1 The chamber music with keyboard in Mozart biography
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چکیده
The most perfunctory survey of the biographical literature devoted to Mozart – from the late eighteenth century to the present day – reveals an avid curiosity into the composer’s life history, perhaps a compulsive tendency to situate and contextualise his music. Although Mozart’s music might be clearly intelligible without knowledge of either his life or his eighteenth-century environment – twin assertions made by Charles Rosen – it is precisely because of the music that we have been excited to investigate his circumstances. History does not, after all, demonstrate the same craving for a backdrop to the works of Paul Wranitzky or Joseph Martin Kraus – two composers also born in 1756 – however thrilling or tedious their lives may have been. Only recently has biography itself become a topic for serious musical scholarship. Not until Maynard Solomon’s contribution to the New Grove Dictionary of Music and Musicians in 2001 did a musical dictionary include an entry on the subject. Now the constructive methods of music biography have come to the foreground, and the premises upon which earlier writers created lives of composers and performers have begun to be examined. The impact of those inherited lives on our modern perceptions of these musicians has been highlighted, and the potential for interpretative biography to play a new role in current musicology has been proposed. Examining the lineage of biographical tropes is not quite a new endeavour: from as long ago as 1920, when Hermann Abert proposed a need for the periodic updating of
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