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.
The three piano concertos contained in this volume were all composed in 1785, when Mozart was 29. High points of one of the most amazingly productive and creatively brilliant periods in the composer's life, yet they are masterworks of very different character: No. 20 (K466 in D Minor), a work of intensity, passion, and spiritual conflict; No. 21 (K467 in C Major), with its luminous, world-famous "Andante, " a work of calm and majesty; and No. 22 (K482 in E-flat Major), music of grace and maturity, said to have "realized the century's ideal whilst yet casting aside the shackles of fashion." These three works are presented here in authoritative two-piano playing editions edited by Franz Kullak and Hans Bischoff, two of the nineteenth century's leading piano editors and teachers of pianists. Their classic format for two keyboards is the universal standard, for students and professionals alike, for learning and rehearsing all piano concertos. It gives the pianist the most accessible form and practical means to prepare a work for performance. To this practicality Dover adds the convenience and economy of compiling three major concertos within a single volume.
Expertly arranged Piano Duet by Wolfgang Amadeus Mozart from the Kalmus Edition series. This Advanced Piano Duet (2 Pianos, 4 Hands) is from the Classical era. 2 copies are required for performance.
Now regarded by many in the music world as a classic, Hutchings' study of Mozart's piano concertos provides a clear approach, supported by numerous musical illustrations and biographical notes, to each work.
Many of Mozart's own cadenzas are preserved, but many more that he improvised in performance were never written down. In that spirit, famed pianist Lili Kraus sensed an obligation and a challenge to follow the tradition of using her own cadenzas where no original was available. This collection, then contains Mozart's original cadenzas as well as editorial versions by Ms. Kraus for Concertos 1-27.
This new book/CD set examines Mozart's work and his lasting impact with a guided tour of seven pieces. Includes explanations of the various ensembles, historical information on each work's composition, and an analysis about what makes each piece truly "noteworthy."
Identifies almost two hundred forty composers whose works are most important to an understanding of classical music, with essays on sixty of the most significant. Presented in chronological order for the Medieval, Renaissance, and Elizabethan ages, the age of the Baroque, the age of Classicism, the Romantic age, and the age of Modernism.
Elements of Sonata Theory is a comprehensive, richly detailed rethinking of the basic principles of sonata form in the decades around 1800. This foundational study draws upon the joint strengths of current music history and music theory to outline a new, up-to-date paradigm for understanding the compositional choices found in the instrumental works of Haydn, Mozart, Beethoven, and their contemporaries: sonatas, chamber music, symphonies, overtures, and concertos. In so doing, it also lays out the indispensable groundwork for anyone wishing to confront the later adaptations and deformations of these basic structures in the nineteenth and earlier twentieth centuries. Combining insightful music analysis, contemporary genre theory, and provocative hermeneutic turns, the book brims over with original ideas, bold and fresh ways of awakening the potential meanings within a familiar musical repertory. Sonata Theory grasps individual compositions-and each of the individual moments within them-as creative dialogues with an implicit conceptual background of flexible, ever-changing historical norms and patterns. These norms may be recreated as constellations "compositional defaults," any of which, however, may be stretched, strained, or overridden altogether for individualized structural or expressive purposes. This book maps out the terrain of that conceptual background, against which what actually happens-or does not happen-in any given piece may be assessed and measured. The Elements guides the reader through the standard (and less-than-standard) formatting possibilities within each compositional space in sonata form, while also emphasizing the fundamental role played by processes of large-scale circularity, or "rotation," in the crucially important ordering of musical modules over an entire movement. The book also illuminates new ways of understanding codas and introductions, of confronting the generating processes of minor-mode sonatas, and of grasping the arcs of multimovement cycles as wholes. Its final chapters provide individual studies of alternative sonata types, including "binary" sonata structures, sonata-rondos, and the "first-movement form" of Mozart's concertos.
