The Cambridge Companion to the Concerto

doi:10.1017/CCOL9780521834834

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SHAPOVALOVA, LIUDMYLA KYSLIAK, BOHDAN VAVRYK, RUSLANA ZINCHENKO, VIKTORIIA and KATRYNIAK, BOHDAN 2024. SOLO INSTRUMENTAL CONCERT WITH THE PARTICIPATION OF FOLK AND PERCUSSION INSTRUMENTS IN THE CONTEXT OF THE NEW EUROPEAN TRADITION. AD ALTA: Journal of Interdisciplinary Research, Vol. 14, Issue. 1, p. 72.

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Edited by Simon P. Keefe, City University London

Publisher:: Cambridge University Press
Online publication date:: September 2011
Print publication year:: 2005
Online ISBN:: 9781139000901
DOI:: https://doi.org/10.1017/CCOL9780521834834

Subjects:: Music, Music: General Interest, Music Performance
Collection:: The Cambridge Companions to Music
Series:: Cambridge Companions to Music

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No musical genre has had a more chequered critical history than the concerto and yet simultaneously retained as consistently prominent a place in the affections of the concert-going public. This volume, one of very few to deal with the genre in its entirety, assumes a broad remit, setting the concerto in its musical and non-musical contexts, examining the concertos that have made important contributions to musical culture, and looking at performance-related topics. A picture emerges of a genre in a continual state of change, re-inventing itself in the process of growth and development and regularly challenging its performers and listeners to broaden the horizons of their musical experience.

At the heart of this volume, one senses a kind of missionary zeal, a concerted effort (no pun intended) to take this particular genre out of academic limbo. Though perhaps the most popular musical form among great masses of music lovers, the concerto has often been dismissed by scholars as trivial, overly theatrical, ego driven, physical rather than intellectual. In this well-edited volume, Keefe provides a thorough, comprehensive antidote to such misconceptions. The volume explores every aspect of concerto history and literature, offering social and political contexts, stylistic comparisons, and a survey of major works (including structural analysis). The level of scholarship is high and perceptive comments abound. Highly recommended.
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The Cambridge Companion to the Concerto

This Book has been cited by the following publications. This list is generated based on data provided by Crossref.

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Contents

Frontmatter
pp i-xxvi

Introduction
pp 1-4

Part I - Contexts

1 - Theories of the concerto from the eighteenth century to the present day
pp 5-18

2 - The concerto and society
pp 19-32

Part II - The works

3 - The Italian concerto in the late seventeenth and early eighteenth centuries
pp 33-52

4 - The concerto in northern Europe to c.1770
pp 53-69

5 - The concerto from Mozart to Beethoven: aesthetic and stylistic perspectives
pp 70-92

6 - The nineteenth-century piano concerto
pp 93-117

7 - Nineteenth-century concertos for strings and winds
pp 118-138

8 - Contrasts and common concerns in the concerto 1900–1945
pp 139-160

9 - The concerto since 1945
pp 161-174

Part III - Performance

10 - The rise (and fall) of the concerto virtuoso in the late eighteenth and nineteenth centuries
pp 175-191

11 - Performance practice in the eighteenth-century concerto
pp 192-226

12 - Performance practice in the nineteenth-century concerto
pp 227-246

13 - The concerto in the age of recording
pp 247-260

Notes
pp 261-287

Selected further reading
pp 288-296

Index
pp 297-309

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The Cambridge Companion to the Concerto

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