Marjorie Weston Emerson Award
The Mozart Society of America invites nominations for the Marjorie Weston Emerson Award, a $500 prize given annually for outstanding scholarly work on Mozart published in English during the two previous calendar years. The Award will be given in alternate years to books and editions, and to essays and articles. The 2022 Award will be for the best essay or article published in 2020 or 2021.
The selection is made by a committee of Mozart scholars appointed by the President of the MSA, with approval from the Board of Directors.
The Emerson Award Committee would be grateful to receive nominations from Mozart Society members of eligible essays and articles. Please send nominations to Sarah Eyerly using subject line “MSA Emerson Award 2022”.
The nomination deadline is: June 1, 2022.
The Society reserves the right not to award the prize in a given year.
Winners of the Marjorie Weston Emerson Award
- 2021: W. Dean Sutcliffe, Instrumental Music in an Age of Sociability: Haydn, Mozart and Friends (Cambridge, 2020)
- 2020: Sarah Eyerly, “Mozart and the Moravians,” Early Music 47/2 (2019): 161-182
- 2019: Edmund Goehring, Coming to Terms with Our Musical Past: An Essay on Mozart and Modernist Aesthetics (University of Rochester, 2018)
- 2018: Austin Glatthorn, “The Imperial Coronation of Leopold II and Mozart, Frankfurt am Main, 1790,” Eighteenth-Century Music 14 (2017): 89-110
- 2017: Edward Klorman, Mozart’s Music of Friends: Social Interplay in the Chamber Works (Cambridge, 2016)
- 2016: Justin Lavacek, “Mozart’s Harmonic Design in the Secco Recitatives,” Theoria: Historical Aspects of Music Theory 22 (2015): 63-97
- 2015: Matthew Riley, The Viennese Minor-Key Symphony in the Age of Haydn and Mozart (Oxford, 2014)
- 2014: Nicholas Baragwanath, “Mozart’s early chamber music with keyboard: traditions of performance, composition and commodification,” in Mozart’s Chamber Music with Keyboard, edited by Martin Harlow (Cambridge, 2012)
- 2013: Simon P. Keefe, Mozart’s Requiem: Reception, Work, Completion (Cambridge, 2012)
- 2012: Roman Ivanovitch, “Mozart’s Art of Retransition,” Music Analysis 30/1 (2011): 1-36
- 2011: Daniel Heartz, Mozart, Haydn, and Early Beethoven, 1781–1802 (Norton, 2009)
- 2010: Dorothea Link, “The Fandango Scene in Mozart’s Le nozze di Figaro,” Journal of the Royal Musical Association 133/1 (2008): 68-91
- 2009: Ian Woodfield, Mozart’s ‘Cosí fan tutte’: A Compositional History (Boydell, 2008)
- 2008: Karol Berger, Bach’s Cycle, Mozart’s Arrow: An Essay on the Origins of Musical Modernity (California, 2007)