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Mozart's GhostsHaunting the Halls of Musical Culture$
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Mark Everist

Print publication date: 2013

Print ISBN-13: 9780195389173

Published to Oxford Scholarship Online: September 2013

DOI: 10.1093/acprof:oso/9780195389173.001.0001

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The Specter at the Feast

The Specter at the Feast

Elvira Madigan and its Legacy

(p.233) { 9 } The Specter at the Feast
Mozart's Ghosts

Mark Everist

Oxford University Press

It is 40 years since Bo Widerberg's Elvira Madigan (1967), together with Geza Anda's recording with the Camerata Academica of the Salzburg Mozarteum (1961), gave the slow movement of Mozart's C major piano concerto (K. 467) the same celebrity as that enjoyed by the d minor concerto (K. 466) in the early nineteenth century. Repeatedly referenced by largely appalled commentators in the last 40 years, the movement has reappeared in a wide range of cinematographic contexts (it had never been used before 1967) ranging from romantic comedy to thriller, from Bond franchise to satire. In a film in which the ingestible and comestible are indissolubly linked with the music, Mozart's slow movement takes on an ironically sinister quality that is far from its original topical frame. The elision of the slow movement of K. 467 with a piece of cinema from which it was never subsequently divorced raises a spectrum of questions concerning the representation of music and image, the status of classic instrumental music and the reception of Mozart in the last half century.

Keywords:   mozart, piano concerto K. 467, elvira madigan, bo widerberg, geza anda

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