A Companion to the Concerto
The Baroque period of European history was one in which many styles were forumlated. A development in music fundamental to this era, and with far-reaching consequences in later periods of music, was that of the concerto style for mixed groups or choirs of voices and instruments. From this, the instrumental concerto of the Baroque period emerged as an independent form towards the end of the 17th century. This book is an illustrated survey of the growth and development of the concerto from its origins to the present day. Written by a team of international scholars and music critics, it is designed as a reference work for all who wish to understand more about this perenially popular art form and expand their knowledge of the concerto repertoire.
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- Paperback | 384 pages
- 146 x 222 x 26mm | 580.6g
- 27 Oct 1988
- Bloomsbury Publishing PLC
- London, United Kingdom
- 130 music examples, bibliography, discography, index
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Table of contents
The Baroque concerto, Nicholas Anderson; the pre-classical concerto and the concerto parallel to Mozart, H.C.Robbins Landon; Mozart and the concerto, Denis Matthews; Beethoven and the concerto, Robert Simpson; the concerto after Beethoven - the virtuoso concerto, Christopher Headington, - the symphonic concerto, Joan Chissell; the concerto in pre-revolutionary Russia, David Brown; Russia after 1917, Robert Layton; the concerto in France, Lionel Salter; the concerto in the Nordic lands, Robert Layton; the concerto in modern times - four romantics - Reger, Pfitzner, Schmidt and Korngold, Harold Truscott, - central Europe in the 20th century, Arnold Whittall, - Italy, Spain and Latin America, Christopher Headington; the American concerto, Peter Dickinson; the concerto in Britain, Michael Kennedy.