There have been literally a few thousand books written about Mozart and his times. No one has read them all to know their full value, so which ones should you read? This will depend on what you are looking to gain. Some people want a full look at Mozart’s life contained in one book. Others are more interested in certain aspects of his life and could care less about others. You may want to learn more about the music in general, or perhaps more specific details about just one genre, say symphonies or operas. A reader might wish to delve into the technical details of how Mozart constructed his music. Or one can wish to be well read and therefore try to cover the entire spectrum of Mozart’s world. We hope you can find all the books that you need for your wants here.
This library covers only English language works (with a few notable exceptions). While we in theory could cover every book, a limit has to be set. The Library is divided up into four sections, The Core Library, The Needful Library, The Good Library, Books of Interest, and Books Extant, with works assigned to each section based on their perceived value to interested readers. The determining opinion of each value at this time rests with the author. That doesn’t make these opinions correct, mind you, but it does hopefully serve as the baseline for future discussion. If you disagree, have suggestions or alternate titles to recommend, please let us know. Material here has been updated and enhanced from previous postings. Some books get better with age, others don’t.
NOTE: Throughout these descriptions, you will see the term "specialist." This is defined by myself as meaning experts in the field of Mozart/Classical Music who write as experts. Certainly every author here is an expert on the subject they have chosen to discourse about. But there are two general ways to write. One is for the public; the second is for the other specialist/experts. This doesn’t mean that the specialists can’t write cleanly and crisply; the best ones do. But many don’t. They write technically, knowing the other experts will understand them without having to explain every point. This doesn’t mean non-specialists won’t use obtuse wording as well; only that there is a definite style to the specialist’s writing that you should be aware of before investing time and effort in acquiring their works.
Core Library Needful Library Good Library
Books of Interest Books Extant
THE CORE LIBRARY: Essential works needed in every collection
Anderson, Emily The Letters of Mozart and his Family
Macmillan and Co.,
London
1938 3 Vols. 1560 ttl. pgs.
Found in a three volume set from 1938, a two volume set from 1956 and a one volume edition from 1966. This set is a collection of probably the most read letter series of any great person and his family. The definitive source material for what Mozart thought, felt, said and purported to believe. Yes, he does write naughty and nasty letters that are not for younger readers. Nevertheless, this is an essential work in order English readers to try to gain an understanding of the person that is Mozart. There have been and continue to be quibbles on aspects of Anderson’s translations, most telling perhaps that she has Mozart “speak” in a late Victorian/early Edwardian perspective. However, no other work translates into English the mass of material found here. The Initial three-volume set includes some letters from Constanze to music publishers that date from 10 years after Mozart’s death. These are not found in the later one and two volume editions, which however include other letters discovered after the initial 1938 publishing date.
Deutsch, Otto Erich
Mozart: A
Documentary
Life
Stanford
University
Press, Stanford
1965 680 pgs.
A very different approach that gives the reader copies of the verbatim reports, news articles, documents, diary extracts, etc., from the time of Mozart’s life. Nearly everything that could be found up to the publication date of 1965 is in here. This is most of the very basic material used by other authors to justify their "version" of Mozart. With this book, you get the material unadorned for your own study. One doesn’t really read this work as much as study it. It’s easy reading, but dry, as it’s the facts with minimal narrative. Some questions have arisen about certain facts contained in here, but overall a valuable book. (See also Eisen, Cliff in the Needful Section for a follow-on book to this work).
Girdlestone, Cuthbert Mozart and His Piano Concertos
Dover
Publications,
New
York
1964 ISBN 0-486-21271-8 510 pgs.
This is the classic reference on listening to and understanding the great series of piano concertos of Mozart. This work boasts multiple musical examples; an in-depth analysis of each of Mozart's mature works (from K.175 on) and is well and cleanly written. Non-musicians will have little trouble understanding the discussion here. Since the piano concerti reveal Mozart, as no other form does, at nearly every stage of his musical development, this is a critical book to know. Most reference books of this type only dream of being as well rounded as this one is. Some musical training is useful but not essential. (See also Zaslaw, Neal Mozart’s Piano Concertos and Irving, Mozart’s Piano Concertos, in the Needful Section).
Gutman, Robert W. Mozart: A Cultural Biography
Harcourt Brace & Co.,
New
York
1999
ISBN 0-15-100482-X 839 pgs.
Overall, an impressive, in-depth view of Mozart and his times spanning over 800 pages. It goes more into the historical and cultural background of Mozart than most other books on this list. Little if any musical analysis is presented. Offers many well-reasoned explanations for events in Mozart's life that other studies gloss over or resort to repeating standard reasons for occurring. There has been criticism leveled on various aspects of his interpretation of certain events, his analysis of new information is at times off the mark and he does manage to make sections of Mozart’s life actually read as boring. You won’t find a single better work in English at present that covers all of Mozart’s life in such depth (less the music), despite the flaws.
Halliwell, Ruth The Mozart Family: Four Lives in a
Social Context
Clarendon Press,
Oxford
1998 ISBN 0-19-816371-1 732 pgs.
An in-depth look at the interactions between the four members of the Mozart family as well as their interactions with their social environment. Especially good in bringing out material on Mozart's sister Nannerl as well as his father Leopold. The author utilizes sources here that have not been accessed much (if at all) before. This book has been criticized for apologizing for some of Leopold's actions, but any complaints are truly minor compared to the amount of new material Halliwell has uncovered and published here. Over 700 pages, so not a light read but then again not a difficult one. However, when you read this in conjunction with the Gutman book, you will have as complete a view of the Mozart family as possible.
Jahn, Otto The Life of Mozart
Novello,
Ewer & Co.,
1891 (originally published in German by Brietkopf & Härtel 1852;
translated by Pauline Townsend) ISBN (Are You kidding?) 3 Vols. 1352
ttl. ggs.
The first well researched and documented biography on Mozart. In English this work runs to three volumes. A landmark work that combined with the soon-to-be issued Koechel catalogue of all of Mozart’s works, allowed people for the first time to have the information we all take for granted today available. Jahn was the last biographer to have access to people who had known Mozart personally, so these nuggets of information are priceless, as well as good reading. Future works can only site this work as the source for some material. Obviously, some facts have changed, and more is known in most areas than Jahn could uncover in the 1850’s. But reading this book is like reading the travel diaries of the discoverer of Machu Pichu in the Andes. Yes, we all have more information known to us than he did. But there is that sense of wonder that lingers in the writing, of a researcher who can barely conceal his joy at the discoveries he’s uncovering.
Koechel, Ludwig Chronologisch-thematisches Verzeichnis sämtlicher
Tonwerke W. A. Mozarts
Breitkopf & Härtel
Wiesbaden
1983 ISBN 3-7651-0019-6 1024 pgs.
Yes, the famous Koechel Catalogue in its K6 version (the above description is technically K8, but it’s a reprint of K6 from 1964). In German, so if you don’t read that language or are not good (or patient enough) with a German to English dictionary, you won’t get the full value of this work. HOWEVER, I do not read German and am not very patient, and I still recommend this work. The information on all of Mozart’s works, as well as the suspect and spurious ones is here at your fingertips. Once you get yourself a "cheat sheet" of common terms translated, you can maneuver through here more comfortably. For me, it’s meant no more hunting, guessing or wondering about where that information is on various works. To an English-only reader, one can hunt for hours through books and articles for the facts you need. With a Koechel, that drops to minutes (sometimes a lot of minutes, but…). In fact, I have two Koechels; the K6 and a K3 from 1947. You never know when you’ll need it…
Landon, H. C. Robbins (ed.) The Mozart Compendium: A Guide To
Mozart’s Life and Music
Thames
and Hudson Ltd.,
London
1990 ISBN 0-68107557-0 452 pgs.
A 1991 bicentennial publication. About the best collection of articles and essays published on various aspects of Mozart. It has a broad scope of view, good, very short descriptions of practically all Mozart's works and an excellent short section on performance aspects during Mozart's lifetime, something everyone should be aware of when listening to his music. Also comes with an historical timeline, family tree, and a description of literature out there on Mozart and the anonymous ‘Rosenthal’ supposed portrait of Mozart on pg. 112. Very good depth of material for containing all this in 450 pages. An excellent starting book for an overview of most of the aspects of Mozart’s life.
Mann, William The Operas of
Mozart
Oxford
University
Press,
Oxford
1977 656 pgs.
The best single book on all the operas, from Die Schuldigkeit des ersten Gebotes K.32 up to Die Zauberflöte K.620. This is not a libretti book so you won’t be able to follow along with the opera with this. Mann gives us the background on each work, a description of the action with musical quotes and a critique of the whole. Well written and cleanly presented. Since it was published in 1977, it lacks the new information Alan Tyson has uncovered in the 1980’s and beyond, but if you’re looking for the one handy book that covers Mozart’s operas, this is the one.
Morris, James M. (ed.) On
Mozart
Cambridge
University
Press,
Cambridge
1994 ISBN 0-521-47065-X 250 pgs.
An essay collection by noted current experts. There are not many musical examples in here, but there are two essays that are worth the price of admission. They are "On the Economics of Musical Composition in Vienna" by William and Hilda Baumol, and "Mozart as a Working Stiff" by Neal Zaslaw. The first is a discussion of Mozart's income and what value it might work out to be today. The second is a cold dash of water to the "Miracle that is Mozart" folks in that it just plain states that Mozart composed these great works to pay the bills and make ends meet. Should give a reader pause to consider the real reasons Mozart composed. Christoph Wolff's essay on "The Challenge of Blank Paper" is also recommended.
Neumayr, Prof. Dr. Anton Music & Medicine: Haydn, Mozart,
Beethoven, Schubert
Medi-Ed Press,
Bloomington,
Ill
1994 ISBN 0-936741-05-8 447 pgs.
What did Mozart really die from? We may never know for sure, but the author here is a Viennese professor and doctor of internal medicine of international reputation. With a distinguished record as a medical historian, he is intimately familiar with the Vienna schools of medicine of the 18th and 19th centuries. By viewing and understanding the medical knowledge and procedures of the time, Dr. Neumayr gives us probably the best-informed view of Mozart’s final illness, his doctor’s probable diagnosis, and their course of treatment. The study of Mozart is to be found in the book at pages 95 to 223. It is written with the interest of the general reader in mind, not specialists. This should in no way detract from one’s appreciation of the depth of detailed knowledge and understanding of 18th century medicine in Dr. Neumayr’s review of the evidence.
Sadie, Stanley The New Grove Mozart
W. W.
Norton & Co.,
New
York
1983 ISBN 0-393-30084-6 247 pgs.
Concise biography with much discussion on the music of Mozart as well. This should be one of the first books read to learn the basics on Mozart. It doesn't speculate on the gray areas and reads well. From this starting point, one could branch out into areas of interest for more detailed reading. This book has, as an appendix, an excellent, concise almost complete listing of every work Mozart wrote, started, sketched or was thought incorrectly to have composed. This book is nearly worth the price just for these listings. Think along the lines of Koechel Lite, except the works are organized by type and not chronologically. As an alternative;
edited by Cliff Eisen and Stanley Sadie The New Grove Mozart
Published by MacMillan Publishers Limited (2002)
131 pages
ISBN 0-312-23325-6
The first part of this book is a concise biography of Mozart, running about 36 pages. Then his works are very briefly touched in 4 chapters than take up about 18 pages total. But the main reason to obtain this book is the updated listing of Mozart's works taken from the updated New Grove Encyclopedia of 2000. Listed in work category of the NMA this catalogue gives K.numbers, revised dating of compositions and many new and revised remarks. The final section is an updated bibliography
Stafford,
William The Mozart Myths: A Critical
Analysis
Stanford
University
Press, Stanford
1991 ISBN 0-8047-1937-3 285 pgs.
This work relentlessly prunes the myths and legends away from Mozart by tracing where they came from and who may have started them. Uses original source materials to show a cleaner, more accurate portrait of Mozart, though the author in the end gives us a choice between two versions. Has an excellent short section on Mozart's final illness and death that much longer works fail to cover as well. That section is worth the price alone. This is the work Hildesheimer should have produced. The only drawback is that this book is too short at 285 pages in that I’d love to read much more on this subject by him.
Tyson, Alan Mozart: Studies of the
Autograph
Scores
Harvard
University
Press,
Cambridge
1987 ISBN 0-674-58831-2 381 pgs.
Highly readable analysis and categorization of the papers used in Mozart's manuscripts. By doing so, Tyson is able to better date the works, determine compositional techniques and the probable composing chronologies. Tyson has made many surprising discoveries along the way as to when Mozart may have composed certain works that are at variance with more traditional estimates. When you see in the other listings here "dated by newer research," much of that research is Tyson's. One drawback can be that Mozart may not have completely used up one batch of paper before purchasing another. Thus older paper can distort these newer estimates. However, by crosschecking inks, handwriting and other sketches present, it seems that Tyson’s discoveries are proving to be very durable. A few eye-openers along the way, plus some fascinating material on the operas.
Zaslaw, Neal (ed) The Compleat Mozart
W. W.
Norton & Co.,
New
York
1990 ISBN 0-393-02886-0 352 pgs
This work is a collection of short overviews of ALL of the proven Mozart works as of 1990. Some notes are only three to five sentences long, while others are far longer. Different authors are involved, so the styles can be a bit uneven. Much of the material is recycled liner notes that have been edited. However, that aside, this is a necessary reference work for the beginner as well as the long time Mozart lover. If you need some quick information on a work, you start here and then can go hunt elsewhere for material in depth. Most suspect and all spurious works are excluded, so the title really means the Complete True Works of Mozart. I keep mine right by the computer as I work.
Zaslaw, Neal Mozart’s Symphonies: Context,
Performance, Practice, Reception
Clarendon Press,
Oxford
1989 ISBN 0-19-816286-3 617 pgs.
Highly recommended book on every symphony known or suspected to be Mozart's, which means that it’s looking at nearly 100 such works. Yes, forget the concept of only 41. This work has been called magisterial at 600+ pages, but is highly readable and needs to be in every Mozart lover's library. You really don't have a good grounding of knowledge on Mozart's symphonies without reading this book. This work is that impressive. It’s clear and easy reading, but filled with all sorts of vital information. The final chapters on Performance Practices and Meanings are must-reads. OK, the whole book is a must-read if it’s in this section, but don’t just read it just for the background on your favorite symphonies.
THE NEEDFUL LIBRARY: Works you need to know
Branscombe, Peter Die
Zauberflöte
Cambridge
University
Press,
New
York
1991 ISBN 0-521-31916-1 248 pgs.
A well-done in-depth view (for its length) look at Mozart’s most beloved opera. Discusses the background of the work as well as various internal points, as well as various historical presentations. Many obscure facts are gathered in this work. Well end-noted if you want to do any follow-ups. A book in the Cambridge handbook series, which means you should look this series up and see what else they offer on Mozart’s works.
Braunbehrens, Volkmar Mozart in
Vienna
1781-1791
Grove
Weidenfeld,
New
York
1986 ISBN 0-8021-1009-6 481 pgs.
This book centers on Mozart's life in Vienna across the span 1791-91. Looks at the events in his life and that of Vienna itself. Very little music covered. This book reads well. Good discussion of Mozart's income included here and the figures make interesting comparison to other such lists. Political and intellectual currents of the time are discussed as well. Extensive footnotes. An excellent addition or alternative to the Gutman book, if the latter’s 800+ pages appears too much to handle.
Carter, Tim Le nozze di
Figaro
Cambridge
University
Press,
New
York
1987 ISBN 0-521-31606-5 180 pgs.
A well-done in-depth view (for its length) look at this famous of Mozart’s operas. Discusses the background of the work as well as various internal points. Well end-noted if you want to do any follow-ups. A book in the Cambridge handbook series, which means you should look this series up and see what else they offer on Mozart’s works.
Clive, Peter Mozart and His Circle: A Biographical
Dictionary
Yale
University
Press,
New
Haven
1993 ISBN 0-300-05900-0 242 pgs.
When you read much on Mozart, you start to come across the names of his friends, associates, patrons and fellow composers. This work provides a listing of many of the people in Mozart’s life, giving the reader a short biography and background on each. Also contains information on the theaters in Vienna and the Masonic Lodges Mozart was involved with. Has an extensive bibliography should you want to follow-up on points you’ve read. Just over 240 pages.
Cormican, Brendan Mozart’s Death, Mozart’s Requiem
The
Amadeus Press,
Belfast
1991 ISBN 0-9510357-0-3 361 pgs.
A limited issue work that centers on what the title above specifies. Much new information is presented and the discussion as well brings together all the facts that have here-to-fore been scattered around many different publications. The author has gone and personally viewed & reviewed the primary documents and sites. This is a highly readable book as opposed to being a book for specialists primarily. Less than 1000 copies were printed, so unless your library can find one somewhere, you’ll have to look on the used book market. It’s worth it, so go look now before other readers beat you to a copy!
Downs, Phillip G. Classical Music: The Era of Haydn, Mozart
and Beethoven
W. W.
Norton & Co.,
New
York
1992 ISBN 0-393-95191-X
697 pgs.
This work looks at the entire Classical era, detailing links, trends and all the major composers as well as a great many of the minor ones. Puts the era in perspective and displays the musical forces at work here very well. Also shows how exterior forces influenced and shaped the music of this era. As well, Downs shows very well how this music links up with the Romantic style that followed it. Many musical examples quoted.
Eisen, Cliff
Mozart
Studies
Oxford
University
Press,
New
York
1991 ISBN 0-19-816191-6 328 pgs.
A well-noted contribution to Mozart scholarship, this book offers a forum for a distinguished group of scholars/researchers to provide substantial pathbreaking articles, touching on virtually every important topic of Mozart research, including biography, sources, analysis (of both instrumental and vocal music), as well as reception. The contributors all well-known and regarded Mozart scholars, including Cliff Eisen, Albi Rosenthal, Maynard Solomon, Alan Tyson, James Webster, Christoph Wolff and Neal Zaslaw, who all provided important new directions for future research. Cliff Eisen's article "The Mozarts' Salzburg Copyists" was given the 1991 Alfred Einstein Award by the American Musicological Society. Reads well and has a raft of information, spread across many Mozart-oriented topics.
Eisen, Cliff Mozart Studies 2
Oxford
University
Press,
New
York
1998 ISBN 0-19-816343-6 208 pgs.
Published to complement the initial Mozart Studies, Mozart Studies 2 as well offers a forum for the most important trends in recent Mozart scholarship, including substantial contributions in gender and genre studies, close readings of individual works (among them the "Prague" symphony and Le nozze di Figaro), and new directions in analysis, both for Mozart’s operas and his instrumental music. At the same time, it also aims to suggest directions for future research. In addition to Cliff Eisen, the contributors include leading Mozart scholars, among them Mary Hunter, John Platoff, Wolf-Dieter Seiffert, and Elaine Sisman. Again, reads well and contains a lot of information on the topics it covers.
Eisen, Cliff New
Mozart
Documents
Stanford
University
Press, Stanford
1991 ISBN 0-8047-1955-1 192 pgs.
An expansion of the Deutsch book mentioned above that examines the material uncovered since 1965. Again, this work contains the basic documents and source material that authors reference when they justify their version of Mozart. Again, somewhat dry due to minimal narrative. See Deutsch, Otto Erich in the Core Section.
Irving, John Mozart's Piano Concertos
Ashgate Publishing Limited, Aldershot
2003 ISBN 0 7546 0707 0 274 pgs
A book covering all Mozart's Piano Concertos, including material on Nr.1-4 and K107/1-3. This book is biased towards the performer of concertos. It is a very technical book and heavily footnoted, in that it covers structure and technique, not just history. Many examples help one follow along, but without a score you can get a bit lost some of the time. Part Two is a little more general reader friendly, dedicating a few pages to each of the concertos--giving a good general history of each piece and covering topics not always covered in standard books and CD notes. A great book to find sources for all the Concertos and Cadenzas throughout the libraries of the world
Konrad, Ulrich: Wolfgang Amadé Mozart: Leben – Musik – Werkbestand
Bärenreiter Verlag, Kassel,
2005; ISBN 3-7618-1821-1
Mozart-Forschung auf dem neuesten Stand: Immer wieder tauchen neue
Erkenntnisse zu Mozart auf – mal Details, mal Grundlegendes, viele
seriös, manche zweifelhaft. Hier den Überblick zu bewahren, ist nicht
einfach.
Ulrich Konrad, einer der führenden Mozart-Forscher und unter anderem
Herausgeber der Skizzen und Fragmente in der »Neuen Mozart-Ausgabe«,
fasst in seinem neuen Buch den aktuellen Forschungsstand zusammen. Er
geht dabei über seinen Beitrag für die Enzyklopädie »Die Musik in
Geschichte und Gegenwart« hinaus, auf dem das Buch basiert. Geblieben
ist die bewährte Einteilung in Biografie, Werkbesprechung und
Werkverzeichnis.
Der Autor charakterisiert Grundzüge des ganzen Œuvres, geht aber auch
auf einzelne Werke ein. Mozart-Porträts, Tabellen zu seinen
Reisestationen und Wohnungen in Wien sowie Notenbeispiele ergänzen die
Darstellung. Ein komplettes Werkverzeichnis und eine detaillierte
Bibliografie liefern die notwendigen Grundlagen für eine weitere
Beschäftigung mit dem Komponisten.
_________
Ulrich Konrad, one of Germany’s leading Mozart musicologists and the author behind the New Mozart Edition’s volume on Mozart’s sketches and fragments, has newly published a comprehensive, thoroughly up-to-date reference book. The first section is biographical in nature; the second section discusses all aspects of Mozart’s music, his composing and compositions, and includes numerous musical examples; the third and largest section goes into detail with respect to each and every Mozart work, known or suspected. In addition, at the end, there is an unusually extensive bibliography reflecting the research and publication devoted to Mozart, especially in the years since the end of WWII, by persons of all nations. In his preface, Konrad lets the reader know at the outset that his “work is based on the primary sources: on the letters of Mozart and his family, on documentation of all kinds, and on the music itself.” Where there are gaps in our knowledge of Mozart’s life and his personality, Konrad has, he says, refrained from trying to fill them in with inventive and speculative prose. (Bruce Cooper Clarke)
Konrad, Ulrich
Mozarts Schaffensweise: Studien zu
den Werkautographen, Skizzen und Entwürfen
Vandenhoeck & Ruprecht, Göttingen
1992 ISBN3-525-82588-9, 530 S.
Über
Mozarts Schaffensweise hat sich über die Jahrhunderte eine
Legendenbildung entwickelt, die mit der Wirklichkeit eines Komponisten,
und sei er noch so begabt wie Mozart, nur wenig gemein hat. Mit dieser
Legendenbildung aufgeräumt und dann auch gezeigt zu haben, wie Mozart
wirklich gearbeitet hat, ist das
eine Verdienst dieses Buches. Das
andere ist die systematische
Zusammenstellung aller Skizzen und Entwürfe, die Mozart beim Komponieren
notiert und in vielen Fällen gar nicht für abgeschlossene Werke
verwendet hat (daher auch viele seiner Fragmente). Für jeden, der an
Mozarts Kompositionsprozess interessiert ist, ist Konrads Buch eine
Quelle neuer Einsichten und Erkenntnisse.
Even for non-German readers this book is of great value. Similar to the
Köchel Catalogue in format, the Konrad book is a catalogue of all the
known sketches and drafts by Mozart, together with their musical
incipits, most of which are not listed in the Köchel Catalogue
(therefore called "KV desunt"). This is an important addition for the
complete study of Mozart's music --- (Hans Ueckert)
Kuster, Konrad Mozart: A Musical Biography
Clarendon Press,
Oxford
1996 ISBN 0-19-816339-8 409 pgs.
This book takes the approach of viewing Mozart’s creative "life" as a composer, as opposed to his, well, biological life. The author selects forty works or groups of works spanning Mozart’s lifetime here to analyze. He looks at the events and developments in Mozart’s life associated with those works. The primary time span covered is the years in Vienna 1781-91. Very readable and not specialist-oriented.
Landon, H. C. Robbins Mozart: The Golden Years
Schirmir Books,
New
York
1989 ISBN 0-02-872025-3 272 pgs.
The book looks primarily at Mozart's Vienna years of 1781-91. It covers some music appreciation. Reads very well, as do all of Landon's works. Braunbehren's book listed above covers the same ground. I think it is slightly better than this work, but Landon's book looks at some topics a bit more in-depth. Many more illustrations in this work. Best bet is to read them both.
Landon, H. C. Robbins Mozart’s Last Year
Schirmer Books,
New
York
1988 ISBN 0-02871315-X 240 pgs.
An in-depth review of what occurred in Mozart's life in the years 1790-1791, commencing in December of 1790. Well written with a nice presentation. Includes a discussion of his Vienna earnings for 1781-1791and a floor plan of his last apartment, something you don’t come across elsewhere. Many interesting facts and pictures. Has complimentary things to say about Constanze as well that you don’t come across too often.
Larson, Jens Peter The New Grove Haydn
W. W. Norton & Co.,
New
York
1983 ISBN 0-393-30085-4 238 pgs.
A concise biography of Haydn with much discussion on his music as well. This should be one of the first books read to learn the basics on Haydn. To fully know the story of Mozart, one almost has to know a good deal about Haydn. This book is probably the place to start. As an added inducement this book has an appendix, an excellent, concise almost complete listing of every work Haydn wrote, started, sketched or was thought incorrectly to have composed. This book is nearly worth the price just for these listings. Reads well.
Leeson, Daniel N. Opus Ultimum: The Story of Mozart’s
Requiem
Algora Publishing, New York
2004 ISBN 0-87586-328-0 175 pgs.
The full story of Mozart’s Requiem is tangled, obscure in points, and lacking information in others. It is one of the most controversial works in the repertoire, to say the least. Dan Leeson has given us here an overview of the history of this work, going into fascinating depth in several areas. He covers the background of the music, personalities of the major players, who may have tricked whom, and the internal clues and technical problems to be found in the manuscript itself. The best single starting point for readers to learn about this unique work. Read with the books by Cormican, Brendan and Wolff, Christoph, you’ll have an excellent background available to you on Mozart’s Requiem K.626.
Rosen, Charles The Classical Style: Haydn, Mozart,
Beethoven
W. W.
Norton & Co.,
1972 ISBN 0-393-00653-0 467 pgs.
Highly recommended book that provides the reader with "…a superbly penetrating, closely argued analysis of Haydn, Mozart and Beethoven" to quote from the back cover. Rosen is musician with an excellent command of the language, so that his descriptions and discussions are clear and specific. He discusses both the music and its architecture. At times rivals Einstein in his prose work. Musical examples frequently sited, so some musical knowledge is a definite benefit, but not fully required. See also Rosen, Charles in the Good Section.
Rushton, Julian
Don
Giovanni
Cambridge
University
Press,
New
York
1981 ISBN 0-521-29663-3 162 pgs.
A well-done in-depth view (for its length) look at this most famous of Mozart’s operas. Discusses the background of the work as well as various internal points. The section on ‘The Literature of Don Giovanni’ looks at the changing views of this work through the years. Well end-noted if you want to do any follow-ups. A book in the Cambridge handbook series, which means you should look this series up and see what else they offer on Mozart’s works.
Sadie,
Stanley
(Ed.) Wolfgang Amade’ Mozart: Essays on His Life and
Music
Oxford
University
Press,
New
York
1996 ISBN 0-19-816443-2 512 pgs.
A very good collection of essays by specialists on various aspects of Mozart’s music and life. Better reading than most essay collections as the essays read better with less specialist "talk". Has many musical examples to illuminate parts of the text. Two essays deal with Mozart’s unfinished opera Lo sposo deluso, a work that one tends not to find very much material on. Plus, there’s an essay by Elaine Sisman covering aspects of the "Jupiter" Symphony that aren’t covered as deep in her book on the subject. Finally, while Alan Tyson has dealt with paper studies to help determine the dates of many of Mozart’s works, there’s an article in here discussing the study of inks in helping with such dating.
Solomon, Maynard Mozart: A Life
HarperCollins Publishers,
New
York
1995 ISBN 0-06-019046-9 640 pgs.
A detailed look at various aspects of different portions of Mozart's life. It has an excellent source listing at the end for any follow-up research you may want to do. Occasionally reads as though it were a series of essays on the life of Mozart as opposed to a "straight" biography. This work does delve into suspicious psychoanalysis using questionable facts. Therefore, it presents as a fairly solid ground certain points that might take years of personal analysis of a patient by a trained doctor to conclude. Otherwise, it reads well and long at over 620 pgs.
Tyson, Alan/Rosenthal, Albi Mozart’s Thematic Catalogue: A
Facsimile
Cornel
University
Press,
New
York
1990 ISBN 0-8014-25445X 144 pgs
Starting in 1784, Mozart kept in his own hand a catalogue of his compositions. He may have gotten that idea from his friend Haydn, whom he met around this time. It could have been a reminder as well from his father, who had catalogued some of Wolfgang’s works when he was a boy in Salzburg. In any event, from 1784 on, we know practically (but not totally) what Mozart wrote and when. He left written descriptions and an incipit of the opening bars of each work. This book is a color facsimile of Mozart’s very own catalogue. The first 60 pages are a translation of what Mozart wrote down, the balance is the facsimile of what it actually looked like. Includes, for a sad but good effect, the remaining 14 blank pages Mozart didn’t live to fill.
Wolff, Christoph Mozart’s Requiem
University
of
California Press,
Berkeley
1994 ISBN 0-520-21389-0 261 pgs.
This book covers the background and tangled history of the Requiem and discusses all parts of the controversy very well. Many new and interesting facts are to be found here. Includes a score of the Requiem fragment, as well. Taken in conjunction with the books by Brendan Cormican and Dan Leeson, a reader would have nearly all of the pertinent material on this work and its background. It’s a tangled story, but well displayed here.
Zaslaw, Neal (Ed.) Mozart’s Piano Concertos: Text, Context
and Interpretation
University
of
Michigan Press, Ann Arbor
1996 ISBN 0-472-10314-8 479 pgs.
A collection of essays concerning perhaps the greatest series of works Mozart produced (among the many great series he produced). This is more of a specialist work than other essay collections noted here. It is not as reader friendly as Neal Zaslaw’s book on Mozart’s symphonies. Familiarity with these concertos is recommended before diving into this book, but the rewards are there. On the aspects the various essays cover, they are much more in-depth than Girdlestone ever considered going, but this book is generally written by experts for other experts.
THE GOOD LIBRARY: Books that are Good to Know
Allanbrook, Wye Jamison Rhythmic Gesture in Mozart: Le nozze di Figaro
and Don Giovanni
University of Chicago Press, Chicago
1983 ISBN 0-226-01404-5 396 pgs.
This book challenges the standard view that Mozart sought to impart his many musical "messages" primarily through key and theme determinations. The author works to prove that Mozart used symbolic gestures and musical rhythms to detail his characters and their actions. These rhythms and gestures were well known to the perceptive audiences of the day, and so Mozart’s use of them was another way to inform the audience of what these characters were about. Specialist reading but tells an interesting story.
Bixley, Donovan Faithfully Mozart
PQ
Publishers Ltd,
Auckland,
NZ
2005 ISBN 0-7336-2004-3 130 pgs.
Not your “standard” reference, but in studying Mozart, we often lose sight of the fact that Mozart was an at times light-hearted happy man who brought a large amount of joy into this world. Donovan Bixley has captured this engaging side of Mozart with his art. Caricature being part of the mixture, we still can “see” via Bixley’s work, the Mozart within the letters we have, bounding around rooms, getting the “Treatment” in Venice from 6 lovely girls, getting ignored in Paris, and designing air gun targets involving more than a suggestion of butt kissing. A book that balances out the “angelic” view of Mozart, with a happy vengeance.
Dent, Edward J. Mozart’s Operas 2nd Ed.
Oxford
University Press,
London
1947 276 pgs.
The classic reference book on Mozart's mature operas from Idomeneo forward. Dent writes engagingly and well. However, he is more or less dismissive of operas by Mozart earlier than 1780. Originally published in 1913 and updated in 1947. Newer research puts limits on this work but it is still a very useful reference.
Dimond, Peter A Mozart Diary: A Chronological
Reconstruction of the Composer’s Life 1761-1791
Greenwood Press,
London
1997 ISBN
0-313-30131-X
248
pgs.
This is an account, pieced together form various sources, of Mozart’s day-to-day life and locations, across the years as indicated in the title. If you like delving into the minutia of people’s lives, you’ll find a great deal of information collected here in one book. The compositions are as well placed chronologically as they occur. A bit dry, obviously, a mistake or two along the way, but a handy reference.
Einstein, Alfred Mozart: His Character, His
Work
Oxford
University
Press, New York
1945/1962 492 pgs.
While some facts are dated to a degree, this author is rarely equaled in his ability to explain and "paint" in words the works of Mozart. He was the editor of the 1947 Koechel catalogue K3. Some musical examples provided. A book that has started many people out on the road to learning about and loving Mozart.
Gruber, Paul (Ed.) The Metropolitan Opera Book of Mozart’s
Operas
HarperCollins Publishers,
New
York
1991 ISBN 0-06-271519-4 658 pgs.
This is about the best libretto book I’ve come across. It starts with Idomeneo and hence neglects the earlier works, though. A synopsis, a background section, a list of the cast of characters and the libretto proper with an English translation cover each opera. A good work to start with when you’re looking for information on the last seven full-scale completed operas.
Heartz, Daniel Haydn, Mozart and the Viennese School
1740-1780
W. W.
Norton & Co., New York
1995 ISBN 0-393-03712-6 780 pgs.
This book covers, as it title states, the effects Mozart and Haydn had on their musical surrounding, but more importantly, how those surrounds influenced them. If you’re into the contemporaries of both Haydn and Mozart, there are individual chapters on: Gassmann, Salieri, Ditters(dorf), Vanhal, Ordonez, Albrechsberger and Steffan. Nicely illustrated with quite a few pictures I hadn’t come across before, and given in color to boot.
Heartz, Daniel Mozart’s Operas
University
of
California Press,
Berkeley
1992 ISBN 0-520-07827-1 486 pgs.
This book is a selection of articles on various aspects of different Mozart operas. Individually, the works are very good; there is just no real focus to them as a set beyond the fact that they are a collection of works by the same author. However, Heartz tells us of the complicated process of dealing with librettists, opera impresarios, and singers and explains it clearly and in depth.
Hildesheimer, Wolfgang Mozart
Vintage Books,
New
York
1983 ISBN 0-394-71591-8 408 pgs.
This work was the first to do a complete re-analysis of Mozart's life and psyche in the attempt to destroy the many myths that have sprung up over the years. The goal was therefore to present a "new" Mozart that was based on the facts. Unfortunately, the author swings too far the other way in his presentation and ends up painting Mozart as an aloof, cold and detached individual. Much of the discussion though is thought provoking and penetrating. This book did, in a backhanded way, help spawn many other works that attempt to portray Mozart more equitably.
Hunter, Mary/ Webster, James Opera Buffa in Mozart’s
Vienna
Cambridge University Press,
Cambridge
1997 ISBN 0-521-57239-8 457 pgs.
A collection of essays covering various aspects of comic opera in Mozart’s Vienna. Written by specialists for other specialists, so it can get a bit dry in locations. There are three good essays on different aspects of Don Giovanni one of which discusses alternate ending to the opera. The one on Figaro is entitled "Figaro as Misogynist" and explores how Mozart and Da Ponte create then erase this view.
Keefe, Simon P. The
Cambridge
Companion to
Mozart
Cambridge
University
Press,
Cambridge
2003 ISBN 0-521-00192-7 312 pgs.
A good collection of recent essays by such well respected Mozart authors as Cliff Eisen, William Stafford and Robert Levin, to name three. This collection touches on the historical context, the works, the reception history and performance considerations. For the knowledgeable Mozart buff who is eager for more.
Knepler, Georg
Wolfgang
Amadeus
Mozart
Cambridge
University
Press,
Cambridge
1994 ISBN 0-521-58823-5 374 pgs.
Knepler was an unrepentant former East German communist, so his reviews have a certain perspective you won’t find in many English language works. He does have an interesting take on Mozart’s trip through Germany to Frankfurt in Chapter 23 "A hostile fate—only in Vienna" that is very worth reading. He provides here an excellent understanding of the larger historical and cultural context of Mozart’s life. Overall a book you should check out. Some musical examples given.
Landon, H. C. Robbins Mozart and
Vienna
Schirmir Books,
New
York
1991 ISBN 0-02-872026-1 208 pgs.
Looks at the different journeys Mozart and his family made to Vienna and the events that took place during them. As well, there is an short overview of Mozart’s life spent there from 1781 to 1791. The main drawing card for this book is that it includes a ‘Sketch of Vienna’ written by Johann Pezzl, which is, for lack of a better term, a guide book to the city of Vienna giving the reader descriptions of the city’s customs, people and activities. It was published in installments from 1786 up until 1790, and reprinted in book form in 1794. Pezzl was a Mason, and listed with Mozart’s lodge, so he no doubt knew the composer. If you want to know what Vienna was like during Mozart’s time there, this is the book to read.
Levin, Robert Who Wrote the Mozart Four-Wind
Concertante?
Pendragon Press,
Stuyvesant,
NY
1988 ISBN 0-918728-33-9 472 pgs.
There have always been questions right from the start as to whether the work we have as K.297b/C.14.01 is really by Mozart, partially by Mozart, attributed to Mozart by an honest mistake, or a forgery tacked on to Mozart. Up until about 30 years ago, it was generally believed to be at least mostly by him. Then, with the publication of K6, it dropped into the Spurious ranks and was discredited. Robert Levin and Daniel Leeson believe this to be wrong. This book marshals all the evidence available to make the case that this work is in fact partially by Mozart, but that other hands have rendered it into a state that obscures his hand. On the technical side, but very worthwhile reading to see how the experts go about confirming or denying the authenticity of works thought to be Mozart’s.
Moberly, R. B.
Three Mozart Operas:
Figaro, Don Giovanni, The Magic Flute
Dodd, Mead & Co.,
New
York
1967 303 pgs.
The author reviews the librettos and stage instructions to offer "an altogether new approach to Mozart's scores." If you think that you know how these works should "appear" on a stage, you might be in for several surprises. His viewpoints on Don Giovanni are eye-openers and cast new light on what Mozart and Da Ponte may truly have meant. However, there are many researchers who dispute his approach here. As a great added touch, he translates into English where definition is required and his translations rhyme, fit the meter of the music and feel very singable. Read with an open mind, but read with some care.
Rice, John Antonio Salieri and
Viennese
Opera
University
of
Chicago
Press,
Chicago
1998 ISBN 0
226-72215-0
648 pgs.
Excellent book covering Salieri’s work in Vienna under Joseph II and beyond. Since not only did Salieri compose operas, he worked in the management of the Court theaters, this book interweaves between Salieri’s accomplishments and the workings, politics and personalities comprising opera in Vienna. The individual operas by Salieri are discussed in the type of close detail usually reserved for Mozart’s operas. You may want to hear a few after reading this book.
Rosen, Charles Sonata Forms
W. W.
Norton,
New
York
1988 ISBN 0-393-30219-9 415 pgs.
Covers the architecture that makes up a sonata-allegro movement, and sees how the form evolved from the Classical up into the Romantic Era. He is rather sharp with many of the 19th century definitions and notions of what this form became, and looks at how they occurred. Many musical examples are given. More technical than the book The Classical Style noted above, so start with that one before going to this one. Well written, as all Rosen works are. See also Rosen, Charles in the Needful Section.
Selby, Agnes Constanze, Mozart’s Beloved
Turton & Armstrong,
Sydney
1999 ISBN 0-908031-71-8 238 pgs.
Constanze "bashing" has often been the sorry history of works dealing with Mozart's wife. From bad mother to overly sexed, she has been cast in poor to very poor lights in the last 225+ years. The author has reviewed primary source materials to present an in-depth look at the facts behind Mozart's wife. The author has a set opinion and uses this book to build her case accordingly. Whether you agree or not, this is a good alternative to the "standard" line given on Constanze in the past. Since it concentrates on Mozart’s wife, much useful information has been collected here that would be difficult to round up otherwise.
Sisman, Elaine Mozart: The "Jupiter"
Symphony
Cambridge
University
Press,
Cambridge
1993 ISBN 0-521-40924-1 110 pgs.
Nicely done short study (only 110 pages) on this famous work. A good starting point to learn more about this greatest of Mozart's symphonies. Well end noted. A specialist book with musical examples. A book in the Cambridge handbook series, which means you should look this series up and see what else they offer in Mozart material.
Till, Nicholas Mozart and the Enlightenment: Truth, Virtue and
Beauty in Mozart’s Operas
W. W.
Norton & Co.,
New
York
1992 ISBN 0-393-31395-6
371 pgs.
This book illuminates the background of Mozart's operatic creations as they relate to the Enlightenment Age that Mozart was a part of. Till shows how Mozart learned from the ideals of this age and, as well, contributed to them. He mixes music, biography, history, philosophy, psychology, Masonry and sociology together to produce a very in-depth study of the man and his music. Deep reading in places, but worth it.
Wignall, Harrison James In Mozart’s Footsteps: A Travel guide for
Music Lovers
Paragon House,
New
York
1991 ISBN 1-55778-494-9 353 pgs.
A travel guide to Mozart's journeys, homes, concert sites, inns, churches, homes of patrons, etc. These are broken down by country and then by city with directions to find them, a rating as to their significance and a short description of the site itself. Interesting reading to see what still remains of Mozart's Europe, although along with others you’ll find that certain sites are now intersections or department stores.
Badura-Skoda, Eva/Paul Interpreting Mozart on the Keyboard
Barrie
and Rockliff,
London
1962 320 pgs.
This book seeks to correct errors that have crept into the piano works over the years, plus gives views and discussions on tempi, articulation and treatment on these works. A bit dated, as it came out years before the move towards more historically aware music making began. Musical background heavily suggested, but not fully required.
Braunbehrens, Volkmar Maligned Master: The Real Story of Antonio
Salieri
International Publishing Corp.,
New
York
1992 ISBN 0-88064-141-1 276 pgs.
Very good, well written book on the life of Salieri. Draws from older biographies in many cases, as Salieri’s personal papers, entrusted to his first biographer Mosel, have been lost. Salieri, who gave lessons to Wolfgang Mozart Jr., Beethoven, Hummel, Schubert and even Liszt, deserves better than obscurity. This book helps right that wrong.
Brophy, Brigid Mozart the Dramatist
Harcourt,
Brace
&
World,
New
York
1964 328 pgs.
Looks at the various operas from the points of view of seduction, chivalry, love, hell, society and the quest for pleasure. Interesting chapters on Die Zauberflöte with many good facts given. However, she runs on a fair amount, moving from idea to idea and never seems to finish concepts off completely.
Burk, John N. Mozart and His Music
Random
House,
New
York
1959 453 pgs.
The author was a historian and as well wrote the program notes for the Boston Symphony for nearly 30 years. This book gives you a short biography and short descriptions of each work. The various works are set up categories in order of composition. Burk writes well and direct. The notes are similar in scope to that in The Compleat Mozart by Neal Zaslaw, but since they here are all by one person, they work a bit better together. Being a 1959 publication though, some notes are dated by newer research and discoveries.
Chailley, Jacques The Magic Flute Unveiled
Alfred
A. Knopf,
New
York
1971/1992 ISBN
0-842-81358-X 342 pgs.
Reviews in-depth the Masonic elements in this opera by Mozart. Should be read by anyone who thinks they understand this work. You may not know it as well as you think. Shows that the Masonic elements are much more than a surface feature in this opera. Translated from French and is awkward reading in spots.
Da Ponte, Lorenzo Memoirs
New
York
Review of Books,
New
York
1832/1957/2000 ISBN 0-940322-35-8 472 pgs.
Yes, this is Da Ponte’s autobiography. Interesting reading of the times, but obviously the chapters dealing with Mozart are the key ones for us. Unfortunately, while he tells us many things, he doesn’t go into detail on how he and Mozart crafted their operas. He comes across as argumentative at times, and certainly bears grudges. However, he does "win" in the end, as he outlasted his rivals and ended up in New York City as professor of Italian Literature at Columbia University. Did we mention he helped construct the first permanent opera house in New York or that he was the mentor of the author of ‘A Night Before Christmas?’
Davies, Peter J. Mozart in Person: His Character, His Health
Greenwood
Press,
New
York
1989 ISBN 0-313-26340-X 272 pgs.
Some feel that this work supersedes Dr. Carl Bär’s 1967 work Mozart’: Krankheit—Tod—Begräbnis which initially covered pretty much the same ground. This book works to dispel the conspiracies, myths and guesses as to Mozart's death and his health in general. However, the author, not reading German, has only a superficial awareness of the 18th century Vienna medical context. Dr. Davies makes some psychological deductions from evidence that is suspect or outright flimsy. Trained specialists might take years of analysis to make similar conclusions. By doing so the author then purports his assumptions derived in this way as being truths. Still, the in-depth medical coverage is very good. Read with some caution.
Flothuis, Marius Mozart's Piano Concertos; A Study
Published by Rodopi Publishing (2001)
ISBN 90-420-1414-8 113 pages
[This book was first published in German, in a somewhat shortened version by Beck Verlag, Stuttgart in 1998] Flothuis gives a few paragraphs on each Concerto's history and then gives a detailed technical description. Much too technical for the beginner to mildly interested reader, just looking to read about the Concertos. Without a score very hard to follow the commentary. But for a student or performer of the Concertos, a very informative book.
Forman, Denis Mozart’s Concerto Form
Praeger Publications,
New
York
1971 ISBN 0-246640-08-1 303 pgs.
Looks at the opening movements of the piano concertos to analyze the forms and formats Mozart used to create them. A specialist book on the subject. Musical training not essential here, but certainly helps.
Gruber, Gernot Mozart and Posterity
Northeastern University Press,
Boston
1994 ISBN 1-55553-194-6 277 pgs.
A useful, often informative survey of the history of Mozart’s reception that began on 6 December 1791 and has continued unabated. Written by an Austrian musicology professor (and well translated into English), it provides a knowledgeable review of how “the Mozart enigma” evolved in the minds of succeeding generations. You may not agree with all the author’s judgments, but you will find much of value here.
Holmes, Edward The Life of Mozart
The
Folio Society,
London
1845/1991 ISBN 318 pgs
Yes, 1845 is correct. This is a reprint of the first English language biography of Mozart. While a lot of the facts are dated, this work has a value in showing us how Mozart was viewed about 50 years after his death. Since it was written at the early part of the Victorian Age, it lacks the puffery and exaggerated language one might expect from such a work.
Honolka, Kurt Papageno: Emanuel Schikaneder, Man of the
Theater in Mozart’s Time
Amadeus Press, Portand
1984 ISBN 0-931340-21-7 236 pgs.
A good if short (230 pgs) biography of Emanuel Schikaneder, the man who commissioned Die Zauberflöte from Mozart in 1791. Lots of detail on the inner working of the theaters of the time. Also has a listing of all the known works Schikaneder wrote, which surprisingly totals around 100.
Hutchings, Arthur A Companion to Mozart’s
Piano
Concertos
Oxford
University
Press,
London,
1948/1992 2nd Ed. ISBN 0-198-16708-3 207 pgs.
A respected book on these works. Gives a good appreciation with examples. The author has set opinions on many of the compositions and the reader may not always agree with them. Serves as a good counterpoint to the Girdlestone book listed above. 2ND edition includes material and updates by Cliff Eisen.
Kelly, Michael
Reminiscences
Oxford
University
Press,
London
1826/1975 Reprint ISBN 0-19-255417-4 396 pgs.
The singer Michael Kelly appeared in the premiere of Le nozze di Figaro, hence he met Mozart as well as Salieri and Joseph II in Vienna. His was an interesting career and his autobiography reads well. He has no real claim to fame other than, being on the scene, he gives us some nicely sculpted paragraphs on his association with Mozart. But, while some are prominently quoted in the biographies, there is other information in this book worth knowing.
King, Alec Hyatt Mozart Chamber Music/Mozart Wind and
String Concertos
Ariel
Music Publications,
London
1968/1978 ISBN 0-563-20486-9 and ISBN 0-563-20488-5
Two small 64-74 word booklets that give some nice information on the music noted in their titles. Handy to have for reference, and King writes well and engagingly. Some musical examples used.
Nettl, Paul Mozart and Masonry
Dorset
Press, New York
1957/87 ISBN 0-88029-159-1
149 pgs.
Good study of Mozart and his involvement with the Masons. Explains many points of the beliefs and rituals. Probably the book to start with in learning about this aspect of Mozart's life. Reads well.
Russell, Charles C. The Don Juan Legend Before Mozart
The
University of
Michigan
Press, Ann Arbor
1993 ISBN 0-472-10412-6 511 pgs.
Where did Mozart and da Ponte get their ideas on how to approach the Don Juan story? We know they probably used a libretto from an opera by Gazzaniga and Bertati, but where did they get their ideas from? There are a string of operas and plays on the Don Juan legend, stretching all the way back to 1630. Each succeeding poet, librettist and composer thus had an idea of how to approach the subject, change and/or adapt it to their needs. This book supplies the libretti to eight previous operas on the subject, including Bertati’s.
Schroeder, David Mozart In
Revolt
Yale
University
Press,
New
Haven
1999 ISBN0-300-07542-1 201 pgs.
This book offers a new approach to reading the Mozart letters. The author's contention is that Leopold was saving them to publish in a biography about his son. He was in fact designing this correspondence to be published as a type of moral biography. Wolfgang, finally catching on to Leopold's ideas here, willfully made his replies unprintable to subvert these plans. I'm not fully convinced, but this is an interesting discussion nevertheless.
Davenport,
Marcia Mozart
Avon
Books,
New
York
1932-1979 ISBN 0-380-45535-X 402 pgs.
This is a historical novelization of the life of Mozart, which tends to bring his life and era alive. Is well grounded on the known facts of the times. She wanted to write a book for the lay reader that was neither a romance or a textbook, but something to bring the man alive. However, she invents dialogue, which lessens the history aspect of this book. Reads well and has served for many as their first introduction to the life of Mozart. Somewhat dated now as newer information has become available.
Gay, Peter Mozart
Lipper/Viking (Penguin Life),
New
York
1999 ISBN 0-670-88238-0 178 pgs.
Short biography of Mozart. Good starting point if you want a quick read to introduce yourself or a friend to Mozart. Not a lot of depth, but cleanly written.
Gheon, Henri In Search of Mozart
Sheed
&
Ward,
New
York
1934 366 pgs.
Nice biography of Mozart, translated from French. Writer is very enthused on the subject and gets rather breathless in many of his descriptions, so that makes it a fun read. Occasionally the author invents dialogue, so some history is sacrificed. Dated by newer findings.
Kolb, Annette Mozart
Prion Books, London
1937/1998 ISBN 1-85375-285-1 339 pgs.
A straightforward account of Mozart’s life, written along the lines of a novel. Dated by newer research, but reads well. More or less an introductory book written for the 1941 150th anniversary of Mozart’s death. Dated by newer research..
Tchernaya, E. S. Mozart: His Life and Times
TFH
Publications,
Neptune City,
NJ
1984 ISBN 0-86622-332-0 190pgs.
A less than satisfactory account of Mozart’s life. Here and there are included some interesting perspectives, but they don’t save this book from being much more than a starter. All the pictures are in b/w, even the color ones, and are mostly washed out. However, the one main feature is the color cover, which is of Mozart supposedly rendered in 1787 or so. It is not commonly seen, but looks to be a very good likeness.
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