Mozart's Viennese copyists

Previous Mozart scholars have paid little attention to non-autograph Viennese copies of Mozart's music. Yet a surprising number of Viennese manuscript copies can be directly linked with the composer. Such non-autograph manuscripts occasionally provide sources for works whose autographs are lost, or reflect authorized revisions that Mozart did not enter into his autographs. Such copies may also shed new light on performance practice, reception, and Mozart's biography.;This dissertation first establishes a contextual and methodological framework for the investigation and analysis of early Viennese manuscript copies of Mozart's music. Chapter 2 examines the musical and professional background of music copying in Vienna in the late eighteenth century. Chapter 3 deals with the analysis of musical manuscripts, with special emphasis on the identification of anonymous musical handwriting and the analysis of music paper. Chapter 4 offers a critique of the concept of "authenticity" of copyists and copies, and suggests a more nuanced taxonomy. The remainder of the dissertation deals with specific copies and copyists. Chapter 5 discusses Joseph Arthofer, who worked for Mozart in 1783. Chapter 6 deals with the most important (still anonymous) Viennese copyist to have worked for Mozart, here called Viennese Mozart-Copyist 1. Chapter 7 discusses the commercial Viennese music copyist Johann Traeg. Chapter 8 treats the non-autograph manuscripts in Mozart's "estate." Chapter 9 examines the Mozart manuscripts produced by the shop of Wenzel Sukowaty, chief music copyist of the Viennese court theater from around 1776 to 1796, with special attention to the original orchestral parts from the first production of Le nozze di Figaro in 1786, and the first Viennese production of Don Giovanni in 1788. Chapter 10 analyzes the recently discovered attributions to Mozart in a Viennese score of the Singspiel Der Stein der Weisen. Chapter 11 summarizes the larger themes of the dissertation and suggests directions for future research. Appendices include additional facsimiles of copyist handwriting and facsimiles of important watermarks, as well as a complete facsimile of the original performing score of the aria "Alma grande e nobil core," K. 578, the autograph of which is lost.