- Osthoff, Wolfgang. “Mozarts Cavatinen in ihre Tradition.” In Helmuth
Osthoff zu seinem 70. Geburtstag,139–177 (Tutzing: Schneider, 1969; ML55
.H48).
A historical review of the cavatina form, covering Jommelli, Galuppi, Hasse,
and Gluck. Examples from Mozart demonstrate his approaches. - Neumann, Frederick. Ornamentation and Improvisation in Mozart. Prince-
ton, N.J.: Princeton U.P., 1986. xii, 301p. ISBN 0-691-9123-4. ML410 .M9
N26.
Study of the appoggiatura, grace note, trill, diminutions, and other devices,
with numerous musical examples from the operas. Neumann suggests alter-
native readings of certain arias and recitatives, based on the typical impro-
visatory practice of Mozart’s time. Footnotes, expansive index, no bibliography. - Engel, Hans. “Die finalider Mozartschen Opern.” Mozart Jahrbuch5 (1954):
113–134.
Considers the keys, characters, and mood structure in the finales of 20 operas.
A useful table shows the opening and closing keys of the works. With com-
ments on earlier writers who had covered some of the ground (Abert, Levarie,
et al.), and 33 footnotes identifying the significant literature. - Gruber, Gernot. Mozart and Posterity. Trans. R. S. Furness. London: Quartett,
- ix, 277p. ISBN 1-55553-194-6. ML410 .M9 G8713.
Originally Mozart und die Nachwelt (Salzburg: Residenz, 1985). An elaborate
reception history of all the works, in chronological order. Backnotes, bibliog-
raphy, and a fine index that allows search under opera titles.
See also Heartz (#251, #2134), Kivy (#401), and material on Da Ponte (#241ff.).
Individual Works
La clemenza di Tito
ASO 99 (1987), COH 1991.
- Tyson, Alan. “La clemenza di Titoand Its Chronology.” Musical Times 156
(1975): 221–225, 227. Reprinted in #1273.
Analysis of paper discloses the sequence in which the numbers were written. - Lühning, Helga. “Zur Entstehungsgeschichte von Mozarts Titus.” Musik-
forschung27–3 (July–September 1974): 300–318.
Detailed genesis, using all sources and sketches. References to previous litera-
ture are in 87 footnotes. - Heartz, Daniel. “La clemenza diSarastro: Masonic Beneficence in the Last
Operas.” In Mozart’s Operas(#1276), 255–275.
Much on the Masonic background but of greater interest for its discovery of
parallels between La clemenza di Titoand Die Zauberflöte. Numerous insights
on this aspect and many others in the two operas.
248 Opera