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The theoretical and musical background to the relationship between
the piano and orchestra in Mozart's concertos. The interactive
relationship between the piano and the orchestra in Mozart's
concertos is an issue central to the appreciation of these great
works, but one that has not yet received serious attention, a gap
which this new study seeks to remedy by exploring the historical
implications and hermeneutic potential of dramatic dialogue. The
author shows that invocations of dramatic dialogue are deeply
ingrained in late-eighteenth-century writings on instrumental
music, and he develops this theme into an original and highly
positive view of solo/orchestra relations in Mozart's concertos. He
analyses behavioural patterns in the concertos and links them to
theoretical discussion oflate-eighteenth-century drama and to
analogous relational development in Mozart's operas Idomeneo, Die
Entfuhrung aus dem Serail, Le nozze di Figaro and Don Giovanni.
Mozart's piano concertos emerge afresh from this new approach as an
extraordinary medium of Enlightenment, as significant in their way
as the greatest late-eighteenth-century operatic and theatrical
works. SIMON P. KEEFE is James Rossiter Hoyle Chair of Music,
University of Sheffield.
Mozart's greatest works were written in Vienna in the decade before
his death (1781-1791). This biography focuses on Mozart's dual
roles as a performer and composer and reveals how his compositional
processes are affected by performance-related concerns. It traces
consistencies and changes in Mozart's professional persona and his
modus operandi and sheds light on other prominent musicians,
audience expectations, publishing, and concert and dramatic
practices and traditions. Giving particular prominence to primary
sources, Simon P. Keefe offers new biographical and critical
perspectives on the man and his music, highlighting his
extraordinary ability to engage with the competing demands of
singers and instrumentalists, publishing and public performance,
and concerts and dramatic productions in the course of a hectic,
diverse and financially uncertain freelance career. This
comprehensive and accessible volume is essential for Mozart lovers
and scholars alike, exploring his Viennese masterpieces and the
people and environments that shaped them.
The vibrant intellectual, social and political climate of mid
eighteenth-century Europe presented opportunities and challenges
for artists and musicians alike. This book focuses on Mozart the
man and musician as he responds to different aspects of that world.
It reveals his views on music, aesthetics and other matters; on
places in Austria and across Europe that shaped his life; on career
contexts and environments, including patronage, activities as an
impresario, publishing, theatrical culture and financial matters;
on engagement with performers and performance, focusing on Mozart's
experiences as a practicing musician; and on reception and legacy
from his own time through to the present day. Probing diverse
Mozartian contexts in a variety of ways, the contributors reflect
the vitality of existing scholarship and point towards areas primed
for further study. This volume is essential reading for students
and scholars of late eighteenth-century music and for Mozart
aficionados and music lovers in general.
The vibrant intellectual, social and political climate of mid
eighteenth-century Europe presented opportunities and challenges
for artists and musicians alike. This book focuses on Mozart the
man and musician as he responds to different aspects of that world.
It reveals his views on music, aesthetics and other matters; on
places in Austria and across Europe that shaped his life; on career
contexts and environments, including patronage, activities as an
impresario, publishing, theatrical culture and financial matters;
on engagement with performers and performance, focusing on Mozart's
experiences as a practicing musician; and on reception and legacy
from his own time through to the present day. Probing diverse
Mozartian contexts in a variety of ways, the contributors reflect
the vitality of existing scholarship and point towards areas primed
for further study. This volume is essential reading for students
and scholars of late eighteenth-century music and for Mozart
aficionados and music lovers in general.
Cultural, historical and reception-related contexts are central to
understanding Mozart, one of the greatest and most famous musicians
of all time. Widening and refining the lens through which the
composer is viewed, the essays in Mozart Studies 2 focus on themes,
issues, works and repertories perennially popular among Mozart
scholars of all kinds, pointing to areas primed for future study
and also suitable for investigation by musicians outside the
scholarly community. Following on from the first Mozart Studies
volume, internationally renowned contributors bring new
perspectives to bear on many of Mozart's most popular works, as
well as the composer's letters, biography, and reception. Chapters
are grouped according to topics covered and collectively affirm the
vitality of Mozart scholarship and the significant role it
continues to play in defining and redefining musicological
priorities in general.
Mozart's greatest works were written in Vienna in the decade before
his death (1781-1791). This biography focuses on Mozart's dual
roles as a performer and composer and reveals how his compositional
processes are affected by performance-related concerns. It traces
consistencies and changes in Mozart's professional persona and his
modus operandi and sheds light on other prominent musicians,
audience expectations, publishing, and concert and dramatic
practices and traditions. Giving particular prominence to primary
sources, Simon P. Keefe offers new biographical and critical
perspectives on the man and his music, highlighting his
extraordinary ability to engage with the competing demands of
singers and instrumentalists, publishing and public performance,
and concerts and dramatic productions in the course of a hectic,
diverse and financially uncertain freelance career. This
comprehensive and accessible volume is essential for Mozart lovers
and scholars alike, exploring his Viennese masterpieces and the
people and environments that shaped them.
Presenting a fresh interpretation of Mozart's Requiem, Simon P.
Keefe redresses a longstanding scholarly imbalance whereby narrow
consideration of the text of this famously incomplete work has
taken precedence over consideration of context in the widest sense.
Keefe details the reception of the Requiem legend in general
writings, fiction, theatre and film, as well as discussing
criticism, scholarship and performance. Evaluation of Mozart's work
on the Requiem turns attention to the autograph score, the document
in which myths and musical realities collide. Franz Xaver
Sussmayr's completion (1791-2) is also re-appraised and the
ideological underpinnings of modern completions assessed. Overall,
the book affirms that Mozart's Requiem, fascinating for interacting
musical, biographical, circumstantial and psychological reasons,
cannot be fully appreciated by studying only Mozart's activities.
Broad-ranging hermeneutic approaches to the work, moreover,
supersede traditionally limited discursive confines.
Presenting a fresh interpretation of Mozart's Requiem, Simon P.
Keefe redresses a longstanding scholarly imbalance whereby narrow
consideration of the text of this famously incomplete work has
taken precedence over consideration of context in the widest sense.
Keefe details the reception of the Requiem legend in general
writings, fiction, theatre and film, as well as discussing
criticism, scholarship and performance. Evaluation of Mozart's work
on the Requiem turns attention to the autograph score, the document
in which myths and musical realities collide. Franz Xaver
Sussmayr's completion (1791-2) is also re-appraised and the
ideological underpinnings of modern completions assessed. Overall,
the book affirms that Mozart's Requiem, fascinating for interacting
musical, biographical, circumstantial and psychological reasons,
cannot be fully appreciated by studying only Mozart's activities.
Broad-ranging hermeneutic approaches to the work, moreover,
supersede traditionally limited discursive confines.
The eighteenth century arguably boasts a more remarkable group of
significant musical figures, and a more engaging combination of
genres, styles and aesthetic orientations, than any century before
or since, yet huge swathes of its musical activity remain
under-appreciated. The Cambridge History of Eighteenth-Century
Music provides a comprehensive survey, examining little-known
repertories, works and musical trends alongside more familiar ones.
Rather than relying on temporal, periodic and composer-related
phenomena to structure the volume, it is organised by genre;
chapters are grouped according to the traditional distinctions of
music for the church, music for the theatre and music for the
concert room that conditioned so much thinking, activity and output
in the eighteenth century. A valuable summation of current research
in this area, the volume also encourages readers to think of
eighteenth-century music less in terms of overtly teleological
developments than of interacting and mutually stimulating musical
cultures and practices.
Since the bicentennial of Mozart's death in 1991, the principal
concern of much Mozart research has been to situate the composer
and his music in increasingly well informed biographical,
historical, critical and analytical contexts. The contributors to
Mozart Studies share this desire to paint ever-more rounded,
focused and sensitive pictures of the composer by drawing upon
wide-ranging historical materials and critical tools, and to
project scholarly understandings considerably beyond the narrow
frames of reference that traditionally characterised Mozart
research. While chapters are grouped according to the principal
areas and topics covered, it is intended that other thematic links
between chapters will also emerge, drawing scholars' attention to
areas primed for future investigation. In the best traditions of
Mozart research, it is hoped that these essays will collectively
affirm the vitality of Mozart scholarship and the significant role
that this scholarship continues to play in defining and re-defining
musicological priorities.
The eighteenth century arguably boasts a more remarkable group of
significant musical figures, and a more engaging combination of
genres, styles and aesthetic orientations, than any century before
or since, yet huge swathes of its musical activity remain
under-appreciated. The Cambridge History of Eighteenth-Century
Music provides a comprehensive survey, examining little-known
repertories, works and musical trends alongside more familiar ones.
Rather than relying on temporal, periodic and composer-related
phenomena to structure the volume, it is organised by genre;
chapters are grouped according to the traditional distinctions of
music for the church, music for the theatre and music for the
concert room that conditioned so much thinking, activity and output
in the eighteenth century. A valuable summation of current research
in this area, the volume also encourages readers to think of
eighteenth-century music less in terms of overtly teleological
developments than of interacting and mutually stimulating musical
cultures and practices.
This volume of essays on Wolfgang Amadeus Mozart reflects scholarly
advances made over the last thirty years. The studies are broad and
focused, demonstrating a large number of viewpoints, methodologies
and orientations and the material spans a wide range of subject
areas, including biography, vocal music, instrumental music and
performance. Written by leading researchers from Europe and North
America, these previously published articles and book chapters are
representative of both the most frequently discussed and debated
issues in Mozart studies and the challenging, exciting nature of
Mozart scholarship in general. The volume is essential reading for
researchers, students and scholars of Mozart's music.
Mozart's enduring popularity, among music lovers as a composer and
among music historians as a subject for continued study, lies at
the heart of The Cambridge Mozart Encyclopedia. This reference book
functions both as a starting point for information on specific
works, people, places and concepts as well as a summation of
current thinking about Mozart. The extended articles on genres
reflect the latest in scholarship and new ways of thinking about
the works while the articles on people and places provide
historical framework, as well as interpretation. It also includes a
series of thematic articles that cast a wide net over the
eighteenth century and Mozart's relationship to it: these include
Austria, Germany, aesthetics, travel, Enlightenment, Mozart as a
reader and contemporaneous medicine, among others. The worklist
provides the most up-to-date account in English of the authenticity
and chronology of Mozart's compositions.
Bridging the gap between scholarly and popular images of Mozart, this volume provides comprehensive coverage of all of his important works; the reception of his music since his death; the contexts which inform his work and his significance as a performer. It paints a rounded yet focused picture of one of the most revered artists of all time and enhances readers' appreciation of his extraordinary output.
The music Mozart composed in Vienna closely examined, bringing out
the processes of re-invention and re-formulation it displays. The
stylistic evolution of Mozart's Viennese instrumental repertory as
a whole [1781-1791], closely tied to historical and contextual
lines of enquiry, has yet to receive systematic attention. This
book fills the gap through a study of stylistic re-invention, a
practically- and empirically-based theory that explains how
innovative, putatively inspired ideas take shape in Mozart's works
and lead to stylistic re-formulation. Re-invention comprises a
two-stage process: Mozart manipulates pre-existent stylistic
features of his music to climactic effect, in so doing introducing
a demonstrably 'new' stylistic dimension with broad aesthetic
resonance; he subsequently re-appraises his style in response to
the dimension in question. From close examination of a variety of
Mozart's works [piano concertos, string quartets and symphonies in
particular], supported by study of Mozart's other chamber and
dramatic works, the author shows that stylistic re-invention is a
consistent and coherent manifestation of stylistic development.
Ultimately re-invention puts centre stage the interaction of
intellectual and imaginative elements of Mozart's
musicalpersonality, accounting both for processes of reflection and
re-appraisal and for striking conceptual leaps. SIMON P. KEEFE is
James Rossiter Hoyle Chair of Music, University of Sheffield.
No musical genre has had a more chequered critical history than the
concerto and yet simultaneously retained as consistently prominent
a place in the affections of the concert-going public. This volume,
one of very few to deal with the genre in its entirety, assumes a
broad remit, setting the concerto in its musical and non-musical
contexts, examining the concertos that have made important
contributions to musical culture, and looking at
performance-related topics. A picture emerges of a genre in a
continual state of change, re-inventing itself in the process of
growth and development and regularly challenging its performers and
listeners to broaden the horizons of their musical experience.
Mozart's enduring popularity, among music lovers as a composer and
among music historians as a subject for continued study, lies at
the heart of The Cambridge Mozart Encyclopedia. This reference book
functions both as a starting point for information on specific
works, people, places and concepts as well as a summation of
current thinking about Mozart. The extended articles on genres
reflect the latest in scholarship and new ways of thinking about
the works while the articles on people and places provide a
historical framework, as well as interpretation. The book also
includes a series of thematic articles that cast a wide net over
the eighteenth century and Mozart's relationship to it: these
include Austria, Germany, aesthetics, travel, Enlightenment, Mozart
as a reader, and contemporaneous medicine, among others. Many of
the topics covered have never been written about before in
English-language Mozart publications or in such detail ...
Cultural, historical and reception-related contexts are central to
understanding Mozart, one of the greatest and most famous musicians
of all time. Widening and refining the lens through which the
composer is viewed, the essays in Mozart Studies 2 focus on themes,
issues, works and repertories perennially popular among Mozart
scholars of all kinds, pointing to areas primed for future study
and also suitable for investigation by musicians outside the
scholarly community. Following on from the first Mozart Studies
volume, internationally renowned contributors bring new
perspectives to bear on many of Mozart's most popular works, as
well as the composer's letters, biography, and reception. Chapters
are grouped according to topics covered and collectively affirm the
vitality of Mozart scholarship and the significant role it
continues to play in defining and redefining musicological
priorities in general.
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