Skip to main content Accessibility help
×
Hostname: page-component-77c89778f8-fv566 Total loading time: 0 Render date: 2024-07-22T11:11:16.877Z Has data issue: false hasContentIssue false

The Marks of a Maestro

Annotating Mozart's ‘Jupiter' Symphony

Published online by Cambridge University Press:  13 February 2021

Raymond Holden
Affiliation:
Royal Academy of Music, London
Stephen Mould
Affiliation:
Sydney Conservatorium of Music, The University of Sydney

Summary

Only recently has it become obvious that conductors' annotated scores and marked orchestral parts are of great cultural, historical and musical importance. In the not-so-distant past, these artefacts had something of an uncertain status with many either languishing unopened in libraries and family archives or simply being dispersed or discarded. With the help of institutions such as the Royal Academy of Music, Harvard University and the New York Philharmonic Orchestra this has begun to change with their extensive collections of these materials now being made available to scholars and musicians. This element examines the emergence of these artefacts as didactic and interpretative tools and explores the ways in which the performance styles of ten iconic conductors active in the nineteenth, twentieth and twenty-first centuries are reflected in their annotated scores and marked orchestral parts of Mozart's Symphony No. 41, K. 551 ('Jupiter').
Get access
Type
Element
Information
Online ISBN: 9781108902601
Publisher: Cambridge University Press
Print publication: 11 March 2021

Access options

Get access to the full version of this content by using one of the access options below. (Log in options will check for institutional or personal access. Content may require purchase if you do not have access.)

Bibliography

Altena, J., Reveyoso, S. and Ryding, E., Recorded Performances of Bruno Walter (1876–1962), online publication, previously available at www.geocities.com/walteriana76/BWrecordsB.htm (accessed 2016).Google Scholar
Barbirolli, J., ‘Speech to the New York Philharmonic-Symphony League, 1 November 1938’. Original typewritten manuscript held at the Royal Academy of Music, London.Google Scholar
Beecham, T., Mozart’s Symphony No. 41 (‘Jupiter’), Beecham edition. ‘Foreword’ (London: Boosey & Hawkes, 1942).Google Scholar
Beecham, T., A Mingled Chime (London: Columbus Books, 1987).Google Scholar
Bernstein, L., The Unanswered Question (Cambridge, MA: Harvard University Press, 1976).Google Scholar
Blackwood, A., Sir Thomas Beecham: The Man and the Music (London: Ebury Press, 1994).Google Scholar
Blaukopf, K., Mahler, trans. Goodwin, I. (London: The Arts Book Club, 1973).Google Scholar
Blaukopf, H., ed., Gustav Mahler/Richard Strauss, Correspondence 1888–1911, trans. Jephcott, E. (London: Faber & Faber, 1984).Google Scholar
Blaukopf, K., and Blaukopf, H., Mahler: His Life, Work and World, trans. Baker, P. et al. (London:Thames & Hudson, 2000).Google Scholar
Brown, C., ‘Bowing Styles, Vibrato and Portamento in Nineteenth-Century Violin Playing’, Journal of the Royal Musical Association 113 (1988).CrossRefGoogle Scholar
Chevalley, H., ed., Arthur Nikisch Leben und Wirken (Berlin: Bote & Bock, 1922).Google Scholar
Cox, D., The Henry Wood Proms (London: British Broadcasting Corporation, 1980).Google Scholar
Del Mar, N., Richard Strauss: A Critical Commentary on His Life and Works vol. 1–3 (London: Faber & Faber, 1986).Google Scholar
Dyment, C., ‘Felix Weingartner’, Musica no. 17 (Milan, April 1980), 142–52.Google Scholar
Galkin, E. W., A History of Orchestral Conducting in Theory and Practice (New York: Pendragon Press,1988).Google Scholar
Gilliam, B., ed., Richard Strauss and His World (Princeton: Princeton University Press, 1992).Google Scholar
Gilliam, B., ed., Richard Strauss: New Perspectives on the Composer and His Work (Durham and London: Duke University Press, 1992).Google Scholar
Gruber, G., Mozart & Posterity, trans. Furness, R. S. (London: Quartet Books, 1991).Google Scholar
Harnoncourt, N., The Musical Dialogue, trans. O’Neill, M. (London: Christopher Helm, 1989).Google Scholar
Heyworth, P., Otto Klemperer: His Life and Times Volume 1: 1885–1933 (Cambridge: Cambridge University Press, 1996).Google Scholar
Heyworth, P., Otto Klemperer: His Life and Times Volume 2: 1933–1973 (Cambridge: Cambridge University Press, 1996).Google Scholar
Holden, R., Barbirolli: A Chronicle of a Career (Vienna: The Barbirolli Society, 2016).Google Scholar
Holden, R., ‘Bruckner 8: Sir John Barbirolli’s London Swan Song – Part I’, in Studien & Berichte (Vienna: Internationale Bruckner-Gesellschaft, June 2000).Google Scholar
Holden, R., ‘Bruckner 8: Sir John Barbirolli’s London Swan Song – Part II’, in Studien & Berichte (Vienna: Internationale Bruckner-Gesellschaft, December 2000).Google Scholar
Holden, R., Elder on Music: Sir Mark Elder in Conversation with Raymond Holden (London: Royal Academy of Music Press, 2019).Google Scholar
Holden, R., Glorious John: a Collection of Sir John Barbirolli’s Lectures, Articles, Speeches and Interviews (Uttoxeter: The Barbirolli Society, 2007).Google Scholar
Holden, R., ‘Richard Strauss in London’, Richard Strauss-Blätter, Heft 37 (Vienna: Hans Schneider Verlag, June 1997).Google Scholar
Holden, R., ‘Richard Strauss: the Mozart & Beethoven Recordings’, Richard Strauss-Blätter, Heft 35 (Vienna: Hans Schneider Verlag, June 1996).Google Scholar
Holden, R., Richard Strauss: a Musical Life (New Haven and London: Yale University Press, 2011).Google Scholar
Holden, R., ‘Richard Strauss: An Organised Mozartian’, Richard Strauss-Blätter, Heft 46 (Vienna: Hans Schneider Verlag, December 2001).Google Scholar
Holden, R., Richard Strauss: the Origin, Dissemination and Reception of his Mozart Renaissance (Ph.D. dissertation, University of London, 1995).CrossRefGoogle Scholar
Holden, R., ‘Richard Strauss’ Performing Version of Idomeneo’, Richard Strauss-Blätter, Heft 36 (Vienna: Hans Schneider Verlag, December 1996).Google Scholar
Holden, R., The Virtuoso Conductors: The Central European Tradition from Wagner to Karajan (New Haven and London: Yale University Press, 2005).Google Scholar
Karajan, H. von, as told to Endler, F, Herbert von Karajan: My Autobiography, trans. Spencer, S. (London: Sidgwick & Jackson, 1989).Google Scholar
Kennedy, M., Barbirolli: Conductor Laureate (London:MacGibbon & Kee, 1971).Google Scholar
Kennedy, M., Richard Strauss (London: Dent, 1988).Google Scholar
Klemperer, O., Klemperer on Music: Shavings from a Musician’s Workbench, ed. Andersen, M (London:Toccata Press, 1986).Google Scholar
Klemperer, O., Minor Recollections, trans. Brownjohn, J. Maxwell (London: Dobson Books, 1964).Google Scholar
Klemperer, O., and Heyworth, P., Conversations with Klemperer (London: Faber & Faber, 1985).Google Scholar
Landon, H. C. Robbins, Mozart: The Golden Years (London: Thames & Hudson, 1989).Google Scholar
Landon, H. C. Robbins, Mozart and Vienna (London: Thames & Hudson, 1991).Google Scholar
Landon, H. C. Robbins, Mozart’s Last Year (London: Thames & Hudson, 1988).Google Scholar
Landon, H. C. Robbins, ed., The Mozart Compendium: A Guide to Mozart’s Life and Music (London: Thames & Hudson, 1990).Google Scholar
Leinsdorf, E., The Composer’s Advocate: A Radical Orthodoxy for Musicians (New Haven and London: Yale University Press, 1981).Google Scholar
Leinsdorf, E., On Music (Portland, OR: Amadeus Press, 1997).Google Scholar
Marek, G. R., Richard Strauss: The Life of a Non-Hero (London: Gollancz, 1967).Google Scholar
Marsh, R. C., ‘The Heritage of Bruno Walter’, High Fidelity 14 (1964), 44–8, 103–9.Google Scholar
Martner, K., Gustav Mahler im Konzertsaal: eine Dokumentation seiner Konzerttätigkeit 1870–1911 (Copenhagen: K-M Privatdruck, 1985).Google Scholar
Morse, P., ‘Richard Strauss’ Recordings, a Complete Discography’, Journal of the Association for Recorded Sound Collections 9, no. 1 (1977).Google Scholar
Musical Opinion and Music Trade Review, August 1914.Google Scholar
The Musical Times, 1 July 1895.Google Scholar
The Musical Times, 1 August 1914.Google Scholar
Osborne, R., Conversations with Karajan (Oxford: Oxford University Press, 1989).Google Scholar
Osborne, R., Herbert von Karajan: a Life in Music (London: Chatto & Windus, 1998).Google Scholar
Paumgartner, B., ‘Gustav Mahlers Bearbeitung von Mozarts Così fan tutte für seine Aufführungen an der Weiner Hofoper’, in Musik und Verlag Karl Vӧtterle zum 65. Geburtstag am 12. April 1968, ed. Vötterle, K. (Kassel: Bärenreiter, 1968).Google Scholar
Philip, R., Early Recordings and Musical Style: Changing Tastes in Instrumental Performance 1900–1950 (Cambridge: Cambridge University Press, 1994).Google Scholar
Pickett, D. A., A Bruno Walter Discography – Part One: Commercial Recordings: Issued Discs Only, rev. Warren, R. (Berkeley, CA: Bruno Walter Society, 1973).Google Scholar
Pickett, D. A., Gustav Mahler as an Interpreter: A Study of his Textural Alterations and Performance Practice in the Symphonic Repertoire (PhD dissertation, University of Surrey, 1988).Google Scholar
Possart, E. von, Ueber die Neueinstudierung und Neuinszenierung des Mozart’schen Don Giovanni (Don Juan) auf dem kgl. Residenztheater zu München (Munich: A. Bruckmann’s Verlag, 1896).Google Scholar
Pritchard, J., ‘Conducting Mozart’, Opera Annual 2 (London: John Calder Publishers Ltd, 1956).Google Scholar
Reid, C., John Barbirolli (London: Hamish Hamilton, 1971).Google Scholar
Roman, Z., Gustav Mahler’s American Years 1907–1911: A Documentary History, (Stuyvesant: Pendragon Press,1989).Google Scholar
Rosen, C., The Classical Style: Haydn, Mozart, Beethoven (London: Faber & Faber, 1976).Google Scholar
Ryding, E., and Pechefsky, R., Bruno Walter: A World Elsewhere (New Haven and London: Yale University Press, 2001).Google Scholar
Schuh, W., Richard Strauss: A Chronicle of the Early Years, 1864–1898, trans. Whittall, M. (Cambridge: Cambridge University Press, 1982).Google Scholar
Solti, G., Solti on Solti (London: Vintage, 1998).Google Scholar
Strauss, R., ‘Dirigentenerfahrungen mit klassischen Meisterwerken’, Betrachtungen und Erinnerungen, ed. Schuh, W. (Zürich: Atlantis Verlag, 1949).Google Scholar
Strauss, R., ‘On Conducting Classical Masterpieces’, Recollections and Reflections, ed. Schuh, W., trans. Lawrence, L. J. (London: Boosey & Hawkes, 1953).Google Scholar
Strauss, R., Recollections and Reflections, ed. Schuh, W., trans. Lawrence, L. J. (London: Boosey & Hawkes, 1953).Google Scholar
Vermeil, J., Conversations with Boulez: Thoughts on Conducting, transNaish, . C., (Portland: Amadeus Press, 1996).Google Scholar
Wagner, R., My Life (London: Constable, 1994).Google Scholar
Wagner, R., On Conducting, trans. Dannreuther, E. (London: Reeves, 1897).Google Scholar
Wagner, R., Über das Dirigieren (Leipzig: Breitkopf & Härtel, 1869).Google Scholar
Wagner, R., ‘Zum Vortrage der neunten Symphonie Beethoven’s’ (Performing Beethoven’s Ninth Symphony), Actors and Singers, trans. Ellis, W. A (Lincoln, NE and London: University of Nebraska Press, 1995).Google Scholar
Walter, B., Gustav Mahler, trans. Lindt, Walter L. (London: Quartet, 1990).Google Scholar
Walter, B., Of Music and Music-making (New York: W.W. Norton & Company Inc., 1957).Google Scholar
Walter, B., Theme and Variations: An Autobiography, trans. Galston, J. A. (London: Hamish Hamilton, 1947).Google Scholar
Weingartner, F., Ratschläge für Aufführungen der Symphonien Beethovens (Leipzig: Breitkopf & Härtel, 1906).Google Scholar
Weingartner, F., Ratschläge für Aufführungen Klassische Symphonien (Band III, Mozart) Breitkopf & Härtel (Leipzig, 1923).Google Scholar
Weingartner, F., Über das Dirigieren, (Leipzig: Breitkopf & Härtel, 1895).Google Scholar
Weingartner, F., On Conducting, trans. Newman, E. (New York: Dover, 1969).Google Scholar
Weingartner, F., On the Performance of Beethoven’s Symphonies, trans. Crosland, J. (London: Breitkopf & Härtel, 1907).Google Scholar
Zaslaw, N. Mozart’s Symphonies – Context, Performance Practice, Reception (Oxford: Oxford University Press, 1989).Google Scholar

Save element to Kindle

To save this element to your Kindle, first ensure coreplatform@cambridge.org is added to your Approved Personal Document E-mail List under your Personal Document Settings on the Manage Your Content and Devices page of your Amazon account. Then enter the ‘name’ part of your Kindle email address below. Find out more about saving to your Kindle.

Note you can select to save to either the @free.kindle.com or @kindle.com variations. ‘@free.kindle.com’ emails are free but can only be saved to your device when it is connected to wi-fi. ‘@kindle.com’ emails can be delivered even when you are not connected to wi-fi, but note that service fees apply.

Find out more about the Kindle Personal Document Service.

The Marks of a Maestro
  • Raymond Holden, Royal Academy of Music, London, Stephen Mould, Sydney Conservatorium of Music, The University of Sydney
  • Online ISBN: 9781108902601
Available formats
×

Save element to Dropbox

To save content items to your account, please confirm that you agree to abide by our usage policies. If this is the first time you use this feature, you will be asked to authorise Cambridge Core to connect with your account. Find out more about saving content to Dropbox.

The Marks of a Maestro
  • Raymond Holden, Royal Academy of Music, London, Stephen Mould, Sydney Conservatorium of Music, The University of Sydney
  • Online ISBN: 9781108902601
Available formats
×

Save element to Google Drive

To save content items to your account, please confirm that you agree to abide by our usage policies. If this is the first time you use this feature, you will be asked to authorise Cambridge Core to connect with your account. Find out more about saving content to Google Drive.

The Marks of a Maestro
  • Raymond Holden, Royal Academy of Music, London, Stephen Mould, Sydney Conservatorium of Music, The University of Sydney
  • Online ISBN: 9781108902601
Available formats
×