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The theoretical and musical background to the relationship between the piano and orchestra in Mozart's concertos.
The interactive relationship between the piano and the orchestra in Mozart's concertos is an issue central to the appreciation of these great works, but one that has not yet received serious attention, a gap which this new study seeks to remedy by exploring the historical implications and hermeneutic potential of dramatic dialogue.
The author shows that invocations of dramatic dialogue are deeply ingrained in late-eighteenth-century writings on instrumental music, and he develops this theme into an original and highly positive view of solo/orchestra relations in Mozart's concertos. He analyses behavioural patterns in the concertos and links them to theoretical discussion oflate-eighteenth-century drama and to analogous relational development in Mozart's operas Idomeneo, Die Entführung aus dem Serail, Le nozze di Figaro and Don Giovanni.
Mozart's piano concertos emerge afresh from this new approach as an extraordinary medium of Enlightenment, as significant in their way as the greatest late-eighteenth-century operatic and theatrical works.
SIMON P. KEEFE is James Rossiter Hoyle Chair of Music, University of Sheffield.
The interactive relationship between the piano and the orchestra in Mozart's concertos is an issue central to the appreciation of these great works, but one that has not yet received serious attention, a gap which this new study seeks to remedy by exploring the historical implications and hermeneutic potential of dramatic dialogue.
The author shows that invocations of dramatic dialogue are deeply ingrained in late-eighteenth-century writings on instrumental music, and he develops this theme into an original and highly positive view of solo/orchestra relations in Mozart's concertos. He analyses behavioural patterns in the concertos and links them to theoretical discussion oflate-eighteenth-century drama and to analogous relational development in Mozart's operas Idomeneo, Die Entführung aus dem Serail, Le nozze di Figaro and Don Giovanni.
Mozart's piano concertos emerge afresh from this new approach as an extraordinary medium of Enlightenment, as significant in their way as the greatest late-eighteenth-century operatic and theatrical works.
SIMON P. KEEFE is James Rossiter Hoyle Chair of Music, University of Sheffield.
Price: $85.00
Pages: 216
Publisher: Boydell & Brewer Inc.
Imprint: Boydell Press
Publication Date:
06 September 2001
Trim Size: 9.21 X 6.14 in
ISBN: 9780851158341
Format: Hardcover
BISACs:
MUSIC / History & Criticism, History of music, Music reviews and criticism
Keefe's book unites concepts from eighteenth-century music theory, drama, opera, and instrumental music in an illuminating matrix. Closely focused ... this masterly study will expand every reader's appreciation of Mozart's most original genre. NOTES [Andrew Willis] This closely written and thoroughly researched study adds much to our appreciation of the concept of dramatic dialogue in Mozart's mature piano concertos ... What Keefe does offer us is fascinating ... His book is of value in that the higher meaning of these subtle works is often obscure [...] he does much to make it clearer. INTERNATIONAL PIANO A lucid, enthusiastic study, carefully documented, and on the whole wearing lightly the author's hugely impressive learning - he knows the works intimately, and is also very well informed about more general considerations. PETER BRANSCOMBE The book has a great deal to offer ... an impressive accomplishment.