Spring 2021 (Vol. 25, No. 1)
  • “One of the Mozarteum’s New Acquisitions,” by Steven N. Machtinger
  • Call for Papers: MSA and Society for Eighteenth-Century Music in Salzburg
  • “Francesco Benucci as Actor,” by Magnus Tessing Schneider
  • Robert H. Spaethling (1927–2020)
  • Book review: Tre opere su Don Giovanni per Praga, ed. Milada Jonášová and Tomislav Volek, reviewed by Martin Nedbal
  • Book review: Carl Ditters von Dittersdorf: Kontexty a perspektivy, ed. Jan Blüml and Jana Spáčilová, reviewed by Martin Nedbal
Fall 2020 (Vol. 24, No. 2)
  • “Mozart’s Receipt for Lucio Silla,” by Christopher J. Salmon
  • Remembering Daniel Heartz
  • “Love at a Distance in a Time of Mozart,” by James Currie
  • Recording Review: Mozart in London by Ian Page and the Mozartists, reviewed by Alyson McLamore
  • Book Review: Bach and Mozart: Essays on the Enigma of Genius by Robert L. Marshall, reviewed by Daniel R. Melamed
  • Book Review: In the Footsteps of Mozart’s Clarinetist: Anton Stadler and His Basset Clarinet by Pamela L. Poulin, reviewed by Janet K. Page
Spring 2020 (Vol. 24, No. 1)
  • Conference Report: “Bach and Mozart: Connections, Patterns, Pathways”
  • Conference Report: “International Mozart Communities” Meeting
  • Edmund Goehring Wins Emerson Award
  • Daniel Heartz (1928-2019)
  • “An Unknown French Copy of the Concerto for Flute and Harp,” by François-Pierre Goy
  • “Historical Residue or Modern Practice? In Defense of the Text for The Magic Flute,” by Catherine Coppola
  • “The Digital Mozart Edition and the Digital Interactive Mozart Edition,” feature review by Dexter Edge
Fall 2019 (Vol. 23, No. 2)
  • “A Previously Overlooked Manuscript of La clemenza di Tito in Strakonice and the Opera’s Early Reception in Bohemia,” by Martin Nedbal
  • “Costume Innovations in the Parody Les amours de Bastien et Bastienne,” by Enrique Oliver
  • Book review: Mozart in Prague, ed. by Kathryn Libin, reviewed by Mary Sue Morrow
  • Book review: Mozart in Context, ed. by Simon Keefe, reviewed by Beverly Wilcox
Spring 2019 (Vol. 23, No. 1)
  • “Mozart in the Middle: London’s ‘Musical Children,’” by Alyson McLamore
  • “Mozart, Modernization, and the Fading of the Cultural Revolution in China,” by Annie Yen-Ling Liu
  • Book review: Mozart in Vienna: The Final Decade, by Simon P Keefe, reviewed by John A Rice
  • Book review: Cherubino’s Leap: In Search of the Enlightenment Moment, by Richard Kramer, reviewed by Jessica Waldoff
Fall 2018 (Vol. 22, No. 2)
  • Paul Corneilson – “Wolfgang Gottlieb Mozart”
  • Laurel E. Zeiss – “Reflections on Mozart Communities Event and the Opening of Mozartwoche, January 2018”
  • Adem Merter Birson – “Mozart’s Turkish Tattoo: Hybridity in Die Entführung aus dem Serail”
  • Reviews:
    • Mozart 225: The New Complete Edition
    • Private Music, Fragments, Arrangements, and Doubtful Works, reviewed by Murl Sickbert
    • Italian Operas, reviewed by John Platoff
    • German Operas, reviewed by Lisa de Alwis
    • Chamber Music, reviewed by Edward Klorman
Spring 2018 (Vol. XXII, No. 1)
  • Conference Report: “Mozart and Modernity”
  • Edward Klorman Wins the Emerson Award
  • MSA Donates Portrait to Estates Theater
  • Ave verum corpus in Labrador,” by Sarah Eyerly
  • “Mozart and His Fellow Prodigies in Giovenale Sacchi’s Della divisione del tempo (1770),” by Adeline Mueller
  • Reviews:
    • Mozart 225: The New Complete Edition
    • Introduction to the Set, by Emily Wuchner
    • W. A. Mozart, reviewed by Laurel E. Zeiss
    • Orchestral Music, reviewed by Neal Zaslaw
    • Sacred Works, reviewed by Matthew Leone
Fall 2017 (Vol. XXI, No. 2)
  • Martin Nedbal – “Domenico Guardasoni’s Prague Conducting Score for Così fan tutte
  • John A. Rice – “Twin Portraits: Morichelli and Martín y Soler in Vienna, 1787”
  • Thomas Bauman – Book review: Morality and Viennese Opera in the Age of Mozart and Beethoven
  • Emily Wucher – Book review: The Mozart Project
  • Floyd Grave – Book review: Mozart’s Music of Friends
Spring 2017 (Vol. XXI, No. 1)
  • William O’Hara – “Momigny’s Mozart: Language, Metaphor, and Form in an Early Analysis of the String Quartet in D Minor, K. 421”
  • Sarah E. Huebsch – “Mozart, Linley, and Obbligato Oboe”
  • L. Poundie Burstein – Performance review: The Other Mozart
  • William Gibbons – Recording review – Les Mystères d’Isis
  • Mimi Stillman – Score review: Concerto for Flute, Harp, and Orchestra in C Major, K. 299
Fall 2016 (Vol. XX, No. 2)
  • Isabelle Emerson – “Twenty Years After”
  • Dorothea Link – “Mozart’s ‘Batti, batti, o bel Masetto’ Performed in London in 1789”
  • Kathryn L. Libin – “The Musical Notenbuch of Countess Wilherlmine von Uhlfeld”
  • Christopher Lynch – Book review: Simon Keefe, ed., Mozart Studies 2 (2015)
  • Edmund Goehring – Performance review: “Mozart’s Requiem as Modernist Ritual [Against the Grain Theatre, Toronto, 2016]”