Mozart, Piano concertos no. 20 in D minor, K. 466, and no. 21 in C major, K. 467 /

Mozart's piano concertos K. 466 and K. 467 are frequently paired in thought and in practice, not only because of their consecutive Kochel numbers but also because they seem complementary in many respects. After an introductory chapter, Grayson considers some of the most notable concerto models of the 20th century--those of D.F. Tovey (Essays in Musical Analysis, 1935-39) and Charles Rosen (The Classical Style, CH, May'73 and CH, Jul'97, and Sonata Forms, CH, Dec'80), and one the author calls "Leeson-Levin"--and finds useful things in each. In the next three chapters he discusses the concertos in light of these models. The analysis is straightforward enough to be parsed by persons without a reading knowledge of music; fewer than a dozen musical examples appear in the book. In the final chapter, Grayson provides useful, sensible discussions of several matters pertaining to performance practice. Although dedicated to just two of Mozart's dozens of concertos, this title serves as a fine introduction to the formal aspects of the classical concerto and the various theories concerning this most subtle of forms. Recommended to libraries with holdings devoted to music history and analysis at the upper-division undergraduate level and above. B. J. Murray University of Alabama