Roger Tapping, Juilliard String Quartet
"To hear to Mozart's chamber works on recordings, through mp3 players, or even in a concert hall is to experience them much differently than did listeners of the eighteenth century. As Klorman cogently explains, the primary intended audiences of these pieces were the performers themselves, for whom the notion of chamber music as a conversation was not merely a metaphor but an essential part of the artistic experience. Through penetrating historical and music analyses, Mozart's Music of Friends helps vivify this wonderful music in a manner that is refreshingly new - or, I should say, in a manner that is over 200 years old, but has too long been set aside and forgotten."
L. Poundie Burstein, Hunter College and the Graduate Center, City University of New York
"Klorman fundamentally rethinks the social and behavioral bases for our understanding of a core repertoire. He works carefully through the logical implications of his key term, 'multiple agency', using it to illuminate our understanding not just of texture, but also of elements such as metre, phrase syntax, and even musical form itself. Highly readable, entertaining, and thought-provoking."
W. Dean Sutcliffe, University of Auckland
'Effectively organized, beautifully written, and informed throughout by extraordinary musical intelligence and sensitivity, Mozart's Music of Friends is a major contribution to our understanding of Mozart's chamber music and of eighteenth-century music in general.' John Rice, Society for Eighteenth Century Music
'Edward Klorman's superb monograph ... is a remarkably original addition to the burgeoning music-theoretical literature on performance and analysis ... Klorman's authorial style ... expresses incisive analytical insights with a freewheeling and charming whimsy ... The book overall is best regarded as an artistic statement, and a highly compelling one at that.' Roger Graybill, Music Theory Online
'Edward Klorman has crafted a work that is a pleasure to experience; meticulously researched, eloquently written, and featuring elegant performances ... This is a book one will want not only to read, but to own.' Robert S. Hatten, Music Theory Spectrum
'The main text is exceptionally well written. It's a real pleasure to read ... [and is] well laid out with attractive illustrations ... It is a nice introduction to music theory and analysis for students, referring to a wide range of analytical concepts. That said, the author writes for a 'diverse readership' in addition to students of theory, including historical musicologist, performers and general enthusiasts. I am somewhat beguiled by its easy approachability.' Esther Cavett and Matthew Head, Eighteenth-Century Music
'Engaging, entertaining, and thought-provoking, this volume is informed by scholarly zeal as well as by a keen musical sensibility as Klorman traces the sociable intricacies of Mozart's chamber-music textures from the dual standpoint of late eighteenth-century custom and present-day theoretical insight. The book thus makes a significant contribution to the Mozart literature, its usefulness enhanced by a wealth of quotations from pertinent sources as well as by an attractive, well-stocked website (mozartsmusicoffriends.com), where analytical videos help bring the author's multiple-agency scenarios to life.' Floyd Grave, Newsletter of the Mozart Society of America
'The insights he brings to bear on Mozart's chamber repertory could only have been offered by someone with substantial background as a performer ... The analytical chapters of this book are a tour de force ... He is concerned to promote multiple readings and hearings of this music, which help us to celebrate this music's subversiveness, subtlety, and - let's face it - sheer fun.' Nancy November, Music and Letters
'His scholarship and insightful historical and musical analyses are impressive throughout ... Klorman undoubtedly succeeds in infusing analytical and music-historical scholarship with a performer's sensibility, integrating more closely these diverse forms of musical engagement.' Robin Stowell, The Strad