The Structural Function Of Wa Mozarts First Movement Cadenzas To His Piano Concertos

This book demonstrates the proportional function of the cadenza in the first movements of Mozart s piano concertos and, specifically, the cadenza s role in helping to counter-balance the proportional gap between the exposition and the recapitulation created by the double-exposition feature of the Classical concerto form. It investigates Mozart s sense of symmetry within the sonata-allegro concerto form, which he powerfully expresses in the proportionally balanced construction of his music, and how symmetry functions as an underlying principle in the achievement of proportional balance between the exposition and recapitulation in the first movements of his piano concertos. Also, this book seeks to establish possible criteria as to how this sense of symmetry may inform the performer/composer of the concerto/cadenza in creating a cadenza of appropriate duration for the first movements of Mozart s piano concertos for which the original cadenzas are missing (KV466, 467, 482, 491, 503, and 537) and to verify the compositional and proportional integrity of the cadenza.

This book is the first truly comprehensive analysis of the first movements ever attempted. The beginning of the book, devoted to the evolution of Mozart's concertos, provides a discussion of the search by North German composers (including members of the Bach family) for a concerto form that would give more prominence to solo instruments, a critical element in the development of the extended aria. Against this background, the author then discusses the evolution of Mozart's concertos in terms of the six early works based on Johann Christian Bach's London Galant form, the innovative principles and methods present in the seven "Melodic" concertos, and the absolute departure from both Galant and Melodic works evident in the last four concertos, which are truly symphonic, differing from all of Mozart's previous concertos "in scale, texture and structure, and employing a different method of treating thematic material". The second section of the book, a detailed, lucid, and stimulating exposition of all the first movements, discusses Mozart's compositional technique and his conception of the purpose of concerto composition.

This book is a history of the cadenza in the Classical keyboard concerto. Whitmore focuses attention on the changing relations between performer and composer and between performer and audience in the course of the Classical period. The greater part of the book consists of an attempt to situate the concertos and cadenzas produced during the period within the broad historical development outlined in the first few chapters, placing particular emphasis on the contributions of C.P.E. Bach, Mozart, and Beethoven.

This study investigates the interactive relationship between the piano and the orchestra in Mozart's concertos by exploring the historical implications and hermeneutic potential of dramatic dialogue.

Music moves through time; it is not static. In order to appreciate music wemust remember what sounds happened, and anticipate what sounds might comenext. This book takes you on a journey of music from past to present, from the Middle Ages to the Baroque Period to the 20th century and beyond!