The Cambridge Companion To The Concerto

Edited by Simon P. Keefe

No musical genre has had a more chequered critical history than the concerto and yet simultaneously retained as consistently prominent a place in the affections of the concert-going public. This volume, one of very few to deal with the genre in its entirety, assumes a broad remit, setting the concerto in its musical and non-musical contexts, examining the concertos that have made important contributions to musical culture, and looking at performance-related topics. A picture emerges of a genre in a continual state of change, re-inventing itself in the process of growth and development and regularly challenging its performers and listeners to broaden the horizons of their musical experience.

Bibliographic Details

37 music examples

Contents

• Notes on the contributors
• Acknowledgements
• List of abbreviations
• The concerto: a chronology Simon P. Keefe
• Introduction Simon P. Keefe
• Part I. Contexts: 1. Theories of the concerto from the eighteenth century to the present day Simon P. Keefe
• 2. The concerto and society Tia DeNora
• Part II. The Works: 3. The Italian concerto in the late seventeenth and early eighteenth centuries Michael Talbot
• 4. The concerto in northern Europe to c. 1770 David Yearsley
• 5. The concerto from Mozart to Beethoven: aesthetic and stylistic perspectives Simon P. Keefe
• 6. The nineteenth-century piano concerto Stephan D. Lindeman
• 7. Nineteenth-century concertos for strings and winds R. Larry Todd
• 8. Contrasts and common concerns in the concerto 1900-1945 David E. Schneider
• 9. The concerto since 1945 Arnold Whittall
• Part III. Performance: 10. The rise (and fall) of the concerto virtuoso in the late eighteenth and nineteenth centuries Cliff Eisen
• 11. Performance practice in the eighteenth-century concerto Robin Stowell
• 12. Performance practice in the nineteenth-century concerto David Rowland
• 13. The concerto in the age of recording Timothy Day
• Notes
• Selected further reading
• Index.