Review: Mozart's Piano Concertos: Text, Context, Interpretation by Neal Zaslaw

1998 ◽  
Vol 51 (2) ◽  
pp. 373-384
Author(s):  
Charles Rosen
Keyword(s):  
Text Context ◽  
Piano Concertos

Mozart's Piano Concertos: Text, Context, Interpretation

Notes ◽  
1999 ◽  
Vol 55 (4) ◽  
pp. 879
Author(s):  
Mario R. Mercado ◽  
Neal Zaslaw
Keyword(s):  
Text Context ◽  
Piano Concertos

The Problematic Text of Athenagoras of Athens’s Leg. 12.3: A Proposed Emendation

2016 ◽  
Vol 70 (3) ◽  
pp. 319-334
Author(s):  
Devin L. White
Keyword(s):  
Religious Epistemology ◽  
History Of Interpretation ◽  
History Of ◽  
Three Stages ◽  
The Creation ◽  
Argument Proceeds ◽  
Text Context

This study argues that Athenagoras of Athens’s Leg. 12.3 contains a lacuna. A vital clause should be emended to read ὑπὸ µόνου δὲ παραπεµπόµενοι τοῦ τὸν ὄντως θεὸν καὶ τὸν παρ’αὐτοῦ λόγον [πνεύµατος] εἰδέναι. The argument proceeds in three stages. First, an overview of the text, context, and history of interpretation of Leg. 12.3 will demonstrate that the text contains a lacuna. Second, a brief survey of Athenagoras’s religious epistemology will argue that πνεύµατος was the most likely original word. Finally, an analysis of the Spirit’s role in Leg. 7.2-3 will demonstrate that the reconstructed text of Leg. 12.3 is consistent with Athenagoras’s pneumatology, which relied upon traditional Jewish exegesis of the creation narratives.

A Complementary Pair: Stylistic Experimentation in Mozart's Final Piano Concertos, K. 537 in D and K. 595 in B-flat

2001 ◽  
Vol 18 (4) ◽  
pp. 658-684
Author(s):  
Simon P. Keefe
Keyword(s):  
World View ◽  
Complementary Pair ◽  
Complementary Nature ◽  
Fundamental Shift ◽  
Piano Concertos

Given the chronological separation of Mozart's final piano concertos, K. 537 and K. 595, from his extraordinary sequence of 15 piano concertos of 1782-86 (K. 413-503), it is no surprise that critics have continually stressed stylistic and affective departures from the composer's norm. But the stylistic significance of these final concertos remains fundamentally misunderstood. In spite of sharply contrasting characteristics——ostentatious virtuosity in K. 537 and carefully measured writing in K. 595——these works are, in fact, kindred spirits. In both concertos Mozart experiments with the introduction of abrupt juxtapositions of harmonically contrasting material while avoiding the outright opposition of piano and orchestral forces evident in his earlier Viennese first movements; with piano figuration, omitting it when expected or reconstituting it at important formal junctures; and with unexpected thematic and harmonic disjunctions. While Mozart's harmonic experimentation in K. 537 and 595 can be partially explained in general stylistic terms, given similarities to passages in the last three symphonies, and considered representative of the "bizarre tonal sequences" and "striking modulations" often remarked upon by Mozart's contemporaries, it cannot be attributed to a fundamental shift in the composer's "world view." Rather, the complementary nature of radicalism and innovation in the two first movements in particular——K. 537 in the orchestral and solo expositions and recapitulation and K. 595 in the development——reveals these final concertos as thoroughly pragmatic and systematic essays in stylistic reinvention.

Piano Concertos

1971 ◽  
Vol 112 (1535) ◽  
pp. 38
Author(s):  
Frank Dawes ◽  
Brahms ◽  
Arrau ◽  
Concertgebouw Orch ◽  
Haitink
Keyword(s):  
Piano Concertos
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