maryland. Theme: "Public and Private thereafter and the results announced by 2H4. Website: www.unb.ca/confeences/ Diversions in the Eighteenth Century." 15 October. neasecs. Plenary Speakers: Judith Milhous, CUNY Graduate School; Robert D. Hume, The Mozart Society of America, 10-12 Northwest Society for Eighteenth­ Pennsylvania State University. Address: February 2006, Indiana University, Century Studies, 14-15 October 2005, Professor Nancy A. Mace, Department of Bloomington, Indiana. Theme: "Mozart's Malaspina University-College, N anaimo, English, U.S. Naval Academy, 107 Choral Music: Composition, Contexts, British Columbia. Address: Terri Maryland Avenue, Annapolis, MD 21402 Performance." Address: Bruce Alan Doughty, Department of English, Brown, Department of Music History, Malaspina University-College, 900 Fifth Midwestern Society for Eighteenth­ Thornton School of Music, University of Street, Nanaimo, BC V9R 5S5, Canada; Century Studies, 27-30 October 2005, Southern California, Los Angeles, CA e-mail: [email protected]. Indiana State University, Terre Haute, 90089-0851; e-mail: [email protected]. Indiana. Theme: "Costume and Canadian Society for Eighteenth­ Masquerade." Plenary Speakers: Patricia Western Society for Eighteenth­ Century Studies, 19-22 October 2005, Meyer Spacks and Felicity Nussbaum. Century Studies, 19-20 February 2006, Trois-Rivieres, Quebec. Theme: Address: Kit Kincaide, Department of California State University, Long Beach. "Imitation and Invention in the English, Indiana State University, Terre Address: Clorinda Donato, Romance Eighteenth-Century." Address: Haute, IN 47802; e-mail: Languages or Carl Fisher, Comparative Professor Marc Andre Bernier, [email protected]. Literature, California State University, Department of French, room 3006, Long Beach, CA 90840; Universite du Quebec Trois-Rivieres e-mail: [email protected]; c.P. 500, Trois-Rivieres (Quebec) G9A [email protected]. 5H7, tel: (819) 376-5011, extension 3868, continued on page 18

-17- Calendar P.O. Box 24, FDR Station, New York, NY New York Philharmonic: The Magic of lO150 Tel: (212) 832-9420. Mrs. Erna Mozart Festivals continued from page 17 Schwerin, President. Friends of Mozart A series of three festivals: Program I, 26, South Central Society for Eighteenth­ also publishes newsletters and 27, and 28 January; Program II, 2,3,4, Century Studies, 23-26 February 2006, informative essays for its members. and 7 February; and Program III, 9, 10, Cocoa Beach, Florida For information, 15 October 2005, 2:30 P.M.: Inessa 11, and 14 February 2006. For see the web site: http://www.scsecs.net/ Zaretsky, piano, all-Mozart recital, information go to the web site: http:// sesecs/. Donnell Library, 20 W. 53d Street, New newyorkphilharmonic. org/attend/ season/ York City. 16 November, 8:00 P.M •• : index.cfm?page=eventDetail&eventNum= 71 Southeastern American Society for Claring Chamber Players with David Oei, Eighteenth-Century Studies, 2-4 March piano, Mozart Trios, Goethe Institut, 1014 San Francisco Symphony 2006 Mozart 2006, Athens, Georgia. address: John Fifth Avenue. 18 January 2006, 8:00 P.M •• : Festival. San Francisco Symphony Ticket Vance, Department of English, University Mozart's Birthday Concert, Claring Services, Davies Symphony Hall, San of Georgia, Athens, GA 30602; e-mail: Chamber Players with guest hornists, Francisco, CA 94102 [email protected]. Also see the web Divertimento K. 247, Quintet K. 407 tel: (415) 864-6000; site: http://socrates.barry.edu/seasecs. (386c), Goethe Institut. 15 April, 2:30 fax: (415) 554-0108. P.M.: Spring Concert, Donnell Library Mozart Society of America, during Center. Admission free to all events. annual meeting, 30 March - 2 April 2006 The following organizations present of American Society for Eighteenth­ Mozart Society of California. Carmel. concerts and lectures; no further Century Studies, Montreal. Theme: P.O. Box 221351 Carmel, CA 93922 information is available at this time. "Making Opera: Mozart in the Theatre." Tel: (831) 625-3637; web site: Send 250-word proposals for papers to www.mozart-society.com. 7 October 2005: Mainly Mozart Festival. Arizona State Isabelle Emerson, Session Chair, Allan Vogel and Friends, "Bach's Circle." University [email protected]. See also 18 November: Rossetti String Quartet. 27 ASECS web page at http:// January: Steven Lubin, piano. 24 . Midsummer Mozart Festival. asecs. press .jhu. edu. February: Triple Helix Piano Trio. 31 San Francisco March: Winner, Borciani String Quartet Tel: (415) 954-0850 Society for Eighteenth-Century Music, Competition. 28 April: Nathaniel Webster, Fax: (415) 954-0852 21-23 April 2006, Williamsburg, baritone, and Daniel Lockert, piano. All George Cleve, Music Director and Virginia. Theme: "Genre in Eighteenth­ concerts take place at All Saints Church, Conductor Century Music." Submit 250-word Carmel, and begin at 8:00 P.M. Season abstract by 15 September 2005 to Paul ticket which includes reception after each Mostly Mozart 2006. New York City Corneilson, Chair, SECM Program event, $115.00. Single admission $23.00 Lincoln Center Committee, [email protected]. for non-members, $8.00 for students. July and August 2006

Mozart Society of America and the The Mozart Society of Philadelphia. Santa Fe Opera, 29 June - 2 July 2006, No.5 The Knoll, Lansdowne, PA OK Mozart International Festival Santa Fe, New Mexico. Topic: Die 19050-2319 Tel: (610) 284-0174. Davis P.O. Box 2344 Zauber{lote. Send 250-word abstracts by Jerome, Director and Music Director, The Bartlesville, OK 74005 27 January 2006 to Isabelle Emerson, Mozart Orchestra. Sunday Concerts at Ms. Nan Buhlinger, Director [email protected]. Seven, Concerts are free and open to the public. No further information available San Luis Obispo Mozart Festival. International Herder Society, 20-23 at this time. P.O. Box 311, San Luis Obispo, CA September 2006, University of 93406; tel: (805) 781-3008 Clifton Wisconsin, Madison, Wisconsin. Theme: Swanson, Music Director and Conductor. "J. G. Herder as Challenge." Send one­ CONCERTS AND LECTURES July and August 2005 page abstract for 20- to 30-page presentation before 28 September 2005 to Mainly Mozart Festival. San Diego. P.O. Vermont Mozart Festival. Burlington Sabine Gross, Department of German, Box 124705, San Diego, CA 92112-4705 P.O. Box 512 1220 Linden Drive, University of Tel: (619) 239-0100. David Atherton, Burlington, VT 05402 Wisconsin, Madison, WI 53706; e-mail: Artistic Director. Performances by the [email protected]. Mainly Mozart Festival orchestra, Woodstock Mozart Festival. Woodstock, chamber music, recitals, educational IL, three consecutive weekends in late concerts, and lectures. Tickets $15-42. July and August, in the Woodstock Opera ACTIVITIES OF CITY AND Call for information about other series House, 121 Van Buren Street, Woodstock, REGIONAL ORGANIZATIONS offered by Mainly Mozart. Illinois

Friends of Mozart, Inc. New York City.

-18- Board of Directors

Isabelle Emerson (University of Nevada, Las Vegas), President Jane Stevens (University of California, San Diego), Vice-President Daniel N. Leeson (Los Altos, Calif.), Treasurer Peter Hoyt (University of South Carolina), Secretary Bruce Alan Brown (University of Southern California) Gregory Butler (University of British Columbia) Dexter Edge (Boston, Mass.) Kathryn L. Shanks Libin (Vassar College) Marita McClymonds (University of Virginia) Mary Sue Morrow (University of Cincinnati) John A. Rice (Rochester, Minn.) Jessica Waldoff (Holy Cross College) Gretchen Wheelock (Eastman School of Music)

Honorary Directors

Alessandra Comini (Southern Methodist University) Daniel Heartz (University of California, Berkeley) Jane Perry-Camp (Robbinsville, N.C., Tallahassee, Fla.) Christoph Wolff (Harvard University) Barry S. Brook (1918-1997) Jan LaRue (1918-2004) ------

Please fill out the form below and mail it with your check (payable to the Mozart Society of America) to: Mozart Society of America, Music Department, University of Nevada, Las Vegas, Las Vegas, NV 89154-5025. Dues to be applied to: o I would like to become a member of the Mozart Society of America. o Present Year o Next Membership Year

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-19- The Mozart Society of America

We are proud to present this issue of the Newsletter of the Mozart Society of America. Please share this copy with colleagues and students.

It is with great pleasure that we express our gratitude to all who helped make this issue possible: the Department of Music and the University of Nevada, Las Vegas, for serving as host institution; and Jeff Koep, Dean of the College of Fine Arts, for his generous and unfailing support of the Mozart Society of America.

John A. Rice, Editor Isabelle Emerson, President Newsletter Mozart Society of America

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