A History of the Concerto by Michael Thomas Roeder

By Michael Thomas Roeder

This lucid consultant strains the concerto's evolution over the foremost classes of song: 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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279283/189d-h), all closely following the model set by J. 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.

191 survives. Mozart most likely first heard the bassoon as a solo instrument in Paris, where it appeared in several symphonies concertantes and the occasional concerto, while J. C. Bach composed two concertos for the bassoon, as well. As with Mozart's other wind instrument concertos, K. 191 shows the composer's understanding of the character and limitations of the instrument. Here Mozart exploits the bassoon's special qualitiesits staccato, its contrasts of registers, its comic and lugubrious voices, and its ability to sing a lyric melody in its middle register.

Episode 1 This section is constructed along the lines of a sonata-allegro form exposition, with a first theme in the tonic key. A transition leads to second and closing themes in the dominant key. Unlike the solo exposition of the concerto-sonata form, this section normally does not restate material from the movement's opening portion. This episode is one of the elements clearly distinguishing Mozart's concerto-rondo form from the ordinary rondo form. The soloist begins the episode with a new theme in the tonic, whereas in the ordinary rondo a modulating passage leads to a new theme in a new key at the episode's outset.

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