Two of the composer's most innovative works appear in this inexpensive, high-quality volume: the Concerto in C Major, for piano, violin, and cello, and orchestra; and the Fantasia in C Minor, for piano, chorus, and orchestra. Both works teem with Beethoven's characteristic perfection of detail, grandeur of effect, and intense emotionalism. Authoritative Breitkopf & Härtel edition.
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1 of 1 people found the following review helpful:
5.0 out of 5 stars
galipoglu@altavista.net,
By A Customer
This review is from: Concerto in C Major, Op. 56 (Triple Concerto): and Fantasia in C Minor, Op. 80 (Choral Fantasy) in Full Score (Dover Music Scores) (Paperback)
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3 of 4 people found the following review helpful:
5.0 out of 5 stars
An excellent collection of some rarely heard selections,
By Alex Horwitz (horwitz@indy.net) (Indianapolis, Indiana) - See all my reviews
This review is from: Concerto in C Major, Op. 56 (Triple Concerto): and Fantasia in C Minor, Op. 80 (Choral Fantasy) in Full Score (Dover Music Scores) (Paperback)
While the Concerto in C and even the Triple concerto and Fantasia are sometimes heard in the concert hall, on eof Beethovens most beautifully experimental works is his choral fantasy. He originally conceived the piece as a trial to insure that the combination of a chorus and an orchestra in a non-liturgical context would "work." He included rather dramatic and extensive nearly candential solo piano portions to make the work a smorgasboard of timbre and performance oppertunity. It is thanks to the seamlessness of the fantasy that we have the great 9th Symphony to enjoy. A fantastic resource for any student of Musicology
5.0 out of 5 stars
An excellent collection of some rarely heard selections,
By A Customer
This review is from: Concerto in C Major, Op. 56 (Triple Concerto): and Fantasia in C Minor, Op. 80 (Choral Fantasy) in Full Score (Dover Music Scores) (Paperback)
While the Concerto in C and even the Triple concerto and Fantasia are sometimes heard in the concert hall, on eof Beethovens most beautifully experimental works is his choral fantasy. He originally conceived the piece as a trial to insure that the combination of a chorus and an orchestra in a non-liturgical context would "work." He included rather dramatic and extensive nearly candential solo piano portions to make the work a smorgasboard of timbre and performance oppertunity. It is thanks to the seamlessness of the fantasy that we have the great 9th Symphony to enjoy. A fantastic resource for any student of Musicology
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