Professor Simon Keefe - Publications

Major Academic Publications

Books

(Sole editor) Mozart Studies 2. Cambridge: Cambridge University Press, 2015. xi + 258pp.

(Sole editor) Mozart. Aldershot: Ashgate Publishing, 2015. xx + 565pp.

Mozart’s Requiem: Reception, Work, Completion. Cambridge: Cambridge University Press, 2012. xiii + 263pp.

(Sole Editor) The Cambridge History of Eighteenth-Century Music. Cambridge: Cambridge University Press, 2009 (paperback 2014). xviii + 826pp.

Mozart´s Viennese Instrumental Music: a Study of Stylistic Re-Invention. Woodbridge and Rochester, NY: Boydell & Brewer, 2007. xii + 217pp.

(Sole Editor) Mozart Studies. Cambridge: Cambridge University Press, 2006. xi + 252pp.

(Joint editor with Cliff Eisen) The Cambridge Mozart Encyclopedia. Cambridge: Cambridge University Press, 2006. xii + 662pp.

(Sole Editor) The Cambridge Companion to the Concerto. Cambridge: Cambridge University Press, 2005. xxv + 312pp. (Sole Editor)

The Cambridge Companion to Mozart. Cambridge: Cambridge University Press, 2003. xviii + 294pp.

Mozart's Piano Concertos: Dramatic Dialogue in the Age of Enlightenment. Woodbridge and Rochester, New York: The Boydell Press, 2001, x + 205pp.

Edition

Ignaz Pleyel, String Quartets, Op. 1, nos. 1-6. The Early String Quartet, Volume 4. Ann Arbor, Michigan: Steglein Publishing, 2005. xx + 140pp.

Book Chapters

‘Mozart the Child Performer-Composer: New Musical-Biographical Perspectives on the Early Years to 1766’, in Musical Prodigies: Interpretations from Psychology, Music Education, Musicology and Ethnomusicology, ed. Gary McPherson (Oxford and New York: Oxford University Press, 2015), in press.

‘“Die treffliche gewählte Instrumente”: Orchestrating Don Giovanni’s Defeat’ in Mozart in Prague, ed. Kathryn Libin (Prague: Czech Academy of Sciences, forthcoming 2015), in press.

‘Mozart “Stuck in Music” in Paris (1778): Towards a New Biographical Paradigm’, in Mozart Studies 2, ed. Keefe (Cambridge: Cambridge University Press, 2015), pp. 23-54.

‘Composing, Performing and Publishing: Mozart’s “Haydn” Quartets’, in Mozart Studies 2, ed. Keefe (Cambridge: Cambridge University Press, 2015), pp. 140-67.

‘Introduction’, in Mozart, ed. Keefe (Aldershot: Ashgate Publishing, 2015), pp. xi-xx.

`Harmonies and Effects: Haydn and Mozart in Parallel´, in The Cambridge Companion to the Symphony, ed. Julian Horton (Cambridge: Cambridge University Press, 2013), pp. 155-73.

‘Mozarts Requiem in der Aufführungsgeschichte: Rezeption, Kritik, Einspielungen’ (trans. Marc Ernesti), Mozart Studien 21, ed. Manfred Hermann Schmid (Tutzing: Hans Schneider, 2012), pp. 69-94.

‘On Instrumental Sounds, Roles, Genres and Performances: Mozart’s Piano Quartets K. 478 and K. 493’, in Mozart’s Chamber Music with Keyboard, ed. Martin Harlow (Cambridge: Cambridge University Press, 2012), pp. 154-81.

`Across the Divide: Currents of Musical Thought, 1790-1810´, in Cambridge History of Eighteenth-Century Music, ed. Keefe (Cambridge: Cambridge University Press, 2009), pp. 663-87.

(Translation, with Anke Caton) Claudia Maurer Zenck, ‘German Opera from Keiser to Winter’, in The Cambridge History of Eighteenth-Century Music, ed. Keefe (Cambridge: Cambridge University Press, 2009), pp. 331-84.

`"Greatest Effects with the Least Effort": Strategies of Wind Writing in Mozart´s Viennese Piano Concertos´, in Mozart Studies, ed. Keefe (Cambridge: Cambridge University Press, 2006), pp. 25-46.

`Aesthetic and Stylistic Balance and the Role of the Orchestra in Viotti´s Violin Concertos´, in Giovanni Battista Viotti: A Composer Between Two Revolutions, ed. Massimiliano Sala (Bologna: Ut Orpheus Edizioni, 2006), pp. 297-315.

`Mozart´s Late Piano Sonatas (K. 457, 533, 545, 570, 576): Aesthetic and Stylistic Parallels with his Piano Concertos´, in Words About Mozart: Essays in Honour of Stanley Sadie, ed. Dorothea Link and Judith Nagley (Woodbridge and Rochester, NY: Boydell & Brewer, 2005), pp. 59-75.

`Theories of the Concerto from the Eighteenth Century to the Present Day´ in The Cambridge Companion to the Concerto, ed. Keefe (Cambridge: Cambridge University Press, 2005), pp. 7-18.

`The Concerto from Mozart to Beethoven: Aesthetic and Stylistic Perspectives´, in The Cambridge Companion to the Concerto, ed. Keefe (Cambridge: Cambridge University Press, 2005), pp. 70-92.

`The Concerto: a Chronology´, `Introduction´ and `Selected Further Reading´ in The Cambridge Companion to the Concerto, ed. Keefe (Cambridge: Cambridge University Press, 2005), pp. xii-xxiv, 1-3, 288-96.

`Mozart´s Concertos in Aesthetic and Stylistic Context´ in The Cambridge Companion to Mozart, ed. Keefe (Cambridge: Cambridge University Press, 2003), pp. 78-91.

`Mozart´s Orchestral Music´ in The Cambridge Companion to Mozart, ed. Keefe (Cambridge: Cambridge University Press, 2003), pp. 92-104.

`Chronology of Mozart´s Life and Works´, `Introduction´, `Selected Further Reading´ in The Cambridge Companion to Mozart, ed. Keefe (Cambridge: Cambridge University Press, 2003), pp. xii-xvii, 1-3, 270-81.

Articles

‘Mozart’s Requiem in Early 19th-Century Fiction, Poetry and Drama’, Mozart-Jahrbuch 2011, pp. 119-40.

`"We hardly knew what to pay attention to first": Mozart the Performer-Composer at Work on the Viennese Piano Concertos´, Journal of the Royal Musical Association, 134/2 (2009), pp. 185-242.

`Beyond Fact and Fiction, Scholarly and Popular: Peter Shaffer and Milos Forman´s Amadeus at 25´, The Musical Times, 150 (2009), pp. 45-53.

`Colloquy: Finishing Mozart´s Requiem: a Reply from Simon P. Keefe´, Journal of the American Musicological Society, 61 (2008), pp. 602-608. (6-contributor colloquy in direct response to my article in JAMS 61 (2008), pp. 1-65; see JAMS 61 (2008), pp. 583-608.)

`"Die Ochsen am Berge": Franz Xaver Süssmayr and the Orchestration of Mozart´s Requiem K. 626´, Journal of the American Musicological Society, 61 (2008), pp. 1-65.

`The Aesthetics of Wind Writing in the "Paris" Symphony, K. 297´, Mozart-Jahrbuch 2006 (Kassel: Bärenreiter, 2008), pp. 289-304.

`The "Jupiter" Symphony in C, K. 551: New Perspectives on the Dramatic Finale and its Stylistic Significance in Mozart´s Orchestral oeuvre´, Acta Musicologica, 75/1 (2003), pp. 17-43.

`An Integrated "Dissonance": Mozart´s "Haydn" Quartets and the Slow Introduction of K. 465´, Mozart-Jahrbuch 2002 (Kassel: Bärenreiter, 2003), pp. 87-103.

`Sophisticated Simplicity: Text and Music in the Early Songs of Georges Brassens´, Tijdschrift voor Muziektheorie, 7/1 (2002), pp. 11-23.

`A Complementary Pair: Stylistic Experimentation in Mozart´s Final Piano Concertos, K. 537 in D and K. 595 in Bb´, The Journal of Musicology, 18/4 (2001), pp. 658-84.

`"An Entirely Special Manner": Mozart´s Piano Concerto No. 14 in E-flat K. 449 and the Stylistic Implications of Confrontation´, Music & Letters, 82/4 (2001), pp. 559-81.

`Antoine Reicha´s Dialogue: the Emergence of a Theoretical Concept´, Acta Musicologica, 72/1 (2000), pp. 43-62.

`"La Chanson c´est pour tout le monde": an Introduction to the Music of Georges Brassens´, Tempo, No. 212 (2000), pp. 38-45.

`Dramatic Dialogue in Mozart's Viennese Piano Concertos: A Study of Competition and Cooperation in Three First Movements´, The Musical Quarterly, 83/2 (1999), pp. 169-204.

`The Stylistic Significance of the First Movement of Mozart´s Piano Concerto No. 24 in C Minor, K. 491: A Dialogic Apotheosis´, The Journal of Musicological Research, 18/3 (1999), pp. 225-61.

`Koch's Commentary on the Late Eighteenth-Century Concerto: Dialogue, Drama and Solo/Orchestra Relations,´ Music & Letters, 79/3 (1998), pp. 368-85.

(with Terry Keefe) `Sartre's Wagner´, The Musical Times, 137 (Dec. 1996), pp. 9-11.

`Dialogue and Drama: Haydn´s Symphony No. 102´, Music Research Forum, 11/1 (1996), pp. 1-21.

`Columbia University Music Department Centennial Celebration, October 18-19, 1996´, Current Musicology, 60/61 (1996), pp. 162-64.

`Haydn's Influence on Mozart: the Case of the String Quartet´, Haydn Society of Great Britain Journal, 15 (1995), pp. 2-17.

`The Royal Musical Association, Annual Conference, Trinity College, Cambridge 1995´, Current Musicology, 58 (1995), pp. 117-20.