Tekijä Stowell, Robin, kirjoittaja.
Julkaisun nimeke Beethoven: violin concerto
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Sisältö Towards the Violin Concerto Op. 61 -- The Genesis of Op. 61 -- Reception and Performance History -- The Textual History -- Structure and Style I - 1 Allegro ma non troppo -- Structure and Style II - 2/3. Larghetto-Rondo: Allegro -- Cadenzas -- Select Discography -- Published Cadenzas -- Textual Problems Perpetuated in Some Printed Scores.
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Julkaisusarja Cambridge music handbooks.
ISBN
*00001419cam a22003134i 4500
*00131665
*00520170829170105.0
*008050114s1998\\\\xxk|||| |||| 00||0|eng c
*020 $a0-521-45775-0$qpaperback.
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*1001 $aStowell, Robin,$ekirjoittaja.
*24510$aBeethoven: violin concerto /$cRobin Stowell.
*264 1$aCambridge :$bCambridge University Press,$c1998.
*300 $a126 sivua :$bnuotteja
*336 $ateksti$btxt$2rdacontent
*337 $akäytettävissä ilman laitetta$bn$2rdamedia
*338 $anide$bnc$2rdacarrier
*4901 $aCambridge music handbooks
*5050 $aTowards the Violin Concerto Op. 61 -- The Genesis of Op. 61 -- Reception and Performance History -- The Textual History -- Structure and Style I - 1 Allegro ma non troppo -- Structure and Style II - 2/3. Larghetto-Rondo: Allegro -- Cadenzas -- Select Discography -- Published Cadenzas -- Textual Problems Perpetuated in Some Printed Scores.
*60014$aBeethoven, Ludwig van.$tKonsertot, viulu, op61, D-duuri.
*648 7$a1800-1809$2yso/fin
*650 7$amusiikkianalyysi$2yso/fin$0http://www.yso.fi/onto/yso/p19623
*650 7$akonsertot$2yso/fin$0http://www.yso.fi/onto/yso/p10246
*650 7$aviulu$2yso/fin$0http://www.yso.fi/onto/yso/p19602
*650 7$amusiikinhistoria$2yso/fin$0http://www.yso.fi/onto/yso/p14569
*651 7$aSaksa$2yso/fin$0http://www.yso.fi/onto/yso/p105087
*830 0$aCambridge music handbooks.
*979 $a307930
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Beethoven's Violin Concerto was the only significant work of this genre to appear between Mozart's five concertos of 1775 and Mendelssohn's E minor Concerto of 1844. This handbook explores the background to Beethoven's work, its genesis, its place in the composer's oeuvre and the influences which combined in its creation. It describes contemporary reactions to the work both in the musical press and in the concert hall during its first crucial years, and explains how it was eventually accepted into the repertory, spawning numerous recordings and editions. The principal sources and many of the work's textual problems are considered, including discussion of the composer's version for piano and orchestra, Op. 61a. A detailed account of the work itself is followed by a review of the wide variety of cadenzas that have been written to complement the concerto through its performance history.