By Simon P. Keefe
The stylistic evolution of Mozart's Viennese instrumental repertory as a complete [1781-1791], heavily tied to historic and contextual strains of enquiry, has but to obtain systematic consciousness. This ebook fills the space via a research of stylistic re-invention, a essentially- and empirically-based concept that explains how leading edge, putatively encouraged principles take form in Mozart's works and result in stylistic re-formulation. Re-invention contains a two-stage method: Mozart manipulates pre-existent stylistic positive aspects of his song to climactic impact, in so doing introducing a demonstrably 'new' stylistic measurement with huge aesthetic resonance; he therefore re-appraises his sort in accordance with the size in query. From shut exam of a number of Mozart's works [piano concertos, string quartets and symphonies in particular], supported by means of examine of Mozart's different chamber and dramatic works, the writer exhibits that stylistic re-invention is a constant and coherent manifestation of stylistic improvement. eventually re-invention places centre degree the interplay of highbrow and resourceful components of Mozart's musical character, accounting either for tactics of mirrored image and re-appraisal and for outstanding conceptual leaps.
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Extra resources for Mozart's Viennese Instrumental Music: A Study of Stylistic Re-Invention
167–68. For the Rosen quotation, see The Classical Style, p. 120. Wye Jamison Allanbrook describes the topical oddities of the opening of the first movement in ‘Comic Issues in Mozart’s Piano Concertos’, in Mozart’s Piano Concertos, ed. Neal Zaslaw, pp. 75–82. Girdlestone, Mozart and his Concertos, pp. 185–87; Hutchings, Mozart’s Piano Concertos, p. 85. James Webster also labels the second movement of K. 449 a hybrid of these three forms. ’ in Mozart’s Piano Concertos, ed. Neal Zaslaw, p. 113. Similarly, Radcliffe identifies it as ‘a cross between sonata and rondo’ in Mozart Piano Concertos, p.
449 as sui generis – ‘an entirely special manner’ in Mozart’s own words – as a climactic work in Mozart’s initial 29 30 Daniel N. Leeson and David Whitwell posit that Mozart began his catalogue in early November 1784, rather than in February, entering the first nine items retrospectively. Although they suggest that the dates entered for the Quintet for Piano and Winds, K. 452 and the Piano Concerto No. 18 in Bb, K. 456 postdate the actual completion of these works, they conclude that 9 February 1784 is accurate for K.
449, however, there are no precedents in Entführung or Idomeneo for its terse alternations of contrasting material between the protagonists. While general intersections between musical and dramatic processes in Mozart’s operas are universally admired features of his compositional modus operandi,57 and general manifestations of character confrontation the lifeblood of his operatic plots, analogous musical procedures involving confrontation between Mozart’s piano and orchestral ‘characters’ in the first movement of K.