A History of the Concerto by Michael Thomas Roeder

By Michael Thomas Roeder

This lucid advisor lines 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 better half to the shape.

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Occasionally, as in the finale of the Clarinet Concerto, K. 622, a new theme and development may be included. Refrain 3 This section is frequently omitted as is the third ritornello in the concerto-sonata form. If it is present, a short version of the rondo theme is given in the tonic. Episode 3 The material of Episode 1 is recapitulated here in the tonic key, but often in a shortened form. A cadenza may be placed after the closing theme. Refrain 4 34 35 A short version of the refrain leads to a coda.

Indeed, it was never performed and was probably lost. 10 Mozart's search for a suitable court position in Paris or Versailles was proving fruitless, and he became increasingly unhappy in the city. He despised French  < previous page 50 page_145 next page > 51 < previous page page_146 next page > Page 146 music and French taste, despite the one great success he enjoyed with the lasting masterpiece, the "Paris" Symphony. His mother's death on 3 July added to Mozart's misery. The only bright spot in Mozart's Parisian stay seems to have been a visit with J.

310. The Symphonies Concertantes Mozart had fallen in love with the sixteen-year-old Aloysia Weber while in Mannheim, postponing still longer his trip to Paris, in spite of a letter from his father in February ordering him to leave for Paris. In mid-March he and his mother finally departed for Paris, arriving there 23 March 1778. Mozart immediately began visiting one nobleman's house after another to earn money by giving lessons. One of his composition pupils, the daughter of Count Guines, played harp, and the count, a flute player, commissioned Mozart to write a concerto to feature the two of them.

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