The music Mozart composed in Vienna closely examined, bringing out the processes of re-invention and re-formulation it displays.
The stylistic evolution of Mozart’s Viennese instrumental repertory as a whole [1781-1791], closely tied to historical and contextual lines of enquiry, has yet to receive systematic attention. This book fills the gap through a study of stylistic re-invention, a practically- and empirically-based theory that explains how innovative, putatively inspired ideas take shape in Mozart’s works and lead to stylistic re-formulation. Re-invention comprises a two-stage process: Mozart manipulates pre-existent stylistic features of his music to climactic effect, in so doing introducing a demonstrably ‘new’ stylistic dimension with broad aesthetic resonance; he subsequently re-appraises his style in response to the dimension in question. From close examination of a variety of Mozart’s works [piano concertos, string quartets and symphonies in particular], supported by study of Mozart’s other chamber and dramatic works, the author shows that stylistic re-invention is a consistent and coherent manifestation of stylistic development. Ultimately re-invention puts centre stage the interaction of intellectual and imaginative elements of Mozart’s musicalpersonality, accounting both for processes of reflection and re-appraisal and for striking conceptual leaps.
SIMON P. KEEFE is James Rossiter Hoyle Chair of Music, University of Sheffield.
The stylistic evolution of Mozart’s Viennese instrumental repertory as a whole [1781-1791], closely tied to historical and contextual lines of enquiry, has yet to receive systematic attention. This book fills the gap through a study of stylistic re-invention, a practically- and empirically-based theory that explains how innovative, putatively inspired ideas take shape in Mozart’s works and lead to stylistic re-formulation. Re-invention comprises a two-stage process: Mozart manipulates pre-existent stylistic features of his music to climactic effect, in so doing introducing a demonstrably ‘new’ stylistic dimension with broad aesthetic resonance; he subsequently re-appraises his style in response to the dimension in question. From close examination of a variety of Mozart’s works [piano concertos, string quartets and symphonies in particular], supported by study of Mozart’s other chamber and dramatic works, the author shows that stylistic re-invention is a consistent and coherent manifestation of stylistic development. Ultimately re-invention puts centre stage the interaction of intellectual and imaginative elements of Mozart’s musicalpersonality, accounting both for processes of reflection and re-appraisal and for striking conceptual leaps.
SIMON P. KEEFE is James Rossiter Hoyle Chair of Music, University of Sheffield.
€28.99
表中的内容
`An Entirely Special Manner’: Mozart’s Piano Concerto No. 14 in E-flat, K. 449 and the Stylistic Implications of ConfrontationOn the Grand, Brilliant and Intimate: Mozart’s Piano Concertos, K. 450-K. 503 (1784-86)
A Complementary Pair: Stylistic Experimentation in Mozart’s Piano Concertos, No. 26 in D, K. 537 (the ‘Coronation’) and No. 27 in Bb, K. 595
An Integrated `Dissonance’: Mozart’s `Haydn’ Quartets and the Slow Introduction of K. 465
Mozart’s `Prussian’ Quartets, K. 575, 589 and 590: Towards a New Aesthetic of the String Quartet
The `Jupiter’ Symphony in C, K. 551: The Dramatic Finale and its Stylistic Significance in Mozart’s Orchestral Oeuvre
Mozart’s Stylistic Re-Invention in Musical Context
Bibliography
Index
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语言 英语 ● 格式 PDF ● 网页 230 ● ISBN 9781846155765 ● 文件大小 5.7 MB ● 出版者 Boydell & Brewer Ltd ● 市 Woodbridge ● 国家 GB ● 发布时间 2007 ● 下载 24 个月 ● 货币 EUR ● ID 9053632 ● 复制保护 Adobe DRM
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