This lucid guide traces the concerto's evolution over the major periods of music: baroque, classical, romantic, and 20th century. The compositions of each important composer are discussed in detail, making this a useful companion to the form.
A History of the Concerto
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Book Description
Editorial Reviews
From Library Journal
Roeder (music, Univ. of Alberta) offers an exhaustive survey of the concerto from its conception during the late Renaissance to its present-day maturity. Roeder highlights a number of important works for especially detailed analytical treatment and aesthetic discussion, and he includes mention of even the least significant composers who worked within the genre. While the subject matter is thoroughly covered and technical terms are fully explained, the subject itself is narrow enough to limit the appeal of this volume to working musicians, music students, music teachers, and lay readers with a special interest in the concerto. Music libraries will find this well-written volume a necessary purchase, while large public libraries will find it a useful addition.
- James E. Perone, Canisius Coll., Buffalo, N.Y.
Copyright 1994 Reed Business Information, Inc.
- James E. Perone, Canisius Coll., Buffalo, N.Y.
Copyright 1994 Reed Business Information, Inc.
From Booklist
In the popular imagination, the concerto is a piece of music shaped by the interplay between a virtuoso soloist and an accompanying orchestra. In fact, from its earliest days in the Baroque era, there have been concertos involving just the orchestra or, in the concerto grosso, the orchestra and a small body drawn from its ranks, and there are numerous examples of the solo concerto. As one of music's oldest forms, the concerto has a long and varied history that continues today. Roeder covers this history in detail (including musical examples) and quite accurately, starting with the concerto's origins in sixteenth-century Italy. He considers the form's treatment by music's masters and provides reliable information about lesser and virtually unknown figures who have worked with it. He explains well the interplay between an era's overall musical style and its concertos. Generally well-written, Roeder's effort accurately reflects its subject's protean history and is even up-to-date. John Shreffler
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Most Helpful Customer Reviews
14 of 14 people found the following review helpful:
5.0 out of 5 stars
A Must For Concerto Fans,
By
This review is from: A History of the Concerto (Paperback)
Roeder's book is an excellent source of information about concertos. I especially liked this book for its concise information covering an enormous range of musical history. It starts from the very beginning of the concerto's birth and covers all the great composers of our time. Being a musician myself, I am constantly absorbed by all musical history that I can get my hands on. This book is similar to that of Steinberg's The Concerto in that it covers a wide range of composers. Steinberg's does not cover as much detail and it is very much like a listener's guide. Roeder digs deeper into the background of the composer, the history of the composer and the piece itself....not to mention the importance and significance the piece has brought to the musical world. Anyone who is interested in this book should be forwarned that it is a bit on the technical side and a knowledge of musical theory and form is helpful. As for fellow musicians interested in this book, it is an excellent source of information. Whether you want to read the entire book through or if you just want to focus on specific composers or musical periods it is a great musician's tool.
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Inside This Book
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Key Phrases - Statistically Improbable Phrases (SIPs):
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ripieno orchestra, concertato principle, ritornello motives, first solo section, virtuosic material, solo exposition, earliest concertos, new second theme, standard three movements, drum motive, ritornello design, church concertos, main rondo theme, soloistic display, concertante works, tutti sections, ritornello form, ritornello material, virtuoso concerto, concerto principle, published concertos, concerto literature, earlier concertos, later concertos, concerto repertory Key Phrases - Capitalized Phrases (CAPs): (learn more)
Minor Concerto, United States, New York, Franz Liszt, Section Tutti, Sinfonia Concertante, Chamber Concerto, Concert Spirituel, Horn Concerto, Flute Concerto, World War, Christian Bach, Formal Division Ritornello, Soviet Union, Vaughan Williams, Brandenburg Concertos, Joseph Joachim, Alban Berg, Arnold Schoenberg, B-flat Concerto, Boston Symphony Orchestra, Clara Schumann, Emanuel Bach, Igor Stravinsky, Latin American New!
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Front Cover | Table of Contents | First Pages | Index | Back Cover | Surprise Me!
ripieno orchestra, concertato principle, ritornello motives, first solo section, virtuosic material, solo exposition, earliest concertos, new second theme, standard three movements, drum motive, ritornello design, church concertos, main rondo theme, soloistic display, concertante works, tutti sections, ritornello form, ritornello material, virtuoso concerto, concerto principle, published concertos, concerto literature, earlier concertos, later concertos, concerto repertory Key Phrases - Capitalized Phrases (CAPs): (learn more)
Minor Concerto, United States, New York, Franz Liszt, Section Tutti, Sinfonia Concertante, Chamber Concerto, Concert Spirituel, Horn Concerto, Flute Concerto, World War, Christian Bach, Formal Division Ritornello, Soviet Union, Vaughan Williams, Brandenburg Concertos, Joseph Joachim, Alban Berg, Arnold Schoenberg, B-flat Concerto, Boston Symphony Orchestra, Clara Schumann, Emanuel Bach, Igor Stravinsky, Latin American New!
Books on Related Topics | Concordance | Text Stats Browse Sample Pages:
Front Cover | Table of Contents | First Pages | Index | Back Cover | Surprise Me!
Citations (learn more)
8
books
cite this book:
See all 8 books citing this book
- The French Violin School: Viotti, Rode, Kreutzer, Baillot and Their Contemporaries by Bruce R. Schueneman on 4 pages
- Robert Schumann and the Development of the Piano Concerto by Claudia Macdonald in Back Matter (1), Back Matter (2), and Back Matter (3)
- The Cambridge Companion to the Concerto (Cambridge Companions to Music) by Simon P. Keefe in Back Matter (1), Back Matter (2), and Back Matter (3)
- The Beethoven Violin Sonatas: History, Criticism, Performance by Lewis Lockwood (Editor) on page 82, and Back Matter
- The Cambridge Companion to Liszt (Cambridge Companions to Music) by Kenneth Hamilton in Back Matter
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