Getting the Most Out of Mozart: The Instrumental Works

Getting the Most Out of Mozart: The Instrumental Works (w/CD), by David Hurwitz. Amadeus Press/Limelight Editions c/o Hal Leonard Corp., Inc. (7777 W., Bluemound Rd., P.O. Box 13819, Milwaukee, WI 53213), 2005. 185 pp. $19.95.

The ability to enjoy hearing great classical music can be greatly enhanced if one has a little background information about the basic elements of music. In Getting the Most Out of Mozart--The Instrumental Works, David Hurwitz takes a flesh approach to helping the classical music novice understand these basic elements. The writing style is fresh, without complex technical terms, and Hurwitz really does help the reader understand "what makes Mozart sound like Mozart." But the good news is that practically anyone will benefit from reading this book because the material is presented in a way that will be equally appealing to the seasoned listener. The book is divided into four sections--"Mozart's Musical Identity and Style," "Chamber Music," "Orchestral Music" and "Concertos"--Hurwitz even has included a CD of recordings of many of the works he addresses. The inclusion of the CD is a brilliant stroke because it allows the novice, who may not have recordings of many of the works discussed in the book, to listen repeatedly and discover the things about which Hurwitz speaks.

Not every genre of instrumental music is addressed. For instance, the piano sonatas are not discussed because Hurwitz believes an understanding of their best elements can be seen just as well in the concertos. Likewise, the violin sonatas and piano trios are omitted in favor of the piano quartets, but this is not a shortcoming because Hurwitz's insights into this great music will undoubtedly encourage the reader to seek out more of Mozart's music.

Hurwitz's discussion of form is of particular interest for several reasons: so many forms are addressed--ABA, minuet, rondo, variation, contrapuntal forms and sonata--and, he writes about these forms in a way that is truly appealing and easy to understand. The only complaint I have about the book is the constant use of parentheses; I find them to be disruptive to the overall readability. But I encourage all teachers of young students to read this book, as I think it could be particularly useful to the serious junior high or high school musician. In truth, the section on forms--in the early part of the book--could be read by even younger students, enabling them to better understand what they're playing. Reviewed by James Litzelman, Arlington, Virginia.

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