Mozart's Ghosts: Reception and Renown, 1791-present

《莫扎特的幽灵》考察了这位作曲家从1791年去世到现在不断发展的声誉。在早期总结或书目研究的基础上，该项目展示了许多接受莫扎特的地点，并将它们与创作它们的音乐世界相对照。因此，该项目将19世纪40年代莫扎特在柏林受到的接待与1880年在巴黎或1920年在伦敦的接待方式进行了对比，并将歌剧、神圣音乐和器乐视为支持它的历史。该项目的总体目标是考察这样一个命题，即现代对作曲家的尊敬是由对他的音乐的早期反应所制约的，而且这种早期反应比简单的制作和接受模式所允许的要复杂得多(例如，认为萧伯纳的散文《唐·乔瓦尼解释》既是对莫扎特歌剧的回应，也是对E.T.A.霍夫曼自己关于歌剧的文章的讽刺)。它通过强调许多莫扎特接收的问题和间接性质来做到这一点，并将其与更古老的、甚至是静态的关于接收地点的信息收集进行对比：特别是表演历史、传记和评论。除了传统的接受场所外，该项目还涉及广泛的材料，包括莫扎特在小说和电影中的体现，19世纪作曲家给予后来被证明不是莫扎特的作品的崇敬(所谓的“第十二弥撒”)，以及波林·维亚尔多在19世纪下半叶围绕“唐·乔瓦尼”亲笔签名建立的仪式，其中包括文物和朝圣。该项目的地理范围很广，不仅关注西欧，而且关注北美(包括19世纪的开拓性西部)、澳大利亚和印度部分地区。该项目将通过与牛津大学出版社纽约分部签约出版的题为《莫扎特的幽灵：1791年至今的接待和名望》的专著来传播，计划于2011年出版，这将得到进一步公开发表的论文和其他媒体的支持。

'Mozart's Ghosts' examines the developing reputation of the composer from his death in 1791 to the present. Building on earlier summary or bibliographical studies, the project presents a number of sites of the reception of Mozart and reads them against the musical worlds in which they were created. The project therefore contrasts, for example, the way in which Mozart was received in Berlin in the 1840s with the reception in Paris in 1880 or in London in 1920, and treats opera, sacred music and instrumental music as evenhandly as the history that supports it. The overarching aim of the project is to examine the proposition that modern reverence for the composer is conditioned by earlier responses to his music, and that such earlier responses are more complex than a simple model of production and reception allows (for example, the idea that Shaw's essay 'Don Giovanni Explains' functions both as a response to Mozart's opera and as a satire of E.T.A. Hoffmann's own essay on the opera). It does this by stressing the problematic and indirect nature of much Mozart reception and contrasts this with the more antiquarian, perhaps even static, gathering of information about sites of reception: inter alia, performance history, biography and reviews. The project addresses a wide range of material in addition to such conventional sites of reception, and encompasses the embodiment of Mozart in the novel and film, the reverence imparted to works by the composer during the nineteenth century that have subsequently turned out not to be by Mozart (the so-called 'Twelfth Mass'), and the rituals established by Pauline Viardot around the autograph of 'Don Giovanni' in the second half of the nineteenth century which involved both reliquary and pilgrimage. The geographical range of the project is broad, and focuses not just on Western Europe but on North America (including the pioneering west of the nineteenth century), Australia and parts of India.The project will be disseminated via a monograph entitled 'Mozart's Ghosts: Reception and Renown, 1791 to the Present', contracted with Oxford University Press New York, scheduled for publication in 2011, and this will be supported by further public output in papers and other media.