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The Scoring of Early Classical Concertos, 1750-1780 (Hardcover, New)
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The Scoring of Early Classical Concertos, 1750-1780 (Hardcover, New)
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The sequel to Richard Maunder's The Scoring of Baroque Concertos In
the baroque era most concertos were - in the modern sense of the
term - chamber music, to be played by a small group of musicians
each reading from an individual printed or manuscript part. Indeed,
composers often expected thesoloist to be accompanied by just a
string quartet with a harpsichord or organ continuo. But over the
thirty years from 1750, as the classical style was being developed,
numbers began to rise slowly. This did not happen at a uniform rate
throughout Europe, however, for many concertos continued to be
played one-to-a-part, and even by 1780 an ensemble with more than
eight or nine strings would have been unusual. The
nineteenth-century notion that a concertopitted a lone soloist
against a full symphony orchestra still lay some years in the
future. At the same time ideas about form were changing, as the
Vivaldian ritornello pattern metamorphosed into the concerto-sonata
form usedby Mozart and his contemporaries; some unconventional
variants appeared as composers strove to keep abreast of latest
developments. It was a fascinating period of innovation, in which
many hundreds of concertos were written. To be sure, not all of
them can be described as "forgotten masterpieces", but among them
there are some very fine works that certainly ought to be revived.
It is hoped that readers of this book may be encouraged to explore
this comparatively neglected repertoire. The late RICHARD MAUNDER
was a Fellow of Christ's College, Cambridge. His previous book, The
Scoring of Baroque Concertos, was published by The Boydell Press in
2004. He has also published books on Mozart's Requiem, Keyboard
Instruments in Eighteenth-Century Vienna and numerous editions of
seventeenth- and eighteenth-century music.
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