The Cambridge Companion to the Concerto View larger

The Cambridge Companion to the Concerto

9780521542579

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A rare volume dedicated entirely to scholarship on the genre of the concerto.

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£ 20.99

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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.

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