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This classic of music criticism provides detailed studies of 23 of Mozart's piano concertos. In addition to establishing the lines along which the genre developed, the concertos also shed light upon the technical and inspirational growth of their creator.
The first full-length survey devoted to these works, this scholarly book presents a full, concrete musical analysis that makes liberal use of musical examples — 417 in all — and presents authoritative information on the concertos' form, tone, style, and balance as well as the circumstances of their composition. The author compares and contrasts each piece with Mozart's other works and with compositions by Beethoven, Haydn, and other composers. A definite text for musicologists, performers, teachers, and students, this study's clarity and personable tone make it accessible to any lover of Mozart's music.
- Sales Rank: #838080 in eBooks
- Published on: 2012-11-12
- Released on: 2012-11-12
- Format: Kindle eBook
About the Author
British musicologist and literary scholar Cuthbert Girdlestone (1895–1975) was educated at Cambridge and the Sorbonne and taught French at King's College in Newcastle from 1926 to 1960.
Most helpful customer reviews
19 of 19 people found the following review helpful.
Classic descriptive musical guidebook
By klavierspiel
(...)
The wonderfully named Cuthbert Morton Girdlestone first published this guide in 1948. It has been frequently re-issued, also under the title Mozart's Piano Concertos, and gone through several editions, though all versions I have seen are basically identical.
At the time it first appeared Mozart's piano concertos were not as widely known and performed as they are today (no complete recordings of the entire canon were available, for example), so if Girdlestone appears to be making a special plea for their recognition, he had ample reason. With several volumes of trenchant analysis of the Viennese Classical composers and their output now available by such luminaries as Charles Rosen, Girdlestone's work may now seem old-fashioned to the point of raising smiles, an impression only reinforced by the handwritten musical examples (not very well coordinated with the text, incidentally). It is amusing to read the Concerto in B-flat major K. 450 described as "a well-bred gentleman," and such examples of what might be called musical anthropomorphism crop up frequently. Girdlestone was not a trained musical theorist and when he tries to talk of technical matters such as harmony or key centers he is fuzzy and at times downright wrong, no small matter with a master of tonal harmony and musical form. He also denigrates the musical worth of the early concertos in what seems an unnecessarily harsh manner, and his insistence that a benchmark of quality for a piano concerto be "collaboration" between the solo instrument and orchestra, by which he seems to mean dialogue and contrapuntal combination, is dogmatic as well. By his standards, for example, the so-called "Coronation" Concerto, K. 537, is an inferior work; but Rosen and others have pointed out how its compositional techniques anticipate those of Beethoven and subsequent early Romantic composers of piano concertos.
Nevertheless, Girdlestone's passion for Mozart's music, and his recognition that its charm and grace does not preclude deep and profound emotion, override his frequently flawed analysis, drawing the sympathetic reader in. It is hard not to agree with, or be moved by his statement that the piano concertos are a medium by which "we penetrate... into the inner sanctuary where the harassed and overworked man [Mozart] found afresh the radiant life which never ceased to spring up within him." In addition, his placing of the piano concertos within the context of Mozart's entire output is interesting and frequently provides valuable insight into the composer's general aesthetic. When my first copy of this book finally fell apart I searched for another copy to replace it, and found it here on Amazon. I recommend that all musicians and music lovers acquaint themselves with this pioneering, loving musical guide.
9 of 9 people found the following review helpful.
Simply indispensable, without qualifications
By David Adams
One would do well to read the good reviews of this book printed in other editions for the content. Let me just add my voice to the fact that this is the indispensable volume on Mozart's piano concertos. My copy should be worn out by now since I have studied it faithfully for over 50 years, but since it is a Dover edition it is still well intact! I spent an entire summer reading Girdlestone's descriptions of each piano concerto with scores in front of me before I played them. The amount of useful information in this book is simply astounding.
0 of 0 people found the following review helpful.
Still the finest book about Mozart's piano concertos
By Michael Birman
Cuthbert Girdlestone has achieved something that few author's can claim: he has written two (currently) definitive books, this one on Mozart's luminous piano concertos and an excellent biography of the great French composer/musical theoretician Jean-Philippe Rameau, even though both books are quite old and are theoretically out-of-date. Given the renaissance in early music performance that has occurred over the last half-century, many of the ideas that Girdlestone espouses in the book can legitimately be described as extremely dated. This most frequently manifests itself in the generally Romantic cast with which he views both Mozart the composer and his piano concertos, as well as a pronounced tendency to engage in poetic descriptions of Mozart's music that recall an earlier era in music commentary. This is hardly surprising when you consider that the French version of this book was originally published in 1939. That was a time in which few of the Mozart piano concertos were played or recorded, with only No.20 in D minor generally known. But it is a tribute to Girdlestone's love of these concertos and his deep insight into their beauty and artistic perfection when we note that he was the first major music commentator to analyze them in depth in a book exclusively devoted to them and to immediately classify them as comparable in importance to that of Beethoven's nine symphonies when contemplating the history of orchestral music, Girdlestone quite early on recognized the primal significance of Mozart's piano concertos in the history of the genre. His comments about them in the book are brilliantly prescient, especially because they were utterly unique and decades ahead of their time.
Mozart and His Piano Concertos sometimes reads as if it were engaged in some serious hand waving, trying mightily to convince you of the value of these concertos despite their "Rococo" origins, which was a general prejudice of the time. Thankfully, all of the Mozart concertos are now considered masterpieces to a greater or lesser degree. Even his earliest piano concertos have great beauty with No.9 in E-Flat Major now universally considered to be Mozart's Eroica, a quantum leap forward in the genre and evidence (as if any were needed) of his greatness as a composer. Girdlestone analyzes each concerto from No.5 onward with great sensitivity, although his likes and dislikes may often strike the reader as somewhat quaint at times. There are numerous musical examples contained within the book but it is geared to the general reader rather than the expert. Girdlestone considers Mozart's piano concertos to be a universal treasure for all to enjoy so he has written this superb book for everyone to read. These piano concertos are the essence, the very soul of Mozart's artistry. In them he has poured all of his emotions, all of his hopes, his incomparable sense of beauty, order and perfection. If you love the piano concertos as I do and want to learn much more about them, this is the finest book available, even after all these years. An indispensable introduction and guide to some of the greatest music ever composed.
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