Descripciones mejoradas de Syndetics:

Michael Steinberg's 1996 volume The Symphony: A Reader's Guide received glowing reviews across America. It was hailed as "wonderfully clear...recommended warmly to music lovers on all levels" (Washington Post), "informed and thoughtful" (Chicago Tribune), and "composed by a master stylist" (San Francisco Chronicle). Seiji Ozawa wrote that "his beautiful and effortless prose speaks from the heart." Michael Tilson Thomas called The Symphony "an essential book for any concertgoer." Now comes the companion volume--The Concerto: A Listener's Guide. In this marvelous book, Steinberg discusses over 120 works, ranging from Johann Sebastian Bach in the 1720s to John Adams in 1994. Readers will find here the heart of the standard repertory, among them Bach's Brandenburg Concertos, eighteen of Mozart's piano concertos, all the concertos of Beethoven and Brahms, and major works by Mendelssohn, Schumann, Liszt, Bruch, Dvora'k, Tchaikovsky, Grieg, Elgar, Sibelius, Strauss, and Rachmaninoff. The book also provides luminous introductions to the achievement of twentieth-century masters such as Arnold Schoenberg, Be'la Barto'k, Igor Stravinsky, Alban Berg, Paul Hindemith, Sergei Prokofiev, Aaron Copland, and Elliott Carter. Steinberg examines the work of these musical giants with unflagging enthusiasm and bright style. He is a master of capturing the expressive, dramatic, and emotional values of the music and of conveying the historical and personal context in which these wondrous works were composed. His writing blends impeccable scholarship, deeply felt love of music, and entertaining whimsy. Here then is a superb journey through one of music's richest and most diverse forms, with Michael Steinberg along as host, guide, and the best of companions.

Tabla de contenidos provista por Syndetics

• Adams
• Violin Concerto(p. 3)
• Bach
• The Brandenburg Concertos(p. 11)
• Harpsichord (or Violin) Concerto in D Minor(p. 15)
• Two-Violin Concerto(p. 17)
• Barber
• Piano Concerto(p. 21)
• Violin Concerto(p. 27)
• Bartok
• Piano Concerto No. 1(p. 37)
• Piano Concerto No. 2(p. 39)
• Piano Concerto No. 3(p. 41)
• Violin Concerto No. 2(p. 45)
• Beethoven
• Piano Concerto No. 1(p. 52)
• Piano Concerto No. 2(p. 55)
• Piano Concerto No. 3(p. 59)
• Piano Concerto No. 4(p. 64)
• Piano Concerto No. 5(p. 71)
• Triple Concerto for Piano, Violin, and Cello(p. 76)
• Violin Concerto(p. 81)
• Berg
• Violin Concerto(p. 92)
• Brahms
• Piano Concerto No. 1(p. 106)
• Piano Concerto No. 2(p. 114)
• Violin Concerto(p. 120)
• Double Concerto for Violin and Cello(p. 128)
• Bridge
• Oration, for Cello and Orchestra(p. 132)
• Britten
• Violin Concerto(p. 138)
• Symphony for Cello and Orchestra(p. 143)
• Bruch
• Violin Concerto No. 1(p. 150)
• Scottish Fantasy, for Violin and Orchestra(p. 152)
• Carter
• Oboe Concerto(p. 159)
• Violin Concerto(p. 162)
• Double Concerto for Harpsichord, Piano, and Two Orchestras(p. 165)
• Chausson
• Poeme, for Violin and Orchestra(p. 171)
• Copland
• Clarinet Concerto(p. 175)
• Dvorak
• Cello Concerto(p. 180)
• Elgar
• Cello Concerto(p. 185)
• Violin Concerto(p. 189)
• Grieg
• Piano Concerto(p. 200)
• Hindemith
• Cello Concerto(p. 204)
• Der Schwanendreher, for Viola and Orchestra(p. 209)
• Trauermusik, for Viola and Orchestra(p. 212)
• Korngold
• Violin Concerto(p. 215)
• Lalo
• Symphonie espagnole, for Violin and Orchestra(p. 220)
• Ligeti
• Cello Concerto(p. 227)
• Piano Concerto(p. 230)
• Violin Concerto(p. 233)
• Liszt
• Piano Concerto No. 1(p. 237)
• Piano Concerto No. 2(p. 240)
• Lutoslawski
• Cello Concerto(p. 244)
• Martin
• Concerto for Seven Winds, Timpani, Percussion, and String(p. 254)
• Polyptyque, for Violin and Two String Orchestra(p. 255)
• Mendelssohn
• Piano Concerto No. 1(p. 262)
• Violin Concerto(p. 264)
• Mozart
• Clarinet Concerto(p. 271)
• Horn Concerto No. 3(p. 276)
• Piano Concerto No. 9, K. 271(p. 281)
• Piano Concerto No. 11, K. 413(p. 283)
• Piano Concerto No. 12, K. 414(p. 284)
• Piano Concerto No. 13, K. 415(p. 286)
• Piano Concerto No. 14, K. 449(p. 288)
• Piano Concerto No. 15, K. 450(p. 289)
• Piano Concerto No. 16, K. 451(p. 293)
• Piano Concerto No. 17, K. 453(p. 295)
• Piano Concerto No. 18, K. 456(p. 298)
• Piano Concerto No. 19, K. 459(p. 300)
• Piano Concerto No. 20, K. 466(p. 303)
• Piano Concerto No. 21, K. 467(p. 305)
• Piano Concerto No. 22, K. 482(p. 307)
• Piano Concerto No. 23, K. 488(p. 310)
• Piano Concerto No. 24, K. 491(p. 312)
• Piano Concerto No. 25, K. 503(p. 313)
• Piano Concerto No. 26, K. 537(p. 317)
• Piano Concerto No. 27, K. 595(p. 319)
• Violin Concerto No. 3, K. 216(p. 324)
• Violin Concerto No. 4, K. 218(p. 325)
• Violin Concerto No. 5, K. 219(p. 326)
• Sinfonia concertante, for Violin and Viola(p. 328)
• Nielsen
• Clarinet Concerto(p. 332)
• Flute Concerto(p. 334)
• Perle
• Piano Concerto No. 1(p. 337)
• Prokofiev
• Piano Concerto No. 2(p. 344)
• Piano Concerto No. 3(p. 347)
• Violin Concerto No. 1(p. 349)
• Violin Concerto No. 2(p. 352)
• Rachmaninoff
• Piano Concerto No. 2(p. 356)
• Piano Concerto No. 3(p. 362)
• Rhapsody on a Theme of Paganini, for Piano and Orchestra(p. 367)
• Ravel
• Piano Concerto in G(p. 371)
• Concerto for Piano Left-Hand and Orchestra(p. 375)
• Reger
• Piano Concerto(p. 380)
• Saint-Saens
• Piano Concerto No. 2(p. 389)
• Piano Concerto No. 4(p. 391)
• Schoenberg
• Piano Concerto(p. 395)
• Violin Concerto(p. 399)
• Schuman
• Violin Concerto(p. 405)
• Schumann
• Cello Concerto(p. 409)
• Piano Concerto(p. 413)
• Violin Concerto(p. 419)
• Concertstuck, for Four Horns(p. 426)
• Sessions
• Violin Concerto(p. 429)
• Shostakovich
• Cello Concerto No. 1(p. 434)
• Piano Concerto No. 1(p. 436)
• Violin Concerto No. 1(p. 439)
• Sibelius
• Violin Concerto(p. 444)
• Strauss
• Burleske, for Piano and Orchestra(p. 449)
• Horn Concerto No. 1(p. 453)
• Horn Concerto No. 2(p. 456)
• Oboe Concerto(p. 459)
• Stravinsky
• Capriccio for Piano and Orchestra(p. 463)
• Piano Concerto(p. 465)
• Violin Concerto(p. 468)
• Tchaikovsky
• Piano Concerto No. 1(p. 473)
• Piano Concerto No. 2(p. 479)
• Violin Concerto(p. 484)
• Variations on a Rococo Theme, for Cello and Orchestra(p. 488)
• Walton
• Cello Concerto(p. 493)
• Viola Concerto(p. 495)
• Violin Concerto(p. 498)
• Zimmermann
• Nobody Knows de Trouble I See, for Trumpet and Orchestra(p. 502)

Reseñas proporcionadas por Syndetics

Library Journal Review

Similar to Steinberg's earlier volume The Symphony: A Listener's Guide (LJ 9/1/95), these essays were originally written for the program books of the Boston Symphony, San Francisco Symphony, and other orchestras. The 117 concertos chosen represent an interesting cross-section of works by the most popular composers (Beethoven, Brahms, Mozart), some less popular ones (Schoenberg, Sessions), and a few surprises (Perle, Nielsen, Zimmerman). A wide range of material‘facts about the composers' lives, notable circumstances surrounding the first performances of the work‘punctuate his discussion of each composition. The entries are all clearly written, although it is assumed that the reader has a fairly good knowledge of the standard musical repertory, and technical information is included. For the amateur with a musical background, this is a valuable and very interesting collection.‘Timothy J. McGee, Univ. of Toronto (c) Copyright 2010. Library Journals LLC, a wholly owned subsidiary of Media Source, Inc. No redistribution permitted.

Publishers Weekly Review

A former music critic for the Boston Globe, Steinberg (The Symphony: A Reader's Guide) here gathers some 122 essays, some of which began as notes to programs given by the New York Philharmonic, the San Francisco Symphony and the Minnesota Orchestra, among others. Now based in Edina, Minn., Steinberg generally focuses on the most-often played concertos by Mozart, Beethoven, Brahms and other popular composers. Although this is not the book to open if you're looking for data on a rare item by the likes of Nikolai Miaskovsky or Vagn Holmboe, it is nevertheless a worthwhile introduction for readers shy of technical matters. Steinberg intersperses his essays with plenty of commentary about various concertos from musicians, who generally have more pertinent things to say than a good many musicologists. Although there are musical examples, they need not scare off readers who have never studied music. Inevitably, in a collection of articles such as this, there will be some painful omissions: thus, although Witold Lutoslawski's great Cello Concerto merits an article, none is devoted to his equally great Piano Concerto. Modern composers such as Henri Dutilleux, Bohuslav Martinu and Darius Milhaud are not discussed here, nor are there any entries about popular classical works such as Haydn's Cello Concertos. While this book not an all-inclusive or encyclopedic guide, this collection of articles has a relaxed, easy charm that will most likely win over readers unfamiliar with the subject. (Oct.) (c) Copyright PWxyz, LLC. All rights reserved

Notas de autor provistas por Syndetics

Michael Steinberg, musicologist, critic, teacher, chamber music coach, and narrator, is the program annotator of the San Francisco Symphony and the New York Philharmonic and was music critic of The Boston Globe for twelve years