Mozart in Prague: Essays on Performance, Patronage, Sources, and Reception

Edited by Kathryn L. Libin

cover of Mozart in Prague

This collection of scholarly essays stems from a joint conference held in Prague in June 2009 by the Mozart Society of America and the Society for Eighteenth-Century Music; it has been co-published by both societies with the Institute of Ethnology of the Czech Academy of Sciences. The purpose of the conference was to examine from diverse points of view the music of Mozart and his contemporaries within the rich cultural context provided by Prague. This volume offers critical discussions of musicians and performance in theatrical, concert, and private settings; of important patrons of music in Bohemia and nearby; of sources and repertoire that deepen our knowledge of contemporary practices in this region; of the extraordinary cross-fertilization between Italy and its Central European counterparts; and of the opera that is perhaps most closely identified with Prague, Don Giovanni, with new perspectives on its sources, structure, and reception.

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  • Editor’s Introduction by Kathryn L. Libin
  • Acknowledgments
  • Abbreviations


Music and Patronage in Central Europe

  • A Paternal Patronage in Dresden: Count Heinrich von Brühl and Gottlob Harrer
    R. Todd Rober
  • Antonio Salieri’s Requiem Mass: The Moravian Connection
    Jane Schatkin Hettrick
  • Mozart Reception in Early 19th-century Bohemia as Revealed by Johann
    Nepomuk Chotek’s Diary
    Rita Steblin

Musical Practice in Bohemia

  • Mozart’s Prague Copyists: The Copying Workshop of Anton Grams
    Milada Jonášová
  • American Mozart Scholarship as Seen from Prague
    Tomislav Volek
  • Elements of Enlightenment in Osmin’s Rage: Mozart’s Die Entführung aus dem
    in Prague
    Jean Marie Hellner
  • Piano Music by Wolfgang Amadé Mozart Arranged for Harmoniemusik from the
    Archives in the Kroměříž Palace
    Peter Heckl
  • Losses and Gains: Mozart’s Sacred works in Bohemian Monastic and Parish Music Collections in his Time and in the 19th Century
    Michaela Freemanová

Mozart’s Singers

  • In Defense of Josepha Duschek (and Mozart): Patronage, Friendship, and Evidence
    Bruce Alan Brown
  • “aber nach geendigter Oper mit Vergnügen”: Mozart’s Arias for Mme Duschek
    Paul Corneilson
  • A Bohemian Composer meets a Mozart Singer: Koželuh’s Rondò for Adriana
    John A. Rice

Mozart and Theatre

  • The Italian Reception of Benda’s Ariadne auf Naxos and Medea: Fascination and
    Lucio Tufano
  • Mozart’s Difficulties with the Opera Overture or, “For Heaven’s Sake, Begin it
    with a Cavalry March!”
    Bertil van Boer
  • Preaching (German) Morals in Vienna: The Case of Mozart and Umlauf
    Martin Nedbal

Guardasoni and Italian Opera

  • Italian Opera in Prague, Dresden, and Elsewhere: The Impresario Giuseppe
    Pierluigi Petrobelli
  • From Venice to Warsaw: Zenobia di Palmira by Sertor and Anfossi Performed
    by Guardasoni’s Troupe (1791)
    Anna Ryszka-Komarnicka

Don Giovanni

  • Of Theologians and Libertines: An Apology for Theater from the Austrian Enlightenment
    Edmund J. Goehring
  • “Die trefflich gewählten Instrumente”: Orchestrating Don Giovanni’s Defeat
    Simon P. Keefe
  • Formenlehre Goes to the Opera: Examples from Don Giovanni
    Nathan Martin
  • Laughing with Casanova: Luigi Bassi and the Original Production of Don Giovanni
    Magnus Tessing Schneider
  • One Manuscript, Two Cities: The Story of the Prague Conservatory Don Giovanni Score
    Ian Woodfield