Concerto in B Minor Op. 61
Concerto in B Minor Op. 61

Author: Edward Elgar

Publisher: Courier Corporation

Published: 2013-01-01

Total Pages: 99

ISBN-13: 0486491242

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This practice and performance edition of one of the most beloved pieces in the modern violin repertoire contains a piano reduction and a separate violin part.

The Concerto
The Concerto

Author: Stephan D. Lindeman

Publisher: Taylor & Francis

Published: 2006

Total Pages: 666

ISBN-13: 0415976197

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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.

The Penguin Companion to Classical Music
The Penguin Companion to Classical Music

Author: Paul Griffiths

Publisher: Penguin UK

Published: 2004-10-07

Total Pages: 1412

ISBN-13: 0141909765

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This superbly authoratitive new work provides a comprehensive A-Z guide to some 1000 years of Western music. It explores in detail the lives and achievements of a vast range of composers, as well as looking at such key topics as music history (from medieval plainchant to contemporary minimalism), performers, theory and jargon. Throught Griffiths skilfully blends lightly worn scholarship with personal insight, whether examining the emotional colouring that different musical keys achieve or charting the rise and development of the symphony.

Program
Program

Author: San Francisco Symphony Orchestra

Publisher:

Published: 1921

Total Pages: 272

ISBN-13:

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The Scoring of Baroque Concertos
The Scoring of Baroque Concertos

Author: C. R. F. Maunder

Publisher: Boydell Press

Published: 2004

Total Pages: 304

ISBN-13: 9781843830719

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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.