Musical Borrowing
An Annotated Bibliography

Individual record

[+] Escal, Françoise. "Les concertos-pastiches de Mozart, ou la citation comme procès d'appropriation du discours." International Review of the Aesthetics and Sociology of Music 12 (December 1981): 117-39.

Mozart's concertos-pastiches K. 37, K. 39, K. 40, and K. 41 were viewed as original compositions until 1908 when Wyzewa and Saint-Foix discovered that they borrowed from sonatas by "Parisian" clavichordists such as Raupach, Schobert, Hannauer, Eckard, and C. P. E. Bach. Since then they have been excluded from the canon of Mozart's original works. The notion of plagiarism in the eighteenth century was not clearly based on the ownership of a text, and composers shared the same musical language and style. Mozart's imitations are a natural procedure during his apprenticeship years, and a gradual development from straight arrangement, through more elaborate reworking, and finally to relative autonomy is exemplified in the three sets of piano concertos examined.

Works: Mozart: 3 Piano Concertos K. 107 (118-121), Piano Concertos K. 37, K. 39, K. 40, K. 41 (121-32), Piano Concerto K. 175 (132-38).

Index Classifications: 1700s

Contributed by: Luiz Fernando Lopes

Except where otherwise noted, this website is subject to a Creative Commons Attribution 4.0 International License
Musical Borrowing and Reworking - - 2024
Creative Commons Attribution License