The Cambridge companion to the concerto
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Bibliographic Information
The Cambridge companion to the concerto
（Cambridge companions to music）
Cambridge University Press, 2005
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Note
Includes bibliographical references (p. 288-296) and index
Description and Table of Contents
Description
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.
Table of 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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