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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 realization. This e-book fills the distance via a examine of stylistic re-invention, a virtually- and empirically-based idea 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 procedure: Mozart manipulates pre-existent stylistic gains of his track to climactic impact, in so doing introducing a demonstrably 'new' stylistic measurement with extensive aesthetic resonance; he hence re-appraises his type according to the size in query. From shut exam of a number of Mozart's works [piano concertos, string quartets and symphonies in particular], supported through research of Mozart's different chamber and dramatic works, the writer indicates that stylistic re-invention is a constant and coherent manifestation of stylistic improvement. finally re-invention places centre degree the interplay of highbrow and resourceful components of Mozart's musical character, accounting either for approaches of mirrored image and re-appraisal and for outstanding conceptual leaps.

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Mozart's Viennese Instrumental Music: A Study of Stylistic Re-Invention

The stylistic evolution of Mozart's Viennese instrumental repertory as an entire [1781-1791], heavily tied to old and contextual strains of enquiry, has but to obtain systematic cognizance. This publication fills the space via a research of stylistic re-invention, a essentially- and empirically-based conception that explains how leading edge, putatively encouraged rules take form in Mozart's works and bring about stylistic re-formulation.

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449, see Keefe, Mozart’s Piano Concertos, pp. 64–8. 40 PIANO CONCERTOS the large woodwind contingent that becomes standard in Mozart’s piano concertos from K. 450 onwards, the orchestra in K. 449 instead asserts its independence as a single unit that stands its ground by confronting the piano. Excluding the surrounding piano concertos, K. 449 is perhaps most closely akin to the String Quartet in G major, K. 387 (completed on 31 December 1782) among Mozart’s contemporary instrumental works. Both constitute the initial works in sequences of Viennese masterpieces in their respective genres: K.

See Will, ‘When God Met the Sinner’, pp. 186–91. 38 PIANO CONCERTOS illustrate character confrontations through the kind of tonal shifts and modulatory sequences prevalent in the first half of the development section of K. 449. On several occasions in Entführung, for example, a character moves to the major or minor mode upon answering his or her interlocutor, another illustration of confrontation in dialogue according to Reicha,56 and one manifest in the piano’s shift to Bb minor (from the orchestra’s Bb major) in bar 190 of K.

449 is perhaps most closely akin to the String Quartet in G major, K. 387 (completed on 31 December 1782) among Mozart’s contemporary instrumental works. Both constitute the initial works in sequences of Viennese masterpieces in their respective genres: K. 387 was written after a nine-year lay-off from composing string quartets; and K. 449 completed after an unusual two-year hiatus in its composition. Both works also surpass the musical intensity and passion of Mozart’s earlier contributions to the string quartet and concerto repertories by considerable margins.

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