The Completion of Fragmentary Keyboard Works of W.A. Mozart

Abstract

One who undertakes the task of completing an unfinished work must perform it with conviction and with authority. The attempt to achieve a total synthesis between the work of the original composer and that of the secondary composer demands a concentrated study on both conscious and subconscious levels. The obvious characteristics of a given style, such as lengths of phrases, voicing of chords, harmonic progressions, and treatment of sequential material can be understood by analyzing many works of the composer in question. The more elusive and intangible characteristics, such as the emotional content and the manner in which feelings are expressed are absorbed more by osmosis than formal study. To write a parody and to create a work in the style of a given composer are, respectively, the lighter and more serious methods of composition which can be utilized in order to gain familiarity with and control over any given style. This is necessary groundwork for the more serious art of reconstruction, because within the creation of such a work, one gains familiarity with stylistic idioms through blatant exaggeration. Writing a work within the style of another composer while retaining one's identity is an intermediate step between that of the parody and that of the reconstruction. Finally, to create an unquestionably convincing continuation of another person's work carries this highly specialized form of composition beyond mere imitation to a higher level of creativity. Once the reconstruction has been well achieved, the audience may never be aware of the point of transition and may not even know of the scholar's existence.