You do not currently have permission to view the full text for this document. Please sign in to an account with an active subscription or contact support.
Bernd Oberhoff has produced a study of Mozart that is impressive in both content and range. He is the first to have undertaken such a comprehensive psychoanalytical approach to both Mozart's personality and his music. In doing so he refutes the widespread opinion that there is no connection between the man and his work (cf. Hildesheimer, 1977). His musico-psychoanalytic investigation brings convincing and astonishing insights into very real interdependences between the two planes of development. By maintaining a strictly methodical approach the author has been able to organize and classify his well-nigh inexhaustible material, so that behind Mozart's continuous development as a composer the reader is always made aware of the realities of his state of mind and mental development.
The author, a group-psychoanalyst, supervisor and psychologist who is a specialist in the application to music of Freud's discoveries and later psychoanalytic concepts, especially those of the Kleinian school, has published musico-psychoanalytical studies of Willibald Gluck and Heinrich Schütz and is co-founder of the German Society for Psychoanalysis and Music [Deutsche Gesellschaft für Psychoanalyse und Musik]. His investigative