This research project emerges directly from Eleonore's practice as a fortepianist. As she works on Mozart music, looking for the affect and characters in the music, she tends to make parallels between various elements of the score with similar ones in his operas. Indeed the theatrical aspects of his musical language are more directly exposed in an opera where the libretto gives additional understanding clues.
By analyzing the similarities between operatic and instrumental music through the lens of topic theory and musical rhetoric, she aims at getting an understanding of the way Mozart writes the dramatical aspects of his music to find practical consequences to convey them as a performer.
How does Mozart write the dramatic aspects of his instrumental music, and what does it mean to performers?