The Cambridge Companion to Mozart (Cambridge Companions to Music)

Bridging the distance among scholarly and renowned photos of Mozart, this quantity offers accomplished assurance of all of his vital works; the reception of his song because his demise; the contexts which tell his paintings and his value as a performer. It paints a rounded but targeted photograph of 1 of the main respected artists of all time and complements readers' appreciation of his amazing output.

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On the most simple point, it really is not anything yet a tradition consultation for composers and gamers, and a wholly indeterminate aural entertainment, aimed toward not anything more’; Johann Karl Friedrich Triest condescendingly excuses the concerto composer from showing an ‘aesthetic feel and inventiveness’ in instrumental writing for the reason that ‘concertos are the specific proving flooring of virtuosity, and hardly ever one in 100 can declare to own any internal inventive value’; and Carl Dittersdorf, on being instructed that he should still imitate the paintings of Antonio Lolli, a composer and performer of violin concertos popular for virtuosic exhibitionism, exclaims ‘God forbid! . . . i need to do just the other, and check out to chop a greater figure . . . via strong reliable taking part in and expression. ’6 In his personal estimation, Mozart avoids the type of ‘vapidity’ usually wrought by means of brilliance and absence of important content material, extraordinary a stability – or ‘happy medium’ – among over the top monitors of virtuosity and simple, straight forward writing. the main eloquent modern suggest of Mozart’s concertos was once the distinguished German aesthetician and theorist Heinrich Christoph Koch 80 Simon P. Keefe (1749–1816). In the same vein to Mozart, Koch believed that the overdue eighteenth-century concerto needn't represent empty show and will be greater than ‘mere excitement for the ear’. mentioning Mozart’s concertos as exemplary versions in his Musikalisches Lexikon of 1802, Koch defined a ‘well worked-out concerto’ as a passionate discussion among the concerto participant and the accompanying orchestra. He expresses his emotions to the orchestra, and its signs him via brief interspersed words occasionally approval, occasionally attractiveness of his expression, because it have been . . . briefly, by way of a concerto I think anything just like the tragedy of the ancients, the place the actor expressed his emotions now not in the direction of the pit, yet to the refrain. The refrain used to be concerned such a lot heavily with the motion and used to be whilst justified in engaging within the expression of emotions. 7 Ever seeing that Koch’s expos´e of the dramatic features of the past due eighteenth-century concerto, analogies among Mozart’s concertos and drama were valuable to our knowing of those works, specially analogies among his concertos and his operas. Thematic and gestural similarities among Mozart’s five violin concertos from 1775 (K. 207, 211, 216, 218, 219) and arias from Il re pastore, okay. 208, first played in Salzburg on 23 April 1775, testify to the cross-fertilization of his concerto and operatic material;8 and formal and procedural parallels among Giunia’s aria ‘Ah, se il crudel periglio’ from his opera seria Lucio Silla of 1772 and the first pursuits of the Violin Concerto in a massive, okay. 219, and the Piano Concerto in B flat significant, ok. 238 (1776), undergo extra witness to the confluence of operatic and concerto strategies within the song of Mozart’s Salzburg interval. nine This convergence is not any much less efficient in his Viennese concertos and operas, in particular in cadential and finishing gestures, even supposing formal parallels – relatively in regard to special differences among orchestral ritornellos and aria introductions – are extra complex than is usually said.

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