Talk:Concerto
From Academic Kids
Article was adapted from a 1911 enc.
CLEANUP: Some subheadings could improve this article (e.g. Baroc concerto, Classical concerto, Romantic concerto etc.)
Historical development etc.
Some good writing by C. Girdlestone, for instance - Alfred Einstein also, and others about the concerto. Girdlestone (Mozart and his Piano Concertos) points out how often the opening tutti in Mozart contains themes that are not heard in the first solo but perhaps not until the development or the coda, and how this is used as a dramatic device, among other observations on how the existence of an opening tutti allows not just breathing space but (Tovey- quoted by Girdlestone- points this out too and notes that each of the mature piano concertos has some important, and not local, feature making its relations between solo and orchestra* different from all the others) different relations between solo and orchestra in each of the piano concertos, all of these effects mostly lost (mostly - there are other effects achieved in other ways of course) when the tutti itself is dropped by the Romantic-era composer.
- Not referring always to the 'tutti opening' but sometimes to the way the parts interact instead, of course. Obviously one point here is that the later concertos show much more independent winds... Spohr was not that far wrong in calling them symphonies for piano and orchestra, as Toch actually did call one of his piano concertos. These remarks may be more appropriate for piano concerto. Schissel : bowl listen 19:48, May 24, 2005 (UTC)
