The Cambridge Companion to the Concerto (Cambridge Companions to Music)

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. Introduction / -- Simon P. Keefe -- PART I. CONTEXTS Introduction / -- Simon P. Keefe -- PART I. CONTEXTS -- Simon P. Keefe Introduction / -- Simon P. Keefe -- PART I. CONTEXTS -- Simon P. Keefe -- Tia DeNora -- PART II. THE WORKS Introduction / -- Simon P. Keefe -- PART I. CONTEXTS -- Simon P. Keefe -- Tia DeNora -- PART II. THE WORKS -- Michael Talbot Introduction / -- Simon P. Keefe -- PART I. CONTEXTS -- Simon P. Keefe -- Tia DeNora -- PART II. THE WORKS -- Michael Talbot -- David Yearsley Introduction / -- Simon P. Keefe -- PART I. CONTEXTS -- Simon P. Keefe -- Tia DeNora -- PART II. THE WORKS -- Michael Talbot -- David Yearsley -- Simon P. Keefe Introduction / -- Simon P. Keefe -- PART I. CONTEXTS -- Simon P. Keefe -- Tia DeNora -- PART II. THE WORKS -- Michael Talbot -- David Yearsley -- Simon P. Keefe -- Stephan D. Lindeman Introduction / -- Simon P. Keefe -- PART I. CONTEXTS -- Simon P. Keefe -- Tia DeNora -- PART II. THE WORKS -- Michael Talbot -- David Yearsley -- Simon P. Keefe -- Stephan D. Lindeman -- R. Larry Todd Introduction / -- Simon P. Keefe -- PART I. CONTEXTS -- Simon P. Keefe -- Tia DeNora -- PART II. THE WORKS -- Michael Talbot -- David Yearsley -- Simon P. Keefe -- Stephan D. Lindeman -- R. Larry Todd -- David E. Schneider Introduction / -- Simon P. Keefe -- PART I. CONTEXTS -- Simon P. Keefe -- Tia DeNora -- PART II. THE WORKS -- Michael Talbot -- David Yearsley -- Simon P. Keefe -- Stephan D. Lindeman -- R. Larry Todd -- David E. Schneider -- Arnold Whittall -- PART III. PERFORMANCE Introduction / -- Simon P. Keefe -- PART I. CONTEXTS -- Simon P. Keefe -- Tia DeNora -- PART II. THE WORKS -- Michael Talbot -- David Yearsley -- Simon P. Keefe -- Stephan D. Lindeman -- R. Larry Todd -- David E. Schneider -- Arnold Whittall -- PART III. PERFORMANCE -- Cliff Eisen Introduction / -- Simon P. Keefe -- PART I. CONTEXTS -- Simon P. Keefe -- Tia DeNora -- PART II. THE WORKS -- Michael Talbot -- David Yearsley -- Simon P. Keefe -- Stephan D. Lindeman -- R. Larry Todd -- David E. Schneider -- Arnold Whittall -- PART III. PERFORMANCE -- Cliff Eisen -- Robin Stowell Introduction / -- Simon P. Keefe -- PART I. CONTEXTS -- Simon P. Keefe -- Tia DeNora -- PART II. THE WORKS -- Michael Talbot -- David Yearsley -- Simon P. Keefe -- Stephan D. Lindeman -- R. Larry Todd -- David E. Schneider -- Arnold Whittall -- PART III. PERFORMANCE -- Cliff Eisen -- Robin Stowell -- David Rowland Introduction /-- Simon P. Keefe-- PART I. CONTEXTS-- Simon P. Keefe-- Tia DeNora-- PART II. THE WORKS-- Michael Talbot-- David Yearsley-- Simon P. Keefe-- Stephan D. Lindeman-- R. Larry Todd-- David E. Schneider-- Arnold Whittall-- PART III. PERFORMANCE-- Cliff Eisen-- Robin Stowell-- David Rowland-- Timothy Day. 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.--jacket. Introduction / Simon P. Keefe -- Part I. Contexts -- Theories Of The Concerto From The Eighteenth Century To The Present Day / Simon P. Keefe -- The Concerto And Society / Tia Denora -- Part Ii. The Works -- The Italian Concerto In The Late Seventeenth And Early Eighteenth Centuries / Michael Talbot -- The Concerto In Northern Europe To C.1770 / David Yearsley -- The Concerto From Mozart To Beethoven : Aesthetic And Stylistic Perspectives / Simon P. Keefe -- The Nineteenth-century Piano Concerto / Stephan D. Lindeman -- Nineteenth-century Concertos For Strings And Winds / R. Larry Todd -- Contrasts And Common Concerns In The Concerto 1900-1945 / David E. Schneider -- The Concerto Since 1945 / Arnold Whittall -- Part Iii. Performance -- The Rise (and Fall) Of The Concerto Virtuoso In The Late Eighteenth And Nineteenth Centuries / Cliff Eisen -- Performance Practice In The Eighteenth-century Concerto / Robin Stowell -- Performance Practice In The Nineteenth-century Concerto / David Rowland -- The Concerto In The Age Of Recording / Timothy Day. Edited By Simon P. Keefe. Includes Bibliographical References (p. 288-296) And Index. 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. No musical genre has had a more controversial critical history than the concerto, but has simultaneously retained as consistently prominent a place in the affections of the concert-going public. This volume is one of a very few to deal with the genre in its entirety. Setting the concerto in its musical and non-musical contexts, it examines the concertos that have made important contributions to musical culture, and reviews performance-related topics.