Download The Cambridge Companion to Mozart by Simon P. Keefe PDF

By Simon P. Keefe

Bridging the distance among scholarly and renowned photographs of Mozart, this quantity offers entire assurance of all of his vital works; the reception of his song considering his demise; the contexts which tell his paintings and his importance as a performer. It paints a rounded but concentrated photograph of 1 of the main respected artists of all time and complements readers' appreciation of his remarkable output.

The Cambridge significant other to Mozart paints a rounded but focussed photo of 1 of the main respected artists of all time. Bringing the latest scholarship into the general public area, this quantity bridges the space among scholarly and well known pictures of the composer, improving the readers' appreciation of Mozart and his remarkable output, despite their previous wisdom of the tune. half I situates Mozart within the context of past due eighteenth-century musical environments and aesthetic traits that performed a pivotal position in his inventive improvement and examines his equipment of composition. half II surveys Mozart's works in all the genres within which he excelled and half III seems on the reception of the composer and his track considering his demise. half IV deals perception into Mozart's profession as a performer in addition to theoretical and useful views on traditionally proficient performances of his music.

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Hofmann died in 1793. Freelance teaching We return to spring 1781. For the present Mozart urgently needed to find work. He wrote to his father on 19 May that he would sell sonatas by subscription, write an opera and give a concert in Advent. ’21 That he took pupils reluctantly and only as a last resort, he had already emphatically expressed to his father from Mannheim in 1778: To be obliged to go to a house at a certain time – or to have to wait at home for a pupil – is what I cannot do, no matter how much money it may bring me in.

For the present Mozart urgently needed to find work. He wrote to his father on 19 May that he would sell sonatas by subscription, write an opera and give a concert in Advent. ’21 That he took pupils reluctantly and only as a last resort, he had already emphatically expressed to his father from Mannheim in 1778: To be obliged to go to a house at a certain time – or to have to wait at home for a pupil – is what I cannot do, no matter how much money it may bring me in. I find it impossible, so must leave it to those who can do nothing else but play the clavier.

It is functionally changed and, as closing material, makes palpable a meaningful reversal between the opening and closing of the movement. For where the opening juxtaposes a stable, forte gesture (the three chords) with an unstable, 19 Mozart and Salzburg piano one (the main theme), the ending not only reverses this order but at the same time draws out the ‘hidden meaning’, so to speak, of the three chords: the final apotheosis is, in effect, a ‘realization’ of the three opening chords and the one gesture that finally gives the movement tonal stability and a convincing close.

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