Mozart's Piano Concertos: Text, Context, Interpretation
University of Michigan Press, 1996 - Music - 479 pages
Like the symphonies of Beethoven, Mozart's piano concertos constitute an extraordinary body of work that will never disappear from our culture. Yet despite widespread recognition of their importance, they still present many interpretive problems. In 1989, the Michigan MozartFest brought expert performers, instrument makers, critics, music theorists, and musicologists together for the first symposium devoted exclusively to Mozart's piano concertos. The twenty-one essays in Mozart's Piano Concertos, culled from that event, richly broaden our understanding of this corpus.
The volume's first section consists of commentaries on the texts of the concertos, including thoughts on creating a critical edition. In subsequent sections, contributors analyze the structure of the pieces and the circumstances in which they were first composed and performed. How do these works compare with other concertos of the period? Where were Mozart's contributions truly original, where conventional? What musical references did he expect his listeners to catch?
Generously illustrated with facsimiles, tables, and more than one-hundred musical examples, Mozart's Piano Concertos substantially advances our understanding of these wonderful works. Its exceptional scope--addressing everything from textual problems (what notes should be played?) to performance practice (how can we make the music sound more nearly as Mozart heard it?)--will make it invaluable to anyone who loves his piano concertos.
V. Kofi Agawu, Wye Jameson Allanbrook, Eva Badura-Skoda, Karol Berger, Richard Crawford, Ellwood Derr, Dexter Edge, Cliff Eisen, Martha Feldman, David Grayson, William Kinderman, Robert D. Levin, Janet M. Levy, David Rosen, Carl Schachter, Elaine Sisman, Jane R. Stevens, Alan Tyson, James Webster, Christoph Wolff, and Neal Zaslaw.
Neal Zaslaw is Professor of Music, Cornell University.
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Growing Up with Mozart A Personal Reminiscence
PART a TEXT
Recent Discoveries in Viennese Copies of Mozarts Concertos
Mozarts Piano Concerto Fragments
Comic Issues in Mozarts Piano Concertos
Are Mozarts Concertos Dramatic? Concerto Ritornellos
Problems and Issues
n Some Thoughts on the Design of Mozarts Opus
i5 Dramatic Development and Narrative Design m the First
Remarks on the First Movement of K 503
i8 Form Character and Genre m Mozarts Piano Concerto Variations
i9 On Improvised Embellishments and Cadenzas
aa The Scoring of the Orchestral Bass Part in Mozarts Salzburg
a3 Manuscript Parts as Evidence of Orchestral Size
ia The Importance of C P E Bach for Mozarts Piano Concertos
i3 The FirstMovement Punctuation Form in Mozarts Piano Concertos
Other editions - View all
Andante appendix arias Arthofer authentic autograph score Bach Bach's Barenreiter Basso Beethoven beginning buffa cadential cadenzas certos chord chromatic Classical Cliff Eisen coda composer composition concerto movements copies D-minor dal segno dominant Don Giovanni double bass dramatic E-flat edition eighteenth-century embellishments essay example Figaro figures final flute formal full cadence genre half cadence harmonic Haydn Hummel instrumental Johann Kassel keyboard concertos Leopold Leopold Mozart manuscript material measure melody minor Mozan Mozart Mozart's concertos Mozart's music Mozart's piano concertos Musit Neue Mozart-Ausgabe notes ntornello oboe opening ritornello opening theme opera opera buffa Opus orchestra ornamentation Otto Erich Deutsch passage performance period phrase played recapitulation reprise rhetorical ripieno ritornello rondo Rosen Salzburg Salzburg copyist slow movement solo exposition solo section soloist sonata sonata form soprano sources string structural style Symphony thematic tion tonal tonic Univ variation Vienna Viennese concertos violoncello winds Wolfgang