Figaro and Susanna represent true love wanting to be consummated the Count and Countess represent lost love trying to be regained Bartolo and Marcelina represent re-discovered love and Cherubino represents young love. Mozart’s Figaro is a representation of human love, asking the fundamental questions of “what is true love, and is it possible to recover it once lost?” Each set of characters represents an answer to these questions. Michael’s, the church where the composer’s obsequies were eventually held. Newly uncovered documentary and musical sources provide evidence for the dissemination of Mozart’s sacred music during the composer’s lifetime, and suggest that Mozart may have been associated with St. 626 has been widely misunderstood, and the development of the work is reconsidered within the framework of the obsequies for Mozart held on 10 December 1791, an occasion at which part of the Requiem is said to have been performed. The early textural history of the Requiem K. 317 and the context of Mozart’s petition to become adjunct Kapellmeister at the Cathedral in 1791. A number of previously inaccessible sources from both institutions provide new evidence on the origins of the “Coronation” Mass K. Stephen’s Cathedral are the most important examples of the composer’s interest in sacred music in Vienna. Mozart’s associations with the Hofkapelle and St. 427 is a telling indication of where Mozart’s aesthetic sensibilities lay. In its scale and technical demands, the contemporary Mass in C minor, K. The severity of the restrictions has been exaggerated, and there is evidence to suggest that the provisions of the Gottesdienstordnung were ignored at prominent churches in Vienna, including St. A common explanation for Mozart’s apparent silence is the introduction in 1783 of a city-wide Gottesdienstordnung by the Emperor Joseph II, reducing the number of services at which instrumentally-accompanied sacred music could be performed. The present thesis attempts to provide a detailed re-evaluation of the place of sacred music in Mozart’s thinking during his residence in Vienna. While a number of articles have challenged this picture through the redating of various fragments and copies, there has yet to be a comprehensive study that integrates these discussions with recent developments in the assessment of non-autograph sources. Traditional accounts of Mozart’s oeuvre have regarded the final decade of the composer’s life as a fallow period for the composition of sacred music, broken only by the production of two divergent large-scale works and a small motet. ![]() An examination of surviving bawdy Viennese canons in their social context, together with a reconsideration of the Mozart family letters and attitudes toward vulgarity in Viennese popular theatre, reveals that lewd expressions on the stage were relatively uncommon in this period, that Mozart’s use of scatalogical language was relatively mild for the time and that accounts of the composer’s debauchery in his last years have little evidentiary basis. Examples of even raunchier canons, composed by musicians with connections to Mozart, Schikaneder and the Theater auf der Wieden, provide new insight into the genre. A review of the original source materials reveals that these views are apocryphal, originating after Mozart’s death and embellished in nineteenth-century commentary and scholarship. ![]() Moreover, his association with Emanuel Schikaneder’s supposedly dissolute Theater auf der Wieden, a boisterous venue for German stage works, has been taken as further evidence of his profligate tendencies. Mozart’s bawdy canons and use of scatalogical parlance in his letters have been described as indicative of a personality given to crass expression.
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