Mozarts Piano Concertos / Edition 1

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Overview

"Treating the concertos collectively as a repertoire, rather than as individual works, the first section of the book tackles broad thematic issues such as the role of the piano concerto in Mozart's quasi-freelance life in late eighteenth-century Vienna, the origin of his concertos in earlier traditions of concerto writing; eighteenth-century theoretical frameworks for the understanding of movement forms, subsequent historical shifts in the perception of the concerto's form, listening strategies and performance practices. This is followed by a 'documentary register' which proceeds through all 23 original works, drawing together information on the source materials. Accounts of the concertos' compositional genesis, early performance history and reception are also included here, drawing extensively on the Mozart family correspondence and other contemporary reports." Drawing together and synthesizing this wealth of material, Irving provides an invaluable reference source for those already familiar with this repertoire.
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Product Details

  • ISBN-13: 9780754607076
  • Publisher: Ashgate Publishing, Limited
  • Publication date: 2/6/2003
  • Edition number: 1
  • Pages: 274
  • Product dimensions: 6.50 (w) x 9.53 (h) x 0.98 (d)

Meet the Author

John Irving
John Irving's novels can sneak up on a reader -- you might begin by laughing at his eccentric characters but be in tears by the end of the book. With titles such as The World According to Garp and The Cider House Rules, he has achieved a singular popularity for a person who is also one of America's most unique contemporary authors.

Biography

It was as a struggling, withdrawn student at Phillips Exeter, the New Hampshire prep school where his stepfather taught Russian history, that John Irving discovered the two great loves of his life: writing and wrestling. Modestly, he attributes his success in both endeavors to dogged perseverance. "My life in wrestling was one-eighth talent and seven-eighths discipline," he confessed in his 1996 mini-memoir The Imaginary Girlfriend. "I believe that my life as a writer consists of one-eighth talent and seven-eighths discipline, too."

Certainly, patience and stamina have served Irving well -- in both wrestling (he competed until he was 34, coached well into his 40s, and was inducted into the National Wrestling Hall of Fame in 1992) and writing. His first book, Setting Free the Bears, was published in 1968 to respectable reviews but sold poorly. Over the course of the next ten years, he wrote two more unsuccessful novels (The Water-Method Man and The 158-Pound Marriage).

Then, in 1978, Irving hit the jackpot with The World According to Garp, a freewheeling comic saga incorporating motifs he would revisit many times over -- feminism, adultery, violence, grotesquerie, and an overriding sense of impending doom. Garp received a National Book Award nomination and became an instant cult classic. It also paved the way for a string of bestsellers, including The Hotel New Hampshire, The Cider House Rules, A Prayer for Owen Meaney, and The Fourth Hand, to name a few.

While none of his novels are strictly autobiographical, Irving has never denied that certain elements from his life have seeped into his books, most notably the pervading "presence" of his biological father, John Wallace Blunt, a man Irving never knew. Raised by his mother and a stepfather he loved dearly, Irving had denied for years any curiosity about his absent parent, but the figure of the missing father haunted his writing like a specter. In 2005, he laid the ghost to rest with the publication of Until I Find You, a searing story that took shape slowly and painfully over the better part of a decade. Writing the novel also allowed the author to wrestle with a closely guarded secret from his past -- just like the novel's protagonist Jack Burns, Irving was sexually abused as a preteen by an older woman. In an eerily timed coincidence, while he was crafting the novel, Irving was contacted by a man named Chris Blunt, who identified himself as the son of Irving's biological father. Twenty years younger than Irving, his half-brother told Irving that their father had died in 1995. Although Irving was devastated by the experience, he now feels as if he is able to turn the page and move on.

In addition to his novels, Irving has also written a collection of short stories and essays (1995's Trying to Save Piggy Sneed) and several screenplays, including his Oscar-winning adaptation of The Cider House Rules. He chronicled the experience of bringing his novel to the screen in the 1999 memoir My Movie Business.

Good To Know

  • Irving struggled in school with a learning disability that was probably undiagnosed dyslexia. Today, he considers it something of a blessing. Forced to read slowly, he savored each word and literally fell in love with language and literature.

  • In a 2001 interview with the now-defunct Book magazine, Irving confessed, "The characters in my novels, from the very first one, are always on some quixotic effort of attempting to control something that is uncontrollable -- some element of the world that is essentially random and out of control."

  • Although the results have been mixed at best, film versions have been made of several Irving novels, including The World According to Garp, The Hotel New Hampshire, and The Cider House Rules, which won for Irving a Best Adapted Screenplay Oscar. In addition, the movie Simon Birch was loosely based on A Prayer for Owen Meaney, and the first third of Irving's novel A Widow for One Year became the acclaimed film The Door in the Floor.

  • One of Irving's great literary influences was Kurt Vonnegut, his teacher and mentor at the Iowa Writers' Workshop. The two writers remained close friends until Vonnegut's death in 2007.

  • Irving has two tattoos: a maple leaf (in honor of his Canadian wife) on his left shoulder, and the starting circle of a wrestling match on his right forearm.

  • The influence of Charles Dickens is evident in Irving's novels, sprawling epics with huge casts of colorful, eccentric characters and lots of complex plot points that crop up, disappear for hundreds of pages, then resurface unexpectedly. He writes voluminously and in great detail; he refuses to use a computer; and he begins at the end, writing the last sentence of each novel first. He describes himself as a craftsman and claims that he owes his success more to rewrites, ruthless editing, and infinite patience than to artistic genius.

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      1. Also Known As:
        John Wallace Blunt, Jr.
      2. Hometown:
        Vermont
      1. Date of Birth:
        March 2, 1942
      2. Place of Birth:
        Exeter, New Hampshire
      1. Education:
        B.A., University of New Hampshire, 1965; also studied at University of Vienna; M.F.A., Iowa Writers' Workshop, 1967

    Table of Contents

    List of music examples
    List of tables
    List of figures
    Abbreviations and conventions
    Music notation
    Preface
    Pt. 1 Contexts: Form, Reception and Performance
    Heinrich Koch and the classical concerto 1
    Origins of Mozart's piano concertos 17
    Movement forms I: first movements 32
    Movement forms II: slow movements 60
    Movement forms III: finales 73
    The listener's perspective 93
    Performance considerations 128
    Pt. 2 Mozart's Piano Concertos: A Register
    Piano concerto in D major, K.175 173
    Piano concerto in B flat major, K.238 176
    Concerto for three (or two) pianos in F major, K.242 178
    Piano concerto in C major, K.246 181
    Piano concerto in E flat major, K.271 185
    Concerto for two pianos in E flat major, K.365 188
    Three concertos in A major, K.414, in F major, K.413 and in C major, K.415 191
    Piano concerto in E flat major, K.449 203
    Piano concerto in B flat major, K.450 207
    Piano concerto in D flat major, K.451 210
    Piano concerto in G major, K.453 213
    Piano concerto in B flat major, K.456 216
    Piano concerto in F major, K.459 219
    Piano concerto in D minor, K.466 222
    Piano concerto in C major, K.467 225
    Piano concerto in E flat major, K.482 228
    Piano concerto in A major, K.488 231
    Piano concerto in C minor, K.491 235
    Piano concerto in C major, K.503 240
    Piano concerto in D major, K.537 243
    Piano concerto in B flat major, K.595 249
    Bibliography 252
    Index 271
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