Simon P. Keefe is James Rossiter Hoyle Chair and Head of Music at the University of Sheffield, UK.

• Contents: Introduction. Part I Biographical Perspectives: Mozart and Salzburg, Cliff Eisen; Court, government and society in Mozart’s Vienna, Derek Beales; Mozart’s appointment to the Viennese court, Dorothea Link; Mozart in the market place, Julia Moore; The Rochlitz anecdotes: issues of authenticity in early Mozart biography, Maynard Solomon. Part II Vocal Music: Contexts and Interpretations: Goldoni, Opera Buffa, and Mozart’s advent in Vienna, Daniel Heartz; Sentimental and anti-sentimental in Le nozze di Figaro, Stefano Castelvecchi; The fandango scene in Mozart’s Le nozze di Figaro, Dorothea Link; Mozart’s felix culpa: Così fan tutte and the irony of beauty, Scott Burnham; Mozart and the theater auf der Wieden: new attributions and perspectives, David J. Buch; Requiem, but no piece, Thomas Bauman. Part III Instrumental Music: Sources and Influences: Haydn and Mozart’s 1773 stay in Vienna: weeding a musicological garden, A. Peter Brown; The sincerest form of flattery? Mozart’s ‘Haydn’ quartets and the question of influence, Mark Evan Bonds; Cadenza contra text: Mozart in Beethoven’s hands, Richard Kramer; Another look at the ‘corrupt passage’ in Mozart’s G minor Symphony K. 550: its sources, ‘solution’ and implications for the composition of the final trilogy, Cliff Eisen; ‘We hardly knew what we should pay attention to first’: Mozart the performer-composer at work on the Viennese piano concertos, Simon P. Keefe. Part IV Performance: Performance practice in the music of Mozart, Robert D. Levin; Manuscript parts as evidence of orchestral size in the 18th-century Viennese concerto, Dexter Edge; ‘Ich praeludirte und spielte Variazionen: Mozart the fortepianist, Katalin Komlós. Name Index.

Simon P. Keefe is James Rossiter Hoyle Chair and Head of Music at the University of Sheffield, UK.

• Contents: Introduction. Part I Biographical Perspectives: Mozart and Salzburg, Cliff Eisen; Court, government and society in Mozart’s Vienna, Derek Beales; Mozart’s appointment to the Viennese court, Dorothea Link; Mozart in the market place, Julia Moore; The Rochlitz anecdotes: issues of authenticity in early Mozart biography, Maynard Solomon. Part II Vocal Music: Contexts and Interpretations: Goldoni, Opera Buffa, and Mozart’s advent in Vienna, Daniel Heartz; Sentimental and anti-sentimental in Le nozze di Figaro, Stefano Castelvecchi; The fandango scene in Mozart’s Le nozze di Figaro, Dorothea Link; Mozart’s felix culpa: Così fan tutte and the irony of beauty, Scott Burnham; Mozart and the theater auf der Wieden: new attributions and perspectives, David J. Buch; Requiem, but no piece, Thomas Bauman. Part III Instrumental Music: Sources and Influences: Haydn and Mozart’s 1773 stay in Vienna: weeding a musicological garden, A. Peter Brown; The sincerest form of flattery? Mozart’s ‘Haydn’ quartets and the question of influence, Mark Evan Bonds; Cadenza contra text: Mozart in Beethoven’s hands, Richard Kramer; Another look at the ‘corrupt passage’ in Mozart’s G minor Symphony K. 550: its sources, ‘solution’ and implications for the composition of the final trilogy, Cliff Eisen; ‘We hardly knew what we should pay attention to first’: Mozart the performer-composer at work on the Viennese piano concertos, Simon P. Keefe. Part IV Performance: Performance practice in the music of Mozart, Robert D. Levin; Manuscript parts as evidence of orchestral size in the 18th-century Viennese concerto, Dexter Edge; ‘Ich praeludirte und spielte Variazionen: Mozart the fortepianist, Katalin Komlós. Name Index.

Simon P. Keefe is James Rossiter Hoyle Chair and Head of Music at the University of Sheffield, UK.

• Contents: Introduction. Part I Biographical Perspectives: Mozart and Salzburg, Cliff Eisen; Court, government and society in Mozart’s Vienna, Derek Beales; Mozart’s appointment to the Viennese court, Dorothea Link; Mozart in the market place, Julia Moore; The Rochlitz anecdotes: issues of authenticity in early Mozart biography, Maynard Solomon. Part II Vocal Music: Contexts and Interpretations: Goldoni, Opera Buffa, and Mozart’s advent in Vienna, Daniel Heartz; Sentimental and anti-sentimental in Le nozze di Figaro, Stefano Castelvecchi; The fandango scene in Mozart’s Le nozze di Figaro, Dorothea Link; Mozart’s felix culpa: Così fan tutte and the irony of beauty, Scott Burnham; Mozart and the theater auf der Wieden: new attributions and perspectives, David J. Buch; Requiem, but no piece, Thomas Bauman. Part III Instrumental Music: Sources and Influences: Haydn and Mozart’s 1773 stay in Vienna: weeding a musicological garden, A. Peter Brown; The sincerest form of flattery? Mozart’s ‘Haydn’ quartets and the question of influence, Mark Evan Bonds; Cadenza contra text: Mozart in Beethoven’s hands, Richard Kramer; Another look at the ‘corrupt passage’ in Mozart’s G minor Symphony K. 550: its sources, ‘solution’ and implications for the composition of the final trilogy, Cliff Eisen; ‘We hardly knew what we should pay attention to first’: Mozart the performer-composer at work on the Viennese piano concertos, Simon P. Keefe. Part IV Performance: Performance practice in the music of Mozart, Robert D. Levin; Manuscript parts as evidence of orchestral size in the 18th-century Viennese concerto, Dexter Edge; ‘Ich praeludirte und spielte Variazionen: Mozart the fortepianist, Katalin Komlós. Name Index.