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The Faber Pocket Guide to Mozart

Sir Nicholas Kenyon

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Why is Mozart the best known and most popular of all the great Western classical composers? As the 250th anniversary of his birth approaches, his reputation stands higher than ever before. This lively new Pocket Guide assesses what Mozart means to us today, and explores why his music is so enduringly valued by listeners.

The Guide aims to tell the general reader and listener in concise form all they need to know in order to listen to and enjoy Mozart’s music – it will introduce a new generation of concert-goers and record-listeners to all his key works in forms from opera to symphony, concerto to song. In a crisp, sharp style, with extensive recommendations of good performances and recordings, Nicholas Kenyon shows how Mozart has turned a different face to every age that has performed his music and has communicated with unique.

Separating the Mozart myth and the Mozart industry from the realities of his superb music, the book also asks key questions: How did Mozart compose? What did he look like? What did he think? How should we perform his music today? There will also be a brief calendar of Mozart’s life, a musical glossary and a who’s who of key figures in his life.

Critic Reviews

it does all one could ask, and more, of a pocket guide ... Kenyon's knowledge of the repertoire, and the enthusiasm and insight that he brings to his descriptions of it may also lead even seasoned Mozartians to new discoveries. He writes tellingly, for example, of the series of Concert and insertion arias composed for Aloysia Lange ... The Attention Kenyon devotes to comparatively little-known works such as this, as well as his overview of recent research, make this book well worthy of investigation even by those who might not feel the need of a Pocket Guide to Mozart.

Critic Reviews

There have been surveys of Mozart's music before but none have so successfully placed it in the context of his life and achievements as Nicholas Kenyon does here. Most importantly Kenyon wears his expertise and scholarship lightly and allows his enthusiasm full rein ... you simply can't wait to get cracking on the msuic itself. Whether you are a seasoned Mozartian or just starting out, this books forms the perfect companion to some of the greatest music ever composed.'
Best Buy Five Star Rating

Classic FM Magazine
Critic Reviews

Nicholas Kenyon is also refreshingly down to earth, while brimming with lightly worn scholarship, in his brisk tour d'horizon, The Pocket Guide to Mozart . The life and works - 'utterly direct yet emotionally elusive, simple yet infinitely complex' - are examined in meticulous detail, in a well-organised handbook at bargain price. All the perennial Mozart arguments are settled in cool, well-informed style.
Can you fit all you need to know about Mozart in your pocket? You can now.'

Critic Reviews

200 pages of good programme notes about his major compositons, a choronolgy of his life, notes about his singers, patrons, and contemporaries, and an essay on performing Mozart today. Immaginatively, Kenyon also includes things which people have said about him and some poetry, and there is a Top 10 of his most played works...this is a useful book ... and gains fomr having new ideas in presentation.

Liverpool Daily Post
Critic Reviews

Kenyon, an immensely experienced communicator, involves us in his own Mozartian passion ... Kenyon wirtes lucidly about the music and isn't afraid of stretching the ordinary reader ... his overall approach is general and highly accessible... We could really use something like this for other composers.

BBC Music Magazine
Critic Reviews

'But the best equipped in this regard is Early Music enthusiast Nicholas Kenyon: his Faber Pocket guide to Mozart is not just the cheapest but the most down to earth and succinct of anniversary commentaries.'

FT Magazine

Nicholas Kenyon has been Managing Director of the Barbican Centre since 2007. He was Director of the BBC Proms from 1996 to 2007, and Controller, BBC Radio 3, from 1992 to 1998. He read History at Balliol College, Oxford, and his first post was with the English Bach Festival 1973-6. He was a music critic for The New Yorker, The…

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