Abstract
Since the eighteenth century, violin concertos have provided a showcase for dramatic interplay between a soloist’s virtuosity and the blended sonority of an orchestra’s many instruments. Using this genre to showcase skill and ingenuity, composers cemented the violin concerto as a key genre of classical music and gifted our ears with such timeless masterpieces as Vivaldi’s Four Seasons.
In Experiencing the Violin Concerto, Franco Sciannameo draws on his years of scholarship and violin performance to trace the genre through Baroque, Classical, and modern periods. Along the way, he explores the social and personal histories of composers, and the fabulous virtuosi who performed concertos, and audiences they conquered worldwide. Inviting readers to consider not only the components of the music but also the power of perception and experience, Sciannameo recreates the atmosphere of a live performance as he paints a narrative history of technique and innovation.
Experiencing the Violin Concerto uses descriptions in place of technical jargon to make the world of classical music accessible to amateur music lovers. As part of the Listener’s Companion series, the volume gives readers an enhanced experience of key works by investigating the environments in which the works were written and first performed as well as those in which they are enjoyed today.
Schlagworte
Paganini Mozart Stravinsky Tomasini Shostakovich Prokofiev Schoenberg Schumann Viotti Vivaldi Bartok Beethoven Brahms Brunetti Haydn virtuoso orchestra strings symphony Mendelssohn classical music four seasons learn classical music- Kapitel Ausklappen | EinklappenSeiten
- 115–136 8 Pillars of Modernism 115–136
- 171–172 Notes 171–172
- 173–174 Selected Reading 173–174
- 175–176 Selected Listening 175–176
- 177–184 Index of Names 177–184
- 185–185 About the Author 185–185
10 Treffer gefunden
- „... 212MOZART—HAYDN—BRUNETTI—TOMASINIINTO THE WOODSJohann Sebastian Bach’s violin and keyboard ...” „... that MozartCHAPTER 228conducted the various ensembles and performed the violin solos him-self unless it ...” „... Sebastian Bach and the middle 1770s, whenWolfgang Amadeus Mozart composed his violin concertos, the ...”
- „... Mozart—Haydn—Brunetti—Tomasini 213 Viotti and Beethoven 374 The Meteoric Paganini and His Epigones 475 At the Heart of German ...” „... . In chapter 2 (Mozart—Haydn—Brunetti—Tomasi-ni), I dwell on Mozart’s earlier violin concertos (K. 207 ...” „... , by Kenneth LaFaveExperiencing Mozart: A Listener’s Companion, by David SchroederExperiencing Peter ...”
- „... Press, 2009.Halliwell, Ruth. The Mozart Family: Four Lives in a Social Context. Oxford: ClarendonPress ...” „... .Rosselli, John. The Life of Mozart. Cambridge: Cambridge University Press, 1998.Schoenbaum, David. The ...” „... , 1991.Zaslaw, Neal. “Concertos for Strings.” In The Compleat Mozart: Guide to the Musical Worksof ...”
- „... . MOZART—HAYDN—BRUNETTI—TOMASINI1. The letter K followed by a number indicates the chronological order ofcomposition assigned to ...” „... Mozart’s works by Ludwig Ritter von Köchel.3. VIOTTI AND BEETHOVEN1. WoO stands forWerke ohne Opuszahi ...”
- „... Mozart’sCosì fan tutte (Act 1), The Marriage of Figaro (Acts 3 and 4), and theJupiter Symphony; Beethoven’s ...” „... returned.In 1977, the manuscripts of Beethoven’s Ninth Symphony and ThirdPiano Concerto and Mozart’sMagic ...” „... manuscripts of Beethoven’s ‘Ninth Symphony’ and Mo-zart’s ‘Magic Flute’ had been found again.” The shocking ...”
- „... to them since Viotti did not stand, in thedevelopment of the Concerto form, behind Mozart, but beside ...” „... concerned—betweenMozart and Beethoven insomuch as Viotti’s is the only violin concertoof that period to have gained a ...” „... minor remains the canonizedlink between Mozart and Beethoven, one must take into considerationthe Violin ...”
- „... Molinari, Bernardino, 5, 9, 145Mompellio, Federico, 52Moodie, Alma, 157Morzin, Wenzel von, 6, 7Mozart ...” „... , Leopold, 22, 23, 25, 26, 27, 34INDEX OF NAMES 181Mozart, Wolfgang Amadeus, ix, x, xvi, 2, 3,22, 23, 24, 26 ...”
- „... ? What abuses of all sorts did not the darling of God, Mo-zart, have to endure? Was it not said that ...” „... Mozart’s music was too“overworked” and orchestrated too “noisily”?And how did German criticism behave ...”
- „... , though, it seems he lost everything; Vivaldi died a pauper inVienna in 1742 like Mozart would fifty years ...” „... names of thepast: Corelli, Tartini, Pugnani, Bach, Mozart, and . . . Vivaldi, whosenotoriously spurious ...”
- „... the so-calledSecond Viennese School, assuming a first school included Haydn, Mo-zart, Beethoven, and ...” „... of twenty-five to twenty-six minutes’ duration, and employed an orchestra of qua-si-Mozartean ...”