By Michael Thomas Roeder
This lucid advisor strains the concerto's evolution over the key sessions of tune: baroque, classical, romantic, and twentieth century. The compositions of every vital composer are mentioned intimately, making this an invaluable significant other to the shape.
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Extra resources for A History of the Concerto
A sudden modulation to the relative major, E-flat, brings a brighter mood as the piano plays a new theme, unaccompanied. This theme returns in the recapitulation in E-flat, before its second half returns to the tonic, C minor, dramatically altering its character. Twice in the movement, as well as in the cadenza Mozart wrote, the piano plays a dramatic recitative which is used as an extremely effective conclusion to the movement. Â 17. Â 1316. Â < previous page < previous page page_141 page_142 next page > next page > Page 142 The finale is an extended seven-part rondo in Presto tempo, somewhat like the robust finales Beethoven was to write.
Numerous musical examples illuminate important points in particular concertos. While some readers may want to study the more detailed analyses with scores in hand, this is not essential for an understanding of the text. Much of the repertory treated here is available on commercial recordings, making it easy for readers to experience the sound of this music. Important technical terms are defined as they occur in the text and appear in the index for easy access. I hope this book will open the fascinating history of the concerto to readers of widely varying musical backgrounds.
Mozart immediately began visiting one nobleman's house after another to earn money by giving lessons. One of his composition pupils, the daughter of Count Guines, played harp, and the count, a flute player, commissioned Mozart to write a concerto to feature the two of them. Mozart wrote his Concerto for Flute and Harp, K. ) The work clearly shows the immediate impact of Paris. The solo instruments are favorites of the French, and the form Mozart adopted is the symphonie concertante, the first he had composed that is extant.
A History of the Concerto by Michael Thomas Roeder