The Cambridge Companion to the Concerto
No musical genre has had a more chequered critical history than the concerto but 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.
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The concerto and society
The Italian concerto in the late seventeenth and early
The concerto in northern Europe to c 1770
The nineteenthcentury piano concerto
Nineteenthcentury concertos for strings and winds
Contrasts and common concerns in the concerto 19001945
The concerto since 1945
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accompaniment Adagio aesthetic Allegro arpeggios Bach's Baroque bars Bartok bass bassoon Beethoven's Concertos Brahms Brandenburg Concertos brilliant C. P. E. Bach cadenza Cambridge Companion Cello Concerto chord Clarinet Concerto Classical composers composition concertino continuo contrast critics dialogue early Edited eighteenth century Elliott Carter embellishment ensemble example flat major French G minor German Handel harmonic harpsichord Haydn horn Ibid intimate grandeur Italian J. S. Bach Johann keyboard concertos Keyboard Instruments Liszt London Louis Spohr melody Mendelssohn ment Mozart's Mozart's concertos Mozart's Piano Concertos musicians nineteenth century notes oboe ornaments Paganini passages Performance Practices pianist piano and orchestra Piano Concerto players Prokofiev Quantz recapitulation recording repertory ritornello Schumann slow movement solo exposition solo-orchestra soloist sonata Spohr Stravinsky strings style stylistic Symphony Tchaikovsky tempo texture thematic theme Tia DeNora tion Torelli traditional trans trumpet Vienna viola Violin Concerto violinist Viotti virtuoso Vivaldi wind Zaslaw