UNDER CONSTRUCTION! WebPages on Mozart's Slurring (under construction)
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Acknowledgements Web version
Beth Chen
June 2009
This has been a long and laborious research on Mozart's slurring, yet during the process I realized that music is indeed an international language. Here, I would like to thank all those who have helped me during these years for my research and my thesis.
My supervisor Prof. Barry Cooper (University of Manchester) for his constant support, guidance throughout this research.
Prof. David Fanning (University of Manchester), for his comments on the first version of my thesis and information on sources
Research Sources - Salzburg
Head of Mozart Research Department, Dr. Ulrich Leisinger
Leader of Bibliotheca Mozartiana, Ms Geneviève Geffray, at Internationale Stiftung Mozarteum,
Research fellows Holger Stuwe, Miriam Pfadt and Anke Boedeker, Neue Mozart Ausgabe office
Libraries - Mozart Autograph Reproductions
Music Collection Department of Biblioteka Jagiellonska in Krakow, Heads of Department Krystyna Pytel and Agnieszka Mietelska, and also Sylwia Heinrich.
Departement de la reproduction, Bibliotheque nationale de France, (librarian Katerina Leguay)
Staff memebers from rhe Staatsbibliothek zu Berlin, and for the reproductions from the Musikabteilung mit Mendelssohn-Archiv, Dr. Helmut Hell
Other Libraries - Facsimiles, Autographs or early Editions
Mr. Marlys Scarbrough, Music Library of the University of Illinois at Urbana-Champaign
Balazs Mikusi, the Head of Music at the National Széchényi Library, Budapest, Hungary
Laszlo Gombos (musicologist - Institute for Musicology of the Hungarian Academy of Sciences, Budapest) - for the advice on sources in Budapest
Prof. David Fallows (University of Manchester) - for Mozart facsimiles
Robert Balchin and other staff members of Music Collections at British Library
John Rylands University Library, Lenagan library, Royal Northern College of Music music library, and the Mozarteum Library.
Kulturverlag Polzer, Salzburg. (for sending me a copy of new translated Leopold Mozart Versuch)
Other sources:
Dr. Henning Bey (NMA) - enquiries about sources
Dr. Faye Ferguson (NMA) -enquiries about sources
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Regarding hints during my research and for this thesis:
Prof. Clive Brown, (Head of the School of Music at University of Leeds) - for inspiring conversation on 18th- and 19th-century bowing
Prof. Peter Cropper (Concert violinist, University of Sheffield, founder of Lindsay String Quartet): for a key idea for bow changes in a series of adjoining ties and slurs in alternation
Pianist and fortepianist Prof. Alexei Lubimov (Mozarteum, Austria; Moscow Conservatory) - for demonstrating the practicability of Mozart's unusual keyboard slurring/articulation from autographs
Fortepianist Prof. Malcolm Bilson (Cornell University, USA)-for the conversations on interpretation
Organist David Sanger (President of the Royal College of Organists) - for sources translation , several discussions, comments on my keyboard chapters, lessons on detailed articulations, and interpretation.
Prof. Martin Roscoe (Concert pianist, Guildhall School of Music and Drama) - for lessons in these years, particularly on musicianship and interpretation
Prof. Colin Lawson (Director of the Royal College of Music)- for demonstrating the possibility of a clarinet slurring
Prof. Vilmos Szabadi (violinist, Franz Liszt Academy of Music, Hungary)- for demonstrating the practicability of Mozart's original slurring as bowing marks
Prof. Georg Steinschaden (pianist, Mozarteum, Austria) - for the inspiration of interpreting Mozart's slurring, imaginative interpretation,and musicianship
Prof. Peter Langgartner (Mozarteum, Austria) for inspiration of playing Mozart
Prof. John Casken, Prof. Philip Grange (University of Manchester)
Dr Esperanza Rodriguez - early notations
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** Funding from the UK government (ORS), the University of Manchester, Taiwan government, and, once, a bursary from the University's Music department.
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Also, many others for various helps during my research and for this thesis
John Russell and Poet Janet Loverseed (Manchester) - for reading through my chapters
Sandra Doyle for her comments on a few of my chapters
Dr Eric Lien (Professor at University of Sounthern California) -- thesis writing
Silke Nebenfuehr (Austria) -- Old German transcription
Chi-Fang Ma (Paris) -- French sources and old French terms
Dr. Jim Wills (London) - translations
Liz Fawcett (Senior Library Assistant) - for locating sources for me at the early stage of my research and for her help with checking many of my written works and drafts.
Jane Bottomley and Ian Pople (University of Manchester)
Prof. Peter Holman (University of Leeds) - for borrowing me a baroque bow and which I later bought
Violinist Alexander Trostiansky (Moscow Conservatory) - accept a suggestion to play Mozart with the organ
Pianist Massimo Bentivegna (Conservatory of Trapani, Italy) -- Italian musical terms
Concert Pianist Andrew Wilde (UK) - for his demonstrations of good piano sound and limitless pedalling potential
Fortepianist, harpsichordist Maggie Cole
Violinist Jeannine Gloor (Swiezerland) -- Old German and Italian tanscriptions
Violinist Judy Tarling (UK) - for borrowing a baroque violin during a course
Jonathan Calvert (UK) -- Horn
Flautist Dr. Gavin Osborn (UK)
Prof. Sung-Jen Hsu - Performance Practice
Dr. Chu-Wei Liu - Old German
Annie Kuo (Canada)
There are still many more to whom I wish to express my thanks for discussions, inspirations, or lessons, even though their names are not indicated here.