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Books on the topic 'Mozart K'

Author: Grafiati

Published: 4 June 2021

Last updated: 15 February 2022

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1

Simone, Roberto De. Novelle K 666: Fra Mozart e Napoli. Torino: Einaudi, 2007.

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2

Grayson, David A. Mozart, Piano concertos no. 20 in D minor, K. 466, and no. 21 in C major, K. 467. Cambridge, United Kingdom: Cambridge University Press, 1998.

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3

Mozart, the "Jupiter" symphony, no. 41 in C major, K. 551. Cambridge [England]: Cambridge University Press, 1993.

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4

Sisman, Elaine R. Mozart: The "Jupiter" symphony : no.41 in C major,K.551. Cambridge: Cambridge University Press, 1993.

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5

Foil, David. Mozart : the piano concerti: No. 20 in D minor, K. 466 ; No. 21 in C, K. 467. New York: Black Dog & Leventhal Publishers, 1995.

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6

Küng, Hans. Mozart: Traces of transcendence. Grand Rapids, Mich: W.B. Eerdmans Pub. Co., 1993.

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7

Pagannone, Giorgio. W. A. Mozart: Concerto per pianoforte e orchestra K 491 in Do minore. Roma: Carocci, 2006.

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8

Konrad, Thomas Edmund. K for Köchel: The life and work of Ludwig Ritter von Köchel, cataloguer of Mozart. Lanham, MD: Scarecrow Press, 2001.

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9

Horin, Benny. Stylistic contrast between Beethoven and Mozart: Based upon the Beethoven Quartet no. 11 in F minor, op. 95, and the Mozart Quartet in C major, K. 465. Silver Spring, Md: Shazco, 1990.

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10

Praze, Národní galerie v. Mozart a Praha: Výstavka k dvoustému výročí skladatelovy smrti : Národní galerie v Praze, Palác Kinských, září-říjen 1991. Praha: Národní galerie v Praze, 1991.

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11

Novák, Zdeněk. Swing-time, aneb, Od Mozarta k Armstrongovi. Praha: Melantrich, 1995.

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12

Boniwell, Ilona. Kli͡uchi k blagopoluchii͡u: Chto mozhet pozitivnai͡a psikhologii͡a. Moskva: Vremi͡a, 2009.

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13

Cavett-Dunsby, Esther. Mozart's variations reconsidered: Four case studies (K.613, K.501, and the finales of K.421 (417b), and K.491). New York: Garland Pub., 1989.

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14

Nazarov, Mikhail. Dialog RPT︠S︡Z i MP: "Soedinenie mozhet bytʹ tolʹko v Istine" : k Vsezarubezhnomu Soboru RPT︠S︡Z, k Pomestnomu Soboru RPT︠S︡ MP. Moskva: Russkai︠a︡ idei︠a︡, 2004.

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15

Stockfelt, Ola. Musik som lyssnandets konst: En analys av W.A. Mozarts symfoni no 40, g moll K.550. [Göteborg: Musikvetenskapliga institutionen, Göteborg], 1988.

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16

Rykhtik, Mikhail I. SSHA v poiskakh bolee sovershennogo soi︠u︡za: Kak zhivut amerikantsy seĭchas, k chemy oni gotovi︠a︡tsi︠a︡, i chto iz ėtogo mozhet polychitʹsi︠a︡ : istoricheskie ocherki. Nizhniĭ Novgorod: Nizhegorodskiĭ gos. universitet, 2002.

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17

Mozart Piano Pieces(K 03699). Alfred Publishing Company, 1985.

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18

Palmer, Willard A. Mozart - Sonata in C Major, K.545. Alfred Publishing Company, Incorporated, 1985.

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19

Amadeus, Mozart Wolfgang. Mozart Fantasy & Fuge (K.394) (Kalmus Edition). Alfred Publishing Company, 1985.

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20

Amadeus, Mozart Wolfgang. Mozart Piano Concerto #26 (K.537) (Kalmus Edition). Alfred Publishing Company, 1985.

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21

Mozart Piano Concerto #9 (K.271) (Kalmus Edition). Alfred Publishing Company, 1985.

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22

Amadeus, Mozart Wolfgang. Mozart Piano Concerto #5 (K.450) (Kalmus Edition). Alfred Publishing Company, 1985.

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23

Mozart Piano Concerto #23 (K.488) (Kalmus Edition). Alfred Publishing Company, 1985.

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24

Pickow, Peter. Mozart: Sonata K. 545 (The Concert Performer Series). Amsco Publications, 1999.

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25

Amadeus, Mozart Wolfgang. Mozart Piano Concerto #20 (K.466) (Kalmus Edition). Alfred Publishing Company, 1985.

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26

Amadeus, Mozart Wolfgang. Mozart Piano Concerto #10 (K.365) (Kalmus Edition). Alfred Publishing Company, 1985.

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27

Mozart Piano Concerto #24 (K.491) (Kalmus Edition). Alfred Publishing Company, 1985.

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28

(Composer), Wolfgang Amadeus Mozart, and Enrique Graf (Editor), eds. Wolfgang Amadeus Mozart - Sonata in C Major, K. 545. G. Schirmer, Inc., 2008.

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29

Mozart: Alla Turca From Sonata K.331 (Concert Performer). Amsco Publications, 1999.

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30

Amadeus, Mozart Wolfgang. Three Quartets, K. 285, 298, 370: Kalmus Edition. Alfred Publishing Company, 1985.

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31

Kinderman, William. Mozart’s Second Thoughts. University of Illinois Press, 2017. http://dx.doi.org/10.5406/illinois/9780252037160.003.0001.

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This chapter argues that Mozart's music, rather than emerging fully formed from the mind of a genius, is rather the product of much labor throughout the compositional process. In particular, the chapter concerns two instances in which Mozart returned to a work in progress to make substantial revisions. The Sonata in D Major, K. 284, is the last of the set of six sonatas completed by early 1775 at Munich. The reworking of its first movement offers insights into Mozart's evolving stylistic language at a pivotal point in his career. This chapter's second example dates from more than a decade later, in 1786, when Mozart reshaped the piano entrance in the first movement of one of his most imposing works for piano, the Concerto in C Major, K. 503.

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32

Amadeus, Mozart Wolfgang. Mozart Piano Concerto #21 (K.467)(2P4H) (A Kalmus Classic Edition). Alfred Publishing Company, 1985.

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33

Mozart: Clarinet Concerto in A, K.622 and Flute and Harp Concerto in C, K.299. London: Marshall Cavendish Ltd, 1991.

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34

Küng, Hans. Mozart: Traces of transcendence. SCM Press, 1992.

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35

Küng, Hans. Mozart: Traces of Transcendence. Wm. B. Eerdmans Publishing Company, 1993.

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36

Music Minus One Bassoon: Mozart Piano Quintet in Eb Major, K.452. Music Minus One, 1999.

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37

K for Kochel: The Life and Work of Ludwig Ritter von Kochel, Cataloguer of Mozart. The Scarecrow Press, Inc., 2002.

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38

Amadeus, Wolfgang. Mozart (1756-179: Five Divertimenti, K. 229 for Two Clarinets and Bassoon (Kalmus 2000 Series). Alfred Publishing Company, 1999.

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39

Guymer, Sheila. Eloquent Performance. Edited by Danuta Mirka. Oxford University Press, 2014. http://dx.doi.org/10.1093/oxfordhb/9780199841578.013.0023.

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This chapter explores how skilled performers use topical analysis in their interpretative decision-making, presenting material from lesson-interviews conducted with fortepianists Robert Levin and Bart van Oort. Drawing on treatises by Türk, Quantz, Kirnberger, Koch, and Leopold Mozart, it examines some historical foundations of Leonard Ratner’s topics, their connections with eighteenth-century concepts of musical character and expression, and topics’ limitations as tools in the process of analysis and interpretation. The chapter takes the Allegro movements of Mozart’s Sonata K. 333 as two case studies. It concludes that awareness of topical references in this repertoire aids performers in systematically identifying and executing contrasts, enabling more expressive and communicative performance. It suggests that a sensitive understanding of historically informed performance practices benefits topic theorists, as analyses may be undermined by anachronistic assumptions about how the music sounds in performance.

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40

Mozart: Concerto No. 21 in C Major, Two Piano Score (Schirmer's Library Of Musical Classics, Vol. 662) (K.467: Piano Duet). G. Schirmer, Inc., 1986.

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41

Hatten, Robert. The Troping of Topics in Mozart’s Instrumental Works. Edited by Danuta Mirka. Oxford University Press, 2014. http://dx.doi.org/10.1093/oxfordhb/9780199841578.013.0020.

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An eighteenth-century musical topic is a familiar figure, texture, genre, or style that is imported into a new context, where it may interact with other topics and the prevailing discourse of a movement in ways that may spark creative meanings. These interactions are analogous to the processes that produce tropes in literary language. A merger of expressive meanings may produce an effect akin to metaphor, whereas resistance to merger may signal some form of irony. Degrees of compatibility, dominance, creativity, and productivity among topics and tropes are explored in Mozart’s instrumental works, with extended examples drawn from the first movements of Mozart’s Piano Sonatas in F major, K. 332, and D major, K. 576, and the second and fourth movements of his String Quartet in D minor, K. 421.

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42

Ot mozaik Penrouza k nadezhnym shifram. Mir, 1993.

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43

Beghin, Tom. Recognizing Musical Topics Versus Executing Rhetorical Figures. Edited by Danuta Mirka. Oxford University Press, 2014. http://dx.doi.org/10.1093/oxfordhb/9780199841578.013.0022.

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Along with the emergence of topic theory, musicological discourse has witnessed a spectacular revival of rhetorical terminology. How can musical topics be defined vis-à-vis rhetorical figures? Any answer is fraught with paradox. Unlike Scheibe’s or Mattheson’sloci topici(which remained conceptually clearly anchored ininventio), Ratnerian topics span the range ofresandverba(ideas and words) orinventioandelocutio: like figures, topics are to be recognized as striking foreground events and definitions of them have been style-specific. This chapter discusses three existing examples of figure- versus topic-oriented analysis of solo keyboard sonatas, exploring the compatibility of topic and figure while enlarging the picture to include performance,voluntas(or intent of the speaker), and choice of instrument. The three analyses are Friedrich August Kanne’s (1821) of Mozart’s K. 309/i, Wye Allanbrook’s (1992) of Mozart’s K. 332/i, and Leonard Ratner’s (1980) of Haydn’s Hob. XVI:52/i.

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44

Cavett-Dunsby, Esther. Mozart's Variations Reconsidered: Four Case Studies (K 613 K 501 and the Finales of K 421). Taylor & Francis, 1990.

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45

1941-, Weidow Judy, and Music OCLC Users Group, eds. The Music OCLC Users Group presents the best of MOUG: A list of Library of Congress name authority records for music titles of the 10 most prolific composers including RV and F. indexes for Vivaldi, BWV index for Bach, K. index for Mozart, and English cross references for 12 Slavic composers. 5th ed. [Madison?]: Music OCLC Users Group, 1994.

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46

Rumph, Stephen. Topical Figurae. Edited by Danuta Mirka. Oxford University Press, 2014. http://dx.doi.org/10.1093/oxfordhb/9780199841578.013.019.

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Musical topics have invited comparison with language ever since Leonard Ratner adopted the rhetorical termtopos. Yet topic theory has not addressed the “double articulation” of language: while words function as meaningful signs, they are articulated by meaningless elements, what Louis Hjelmslev referred to collectively as “figurae.” This chapter develops an analogous theory of topical figurae, structural features that articulate multiple topics but do not themselves signify topically, adapting concepts from phonology (deletion, markedness, assimilation, neutralization). The musical analyses explore both the semantic and syntactic implications of topical figurae, focusing on Beethoven’s “Eroica” Symphony and Mozart’s Piano Sonata in F major, K. 332. Embedded equally in the musical structure and the topical code, figurae bridge the gap between formal analysis and cultural hermeneutics and can lead to a more holistic understanding of topical meaning.

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47

Agawu, Kofi. Topics and Form in Mozart’s String Quintet in e Flat Major, k. 614/i. Edited by Danuta Mirka. Oxford University Press, 2014. http://dx.doi.org/10.1093/oxfordhb/9780199841578.013.0018.

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This chapter explores the nature of the relationship between topics (understood, following Leonard Ratner, as “subject[s] to be incorporated into a musical discourse”) and form. An introductory section notes the sometimes precarious disposition of topics and acknowledges the heterogeneous nature of the topical universe. This is followed by a description of the role of topics in each of the fifteen periods that make up this sonata-form movement. In addition to confirming that topics typically give profile to tonal-harmonic and phrase-structural processes, the analysis notes the relationship between topics and theme, the stylistic implications of topical usage, and the temporal character of topics.

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48

Mirka, Danuta. Topics and Meter. Edited by Danuta Mirka. Oxford University Press, 2014. http://dx.doi.org/10.1093/oxfordhb/9780199841578.013.0014.

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The connection between topics and meter was supported by Wye Allanbrook (1983) with references to eighteenth-century authors representing an old tradition of metric notation in which meter was closely related to tempo, affect, and genre. In the late eighteenth century this tradition was continued by Johann Philipp Kirnberger, who posited a standard tempo for each meter: the so-calledtempo giusto. But the tradition oftempo giustowas dissolved by another tradition of metric notation in which time signatures had no tempo significance and no affective implications. While the new tradition enabled eighteenth-century composers to include several topics in one piece, it complicates the task of the analyst by making identification of topics contingent on identification of the composed meter and, in some cases, on analysis of phrase structure. This chapter demonstrates the problem of topical identification in relation to the main theme of Mozart’s Symphony in G minor, K. 550/i.

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49

Two Great Clarinet Quintets Mozarts Quintet In A Major K 581 Brahmss Quintet In B Minor Opus 115. Dover Publications, 2010.

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50

Emelʹi︠a︡nova, M. V., kandidat pedagogichesikh nauk., ed. Sovremennye podkhody k podgotovke uchiteli︠a︡ v vyssheĭ shkole: Materialy Mezhdunarodnoĭ nauchno-prakticheskoĭ konferent︠s︡ii, 6-7 apreli︠a︡ 2006 goda, g. Mozyrʹ. Mozyrʹ: Minskii gos. ekologicheskii universitet im. A. D. Sakharova, 2006.

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