{"id":44332,"date":"2024-11-19T09:38:38","date_gmt":"2024-11-19T14:38:38","guid":{"rendered":"https:\/\/alumni.cornell.edu\/cornellians\/?p=44332"},"modified":"2024-11-19T09:38:40","modified_gmt":"2024-11-19T14:38:40","slug":"mr-mozart-catalog","status":"publish","type":"post","link":"https:\/\/alumni.cornell.edu\/cornellians\/mr-mozart-catalog\/","title":{"rendered":"New Book by Music Prof \u2018Mr. Mozart\u2019 Fully Catalogs the Maestro\u2019s Work"},"content":{"rendered":"\n

The 1,300-page tome was released in September with a celebration in Salzburg, Austria\u2014the famed composer\u2019s birthplace <\/p>\n\n\n\n

Editor\u2019s note: This story was adapted from <\/em>a feature<\/em><\/a> in the<\/em> Cornell Chronicle.<\/p>\n\n\n\n

By David Nutt<\/strong><\/p>\n\n\n\n

Mozart was a musical prodigy, brilliant performer, and tireless, prolific composer. <\/p>\n\n\n\n

If only he had been as disciplined about collecting and cataloging his work.<\/p>\n\n\n\n

In the years following Mozart\u2019s early death at the age of 35, people began working in earnest to put together a comprehensive chronology of Mozart\u2019s 600-plus compositions. The sleuthing, uncertainty, guesswork, and revision continued for nearly two centuries.<\/p>\n\n\n\n

<\/div>\n\n\n\n
\"Neal
Professor Neal Zaslaw took three decades to research and put together what might be the final comprehensive catalog of Mozart\u2019s works.<\/figcaption><\/figure>\n\n\n\n
<\/div>\n\n\n\n

Neal Zaslaw<\/a>, the Herbert Gussman Professor of Music Emeritus in the College of Arts and Sciences, is the latest\u2014and potentially the last\u2014to assemble a so-called \u201cK\u00f6chel Catalog,\u201d named for Ludwig Ritter von K\u00f6chel, who created the first systematic inventory of Mozart\u2019s works, published in 1862.<\/p>\n\n\n\n

Zaslaw\u2019s newly released K\u00f6chel-Verzeichnis<\/em> 2024<\/em> (\u201cverzeichnis\u201d is German for list, catalog, or directory) has been more than three decades in the making. The book\u2019s release was celebrated in September in Salzburg, Austria\u2014Mozart\u2019s birthplace.<\/p>\n\n\n\n

It\u2019s a fitting capstone to the 85-year-old Zaslaw\u2019s career as one of the world\u2019s leading Mozart authorities, one who was once dubbed \u201cMr. Mozart\u201d by the New York Times<\/em>.<\/p>\n\n\n\n

\u201cMy goal was to finish it before I died,\u201d he said. \u201cAnd I faked everybody out and did it.\u201d<\/p>\n\n\n\n

\n

My goal was to finish it before I died. And I faked everybody out and did it.<\/p>\n<\/blockquote>\n\n\n\n

As the son of a professional musician, Mozart began performing, touring, and composing at an age when most children are learning the alphabet and basic arithmetic. <\/p>\n\n\n\n

\"Detail
Wikimedia Commons<\/figcaption>
Mozart as depicted in a 1781 portrait by Austrian painter Johann Nepomuk della Croce.<\/figcaption><\/figure>
\n

He wrote steadily and abundantly, and over the years had many patrons, commissions, tours, publishers, and score copyists.<\/p>\n\n\n\n

When he died in Vienna in 1791 during a flu epidemic, he\u2019d left behind \u201ca maze of manuscripts and editions scattered across Western Europe,\u201d according to Zaslaw.<\/p>\n\n\n\n

\u201cHe became a sort of a cultural hero, and people were fighting over his legacy and trying to get their hands on his music,\u201d Zaslaw said.<\/p>\n\n\n\n

\u201cSome of his music had been published in two or three cities because there were no international copyright laws then, but plenty of his other music had never been published. A lot of works had gone missing.\u201d<\/p>\n<\/div><\/div>\n\n\n\n

So how does one become \u201cMr. Mozart\u201d? Like a dramatic symphony, Zaslaw\u2019s life in music has had a number of movements. He began his career as a professionally trained flutist, studying at the Juilliard School and performing with the American Symphony Orchestra under Leopold Stokowski\u2019s direction from 1962\u201365. He also earned a B.A. from Harvard and, later, graduate degrees from Columbia University.<\/p>\n\n\n\n

When Zaslaw arrived at Cornell in 1970 and the department asked him what kind of research seminar he wanted to run, his mind went straight to Mozart. He soon discovered that \u201call hell was breaking loose\u201d in the realm of Mozart studies.<\/p>\n\n\n\n

A new edition of the composer\u2019s works was being created by scholars in Salzburg\u2014preparations for which were turning up fresh sources of information\u2014and new techniques had been devised for re-evaluating the dating, circumstances, and authenticity of Mozart\u2019s compositions. <\/p>\n\n\n\n

There was plenty to write about\u2014and Zaslaw\u2019s background in performance and academia made him well-qualified to write it.<\/p>\n\n\n\n

<\/div>\n\n\n\n
\"Neal
Zaslaw\u2019s catalog covers Mozart\u2019s more than 600 compositions.<\/figcaption><\/figure>\n\n\n\n
<\/div>\n\n\n\n

Zaslaw has written and edited numerous books and more than 75 articles on baroque and classical music, historical performance practices, the history of the orchestra, and Mozart. In 1991, he was knighted by the Austrian government for his contributions to Mozart performance and research. <\/p>\n\n\n\n

\u201cAs someone who went all the way up through professional training as a performer and as a scholar, a lot of my life has been spent trying to bridge that gap and pull the two things together,\u201d Zaslaw said. \u201cAnd that is how, for 50 years, I trained my students at Cornell: the performers I made into scholars, and the musicologists I made into performers.<\/p>\n\n\n\n

\u201cOtherwise, each would be missing crucial elements that would bear on any ideas they had and conclusions they reached.\u201d<\/p>\n\n\n\n

In 1992, Zaslaw was giving a talk in Basel, Switzerland, when he received a call from the world\u2019s oldest music publisher, headquartered in the German city of Wiesbaden, asking if one of its editors could come down and meet with him.<\/p>\n\n\n\n

\u201cTheir editor took me to lunch and asked if I wanted to make a new edition of the catalog,\u201d Zaslaw said. \u201cAnd, like a fool, I grinned and said, \u2018It sounds like fun.\u2019\u201d<\/p>\n\n\n\n

\n

Their editor asked if I wanted to make a new edition of the catalog. And, like a fool, I grinned and said, \u2018It sounds like fun.\u2019<\/p>\n<\/blockquote>\n\n\n\n

When the contract for the new K\u00f6chel catalog was signed in 1993, Zaslaw and the publisher agreed to a reasonable deadline.<\/p>\n\n\n\n

\u201cThe contract said that I would finish it in seven years,\u201d Zaslaw said. \u201cAs the years grew into decades, I was still finding it \u2018fun,\u2019 but I began to wonder whether I would finish it before I died.\u201d<\/p>\n\n\n\n

<\/div>\n\n\n\n
\"two
Zaslaw examines an original Mozart composition.<\/figcaption><\/figure>\n\n\n\n
<\/div>\n\n\n\n

Zaslaw was able to tap many new resources that previous K\u00f6chel editors lacked: the Internet, a rising generation of scholars willing to communicate and cooperate, and international projects that were inventorying libraries and archives that had never been fully cataloged.<\/p>\n\n\n\n

But there was another vestige of tradition that stymied Zaslaw. The legacy of the K\u00f6chel itself.<\/p>\n\n\n\n

\n

\u201cI consulted a lot of performers and librarians and archivists and scholars and publishers,\u201d he said, \u201cand they were basically saying, \u2018You can\u2019t change the numbers by which we know all of Mozart\u2019s works. Mozart\u2019s G minor symphony is K\u00f6chel listing 550. Do not assign a new number to that. It will create chaos.\u2019\u201d<\/p>\n\n\n\n

Zaslaw came up with a crafty, albeit time-consuming, solution. The previous numbering system has been retained, but \u201cchronological\u201d has disappeared from the book\u2019s title and Zaslaw devised an elaborate new index system for crediting sources.<\/p>\n\n\n\n

Now, 24 years after it was initially promised, Zaslaw\u2019s K\u00f6chel has arrived, and it is an \u201castounding relief,\u201d he said.<\/p>\n<\/div>

\"Ludwig
Wikimedia Commons<\/figcaption>
Ludwig Ritter von K\u00f6chel created the first systematic inventory of Mozart\u2019s works.<\/figcaption><\/figure><\/div>\n\n\n\n

It\u2019s a hefty tome, roughly 1,300 pages. It is the fifth official K\u00f6chel, and it looks to be the final one. Eventually the catalog will move online, where any additions, annotations, and corrections can be made with a click of a button.<\/p>\n\n\n\n

\u201cIt\u2019s characteristic of Neal\u2019s inspiring reputation as a teacher that generations of doctoral students in musicology were given the opportunity to chip away at the project with him in seminars over the years,\u201d said Benjamin Piekut<\/a>, professor of music and chair of the department in the College of Arts and Sciences.<\/p>\n\n\n\n

\u201cNeal may have experienced this publication as an astounding relief\u2014but to the rest of us, it\u2019s just astounding,\u201d Piekut said. \u201cFew projects actually require 30 years. This one did.\u201d<\/p>\n\n\n\n

Top: Illustration by Caitlin Cook \/ Cornell University. All images by Ryan Young \/ Cornell University unless otherwise indicated.<\/em><\/p>\n\n\n\n

Published November 19, 2024<\/p>\n\n\n\n

\n\n\n\n


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