The Scoring of Baroque Concertos

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Boydell Press, 2004 - 287 páginas
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.
 

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Contenido

Bologna
15
Venice
37
Rome
64
Germany and Holland
86
England
112
Italy
135
Germany
166
The Low Countries and France
200
England
222
Bibliography
265
Index of Music
272
General Index
281
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