PERFORMANCE AS SELF-DRAMATIZATION

Chapter:

CHAPTER 11 The Composer’s Voice

Source:

MUSIC IN THE SEVENTEENTH AND EIGHTEENTH CENTURIES

Author(s):

Richard Taruskin

When writing music out for others to perform, Mozart did occasionally provide cadenzas in advance to make the recipients look good, especially his sister Maria Anna (“Nannerl”), known in Salzburg as an excellent pianist in her own right, but not a composer. For the Concerto in G major, K. 453, composed for Barbara Ployer but also sent to Nannerl, he wrote out two different cadenzas for the first movement, and, rather unusually, for the second one as well—but that second movement is a rather unusual movement, as we shall see. The beginnings of the two first-movement cadenzas are set out for inspection in Ex. 11-3.

Citation (MLA):

Richard Taruskin. "Chapter 11 The Composer’s Voice." The Oxford History of Western Music. Oxford University Press. New York, USA. n.d. Web. 12 Oct. 2024. <https://www.oxfordwesternmusic.com/view/Volume2/actrade-9780195384826-div1-11006.xml>.

Citation (APA):

Taruskin, R. (n.d.). Chapter 11 The Composer’s Voice. In Oxford University Press, Music In The Seventeenth And Eighteenth Centuries. New York, USA. Retrieved 12 Oct. 2024, from https://www.oxfordwesternmusic.com/view/Volume2/actrade-9780195384826-div1-11006.xml

Citation (Chicago):

Richard Taruskin. "Chapter 11 The Composer’s Voice." In Music In The Seventeenth And Eighteenth Centuries, Oxford University Press. (New York, USA, n.d.). Retrieved 12 Oct. 2024, from https://www.oxfordwesternmusic.com/view/Volume2/actrade-9780195384826-div1-11006.xml