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The Cambridge Companion to the Concerto

2005

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"No kind of reading is so generally interesting as biography": Establishing Narratives for Haydn and Mozart in the Second and Third Decades of the Nineteenth Century

19th century music, 2020-10, Vol.44 (2), p.67-79

KEEFE, SIMON P.

2020

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Carl Philipp Emanuel Bach. Keyboard Concertos from Manuscript Sources VII ed. by Mark W. Knoll, and: Carl Philipp Emanuel Bach ed. by Jason B. Grant and Elias N. Kulukundis (review)

Notes (Music Library Association), 2020, Vol.77 (1), p.157-159

Keefe, Simon P

2020

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The Cambridge Companion to Mozart

1, 2003

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Salieri’s Requiem

Early Music, 2018-11, Vol.46 (4), p.690-691

Keefe, Simon P.

2018

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Mozart's vocal music

Early Music, 2016-05, Vol.44 (2), p.360-362

Keefe, Simon P.

2016

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The Scoring of Early Classical Concertos 1750–1780 by Richard Maunder (review)

Music & letters, 2015-11, Vol.96 (4), p.660-662

Keefe, Simon P

2015

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Mozart’s Operas and National Politics: Canon Formation in Prague from 1791 to the Present . By Martin Nedbal

Music & letters, 2024-11

Keefe, Simon P

2024

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Mozart’s Requiem in Pamplona (1844): Study and Music Edition / El Réquiem de Mozart en Pamplona (1844): Studio y edición musical . By Miguel Ángel Marín. Music edition by Aurelio Sagaseta

Music & letters, 2022-03, Vol.102 (3), p.610-612

Keefe, Simon P

2022

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'We hardly knew what we should pay attention to first': Mozart the Performer-Composer at Work on the Viennese Piano Concertos

Journal of the Royal Musical Association, 2009-11, Vol.134 (2), p.185-242

Keefe, Simon P.

2009

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Mozart's Requiem in Pamplona (1844): Study and Music Edition / El Réquiem de Mozart en Pamplona (1844): Studio y edición musical by Miguel Ángel Marín (review)

Music & letters, 2021, Vol.102 (3), p.610-612

Keefe, Simon P

2021

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WOLFGANG AMADEUS MOZART (1756–1791), WITH COMMENTARY BY ROBERT D. LEVIN AND PREFACE BY COLIN LAWSON KLAVIERKONZERT C-MOLL, KV 491: BÄRENREITER FACSIMILE Kassel: Bärenreiter, 2014 pp. 74 (facsimile) + 40 (commentary), isbn 978 3 7618 1927 2

Eighteenth-century music, 2016-03, Vol.13 (1), p.134-136

KEEFE, SIMON P.

2016

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“Die Ochsen am Berge”: Franz Xaver Süssmayr and the Orchestration of Mozart's Requiem, K. 626

Journal of the American Musicological Society, 2008-04, Vol.61 (1), p.1-65

Keefe, Simon P.

2008

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‘La Chanson c'est pour tout le monde’: an introduction to the music of Georges Brassens

Tempo (London), 2000-04 (212), p.38-46

Keefe, Simon P.

2000

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Magister Jacobus de Ispania, Author of the Speculum musicae

1, 2016

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Mozart

Keefe, Simon P.

1, 2015

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Mozart’s Ghosts: Haunting the Halls of Musical Culture by Mark Everist (review)

Music & letters, 2014-05, Vol.95 (2), p.285-287

Keefe, Simon P

2014

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The 'Jupiter' Symphony in C, K. 551: New Perspectives on the Dramatic Finale and Its Stylistic Significance in Mozart's Orchestral Œuvre

Acta musicologica, 2003-01, Vol.75 (1), p.17-43

Keefe, Simon P.

2003

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Mozart's orchestral and chamber works on period instruments

Early music, 2013-08, Vol.41 (3), p.533-535

Keefe, Simon P.

2013

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'An Entirely Special Manner': Mozart's Piano Concerto No. 14 in E Flat, K.449, and the Stylistic Implications of Confrontation

Music & letters, 2001-11, Vol.82 (4), p.559-581

Keefe, Simon P.

2001

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Mozart and Enlightenment Semiotics by Stephen Rumph (review)

Music & letters, 2013-02, Vol.94 (1), p.152-154

Keefe, Simon P

2013

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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, 1999, Vol.18 (3), p.225-261

Keefe, Simon P

1999

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Antoine Reicha's "Dialogue": The Emergence of a Theoretical Concept

Acta musicologica, 2000-01, Vol.72 (1), p.43-62

Keefe, Simon P.

2000

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Dramatic Dialogue in Mozart's Viennese Piano Concertos: A Study of Competition and Cooperation in Three First Movements

The Musical quarterly, 1999-07, Vol.83 (2), p.169-204

Keefe, Simon P.

1999

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KOCH'S COMMENTARY ON THE LATE EIGHTEENTH-CENTURY CONCERTO: DIALOGUE, DRAMA AND SOLO/ORCHESTRA RELATIONS

Music & letters, 1998-08, Vol.79 (3), p.368-385

Keefe, Simon P.

1998

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The Cambridge Companion to the Concerto

"No kind of reading is so generally interesting as biography": Establishing Narratives for Haydn and Mozart in the Second and Third Decades of the Nineteenth Century

Carl Philipp Emanuel Bach. Keyboard Concertos from Manuscript Sources VII ed. by Mark W. Knoll, and: Carl Philipp Emanuel Bach ed. by Jason B. Grant and Elias N. Kulukundis (review)

The Cambridge Companion to Mozart

Salieri’s Requiem

Mozart's vocal music

The Scoring of Early Classical Concertos 1750–1780 by Richard Maunder (review)

Mozart’s Operas and National Politics: Canon Formation in Prague from 1791 to the Present . By Martin Nedbal

Mozart’s Requiem in Pamplona (1844): Study and Music Edition / El Réquiem de Mozart en Pamplona (1844): Studio y edición musical . By Miguel Ángel Marín. Music edition by Aurelio Sagaseta

'We hardly knew what we should pay attention to first': Mozart the Performer-Composer at Work on the Viennese Piano Concertos

Mozart's Requiem in Pamplona (1844): Study and Music Edition / El Réquiem de Mozart en Pamplona (1844): Studio y edición musical by Miguel Ángel Marín (review)

WOLFGANG AMADEUS MOZART (1756–1791), WITH COMMENTARY BY ROBERT D. LEVIN AND PREFACE BY COLIN LAWSON KLAVIERKONZERT C-MOLL, KV 491: BÄRENREITER FACSIMILE Kassel: Bärenreiter, 2014 pp. 74 (facsimile) + 40 (commentary), isbn 978 3 7618 1927 2

“Die Ochsen am Berge”: Franz Xaver Süssmayr and the Orchestration of Mozart's Requiem, K. 626

‘La Chanson c'est pour tout le monde’: an introduction to the music of Georges Brassens

Magister Jacobus de Ispania, Author of the Speculum musicae

Mozart

Mozart’s Ghosts: Haunting the Halls of Musical Culture by Mark Everist (review)

The 'Jupiter' Symphony in C, K. 551: New Perspectives on the Dramatic Finale and Its Stylistic Significance in Mozart's Orchestral Œuvre

Mozart's orchestral and chamber works on period instruments

'An Entirely Special Manner': Mozart's Piano Concerto No. 14 in E Flat, K.449, and the Stylistic Implications of Confrontation

Mozart and Enlightenment Semiotics by Stephen Rumph (review)

The Stylistic Significance of the First Movement of Mozart's Piano Concerto No. 24 in C Minor, K 491: A Dialogic Apotheosis

Antoine Reicha's "Dialogue": The Emergence of a Theoretical Concept

Dramatic Dialogue in Mozart's Viennese Piano Concertos: A Study of Competition and Cooperation in Three First Movements

KOCH'S COMMENTARY ON THE LATE EIGHTEENTH-CENTURY CONCERTO: DIALOGUE, DRAMA AND SOLO/ORCHESTRA RELATIONS

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