Unlock the wonder of Mozart’s piano concertos through a clear, musical lens. This edition explains how Mozart aimed for clarity and transparency on the piano, using the instrument to reveal its character in harmony with the orchestra rather than to imitate it.
Mozart’s concertos emerge as guided explorations of form, expression, and texture. The analysis highlights how ambition and accessibility meet in thoughtful design, where musical substance drives memorable, lift‑off moments rather than sheer virtuosity.
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Mannheim on March 14, and arrived in Paris on the 23rd, after a journey of nine days and a-half. We thought we should never get through it, writes Wolfgang (M arch 24, 1778), and I never in my life was so tired. You can imagine what it was to leave Mannheim and all our dear, good friends there, and to be obliged to exist for ten days without a single soul even to speak to. God be praised, however, we are now at our journeys end. I am in hopes that, with His help, all will go well. To-day we mean to take a fiacre and go to call on Grimm and Wendling. Early to-morrow I shall go to theE lectoral Minister Herr vonS ickingen, who is a great connoisseur and lover of music, and to whom I have letters of introduction from Herr von Gemmingen and Herr Cannabich. L. Mozart was full of hope concerning this visit toP aris, and believed that Wolfgang could not fail to gain fame and, as a consequence, money in the French capital. He remembered the brilliant reception which had been given to him and his children fourteen years before, and he was convinced that a like support would be accorded to the youth who had fulfilled his early promise to a degree that to an intelligent observer must appear even more wonderful than his precocious performances as a child. He counted upon the support and assistance of many distinguished and influential persons, whose favour they had already experienced, and more especially on the tried friendship of Grimm, who had formerly given them the benefit of all his knowledge and power, and with whom they had continued in connection ever since. Grimm had lately passed through Salzburg with two 1E d. Fournier, Mozart Paris (R evue Fran?., 1856, II., t. 7, p. 28).
(Typographical errors above are due to OCR software and don't occur in the book.)
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Vendeur : Forgotten Books, London, Royaume-Uni
Paperback. Etat : New. Print on Demand. This book traces the evolution of French opera in the 18th century, focusing on the rivalry between Italian opera and the newly reformed French opera. The author explores the influence of prominent figures such as Gluck, Rameau, and Lully, highlighting their contributions to the development of the genre. Through a comprehensive analysis of musical forms and theatrical practices, the book delves into the aesthetic debates surrounding the two schools of opera, shedding light on their impact on the musical landscape of the time. The author's examination of contemporary criticisms and cultural influences provides a nuanced understanding of the artistic and social forces that shaped this pivotal period in the history of opera. Ultimately, this book offers valuable insights into the evolution of French musical theater and its relevance to broader cultural trends of the 18th century. This book is a reproduction of an important historical work, digitally reconstructed using state-of-the-art technology to preserve the original format. In rare cases, an imperfection in the original, such as a blemish or missing page, may be replicated in the book. print-on-demand item. N° de réf. du vendeur 9781330322062_0
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Vendeur : PBShop.store US, Wood Dale, IL, Etats-Unis
PAP. Etat : New. New Book. Shipped from UK. Established seller since 2000. N° de réf. du vendeur LW-9781330322062
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Vendeur : PBShop.store UK, Fairford, GLOS, Royaume-Uni
PAP. Etat : New. New Book. Shipped from UK. Established seller since 2000. N° de réf. du vendeur LW-9781330322062
Quantité disponible : 15 disponible(s)