Cover image for Mozart, Piano concertos no. 20 in D minor, K. 466, and no. 21 in C major, K. 467
Title:
Mozart, Piano concertos no. 20 in D minor, K. 466, and no. 21 in C major, K. 467
Author:
Grayson, David A.
Personal Author:
Publication Information:
Cambridge, United Kingdom ; New York : Cambridge University Press, [1998]

©1998
Physical Description:
xii, 143 pages : illustrations ; 22 cm.
Language:
English
Contents:
Twentieth-century theories of Mozart's concerto form -- First movements -- Middle movements -- Finales -- Performance practice issues.
ISBN:
9780521481564

9780521484756
Format :
Book

Available:*

Library
Call Number
Material Type
Home Location
Status
Central Library ML410.M9 G82 1998 Adult Non-Fiction Central Closed Stacks-Non circulating
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Summary

Summary

This guide to Mozart's two most popular piano concertos - No. 20 in D minor, K. 466, and No. 21 in 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, ranging from pure formalism to interpretations of the works as wordless human dramas. The advancement of a theory of concerto form provides the background for detailed accounts of the two concertos. The concluding chapter discusses a wide range of issues of particular interest to modern performers, including historical instruments, orchestra size and seating, cadenzas, and improvised embellishment.


Reviews 1

Choice Review

Mozart's piano concertos K. 466 and K. 467 are frequently paired in thought and in practice, not only because of their consecutive Kochel numbers but also because they seem complementary in many respects. After an introductory chapter, Grayson considers some of the most notable concerto models of the 20th century--those of D.F. Tovey (Essays in Musical Analysis, 1935-39) and Charles Rosen (The Classical Style, CH, May'73 and CH, Jul'97, and Sonata Forms, CH, Dec'80), and one the author calls "Leeson-Levin"--and finds useful things in each. In the next three chapters he discusses the concertos in light of these models. The analysis is straightforward enough to be parsed by persons without a reading knowledge of music; fewer than a dozen musical examples appear in the book. In the final chapter, Grayson provides useful, sensible discussions of several matters pertaining to performance practice. Although dedicated to just two of Mozart's dozens of concertos, this title serves as a fine introduction to the formal aspects of the classical concerto and the various theories concerning this most subtle of forms. Recommended to libraries with holdings devoted to music history and analysis at the upper-division undergraduate level and above. B. J. Murray University of Alabama


Table of Contents

1 Introduction
2 Twentieth-century theories of Mozart+s concerto form
3 First movements
4 Middle movements
5 Finales
6 Performance practice issues

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