Concerto Op. 9/3
Author : Tomaso Albinoni
Publisher :
Page : 56 pages
File Size : 27,26 MB
Release : 1974
Category : Concertos (Oboes (2) with string orchestra)
ISBN :
Author : Tomaso Albinoni
Publisher :
Page : 56 pages
File Size : 27,26 MB
Release : 1974
Category : Concertos (Oboes (2) with string orchestra)
ISBN :
Author : William Mathias
Publisher :
Page : 48 pages
File Size : 31,55 MB
Release : 1987
Category : Concertos (Horn with string orchestra)
ISBN :
Author : Tomaso Albinoni
Publisher :
Page : 32 pages
File Size : 47,76 MB
Release : 1976
Category : Concertos (Oboes (2) with string orchestra)
ISBN :
Author : C. R. F. Maunder
Publisher : Boydell Press
Page : 304 pages
File Size : 46,21 MB
Release : 2004
Category : Music
ISBN : 9781843830719
Evidence indicates that the concertos of Vivaldi, Bach, Haydn etc were performed as chamber music, not the full orchestral works commonly assumed. The concertos of Vivaldi, Bach, Handel and their contemporaries are some of the most popular, and the most frequently performed, pieces of classical music; and the assumption has always been they were full orchestral works. This book takes issue with this orthodox opinion to argue quite the reverse: that contemporaries regarded the concerto as chamber music. The author surveys the evidence, from surviving printed and manuscript performance material, from concerts throughout Europe between 1685 and 1750 (the heyday of the concerto), demonstrating that concertos were nearly always played one-to-a-part at that time. He makes a particularly close study of the scoring of the bass line, discussing the question of what instruments were most appropriate and what was used when. The late Dr RICHARD MAUNDER was Fellow of Christ's College, Cambridge.
Author : Harold Reeves (Firm)
Publisher :
Page : 700 pages
File Size : 45,39 MB
Release : 1919
Category : Music
ISBN :
Author : David Daniels
Publisher : Scarecrow Press
Page : 634 pages
File Size : 11,18 MB
Release : 2005-10-13
Category : Music
ISBN : 0810856743
Also Available: Orchestral Music Online This fourth edition of the highly acclaimed, classic sourcebook for planning orchestral programs and organizing rehearsals has been expanded and revised to feature 42% more compositions over the third edition, with clearer entries and a more useful system of appendixes. Compositions cover the standard repertoire for American orchestra. Features from the previous edition that have changed and new additions include: · Larger physical format (8.5 x 11 vs. 5.5 x 8.5) · Expanded to 6400 entries and almost 900 composers (only 4200 in 3rd Ed.) · Merged with the American Symphony Orchestra League's OLIS (Orchestra Library Information Service) · Enhanced specific information on woodwind & brass doublings · Lists of required percussion equipment for many works · New, more intuitive format for instrumentation · More contents notes and durations of individual movements · Composers' citizenship, birth and death dates and places, integrated into the listings · Listings of useful websites for orchestra professionals
Author : Stephan D. Lindeman
Publisher : Routledge
Page : 666 pages
File Size : 33,81 MB
Release : 2006-11-06
Category : Music
ISBN : 1135922055
Twelve-tone and serial music were dominant forms of composition following World War II and remained so at least through the mid-1970s. In 1961, Ann Phillips Basart published the pioneering bibliographic work in the field.
Author : Simon McVeigh
Publisher : Boydell Press
Page : 390 pages
File Size : 23,22 MB
Release : 2004
Category : History
ISBN : 9781843830924
The composition of the solo concerto studied as an evolving debate (rather than a static technique), and for its stylistic features.
Author : Alberto Bachmann
Publisher :
Page : 508 pages
File Size : 35,27 MB
Release : 1925
Category : Cellists
ISBN :
Author : Paul Everett
Publisher : Cambridge University Press
Page : 124 pages
File Size : 36,1 MB
Release : 1996-02-22
Category : Music
ISBN : 9780521404990
The Four Seasons and the rest of the concertos in Op. 8 represent Vivaldi's remarkable innovation in the field of the Baroque concerto. This detailed guide examines the work's origin and construction in a way that enables the reader to distinguish what is extraordinary about the Seasons and what constitutes the composer's customary method of 'characterising' the solo concerto. Drawing on recent research and his own expertise in the appraisal of Vivaldi's manuscripts, the author draws interesting and sometimes startling conclusions about the conception of the Seasons, the origin of their programme, the dating of the concertos and the rationale behind the collection's ritornello-form structures and aria-like slow movements. The significance of Vivaldi's idiosyncratic art is thus revealed in some of the most popular concert music of all time.