In November 2020, Depeche Mode were inducted into the Rock & Roll Hall of Fame, and Dave Gahan, accepting the honour, said: "I'd like to thank Anton Corbijn who thank God came in at the right time and actually made us look cool." Also in the fall of 2020, TASCHEN released the limited edition Depeche Mode by Anton Corbijn (81-18) signed by Depeche Mode and Anton Corbijn, and it became one of the fastest selling collector's editions in the publishing company's history. This equally epic, but more wallet friendly XL edition, is a testament to Corbijn's unique vision, and indeed "cool" as Gahan acknowledged so movingly in his speech; a detailed illustrated history of how Corbijn, who became in 1986 the band's de facto creative director, and helped cement Depeche Mode's reputation as the biggest cult band in the world. Featuring over 500 photographs from Corbijn's extensive archives, some never seen before, including formal and informal portraits from places such as Madrid, Hamburg, the California desert, Prague and Marrakech (some taken during the making of iconic videos such as "Enjoy the Silence" and "Personal Jesus"); a multitude of off-the-cuff, candid images; and stunning live shots from all their tours since 1988. In addition to the photographs, there are sketches and designs for stage sets and album covers, Corbijn's handwritten captions throughout the book, placing the reader right in the middle of the shoots, and an extended interview with the Dutch master. Created with the full collaboration of the band, who share some insights on working with Corbijn, Depeche Mode by Anton Corbijn (81-18) trumpets how one man's original aesthetic, that has encompassed all of their photography, most of their music videos, album graphics and set designs, helped shape the band's enduring popularity. Reflecting on his role in Depeche, Corbijn recalls in the book's introduction: "A lot of it came down to me, and I wanted it to be right for them. I wanted to think for them. To be great for them." This book is a tribute to the depth and breadth of that greatness, a celebration of one of the most creative and enduring collaborations in rock history.

This is the first book-length study of the genre of 'artist-opera', in which the work's central character is an artist who is uncomfortable with his place in the world. It investigates how three such operas (Pfitzner's Palestrina (1915), Krenek's Jonny spielt auf (1926) and Hindemith's Mathis der Maler (1935)) contributed to the debate in early twentieth-century Germany about the place of art and the artist in modern society, and examines how far the artist-character may be taken as functioning as a persona for the real composer of the work. Because of their concern with the place of art within society, the works are also engaged with inherently political questions, and each opera is read in the light of the political context of its time: conservatism circa World War I, Americanism and democracy, and the rise of National Socialism.

Giuseppe Verdi remains the greatest operatic composer that Italy, the home of opera, has ever produced. Yet throughout his lifetime he claimed to detest composing and repeatedly rejected it. He was a landowner, a farmer, a politician and symbol of Italian independence; but his music tells a different story.; An obsessive perfectionist, Verdi drove collaborators to despair but his works were rightly lauded from the start as dazzling feats of composition and characterisation. From Rigoletto to Otello, La Traviatato to Aida, Verdi's canon encompassed the full range of human emotion. His private life was no less complex: he suffered great loss, and went out of his way to antagonise many erstwhile supporters, including his own family. An outspoken advocate of Italian independence and a sharp critic of the church, he was o en at odds with nineteenth-century society and paid the price.; In Verdi: The Man Revealed, John Suchet attempts to get under the skin of perhaps the most private composer who ever lived. Unpicking his protestations, his deliberate embellishments and disingenuous disavowals, Suchet reveals the contradictory and sometimes curmudgeonly character of this great artist, convicted throughout much of his life but ultimately unable to walk away from the art for which he will be forever known.

The long-awaited, never-before-told, no-holds-barred memoir from the legendary Aerosmith frontman. Finally, all the lurid tales of debauchery, sex, drugs and rock n' roll are told straight from the horse's lips as The Demon of Screamin' describes his unimaginable highs and unbelievable lows as lead singer of the biggest rock band in the world. Prolific frontman, rock icon and sex symbol, Steven Tyler is a living legend. With his raw, sharp-edged vocals, musical versatility and unprecedented song writing skills, Tyler has, as lead singer of Aerosmith, sold millions of records and played sell-out concerts to as many as 450,000 people. Now, at last, he tells his own story, taking us on a wild rollercoaster ride through the bust-ups, binges, orgies and good old American excess in the jaw-droppingly honest, in-your-face way that only Tyler can. Following a fateful meeting with his 'mutant twin' Joe Perry in the summer of 1970, Aerosmith was formed...and the rest, as they say, is rock history. They released their first album in 1973, and by 1976 Aerosmith had gone from being nobodies to massive to off the radar, making history as a multi-platinum, chart-topping band. But with great success comes great excess. Nicknamed the Toxic Twins for their insatiable appetite for drugs, booze and women, Tyler and Perry got caught up in the glamour of self-destruction - smashing each other up with guitars, having seizures and passing out on stage. By 1980 it seemed that the band and its members were set to implode, but after successful stints in drug rehab, Aerosmith were back on track and better than ever. But although he may have given up his wicked, wicked ways, Tyler still enjoys talking about the bad old days. He has so many outrageous stories to tell, and he's gonna tell them all. All the uncensored, head-spinning tales of debauchery, sex, booze, transcendence and chemical dependence you will ever want to hear. As raucous, intoxicating and edgy as his music, this is the most outrageous rock n' roll autobiography of all time.

This is the first volume of Carl Nielsen Studies which is an annual publication issuing from the Royal Library of Denmark, also home to the Carl Nielsen edition. Carl Nielsen's status as one of the twentieth century's foremost composers is now well-established. These volumes provide a forum for the spectrum of historical, analytical and aesthetic approaches to the study of Nielsen's music from an international line-up of contributors. In addition, each volume features reviews and reports on current Nielsen projects and an updated Nielsen bibliography, making Carl Nielsen Studies the most important source for up-to-the minute research on the composer and his work. Carl Nielsen Studies is distributed outside Scandinavia by Ashgate; distribution within Scandinavia is handled by The Royal Library, Copenhagen, PB 2149, DK 1016 K, Denmark.

He is one of the greatest musical talents Britain has ever produced. But even as the principle songwriter and lead guitarist for The Who, it would be unjust to define Pete Townshend's life simply through his achievements with bandmates Daltrey, Moon and Entwistle. Noting that he has sold over 100 million records over a fifty-year period goes some way to quantifying his accomplishments, but numbers only scratch the surface of his contribution to popular culture. An avid student of his profession, during his career he has been credited with the creation of the concept album, worked as a literary editor, developed scripts for television and the stage, and written songs that have defined a generation. The thinking man's rock star with a dedication to his craft unlike any other in the business, he continues to inspire new generations of performers and writers with a continuing commitment to his art. Now, in one of the most eagerly awaited autobiographies of recent times, this icon tells about his incredible life and elaborates on the turbulences of time spent as one of the world's most respected musicians - being in one of rock's greatest ever bands, and wanting to give it all up. Incredibly, as a man who has achieved so much, this truly unique story of ambition, relentless perfectionism and rock and roll excess will be regarded as one of his greatest achievements.

Johann Peter Salomon, the celebrated violinist and impresario, made his debut in England in March 1781. History has credited Salomon with bringing Haydn to London, yet as Ian Woodfield reveals in this monograph, Salomon's introduction of the composer to the London musical scene owed as much to luck as to skilful planning. Haydn's engagement in London proved to be a much-needed uplift to Salomon's career which, as Woodfield illustrates, had been on the wane for a number of years. In addition to its reassessment of Salomon's uneven career in London during the 1780s, this book throws light on the general relationship between public and private spheres of professional music-making at the time, and on the relationship between the social and professional attributes required of musicians if they were to be successful. Nowhere are these tensions better illustrated than in the letters and journals of the Burney family, especially those of Susan Burney, which are drawn on in the book to provide a vivid picture of the fiercely competitive musical world of eighteenth-century London.

"This is a way of putting my life out there, because if I were to write a memoir, there'd be five volumes before I got to The Beatles. So I'm going at it this way, through photographs and quotes. And this is, I feel, a better way for me to do it." - Ringo Starr "Ringo's picture book, Ringo in book form. The essence of Ringo." - David Lynch Another Day In The Life is introduced and narrated by Ringo Starr, with forewords by legendary movie director David Lynch and rock photographer Henry Diltz. Ringo shows us the world as seen through a Starr's eyes, in more than 500 observational photographs and rare images from the archives, and an original text of nearly 13,000 words. From Los Angeles to Tokyo and everywhere in between, Ringo's photographs celebrate his life in music and offer a glimpse behind the scenes. Many are taken during historic events, such as Ringo's acceptance of a Grammy Lifetime Achievement Award and his return to New York's Plaza Hotel, 50 years after The Beatles first visited the USA. Another Day In The Life, Ringo Starr's 184-page monograph featuring Paul McCartney, Joe Walsh and a host of All-Starr friends, is captioned throughout with an original commentary. Meditative, witty and always engaging, Ringo reflects on a legendary life in music. RINGOBOOK.COM GENESIS-PUBLICATIONS.COM

Max Reger (1873-1916) is perhaps best-known for his organ music. This quickly assumed a prominent place in the repertory of German organists due in large measure to the efforts of Reger's contemporary Karl Straube (1873-1950). The personal and collegial relationship between the composer and performer began in 1898 and developed until Reger's death. By that time, Straube had established himself as an important artist and teacher in Leipzig and the central authority for the interpretation of Reger's organ music. The Reger-Straube relationship functioned on a number of levels with decisive consequences both for the composition of the music and its interpretation over a period fraught with upheaval on sociopolitical, religious and aesthetic fronts. This book evaluates the significance of the relationship between the composer and organist using primary source materials such as autograph performing manuscripts, reviews, programmes, letters and archival sources from contemporary organ building. The result is a much enhanced understanding of Reger in terms of performance practice and reception history, and a re-examination of Straube and, more broadly, of Leipzig as a musical centre during this period.

Analysing over 100 recordings from 1945-1975, this book examines twentieth-century baroque performance practice as evinced in all the commercially available recordings of J.S. Bach's Passions, Brandenburg Concertos and Goldberg Variations. Dorottya Fabian presents a qualitative, style-orientated history of the early music movement in its formative years through a comparison of the performance style heard in these recordings with the scholarly literature on Bach performance practice. Issues explored in the book include the availability of resources, balance, tempo, dynamics, ornamentation, rhythm and articulation. During the decades following the Second World War, the early music movement was more concerned with the revival of repertoire than with the revival of performance style which meant that its characteristics and achievements differed essentially from those of the later 1970s and 1980s. Period practice techniques were not practised even by ensembles using eighteenth-century instruments. Yet, as this survey reveals, several recordings of the period provide unexpectedly stylish interpretations using metre and pulse to punctuate the music. Such metric performance and appropriate articulation helped to clarify structure and texture and assisted in the creation of a musical discourse - the pre-eminent goal of baroque compositions.

Passionate about music from childhood and much-respected as a teenage guitarist in his native Birmingham, Jeff Lynne rose through the ranks of various semi-professional local groups to become the frontman of the critically acclaimed Idle Race in the late '60s. From there he joined the ever-popular Move, then helped form the groundbreaking Electric Light Orchestra. After co-founder Roy Wood left in 1972, Lynne turned what had been a struggling rock and classical fusion into one of Britain's most consistently successful and popular acts. Following a run of hit singles, albums, and sell-out concerts throughout the world, he laid the group to rest in 1986 and combined a solo career as an artist and producer with membership of the ultimate supergroup, the Traveling Wilburys. His production credits include Roy Orbison, Tom Petty, Del Shannon, George Harrison, and even the Beatles on their two final singles in the mid-'90s. Jeff Lynne: The Electric Light Orchestra, Before and After is the first-ever biography of one of the most prolific and highly regarded performers of the last fifty years.Rich in backstage anecdotes of overheated orchestras, frontmen rivalries, tour mishaps, cross-group partnerships, unlikely collaborations, and self-imposed exile from the stage in the quest for inspiration, this book will leave fans and general readers delighted and inspired by a career at the epicentre of twentieth-century rock.

Fifty years after the concerts captured on the legendary album 1969: The Velvet Underground Live comes this illuminating biography of Lou Reed. As band leader of the Velvet Underground and later a successful solo artist, Reed was much more than what the general public came to know as the grumpy New Yorker in black who sang "Walk on the Wild Side." To his dedicated admirers, he was one of the most innovative and intelligent songwriters of modern times--a natural outsider who lived a tumultuous and tortured life. In the course of his deep research into Reed's life, from a humble upbringing on Long Island to death from liver disease in 2013, Howard Sounes interviewed more than 140 people who knew the artist intimately--some of whom have not spoken publicly about him before. With new revelations from former wives and lovers, family members, fellow band members and celebrities, and music industry figures, this book offers an updated, unfettered look at Reed's creative process, his mental health problems, his bisexuality, his three marriages, and his addictions to drugs and alcohol. Featuring previously unpublished photographs of some of Reed's most private moments, this is the definitive account of one of rock 'n' roll's most complicated and brilliant prophets.

Examines the decline and resurgence of Haydn's reputation in an effort to better understand the forces that shape critical reception on a broad scale. By the 1840s Joseph Haydn, who died in 1809 as the most celebrated composer of his generation, had degenerated into the bewigged "Papa Haydn," a shallow placeholder in music history who merely invented the forms used by Beethoven.In a remarkable reversal, Haydn swiftly regained his former stature within the opening decades of the twentieth century. Reviving Haydn: New Appreciations in the Twentieth Century examines both the decline and the subsequent resurgence of Haydn's reputation in an effort to better understand the forces that shape critical reception on a broad scale. No single person or event marked the turning point for Haydn's reputation. Instead a broad resurgence reshaped opinion in Europe and the United States in short order. The Haydn revival engaged many of the music world's leading figures -- composers (Vincent d'Indy and Arnold Schoenberg), conductors (Arturo Toscanini), performers (Wanda Landowska), critics (Lawrence Gilman), and scholars (Heinrich Schenker and Donald Tovey) -- each of whom valued Haydn's music for specific reasons and used it to advance particular goals. Yet each advocated for a rehearing and rereading of the composer's works, calling for a new appreciation of Haydn's music. Bryan Proksch is Assistant Professor of Music History at Lamar University.

Regarded by his contemporaries as the leading madrigal composer of his time, Luca Marenzio was an important figure in sixteenth-century Italian music, and also highly esteemed in England, Flanders and Poland. This English translation of Marco Bizzarini's study of the life and work of Marenzio provides valuable insights into the composer's influence and place in history, and features an extensive, up-to-date bibliography and the first published list of archival sourcesA containing references to Marenzio. Women play a decisive role as dedicatees of Marenzio's madrigals and in influencing the way in which they were performed. Bizzarini examines in detail the influence of both female and male patrons and performers on Marenzio's music and career, including his connections with the confraternity of SS TrinitA and other institutions. Dedications were also a political tool, as the book reveals. Many of Marenzio's dedications were made at the request of his employer Cardinal d'Este who wanted to please his French allies. Bizzarini examines these extra-musical dimensions to Marenzio's work and discusses the composer's new musical directions under the more austere administration of Pope Clement VIII.

Aaron Copland is one of America's best-known composers and writers on twentieth century music. This volume brings together for the first time the best of his published essays on music, with previously unpublished material from his diaries, letters, and writings to present a complete picture of Copland as a cultural critic.

I'm the Man is the fast-paced, humorous, and revealing memoir from the man who cofounded Anthrax, the band that proved to the masses that brutality and fun didn't have to be mutually exclusive. Through various lineup shifts, label snafus, rock'n' roll mayhem, and unforeseen circumstances galore, Scott Ian has approached life and music with a smile, viewing the band with deadly seriousness while recognizing the ridiculousness of the entertainment industry. Always performing with abundant energy that revealed his passion for his craft, Ian has never let the gravity of being a rock star go to his shaven, goateed head. I'm the Man is a blistering hard rock memoir, one that is astonishing in its candour and deftly told by the man who's kept the institution of Anthrax alive for more than thirty years.

Contents:
Chapter 1 Off Broadway: 'There Comes a Time', 'Jolly Theatrical Season', 'In The Sack', 'My Type', ' I Wish I Could Say', 'Two a Day', That's Judy Garland', ' Our Hearts Belong to Mary', 'As for the Future I'll Dance', 'The Girls Who Sit and Wait', Chapter 2: Milk and Honey, 'Shalom', 'Milk and Honey', 'There's No Reason in the World', 'Chin Up Ladies', 'That Was Yesterday', 'Let's Not Waste and Moment', 'Like a Young Man', 'I Will Follow You', 'Hymn to Hymiw', 'Finale Act II', Chapter 3 Hello, Dolly!, 'Opening', 'I Put My Hand In', 'Put on Your Sunday Clothes', 'Ribbons Down my Back', 'Dancing', 'Before the Parade Passes By', 'Hello, Dolly!', 'Come and Be My Butterfly', 'It Only Takes a Moment', 'So Long Dearie', 'A Penny in My Pocket', 'Love Look in My Window', 'World Take Me Back', 'Just Leave Everything to Me', 'Love is Only Love', Chapter 4 Mame, 'St. Bridget', 'It's Today', 'Open a New Window', 'The Man in the Moon', 'My Best Girl', 'We Need a Little Christmas', 'The Fox Hunt', 'Mame', 'Opening of Act II', 'Bosom Buddies', 'Gooch's Song', 'That's How Young I Feel', 'If He Walked into My Life', 'It's Today', 'Loving You', Chapter 5 Dear World, 'The Spring of Next Year', 'I'll Be Here Tomorrow', 'I Don't Want to Know', 'I Never Said I Loved You', 'Garbage', 'Dear World', 'Kiss Her Now', 'The Tea Party', 'And I Was Beautiful', 'One Person', 'Have a Little Pity on the Rich', 'Through the Bottom of a Glass', 'Just a Little Bit More', 'A Sensible Woman', Chapter 6Mack and Mabel 'Movies Were Movies', 'Look What Happened to Mabel', 'Big Time', 'I Won't Send Roses', 'I Wanna Make the World Laugh', 'Mack and Mabel', 'Wherever He Ain't', 'Hundreds of Girls', 'When Mabel Comes in the Room', 'Hit 'Em on the Head', 'Time Heals Everything', 'Tap Your Troubles Away', 'I Won't Send Roses', 'I Promise You a Happy Ending', Chapter 7 Grand Tour, 'I'll Be Here Tomorrow', 'Two Possibilities', 'For Poland', 'I Belong Here', 'Marianne', 'We're Almost There', 'More and More/Less and Less', 'One Extraordinary Thing', 'I Think I Think', 'You I Like', 'I Belong Here', Chapter 8, La Cage Aux Folles, 'We Are What We Are', 'Mascara', 'With Anne on My Arm', 'Song on the Sand', 'La Cage Aux Folles', 'I Am What I Am', 'Masculinity', 'Look Over There', 'Dishes', 'The Best Of Times', Chapter 9 Mrs. Santa Claus, 'Mrs. Santa Claus', Avenue A', 'A Tavish Toy', 'Almost Young', ' Mrs. Santa Claus', 'We Don't Go Together At All', 'Whistle', 'He Needs Me', Chapter 10 Miss Spectaular, 'Miss What's Her Name', 'Las Vegas', 'Ziegfeld Girl', 'Sarah Jane', 'Where in the World is My Prince', 'No Other Music', 'I Want to Live Each Night', 'Miss Spectacular', 'My Great Dream', Chapter 11 Broadway Miscellaneous, 'Let's Go to the Movies', 'Nelson', 'Take it all Off', 'Jerry's Girls', 'To Be Alone with You', 'Too Charming', 'I'll Be Here Tomorrow'

In Brian May's Red Special you will discover everything about Brian May's unique, home-made guitar. Brian reveals all, from the guitar's origins to playing on the roof of Buckingham Palace, from Live Aid to the closing ceremony of the London 2012 Olympics, from the set of Bohemian Rhapsody to opening the Academy Awards in 2019 where the film scooped four Oscars. All of this is accompanied by original diagrams, sketches and notes from the building of the guitar, as well as a selection of classic photographs including Brian on stage with his guitar, close-ups and even an X-ray. Rare images are included throughout, as the entire guitar was dismantled and photographed for the book.

This volume gathers together and organizes in an easily accessible format all known information relevant to the life and work of the French jazz musician Django Reinhardt. Together with fellow musician, Stephane Grappelli, Reinhardt became one of the twentieth century's most celebrated jazz artists with performances he gave as part of the Quintet of the Hot Club of France. Essentially discographical in format, this book updates the original work compiled by Charles Delauney in 1960, and draws on later work by Gould, Nevers, Royal and Rust, to detail all known recordings by Reinhardt, together with known film, radio and television appearances. For each entry Paul Vernon provides, where known, the location of the recording, the date, the artist credit as it appears on the label of the original issue, the performers and the instruments played by them, the matrix number, the exact timing of the recording and details of 78, LP, EP and CD issues. Interspersed at the appropriate chronological points are biographical details about Reinhardt and the political, social and cultural climate of his time. This is augmented with excerpts from reviews, letters and other documents to provide a vivid context for his recording work.

Without doubt, Michael William Balfe (1808-1870) was the most successful composer of English opera in the mid nineteenth century. During his lifetime he enjoyed an international reputation and worked with some of the leading singers of the time, including Jenny Lind, Malibran and Grisi. Drawing on previously unused source materials such as letters, legal documents and playbills, this biography of Balfe and in-depth study of his English operas overturns many of the previously accepted 'facts' of the composer's lifestyle. Using London as his base, Dublin-born Balfe spent long periods in Paris and travelled widely in Europe. William Tyldesley discusses the continental influences evident in Balfe's operas and offers new suggestions as to the draw that Paris held for the composer. Far from leading a fairly prosperous and unexceptional life, Balfe is shown to have found himself in financial straits on more than one occasion, and to have employed possibly unethical means of extracting himself from them. Those wishing to perform Balfe's works or to do further research into them, will find Tyldesley's re-examination of the composer a necessary first port of call.

Described by Maurice Ravel as one of the most considerable talents in French music of his generation, Darius Milhaud remains a largely neglected composer. This book reappraises his contribution, focusing on the emergence of the composer's style until his Jewish background forced his exile to the United States on the eve of the World War II. The period 1912-1939 spans the crucial years that mark the development of Milhaud's mature style. It was also during this time that he published his most important writings on contemporary music and its relationship to the past. Barbara Kelly discusses the extent to which Milhaud's complex views on the idea of a French national musical heritage relate to his own practice, and considers how his works reflect the balance between innovation and tradition. Drawing comparisons with contemporaries, such as Debussy, Satie, Schoenberg, Stravinsky and Poulenc, the book argues that the rhythmic vitality of Milhaud's style and his modal approach within a polytonal context mark him out as an original and distinctive composer.

Born in 1916, Henri Dutilleux is one of France's leading composers, enjoying an international reputation for his beautifully crafted works. This is the first translation into English of a series of interviews between Dutilleux and the French writer and journalist Claude Glayman which took place in 1996. Dutilleux discusses aspects of his life including his early training at the Paris Conservatoire, the German occupation of France and the time that he spent in the United States. The interviews reveal much about his music and his approach to composition, as well as the influences on his musical style. Originally published by Actes Sud in 1997, this English edition is the work of translator Roger Nichols, one of the UK's leading specialists on French music.

Comprehensive survey of Grieg's 180 songs, considering particularly questions and issues of performance. Edvard Grieg's 180 songs mirror his artistic and personal development more intimately than any of his other music, yet are still the least known part of his output. This definitive appraisal, now revised and updated, discusses every song, including those left only in manuscript and sketches at the composer's death, set against the background of his life and times. It also deals with the poetry set, often chosen to reflect his current situation, and the poets, several of whom, including great figures of the day such as Ibsen and Bjornson, were his friends and colleagues. Grieg frequently bemoaned poor translations and indifferent performances, and the various editions and translations, from first publication to the present day, are also discussed, together with his own ideas for interpretation. Musical examples and analysis are included to give a closer understanding of Grieg's word-setting and harmonic development, although their performance is always kept paramount. BERYL FOSTER is a graduate of London University and studied singing in Colchester and at the Royal College of Music. As well as all the usual repertoire, since 1980 she has made a particular study of the songs of Grieg and other Norwegian composers, giving recitals, lectures and workshops in Britain, Norway, Germany, the Netherlands, Italy and China. She is also a private teacher andfestival adjudicator.

Mozart's piano concertos stand alongside his operas and symphonies as his most frequently performed and best loved music. They have attracted the attention of generations of musicologists who have explored their manifold meanings from a variety of viewpoints. In this study, John Irving brings together the various strands of scholarship surrounding Mozart's concertos including analytical approaches, aspects of performance practice and issues of compositional genesis based on investigation of manuscript and early printed editions. Treating the concertos collectively as a repertoire, rather than as individual works, the first section of the book tackles broad thematic issues such as the role of the piano concerto in Mozart's quasi-freelance life in late eighteenth-century Vienna, the origin of his concertos in earlier traditions of concerto writing; eighteenth-century theoretical frameworks for the understanding of movement forms, subsequent historical shifts in the perception of the concerto's form, listening strategies and performance practices. This is followed by a 'documentary register' which proceeds through all 23 original works, drawing together information on the source materials. Accounts of the concertos' compositional genesis, early performance history and reception are also included here, drawing extensively on the Mozart family correspondence and other contemporary reports. Drawing together and synthesizing this wealth of material, Irving provides an invaluable reference source for those already familiar with this repertoire.