Cambridge Companion to Mozart. Edited by Simon P. Keefe. (Cambridge Companions to Music.) Cambridge: Cambridge University Press, 2003. [xvii, 272 p. ISBN 0-521-80734-4. $70 (hbk.); ISBN 0-521-00192-7. $26 (pbk.).] Music examples, facsimiles, bibliography, indexes. Cambridge Copanion to examines the and his music from variety of perspectives. Seventeen complementary essays address the contexts in which lived and worked, the music itself and its reception, and issues of performance. Intended for students and scholar, as well as general readers, the book aims to bridge the gap between scholarly and popular images of the composer through presenting up-to-date (p. 2). Practically all the volume's essays do indeed challenge popular conceptions of and his music. opening chapters on context tackle one of the more persistent falsehoods: the belief that the was neglected and mistreated during his lifetime. Chapter 1, written by Cliff Eisen, discusses musical life in Salzburg during Mozart's tenure there. He concludes that the city was hardly musical backwater (p. 13) and while Archbishop Colloredo was undoubtedly a difficult employer . . . the Mozarts [father and son] were not good employees (pp. 19-20). He further argues that the Mozarts deliberately provoked the Archbishop by flagrantly ignoring certain compositional and professional expectations; therefore they were partly, if not mostly, responsible for their supposed mistreatment. Similarly Dorothea Link's essay on Vienna challenges the myth that the Viennese court ignored and that the composer's last decade was largely unsuccessful. Although experienced some lean years near the end of his life, she demonstrates that he actively pursued and achieved some success in all the professional avenues open to him, including winning desirable court appointment. Two chapters deconstruct the image of as childlike genius who was out of touch with the world. In Mozart and Late Eighteenth-Century Aesthetics, David Schroeder draws on Mozart's family correspondence and other evidence to prove the was keenly aware of the era's philosophical, political, and aesthetic trends (p. 48). William Stafford's discussion of The Evolution of Mozartian Biography clearly explains why the early biographies incorporated fictions and placed undue emphasis on . . . [Mozart's] wondrous childhood (p. 203). After laying this foundation, Stafford then discusses prominent themes in biographies of the composer, using them in part to trace how concepts of genius have transformed over time. Both essays suggest that popular images of the unfairly downplay the element of skill and craft in Mozart's music (p. 208) as well as the influence of his environment. Challenging long-held assumptions also extends to the chapters on music. Although Die Zauberflote, for instance, is often assumed to be without precedent, David Buch shows that it stems from fashion for fairy tale operas. As Buch notes, most scholarship has focused on allegorical interpretations of the opera. Wisely he does not address these in detail, but focuses instead on placing the opera in its theatrical context. His research leads him to reject basic premise about the work: because fairy talc operas prior to and following Die Zauberflote have no demonstrable [allegorical] content, according to Buch, he questions whether or not Die Zauberflote is in fact an allegory, stance that will surely raise some eyebrows (p. 166). Other essays in the collection also question prevailing assumptions and discuss how views of and his output have changed over time. Today most listeners consider the composer's music to epitomize beauty and elegance, but to his contemporaries it seemed congested, even rough [and] bizarre (p. 176). David Levin's essay on performance practice builds upon this point. While many strive for serene, legato surface when performing Mozart, Levin argues passionately that frequent changes in texture, articulation, harmony, and topoi are fundamental to Mozart's music; performers, therefore, should exploit this volatility of character (p. …