The Italian Solo Concerto, 1700-1760: Rhetorical Strategies and Style History

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Boydell Press, 2004 - History - 372 pages
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The solo concerto, a vast and important repertory of the early to mid eighteenth century, is known generally only through a dozen concertos by Vivaldi and a handful of works by Albinoni and Marcello. The authors aim to bring this repertory to greater prominence and have, since 1995, been involved in a research programme of scoring and analysing over nine hundred concertos, representing nearly the entire repertory available in early prints and manuscripts. Drawing on this research, they present a detailed study and analysis of the first-movement ritornello form, the central concept that enabled composers to develop musical thinking on a large scale. Their approach is firstly to present the ritornello form as a rhetorical argument, a musical process that dynamically unfolds in time; and secondly to challenge notions of a linear stylistic development from baroque to classical, instead discovering composers trying out different options, which might themselves become norms against which new experiments could be made. SIMON McVEIGH is Professor of Music, Goldsmiths College, University of London; JEHOASH HIRSHBERG is Professor in the Musicology Department, Hebrew University of Jerusalem.
 

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Contents

To Think Musically
1
Order Connection and Proportion
6
The Concerto in Context
29
Towards the Vivaldian Revolution
51
Vivaldi is a Deviant Vivaldian
81
Vivaldi Modulando
108
Vivaldi and the Recapitulation
134
Renovating Tradition
155
Platti and dAlai the Common Taste
211
Overthrowing Tradition
228
Milan and Vienna
248
Turin and the French Connection
276
Padua Tartini and la maggior perfezione del buon gusto
284
The Malleable Model
300
Catalogue of Repertoire
311
Bibliography
355

The Venetian Orbit
171
From Venice across the Alps
199

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