Mozart's Viennese Instrumental Music: A Study of Stylistic by Simon P. Keefe
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.
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Sample text
450 and 451 and the Quintet for Piano and Winds, K. 2 Even if Mozart can hardly be relied upon as an impartial witness to his own success, his list of subscribers to the Trattnerhof series, containing 176 names (‘thirty more than Richter and Fischer together’), many from the highest artistic, intellectual, cultural and aristocratic echelons of society,3 testifies to the high regard in which he was held. The Wunderkind who had charmed the Viennese in his youth had become a fully endorsed member of the Viennese musical establishment.
According to Reicha, equal length phrases that are sharply opposed in character produce ‘continual contrast’ and ‘a sort of opposition’. 36 The openings of the development sections of K. 413, 415, 450 and 451 either foreshadow or recall the corresponding segment of K. 449, but without possessing its confrontational intensity. The brief tutti interjection in bars 183–85 of K. 413 contrasts thematically, texturally and dynamically with the preceding material in 35 36 I would prefer a more co-operatively inclined reading, whereby the piano sets up a chromatic ascent that is subsequently adopted by both the orchestra and the piano at the beginning of the recapitulation (bars 261–67).
450 onwards. In addition, Mozart did not himself distinguish any single instrumental work from its immediate successors in as clear and direct a fashion as he distinguished K. 449 from K. 450, 451 and 453. If K. 449 rests intriguingly between two of Mozart’s stylistic practices, it also initiates another important venture in his life, the cataloguing of his works. For K. 29 In addition to general stylistic and chronological peculiarities, specific musical features of the first movement are also remarkable.