Symphony No. 1 in G Major, Symphonie Concertante in G Major, and Scena from Ernestine

1975 ◽  
Vol 3 (1) ◽  
pp. 118
Author(s):  
Chevalier de Saint-Georges ◽  
London Symphony Orchestra ◽  
Paul Freeman
Keyword(s):  
Symphonie Concertante

Concerto

2021 ◽  
Keyword(s):  
18Th Century ◽  
Sonata Form ◽  
Concerto Grosso ◽  
Actual Nature ◽  
Variation Sets ◽  
Working Together ◽  
Symphonie Concertante ◽  
Concerto Form ◽  
Major Factors ◽  
The 19Th Century

The term concerto has been applied to music works since the early 16th century, first appearing in treatises almost a century later. Reflecting the sense of two or more forces either contending with or working together with someone (both Latin), or “arrange, agree, get together” (Italian), early concertos combined voices and instruments with no other formal consequences. These characteristics remain with the genre throughout its history. Only with the emergence of the instrumental, non-texted concerto in the late 17th century did structure begin to become an issue. Two important formal trends regarding the concerto dominate the 18th century. The most pervasive overall form is that of three movements, fast-slow-fast. The form of the first movement has attracted the most attention in the literature. Concertos in the first half of the 18th century, emanating from Italy and spreading northward, start with some version of ritornello form, which is also used in arias. In the latter part of the century, first movements increasingly take on the characteristics of sonata form, found in symphonies and sonatas, resulting in first movement concerto form or concerto-sonata form. The actual nature of the merging of the two ideas in any given work remains a vibrant topic. In one sense, the influence of the two forms, ritornello and sonata, has declined since Beethoven, giving way to other compositional concerns, yet the forms can often lurk in the background of the genre. The breadth of works that fall under the descriptive term concerto can be exasperating. Concerto also embraces a number of subgenres. The earliest works are known as vocal concertos or sacred concertos (many of them were sacred pieces), but do not always bear the designation. They are performed in stile concertato, using diverse musical forces. The term remains applicable to certain textures. The concerto grosso, connected with the Baroque, is another subgenre. Yet another subgenre is the symphonie concertante, which emerged in 18th-century France. This subgenre passed in popularity, but the term concertante continues to be applied to the texture. Later developments made use of other textures, though the symphonic concerto, originating in the 19th century, might be seen as derivative of earlier approaches. These styles and textures are major factors in many other works not called concertos, such as variation sets, fantasies, and even symphonies, to name a few.

Premiere Symphonie concertante in B Flat for Clarinet, Bassoon and Orchestra; Quartet in B Flat for Clarinet and String Trio

1981 ◽  
Vol 122 (1664) ◽  
pp. 679
Author(s):  
Niall O'Loughlin ◽  
Vogel ◽  
Klocker ◽  
Hartmann ◽  
Concerto Amsterdam ◽  
...  
Keyword(s):  
String Trio ◽  
Symphonie Concertante

The Symphonie Concertante: Its Musical and Sociological Bases

1994 ◽  
Vol 25 (1/2) ◽  
pp. 131
Author(s):  
Barry S. Brook
Keyword(s):  
Symphonie Concertante

The Symphonie Concertante: Its Musical and Sociological Bases

1975 ◽  
Vol 6 (1) ◽  
pp. 9 ◽  
Author(s):  
Barry S. Brook
Keyword(s):  
Symphonie Concertante

The Symphonie Concertante: Its Musical and Sociological Bases

1975 ◽  
Vol 6 (1) ◽  
pp. 114
Author(s):  
Barry S. Brook ◽  
Siegmund-Schultze ◽  
Noske ◽  
Ludwig Finscher ◽  
K. Peter Etzkorn ◽  
...  
Keyword(s):  
Symphonie Concertante

Symphonie concertante

2001 ◽  
Author(s):  
Barry S. Brook ◽  
Jean Gribenski
Keyword(s):  
Symphonie Concertante

THE SYMPHONIE CONCERTANTE: AN INTERIM REPORT

1961 ◽  
Vol XLVII (4) ◽  
pp. 493-516
Author(s):  
BARRY S. BROOK
Keyword(s):  
Interim Report ◽  
Symphonie Concertante

Symphonie; Symphonie Concertante; Passacaglia

1995 ◽  
Vol 136 (1824) ◽  
pp. 105
Author(s):  
Peter Palmer ◽  
Frank Martin ◽  
The London Philharmonic ◽  
Matthias Bamert
Keyword(s):  
Symphonie Concertante

scholarly journals Influences de la symphonie concertante sur la musique de la Cour parisienne sous l'Empire et la Restauration (1800-1830)

2003 ◽  
pp. 219
Author(s):  
Alexandre Dratwicki
Keyword(s):  
Xviiie Siècle ◽  
Symphonie Concertante ◽  
Xviiie Siecle

[fr] La vogue du concert public à Paris, à la fin du XVIIIe siècle, fut à l'origine de l'essor phénoménal que connut la symphonie concertante. Le répertoire de la musique de la Cour - entre 1800 et 1830 - est particulièrement représentatif de cette mode : il révèle une place encore insoupçonnée laissée à la virtuosité. Agrémentant les messes de la Chapelle ou les bals donnés lors de fastueuses soirées, ce « style concertant décoratif » devint un élément constitutif de l'apparat gouvernemental sous l'Empire et la Restauration. Une sorte d'académisme officiel que les événements politiques de 1830 et l'essor du romantisme musical feront définitivement disparaître.

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