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The Scoring of Baroque Concertos
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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 chambe…
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- Author: Richard Maunder
- Publisher: Boydell Press
- ISBN-10: 184383071X
- ISBN-13: 9781843830719
- Format: 16.3 x 23.6 x 2.5 cm, hardcover
- Language: English
- SAVE -10% with code: EXTRA
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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.EXTRA 10 % discount with code: EXTRA
278,00 €
308,89 €
We will send in 10–14 business days.
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- Author: Richard Maunder
- Publisher: Boydell Press
- ISBN-10: 184383071X
- ISBN-13: 9781843830719
- Format: 16.3 x 23.6 x 2.5 cm, hardcover
- Language: English English
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.
Reviews