By Michael Thomas Roeder
This lucid consultant strains the concerto's evolution over the main classes of track: baroque, classical, romantic, and twentieth century. The compositions of every vital composer are mentioned intimately, making this an invaluable spouse to the shape.
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Extra resources for A History of the Concerto
The closing section of the solo exposition is given over to bravura writing, usually concluding with a trill, which heralds the reentry of the orchestra with its brief central ritornello, made up of material from the opening ritornello. Tutti 2 (Ritornello 2) The central ritornello normally remains in the dominant and serves to round off the solo exposition, although it may at times veer away to new keys and launch the development section. Solo 2 (Development) The second solo section is equivalent to the Classical sonata-allegro form's development section, and is widely modulatory.
In addition to these four qualities, Mozart cultivated others common to his work in all musical forms. Especially noteworthy are the brilliant use of chromaticism, the luxuriant harmonic colorations and glorious modulations, the subtle and effective use of counterpoint, and a supreme understanding of musical form. Mozart used and helped to perfect the concerto-sonata form common at the time. The formal features commonly found in Mozart's concerto opening movements are: Â < previous page < previous page page_128 page_129 next page > next page > Page 129 Tutti 1 (Ritornello 1) The opening ritornello is multithematic, with a clear first theme group, transition, a second theme group, often of more lyrical quality, and cadential material establishing the tonic.
C. Bach. Returning to Salzburg, Mozart entered one of his most depressed periods, feeling that his opportunities there were limited and that his talent was stifled. In March and April, despite his depression, he completed a festival opera, II re pastore, to a libretto by Metastasio, for a visit to Salzburg of Archduke Maximilian Franz. In April 1775, something suddenly turned Mozart's attention to the concerto for violin, and over the next few months he composed all five of his works in this medium.
A History of the Concerto by Michael Thomas Roeder