surveys the genre of the solo violin concerto in the transitional years from the Baroque to the Classical style. The violin concerto is the only major instrumental form of the Baroque period that had continuous development through these years without a change of medium. This book gives a new perspective on the development of the Classical style as well as sheds light on an important class of music previously unexplored.
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Book Description
Editorial Reviews
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All in all, a work of excellence recommended to all academic and professional music libraries serving students or faculty who are interested in this genre and this period..
–D.G. Engelhardt of Choice, November 1992
–D.G. Engelhardt of Choice, November 1992
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Inside This Book
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First Sentence:
For most present-day musicians, a concerto is clearly a composition that establishes and exploits a division between an orchestra and one or more soloists. Read the first page Key Phrases - Statistically Improbable Phrases (SIPs): (learn more)
lst mvt, final tonic section, tutti introduction, arietta form, third tutti, early galant style, late concertos, tutti interjections, eleven concertos, fourth tutti, four tutti sections, second tutti, first tutti, ritornello form, three slow movements, published concertos, second ritornello, galant melody, solo violin concerto, manuscript concertos, bibliographic confusion, three violin concertos, accompaniment texture, ten concertos, two violin concertos Key Phrases - Capitalized Phrases (CAPs): (learn more)
Franz Benda, Lombardini Sirmen, Johann Stamitz, Carl Stamitz, University of California, Friedrich Wilhelm, Anton Stamitz, Hanover Square, Simon Leduc, French Music, Joseph Haydn, William Cramer, Library of Congress, British Library, Robbins Landon, William Newman, Douglas Lee, Eugene Wolf, Frederick the Great, Georg Benda, Mercure de France, Michael Haydn, Classic Era, Concerts des Amateurs, Fond Blancheton New!
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Front Cover | Table of Contents | First Pages | Index | Back Cover | Surprise Me!
For most present-day musicians, a concerto is clearly a composition that establishes and exploits a division between an orchestra and one or more soloists. Read the first page Key Phrases - Statistically Improbable Phrases (SIPs): (learn more)
lst mvt, final tonic section, tutti introduction, arietta form, third tutti, early galant style, late concertos, tutti interjections, eleven concertos, fourth tutti, four tutti sections, second tutti, first tutti, ritornello form, three slow movements, published concertos, second ritornello, galant melody, solo violin concerto, manuscript concertos, bibliographic confusion, three violin concertos, accompaniment texture, ten concertos, two violin concertos Key Phrases - Capitalized Phrases (CAPs): (learn more)
Franz Benda, Lombardini Sirmen, Johann Stamitz, Carl Stamitz, University of California, Friedrich Wilhelm, Anton Stamitz, Hanover Square, Simon Leduc, French Music, Joseph Haydn, William Cramer, Library of Congress, British Library, Robbins Landon, William Newman, Douglas Lee, Eugene Wolf, Frederick the Great, Georg Benda, Mercure de France, Michael Haydn, Classic Era, Concerts des Amateurs, Fond Blancheton 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)
This book cites 31
books:
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9
books
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- The Sonata in the Classic Era (Third Edition) by William S. Newman on 5 pages
- Essay on Practical Musical Composition (Da Capo Press music reprint series) by Augustus F. Kollmann on 4 pages
- Music East and West: Essays in Honor of Walter Kaufmann (Festschrift series) by Thomas Moblitt in Back Matter (1), and Back Matter (2)
- Strunk's Source Readings in Music History (Revised Edition) by Leo Treitler on page 350, and Back Matter
- The Mozart Companion a Symposium by leading Mozart Scholar by H. C. Robbins Landon in Back Matter (1), and Back Matter (2)
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- Viotti and the Chinnerys: A Relationship Charted Through Letters (Music in Nineteenth-Century Britain) (Music in Nineteenth-Century Britain) by Denise Yim on 5 pages
- The Cambridge Companion to the Concerto (Cambridge Companions to Music) by Simon P. Keefe on 5 pages
- The French Violin School: Viotti, Rode, Kreutzer, Baillot and Their Contemporaries by Bruce R. Schueneman on page 29, and Back Matter
- Boccherini's Body: An Essay in Carnal Musicology by Elisabeth Le Guin in Back Matter (1), and Back Matter (2)
- Music in Eighteenth-Century Austria by David Wyn Jones on page 72
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