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Retour sur les portraits de Mozart au clavier : un état de la question

Abstract : Edward Speyer may be considered as the first musicologist to have methodically studied the Mozartian iconography in the Musical Quarterly in 1919. Otto Erich Deutsch, the eminent biographer of the new monumental edition (Mozart, Die Dokumente seines Lebens, 1961) published the same year a fundamental work on the images of the composer and his social circle (Mozart und seine Welt in zeitgenössischen Bildern, 1961). Subsequently, in 1965 and 1972, Deutsch devoted two essential studies to the family portrait painted by Della Croce in 1780. But it is without doubt the memorable Salzburg exhibition of 1991 that allowed us to discover an unprecedented collection of portraits of the musician painted when he was still alive. A critical study of these appeared in the compendious exhibition catalogue. The starting-point of this article is this body of work, singling out those that show Mozart at the keyboard (of the clavichord, harpsichord and fortepiano). It should be noted that, with few exceptions, the instruments shown in these images have failed to arouse the interest of musicologist and organologists. The author attemps some hypotheses as to their identification notably for one of the Parisian portraits of the child prodigy.
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Contributor : Florence Gétreau <>
Submitted on : Thursday, September 2, 2010 - 12:43:21 AM
Last modification on : Friday, September 14, 2018 - 9:56:02 AM


  • HAL Id : halshs-00514308, version 1



Florence Gétreau. Retour sur les portraits de Mozart au clavier : un état de la question. Retour sur les portraits de Mozart au clavier, Apr 2006, Lausanne, Suisse. pp.73-112. ⟨halshs-00514308⟩



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