The Letter of von Heufeld to Leopold Mozart: a New Proposal (The Context)
Article Sidebar
Main Article Content
Abstract
Usually omitted, neglected and unexamined by scholars and biographers of Mozart, nonetheless, the letter of
von Heufeld to Leopold Mozart (23 January 1778), when analyzed in its proper context, proves to be a fundamental
document to cast some light on famous Mozartian questions and to comprehend better certain key passages of Mozart’s
life from 1778 to 1791, shedding light on him both as a person and as an artist. In fact, a few of such events were
directly determined by the contents of that letter and others unfolded around the very arrival of the letter of von Heufeld
in Mannheim. The letter of von Heufeld originated from a series of requests received by Leopold Mozart from his
famous son: 1) a letter of recommendation for the Queen of France, the sister of the Austrian Emperor; 2) news about
a possibility of a good position at the German National Theatre in Vienna. The clash with Vogler in Mannheim, the
attitude of Mozart towards the other composers of his time (Stamitz and Paisiello) and his progressive interest in forms
of self-funded promotion on various projects are also analyzed.
Keywords: Wolfgang Mozart’s letters, von Heufeld, Vogler, German Opera.
Article Details
Copyright
The rights on the results of intellectual activity and equated means of individualization are protected in accordance with Part IV of the Civil Code of the Russian Federation. The authorship, author's name, executor’s name, inviolability of the work and result of execution are protected by the rules of Part IV of the Civil Code of the Russian Federation of the author or executor, regardless of providing legal protection of such results of intellectual activity at the time of their forming.
Copyright laws regulate the civil legal relations for using works of science, literature and art. Such relationships are formed as the result of the author’s writing his or her texts. In this case the author can rightfully claim copyright of the work.
The author has certain rights to reuse the work (see: “Ethical Aspects in Terms of Multifold Publications).
Licenses
All copyrights on the articles belong to their authors. The author transfers the rights on using the article the publisher.
PDF versions of scholarly articles of the journal PMN are published by using the license Attribution Non-Commercial No Derivatives cc by-nc-nd, allowing loading and distributing works on the assumption of indicating the authorship. The works may not be changed in any way or used for commercial interests.
Criteria for Authorship, Co-authorship
The term “author” refers to all persons (co-authors) who have made a substantial contribution to conducting the research and creation of the manuscript and responsible for its content. The person (author) who has submitted the manuscript to the editorial board shall bear responsibility for the complete list of the group of authors and the changes made to the manuscript in accordance with the results of the peer reviewing and editing.
1. Authorship is based on the following criteria:
1) The author made a substantial contribution to the research activity and development of concept, collected the data, made analysis and interpretation of the data.
2) The author carried out the writing of the text of draft articles and edited it attentively and substantially.
3) The author approved the final version of the article prior to its submission.
4) The author bears responsibility for the integrity of all parts of the manuscript.
2. The authors shall guarantee that the submitted manuscript is the original work.
3. Scholarly reviews for some issue or other should be objective, present material in a wide range and at the same time take into account the views of the author of the review.
4. The authorship of scholarly publications is obligated to reflect accurately the contribution of individuals to the research activity, with specific information about the authors.
5. The authors may not mislead the readers by publishing acknowledgements of gratitude to people who were not actually involved in writing the work. Other persons who made contribution to the work, but are nevertheless not the authors, may be listed in the rubric of “Acknowledgements,” with indications of the type and extent of their activities.
6. Authors are obligated to provide a description of their contribution to the publication.
7. The order of authorship must be a joint resolution of co-authors. The authors should be ready to explain the order of their enumeration and listing.
8. The authors shall be entirely responsible for the correct definition of authorship acting in accordance with the rules adopted in their institution.
9. Investigators must ensure that only those persons who meet the criteria for authorship (that made a significant contribution to the work), shall be considered the authors, and the researchers who do not merit authorship will be excluded from the list of authors.
References
2. Anderson Emily. The Letters of Mozart and his Family. Revised by Stanley Sadie and Fiona Smart. London and Basingstoke, 1985. 1038 p.
3. Deutsch Otto Erich. Mozart a Documentary Biography. Translated by Eric Blom, Peter Branscombe and Jeremy Noble. Stanford, 1966. 692 p.
4. Einstein Alfred. Mozart. His Character. His Work. Translated by Arthur Mendel and Nathan Broder. Oxford University Press – New York, 1945. 492 p.
5. Eisen Cliff. New Mozart Documents. A Supplement to O. E. Deutsch’s Documentary Biography. London and Basingstoke, 1991. 192 p.
6. Eisen Cliff. Mozart: A Life in Letters. London, 2006. 688 p.
7. Grave Floyd K. and Grave Margaret G. In Praise of Harmony. The Teachings of Abbé Georg Joseph Vogler. University of Nebraska Press, 1987. 338 p.
8. Grave Floyd K. (Edited by). Ballet Music from the Mannheim Court. Part I. Christian Cannabich. Georg Joseph Vogler. Madison, 1996. 144 p.
9. Green Edward Noel. Chromatic Completion in the Late Vocal Music of Haydn and Mozart: A Technical, Philosophic, and Historical Study. A Dissertation for the Department of Music New York University, May 2008. 615 p.
10. Green Edward Noel. A New Look at the Ployer/Attwood Notebooks, or, Mozart: a Teacher of Chromatic Completion. Problemy muzykal’noj nauki/Music Scholarship: Russian Journal of Academic Studies. 2013. No. 1 (12), pp. 141–145.
11. Heartz Daniel. Mozart’s Operas. University of California Press, 1990. 363 p.
12. Nicastro Guido. “Sogni e favole io fingo.” Gli inganni e i disinganni del teatro tra Settecento e Novecento. Università degli Studi di Catania. Soveria Mannelli, 2004. 259 p.
13. Rice John. Antonio Salieri and Viennese Opera. The University of Chicago Press, 1998. 648 p.
14. Sadie Stanley. Mozart: the Early Years 1756–1781. Oxford University Press, 2006. 644 p.