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

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`An Entirely Special Manner': Mozart's Piano Concerto No. 14 in E-flat, K. 449 and the Stylistic Implications of Confrontation
On the Grand, Brilliant and Intimate: Mozart's Piano Concertos, K. 450-K. 503 (1784-86)
A Complementary Pair: Stylistic Experimentation in Mozart's Piano Concertos, No. 26 in D, K. 537 (the "Coronation") and No. 27 in Bb, K. 595
An Integrated `Dissonance': Mozart's `Haydn' Quartets and the Slow Introduction of K. 465
Mozart's `Prussian' Quartets, K. 575, 589 and 590: Towards a New Aesthetic of the String Quartet
The `Jupiter' Symphony in C, K. 551: The Dramatic Finale and its Stylistic Significance in Mozart's Orchestral Oeuvre
Mozart's Stylistic Re-Invention in Musical Context
Bibliography
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The stylistic evolution of Mozart's Viennese instrumental repertory as a whole [1781-1791], closely tied to historical and contextual lines of enquiry, has yet to receive systematic attention. This book fills the gap through a study of stylistic re-invention, a practically- and empirically-based theory that explains how innovative, putatively inspired ideas take shape in Mozart's works and lead to stylistic re-formulation. Re-invention comprises a two-stage process: Mozart manipulates pre-existent stylistic features of his music to climactic effect, in so doing introducing a demonstrably 'new' stylistic dimension with broad aesthetic resonance; he subsequently re-appraises his style in response to the dimension in question. From close examination of a variety of Mozart's works [piano concertos, string quartets and symphonies in particular], supported by study of Mozart's other chamber and dramatic works, the author shows that stylistic re-invention is a consistent and coherent manifestation of stylistic development. Ultimately re-invention puts centre stage the interaction of intellectual and imaginative elements of Mozart's musicalpersonality, accounting both for processes of reflection and re-appraisal and for striking conceptual leaps. SIMON P. KEEFE is James Rossiter Hoyle Chair of Music, University of Sheffield.

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Music and Letters

It is clear, however, that future studies of Mozart's stylistic development, from whatever angle they are undertaken, and evaluations of the significance of his mature instrumental works, will have to grapple with Keefe as he has grappled with his many predecessors

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