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| Author | : Camille Saint-Saëns |
| Publisher | : |
| Total Pages | : 80 |
| Release | : 1900 |
| Genre | : Concertos (Piano) |
| ISBN | : |
| Author | : Camille Saint-Saëns |
| Publisher | : |
| Total Pages | : 67 |
| Release | : 1988* |
| Genre | : |
| ISBN | : |
| Author | : Camille Saint-Saëns |
| Publisher | : |
| Total Pages | : 67 |
| Release | : 1971 |
| Genre | : Concertos (Piano) |
| ISBN | : |
| Author | : Camille Saint-Saëns |
| Publisher | : |
| Total Pages | : 170 |
| Release | : 1977 |
| Genre | : Concertos (Piano) |
| ISBN | : |
| Author | : Sergey Prokofiev |
| Publisher | : |
| Total Pages | : 140 |
| Release | : 19?? |
| Genre | : Concertos (Piano) |
| ISBN | : |
| Author | : Ludwig van Beethoven |
| Publisher | : |
| Total Pages | : 206 |
| Release | : 1986 |
| Genre | : Concertos (Piano) |
| ISBN | : |
| Author | : Ludwig van Beethoven |
| Publisher | : |
| Total Pages | : 104 |
| Release | : 1978 |
| Genre | : Concertos (Piano) |
| ISBN | : |
| Author | : Camille Saint-Saëns |
| Publisher | : |
| Total Pages | : |
| Release | : 196? |
| Genre | : Concertos |
| ISBN | : |
| Author | : Antony Hopkins |
| Publisher | : Routledge |
| Total Pages | : 120 |
| Release | : 2019-01-15 |
| Genre | : Music |
| ISBN | : 0429773706 |
First published in 1996, this volume counters the attitude of paying more attention to the performer than to the piece. Too often, Anthony Hopkins argues, music is simply regarded as a pleasant background noise to accompany our other activities, whereas Beethoven offers much more than that. Hopkins aim to promote hearing, rather than listening. He examines Beethoven’s piano concertos numbers 1 through 5, along with the violin concerto in D Major, Op. 61, and the Triple Concerto, Op. 56.
| Author | : Stephan D. Lindeman |
| Publisher | : Pendragon Press |
| Total Pages | : 368 |
| Release | : 1999 |
| Genre | : Juvenile Nonfiction |
| ISBN | : 9781576470008 |
Lindeman, a musicologist, traces and defines the historical development of the concerto form as it passed from Mozart to succeeding generations. He then assesses Beethoven's contributions, and examines the classical model of the form in the early 19th century by overviewing several early romantic composers' works. Subsequent chapters analyze and assess the responses of five precursers of Schumann, whose work offers a synthesis of radical experiments and traditional tenets. He concludes by suggesting that concertos of Lizst offer a road into further developments of the genre in the second half of the century. Illustrated with bandw portraits of composers and excerpts from musical scores. Annotation copyrighted by Book News, Inc., Portland, OR
