The Development of Mozart's Slurring and its Possible Functions in Performance

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Bibliography PhD thesis (University of Manchester)

Beth Pei-Fen Chen

I. BOOKS
II. ARTICLES
III. FACSIMILES OF MOZART'S AUTOGRAPHS
IV. OTHER COMPOSERS' AUTOGRAPHS OR FACSIMILES
V. EARLY EDITIONS OR MANUSCRIPTS
VI. MODERN EDITIONS OF MOZART'S WORKS
VII. OTHER SCORES
VIII. RECORDINGS

Regarding Mozart's facsimiles, other composers' autographs, facsimiles, manuscripts, or printed scores, this bibliogrophy lists mainly the items which are mentioned or cited in this thesis, but not all the items which are consulted.

I.          BOOKS

II.          ARTICLES

III.       FACSIMILES OF MOZART’S AUTOGRAPHS

IV.        OTHER COMPOSERS’ AUTOGRAPHS OR FACSIMILES

V.          EARLY EDITIONS OR MANUSCRIPTS

VI.        MODERN EDITIONS OF MOZART’S WORKS

VII.     OTHER SCORES

VIII.   RECORDINGS

Regarding Mozart’s facsimiles, other composers’ autographs, facsimiles, manuscripts, or printed scores, this bibliogrophy lists mainly the items which are mentioned or cited in this thesis, but not all the items which are consulted.

I. BOOKS

Anderson, Emily. The Letters of Mozart and his Family, 3 vols. London: Macmillan and Co., 1938.

Agricola, Johann Friedrich, and Pier Francesco Tosi, Anleitung zur Singkunst (Berlin 1757), facsimile edition, Leipzig: VEB Deutscher Verlag für Musik, 1966.

Bach, Carl Philipp Emanuel (ed. Wolfgang Horn), Versuch über die wahre Art das Clavier zu spielen (Part I, Berlin 1753; Part II, Berlin 1762), facsimile edition, Kassel: Bärenreiter-Verlag, 1994.

____, (tr. William J. Mitchell), Essay on the True Art of Playing Keyboard Instrument, New York: W. W. Norton & Company, 1949.

Badura-Skoda, Eva and Paul (tr. Leo Black), Interpreting Mozart on the Keyboard, New York: Da Capo Press, 1996.

Baillot, Pierre Marie François de Sales, L'Art du Violon, Nouvelle Méthode Dédidée à Ses Élèves, Paris : Dépôt central de la musique, 1834.

_______, (tr. Louise Goldberg), The Art of the Violin, Evanston: Northwestern University Press, 1991.

Banchieri, Adriano, Cartella Musicale nel Canto figurato Fermo, & Contrapunto (Venice 1614), facsimile edition, Bologna, Forni Editore, 1968.

Barnickel [a Barnickel], comp., Kurzgefasstes musikalisches Lexicon, Chemnitz bey Johann Christoph and Johann David Stössel, 1749.

Barth, George, The Pianist as Orator: Beethoven and the Transformation of Keyboard Style, Ithaca: Cornell University Press, 1992.

Basso, Alberto, Dizionario Enciclopedico Universale della Musica e dei Musicisti, Torino: UTET, 1983.

Bauer, Wilhelm A., Otto Erich Deutsch, and Internationalen Stiftung Mozarteum Salzburg, ed., Mozart Briefe und Aufzeichnungen, Kassel: Bärenreiter, 1991.

Beyer, Johann Samuel, Primae Lineae Musicae Vocalis: Anweisung zur Singekunst, Freyburg: Gedruckt bey E. N. Kuhtfus, 1703.

Bie, Oscar (trans. E. E. Kellett and E. W. Naylor), A History of the Pianoforte and Pianoforte Players, New York: Da Capo Press, 1966.

Boyden, David D, The History of Violin Playing from its Origins to 1761 and its Relationship to the Violin and Violin Music, London: Oxford University Press, 1965.

Brown, Clive, Classical & Romantic Performance Practice 1750 – 1900, Oxford: Oxford University Press, 1999.

Brown, Howard Mayer and Stanley Sadie eds., Performance Practice: Music after 1600, London: W. W. Norton & Company, 1989.

Butt, John, Bach Interpretation: Articulation Marks in Primary Sources of J. S. Bach, Cambridge: Cambridge Press, 1990.

Caccini, Giulio, Le Nuove Musiche (Florence, 1601), facsimile edition, New York: Broude Brothers Limited, 1973.

Chailley, Jacques (tr. Herbert Weinstock), The Magic Flute, Masonic Opera, London: Victor Gollancz, 1972.

Clive, Peter, Mozart and his Circle: A Biographical Dictionary, London: Yale University Press, 1993.

Cole, Hugo, Sounds and Signs: Aspects of Musical Notation, London: Oxford University Press, 1974.

Cole, Michael, The Pianoforte in the Classical Era, Oxford: Clarendon Press, 1998.

Corelli, Arcangelo, Te [sic?] a Violino e Violone o Cimbalo (Rome, 1700), facsimile edition, Florence: Studio per Edizioni Scelte, 1979.

Corrette, Michel, Méthode théorique et pratique pour apprendre en peu de temps le violoncelle dans sa perfection (Paris, 1741), facsimile edition, Genève: Minkoff Reprint, 1980.

________. Méthode Raisonnée pour Apprendre a Jouer de la Flute Traversière (Paris, 1773), facsimile edition, Genève: Minkoff Reprint, 1977.

________. Méthodes pour Apprendre a Jouer de la Contre-basse à3 à 4 et à 5 cordes, de la Quinte or alto et de la Vilole D’orphée (Paris, 1773), facsimile edition, Genève: Minkoff Reprint, 1977.

Crocker, Richard L., A History of Musical Style, New York; Dover Publications, Inc., 1986.

Czerny, Carl (ed. Paul Badura-Skoda), On the Proper Performance of all Beethoven’s Works for the Piano (Czerny's 'Reminiscences of Beethoven' and 'Complete theoretical and practical piano school, op.500', vol. 4, chapters 2 and 3), Vienna: Universal Edition, 1970.

De Mauro, Tullio, Grande Dizionario Italiano dell’USO, Torino: UTET, 2000.

Deutsch, Otto Erich, Mozart: A Documentary Biography, London: A. and C. Black Limited, 1965.

Devienne, François (tr. Jane Bowers), Nouvelle Méthode Théorique et Pratique pour la Flute (Paris, [1794]), facsimile edition, Aldershot: Ashgate, 1999.

Dimond, Peter, comp., A Mozart Diary: A Chronological Reconstruction of the Composer’s Life, 1761-1791, London: Greenwood Press, 1997.

Eisen, Cliff, New Mozart Documents: A Supplement to O. E. Deutsch’s Documentary Biography, London: Macmillan Press, 1991.

_____, Mozart Studies, Oxford: Clarendon Press, 1991.

_____, and Simon P. Keefe, eds., The Cambridge Mozart Encyclopedia, Cambridge: Cambridge University Press, 2006.

Einstein, Alfred (trans. Arthur Mendel and Nathan Broder), Mozart, his Character, his Works, New York: Oxford University Press, 1945.

Finscher, Ludwig, ed., Die Musik in Geschichte und Gegenwart, Kassel: Bärenreiter, 1999.

Fitzpatrick, Horace, The Horn and Horn-playing, and the Austria-Bohemian tradition from 1680 to 1830, London: Oxford University Press, 1970.

Forman, Denis, Mozart’s Concerto Form: The first movements of the piano concertos, London: Rupert Hart-Davis, 1971.

Freillon Poncein, Jean-Pierre, La Véritable Maniere d'Apprendre à jouer en Perfection du Haut-bois, de la Flûte et du Flageolet, avec les Principes de la Musique pour la Voix et pour toutes sortes d'Instrumens (Paris, 1700), facsimile edition, Genève: Minkoff Reprint, 1974.

Ganassi, Sylvestro, La Fontegara: Schule des Kunstvollen Flötenspiels und Lehrbuch des Diminuierens (Venedig, 1535), ed. Hildemarie Peter, Berlin: Robert Lienau Musikverlag, 1956.

Gasparini, Francesco, Cantate da Camera a Voce Sola (Rome 1695), facsimile edition, Florence: Studio per Edizioni Scelte, 1984.

Gattel, Claude-Marie, Dictionnaire Universel de la Langue Française, 3^rd edition, Lyon: Buynand, 1819.

Gärtner, Heinz (tr. Reinhard G. Pauly), John Christian Bach: Mozart’s Friend and Mentor, Portland: Amadeus Press, 1989.

Geminiani, Francesco, The Art of Playing on the Violin (London, 1751), facsimile edition, London: Oxford University Press, [1952].

Gengenbach, Nikolaus, Musica Nova: Newe Singekunst, Leipzig: E. Rehefeld und J. Grosse, 1616.

Girdlestone, C. M.. Mozart’s Piano Concertos. London: Cassell & Company Limited, 1978.

Halliwell, Ruth, The Mozart Family: Four Lives in a Social Context, Oxford: Clarendon Press, 1998.

Harrison, Bernard, Haydn’s Keyboard Music: Studies in Performance Practice, Oxford: Clarendon Press, 1997.

Hastings, Baird, Wolfgang Amadeus Mozart: A Guide to Research, London: Garland Publishing, Inc., 1989.

Heartz, Daniel, Haydn, Mozart and the Viennese School 1740 – 1789, London: W. W. Norton & Company, 1995.

Heyne, Moriz, Deutsches Wörterbuch, iii, Leipiz: Verlag von S. Hirzel, 1895.

Hildesheimer, Wolfgang (tr. Marion Fader), Mozart, London: J. M. Dent & Sons Ltd, 1982.

Honegger, Marc, ed., Dictionnaire de la Musique, Paris: Bordas, 1970 – 1976.

Honegger, Marc and Günther Massenkeil, Das Große Lexikon der Musik, Freiburg: Herder, 1978-1982.

Hotteterre, Jacques, Principes de la Flute Traversière, de la Flute á Bec, et du Haut-bois (Paris, 1707), facsimile edition, Kassel, Bärenreiter, 1965.

Humphries, John, The Early Horn: A Practical Guide, Cambridge: University Press, 2000.

Keller, Herman (tr. Leigh Gerdine), Phrasing and Articulation: a Contribution to a Rhetoric of Music with 152 musical examples, New York: Norton, 1973.

Keefe. Simon P., ed., The Cambridge Companion to Mozart, Cambridge: Cambridge University Press, 2003.

Kennan, Kent Wheeler, The Technique of Orchestration, Englewood Cliffs: Prentice-Hall, 1970.

Koch, Heinrich Christoph, Musicalisches Lexikon (Frankfurt am Main, 1802), Hildesheim: Georg Olms Verlag, 1985.

Köchel, Ludwig von, Chronologisch-thematisches Verzeichnis sämtlicher Tonwerke Wolfgang Amadé Mozarts nebst Angabe der verlorengegangenen, angefangenen, von fremder Hand bearbeiteten, zweifelhaften und unterschobenen Kompositionen, 6^th edn., (by F. Giegling, A. Weinmann, and G. Sievers) Wiebaden, 1964.

Kolneder, Walter (tr. and ed. Reinhard G. Pauly), The Amadeus Book of the Violin: Construction, History, and Music, Portland: Amadeus Press, 1988.

Komlós, Katalin, Fortepianos and their Music: Germany, Austria, and England, 1760 – 1800, Oxford: Clarendon Press, 1995.

Konrad, Ulrich. Mozarts Schaffensweise. Studien zu den Werkautographen, Skizzen und Entwürfen. Göttingen: Vandenhoeck & Reprecht, 1992.

Künster, Konrad, Mozart Eine musikalische Biographie. Stuttgart: Deutsche Verlag-Anstalt, 1990.

_______. (tr. Mary Whittall), Mozart: A Musical Biography, Oxford: Clarendon Press, 1996.

Landon, H. C. Robbins, Mozart and Vienna, London: Thames and Hudson, 1991. 

______, Mozart’s Last Year 1791, London: Thames & Hudson, 1988.

______, ed., The Mozart Compendium: A Guide to Mozart’s Life and Music, London: Thames and Hudson, 1990.

Lang, Paul Henry, ed., The Creative World of Mozart: Studies by Eminent Scholars in Mozart’s Style, Technique, Life and Works, London: W. W. Norton & Company, 1963.

Laukvik, Jon, Orgelschule zur historischen Aufführungspraxis: Eine Einführung in die “alte Spielweise” anhand ausgewählter Orgelwerke des 16. bis 18. Jahrhunderts, Kassel: Bärenreiter, 1990.

Lawson, Colin, The Early Clarinet: A Practical Guide. Cambridge: Cambridge University Press, 2000.

Le Huray, Peter, Authenticity in Performance: Eighteenth-Century Case Studies, Cambridge: Cambridge University Press, 1990.

Lester, Joel, Compositional Theory in the Eighteenth Century, Massachusetts: Harvard University Press, 1992.

Letňanová, Elena, Piano Interpretation in the Seventeenth, Eighteenth and Nineteenth Centuries: A Study of Theory and Practice Using Original Documents. London: McFarland & Company, 1991.

Libin, Kathryn L. Shanks, The Emergence of an Idiomatic Fortepiano Style in the Keyboard Concertos of Mozart, PhD dissertation, New York University, 1998.

Link, Dorothea, and Judith Nagley, eds., Words about Mozart, Woodbridge: The Boydell Press, 2005.

Locke, Matthew, Melothesia or Certain General Rules for Playing upon a Continued-Bass with a Choice Collection of Lessons for the Harpsichord and Organ of all Sorts: Never before Published (A facsimile of the London, 1673 Edition), Monuments of Music and Music Literature in Facsimile xxx, New York: Broude Brothers limited, 1975.

Lohmann, Ludger, Studien zu Artikulationsproblemen bei den Tasteninstrumenten des 16. – 18. Jahrhunderts, Regensburg: Gustav Bosse, 1982.

MacClintock, Carol, ed., Readings in the History of Music in Performance, Bloomington: Indiana University Press, 1979.

Mann, William, The Operas of Mozart, London: Cassell, 1977.

Marpurg, Friedrich Wilhelm, Die Kunst das Clavier zu spielen (Berlin 1762), facsimile edition, Hildesheim: Georg Olms Verlag, 2006.

Marpurg, Friedrich Wilhelm, Anleitung zum Clavierspielen (Berlin 1765), facsimile edition, Hildesheim: Georg Olms Verlag, 1970.

Marshall, Robert L, ed., Eighteenth-Century Keyboard Music, London: Routledge, 2003.

Matthay, Tobias, The Slur or Couplet of Notes in all its Variety, its Interpretation and Execution, Oxford: Oxford University Press, 1928.

Mattheson, Johann (ed. Margarete Reimann), Der vollkommene Capellmeister (Hamburg 1739), facsimile edition. Kassel: Bärenreiter-Verlag, 1954.

_________ (ed. Friederike Ramm), Der vollkommene Capellmeister: Studienausgabe im Neusatz des Textes und der Noten, Kassel: Bärenreiter-Verlag, 1999.

Mendel, Hermann, ed., Musikalisches Conversations-Lexicon, ii, Berlin: Verlag von R. Oppenheim, 1872.

Mersmann, Hans, ed. (tr. M. M. Bozman), Letters of Mozart, London: J. M. Dent and sons Ltd, 1938.

Moens-Haenen, Greta (ed. Der Hochschule für Künste Bremen Akademie für Alte Musik), Deutsche Violintechnik im 17. Jahrhundert: ein Handbuch zur Aufführungspraxis, Graz: Akademische Druck- u. Verlagsanstalt, 2006.

Mozart, Leopold (ed. Greta Moens-Haenen), Versuch einer gründlichen Violinschule (1756), facsimile edition, Kassel: Bärenreiter-Verlag, 1995.

_____ (tr. Editha Knocker), A treatise on the Fundamental Principles of Violin Playing, Oxford: Oxford University Press, 1985. 

_____ (tr. Elisabeth Kaplan), The Art of the Violin, Salzburg: Kulturverlag Polzer, 2008. 

Mozart, W. A, Eigenhändiges Werkverzeichnis: Verzeichnüss aller meiner Werke, facsimile edition, Albi Rosenthal and Alan Tyson eds. and trans., London: Bärenreiter, 1991.

Muffat, Georg, ‘Florilegium secundum (1698)’, in Carol MacClintock tr., Readings in the History of Music in Performance (Bloomington: Indiana University Press), 297–303.

Neumann, Frederick, Performance Practices of the Seventeenth and Eighteenth Centuries, New York: Schirmer Books, 1993.

_______, Ornamentation in Baroque and Post-Baroque Music, Princeton: Princeton University Press, 1978.

Newman, William, The Sonata in the Baroque Era, London: W. W. Norton & Company, 1983.

Park, Jin Young, A Reinvestigation of Early Mozart: The Three Keyboard Concertos, K. 107, University of Oklahoma, 2002. (DMA)

Parrish, Carl, The Notation of Medieval Music, London: Faber & Faber, 1957.

Playford, John, An Introduction to the Skill of Musick (12^th edition London 1694, corrected and amended by Henry Purcell), facsimile edition, New York: Da Capo Press, 1972.

Prelleur, Peter, The Modern Musick-Master: The Universal Musician (1731), facsimile edition, Basel, Bärenreiter, 1965.

Prout, Ebenezer, The Orchestra, vol. I: Technique of the Instruments and vol. II: Orchestral Combination, London: Augener & Co., 1898.

Publig, Maria, Mozart: Ein Leben für die Musik, Vienna: Tosa Verlagsgesellschaft m.b.H., 2005.

Quantz, Johann Joachim (ed. Hans-Peter Schmitz), Versuch einer Anweisung die flute traversière zu spielen (Berlin revised 1789; first 1752), facsimile edition, Kassel: Bärenreiter Verlag, 1953.

_____ (tr. Edward R. Reilly), On Playing the Flute, London: Faber and Faber, 1985.

______, ‘From the Versuch einer Anweisung die Flöte traversière zu spielen’, in Oliver Strunk, ed., Source Readings in Music History: from Classical Antiquity through the Romantic Era (London: W. W. Norton & Company, 1950), 577-598.

Rastall, Richard, The Notation of Western Music: an Introduction, London: J. M. Dent & Sons Ltd, 1983.

Read, Gardner, Music Notation: A Manual of Modern Practice, London: Victor Gollancz Ltd, 1974.

Riggs, Robert Daniel, Articulation in Mozart’s and Beethoven’s Sonatas for Piano and Violin: Sources-Critical and analytic Studies, Harvard University, 1987.

Riemann, Hugo, Musik-Lexikon (seventh edition), Leipzig: Max Hesses Verlag, 1909.

_______, Musik Lexikon, Sachteil, London, 1967.

Rosenblum, Sandra P., Performance Practice in Classic Piano Music, Bloomington: Indiana University Press, 1991.

Rothschild, Fritz, Musical Performance in the Times of Mozart and Beethoven, London: Adam and Charles Black, 1961.

Rousseau, Jean-Jacques. Dictionnaire de Musique, Paris, 1768.

Rousseau, Jean, Traité de la Viole (Paris 1687), facsimile edition, Amsterdam: Antiqua, 1965.

Russell, Raymond, The Harpsichord and Clavichord, London: Faber and Faber, 1959.

Sadie, Stanley, ed., The New Grove Dictionary of Music and Musicians (second edition, 2001).

Saint Lambert, Monsieur de (tr. Rebecca Harris-Warrick), Principles of the Harpsichord (Paris, 1702), Cambridge: Cambridge University Press, 1984.

Schilling, Gustav, ed., Encyclopädie der gesammelten musikalischen Wissenschaften, oder Universal-Lexicon der Tonkunst (1835), Hildesheim: Georg Olms Verlag, 1974.

Schott, Howard. Playing the Harpsichord, London: Faber and Faber, 1971.

Schmitz, Hans-Peter, Die Kunst der Verzierung im 18. Jahrhundert: Instrumentale und Vokale Musizierpraxis in Beispielen (2^nd edition). Kassel: Bärenreiter, 1965.  

Solomon, Maynard, Mozart: A Life, New York: Harper Perennial, 1995. 

Stowell, Robin. Violin Technique and Performance Practice in the Late Eighteenth and Early Nineteenth Centuries. Cambridge: Cambridge University Press, 1985. 

______. The early Violin and Viola: A practical Guide. Cambridge: Cambridge University, 2001.

Suderman, Betty Louise, The Problem of the Keyboard Slur in the Works of W. A. Mozart: A Study based on Contemporary Treatises (Austria), DMA dissertation, The University of British Columbia (Canada), 2000.

Tans’ur, William, A New Musical Grammar, Dictionary: A General Introduction to the whole Art of Musick, I, London, 1756.

Tarling, Judy, Baroque String Playing for Ingenious Learners, St. Albans: Corda Music, 2000.

Tartini, Giuseppe, ‘Regole per arrivare a saper ben suonar il violino’ in Erwin Jacobi, ed. (Cuthbert Girdlestone tr.), Traité des Agréments de la Musique [with facsimile], Celle: Hermann Moeck Verlag, 1961.

The Second Book of the Harpsicord Master (1700) and the Third Book of the Harpsicord Master (1702), facsimile edition, reprint directed by Leslie Hewitt, Boethius Press, 1980.

Todd, R. Larry, and Peter Williams, eds., Perspectives on Mozart Performance, Cambridge: Cambridge University Press, 1991.

Türk, Daniel Gottlob (ed. Erwin R. Jacobi), Klavierschule (1789), facsimile edition, Kassel: Bärenreiter, 1962.

____(tr. Raymond H. Haggh), School of Clavier Playing, London: University of Nebraska Press, 1982.

Turner, Walter James, The Man & his Works, Westport (Connecticut): Greenwood Press Publishers, 1979.

Tyson, Alan, Mozart: Studies of the Autograph Scores, London: Harvard University Press, 1987.

Vanderhagen, Amand, Méthode Nouvelle et Raisonnée pour le Hautbois (1792), facsimile edition, Genève: Minkoff Reprint, 1974.

Walther, Johann Gottfried, Musikalisches Lexikon oder Musikalische Bibliothek (1732), facsimile edition, Kassel: Bärenreiter, 1953.

Warburton, Ernest, ed., The Collected Works of Johann Christian Bach 1735-1782, London: Garland Publisher, Inc., 1999.

White, Chappell, From Vivaldi to Viotti: A History of the Early Classical Violin Concerto, Philadelphia: Gordon and Breach, 1992.

Wildhagen, Karl, English-German German-English Dictionary, ii, Wiesbaden: Brandstetter Verlag, 1972.

Wolf, Christoph (tr. Mary Whittall), Mozart’s Requiem: Historical and Analytical Studies, Documents, Score, Berkeley: University of California Press, 1994.

Wolff, Konrad, Schnabel’s Interpretation of Piano Music, New York: W. W. Norton & Company, 1972.

Wolters, Gottfried, ed., Wolfgang Amadeus Mozart Kanons im Urtext, Wolfenbüttel: Möseler, 1956.

Zaslaw, Neal, Mozart’s Symphonies: Context, Performance Practice, Reception, Oxford: Clarendon Press, 1989.

______ (ed.), The Compleat Mozart: A Guide to the Musical Works of Wolfgang Amadeus Mozart, New York: W. W. Norton, 1990.

II. ARTICLES

Allanbrook, Wye J. and Wendy Hilton, ‘Dance Rhythms in Mozart’s Arias’, Early Music, xx/1 (1992), 142–149.

Babitz, Sol, ‘Modern Errors in Mozart Performance’, Mozart Jahrbuch (1967), 62–89.

______, ‘Concerning the Length of Time that Every Note Must be Held’, The Music Review, xxviii (1967), 21–37.

Badura-Skoda, Eva, ‘Aspects of Performance Practice’, in Robert L. Marshall, ed., Eighteenth-Century Keyboard Music (New York: Schirmer Books, 1994), 33–67.

____________, ‘Prolegomena to a History of the Viennese Fortepiano’, Israel Studies in Musicology, ii (1980), 77–99.

____________, ‘The Anton Walter fortepiano-Mozart’s beloved concert instrument’, Early Music, xxviii/3 (2000), 469–473.

Badura-Skoda, Paul, ‘Playing the early Piano’, Early Music, vii/4 (1984), 477–480.

______, ‘A tie is a tie is a tie’, Early Music, xvi/1 (1988), 84–88.

Barnett, Dene, ‘Non-uniform slurring in 18^th century music’, The Haydn Yearbook, x (1978), 179–99.

Bilson, Malcolm, ‘Execution and Expression in the Sonata in E flat, K. 282’, Early Music, xx/2 (1992), 237–244.

______, ‘The Viennese fortepiano of the late 18^th century’, Early Music, viii/2 (1980), 158–62.

Blazin, Dwight, Susan K. Brodie, Helen M. Greenwald, and Judith E. Olson. ‘Performing Mozart’s Music’, Compiled by Judith E. Olson. Report from Lincoln Center, Current Musicology (USA), issue 51 (1993), 118–132. 

Boer, Bertil van, ‘The Four-Horn Question: Observations on an Eighteenth-Century Horn Performance Practice’, The Horn Call Annual, iv (1992), 33–43.

Bower, Jane, ‘Mozart and the Flute’, Early Music, xx (1992), 31–42.

Bowen, José A., ‘Performance Practice versus Performance Analysis: why should Performers Study Performance?’, Performance Practice Review, ix/1 (1996), 16–35.

Boyden, David, ‘The Violin Bow in the 18^th Century’, Early Music, viii/ 2 (1980), 199–212.

Broder, Nathan, ‘Mozart and the “Clavier” ’, in Paul Henry Lang, ed., The Creative World of Mozart: Studies by eminent scholars in Mozart’s style, technique, life and works (London: W. W.  Norton & Company, 1963), 76–85.

Brown, Clive, 'Dots and Strokes in late 18th- and 19th- Century Music', Early Music, xxi/4 (1993), 593–610.

Collins, Michael, ‘the Performance of Triplets in the 17^th and 18^th Centuries’, Journal of the American Musicological Society, xix/3 (1966), 281–328.

Cole, Malcolm, ‘ “Back to the Land”: Performance Practice and the Classic Period’, Performance Practice Review, i/1 & 2 (1988), 25–41.

Cooper, Barry, ‘Sources and Editions’, in Anthony Burton, ed., A Performance’s Guide to Music of the Classical Period (London: The Associated Board of the Royal Schools of Music, 2002), 91–101.

______, ‘Introduction’, Beethoven The 35 Piano Sonatas (London: The Associated Board of the Royal Schools of Music, 2007), 9–15.

______, ‘Beethoven’s appoggiaturas: Long or Short?’, Early Music, xxxi/2 (2003), 165–178.

Davenport, Linda G., ‘Slurring Versus Tonguing: Questionable Articulation Practices in the Mozart Clarinet Concerto’, The Quarterly Journal of Music Teaching and Learning, ii/4, (1991), 38–41.

Eder, Petrus, ‘Nannerl Mozarts Notenbuch von 1759 und bisher unbeachtete Parallelüberlieferungen (Nannerl Mozart's musical workbook of 1759 and some overlooked parallels)’, Mozart Studien (Germany), iii (1993), 37–67.

Eisen, Cliff, ‘Notation and Interpretation’, in Anthony Burton, ed., A Performer’s Guide to Music of the Classical Period (London: The Associated Board of the Royal Schools of Music, 2002), 15–38.

_____, ‘The old and new Mozart editions’, Early Music, xix (1991), 513–529.

_____, ‘Another look at the “corrupt passage” in Mozart’s G minor symphony, K. 550’, Early Music, xxv (1997), 373–382.

_____, ‘Mozart Documentary Biography: Prospects for Future Research’, Mozart-Jahrbuch, band 1(1991), 126–131.

_____, ‘The Mozart’s Salzburg Copyists: Aspects of Attribution, Chronology, Text, Style, and Performance Practice’, Mozart Studies, ed. Cliff Eisen, (Oxford: 1991), 253–308.

Feil, Arnold, ‘Anmerkungen zu Mozarts Satztechnik (observations on Mozart’s compositional technique): Anhand von Beobachtungen am 1 Satz des A Dur Violin Konzerts KV 219’, Studien zur Musikgeschichte: Eine Festschrift für Ludwig Finscher (1995), 365–371.

Fellerer, Karl Gustav, ‘Werk-Edition-Interpretation’, in Martin Bente, ed., Musik · Edition · Interpretation: Gedenkschrift Günter Henle (Munich: G. Henle Verlag, 1980), 180–192.

Fuller, David, ‘Accompanied Keyboard Music’, The Musical Quarterly, lx/2 (1974), 222–245.

Ferguson, Faye, ‘The Classical keyboard concerto. Some Thoughts on Authentic Performance’, Early Music, vii/4 (1984), 437–445.

________, ‘Mozart’s Keyboard Concertos: Tutti Notations and Performance Models’, Mozart – Jahrbuch, (1984-85), 32–39.

Goldsmith, Pamela, ‘The Transition to the Tourte Bow and its Effect on Bowing Articulation,’ Journal of the Violin Society of America, ix, part 1 (1988), 63–82.

Gruber, Gernot, ‘Otto Jahns Bedeutung für die Mozart-Forschung’, Collection: Otto Jahn (1813-1868): Ein Geisteswissenschaftler zwischen Klassizismus und Historismus (Stuttgart: Steiner, 1991), 144–150. 

Harnoncourt, Nikolaus, ‘Mozart: Wir suchen seine Botschaft in der Handschrift’, in: Die Gegenwart der musikalischen Vergangenheit: Meisterwerke in der Dirigenten-Werkstat (Salzburg: Residenz, 1999), 173–181.

Hogwood, Christopher, ‘Mozart and the »Clavichord Environment«’, Mozart-Jahrbuch, (2005), 115–130.

Haynes, Bruce, ‘Tu ru or Not Tu ru: Paired Syllables and Unequal Tonguing Patterns on Woodwinds in the Seventeenth and Eighteenth Centuries’, Performance Practice Review, x/1 (1997), 41–60.

______, ‘Mozart and the Oboe’, Early Music, xx (1992), 43–63.

Heller, Louis G., ‘Lexicographic Etymology: Practice versus Theory’, American Speech, xl/2 (1965), 113–119.

Hertzmann, Erich, ‘Mozart’s Creative Process’, in Paul Henry Lang, ed., The Creative World of Mozart: Studies by eminent scholars in Mozart’s style, technique, life and works (London: W. W.  Norton & Company, 1963), 17–30.

_________, ‘Mozart’s Creative Process’, The Musical Quarterly, xliii/2 (1957), 187–200.

Hogwood, Christopher, ‘Mozart and the “clavichord environment” ’, Mozart-Jahrbuch, (2005), 115–130.

Hunkemöller, Jürgen, ‘Mozart’s Mannheim Sonatas for Violin and Piano’, in László Vikárius and Vera Lampert eds., Essays in Honor of László Somfai on His 70^th Birthday: Studies in the Sources and the Interpretation of Music (Oxford: The Scarecrow Press, 2005), 207–218.

Jackson, Roland, ‘Authenticity or Authenticities? Performance Practice and the Mainstream’, Performance Practice Review, x/1 (1997), 1–10.

Johansen, Ken, ‘Beyond Performance Practice’, Piano & Keyboard (USA), issue 1831(996), 32–36.

Krabbe, Niels, ‘Mozart’s KV 107 and Johann Christian Bach’s Opus V’, Dansk Aarbog for Musikforskning  (Denmark), vi (1968 – 72), 101–111.

Kinderman, William, ‘Subjectivity and objectivity in Mozart Performance’, Early Music, xix/4 (1991), 593–600.

King, Hyatt, ‘The Mozart Autographs in the British Museum’, Music & Letters, xviii/4 (1937), 343–354.

Komlos, Katalin, ‘On Interpreting Mozart: Interview with Malcolm Bilson’, New Hungarian Quarterly, xxx, 113 (1989), 212–220.

______, ‘Mozart’s Chamber Music with Keyboard: A Musical Panorama of Europe, 1762 – 1788’, Eassys in Honor of László Somfai on his 70^th Birthday, ed. László Vikárius and Vera Lampert (Oxford: The Scarecrow Press, Inc., 2005), 193–206.

Langley, Robin, ‘Mozart and the Organ’, The Royal College of Organists Journal, no. 3, (1995), 70–96.

Latcham, Michael, ‘The Check in some Early Pianos and the Development of Piano Technique around the turn of the 18^th century’, Early Music, xxi/1 (1993), 29–42.

Le Huray, Peter, ‘Leopold Mozart and the K. 421 String Quartet’, in Authenticity in Performance: Eighteenth-Century Case Studies (Cambridge: Cambridge University Press, 1990), 123–148.

Levin, Robert D, ‘Mozart’s Solo Keyboard Music’, in Robert L. Marshall, ed., Eighteenth-Century Keyboard Music (New York: Schirmer Books, 1994), 308–349.

_____, ‘Performance practice in the music of Mozart’, in Simon P. Keefe, ed., The Cambridge Companion to Mozart (Cambridge: Cambridge University Press, 2003), 227–245.

Link, Dorothea, ‘Mozart’s appointment to the Viennese court’, Words about Mozart (Woodbridge: The Boydell Press, 2005), 153–178.

Lourdeaux, Lee, ‘Fortepiano Advocate: An Interview with Malcolm Bilson’, Clavier (USA), issue 3, (1991), 10–12.

Manning, Dwight, ‘Woodwind Vibrato from the Eighteenth Century to the Present’, Performance Practice Review, viii, issue 1 (1995), 67–72.

Marty, Jean-Pierre, ‘Mozart’s Tempo Indications’, Early Music, xx/1 (1992), 141–142.

Maunder, Richard, ‘J. C. Bach and the Early Piano in London’, Journal of the Royal Musical Association, cxvi/ 2. (1991), 201–210.

_______, ‘Mozart’s Keyboard Instruments’, Early Music, xx/2 (1992), 207–219.

Melkus, Eduard, ‘Uber die Ausführung der Stricharten in Mozarts Werken’, Mozart Jahrbuch (Austria), xv, (1967), 244–266.

Meyer, John Arthur, ‘The Keyboard Concertos of Johann Christian Bach and their Influence on Mozart’, Miscellanea Musicologica (Australia), x (1979), 59–73.

Meyer, Kathi, and Inger M. Christensen (New York Library), ‘Artaria Plate Numbers’, Notes, xv (1942), 1–22.

Mishkin, Henry G, ‘Incomplete Notation in Mozart’s Piano Concertos’, The Musical Quarterly, lxi/3 (1975), 345–359.

Moldenhauer, Hans, ‘A Newly Found Mozart Autograph: Two Cadenzas to K. 107’, Journal of the American Musicological Society, viii/3 (1955), 213–216.

Moses, Don V. and Robert W. Demarec, Jr., ‘Articulation in Late Baroque Choral Music’, Choral Journal, xxvii, part 10, (1987), 17–30.

Neumann, Frederick, ‘Dots and Strokes in Mozart’, Early Music, xxi/3 (1993), 429–435.

Newman, William S., ‘Concerning the Accompanied Clavier Sonata’, The Musical Quarterly, xxxiii/3 (1947), 327–349.

______, ‘The Poetic <Incise> as a Guide to Rhythmic Grouping and Dynamic Direction in Classic Music’, in Instituto Nacional de las Artes Escénicas y de la Música, collected, España en la Música de Occidente, vol. 2, 1987, 139–142.

O’Neal, Melinda, ‘An Introduction to Performance Practice: Considerations for Mozart’s Requiem’, Journal of the Conductors’ Guild, xviii (1997), 85–98.

Palm, Albert, ‘Orgelkompositionen Mozarts?’ Archiv für Musikwissenschaft, xxvi (1969), 276–284.

Parker, Mara, ‘Towards an understanding of Mozart's K.575: The influence of Jean-Louis Duport's Essai sur le doigté du violoncelle et sur la conduite de l'archet’, Internationale Stiftung Mozarteum. Mitteilungen, xxxv (1987) 73–83.

Pizka, von Hans, ‘Das hohe Horn bei Mozart – oder Die Situation des hohen Horns zu Mozarts Zeit’, Mozart-Jahrbuch, (1987-88), 139–151

Plath, Wolfgang, (Augsburg) ‘Beiträge zur Mozart-Autographie I: Die Handschrift Leopold Mozarts’, Mozart-Jahrbuch, (1960-61), 82–117.

_____, ‘Beiträge zur Mozart-Autographie II: Schriftchronologie 1770 - 1780 Leopold Mozarts’, Mozart-Jahrbuch, (1976-77), 131–173.

_____, ‘Zur Datierung der Klaviersonatan KV 279-284’, Acta Mozartiana, xxi (1974), 26–30.

Raessler, Daniel M., ‘Türk, Touch and Slurring: Finding a Rationale’, Early Music, xvii/1 (1989), 55–59.

_______, ‘Change in Keyboard Touch around 1800: from Non-legato to Legato’, Early Keyboard Journal, I (1982-83), 25–44. 

Rehm, Wolfgang, ‘Quellenforschung und Dokumentation im Verhältnis zur Editionstechnik, Aufgezeigt an Einem Beispiel Aus der <Neue Mozart-Ausgabe>’, in Martin Bente, ed., Musik · Edition · Interpretation. Gedenkschrift Günter Henle (Munich: G. Henle Verlag, 1980), 410–416.

Riggs, Robert, ‘Authenticity and Subjectivity in Mozart Performance Practice: Türk on Character and Interpretation’, College Music Symposium (USA), xxxvi (1996), 33–58.

     , ‘Mozart’s Notation of Staccato Articulation: a New Appraisal’, The Journal of Musicology, xv/2 (1997), 230–277.

Rosenblum, Sandra P., ‘The Use of Rubato in Music, Eighteenth to Twentieth Centuries’, Performance Practice Review, vii/1 (1994), 33–53.

         , ‘Concerning Articulation on Keyboard Instruments: Aspect from the Renaissance to the Present’, Performance Practice Review, x/1 (1997), 31–40.

Rosenthal, Albi, ‘Leopold Mozart’s Violinschule Annotated by the Author’, in Cliff Eisen, Mozart Studies (Oxford: Clarendon Press, 1991), 83–99.

Rothstein, William, ‘Phrase rhythm in Chopin’s Nocturnes and Mazurka’, in Jim Samson, ed., Chopin Studies (Cambridge: Cambridge Press), 115–141.

Ruhnke, Martin, ‘Bindebögen in Originaldrucken, Nachdrucken und Handschriften Georg Philipp Telemanns’, in Wolf Hobohm, ed., Georg Philipp Telemann: Werküberlieferung, Editions- und Interpretationsfragen III (Köln: Tank, 1991), 21–25.

Schlötterer-Traimer, Roswitha, ‘Mozarts Gigue KV 574: Artikulation als Parameter der Komposition’, in Bischöflichen Zentralbibliothek Regensburg durch Paul Mai, Im Dienst der Quellen zur Musik: Festschrift Gertraut Haberkamp zum 65. Geburtstag (Tutzing : Schneider, 2002), 457–467.

Schroeder, David P., ‘Mozart’s Compositional Process and Creative Complexity’, The Dalhusie Review, lxxiii (1993), 166–174. 

Schröder, Jaap, ‘A Performer’s thoughts on Mozart’s Violin Style’, in R. Larry Todd and Peter Williams, eds., Perspectives on Mozart Performance (Cambridge: Cambridge University Press, 1991), 117–125.

Senigl, Johanna, ‘Bibliographie der Faksimile-Ausgaben von Werken’, Mitteilungen der Internationalen Stiftung Mozarteum, Mitteilungen, xlvii (1999), 48–55.

Severus, Julia, ‘Das Ende des Bogens Eine Anmerkung zur barocken Artikulationspraxis’, Die Musikforchung, liii (2000), 448–451.

Silbiger, Alexander, ‘Meter in Music, 1600-1800 by George Houle’ (Reviews of Books), Performance Practice Review, ii/1 (1989), 89–92.

Simmonds, Paul, ‘Abstossen, Schleifen and Das Algemeine Fortgehen – Thoughts on Clavichord Touch’, Da Clavichordo III: Atti del III Congresso Internazionale sul Clavicordo, (Magnano: Musica Antica, 1997), 53–60.

Simon, Edwin J., ‘Sonata into Concerto: A Study of Mozart’s First Seven Concertos’, Acta Musicologica, xxxi/3-4 (1959), 170–185.

Spohr, Peter, ‘The Flutes of Mozart’s Day’, The Journal of the British Flute Society, xxv (2006), 27–33.

Staral, Susanne, ‘Mozart und Johann Christian Bach’, in Internationaler Musikwissenschaftlicher Kongreß zum Mozartjahr 1991, Baden-Wien (Tutzing: Schneider), 943–48.

_____, ‘Aufführungspraktische Aspekte zu W. A. Mozarts Klavierkonzerten KV 107, einer Bearbeitung von Johann Christian Bach’s Klaviersonaten op. V/2-4’, in Wolfgang Amadeus Mozart Ein Beitrag zum 200. todestag: aufführungspraxis – Interpretation – Edition (Blankenburg am Harz: Kultur – und Forschungsstätte Michaelstein, 1991), 111–115.

Stowell, Robin, ‘Violin Bowing in Transition’, Early Music, xii (1984), 317–327.

Toft, Robert, ‘The Expressive Pause: Punctuation, Rests, and Breathing in England, 1770 – 1850’, Performance Practice Review, vii/1 (1994), 1–32.

Tyson, Alan, ‘Proposed New Dates for Many Works and Fragments Written by Mozart from March 1781 to December 1791’, in Mozart Studies (Oxford: Clarendon Press, 1991), 213–226. 

_____, ‘The date of Mozart’s Piano Sonata in B Flat, KV 333/315c: The “Linz” Sonata?’, in Martin Bente, ed., Musik · Edition · Interpretation. Gedenkschrift Günter Henle (Munich: G. Henle Verlag, 1980), 447–454.

Valentin, Erich, ‘Mozarts Violinkonzerte’, Acta Mozartiana, xli/3 (1994), 21–25.

Ward, Martha Kingdon, ‘Mozart and the Horn’, Music & Letters, xxxi/4 (1950), 318–332.

Walls, Peter, ‘Mozart and the Violin’, Early Music, xx/1 (1992), 7–29.

Webster, James, ‘The Triumph of Variability: Haydn’s Articulation Markings in the Autograph of Sonata No. 49 in E Flat’, in Sieghard Brandenburg, ed., Haydn, Mozart & Beethoven Studies in the Music of the Classical Period (Oxford: Clarendon Press, 1998), 33–64.

Wendel, Thomas, ‘Beethoven Recordings on the Fortepiano’, Beethoven Newsletter, I, pt. 1 (1986), 10–12.

Würtz, Roland, ‘Mannheim-Berlin: Zur geschichte der Violintechnik 1750-1820’, Acta Mozartiana, xx (1973), 8–16.

Zaslaw, Neal, ‘Mozart’s Instruments (Introduction)’, Early Music, xx/1 (1992), 5–6.

_____, ‘The Breitkopf Firm’s Relations with Leopold and Wolfgang Mozart’, Bach Perspectives, ii (1996), 85–103.

III.  FACSIMILES OF MOZART’S AUTOGRAPHS 

Allegro K. 8. i, repr., Paris: Départment de la Musique der Bibliothèque nationale, Ms 238 (2005).

Das Londoner Skizzenbuch, repr., Kraków: Biblioteka Jagiellońska, Mus.ms.autogr. W. A. Mozart Anh. 109b (2004).

Keyboard Sonatas K. 279-284 330, repr., Kraków: Biblioteka Jagiellońska, Mus.ms.autogr. W. A. Mozart 279-284, 330, 455 (2005).

Keyboard Sonatas K. 311, repr., Kraków: Biblioteka Jagiellońska, Mus.ms.autogr. W. A. Mozart 311 (2007).

Klaviersonate a-moll K. 310 (with facsimile), Füssl/Scholz eds., Vienna: Wiener Urtext Edition, 1973.

Klavier Sonata K. 333, repr., Berlin: Staatsbibliothek zur Berlin, Mus. Ms. Autogr. W. A. Mozart 333 (2006).

Fantasie und Sonate c-Moll für Klavier KV 457+475, repr., Wolfgang Plath und Wolfgang Rehm eds., Salzburg: Internationale Stiftung Mozarteum, 1991.

Rondo a-moll K. 511(with facsimile), Müller/Kann eds., Vienna: Wiener Urtext Edition, 1973.

Rondo a-moll K. 485 (with facsimile), Leisinger/Kann eds., Vienna: Wiener Urtext Edition, 2006.

Variations für Klavier und Violine K. 359 and 360, repr., Paris: Départment de la Musique der Bibliothèque nationale, Ms 228 (I, II) (2005).

Sonata für Klavier und Violine K. 403, repr., Paris: Départment de la Musique der Bibliothèque Nationale, Ms 225 (2005).

Sonata für Klavier und Violine K. 378, repr., Kraków: Biblioteka Jagiellońska, Mus.ms.autogr. W. A. Mozart 378 (2007).

Sonata für Klavier und Violine K. 481, repr., Kraków: Biblioteka Jagiellońska, Mus.ms.autogr. W. A. Mozart 481 (2007).

Sonata für Klavier und Violine K. 526, repr., Kraków: Biblioteka Jagiellońska, Mus.ms.autogr. W. A. Mozart 526 (2007).

Quintette pour Paino, Hautbois, Clarinetet, Cor and Basson K. 452, repr., Paris: Départment de la Musique der Bibliothèque nationale, Ms 221 (2006).

Quartet for piano, violin, viola, cello K. 478, facsimile edition, Salzburg: Internationale Stiftung Mozarteum Salzburg, 1991.

Trio pour Piano, Clarinettte et Alto K. 498, repr., Paris: Départment de la Musique der Bibliothèque Nationale, Ms 222 (2006).

Piano Trio in E flat major K. 542, facsimile edition, Munich: Drei Masken Verlag, 1921.

Quartet for Flute, Violin, Viola and Cello K. 285, repr., Kraków: Biblioteka Jagiellońska, Mus.ms.autogr. W. A. Mozart 285 (2006)

Quartet in F for Oboe, Violin, Viola and Cello K. 370, repr., Paris: Départment de la Musique der Bibliothèque Nationale, Ms 230 (Oct 2006).

L’Autografo dei Quqrtetti ‘Milanesi’, KV 155-160, Edizione in Facsimile, Lucca: Libreria Musicale Italiana, 2006.

String Quartet K. 387, facsimile edition, Washington: The Robert Owen Lehman Foundation, 1969.

String Quartet K. 421, facsimile edition, Washington: The Robert Owen Lehman Foundation, 1969.

String Quartet K. 428, facsimile edition, Washington: The Robert Owen Lehman Foundation, 1969.

String Quartet K. 458, facsimile edition, Washington: The Robert Owen Lehman Foundation, 1969.

String Quartet K. 464, facsimile edition, Washington: The Robert Owen Lehman Foundation, 1969.

String Quartet K. 465, facsimile edition, Washington: The Robert Owen Lehman Foundation, 1969.

String Quartet K. 499, facsimile edition, Washington: The Robert Owen Lehman Foundation, 1969.

String Quartet K. 575, facsimile edition, Washington: The Robert Owen Lehman Foundation, 1969.

String Quartet K. 589, facsimile edition, Washington: The Robert Owen Lehman Foundation, 1969.

String Quartet K. 590, facsimile edition, Washington: The Robert Owen Lehman Foundation, 1969.

Drei Klavierkonzerte nach Sonaten von Joh. Chr. Bach KV 107, repr., Berlin: Staatsbibliothek zur Berlin, Mus. Ms. Autogr. W. A. Mozart 107 (2004).

Piano Concertos K. 382, 413, 414, and 415, repr., Kraków: Biblioteka Jagiellońska, Mus.ms.autogr. W. A. Mozart 382/413/414/415 (2005).

Piano Concertos K.246 and 271, repr., Kraków: Biblioteka Jagiellońska, Mus.ms.autogr. W. A. Mozart 246/271 (2005).

Piano Concertos K.453, repr., Kraków: Biblioteka Jagiellońska, Mus.ms.autogr. W. A. Mozart 453 (2007).

Klavierkonzert KV 459, facsimile edition, Kassel: Bärenreiter, 1988.

Piano Concerto K. 467, facsimile edition, New York: The Pierpont Morgan Library in associated with Dover Publications, Inc., 1985.

Piano Concerto K. 488, repr., Paris: Départment de la Musique der Bibliothèque nationale, Ms 226 (2006).

Piano Concerto K. 491, facsimile edition, Washington: The Robert Owen Lehman Foundation, 1964.

Piano Concerto K. 537, facsimile edition, with an introduction by Alan Tyson, Senior Research Fellow, All Souls College Oxford, New York: The Pierpont Morgan Library in association with Dover Publications, Inc., 1991.

Klavierkonzert KV 595, facsimile edition, Kassel: Bärenreiter, 1979.

The Mozart Violin Concerti: a facsimile Edition of the Autographs, facsimile edition, ed. and with an Introduction by Gabrie Banat, New York: Raven Press, 1986.

Das Horn bei Mozart (Faksimile-Collection), Kirchheim bei München: Hans Pizka Edition, 1980.

Concerto in C for Flute, Harp and Orchestra K. 299, repr., Kraków: Biblioteka Jagiellońska, Mus.ms.autogr. W. A. Mozart 299 (2006).

Andante per il Flauto traverso K. 315, repr., Paris: Départment de la Musique der Bibliothèque Nationale, Ms 229 (2006).

Divertimento for two Oboes, two Clarinets, two English Horns, two Horns and two Bassoon K. 166, repr., Kraków: Biblioteka Jagiellońska, Mus.ms.autogr. W. A. Mozart 166 (2006).

Eine Kleine Nachtmusik 1787 K. 525, facsimile edition, M. Gorke, ed., Kassel: Bärenreiter, 1955.

Sinfonie K. 16, repr., Kraków: Biblioteka Jagiellońska, Mus.ms.autogr. W. A. Mozart 16 (2005)

Symphony No. 35 in D, K. 385 ‘Haffner’ (original manuscript owned by the National Orchestral Association, New York), facsimile edition with an Introduction by Sydney Beck, New York: Oxford University Press, 1968.

Symphony K. 543, repr., Kraków: Biblioteka Jagiellońska, Mus.ms.autogr. W. A. Mozart 543 (2007).

Sinfonie in C KV 551 (Jupiter-Sinfonie), facsimile edition, Karl-Heinz Köhler ed., Leipzig: VEB Deutscher Verlag für Musik, 1978.

Kyrie K. 33, repr., Berlin: Staatsbibliothek zur Berlin, Mus. Ms. Autogr. W. A. Mozart 33 (2004).

Kyrie a cinque con diversi canoni K. 89, repr., Kraków: Biblioteka Jagiellońska, Mus.ms.autogr. W. A. Mozart 89 (2006).

La finta semplice, repr., Kraków: Biblioteka Jagiellońska, Mus.ms.autogr. W. A. Mozart 51 (2007).

La finata giardiniera ACT II, repr., Kraków: Biblioteka Jagiellońska, Mus.ms.autogr. W. A. Mozart 196 (2007).

Missa in C  K. 317, facsimile edition, Ernst Hintermaier, ed., Salzburg: Internationale Stiftung Mozarteum Salzburg, 1998.

Messe C-Moll K. 427, facsimile edition, Karl-Heinz Köhler, ed., Leipzig: VEB Deutscher Verlag für Musik, 1982.

Rezitativ und Arie für Baß ‘Cosi dunque tradisci’ from Aspri rimorsi atroci K. 432, repr., Paris: Départment de la Musique der Bibliothèque nationale, Ms 232 (2006).

Terzett für eine Tenor- und zwei Baßstimmen ‘Del gran regno dellle amazoni’ K. 434, repr., Pairs: Départment de la Musique er Bibliothèque nationale, Ms 243 (2006).

Das Veilchen K. 476, London: British Library, Stefan Zweig Collection Nr. 56.

Arie für Baß, obligaten Kontrabaß und Orchester ‘Per questa bella mano’ K. 612, repr., Kraków: Biblioteka Jagiellońska, Mus.ms.autogr. W. A. Mozart 612 (2006)

Die Zauberflöte KV 620, facsimile edition, Karl-Heinz Köhler, ed., Kassel: Bärenreiter, 1979.

Requiem KV 626. Vollständige Faksimile-Ausgabe im Originalformat der Originalhandschrift (Documenta Musicologica, II/27; nach Mus. Hs. 17.561 der Musiksammlung der Österreichischen Nationalbibliothek), 3 Vols [in 1], ed. Günter Brosche, Graz and Kassel: Druck- u. Verlagsanstalt and Bärenreiter, 1990.

IV.  OTHER COMPOSERS’ AUTOGRAPHS OR FACSIMILES

Bach, J. S., Six Sonatas and Partitas for violin solo, facsimile, New York: International Music Company, 1971.

____, J. S. Bach Cantata Autographs in American Collections, facsimile, London: Garland Publishing, Inc., 1985.

_____, ‘O Holder Tag, Erwünschte Zeit’, Hochzeitkantate BWV 210, facsimile edition, Leipzig: VEB Deutscher Verlag für Musik, 1967.

Bach, J. C., ‘Te Deum (1758)’, facsimile edition, The Collection Works of J. C. Bach, vol. 24, London: Garland Publishing, 1989.

Buxtehude, Dietrich, Herr, Ich lasse Dich Nicht (1670s), facsimile edition, Kassel: Bärenreiter, 2007.

Cavalli, Francesco, L’Oristeo (1651), facsimile edition, Italian Opera 1640-1770, lxii, London: Garland Publishing, 1982.

Haydn, Joseph, Messe B Dur (Schöpfungs-Messe), facsimile edition, München: Henle, 1957.

_____, Sinfonia Hob. I: 35 (1767), National Széchényi Library Budapest, Ms. Mus. I. 33.

_____, Sinfonie D-Dur Hob. I: 104 (1795), facsimile edition, Leipzig: VEB Deutscher Verlag für Musik.

_____, Sonata in E flat Major Hob. XVI: 49 (1789/90), ed. Christa Landon, Urtext and facsimile edition, Vienna: Wiener Urtext.

Haydn, Michael, Violin Concerto (1760), National Széchényi Library Budapest, Ms. Mus. II. 54.

_____, Serenata (1767), National Széchényi Library Budapest, Ms. Mus. II. 83.

_____. Cantata (1772), National Széchényi Library Budapest, Ms. Mus. II. 103.

_____. Sinfonia (1773), National Széchényi Library Budapest, Ms. Mus. II. 58.

_____. Sinfonia (1774), National Széchényi Library Budapest, Ms. Mus. II. 59.

_____. Motetto (1776), National Széchényi Library Budapest, Ms. Mus. II. 47.

_____. Sinfonia (1786), National Széchényi Library Budapest, Ms. Mus. II. 70.

Liszt, Franz, Klaviersonate H-Moll, facsimile edition, München: Henle, 1973.

Mozart, Leopold, Lytaniae de Venerabili in D (1762).

______, ‘Weicht zweifelnde Klagen’, Partie des Johannes ‘aus e. Oratorium’ (aria for tenor).

______, ‘so straft Herodes die Verraeter’, Arie for Tenor ‘Der Hauptmann’.

Pisendel, Johnn Georg, Konzert Es-Dur Für Violine, Streicher und Basso Continuo, facsimile edition, ed. Karl Heller, Leipzig, Zentralantiquariat der Deutschen Demokratischen Republik, 1986.

Süssmayr, Franz Xaver, Ave verum corpus, National Széchényi Library Budapest, Ms. Mus. 3000.

Vivaldi, Antonio, Vier Sonaten Für Violine und Basso Continuo RV 2, 29, 25, 6, facsimile edition, ed. Karl Heller, Leipzig, Zentralantiquariat der Deutschen Demokratischen Republik, 1982.

V.  EARLY EDITIONS OR MANUSCRIPTS 

Bach, Carl Philipp Emanuel, Published and Unpublished Single-Movement Works in Oblong format (The Collection Works for Solo Keyboard by Carl Philipp Emanuel Bach), vol. 6, London: Garland Publishing, Inc., 1985.

Bach, J. C., Twelve Keyboard Sonatas Set 1 Opus V, London: Welcker in Gerrard Street St. Ann’s Soho [1766]; rept., Oxford: Oxford University Press, [c. 1973].

____, J. C. Bach six sonatas pour le clavesin ou le piano forte Oeuvre V. Amsterdam: Hummel edition, [1766], British Library [h. 423. h, fol. Platenumber 95].

____, Six Sonates pour le Clavecin ou le piano forte composées par Jean Cretien Bach. Le Due edition [n.d.].

Clementi, Muzio, Collected Works of Muzio Clementi, vols. 1 and 2, New York: Da Capo Press, 1973.

________, Works for Pianoforte Solo by Muzio Clementi: published from 1784-1802, ed. Nicholas Temperley, London: Garland Publishing, 1984.

________, Works for Pianoforte Solo by Muzio Clementi: published from 1787-1804, ed. Nicholas Temperley, London: Garland Publishing, 1984.

Dussek, Jan Ladislaus, Collected Works of Jan Ladislaus Dussek, 12 vols, New York: Da Capo Press, 1978.

Eberlin, Johann Ernst, Masses, Motets and other Church Music, in: Perabo Collection, vi (in the hand of W. A. Mozart), British Library, Add 41633.

Mozart, W. A., VII Sonatas Pour le Pianoforte [K. 279-283 and K. 309] in: Cahier III der Oeuvres Complettes de Wolfgang Amadeus Mozart, first edition, Leipzig: Breitkopf & Härtel, 1799.

Muffat, August Gottlieb, Sonatas for the Harpsichord (Vienna 1727, ‘componimenti musicali’), British Library, Add 32592.

Tartini, Giuseppe, The Twelve Sonatas [Op. 2], Rome, 1745, British Library, Add 29428.

_____, Violin Concerto in A [for violin and a quartet, written after 1745], British Library, Add 31609.

Wagenseil, Georg Christoph, Symphony in G for 4 Strings, Separate parts, British Library Add 32390.

VI.  MODERN EDITIONS OF MOZART’S WORKS

Neue Ausgabe sämtlicher Werke (NMA) is the most complete edition which collects most of Mozart’s works. The critical reports (KB) are published singly and separately from the main volumes.

Sonatas for Pianoforte, 2 vols, ed. Stanley Sadie (fingering and performance notes by Denis Matthews), London: The Associated Board of the Royal Schools of Music, 1982.

Klaviersonaten, ed. Ulrich Leisinger (Urtext, vol. 1 & 2), Vienna: Wiener Urtext Edition, 2004 & 2003.

Klaviersonaten 2 vols, Vienna: Musikverlag Ges. m. b. H. & Co., K. G., 1986.

Klaviersonaten, ed. Ernst Herttrich (Urtext, 2 vols), Munich: Henle Verlag, 1977 and 1992.

Klaviersonaten, ed. Karl Heinz Füssl and Heinz Scholz (Urtext, 2 vols). Wien: Wiener Urtext Edition, 1973.

Klavierstücke, ed. B. A. Wallner (Urtext), Munich: G. Henle Verlag, 1955/1983. 

Klavierstücke: die Notenbücher, ed. Wolfgang Plath. (Neuen Mozart-Ausgabe, Ser. IX, vol. 27:1), Kassel: Bärenreiter, 1982.

Mature Piano Pieces, ed. Richard Jones, London: The Associated Board of the Royal Schools of Music, 2001.

Sonatas for the pianoforte, ed. Agnes Zimmermann, London: Novello [n.d.].

Violin Sonatas, vol. 1, ed. Cliff Eisen, London: Edition Peters, 2003

Sonaten Klavier und Violine, 2 vols, ed. Ernst Fritz Schmid (Urtext, 2 vols), Munich: Henle Verlag, 1956/1984.

Sonaten Klavier und Violine, vol. 1, ed. Wolf-Dieter Seiffert, Munich: Henle Verlag, 1995.

Einzelsätze für Violine und Orchester, Kassel: Bärenreiter-Verlag, 1983.

VII.  OTHER SCORES

Adlgasser, Anton Cajetan, Symphony in C major, ed. Werner Rainer, in: The Symphony 1720-1840, series B, vol. VIII, New York: Garland, 1984.

Bach, J. C. F, Musical Leisure Hours, ed. Timothy Roberts. London ABRSM, 1987.

Bach, J. S. Johann Sebastian Bach Neue Ausgabe Sämtlicher Werke, ed. Johann-Sebastian-Bach- Institut Göttingen, Kaseel: Bärenreiter.

Bach, J. S. English Suites Nos. 1-3 BWV 806, 807, 808, ed. Richard Jones, London: ABRSM, 1988.

Beethoven, Ludwig van, Beethoven The 35 Piano Sonatas, ed. Barry Cooper, London: ABTSM, 2007.

Cannabich, Christian, Symphony No, 22 in C major, ed. Jean K. Wolf, in: The Symphony 1720-1840, series C, vol. III ‘The Symphony at Mannheim’, New York: Garland, 1984.

Couperin, François, Pièces de Clavecin, Livre 4, ed. J. Brahms and F. Chrysander, Galliard, 1888.

Dittersdorf, Carl Ditters von, Symphony in C Major (1788), ed. Eva Badura-Skoda, in: The Symphony 1720 – 1840, series B, vol. I, New York: Garland, 1985.

Eberlin, Johann Ernst, Symphony in C major and Symphony in G major, ed. M. Michaela Schneider-Cuvay, in: The Symphony 1720 – 1840, series B, vol. VIII, New York: Garland, 1984.

Haydn, Michael, Symphony in E major, ed. Charles Sherman, in: The Symphony 1720 – 1840, series B, vol. VIII, New York: Garland, 1984.

_____, Klaviersonaten, ed. Georg Feder, München, Henle, 1970.

_____, Concertini und Divertimenti für Klavier mit Begleitung von zwei Violinen und Basso, ed. Horst Walter, München: Henle, 1987.

_____, Concertino per Corno ed Orchestra, ed. Charles Sherman, Mainz: Universal Edition, 1969.

Haydn, Joseph, Joseph Haydn Werke, ed. Joseph Haydn-Institut, Köln, München: Henle Verlag.

_____, ‘Concerto in D for horn’, Konzerte für ein Blasinstrument und Orchester, ed. Makoto Ohmiya, München: Henle Verlag, 1985.

Mozart, Leopold, Symphony in F major, ed. Cliff Eisen, in: The Symphony 1720-1840, series B, vol. VII, New York: Garland, 1984.

Quantz, J. Joachim, Flöten Konzart G dur (1740), ed. Felix Schroeder, London: Eulenburg, [n.d.].

Salieri, Antonio, Symphony in D major (1775), ed. Jane Schatkin Hettrick, in: The Symphony 1720 – 1840, series B, vol. II, New York: Garland, 1983.

Scarlatti, Alessandro, Toccate per Organo o Clavicembalo (Urtext), Bologna: Ut Orpheus Edizioni, 2000.

Stamitz, J., Symphony in D major, ed. Eugene K. Wolf, in: The Symphony 1720-1840, series C, vol. III ‘The Symphony at Mannheim’, New York: Garland, 1984.

Telemann, Georg Philip Telemann, Twelve Fantasias for violin without Bass (1735), Kassel: Bärenreiter, 1955.

______, Concerto in D for Horn and Orchestra, ed. Edmond Leloir, Locarno: Edizioni Pegasus, [n.d.].

Wagenseil, Georg Christoph, Symphony in E flat major (1757), ed. John Kucaba, in: The Symphony 1720 – 1840, series B, vol. III, New York: Garland, 1981.

VIII.  RECORDINGS

Mozart. London Sketchbook (1764/65) Minuets, Contredanses. Piano/Hans-Udo Kreuels (2001). Compact disc. Naxos 8.554769.

Mozart. Concertos for Two and Three Pianos. Pianos Alexei Lubimov, Ronald Brautigam, and Munfred Huss. Haydn Sinfonietta Wien (2007). Compact disc. BIS-SACD-1618.

Mozart. Murray Perahia Mozart 3 Concerti K. 107 J. S. Schröter piano concerto op. 3 no. 3. (1984) Compact disc. CBS Records MK 39222.

Mozart. Complete Piano Concertos. Ingrid Haebler. London Symphony Orchestra (1963-67, 1971, 1975-78, 1991) Compact disc. Philipss 454 352-2.

Mozart. The Piano Concertos. Fortepiano Malcolm Bilson. The English Baroque Soloists, John Eliot Gardiner (1984-88). Compact disc. Archiv 463 111-2 (A B9).

Mozart. Concerto pour Piano K. 488, 503. Paul Badura-Skoda. Orchestre de Chambre de Prague. Compact disc. Valois V 4713.

Mozart. Piano Concertos 20, 23, 24 & 25. Melvyn Tan, Roger Norrington. London Classical Players (1991). Compact disc. Virgin Classics 7243 5 62343 2 1.

Mozart. Violin Concertos. Henryk Szeryng. Philips 422668, 422669.

Mozart. Die Violinkonzerte. Arthur Grumiaux, London Symphony Orchestra, Sir Colin Davis (1961-1954). Compact disc. Philips 422 954, 422 955.

Mozart. Concertos pour Violin. Yehudi Menuhin, Menuhin Festival Orchestra (2003). Compact disc. EMI 7243 5 85031-83035.

Mozart. The Violin Concertos. Monica Huggett. Orchestra of the Age of Enlightenment (1991). Virgin 7243 5 61576 2.

Mozart. David Oistrach Collection 2: Violin concerto no. 3 Sinfonia concertante K. 364. David Oistrach, Moscow Chamber Orchestra (1989). Compact disc. BMG Music International. GD 69054.

Mozart. Violin Concertos. Giuliano Carmignola, Il Quartettone, Carlo de Martini (1997). Compact disc. Brilliant Classics 92884.

Mozart. Violin Concerto 1, 3, 4. Viktoria Mullova, Orchestra of the Age Enlightenment (2002). Compact disc. Philips 470 292-2.

Mozart. 5 Violin Concertos. Itzhak Perlman. Wiener Philharmoniker, James Levine. Compact disc. Deutsche Grammophon 445535-2.

Mozart. 5 Violin Concertos. Gidon Kremer. Wiener Philharmoniker, Nikolaus Harnoncourt. Compact disc.  Deutsche Grammophon 453043-2.

Mozart. Violinkonzert Nr.4. Wolfgang Schneiderhan, Berlin Philharmoniker (1956/1957).Compact disc. Deutsche Grammophon 457 720-2.

Mozart. 4 Horn Concertos. English Chamber Orchestra, Barry Tuckwell (1984). Compact disc. Decca 458 607-2.

Mozart. Wind Concertos. Gervase de Peyer, William Bennett, John Mack, David McGill, Barry Tuckwell (2000). Compact disc. Decca 466 247-2.

Mozart. Complete Wind Music. London Wind Soloists, Jack Brymer (1962). Compact disc. Decca 455 794-2.

Mozart. Early Symphonies. Vol.1. Salzburg Mozarteum Orchestra, Hans Graf. Compact disc. LaserLight 15 867.

Mozart. Symphonies 38-41. London Classical Players, Roger Norrington (2002). Compact disc. Virgin Classics. 7243 5 62010 2 6.

Mozart. Lieder. Barbara Bonney, Geoffrey Parsons (1991). Compact disc. Teldec Classics. 2292-46334-2.

Mozart. Sonatas for Piano and Violin. Radu Lupu, Szymon Goldberg (1974). Compact disc. London. Decca 448 526-2.

Mozart. Sonatas for Fortepiano and Violin, vol. 2. David Breitman and Jean-François Rivest (1995 & 1996). Analekta an 2 9823-4.

Mozart. The Great Violin Sonatas. Vol. 1. Henryk Szerng and Ingrid Haebler. Compact disc. Philips 289 462 185-2

Mozart. Complete Mozart Piano Sonatas. Fortepiano Alexei Lubimov (2008). Compact disc. Erato 2564-69694-3.

Mozart. Complete Works for Piano. Piano Ingrid Haebler (1997). Compact disc. Philips 456132.

Mozart. The Complete Piano Sonatas; Fantasies. Glenn Gould (1966-74). Compact disc. Sony Classical. SM4K 52 627.

Mozart. The Piano Sonatas (5 CDs). Andras Schiff (1980). Compact disc. Decca 443 717.

Mozart. Complete Works for Piano Solo (8 CDs), Piano Walter Gieseking. Compact disc. EMI CC25-3765/-72.

Mozart. 3 Piano Sonatas KV 309, 310 & 311. Piano Mitsuko Uchida (1985). Compact disc. Philips 412 741-2.

Mozart. The Piano Sonatas. Piano Christoph Eschenbach (1967/1971). Compact disc. Grammophon Stereo 463 137-2.

Mozart. Piano Sonatas K 330, 331, 570, Rondo in A minor, K 511. Piano Alfred Brendel. Compact disc.  Philips 289 462 903-2.

Haydn/Mozart. Wanda Landowska plays Haydn and Mozart. Piano Wanda Landowska. Compact disc.  Pearl GEMM CD 9286.

Mozart. Sonates pour le pianoforte K 265, K 394, K 540. Fortepiano Paul Badura-Skoda. Compact disc.  Astrée Naïve, E 8864.

Mozart. Sonates pour le pianoforte K 279, 280, 281, 282, 283. Fortepiano Paul Badura-Skoda. Compact disc.  Astrée Naïve, E 8865.

Mozart. Sonates pour le pianoforte K 284, 309, 311, 400, 312. Fortepiano Paul Badura-Skoda. Compact disc.  Astrée Naïve, E 8866.

Mozart. Sonates pour le pianoforte K 310, 330, 331. Fortepiano Paul Badura-Skoda.1989 Compact disc.  Astrée Naïve, E 8867.

Mozart. Emil Gilels, Piano Emil Gilels (1996). Compact disc. BMG 74321 401192.

Mozart. Konzert K.488, Sonate K. 333. Vladimir Horowitz (1987). Compact disc. Deutsche Grammophon 423 287-2.

Mozart. Clarinet Quintet K. 581 and String Quartet K. 464. The Lindsays String Quartet (1998). Compact disc. ASV CD DCA 1042.

Mozart. Piano Trios, Daniel Barenboim (piano), Matthias Glander (clarinet), Felix Schwartz (viola). (2005). Compact disc. EMI 3 44643 2.

Mozart. The Flute Quartets. Lisz Beznosiuk (flute), Pavlo Beznosiuk (violin), Tom Dunn (viola), Richard Tunnicliffe (cello). (2006). Compact disc. AVIE AV 2108.

Mozart. K. 315, K. 285. ‘James Galway Sixty Years Flute’, vol. 3 (1999). Compact disc. BMG 09026 634352.

Mozart. String Quartets/String Quintets. Compact disc. Philips 464 834 (-845) -2.

Mozart. K. 476 das Veilchen in : ‘Kathleen Battle in Concert’ (1986). Compact disc. Deutche Grammophon 445 524-2.

Mozart. K. 505 in : ‘Leontyne Price Sings Mozart’ (1992). Compact disc. BMG 09026 613572.

Mozart. K. 505 in : ‘Mozart Arias Cecilia Bartoli’ (1991). Compact disc. Decca 430513-2.

Mozart K. 612 in ‘Mozart Opera and Concert arias’ (1991). Compact disc. Claves CD 50-9120