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German Trash

Misha Donat

11 January 1990
1791: Mozart’s Last Year 
by H.C. RobbinsLandon.
Thames and Hudson, 240 pp., £12.95, May 1987, 0 500 01411 6
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Mozart: The Golden Years 1781-1791 
by H.C. RobbinsLandon.
Thames and Hudson, 272 pp., £14.95, October 1989, 0 500 01466 3
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... The first thing that strikes the reader of Professor Landon’s many books is how very likeable they are. His enthusiasm and energy have remained undimmed over the years, and his disarmingly unpretentious style of writing brings the world of late 18th-century Austria vividly to life ...
23 May 1991
Mozart in Vienna 1781-1791 
by Volkmar Braunbehrens.
Deutsch, 481 pp., £17.95, June 1990, 9780233985596
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The Mozart Compendium 
edited by H.C. RobbinsLandon.
Thames and Hudson, 452 pp., £24.95, September 1990, 0 500 01481 7
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Mozart and Vienna 
by H.C. RobbinsLandon.
Thames and Hudson, 208 pp., £16.95, February 1991, 0 500 01506 6
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Mozart’s Thematic Catalogue: A Facsimile 
introduced and transcribed by Albi Rosenthal and Alan Tyson.
British Library, 57 pp., £25, November 1990, 0 7123 0202 6
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The Compleat Mozart: A Guide to the Musical Works of Wolfgang Amadeus Mozart 
edited by Neal Zaslaw and William Cowdery.
Norton, 351 pp., £19.95, April 1991, 0 393 02886 0
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... concerns, the genre is redolent of earlier, less severe periods: of fat, comfortable books in which the documents of a musician’s life would be lovingly assembled, often with the stated purpose of bringing us closer to ‘the music’, but rarely offering concrete ways in which such a conjunction might be ...
7 July 1988
Mozart the Dramatist: The Value of his Operas to Him, to his Age and to Us 
by Brigid Brophy.
Libris, 322 pp., £17.50, June 1988, 1 870352 35 1
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1791: Mozart’s Last Year 
by H.C. RobbinsLandon.
Thames and Hudson, 240 pp., £12.95, March 1988, 0 500 01411 6
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Mozart: Studies of the Autograph Scores 
by Alan Tyson.
Harvard, 381 pp., £27.95, January 1988, 0 674 58830 4
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... and Sixties in my studies of the Enlightenment. The Philosophes headed an intellectual movement which, I argued, sought to lift the guilt from eroticism and from the pursuit of pleasure. It is good to have this view corroborated in this vigorous polemic. As Brophy’s title makes plain, her exploration of Mozart’s operas from this perspective concentrates ...

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