Download A History of the Concerto by Michael Thomas Roeder PDF

By Michael Thomas Roeder

This lucid advisor strains the concerto's evolution over the foremost classes of track: baroque, classical, romantic, and twentieth century. The compositions of every very important composer are mentioned intimately, making this an invaluable significant other to the shape.

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By the age of fourteen, Mozart had been appointed Konzertmeister of the Salzburg Court Orchestra. His letters record the admiration 39 40 his violin playing evoked, while Leopold often remarked on his son's string-playing abilities. It is certainly possible that Mozart wrote the concertos for himself; he did play some of them in later years. We do not know what stimulated Mozart to create these works, and neither can we point to any obvious models. He must have been exposed to the violin concerto in Italy, and the violin technique, based on a light, melodic style similar to that of the Italians, may have derived from his time spent there.

Shortly after his arrival home, the symphonie concertante, or concerto for more than one solo instrument, surfaced again. By the end of the summer of 1779 he had completed the Concerto for Two Keyboard Instruments in E-flat, K. 365/316a, and the very fine Sinfonia Concertante in E-flat for Violin and Viola, K. 364/320d. K. 365, probably intended for Mozart and his sister, is a piece of joyful entertainment music in which the two keyboard instruments frequently echo one another or respond in a statement-and-answer dialogue.

Mozart composed six string quartets in Vienna (K. 168173) at this time, which, in marked contrast to his earlier Milanese quartets, contain many identical features, particularly an intensity of thematic development and counterpoint as well as fugal finales in two of the quartets similar to those in Haydn's Op. 20 quartets. Within days of his return to Salzburg, Mozart completed his first symphony in a minor key, the "Little G Minor Symphony," (K. 183/173dB),5 which also displays his grasp of the urgency and intensity of the new style.

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