From the Preface: The field of chamber music has undergone consistent development since this book was first published eighteen years ago. Historical researchers have discovered many new facts and provided new insights into the earlier periods. A new generation of contemporary composers has introduced new styles and style elements into the field. The standard repertoire itself has been enlarged even as the sheer number of chamber-music performance and recording has increased. The second edition of this book seeks to reflect the increasing impact of chamber music on concert life everywhere. The chapters dealing with its growth to about 1730 have been completely rearranged, and much new material has been incorporated. Sections on composers treated sketchily or not at all in the first edition-notably Vivaldi and Boccherini-have been enlarged or added in the second. The very definition of chamber music has been broadened to include violin sonatas and cello sonatas, and many works in these categories have been discussed. The chapter on contemporary music has been rewritten and expanded to take into account the most recent developments. Finally, the bibliography has been enlarged to include the most important items that deal with chamber music and its composers. One omission may be noted in the second edition: the lists of chamber-music publications and recordings. Such lists are inevitably out of date even when they first appear; and the existence of comprehensive catalogues today makes the music and long-playing phonograph recordings generally available in any case.
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From Canzone to Sonata da Chiesa
From Dance Suite to Sonata da Camera
The Solo and the Trio Sonata
The Emergence of Classical Style
Franz Joseph Haydn
Wolfgang Amadeus Mozart
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adagio allegro appeared Bach Baroque bass basso continuo became Beethoven Brahms Brahms's canzone cello century chamber music chamber-music chanson characteristic charm chord chromatic clarinet Classical coda color composers compositions contains contrapuntal contrasting Corelli counterpoint dance devices divertimento dominant earlier early elements emotional ensemble Example fast finale flat four movements four-movement fugal fugue G major G minor harmonic Haydn homophonic imitations instruments Johann keyboard keyboard instrument last movement later lyric melody major quartet Mannheim ment minuet mood motive Mozart musicians opera Opus Opus 20 orchestral passages period phrase piano quartets piano trios piece published quartets of Opus quintet recapitulation rhythmic Riemann scherzo Schubert Schumann second movement sections sextet slow movement solo sonata da camera sonata da chiesa sonata-form Stamitz string quartets style suite symphony tempo texture thematic theme third movement tion tonal tone trio sonatas triple meter typical variations Vienna viola violin sonatas voices writing written
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L'avant-garde musicale et ses sociétés à Paris de 1871 à 1939
No preview available - 1997