- Allanbrook, Wye Jamison. “Pro Marcellina: The Shape of Figaro,Act IV.”
M&L63 (1982): 69–82.
Disapproves of the customary cuts of numbers 24 and 25, since they con-
tribute significantly to the plot and musical structure. - Ruf, Wolfgang. Die Rezeption von Mozarts “Le nozze di Figaro” bei die
Zeitgenossen.Beihefte zum Archiv für Musikwissenschaft, 16. Wiesbaden:
Steiner, 1977. 148p. ISBN 3-515-02408-5. ML55 .A67 v.16.
Compares the reception to that of Paisiello’s Il re Teodoro in Venezia. - Noske, Fritz. “Social Tensions in Le nozze di Figaro.” M&L50–1 (January
1969): 45–62.
The opera has “no message: it does not propagate reform of the social order.
Mozart only registers the social climate, without taking sides.” See next entry. - Brophy, Brigid. “Figaro and the Limitations of Music.” M&L51 (1970):
26–36.
Disputes those, like Noske (#1328), who find a social theme in the opera and
see no erotic desire in the count, only his wish to act like a nobleman. In any
case, the class matter is in the libretto only; music cannot express it. Our con-
cept of operatic characters is drawn from the words and dramatic action—the
music of course reflects this. Melodic characterization is really mood painting.
See also #1268.
Die Zauberflöte
ASO1 (1976) and 101 (1987), COH (1991), ENOG 3 (1980), Rororo (1982).
- Schneider, Otto. “Die Zauberflöte in der Literatur: Ein bibliographisches
Überblick.” Österreichische Musikzeitschrift22–8 (August 1967): 458–464.
An annotated list of 300 writings on the opera, useful despite a crowded narra-
tive format. - Eckelmeyer, Judith A. The Cultural Context of Mozart’s “Magic Flute”:
Social, Aesthetic, Philosophical.Lewiston, N.Y.: E. Mellen, 1991. V.1: viii,
329p. ISBN 0-7734-9642-4. ML410 .M95 E19.
A second volume was not seen, but it is described in the first as consisting of
three appendixes: a libretto of the opera; a letter from Gottfried van Swieten to
Joseph II with a reply; and the text of a Masonic writing by Christian
Rosenkreuz, who gave his name to the Rosicrucians. V.1 explains the impor-
tance of these sources, then goes on to describe the opera in detail with both
text and musical structure in mind. The libretto is “a message of struggle
toward a better world, a regenerated and transformed society.” Musically, the
work is “an enormous sonata, consisting of the usual exposition, develop-
ment, and recapitulation.” (See also next entry.) With a line-by-line account of
Mozart’s changes to the Schikaneder libretto.
Wolfgang Amadeus Mozart 255