`An Entirely Special Manner': Mozart's Piano Concerto No. 14 in E-flat, K. 449 and the Stylistic Implications of Confrontation On the Grand, Brilliant and Intimate: Mozart's Piano Concertos, K. 450-K. 503 (1784-86) A Complementary Pair: Stylistic Experimentation in Mozart's Piano Concertos, No. 26 in D, K. 537 (the "Coronation") and No. 27 in Bb, K. 595 An Integrated `Dissonance': Mozart's `Haydn' Quartets and the Slow Introduction of K. 465 Mozart's `Prussian' Quartets, K. 575, 589 and 590: Towards a New Aesthetic of the String Quartet The `Jupiter' Symphony in C, K. 551: The Dramatic Finale and its Stylistic Significance in Mozart's Orchestral Oeuvre Mozart's Stylistic Re-Invention in Musical Context Bibliography Index
`An Entirely Special Manner': Mozart's Piano Concerto No. 14 in E-flat, K. 449 and the Stylistic Implications of Confrontation On the Grand, Brilliant and Intimate: Mozart's Piano Concertos, K. 450-K. 503 (1784-86) A Complementary Pair: Stylistic Experimentation in Mozart's Piano Concertos, No. 26 in D, K. 537 (the "Coronation") and No. 27 in Bb, K. 595 An Integrated `Dissonance': Mozart's `Haydn' Quartets and the Slow Introduction of K. 465 Mozart's `Prussian' Quartets, K. 575, 589 and 590: Towards a New Aesthetic of the String Quartet The `Jupiter' Symphony in C, K. 551: The Dramatic Finale and its Stylistic Significance in Mozart's Orchestral Oeuvre Mozart's Stylistic Re-Invention in Musical Context Bibliography Index
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