The Cambridge Companion to the Concerto

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.

Notes on the contributors
Acknowledgements
List of abbreviations
The concerto: a chronology Simon P. Keefe
Introduction Simon P. Keefe
Part I. Contexts: 1. Theories of the concerto from the eighteenth century to the present day Simon P. Keefe
2. The concerto and society Tia DeNora
Part II. The Works: 3. The Italian concerto in the late seventeenth and early eighteenth centuries Michael Talbot
4. The concerto in northern Europe to c. 1770 David Yearsley
5. The concerto from Mozart to Beethoven: aesthetic and stylistic perspectives Simon P. Keefe
6. The nineteenth-century piano concerto Stephan D. Lindeman
7. Nineteenth-century concertos for strings and winds R. Larry Todd
8. Contrasts and common concerns in the concerto 1900-1945 David E. Schneider
9. The concerto since 1945 Arnold Whittall
Part III. Performance: 10. The rise (and fall) of the concerto virtuoso in the late eighteenth and nineteenth centuries Cliff Eisen
11. Performance practice in the eighteenth-century concerto Robin Stowell
12. Performance practice in the nineteenth-century concerto David Rowland
13. The concerto in the age of recording Timothy Day
Notes
Selected further reading
Index.

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The Cambridge Companion to the Concerto

Summary

Table of Contents

Supplemental Materials