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001 ocm54907028;

003 OCoLC;

005 20141212180625.0;

008 040402s2004 enka b 001 0 eng ;

010 a| 2004007862;

020 a| 184383071X (hardback : alk. paper);

035 a| (Sirsi) o54907028;

035 a| (OCoLC)54907028;

040 a| DLCc| DLCd| UtOrBLW;

042 a| pcc;

049 a| EREM;

050 00 a| ML1263b| .M38 2004;

082 00 a| 784.18/613742| 22;

100 1 a| Maunder, C. R. F.=| ^A162754;

245 14 a| The scoring of Baroque concertos /c| Richard Maunder.;

260 a| Woodbridge, Suffolk, UK :b| Boydell Press,c| 2004.;

300 a| vii, 287 pages :b| illustrations ;c| 25 cm;

336 a| text2| rdacontent;

337 a| unmediated2| rdamedia;

338 a| volume2| rdacarrier;

504 a| Includes bibliographical references (pages 265-271) and indexes.;

505 0 a| Part I: 1685-1725. Bologna ; Venice ; Rome ; Germany and Holland ; England -- Part II: 1725-50. Italy ; Germany ; The Low Countries and France ; England.;

520 a| Evidence indicates that the concertos of Vivaldi, Bach, Haydn etc were performed as chamber music, not the full orchestral works commonly assumed. The concertos of Vivaldi, Bach, Handel and their contemporaries are some of the most popular, and the most frequently performed, pieces of classical music; and the assumption has always been they were full orchestral works. This book takes issue with this orthodox opinion to argue quite the reverse: that contemporaries regarded the concerto as chamber music. The author surveys the evidence, from surviving printed and manuscript performance material, from concerts throughout Europe between 1685 and 1750 (the heyday of the concerto), demonstrating that concertos were nearly always played one-to-a-part at that time. He makes a particularly close study of the scoring of the bass line, discussing the question of what instruments were most appropriate and what was used when.;

650 0 a| Concertoy| 17th century.=| ^A605002;

650 0 a| Concertoy| 18th century.=| ^A605002;

650 0 a| Instrumentation and orchestrationx| History.=| ^A15865;

994 a| X0b| ERE;

596 a| 3;

998 a| 980358;

999 a| ML1263 .M38 2004w| LCc| 1i| 30372012618606d| 9/17/2021e| 11/15/2015f| 4/4/2024g| 4l| MSTm| JMUSICn| 17q| 3r| Ys| Yt| MGESBKu| 11/30/2004x| BOOKz| MCIRCo| .STAFF. enhanced 1/13/23 -jjab;

The scoring of Baroque concertos / Richard Maunder.

Author/creator	Maunder, C. R. F.
Format	Book
Publication Info	Woodbridge, Suffolk, UK : Boydell Press, 2004.
Description	vii, 287 pages : illustrations ; 25 cm
Subjects	Concerto--17th century. Concerto--18th century. Instrumentation and orchestration--History.

Contents	Part I: 1685-1725. Bologna ; Venice ; Rome ; Germany and Holland ; England -- Part II: 1725-50. Italy ; Germany ; The Low Countries and France ; England.
Abstract	Evidence indicates that the concertos of Vivaldi, Bach, Haydn etc were performed as chamber music, not the full orchestral works commonly assumed. The concertos of Vivaldi, Bach, Handel and their contemporaries are some of the most popular, and the most frequently performed, pieces of classical music; and the assumption has always been they were full orchestral works. This book takes issue with this orthodox opinion to argue quite the reverse: that contemporaries regarded the concerto as chamber music. The author surveys the evidence, from surviving printed and manuscript performance material, from concerts throughout Europe between 1685 and 1750 (the heyday of the concerto), demonstrating that concertos were nearly always played one-to-a-part at that time. He makes a particularly close study of the scoring of the bass line, discussing the question of what instruments were most appropriate and what was used when.
Bibliography note	Includes bibliographical references (pages 265-271) and indexes.
LCCN	2004007862
ISBN	184383071X (hardback : alk. paper)

The scoring of Baroque concertos / Richard Maunder.

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