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Now regarded by many in the music world as a classic, Hutchings' study of Mozart's piano concertos provides a clear approach, supported by numerous musical illustrations and biographical notes, to each work.
Table of contents
Mozart’s Piano Concertos, especially those composed during the years 1784-’91, are still held in high esteem, two centuries later, by both amateur music-lovers and professional musicians. Strangely enough, only very few comprehensive studies exist on this remarkable section of Mozart’s output. The present study, first published in German in a slightly abridged form, deals with Mozart’s evolution as a composer of piano concertos; sheds light on the connections between the concertos and other fields of creative activity, as well as on those with other composers of his time. Finally, attention is paid to problems of performance practice. The author, born in 1914, emeritus professor of Utrecht University and former chairman of the Zentralinstitut für Mozart-Forschung, Salzburg, has been involved with the subject of Mozart’s concertos for about 60 years.
A rare volume dedicated entirely to scholarship on the genre of the concerto.
Michael Steinberg's 1996 volume The Symphony: A Reader's Guide received glowing reviews across America. It was hailed as "wonderfully clear...recommended warmly to music lovers on all levels" (Washington Post), "informed and thoughtful" (Chicago Tribune), and "composed by a master stylist" (San Francisco Chronicle). Seiji Ozawa wrote that "his beautiful and effortless prose speaks from the heart." Michael Tilson Thomas called The Symphony "an essential book for any concertgoer." Now comes the companion volume--The Concerto: A Listener's Guide. In this marvelous book, Steinberg discusses over 120 works, ranging from Johann Sebastian Bach in the 1720s to John Adams in 1994. Readers will find here the heart of the standard repertory, among them Bach's Brandenburg Concertos, eighteen of Mozart's piano concertos, all the concertos of Beethoven and Brahms, and major works by Mendelssohn, Schumann, Liszt, Bruch, Dvora'k, Tchaikovsky, Grieg, Elgar, Sibelius, Strauss, and Rachmaninoff. The book also provides luminous introductions to the achievement of twentieth-century masters such as Arnold Schoenberg, Be'la Barto'k, Igor Stravinsky, Alban Berg, Paul Hindemith, Sergei Prokofiev, Aaron Copland, and Elliott Carter. Steinberg examines the work of these musical giants with unflagging enthusiasm and bright style. He is a master of capturing the expressive, dramatic, and emotional values of the music and of conveying the historical and personal context in which these wondrous works were composed. His writing blends impeccable scholarship, deeply felt love of music, and entertaining whimsy. Here then is a superb journey through one of music's richest and most diverse forms, with Michael Steinberg along as host, guide, and the best of companions.
Classic of music criticism provides detailed studies of 23 of Mozart's piano concertos, offering 417 musical examples and authoritative information on the works' form, tone, style, and balance.
This Companion, first published in 2000, provides a comprehensive view of Beethoven and his work. The first part of the book presents the composer as a private individual, as a professional, and at the work-place, discussing biographical problems, Beethoven's professional activities when not composing and his methods as a composer. In the heart of the book, individual chapters are devoted to all the major genres cultivated by Beethoven and to the elements of style and structure that cross all genres. The book concludes by looking at the ways that Beethoven and his music have been interpreted by performers, writers on music, and in the arts, literature, and philosophy. The essays in this volume, written by leading Beethoven specialists, maintain traditional emphases in Beethoven studies while incorporating other developments in musicology and theory.
This guide to Mozart's two most popular piano concertos--the D minor, K. 466, and the C major, K. 467 (the so-called "Elvira Madigan")--presents the historical background of the works, placing them within the context of Mozart's compositional and performance activities at a time when his reputation as both composer and pianist was at its peak. The special nature of the concerto, as both a form and genre, is explored through a selective survey of some of the approaches that various critics have taken in discussing Mozart's concertos. The concluding chapter discusses a wide range of issues of interest to modern performers.
A celebration and exploration of a monumental achievement
The first thorough English-language exploration of the concerto as a musical form, this is an oft-quoted, authoritative survey. Examining the social, economic, and personal factors that influenced the concerto's growth, the work also summarizes the contributions of theorists, composers, and musicians and defines the genre's terms and the changing nature.