Mozart's Chamber Music with Keyboard
Internationally renowned scholars and performers present a wide range of new analytical, historical and critical perspectives on some of Mozart's most popular chamber music: his sonatas with violin, keyboard trios and quartets and the quintet with wind instruments. The chapters trace a broad chronology, from the childhood works, to the Mannheim and Paris sonatas with keyboard and violin, and the mature compositions from his Vienna years. Drawing upon the most recent research, this study serves the reader, be they a performer, listener or scholar, with a collection of writings that demonstrate the composer's innovative developments to generic archetypes and which explore and assess Mozart's creative response to the opportunities afforded by new and diverse instrumental combinations. Manners of performance of this music far removed from our own are revealed, with concluding chapters considering historically informed practice and the challenges for modern performers and audiences.
- Electronic book text
- 20 May 2012
- CAMBRIDGE UNIVERSITY PRESS
- Cambridge University Press (Virtual Publishing)
- Cambridge, United Kingdom
- 2 b/w illus. 9 tables 158 music examples
Table of contents
1. The chamber music with keyboard in Mozart biography Martin Harlow; 2. Mozart's early chamber music with keyboard: traditions of performance, composition, and commodification Nicholas Baragwanath; 3. Opus 1, take 2: Mozart's Mannheim and Paris sonatas for keyboard and violin Peter Walls; 4. Mozart's 'Viennese' sonatas for keyboard and violin according to Ferdinand David: a survey of editorial and violin performance practices Robin Stowell; 5. Mozart's keyboard trios: styles, textures and contexts Katalin Komlos; 6. A winning strike: the miracle of Mozart's 'Kegelstatt' Colin Lawson; 7. An experiment in variation: the finale of Mozart's Piano Trio in G, K.496 Roman Ivanovitch; 8. On instrumental sounds, roles, genres and performances: Mozart's Piano Quartets, K.478 and K.493 Simon P. Keefe; 9. Enlarging the musical discourse: Mozart's Piano Quartet in G Minor, K.478 Robert S. Hatten; 10. Action, reaction and interaction, and the play of style and genre in Mozart's Piano and Wind Quintet, K.452 Martin Harlow; 11. Inhabiting Mozart's chamber music: the fortepianist's tale John Irving; 12. Reading between the lines: the notation and performance of Mozart's chamber music with keyboard Clive Brown; 13. Private and public forms of art: Charles Rosen on Mozart's chamber music with keyboard Charles Rosen in conversation.
About Martin Harlow
Martin Harlow is Dean of Academic Studies at the Royal Northern College of Music in Manchester. His principal field of research is Classical period wind ensemble music and associated issues of historical performance practice.