Published as a tribute to the late Stanley Sadie, these eleven essays look at compositional and performance matters, consider new archival research and provide an overview of work since the bicentenary in 1991. Words About Mozart is published as a tribute to the late Stanley Sadie, musicologist, critic and editor of The New Grove Dictionary of Music and Musicians. Of the eleven essays presented here, three focus on compositional matters: Julian Rushton examines the dramatic meaning of a recurring motif in Idomeneo; Elaine Sisman sifts through the facts surrounding the genesis of Mozart's 'Haydn' quartets; and Simon Keefe matches up pairs of piano sonatas and concertos on the basis of their common compositional features. Cliff Eisen considers some problems of performing practice posed by the solo keyboard parts in Mozart's concertos, and Robert Philip surveys tempo fluctuations in a selection of historical recordings. Felicity Baker's detailed analysis of aspects of the Don Giovanni libretto is a welcome contribution from the field of literary criticism. Three studies offer new archivalresearch: Neal Zaslaw uncovers the background to one of Mozart's nonsense compositions; Dorothea Link examines the Viennese Hofkapelle and creates a new context for understanding Mozart's court appointment; and Theodore Albrecht proposes a candidate for Mozart's Zauberfloetist. Christina Bashford considers an aspect of Mozart reception in 19th-century England connected with John Ella, and Peter Branscombe presents a comprehensive overview of research published since the bicentenary in 1991. The volume includes a full bibliography of Stanley Sadie's publications and broadcasts. Contributors: THEODORE ALBRECHT, FELICITY BAKER, CHRISTINA BASHFORD, PETER BRANSCOMBE, CLIFF EISEN, SIMON P. KEEFE, LEANNE LANGLEY, DOROTHEA LINK, ANDREW PORTER, ROBERT PHILIP, JULIAN RUSHTON, ELAINE SISMAN, NEAL ZASLAW

The National Court Theatre in Mozart's Vienna provides a valuable context for Mozart's career as an opera composer in Vienna by investigating the operation of the court theatre under Emperors Joseph II and Leopold II. The author brings together a large number of hitherto unavailable archival sources, namely the diary of Count Karl Zinzendorf (from which transcriptions have been made of all passages that address the music and theatre in Vienna from Easter 1783 to Easter 1792); theatre account books (with transcriptions of payment records for all the salaried performing personnel as well as the semi-annual lists of subscribers to the boxes in the theatre); and the theatre posters, almanacs, newspapers, and records kept by the theatre administration, which have been compiled by the author into a performance calendar. The final section of the book rounds out the picture of Josephinian theatre with a discussion of the theatre's management and an analysis of the attendance figures.

Dorothea Link examines singers' voices and casting practices in late eighteenth-century Italian opera as exemplified in Vienna's court opera from 1783 to 1791. The investigation into the singers' voices proceeds on two levels: understanding the performers in terms of the vocal-dramatic categories employed in opera at the time; and creating vocal profiles for the principal singers from the music composed expressly for them. In addition, Link contextualizes the singers within the company in order to expose the court opera's casting practices. Authoritative and insightful, The Italian Opera Singers in Mozart's Vienna offers a singular look at a musical milieu and a key to addressing the performance-practice problem of how to cast the Mozart roles today.