When searching carefully in contemporary documents, as letters, posters, diaries, written testimonies, we can learn a lot about what and how Mozart himself sang: from his first public performance as a 5-years old choir-boy in Sigismundus Rex Hungariae to the rehearsal of the unfinished Requiem at his home a few hours before his death, where he sang himself the alto part, forced to stop after th...

the present article aims to address the basic principles of interpretation in the music of the classical era by drawing upon issues of aesthetics and performance practice in the works of w.a. mozart. a comparative review of the classic treatises, as well as a thorough survey of the writings of contemporary authors on performance practice, and personal experience as a flautist, has guided the au...