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John Field and the Alternative History of Concerto First-Movement Form

Bibliographic Data

ID3135578
AuthorsJohn Horton (0000-0002-2956-2264, University College Dublin, corresponding author)
Year2011
Volume92
Issue1
Pages43-83
Publication date2011-02-01
Peer ReviewedYes
Open AccessNo
TypeARTICLE
VenueMusic and Letters (JOURNAL)
Journal identifiersISSN: 0027-4224 • E-ISSN: 1477-4631
PublisherOxford University Press (PUBLISHER • GB)
DOI10.1093/ml/gcq104
OpenAlexW2025591719
LanguageEN
Citations received12
References cited4

Despite the prominent status John Field’s seven piano concerti enjoyed during his lifetime, lingering complaints of formal incompetence have combined with the critique of virtuosity and collusion between Formenlehre and Austrocentric conceptions of canon to guarantee their subsequent marginality. This essay re-evaluates these works as a platform for critiquing recent trends in Formenlehre. It contrasts the development of the theory of concerto first-movement form out of the reception of Mozart’s piano concerti with the localized influence Mozart exerted over the genre’s development in the early nineteenth century. Situating designs in Field’s concerti that diverge from Mozartian norms within a practice evolving in London in the last decade of the eighteenth century, I call for a more historically nuanced formal theory, arguing that our persisting habit of theorizing concerto first-movement form in relation to a dominant Mozartian archetype misrepresents a large proportion of the subsequent repertory.

Aesthetics · Archetype · Art · Art history · Concerto · Epistemology · Field (mathematics) · Literature · Movement (music) · MOZART · Piano · Relation (database) · Sociology · Computer Science · Diversity and Impact of Dance · Mathematics · Musicology and Musical Analysis · Philosophy · Theater, Performance, and Music History

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Unique citing works12
Citations per year0,92
Citation span2013 - 2026 (14)
Citation velocitycurrent
Highly citedNo
Citation typesNeutral: 10

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