Enter your mobile number below and we'll send you a link to download the free Kindle App. Then you can start reading Kindle books on your smartphone, tablet, or computer - no Kindle device required.
Getting the download link through email is temporarily not available. Please check back later.
To get the free app, enter your mobile phone number.
A Companion to Mozart's Piano Concertos 2nd Edition
Use the Amazon App to scan ISBNs and compare prices.
There is a newer edition of this item:
The Amazon Book Review
Author interviews, book reviews, editors picks, and more. Read it now
Customers Who Viewed This Item Also Viewed
Top Customer Reviews
I first read this book because I became confused about how concertos are meant to"work". They did not seem at all like symphonies, with the usual exposition, development and recapitulation, and it was very hard to see what really was going on. Hutchings, building on the earlier and equally famous work by esp. Tovey and Girdlestone, traces the development of the unique Mozartian conception from its naive beginnings to the supreme examples we think we are familiar with.
Several points emerge from this. The first, overwhelming impression is that Mozart's ability is, if anything, greatly underrated. We admire Mozart for his pretty tunes perhaps; but Hutchings shows that his real genius lies in his structural understanding of music. As structural masterpieces, his mature piano concertos have never been rivalled; not by Beethoven, nor by Brahms, nor by the twentieth century protests against romanticism. Perhaps you may think that analysis of music destroys its worth; but Hutchings demonstrates the opposite. Understanding the vast effort that must have gone into these works greatly increases one's sympathy with the composer and his works. And it gives rise to a little sadness: perhaps Mozart was a dead end, who in some ways never gave rise to any further developments (unlike, say, a Haydn-Beethoven-Romanticism route). In the piano concertos, the greatest aspects of his (largely) operatic are on full display; and, as Hutchings says, these include unique features such as his way of writing for the winds, that died when he died.Read more ›
Now, I am not a "music historian, amateur musicologist, discoverer of the mummy of Akhenaten, conqueror of K2, lover of the 18 year old Catherine Zeta Jones and an accomplished pianist who's read every book ever published on Mozart and his music" (please excuse me while I mute that Knob-o-meter). I am not currently performing K 456 to the acclaim of Mrs Palmer and her Five Daughters on Parnassus. I am just a slob in Melbourne who loves Mozart.
This is not a bucket-job on Mozart's piano concertos. Trust me. God forbid that Hutchings should distinguish between K 242 and K 488. God forbid that he should have his favourites among the Armada. God forbid that a distinguished scholar such as Cliff Eisen should lend his expertise to update this tome where required (Note: he should have sought the permission of Mister Parnassus).Read more ›
Which gets to the real root of the problem, Hutchings treats practically every single one of the concerto entries with disdain and hyper-criticism based not on any real comparative analysis to other works, but from his own pompous, bombastic and overly-opinionated views...heck, he even opens a criticism-rich chapter of one my favorite concertos (the early D major) with (and I quote him directly here) "I don't like this concerto".Read more ›