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The Cambridge Companion to the Concerto. 9780521542579

The Cambridge Companion to the Concerto

Cambridge University Press. 2005

Ficha técnica

  • EAN: 9780521542579
  • ISBN: 978-0-521-54257-9
  • Editorial: Cambridge University Press
  • Fecha de edición: 2005
  • Encuadernación: Rústica
  • Dimensiones: 25x17,5
  • Idioma: Inglés
  • Nº páginas: 310

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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.

- Comprehensive coverage of the concerto - a genre rarely considered in its entirety - including examinations of compositional contexts and performance-related topics
- Broad appeal to scholars, students, performers and music lovers alike, in a volume dedicated to one of the most popular of musical genres
- Up-to-date scholarship presented in a user-friendly fashion, traversing the whole spectrum of work on the genre

CONTENIDO:

Notes on contributors.
Acknowledgements
The concerto: a chronology
List of abbreviations

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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