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Bibliography for Stage 1 Proposal 2.0

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Bibliography to the analysis of Mozart's oboe concerto and it's origins.
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  Bibliography for Stage 1 proposal: 1.)   Worthen, Douglas. Ornamentation in Mozart's Flute Concerto in D Major K.314. Illinois: Southern Illinois University   http://opensiuc.lib.siu.edu/cgi/viewcontent.cgi?article=1013&context=safmusiccharts_faculty. 2010. This article describes Mozart's Flute Concerto in D major as one of 2 actual flute concertos that Mozart wrote instead of it being a transposition from the Oboe Concerto in C. Worthen goes into detail describing the ways that the ornamentation should be treated in this Concerto as well as a chart outlining the form of the piece. It also describes certain precautions and considerations that should be kept in mind while performing or learning this piece. 2.)   Kenyon, Nicholas. “The Faber Pocket Guide to Mozart” L ondon: Faber and Faber, 2005 This lively new Pocket Guide assesses what Mozart means to us today, and explors why his music is so universally loved. This guide provides all you need to enjoy Mozart‟s music, and will also introduce a new generation of conc ert-goers and record-listeners to his life and key works, from opera to symphony, concerto to song. In a crisp, sharp style, with recommendations of good recordings,  Nicholas Kenyon shows how Mozart‟s music has communicated with uniqe  power across many generations. - Blurb by Nicholas Kenyon 3.)   Einstein, Alfred . “Mozart” London: Panther, 1971 The present volume is not an introduction to mozart‟s life and music. It addresses itself to readers who already know and love at least some of his works. In the course of this work I had to investigate not only the extrernals of every Mozart manuscript and edition, but also the bearing and style of every work. It was inevitatble that in doing this I should arrive at new results, and it is perhaps understandable that in the end I have felt impelled to present these results, and it is perhaps understandable that in the end I have felt impelled to present these results not only in the dry form of a catalogue, but also in a more connected and more personal one. What I have sought to do is draw as sharply defined a picture as I could of his character and of the personalities and events that exercised a decisive influence upon it. 4.)   Hutchings, Arthur. „Mozart (The Man –    The Musician)” Germany, 1976   This book tells of Mozart‟s story in a way that almost all other sources about Mozart cannot usually portray. It does this by explaining the details of mozart‟s life from the beginning to the end of his life through a set of images. It uses images to descr  ibe 2 sides of Mozart‟s life; Mozart: The man and Mozart: The  Musician. So in this way we get a different view of Mozart in a way that‟s not only verbally but also visually stimulating. 5.)   Sadie, Stanley. “Mozart (The Early Years 1756 –    81)” New York: Oxford , 2006 Stanley‟s book has many virtues, resulting in part from his command of the vst Mozart literature, of which he somehow kept abreast until the end. This factual  basis undergirds his companionable prose style, an obvious passion for the task at hand, his ability to deal with controversial issues in an even-handed manner, and  perhaps most strikingly his gift for conveying a sense of time and place. Stanley had visited most of the cities, villages, courts and monasteries that the widely traveled Mozart had frequented, walking in and around the surviving houses, theaters, and palaces where Mozart had walked. His words have the ability to almost make you feel the cobblestones underfoot, smell the inns and horses, and hear the music. Stanley‟s Mozart is not an idealized archetype but a flesh-and- blood-if-exceptionally-gifted-human being trying to live his life. It is perhaps no longer possible to write a single Mozart for our fractious times, but Stanley Sadie has come perhaps as close as anyone could. - Excerpt from Foreword by Cornwall University 6.)   King, A.Hyatt. “Mozart in Retrospect” London: Oxford, 1970  This book fills some of the gaps that still exist in English writings on Mozart, voluminously through they are. It also covers some ground not touched by French and German writers. Twelve of the chapters have appeared before |as contributions to periodicals, but all have been revised and partly rewritten or substantially expanded. - From preface By A. Hyatt King 7.)   Morris, James M. “On Mozart” New Yo rk: Woodrow Wilson, 1994 This book takes a wide range of Mozart‟s works and ultimately his masterpieces and exploring different aspects of him from the point of view of many different works. Each chapter contains a separate entry from a different author exploring different aspects of Mozart from a general concept of who he is to advice on  performance practice and even a look into his compositional style. 8.)   Tyson, Alan. “Mozart Studies of the Autograph Scores” Massachusetts: Harvard, 1987 This book consists of articles on aspects of Mozart and his autographs; they were written and for the most part published in journals or in celebratory volumes such as “Festschriften” between 1975 and 1986. The articles within this book describes  in detail the certain aspects of the autograph scores that allows us to now date each piece to when and perhaps even where it was written. The book also  provides with an in- depth list of Mozart‟s pieces and states genre and date of the autographs, as well as stating whether each piece actually had an autograph or not. 9.)   Dimond, Peter. “A Mozart Diary (A Chronological Reconstruction of the Composer‟s Life, 1761 –    91)” London: Greenwood Press, 1997.  This book does not purport to be a diary kept by Mozart. Such work would be intolerably precious. It is rather an attempt to collate the various sources of evidence relating to Mozart‟s creative, professional and personal life. In the vast amount of published material, which the subject has generated since 1791, such evidence tends to be treated in separate compartments. In placing the various threads of Mo zart‟ s life tether in their chronological contexts it is hoped to illuminate even further what is already known about the extraordinary  phenomenon which the subject presents 10.)   Rushton, Julia n. “Mozart” London: London: Oxford, 2006. My Objective has been to supply an introduction and guide to Mozart‟s output, usable for reference, with the appendices (Calendar, worklist, and personalia) usual in the Master Musicians series. The structure of the book itself attempts to simplify without being simplistic. I review genres of composition at gathering-  points in between the chapters dealing with Mozart‟s life. The latter have dates in their titles, and can be read consecutively if the reader prefers. Some wors are discussed a little ahead of their place in the biographical framework, but later works are given consideration on their own, in the „life‟ chapters or in the final chapter on „late works‟.  - From preface by Julian Rushton 11.)   Melograni, Piero. “Wolfgang Amadeus Mozart (A biography)” Chicago: University of Chicago, 2007 This book goes into detail in describing the different points of Mozart‟s life by referencing his letters throughout the book. It describes his personal and compositional life in chapters based around one pivotal event in Mozart‟s life to another. Alongside the references to the letters, it also points out certain pieces in Mozart‟s compositional life based on what he had  stated in his letters Recordings:  1.)   Mozart, Wolfgang Amadeus. “ Oboe concerto in C major K.314”  from “Mozart Wind Concertos” . John Anderson, English Chamber Orchestra conducted by Ralf Gothóni, 2006 2.)   Mozart, Wolfgang Amadeus. “Oboe concerto in C major K.314” from “ Complete Mozart Edition: The Wind Concertos, Vol. 2 ”. Heinz Holliger, Academy of St. Martin in the Fields conducted by Sir Neville Marriner. 2006 3.)   Mozart, Wolfgang Amadeus. “Flute Concerto No. 2 in G major” from “Mozart: Flute Concertos”. EMI R  ecords: Emmanuel Pahud, Berliner Philharmoniker conducted by Claudio Abbado. 1997 Scores: 1.)   Mozart, Wolfgang Amadeus. “Oboe concerto in C major K.314” Germany: Barenreiter-Verlag, 2003 2.)   Mozart, Wolfgang Amadeus. “Oboe concerto in C major K.314” Stuttgart: G. Henle Verlag, 2001 3.)   Mozart, Wolfgang Amadeus. “Flute Concerto in D major K.314” Germany: Barenreiter-Verlag
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