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How to Encode Georg Nikolaus Nissen's Journal of the Text Encoding Initiative Issue 11 | July 2019 - June 2020 Selected Papers from the 2016 TEI Conference Biography as Compilation: How to Encode Georg Nikolaus Nissen’s Biographie W. A. Mozart’s (1828) in TEI P5 Anja Morgenstern and Agnes Amminger Electronic version URL: http://journals.openedition.org/jtei/2725 DOI: 10.4000/jtei.2725 ISSN: 2162-5603 Publisher TEI Consortium Electronic reference Anja Morgenstern and Agnes Amminger, « Biography as Compilation: How to Encode Georg Nikolaus Nissen’s Biographie W. A. Mozart’s (1828) in TEI P5 », Journal of the Text Encoding Initiative [Online], Issue 11 | July 2019 - June 2020, Online since 16 January 2020, connection on 01 July 2020. URL : http:// journals.openedition.org/jtei/2725 ; DOI : https://doi.org/10.4000/jtei.2725 For this publication a Creative Commons Attribution 4.0 International license has been granted by the author(s) who retain full copyright. Biography as Compilation 1 Biography as Compilation: How to Encode Georg Nikolaus Nissen’s Biographie W. A. Mozart’s (1828) in TEI P5 Anja Morgenstern and Agnes Amminger SVN keywords: $Id: jtei-cc-pn-morgenstern-135-source.xml 914 2020-02-20 09:04:30Z ron $ ABSTRACT The project of editing the early Biographie W. A. Mozart’s (1828) by Georg Nikolaus Nissen (Nissen Online) began as part of the Digital Mozart-Edition (DME) at the Mozarteum Foundation Salzburg. The aim of the edition is to reveal the structure of the text by identifying the diverse sources Nissen relied on when writing the biography. These include primary sources such as original letters and documents from the Mozart family, secondary sources such as contemporary literature about Wolfgang Amadeus Mozart, and original text written by the author and later editors. Considering the challenges that arise when creating an edition that tries to dene the dierent strands of a text, this paper describes how XML/TEI markup was applied to 1. encode text passages which often do not correlate with common text structures (paragraphs, chapters); Journal of the Text Encoding Initiative, Issue 11, 16/01/2020 Selected Papers from the 2016 TEI Conference Biography as Compilation 2 2. document dierent types of sources and their authors or editors; and 3. integrate a detailed bibliography of the sources as well as critical annotations for each single text passage. INDEX Keywords: digital edition, text encoding, source criticism, biography, Mozart 1. The Biography 1 The Biographie W. A. Mozart’s, comprising two volumes totaling approximately one thousand pages, was written between 1824 and 1828 in Salzburg and published in early 1829 by Breitkopf & Härtel in Leipzig (Nissen 1829a, 1829b). It was the rst comprehensive biography of Mozart and utilized, for the rst time on a large scale, about four hundred letters of the Mozart family. The author was Georg Nikolaus Nissen (1761–1826), a Danish diplomat and the second husband of Constanze Mozart (1762–1842), widow of the composer. 1.1 Origination Process 2 In the summer of 1824 Mr. and Mrs. Nissen visited Mozart’s sister, Maria Anna von Berchtold zu Sonnenburg (1751–1829), in Salzburg. She presented them with the family correspondence and other original documents by Mozart. This gift inspired Nissen to start his work on a book about Wolfgang Amadeus Mozart. 3 Nissen studied the letters and made excerpts of passages he regarded as worth publishing. Up until early 1826 he collected and copied all published writings on Mozart. He compiled a bibliographical list of the works he had studied, which the editors later included in the biography. It contains more than eighty items, including the earliest German biographies of Mozart, Italian and French biographical articles, biographies of other musicians, the most important musical periodicals, musical and general encyclopedias, as well as music history books and many more items. However, Nissen and his successors did not properly cite the author or source of the majority of the texts they used. As a consequence, unattributed direct quotation from many sources constituted a kind of plagiarism. Journal of the Text Encoding Initiative, Issue 11, 16/01/2020 Selected Papers from the 2016 TEI Conference Biography as Compilation 3 4 All the working material Nissen used for the main volume is preserved in the Library of the Mozarteum Foundation Salzburg and helps us to reconstruct his work on the biography. In addition to the letters, two early Mozart biographies form the basis of Nissen’s biography: the necrology by Friedrich Schlichtegroll (Gotha 1793, oprint 1794) and the second edition of the Lebensbeschreibung des K. K. Kapellmeisters Wolfgang Amadeus Mozart by Franz Xaver Niemetschek, issued in 1808. These two publications, based on authentic material provided by Mozart’s sister and widow, formed the framework for Nissen. A feature of this framework was the integration of numerous passages extracted from secondary sources. 5 Nissen died in March 1826 without leaving a publishable manuscript, and two other people were involved in completing his work. The rst was Anton Jähndl (1783–1861), the Regens chori (choirmaster) of the Benedictine convent Nonnberg at Salzburg. While using the working material left by Nissen he prepared the manuscript for publication, sometimes adding documents and articles that had been published after March 1826, but also adding passages of his own. When this work was completed in the spring of 1828, Constanze Nissen engaged the physician and Mozart enthusiast Johann Heinrich Feuerstein (1797–1850) at Pirna in Saxonia as the second editor of the manuscript. Feuerstein changed a great number of verbal expressions and added some of his own ideas as well. 1.2 Assessment 6 While some readers, among them Johann Wolfgang von Goethe and Felix Mendelssohn Bartholdy, appreciated the insights available from Mozart’s letters published in Nissen’s biography, several critical reviews of the book emerged in early 1829. The most important article was written by Ignaz Mosel (1772–1844), a music historian, and published in 1830 in Jahrbücher der Literatur. Mosel recognized all the plagiarized passages. His detailed analysis culminates in the following summary: “the major part of the book, or in fact—excluding the letters—the whole book consists of plagiarism”1 (Mosel 1830, 164). He further characterizes the book as a “mix of copies, citations, and plagiarism without sensitivity, in random choice and order”2 (Mosel 1830, 163). Some years later the Russian music writer Aleksandr Ulybyšev (1794–1858) and the philologist and music historian Otto Jahn (1813–1869) also became aware of the deciencies in Nissen’s biography, and Journal of the Text Encoding Initiative, Issue 11, 16/01/2020 Selected Papers from the 2016 TEI Conference Biography as Compilation 4 both decided to write their own biographies of Mozart. In 1842–43 Ulybyšev published a biography in French in three volumes, and between 1856 and 1858 Jahn published a biography in German in four volumes. 7 Over the next 150 years, this critical assessment of the biography was forgotten, and the editors of the Neue Mozart-Ausgabe used it for the documentary volume Mozart. Die Dokumente seines Lebens (Deutsch 1961), without critical annotation. The importance accorded to Nissen’s biography was based on the circumstance that the author was married to the widow of Mozart. The opinion that Nissen had rsthand information was expressed again by Rudolph Angermüller in his new edition of the biography (Nissen 2010). It contains many annotations on people and works, but completely abstains from analyzing and commenting on the secondary sources used by Nissen on a large scale, even though in 1997 Dieter Demuth had already stated that Nissen’s biography of Mozart was— apart from the letters—a true plagiarism of early Mozart literature and that the detection of all of Nissen’s sources remained a desideratum (Demuth 1997, 83). 1.3 Research Results 8 The detailed analysis of Nissen’s biography revealed that the hypothesis of rsthand information is by no means valid. Nissen used secondary sources even for biographical details about Mozart. All aesthetic considerations of Mozart’s music are unattributed quotations taken from other authors. Nissen sometimes put together contradictory statements or contrasting aesthetical positions, such as classical and romantic ideas about Mozart’s music, without critical reection. Constanze Mozart’s contribution to the biography consists only of details of little importance (Morgenstern 2014, 103–9). 9 Although Nissen’s biography reproduced texts and worklists of other authors on a large scale, the book oered, besides the important Mozart correspondence, some original documents, unknown portraits of Mozart and his family, musical pieces from the so called Nannerl Notebook, as well as a specimen of Mozart’s handwriting. The list of unnished musical compositions by Mozart was completely new to the musical world at this time as well. For a few Mozart letters, where the originals are lost today, the biography is the only known source. Journal of the Text Encoding Initiative, Issue 11, 16/01/2020 Selected Papers from the 2016 TEI Conference Biography as Compilation 5 2. The Digital Edition 10 Our project is part of the Digital Mozart-Edition at the Salzburg Mozarteum Foundation. Its goal is to ll a gap in Mozart research by analyzing the Nissen biography to distinguish and elucidate its various sources: • primary sources (such as Mozart letters and original documents), • secondary sources (early Mozart literature,
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