By Michael Thomas Roeder
This lucid advisor strains the concerto's evolution over the key sessions of track: 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 now-lost autograph once housed in Paris was inscribed Concerto per il Violoncello del Sig; Car. Amadeo Wolfgango Mozart nel Marzo 1775. The opening six-measure theme is given in KÃ¶chel's thematic catalog (K. 206a). The Piano Concertos of the Late 1770s In January 1776, while still in Salzburg, Mozart shifted his attention to the piano concerto, writing three over the next three months. These three works are essentially galant in manner and, since they are relatively ordinary, are rarely played today.
In April 1775, something suddenly turned Mozart's attention to the concerto for violin, and over the next few months he composed all five of his works in this medium. The first was performed on the day of Franz's visit, 23 April 1775, and one wonders if perhaps the Archduke may have requested more. We simply do not know why the works were composed, nor do we know, in spite of what some have written, whether Mozart wrote them for his own performance or for Antonio Brunetti, the first violinist in the Salzburg court orchestra.
There are many pinnacles in the terrain that provide "mountain-top" experiences, and these will receive greater attention. For example, in Part I of this book, we will find among Vivaldi's tremendous output of concertos outstanding works that serve to define the new form in its earliest standardized state. These works illustrate the cumulative effects of a century of Italian composers' experimentation with the concerto principle. At the same time, this culmination led to new growth and the concerto fanned out across Europe.