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Mozart's Symphonies: Context, Performance Practice, Reception, by Neal Zaslaw
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This book identifies and evaluates every symphony that has ever been associated with the name of Wolfgang Amadeus Mozart, nearly 100 in all. Zaslaw, who served as the musicological supervisor for the complete recordings of Mozart's symphonies by Jaap Schröder, Christopher Hogwood, and the Academy of Ancient Music, draws on haustive research and his own experience in presenting this comprehensive study. He places each symphony in its musical and cultural context, explores the role each played in Mozart's creative life, and reveals what is known about how Mozart's symphonies, and those of his contemporaries, were performed. In doing so, he has created an invaluable contribution to Mozart scholarship that will long stand as the definitive treatment of its subject.
- Sales Rank: #4065041 in Books
- Published on: 1990-02-08
- Original language: English
- Number of items: 1
- Dimensions: 10.00" h x 1.56" w x 7.75" l,
- Binding: Hardcover
- 660 pages
From Library Journal
This book begins as a detailed consideration of all facts and conjectures regarding 98 symphonies attributed to Mozart. Zaslaw studies the music in terms of its performance, and in the process of sorting out Mozart's works from those of several other composers, explains the variety of purposes for which symphonies were written and traces the gradual evolution of the symphonic form during the Classical period. Both Mozart and the symphony are shown in an interesting new light. Thoroughly researched, clearly written, and fascinating to read, this is a welcome addition to the growing number of high-quality studies of classical composers.
- Timothy J. McGee, Univ. of Toronto
Copyright 1990 Reed Business Information, Inc.
Review
"The most important study of any part of Mozart's output to have appeared for many years. Indeed, it blazes a trail. There have been books in plenty that discuss the music and the background of various groups of Mozart's works...but none, I think, until now that has applied the full rigour of modern musicological method, work by work, supported by a comprehensive grasp of the literature, both contemporary and secondary....There are, without exaggeration, hundreds of new, interesting and thought-provoking points in his discussion....Bound to be a cornerstone of Mozart scholarship for many decades and a starting-point for any future work."--Early Music
"Monumental....An admirable and exhaustive job on a subject that will serve scholars for years to come....Highly recommended."--Journal of Musicological Research
"This exhaustively researched work delivers a plethora of details about the symphonies and the composer's personal and professional life."--Symphony Magazine
"Until now there has been no really substantial book on Mozart's symphonies, but Zaslaw's work is so thorough and finely done that surely it will be the standard source on this important repertory for years to come. It is good to see such a significant gap in the Mozart research literature filled by a book that will no doubt become as indispensable in its own way as the Köchel thematic catalog or Emily Anderson's edition of the Mozart letters....A handsome volume, very reasonably priced for the riches it contains."--Choice
"Both Mozart and the symphonies are shown in an interesting new light. Thoroughly researched, clearly written, and fascinating to read, this is a welcome addition to the growing number of high-quality studies of classical composers."--Library Journal
About the Author
Neal Zaslaw is at Cornell University, Ithaca, New York.
Most helpful customer reviews
7 of 8 people found the following review helpful.
Essential; but certainly not "Exhaustive" (as C. Wolff would have it)
By Brian D. Tuttle
Neal Zaslaw is well known in the musicology field as a Mozart scholar who often concerns himself with wind instruments. Accordingly, this book is written with a certain level of musical knowledge required. If you are a casual music lover, this is perhaps not the best book for you.
The book looks at all known Mozart symphonies, including those which cannot be authenticated, in chronological order, discussing details of Mozart's life; the circumstances in which the symphony was written; the purpose the symphony was written; some musical choices to be made in performance; form and musical topic; and other items of interest.
The analysis is certainly enlightening and worthwhile, but hardly "exhaustive" as Christopher Wolff claims on the back cover. Perhaps his review tells more of the limits of Mr. Wolff's study of Mozart than it does of the book itself. Such a comment leads me to believe that Wolff has not painstakingly looked at the symphonies of Mozart in great detail. Although, if he is correct, perhaps all of us should just read this book and stop studying Mozart on our own?
Zaslaw frequently refers to the thoughts of other scholars such as de Saint-Foix and Einstein, and in doing so sometimes commits the same cardinal sin that de Saint Foix does - making an assertion with no supporting discussion nor clarity of definition. For example, on p. 237, Zaslaw wrote: "The Finale [of K132] is as French as Mozart's symphonic music ever becomes." Without knowledge of the French style, this is useless. With knowledge of the French style, it is up to the reader to go and convince her/himself what Zaslaw meant by this. Fortunately this type of unexplained assertion doesn't occur often, and there are fairly good discussions of Italian and Viennese styles in the book. Discussion of French national style is more dispersed throughout and less complete.
As in any scholarly book, there are the token archaic latin words and some others which require a dictionary handy, but overall, the vocabulary is not too heavy, and the book reads quickly. I was annoyed, however, when on p. 379 I was driven to my dictionaries to look up the word "punctilious," only to find that the word had been used incorrectly and it should have been "punctual." If you're going to force me to look words up, please use the words correctly! And where was the editor? Come on, I paid $65 for this! (I notice Amazon has raised the price to $95...hmmm...)
I am also sad that in Chapter 11, Zaslaw abandons the form and topical analysis he had done earlier. However, Chapter 13 is definitely a wonderful climax - a look at the meaning of the "Jupiter" symphony. Although everyone knows, and Zaslaw admits, we can never really know what a non-programmatic symphony means unless the composer tells us, this is certainly a fascinating look supported with facts.
All in all, a must have for those interested in Mozart or the Symphony genre in general. Much better than de Saint-Foix!
2 of 2 people found the following review helpful.
Scholarly and detailed
By Laura Prichard
This was worth the full price for the indexes alone. Zaslaw gives a detailed chart of every orchestra Mozart ever conducted, so you can see the exact ensembles he worked with. Lots of fact-packed chapters on many things in addition to the symphonies. Clear proof of which works are not really by Mozart, and why we thought they were.
1 of 2 people found the following review helpful.
Mozart and the Art of Changing a Gear Box
By Bernard Michael O'Hanlon
This is not a cheap acquisition by any means and I'm not sure it is worth the price.
Zaslaw is no mean academic and his scholarship cannot be impugned easily. Everything you wanted to know about the nuts and bolts of Mozart's symphonies is here in clear, precise language. His approach is systematic and thorough. The real tour de force here is Zaslaw's demolition of K 16a, the so-called Odense Symphony in A Minor. The incipit was known from an old Breitkopf and Hartel catalogue - and it was attributed to Mozart in the same publication. The symphony went missing for nearly two centuries, only to surface in the early 1980s. It was trumpeted as being from the hands of the (young) Master. With greater patience and acuity, Zaslaw compares its tonal structure with Mozart's three bona fide symphonies in a minor key - K 111, K 183 & K 550. The conclusion is inescapable: fine work as it is, it was not written by Wolfgang. Game over.
The main weakness of this book is simple: it's as dry as dust. It could almost be a car-manual. Sure, the Saint-Fox alternative from the 1930s has more orchids to its name than the Chelsea Flower Show but at least it attempts to fathom out the significance of these works. In contrast, HC Robbins Landon magisterially walks the line between facts and meaning in his Haydn at Eszterhaza, 1766-1790 (Haydn : Chronicle and Works); he need not fear the advent of new scholarship as he is operating in a different dynamic. Likewise, Einstein might be outdated on scholarly grounds but he continues to illuminate Mozart in a way that Zaslaw abjectly fails to do so (Mozart: His Character, His Work (Galaxy Books)). Maynard Solomon gleefully submits Mozart to the Freudian sausage-machine but again, one walks away with new insights - and he writes so well (Mozart: A Life).
One does not want egotism to intrude in works such as this; even so, all I can predicate of Zaslaw from this tome is that he probably has a beard and a snappy dresser he ain't. That's how depersonalised and dessicated this survey is.
So yes - tick, this is useful enough even if it will not leave you aglow and afire with love of Mozart.
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