Originally published in German as Interpreting Mozart on the Keyboard in 1957, this definitive work on the performance of Mozart's works has greatly influenced students and scholars of keyboard literature and of Mozart. Now, in a completely updated and revised edition, this book includes the last half century of scholarship on Mozart's music, addressing the elements of performance and problems that may occur in performing Mozart's works on modern instruments.

"Robert Hatten's new book is a worthy successor to his Musical Meaning in Beethoven, which established him as a front-rank scholar . . . in questions of musical meaning. . . . [B]oth how he approaches musical works and what he says about them are timely and to the point. Musical scholars in both musicology and theory will find much of value here, and will find their notions of musical meaning challenged and expanded." —Patrick McCreless This book continues to develop the semiotic theory of musical meaning presented in Robert S. Hatten's first book, Musical Meaning in Beethoven (IUP, 1994). In addition to expanding theories of markedness, topics, and tropes, Hatten offers a fresh contribution to the understanding of musical gestures, as grounded in biological, psychological, cultural, and music-stylistic competencies. By focusing on gestures, topics, tropes, and their interaction in the music of Mozart, Beethoven, and Schubert, Hatten demonstrates the power and elegance of synthetic structures and emergent meanings within a changing Viennese Classical style. Musical Meaning and Interpretation—Robert S. Hatten, editor

A celebration and exploration of a monumental achievement

Mozart's piano sonatas are among the most familiar of his works and stand alongside those of Haydn and Beethoven as staples of the pianist's repertoire. In this study, John Irving looks at a wide selection of contextual situations for Mozart's sonatas, focusing on the variety of ways in which they assume identities and achieve meanings. In particular, the book seeks to establish the provisionality of the sonatas' notated texts, suggesting that the texts are not so much identifiers as possibilities and that their identity resides in the usage. Close attention is paid to reception matters, analytical approaches, organology, the role of autograph manuscripts, early editions and editors, and aspects of historical performance practice - all of which go beyond the texts in opening windows onto Mozart's sonatas. Treating the sonatas collectively as a repertoire, rather than as individual works, the book surveys broad thematic issues such as the role of historical writing about music in defining a generic space for Mozart's sonatas, their construction within pedagogical traditions, the significance of sound as opposed to sight in these works (and in particular their sound on fortepianos of the later eighteenth-century) , and the creative role of the performer in their representation beyond the frame of the text. Drawing together and synthesizing this wealth of material, Irving provides an invaluable reference source for those already familiar with this repertoire.

Essays by leading Mozart scholars explore the composer's popular works, biography and reception, appealing to scholars and Mozart-lovers alike.

Internationally renowned scholars and performers present a wide range of new analytical, historical and critical perspectives on some of Mozart's most popular chamber music: his sonatas with violin, keyboard trios and quartets and the quintet with wind instruments. The chapters trace a broad chronology, from the childhood works, to the Mannheim and Paris sonatas with keyboard and violin, and the mature compositions from his Vienna years. Drawing upon the most recent research, this study serves the reader, be they a performer, listener or scholar, with a collection of writings that demonstrate the composer's innovative developments to generic archetypes and which explore and assess Mozart's creative response to the opportunities afforded by new and diverse instrumental combinations. Manners of performance of this music far removed from our own are revealed, with concluding chapters considering historically informed practice and the challenges for modern performers and audiences.