Considered two of Mozart's most important, far-reaching, and richly inventive piano concertos, the D minor, K466, and the C major, K467, represent the composer at his creative peak. Never before had Mozart so intensely explored the concerto form with its inherent struggle of one individual voice against many. And yet the two works are very different the D minor, tragic and intense; the C major, majestic and grand. Both are published here in full score with bar-numbered movements. Ideal for study in the classroom, at home, or in the concert hall, this affordable, high-quality, conveniently sized volume will be the edition of choice for music students and music lovers alike."
Mozart's Adagio and Rondo (K. 617) was written for the armonica, or musical glasses (a set of tuned glass bowls) and a quartet consisting of flute, oboe, viola, and cello. The music is effective played as an organ solo. The Adagio may be registered "forte," in the style of Mozart's Fantasia (K. 608). The Rondo should be played on the flute stops. Arranged for organ by E. Power Briggs.
Boyhood of Mozart, as child prodigy at the various royal courts of Europe. Before he died at the age of thirty-six he had left the world a great heritage of music.
The Hutchinson Concise Dictionary of Music, in 7,500 entries, retains the breadth of coverage, clarity, and accessibility of the highly acclaimed Hutchinson Encyclopedia of Music, from which it is derived. Tracing its lineage to the Everyman Dictionary of Music, now out of print, it boasts a distinguished heritage of the finest musical scholarship. This book provides comprehensive coverage of theoretical and technical music terminology, embracing the many genres and forms of classical music, clearly illustrated with examples. It also provides core information on composers and comprehensive lists of works from the earliest exponents of polyphony to present-day composers.
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."
Mozart's Ghosts traces the many lives of this great composer that emerged following his early death in 1791. Crossing national boundaries and traversing two hundred years-worth of interpretation and reception, author Mark Everist investigates how Mozart's past status can be understood as part of today's veneration. Everist forges new paths to reach the composer, examining a number of ways in which Western culture has absorbed the idea of Mozart, how various cultural agents have appropriated, deployed, and exploited Mozart toward both authoritarian and subversive ends, and how the figure of Mozart and his impact illuminate the cultural history of the last two centuries in Europe, England, and America. Modern reverence for the composer is conditioned by earlier responses to his music, and Everist argues that such earlier responses are more complex than allowed by a simple "reception studies" model. Closely linking nine case studies in an innovative cultural and theoretical framework, the book approaches the developing reputation of the composer from death to the present day along three paths: "Phantoms of the Opera" deals with stage music, "Holy Spirits" addresses the trope of the sacred, and "Specters at the Feast" considers the impact of Mozart's music in literature and film. Mozart's Ghosts adeptly moves the study of Mozart reception away from hagiography and closer to cultural and historical criticism, and will be avidly read by Mozart scholars and students of eighteenth-century music history, as well as literary critics, historians of philosophy and aesthetics, and cultural historians in general.
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.
This companion piece to Don Juan demands a huge orchestra: eight horns, five trumpets, quadruple woodwinds, and a powerful complement of percussion and strings. At the center of the story stands Strauss himself, a besieged composer who goes to war with the critics in a mighty orchestral battle.
Best-known, most beloved large-scale musical work in the English-speaking world. A brilliant amalgam of traditional Italian opera, English anthem, and German Passion.
