- Hirschberg, Jehoash. “Formal and Dramatic Aspects of Sonata Form in
Mozart’s Idomeneo.” MR38 (1977): 192–210.
An analysis of the arias and ensembles. They show how Mozart, in his operas,
was shifting from the da capo form (which he hardly used after 1780) to some-
thing closer to sonata form. Not exactly sonata form, however: “The arias in
Idomeneocontain no development sections, so that the process of growth and
development is centered in the recapitulation and its relation to the exposi-
tion.” Table of the arias and tonal scheme. - Heartz, Daniel. “The Great Quartet in Mozart’s Idomeneo.” Music Forum 5
(1980): 233–256.
A close examination of the act 3 quartet, considering all musical and textual
elements. Heartz explains how they all blend into a dramatic unity, with tonal-
ities at the core: “The E-flat of the quartet represents the most formidable chal-
lenge to the primacy of the keynote D. Its unholy alliance with A creates a
dissonance that must be resolved on every level, from the fermata chords in the
second part of the quartet to the eventual resolution of the whole drama on the
dual plateaux of penultimate B-flat and of the ultimate D major triumph.”
1319.Mozart Jahrbuch 1973–1974. Issue on Idomeneo.
Includes Daniel Heartz, “Idomeneus Rex,” Gustav Rudolf Sellner, “Grundla-
gen zur Auführung des Idomeneoin Salzburg 1973,” Margaret Dietrich,
“Wiener Fassungen des Idomeneo,” and detailed discussions by working
groups of the tonal plan and motivic structure of the opera and of vocal and
instrumental elements.
See also Heartz (#1276) and Böhmer (#2407).
Lucio Silla
ASO139 (1991). See also #1268.
Mitridate
ASO54 (1983).
Le nozze di Figaro
ASO135/136 (1990), COH (1988), ENOG 17 (1982), Rororo (1981).
- Tyson, Alan. “Le nozze di Figaro: Lessons from the Autograph Score.” Musi-
cal Times122 (1981): 456–461. Reprinted in #1273.
Takes issue with Moberly (#1325) regarding what Mozart intended as the
order of scenes in act 3. Finds no documents to support Moberly’s ordering,
while evidence from paper study suggests he is wrong. The musical evidence,
in terms of key sequence, is ambiguous. - Tyson, Alan. “Some Problems in the Text of Le nozze di Figaro: Did Mozart Have
a Hand in Them?” JRMA112–1 (1986–1987): 99–131. Reprinted in #1273.
While “careful scrutiny of the well-preserved Figaroautograph can yield much
information as to how it was put together,” other useful clues “perhaps to the
Wolfgang Amadeus Mozart 253