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Mozart's Piano Concertos
Mozart’s Piano Concertos, especially those composed during the years 1784-’91, are still held in high esteem, two centuries later, by both amateur music-lovers and professional musicians. Strangely enough, only very few comprehensive studies exist on this remarkable section of Mozart’s output. The present study, first published in German in a slightly abridged form, deals with Mozart’s evolution as a composer of piano concertos; sheds light on the connections between the concertos and other fields of creative activity, as well as on those with other composers of his time. Finally, attention is paid to problems of performance practice. The author, born in 1914, emeritus professor of Utrecht University and former chairman of the Zentralinstitut für Mozart-Forschung, Salzburg, has been involved with the subject of Mozart’s concertos for about 60 years.
A History of the Concerto
A History of the Concerto may be read from cover to cover, but readers may also use the extensive index to focus on specific concertos and their composers. Numerous musical examples illuminate critical points. While some readers may want to study the more detailed analyses with scores in hand, this is not essential for an understanding of the text.
Mozart & His Piano Concertos
Classic of music criticism provides detailed studies of 23 of Mozart's piano concertos, offering 417 musical examples and authoritative information on the works' form, tone, style, and balance.
Mozart's Piano Concertos
This study investigates the interactive relationship between the piano and the orchestra in Mozart's concertos by exploring the historical implications and hermeneutic potential of dramatic dialogue.
Concertos
Mozart's supremacy as a composer is nowhere more apparent than in his piano concertos, which were a lifelong preoccupation for him from 1767, when he was 11 years old, until 1791, the year of his death. The remarkably precocious works in this volume, written in 1776 and 1777, foreshadow the even greater piano concertos to come. Each exhibits the qualities for which their successors are justly celebrated: keyboard mastery, experimentation with texture, and a natural sensitivity to form and balance. Despite his youth, Mozart captured the spirit of his times with these compositions, reflecting an eighteenth-century mood of elegance and refinement. This volume includes the Triple Concerto No. 7 ...
The Scoring of Baroque Concertos
Evidence indicates that the concertos of Vivaldi, Bach, Haydn etc were performed as chamber music, not the full orchestral works commonly assumed. The concertos of Vivaldi, Bach, Handel and their contemporaries are some of the most popular, and the most frequently performed, pieces of classical music; and the assumption has always been they were full orchestral works. This book takes issue with this orthodox opinion to argue quite the reverse: that contemporaries regarded the concerto as chamber music. The author surveys the evidence, from surviving printed and manuscript performance material, from concerts throughout Europe between 1685 and 1750 (the heyday of the concerto), demonstrating that concertos were nearly always played one-to-a-part at that time. He makes a particularly close study of the scoring of the bass line, discussing the question of what instruments were most appropriate and what was used when. The late Dr RICHARD MAUNDER was Fellow of Christ's College, Cambridge.
Vivaldi
The Four Seasons and the rest of the concertos in Op. 8 represent Vivaldi's remarkable innovation in the field of the Baroque concerto. This detailed guide examines the work's origin and construction in a way that enables the reader to distinguish what is extraordinary about the Seasons and what constitutes the composer's customary method of 'characterising' the solo concerto. Drawing on recent research and his own expertise in the appraisal of Vivaldi's manuscripts, the author draws interesting and sometimes startling conclusions about the conception of the Seasons, the origin of their programme, the dating of the concertos and the rationale behind the collection's ritornello-form structures and aria-like slow movements. The significance of Vivaldi's idiosyncratic art is thus revealed in some of the most popular concert music of all time.
Mozart: Piano Concertos Nos. 20 and 21
This guide to Mozart's two most popular piano concertos--the D minor, K. 466, and the C major, K. 467 (the so-called "Elvira Madigan")--presents the historical background of the works, placing them within the context of Mozart's compositional and performance activities at a time when his reputation as both composer and pianist was at its peak. The special nature of the concerto, as both a form and genre, is explored through a selective survey of some of the approaches that various critics have taken in discussing Mozart's concertos. The concluding chapter discusses a wide range of issues of interest to modern performers.
Mozart Wind and String Concertos
Mozart wrote his first concerto at the age of ten and completed his last a few weeks before his death. In the intervening twenty-five years he composed over fifty concertos for various instruments. The most numerous are, of course, those for the piano, which are the subject of a separate BBC Music Guide by Philip Radcliffe. This volume is dedicated to Mozart's other concertos--those for wind and stringed instruments--masterpieces such as the powerful Sinfonia Concertante in E flat and the lyrical Clarinet Concerto, or the Flute Concerto in G and the last two Horn Concertos, all perfect of their kind.
Chopin: The Piano Concertos
Chopin's E minor and F minor Piano Concertos played a vital role in his career as a composer-pianist. Praised for their originality and genius when he performed them, the concertos later attracted censure for ostensible weaknesses in form, development and orchestration. They also suffered at the hands of editors and performers, all the while remaining enormously popular. This handbook re-evaluates the concertos against the traditions that shaped them so that their many outstanding qualities can be fully appreciated. It describes their genesis, Chopin's own performances and his use of them as a teacher. A survey of their critical, editorial and performance histories follows, in preparation for an analytical 're-enactment' of the music - that is, a narrative account of the concertos as embodied in sound, rather than in the score. The final chapter investigates Chopin's enigmatic 'third concerto', the Allegro de concert. Chopin: The Piano Concertos has won the Wilk Book Prize for Research in Polish Music.
