By Simon P. Keefe
The stylistic evolution of Mozart's Viennese instrumental repertory as a complete [1781-1791], heavily tied to old and contextual traces of enquiry, has but to obtain systematic cognizance. This booklet fills the distance via a research of stylistic re-invention, a essentially- and empirically-based thought that explains how leading edge, putatively encouraged principles take form in Mozart's works and bring about stylistic re-formulation. Re-invention contains a two-stage method: Mozart manipulates pre-existent stylistic positive factors of his track to climactic influence, in so doing introducing a demonstrably 'new' stylistic size with wide aesthetic resonance; he as a result re-appraises his type in line with the size in query. From shut exam of a number of Mozart's works [piano concertos, string quartets and symphonies in particular], supported via learn of Mozart's different chamber and dramatic works, the writer exhibits that stylistic re-invention is a constant and coherent manifestation of stylistic improvement. finally re-invention places centre degree the interplay of highbrow and creative parts of Mozart's musical character, accounting either for strategies of mirrored image and re-appraisal and for awesome conceptual leaps.