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Editorial Reviews
Amazon.com
Beethoven wrote only one violin concerto, but it is one of music's all-time indisputable masterpieces. As Robin Stowell notes in his preface to this scholarly, but quite readable, volume, it is "the only major violin concerto composed between Mozart's five concertos of 1775 and Mendelssohn's E minor Concerto Op. 64 (1844). As a model of melodic invention, spaciousness of design, sheer clarity, and logic of organization, the Concerto has no equals." It has earned a favored place in the repertoire of virtually every violinist of note, and in the hearts of discerning listeners. In this fine addition to the Cambridge Music Handbooks series, Stowell examines the origins of the concerto and influences on it, its structure and style, and its performance history. At its premiere in Vienna in 1806, the reception was mixed; the critic Johann Nepomuk Moser wrote that it was: "Burdened with a host of unconnected and piled-up ideas, and a continual tumult of different instruments... [the listener] could only leave the concert with an unpleasant sense of exhaustion." Fortunately, we hear things quite differently now. This is a useful volume for the specialist, or for anyone who wants to know as much as possible about this great work. --Sarah Bryan Miller --This text refers to the Hardcover edition.
Product Description
This is the first individual study of Beethoven's Violin Concerto. It explores the work's background and the influences that combined in its creation, and describes its indifferent initial reception. It considers the numerous textual problems that confront the performer, including discussion of Beethoven's adaptation for piano and orchestra. Following a detailed synopsis of the work itself, a final section reviews the wide variety of cadenzas that have been written to complement the concerto throughout its performance history.
See all Editorial Reviews
Beethoven wrote only one violin concerto, but it is one of music's all-time indisputable masterpieces. As Robin Stowell notes in his preface to this scholarly, but quite readable, volume, it is "the only major violin concerto composed between Mozart's five concertos of 1775 and Mendelssohn's E minor Concerto Op. 64 (1844). As a model of melodic invention, spaciousness of design, sheer clarity, and logic of organization, the Concerto has no equals." It has earned a favored place in the repertoire of virtually every violinist of note, and in the hearts of discerning listeners. In this fine addition to the Cambridge Music Handbooks series, Stowell examines the origins of the concerto and influences on it, its structure and style, and its performance history. At its premiere in Vienna in 1806, the reception was mixed; the critic Johann Nepomuk Moser wrote that it was: "Burdened with a host of unconnected and piled-up ideas, and a continual tumult of different instruments... [the listener] could only leave the concert with an unpleasant sense of exhaustion." Fortunately, we hear things quite differently now. This is a useful volume for the specialist, or for anyone who wants to know as much as possible about this great work. --Sarah Bryan Miller --This text refers to the Hardcover edition.
Product Description
This is the first individual study of Beethoven's Violin Concerto. It explores the work's background and the influences that combined in its creation, and describes its indifferent initial reception. It considers the numerous textual problems that confront the performer, including discussion of Beethoven's adaptation for piano and orchestra. Following a detailed synopsis of the work itself, a final section reviews the wide variety of cadenzas that have been written to complement the concerto throughout its performance history.
See all Editorial Reviews
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Inside This Book Citations: This book cites 25 books | 22 books that cite this book Explore: Citations | Books on Related Topics | Concordance | Text Stats Key Phrases - SIPs: timpani motif, timpani figure, piano adaptation, solo violin part, first bassoon (more) Key Phrases - CAPs: Franz Clement, Triple Concerto, Beethoven's Larghetto, Fourth Piano Concerto, Third Piano Concerto (more) Browse Sample Pages: Front Cover | Copyright | Table of Contents | Excerpt | Index | Back Cover | Surprise Me! |
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Inside This Book
(learn more)
First Sentence:
Beethoven began to make his mark as a composer during the 1790s. Read the first page Key Phrases - Statistically Improbable Phrases (SIPs): (learn more)
timpani motif, timpani figure, piano adaptation, solo violin part, first bassoon, orchestral violins, violin school, rondo theme, darker ink, violin concerto, first clarinet, piano version, solo part, orchestral parts, first violins, autograph score, concert life Key Phrases - Capitalized Phrases (CAPs): (learn more)
Franz Clement, Triple Concerto, Beethoven's Larghetto, Fourth Piano Concerto, Third Piano Concerto, Instrument Comments, Ignaz Schuppanzigh New!
Books on Related Topics | Concordance | Text Stats Browse Sample Pages:
Front Cover | Copyright | Table of Contents | Excerpt | Index | Back Cover | Surprise Me!
Beethoven began to make his mark as a composer during the 1790s. Read the first page Key Phrases - Statistically Improbable Phrases (SIPs): (learn more)
timpani motif, timpani figure, piano adaptation, solo violin part, first bassoon, orchestral violins, violin school, rondo theme, darker ink, violin concerto, first clarinet, piano version, solo part, orchestral parts, first violins, autograph score, concert life Key Phrases - Capitalized Phrases (CAPs): (learn more)
Franz Clement, Triple Concerto, Beethoven's Larghetto, Fourth Piano Concerto, Third Piano Concerto, Instrument Comments, Ignaz Schuppanzigh New!
Books on Related Topics | Concordance | Text Stats Browse Sample Pages:
Front Cover | Copyright | Table of Contents | Excerpt | Index | Back Cover | Surprise Me!
Citations (learn more)
This book cites 25
books:
- The Beethoven Companion by Denis Arnold on 4 pages
- Beethoven and the Creative Process (Clarendon Paperbacks) by Barry Cooper in Back Matter (1), Back Matter (2), and Back Matter (3)
- New Grove Dictionary by Sadie in Back Matter (1), Back Matter (2), and Back Matter (3)