Research Highlights

My research centers on the music of the German-speaking world during the Enlightenment, especially the works of W.A. Mozart (1756–1791). While musical works can be approached through various perspectives, my study emphasizes the philological and paleographical analysis of musical manuscripts. More than 700 of Mozart’s compositions survive in different forms, including autograph scores, contemporary manuscript copies, and first editions. For many people, the term “sheet music” evokes modern printed editions readily available at music stores. However, addressing questions about Mozart’s creative process requires the study of historical musical sources, particularly original manuscript scores and parts.

In Western classical music, musical manuscripts serve purposes far beyond documentation and transmission; they are significant as “spaces of creation” in their own right. Mozart is often romanticized as a prodigy who began composing at the age of five, effortlessly completing pieces in his head before writing them down as perfectly polished scores. Yet, a closer examination of his autograph scores reveals extensive revisions, including crossed-out sections and notes that differ entirely from their final forms. Furthermore, when composing large-scale or technically complex works, Mozart rarely began with a full score. Instead, he prepared sketches and drafts containing fragments of musical ideas, carefully refining their structure over time. Examining these autograph scores in detail allows us to trace the evolution of his creative process and thought development.

In the study of musical manuscripts, elements beyond the musical content—such as handwriting, paper dimensions, watermarks, ink colors, and the number and total vertical measurement of staves—play a critical role. These details are invaluable for determining authenticity of works, estimating their dates of composition, and shedding light on how they have been interpreted over time through reception history. Recently, my research has focused on the systematic study of manuscript parts that Mozart used in performances. For works with orchestra such as operas, church music, and symphonies, Mozart would commission professional copyists to produce individual parts for each performer. Interestingly, Mozart would often revise and alter these parts after they were completed. These revisions were not reflected in the original autograph scores but were recorded exclusively in the individual parts. When—and why—did Mozart make these changes, and what were his intentions? Investigating these questions sheds light on the realities of Mozart’s musical practice. Research into copyists’ parts—a field historically overlooked—offers valuable insights into the mysteries of Mozart’s later years.