The results and implications of Alan Tyson's work on Mozart have
had a profound impact on virtually every aspect of research on this
composer: biography, chronology of compositions, working methods,
stylistic analysis. Central, perhaps, are Tyson's discoveries on
chronology: time and again he has proved that datings, often of
large, well-known works, that have been accepted for generations
are not only erroneous but based on little more than speculation.
This book assembles his major articles, previously scattered
through magazines, journals, and festschrifts, plus two unpublished
pieces, into a treasure trove for musicologists and music lovers.
Tyson's investigations, using primarily paper analysis, span
Mozart's entire career and the full range of genres--string
quartets, operas, choral music, keyboard music, concertos, and
symphonies. He goes into the genesis of major works such as Cosi
fan tutte, the "Prague" Symphony, the Piano Sonata K.333, the
"Haydn" quartets, and "La clemenza di Tito," His conclusions about
chronology bear directly on biographical questions and current
accounts of Mozart's stylistic development as well as his
compositional methods. We learn here, for example, that the "first"
horn concerto was in fact Mozart's last, and that he did not even
complete the second movement, which was finished after his death by
his pupil Sussmayr. The writing (and, in some cases, rewriting) of
his later operas such as "Figaro" and "Cosi fan tutte" also lends
itself to investigation by the same techniques; this is resulting
in the rediscovery of some lost measures and little-known variant
versions of arias. Tyson's style is clear and elegant, and the
originality of his workand the soundness of his inferences make
this book a pleasure.
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