Gallery of Winning Composers
Pablo de Sarasate
2000: Ziguenerweisen; Peter Aguilar, Violin
2009: Navarra; Marina Frolova and Irina Fatykhova, Two Violins
To listen to the piece, click on the name of the piece and it will take you to a NAXOS recording for reference. To hear the ACTUAL performance from the concerto competition, we hold all of the performances on CDs in house.
Wolfgang Amadeus Mozart
2000: Parto, parto, ma tu ben mio; Victoria Kelp, Mezzo-Soprano
2002: Konstanze... O wie angstlich from Die Entfuhrung aus dem Serail; William Farrar Strum, Tenor
2003: Ch'io mi scordi de te?; Holly Rector and Danny Brian, Soprano and Piano
2007: Rondo-Allegro from Concerto for Clarinet and Orchestra, K. 622 in A major; Will Casada, Clarinet
2011: Andante from Sinfonia Concertante in E-flat major, K. 364; Hallerin Hill II and Wes Charlton, Violin and Viola
To listen to the piece, click on the name of the piece and it will take you to a NAXOS recording for reference. To hear the ACTUAL performance from the concerto competition, we hold all of the performances on CDs in house.
Johann Friedrich Fasch
2000: Trumpet Concerto in D major; Davy DeArmond, Trumpet
To listen to the piece, click on the name of the piece and it will take you to a NAXOS recording for reference. To hear the ACTUAL performance from the concerto competition, we hold all of the performances on CDs in house.
Ney Rosauro
2000: Concerto for Marimba and String Orchestra; Re'Licka Allen, Marimba
2001: Concerto for Marimba and String Orchestra; John Nipper, Marimba
To listen to the piece, click on the name of the piece and it will take you to a NAXOS recording for reference. To hear the ACTUAL performance from the concerto competition, we hold all of the performances on CDs in house.
Aram Khachaturian
2000: Allegro ma non troppo e maestoso from Concerto for Piano and Orchestra; Laura Barger, Piano
2004: Allegro ma non troppo e maestoso from Concerto for Piano and Orchestra; Allen Ballew, Piano
To listen to the piece, click on the name of the piece and it will take you to a NAXOS recording for reference. To hear the ACTUAL performance from the concerto competition, we hold all of the performances on CDs in house.
Paul Hindemith
2001: Trauermusik; Uihwan Chong, Viola
To listen to the piece, click on the name of the piece and it will take you to a NAXOS recording for reference. To hear the ACTUAL performance from the concerto competition, we hold all of the performances on CDs in house.
Ludwig van Beethoven
2001: Ah, Perfido, Scene and Aria, Op. 65; Kristin A. Lewis, Soprano
2015: Allegro ma non troppo from Concerto for Violin and Orchestra in D major, Op. 61; Oleksiy Hamoy, Violin
2018: Allegro con brio from Piano Concerto No. 2 in B-flat major, Op. 19; Baoxu Shen, Piano
To listen to the piece, click on the name of the piece and it will take you to a NAXOS recording for reference. To hear the ACTUAL performance from the concerto competition, we hold all of the performances on CDs in house.
Bernhard Crusell
2001: Allegro risoluto from Clarinet Concerto No. 3 in B-flat major, Op. 11; Scottie Gray-Stevens, Clarinet
To listen to the piece, click on the name of the piece and it will take you to a NAXOS recording for reference. To hear the ACTUAL performance from the concerto competition, we hold all of the performances on CDs in house.
Sergei Prokofiev
2001: Allegro ma non troppo from Piano Concerto No. 3 in C major, Op. 26; John Villaveces, Piano
2007: Allegro brioso from Concerto for Piano and Orchestra, No.1, Op. 10 in D-flat major; Lora Geteva, Piano
2010: Allegro moderato from Concerto for Violin and Orchestra No.2, in G minor, Op. 63; Tiango Ellwanger, Violin
2013: Moderato-Allegro moderato from Concerto for Violin and Orchestra No. 1, in D major, Op. 19; Anileys Bermudez, Violin
2019: Andante-Allegro from Piano Concerto No. 3 in C major, Op. 26; Joanna Lin, Piano
To listen to the piece, click on the name of the piece and it will take you to a NAXOS recording for reference. To hear the ACTUAL performance from the concerto competition, we hold all of the performances on CDs in house.
Giochino Rossini
2002: Si, ritrovarla io giure from La Cenerentola; William Farrar Strum, Tenor
To listen to the piece, click on the name of the piece and it will take you to a NAXOS recording for reference. To hear the ACTUAL performance from the concerto competition, we hold all of the performances on CDs in house.
Charles Gounod
2002: Ah! Leve-toi, soleil from Romeo and Juliet; John Sumners, Tenor
To listen to the piece, click on the name of the piece and it will take you to a NAXOS recording for reference. To hear the ACTUAL performance from the concerto competition, we hold all of the performances on CDs in house.
Francesco Cilea
2002: Lamento di Federico from L'Arlesiana; John Sumners, Tenor
To listen to the piece, click on the name of the piece and it will take you to a NAXOS recording for reference. To hear the ACTUAL performance from the concerto competition, we hold all of the performances on CDs in house.
Vincenzo Bellini
2002: Ah, non credea mirarti and Ah! non giunge uman pensiero from La Sonnambula; John Sumners, Tenor
2008: Qui la voce and Vien diletto from I Puritani; Teresa Alzadon, Soprano
2015: Qui la voce and Vien diletto from I Puritani; Alexandria Shiner, Soprano
To listen to the piece, click on the name of the piece and it will take you to a NAXOS recording for reference. To hear the ACTUAL performance from the concerto competition, we hold all of the performances on CDs in house.
Joan Tower
2002: Piano Concerto; Christina Horn, Piano
To listen to the piece, click on the name of the piece and it will take you to a YouTube video for reference. To hear the ACTUAL performance from the concerto competition, we hold all of the performances on CDs in house.
Alexander Arutiunian
2002: Andante-Allegro energico-Meno mosso-Allegro from Concerto for Trumpet and Orchestra; Michael Fee, Trumpet
To listen to the piece, click on the name of the piece and it will take you to a NAXOS recording for reference. To hear the ACTUAL performance from the concerto competition, we hold all of the performances on CDs in house.
Gary Schocker
2003: II. Moody and III. Coffee Nerves from Three Dances for Two Flutes; Laura Herron and Sarah Howard, Two Flutes
To listen to the piece, click on the name of the piece and it will take you to a YouTube video for reference. To hear the ACTUAL performance from the concerto competition, we hold all of the performances on CDs in house.
Dmitri Shostakovich
2003: Moderato from Cello Concerto No. 1 in E-flat major, Op. 107; Kyle Misher, Cello
2014: Adagio-Allegro from Concerto for Violin and Orchestra No. 2 in C-sharp minor, Op. 129; Jeff Brannen, Violin
2017: Allegretto from Cello Concerto No. 1 in E-flat major, Op. 107 ; Ashlee Booth, Cello
To listen to the piece, click on the name of the piece and it will take you to a NAXOS recording for reference. To hear the ACTUAL performance from the concerto competition, we hold all of the performances on CDs in house.
Moritz Moszkowski
2003: Moderato from Piano Concerto in E major, Op. 59; Sophie Wang
To listen to the piece, click on the name of the piece and it will take you to a NAXOS recording for reference. To hear the ACTUAL performance from the concerto competition, we hold all of the performances on CDs in house.
Maurice Ravel
2004: Allegramente from Concerto in G Major for Piano and Orchestra; Geneva Money, Piano
2011: Chanson romanesque, Chanson epique, and Chanson a boire from Don Quichotte a Dulcinee; Jesse Stock, Baritone
2012: Tzigane; Thomas Lovett, Violin
To listen to the piece, click on the name of the piece and it will take you to a NAXOS recording for reference. To hear the ACTUAL performance from the concerto competition, we hold all of the performances on CDs in house.
Alexander Glazunov
2004: Allegro moderato from Concerto for Alto Saxophone and Orchestra; Danni Johnson, Alto Saxophone
To listen to the piece, click on the name of the piece and it will take you to a NAXOS recording for reference. To hear the ACTUAL performance from the concerto competition, we hold all of the performances on CDs in house.
Samuel Barber
2004: Knoxville: Summer of 1915; Caryn Marlowe, Soprano
2019: Knoxville: Summer of 1915; Anna Young, Soprano
To listen to the piece, click on the name of the piece and it will take you to a NAXOS recording for reference. To hear the ACTUAL performance from the concerto competition, we hold all of the performances on CDs in house.
Antonin Dvorak
2004: Allegro ma non troppo from Concerto for Violin and Orchestra in A minor; Lucie Novoveska, Violin
To listen to the piece, click on the name of the piece and it will take you to a NAXOS recording for reference. To hear the ACTUAL performance from the concerto competition, we hold all of the performances on CDs in house.
William Walton
2005: Andante comodo from Concerto for Viola and Orchestra; Rebecca Reuter, Viola
To listen to the piece, click on the name of the piece and it will take you to a NAXOS recording for reference. To hear the ACTUAL performance from the concerto competition, we hold all of the performances on CDs in house.
Carl Maria von Weber
2005: Alla Polacca from Concerto No. 2 in E-flat for Clarinet and Orchestra, Op. 74; Benjamin Gessel, Clarinet
2005: Andante e Rondo Onagarese, Op. 35; Joshua Teaster, Bassoon
To listen to the piece, click on the name of the piece and it will take you to a NAXOS recording for reference. To hear the ACTUAL performance from the concerto competition, we hold all of the performances on CDs in house.
Camille Saint-Saens
2005: Andante from Concerto in F major for Piano and Orchestra, Op. 103; Anna Baik, Piano
2006: Allegro non troppo from Concerto for Violin and Orchestra in B minor, Op. 61; Lucie Novoveska, Violin
2008: La Muse et le Poete; Paula Bujes and Pedro Huff, Violin and Cello
To listen to the piece, click on the name of the piece and it will take you to a NAXOS recording for reference. To hear the ACTUAL performance from the concerto competition, we hold all of the performances on CDs in house.
Leonard Bernstein
2005: Glitter and be gay from Candide; Tiffany Sasser, Soprano
2013: Glitter and be gay from Candide; Jenna Weaver, Soprano
To listen to the piece, click on the name of the piece and it will take you to a NAXOS recording for reference. To hear the ACTUAL performance from the concerto competition, we hold all of the performances on CDs in house.
Gustav Mahler
2006: Ich hab ein gluhend Messer from Songs of a Wayfarer; Sarah Kennedy, Mezzo-Soprano
To listen to the piece, click on the name of the piece and it will take you to a NAXOS recording for reference. To hear the ACTUAL performance from the concerto competition, we hold all of the performances on CDs in house.
Karel Husa
2006: Elegie et Rondeau; Ben Robinette, Saxophone
To listen to the piece, click on the name of the piece and it will take you to a NAXOS recording for reference. To hear the ACTUAL performance from the concerto competition, we hold all of the performances on CDs in house.
Richard Strauss
2006: Burleske in D minor, AV85; Grace Lee, Piano
2012: September and Beim Schlafengehn from Four Last Songs; Theresa Dunigan, Soprano
To listen to the piece, click on the name of the piece and it will take you to a NAXOS recording for reference. To hear the ACTUAL performance from the concerto competition, we hold all of the performances on CDs in house.
Joseph Haydn
2007: Moderato from Concerto for Violoncello and Orchestra, Hob. VIIb: 1 in C major; Matthew Wilkinson, Cello
2015: Allegro spirituoso from Concerto for Oboe and Orchestra in C major, Hob. VIIg: C1; Sarah Emmons, Oboe
To listen to the piece, click on the name of the piece and it will take you to a NAXOS recording for reference. To hear the ACTUAL performance from the concerto competition, we hold all of the performances on CDs in house.
Gian Carlo Menotti
2007: To This We've Come from The Consul; Megan Nelson, Soprano
To listen to the piece, click on the name of the piece and it will take you to a NAXOS recording for reference. To hear the ACTUAL performance from the concerto competition, we hold all of the performances on CDs in house.
Sergei Rachmaninoff
2008: Moderato from Concerto for Piano and Orchestra No. 2 in C minor, Op. 18; Nai-Fang Ko, Piano
2009: Moderato from Concerto for Piano and Orchestra No. 2 in C minor, Op. 18; Helen Yoo, Piano
2012: Moderato from Concerto for Piano and Orchestra No. 2 in C minor, Op. 18; Shinyoung Kim, Piano
2013: Vivace from Concerto for Piano and Orchestra No. 1 in F-sharp minor, Op. 1; Carson Hayes, Piano
2014: Moderato from Concerto for Piano and Orchestra No. 2 in C minor, Op. 18; Ruixi Niu, Piano
2017: Moderato from Concerto for Piano and Orchestra No. 2 in C minor, Op. 18; Zhaoyi Li, Piano
To listen to the piece, click on the name of the piece and it will take you to a NAXOS recording for reference. To hear the ACTUAL performance from the concerto competition, we hold all of the performances on CDs in house.
Petronio Franceschini
2008: Sonata in D; Julia Thomas and Brian Webster, Two Trumpets
To listen to the piece, click on the name of the piece and it will take you to a NAXOS recording for reference. To hear the ACTUAL performance from the concerto competition, we hold all of the performances on CDs in house.
Philip Glass
2008: II. and IV. from Concerto for Saxophone Quartet and Orchestra; Four-T-tude Saxophone Quartet (Ben Robinette, Curran Doody, Aaron Schmitt, and Casey Hesson), Saxophone Quartet
To listen to the piece, click on the name of the piece and it will take you to a NAXOS recording for reference. To hear the ACTUAL performance from the concerto competition, we hold all of the performances on CDs in house.
Hector Berlioz
2009: D'amour l'ardente flamme from The Damnation of Faust; Leah Serr, Mezzo-Soprano
To listen to the piece, click on the name of the piece and it will take you to a NAXOS recording for reference. To hear the ACTUAL performance from the concerto competition, we hold all of the performances on CDs in house.
Pierre-Max Dubois
2009: Lento espressivo-Allegro and Lento nostalgico from Concerto for Saxophone and Orchestra; Xin Gao, Saxophone
2020: Lento espressivo-Allegro from Concerto for Saxophone and Orchestra; Darius Edwards, Saxophone
To listen to the piece, click on the name of the piece and it will take you to a NAXOS recording for reference. To hear the ACTUAL performance from the concerto competition, we hold all of the performances on CDs in house.
George Frederic Handel
2009: Sveglisatevi nel core from Giulio Cesare; Lyndon England, Countertenor
To listen to the piece, click on the name of the piece and it will take you to a NAXOS recording for reference. To hear the ACTUAL performance from the concerto competition, we hold all of the performances on CDs in house.
Howard Hanson
2010: Serenade, Op. 35; Micah Layne, Flute
To listen to the piece, click on the name of the piece and it will take you to a NAXOS recording for reference. To hear the ACTUAL performance from the concerto competition, we hold all of the performances on CDs in house.
Johann Sebastian Bach
2010: Adagio and Allegro from Concerto for Oboe and Violin and Orchestra in C minor, BWV 1060; Bonnie Farr and Rachel Grubb, Oboe and Violin
To listen to the piece, click on the name of the piece and it will take you to a NAXOS recording for reference. To hear the ACTUAL performance from the concerto competition, we hold all of the performances on CDs in house.
Robert Schumann
2010: Allegro affettuoso from Concerto for Piano and Orchestra in A minor, Op. 54; Lin Tian, Piano
To listen to the piece, click on the name of the piece and it will take you to a NAXOS recording for reference. To hear the ACTUAL performance from the concerto competition, we hold all of the performances on CDs in house.
August Ritter
2011: Rondo allegretto from Sinfonie Concertante; Rachel Morey and Travis Jones, Two Bassoons
To listen to the piece, click on the name of the piece and it will take you to a NAXOS recording for reference. To hear the ACTUAL performance from the concerto competition, we hold all of the performances on CDs in house.
George Gershwin
2011: Variations on "I Got Rhythm"; William Crow, Piano
To listen to the piece, click on the name of the piece and it will take you to a NAXOS recording for reference. To hear the ACTUAL performance from the concerto competition, we hold all of the performances on CDs in house.
Andre Jolivet
2012: Andante Cantabile-Allegro Scherzando and Largo-Allegro risoluto from Concerto for Flute and Strings; Kathryne Salo, Flute
To listen to the piece, click on the name of the piece and it will take you to a NAXOS recording for reference. To hear the ACTUAL performance from the concerto competition, we hold all of the performances on CDs in house.
Casey Cangelosi
2013: II from Concerto for Marimba and Orchestra; Kevin Hanrahan, Marimba
To listen to the piece, click on the name of the piece and it will take you to a YouTube video for reference. To hear the ACTUAL performance from the concerto competition, we hold all of the performances on CDs in house.
Jacques Ibert
2014: Allegro from Concerto for Flute; Lauren Asimakoupoulos, Flute
2016: Allegro con moto from Concertino da camera; Junwen Jia, Saxophone
To listen to the piece, click on the name of the piece and it will take you to a NAXOS recording for reference. To hear the ACTUAL performance from the concerto competition, we hold all of the performances on CDs in house.
Johann Strauss, Jr.
2014: Csardas from Die Fledermaus; Murrella Parton, Soprano
To listen to the piece, click on the name of the piece and it will take you to a NAXOS recording for reference. To hear the ACTUAL performance from the concerto competition, we hold all of the performances on CDs in house.
Edvard Grieg
2015: Allegro molto moderato from Piano Concerto in A minor, Op. 16; Emmanuelle Bizien, Piano
To listen to the piece, click on the name of the piece and it will take you to a NAXOS recording for reference. To hear the ACTUAL performance from the concerto competition, we hold all of the performances on CDs in house.
Frederic Chopin
2016: Allegro moderato from Concerto for Piano and Orchestra No. 2 in F minor, Op. 21; Elizabeth Vaughan, Piano
To listen to the piece, click on the name of the piece and it will take you to a NAXOS recording for reference. To hear the ACTUAL performance from the concerto competition, we hold all of the performances on CDs in house.
Alban Berg
2016: Nacht, Im Zimmer, Leibesode, and Sommertage from Sieben fruhe Lieder; Melanie Burbules, Mezzo-Soprano
To listen to the piece, click on the name of the piece and it will take you to a NAXOS recording for reference. To hear the ACTUAL performance from the concerto competition, we hold all of the performances on CDs in house.
Pyotr Tchaikovsky
2017: Allegro moderato from Concerto for Violin and Orchestra in D major, Op. 35; Benjamin Parton, Violin
2020: Allegro non troppo e molto maestoso-Allegro con spirito from Concerto for Piano and Orchestra No. 1 in B-flat minor, Op. 23; Katherine Benson, Piano
To listen to the piece, click on the name of the piece and it will take you to a NAXOS recording for reference. To hear the ACTUAL performance from the concerto competition, we hold all of the performances on CDs in house.
Joseph Canteloube
2017: Chants d'Auvergne, Vol. 1: No. 3. 3 Bourrees - L'aio De Rotso (Spring Water) - Ound'onoren Gorda? (Where Shall We Go?) - Obal, Din Lou Limouzi (Over in Limousin); Elena Stabile, Soprano
To listen to the piece, click on the name of the piece and it will take you to a NAXOS recording for reference. To hear the ACTUAL performance from the concerto competition, we hold all of the performances on CDs in house.
Paul Creston
2017: Energetic from Concerto for Alto Saxophone and Orchestra, Op. 26; Sydney Warren, Saxophone
To listen to the piece, click on the name of the piece and it will take you to a YouTube video for reference. To hear the ACTUAL performance from the concerto competition, we hold all of the performances on CDs in house.
Giuseppe Verdi
2018: Caro Nome from Rigoletto; Meghan Mayes, Soprano
To listen to the piece, click on the name of the piece and it will take you to a NAXOS recording for reference. To hear the ACTUAL performance from the concerto competition, we hold all of the performances on CDs in house.
Carl Nielsen
2018: Allegro moderato from Flute Concerto CNW 42; Rebecca Percy, Flute
To listen to the piece, click on the name of the piece and it will take you to a NAXOS recording for reference. To hear the ACTUAL performance from the concerto competition, we hold all of the performances on CDs in house.
Jean Sibelius
2018: Allegro ma non tanto from Violin Concerto, Op. 47; Bing Yang Li, Violin
To listen to the piece, click on the name of the piece and it will take you to a NAXOS recording for reference. To hear the ACTUAL performance from the concerto competition, we hold all of the performances on CDs in house.
Bela Bartok
2019: Allegro moderato from Viola Concerto, Sz. 120; Dragan Loncar, Viola
To listen to the piece, click on the name of the piece and it will take you to a NAXOS recording for reference. To hear the ACTUAL performance from the concerto competition, we hold all of the performances on CDs in house.
Henri Tomasi
2019: Andante-Allegro from Concerto for Alto Saxophone and Orchestra; Corey Martin, Saxophone
To listen to the piece, click on the name of the piece and it will take you to a NAXOS recording for reference. To hear the ACTUAL performance from the concerto competition, we hold all of the performances on CDs in house.
Benjamin Britten
2020: My Horse! My Horse! ... Tarquinius does not wait from The Rape of Lucretia; Wayd Odle, Tenor
To listen to the piece, click on the name of the piece and it will take you to a NAXOS recording for reference. To hear the ACTUAL performance from the concerto competition, we hold all of the performances on CDs in house.
Johannes Brahms
2020: Allegro ma non troppo from Violin Concerto in D major, Op. 77; Yeiji Choi, Violin
To listen to the piece, click on the name of the piece and it will take you to a NAXOS recording for reference. To hear the ACTUAL performance from the concerto competition, we hold all of the performances on CDs in house.
NAXOS Music Library Database
- Naxos Music Library
A streaming audio database featuring a comprehensive collection of classical music. Search by composer, artist, label, and more. Includes guides on musical eras and other topical resources.
Books on Concertos
A Companion to the Concerto by Call Number: ML1263 .C6 1988
The Scoring of Early Classical Concertos, 1750-1780 by
In the baroque era most concertos were - in the modern sense of the term - chamber music, to be played by a small group of musicians each reading from an individual printed or manuscript part. Indeed, composers often expected thesoloist to be accompanied by just a string quartet with a harpsichord or organ continuo. But over the thirty years from 1750, as the classical style was being developed, numbers began to rise slowly. This did not happen at a uniform rate throughout Europe, however, for many concertos continued to be played one-to-a-part, and even by 1780 an ensemble with more than eight or nine strings would have been unusual. The nineteenth-century notion that a concertopitted a lone soloist against a full symphony orchestra still lay some years in the future.At the same time ideas about form were changing, as the Vivaldian ritornello pattern metamorphosed into the concerto-sonata form usedby Mozart and his contemporaries; some unconventional variants appeared as composers strove to keep abreast of latest developments. It was a fascinating period of innovation, in which many hundreds of concertos were written. To be sure, not all of them can be described as "forgotten masterpieces", but among them there are some very fine works that certainly ought to be revived. It is hoped that readers of this book may be encouraged to explore this comparatively neglected repertoire.The late RICHARD MAUNDER was a Fellow of Christ's College, Cambridge. His previous book, The Scoring of Baroque Concertos, was published by The Boydell Press in 2004. He has also published books on Mozart's Requiem, Keyboard Instruments in Eighteenth-Century Vienna and numerous editions of seventeenth- and eighteenth-century music.
Call Number: ML1263 .M383 2014
A History of the Concerto by
This lucid guide traces the concerto's evolution over the major periods of music: baroque, classical, romantic, and 20th century. The compositions of each important composer are discussed in detail, making this a useful companion to the form.
Call Number: ML1263 .R64 1994
The Cambridge Companion to the Concerto by
No musical genre has had a more chequered critical history than the concerto and yet simultaneously retained as consistently prominent a place in the affections of the concert-going public. This volume, one of very few to deal with the genre in its entirety, assumes a broad remit, setting the concerto in its musical and non-musical contexts, examining the concertos that have made important contributions to musical culture, and looking at performance-related topics. A picture emerges of a genre in a continual state of change, re-inventing itself in the process of growth and development and regularly challenging its performers and listeners to broaden the horizons of their musical experience.
Call Number: ML1263 .C36 2005
The Concerto by
Michael Steinberg's 1996 volume The Symphony: A Reader's Guide received glowing reviews across America. It was hailed as "wonderfully clear...recommended warmly to music lovers on all levels" (Washington Post), "informed and thoughtful" (Chicago Tribune), and "composed by a master stylist"(San Francisco Chronicle). Seiji Ozawa wrote that "his beautiful and effortless prose speaks from the heart." Michael Tilson Thomas called The Symphony "an essential book for any concertgoer."Now comes the companion volume--The Concerto: A Listener's Guide. In this marvelous book, Steinberg discusses over 120 works, ranging from Johann Sebastian Bach in the 1720s to John Adams in 1994. Readers will find here the heart of the standard repertory, among them Bach's BrandenburgConcertos, eighteen of Mozart's piano concertos, all the concertos of Beethoven and Brahms, and major works by Mendelssohn, Schumann, Liszt, Bruch, Dvora'k, Tchaikovsky, Grieg, Elgar, Sibelius, Strauss, and Rachmaninoff. The book also provides luminous introductions to the achievement oftwentieth-century masters such as Arnold Schoenberg, Be'la Barto'k, Igor Stravinsky, Alban Berg, Paul Hindemith, Sergei Prokofiev, Aaron Copland, and Elliott Carter. Steinberg examines the work of these musical giants with unflagging enthusiasm and bright style. He is a master of capturing theexpressive, dramatic, and emotional values of the music and of conveying the historical and personal context in which these wondrous works were composed. His writing blends impeccable scholarship, deeply felt love of music, and entertaining whimsy.Here then is a superb journey through one of music's richest and most diverse forms, with Michael Steinberg along as host, guide, and the best of companions.
Call Number: ML1263 .S74 1998
Experiencing the Violin Concerto by
Since the eighteenth century, violin concertos have provided a showcase for dramatic interplay between a soloist's virtuosity and the blended sonority of an orchestra's many instruments. Using this genre to showcase skill and ingenuity, composers cemented the violin concerto as a key genre of classical music and gifted our ears with such timeless masterpieces as Vivaldi's Four Seasons. In Experiencing the Violin Concerto, Franco Sciannameo draws on his years of scholarship and violin performance to trace the genre through Baroque, Classical, and modern periods. Along the way, he explores the social and personal histories of composers, and the fabulous virtuosi who performed concertos, and audiences they conquered worldwide. Inviting readers to consider not only the components of the music but also the power of perception and experience, Sciannameo recreates the atmosphere of a live performance as he paints a narrative history of technique and innovation. Experiencing the Violin Concerto uses descriptions in place of technical jargon to make the world of classical music accessible to amateur music lovers. As part of the Listener's Companion series, the volume gives readers an enhanced experience of key works by investigating the environments in which the works were written and first performed as well as those in which they are enjoyed today.
Call Number: ML1263 .S53 2016
Top Three Composers
Who has been performed the most?
Below, we have featured three of the most performed composers in the UTK Concerto Competition over the years. The first and most performed composer is Sergei Rachmaninoff, which is really sweet because Rachmaninoff's last performance before he died was here at the University of Tennessee-Knoxville. There is a tie for second and third place between Wolfgang Amadeus Mozart and Sergei Prokofiev.
For each composer, we will feature a few pieces, a biographical book, CDs from our collection, and some online database/resources.
Scores of Sergei Rachmaninoff's Music
Piano Concerto No. 1 and No. 2 by
This is the orchestral score for his Piano Concerto No. 1 and his Piano Concerto No. 2. Movements from both concertos have been performed for the UTK Concerto Competition. The first movement of his Piano Concerto No. 2 has been performed the most at UTK.
Call Number: M1010 .R12 op.1 2003
24 Preludes by
Based on the Prélude in c sharp minor Op. 3 No. 2 written in 1892 that quickly became world-famous, Rachmaninoff composed a further two collections of Préludes in the years up to 1910. These were also published as a complete volume in 1911. Based on the corresponding models by Chopin, Scriabin and their great forerunner J.S. Bach they comprise a cycle of 24 Préludes in all major and minor keys, but unlike the other ones are not organized systematically according to keys. A final highlight of late Romantic piano music, which no pianist can ignore!
Call Number: M22 .R12 P53 2014
Symphonic Dances, Op. 45 by
Sergei Rachmaninoff had great regard for the Philadelphia Orchestra and its music director, Eugene Ormandy. As a pianist, he had performed with them on several occasions, and as a composer, he appreciated the full, rich sound Ormandy and his musicians produced. Sometime during the 1930s, Rachmaninoff remarked that he always had the unique sound of this ensemble in his head while he was composing orchestral music: “[I would] rather perform with the Philadelphia Orchestra than any other of the world.” When Rachmaninoff began working on the Symphonic Dances, he kept Ormandy and the Philadelphia Orchestra in mind for the premiere performance, on January 3, 1941. Several of Rachmaninoff’s other orchestral works, including the Rhapsody on a Theme of Paganini and the Piano Concerto No. 4, were also either written for or first performed by Ormandy and the Philadelphia Orchestra.
The Symphonic Dances turned out to be Rachmaninoff’s final composition; he died two years after completing them. Although not as well known as his piano concertos or the Rhapsody on a Theme of Paganini, both Rachmaninoff himself and many others regard the Symphonic Dances as his greatest orchestral work. “I don’t know how it happened,” he remarked; “it must have been my last spark.”
Nervous pulsing violins open the Allegro, over which the winds mutter a descending minor triad (three-note chord). The strings set a quickstep tempo, while the opening triad becomes both the melodic and harmonic foundation of the movement as it is repeated, reversed and otherwise developed. The introspective middle section of the movement features the first substantial melody, played by the distinctively melancholy voice of the alto saxophone. The final section of the movement returns to the agitated quickstep and fluttering triad.
The Andante con moto begins with muted trumpets and pizzicato strings executing a rather lopsided waltz rhythm that stutters fitfully, followed by a subdued violin solo. The main theme has none of the Viennese lightness of a Strauss waltz; instead its haunting, ghostly quality borders on the macabre and is suggestive of Sibelius’ Valse triste or Ravel’s eerie La valse. The waltz is periodically interrupted by sinister blasts from the brass section.
In the Lento assai: Allegro vivace, Rachmaninoff returns to the haunting liturgical melody of the Dies irae (Day of Wrath) from the requiem mass. Rachmaninoff had used this iconic melody before, most notably in his Rhapsody on a Theme of Paganini. In this work the distinctive descending line has even more suggestive power; we can hear it as Rachmaninoff’s final statement about the end of his compositional career. This movement is the most sweeping and symphonic of the three and uses the full force of the orchestra’s array of sounds, moods, and colors. In addition to the Dies irae, Rachmaninoff also incorporates other melodies from the Russian Orthodox liturgy, including Blagosloven Yesi, Gospodi, from Rachmaninoff's choral masterpiece, All-Night Vigil, which describes Christ’s resurrection. On the final page of the manuscript of the Symphonic Dances, Rachmaninoff wrote, “I thank Thee, Lord!”
Call Number: M1047 .R12 op.45 1970
Symphony No. 2 by
Following the disastrous March 27, 1897 St. Petersburg world premiere of his First Symphony, Russian composer and pianist Sergei Rachmaninoff plunged into a profound depression. The crisis that threatened to destroy Rachmaninoff’s musical career lasted for three years. A breakthrough for Rachmaninoff finally occurred in 1900. On the advice of relatives, Rachmaninoff consulted Dr. Nikolai Dahl, a psychiatrist who used hypnosis in the treatment of his patients. The consultations with Dr. Dahl were an extraordinary success. Rachmaninoff experienced a tremendous resurgence of confidence and immediately began to compose his Second Piano Concerto (1901), a work he dedicated to Dr. Dahl.
Rachmaninoff even summoned the courage to attempt another Symphony. In the fall of 1906, Rachmaninoff and his family moved from their native Russia to Dresden. The relocation offered Rachmaninoff the solitude he needed to devote himself entirely to composition. In October, Rachmaninoff began his Second Symphony, and finished the first draft of the score on New Year’s Day, 1907.
Rachmaninoff later refined the score of his Second Symphony and conducted its premiere in St. Petersburg on February 8, 1908. The work’s favorable reception by the audience and critics did much to vindicate Rachmaninoff after the humiliating premiere of his First Symphony. The Second Symphony proved to be immensely popular throughout Rachmaninoff’s life, and remains one of his most beloved orchestral works. The rich orchestration and passionate melodies assure its status among the finest Russian symphonies of the late Romantic era.
The Second Symphony is in four movements. The first begins with an extended slow-tempo introduction (Largo), opening with a motif that will appear in various guises throughout the work. The principal quick-tempo section (Allegro moderato) follows. The second movement is a vibrant scherzo (Allegro molto), culminating in the brass’s chorale transformation of the Symphony’s opening measures. The beautiful third movement (Adagio) is based upon two melodies, presented at the outset. The finale (Allegro vivace), recalling music from previous movements, propels to an exuberant close.
Call Number: M1001 .R13 op.27 1997b
Online Audio Materials for Sergei Rachmaninoff
- Naxos Music Library
A streaming audio database featuring a comprehensive collection of classical music. Search by composer, artist, label, and more. Includes guides on musical eras and other topical resources.
Tie for Second/Third - Wolfgang Amadeus Mozart (5 Times)
Wolfgang Amadeus Mozart
(1756 - 1791)
Books on Wolfgang Amadeus Mozart
Experiencing Mozart by
Titles in the Listener's Companion Series provide readers with a deeper understanding of key musical genres and the work of major artists and composers. Aimed at nonspecialists, each volume clearly explains how to listen to works from particular artists, composers, and genres. Examining both the context in which the music appeared and its form, authors provide the environments in which key musical works were written and performed--from a 1950s bebop concert at the Village Vanguard to a performance of Handel's Messiah in eighteenth-century Dublin. Wolfgang Amad Mozart (1756-1791) remains as popular today as ever. His recordings fill iTunes playlists, and annual Mozart festivals are performed worldwide. His eminence as a musician has supported overseas guided tours, served as the subject of a cartoon series (Little Amadeus: twenty-nine episodes from 2006 to 2008), inspired movies and documentaries, and launched a French rock opera. In Experiencing Mozart: A Listener's Companion, music historian David Schroeder illustrates how the issues Mozart cared about so deeply remain important to modern listeners. His views on politics, women, authority, and religion are provided, along with compelling analysis of selected great symphonies and sonatas, moving concertos and innovative keyboard works, and groundbreaking operas. Schroeder merges his vast knowledge of the great artist's personal and professional life, late eighteenth-century European culture and society, and remarkable musicianship to guide listeners in the art of listening to Mozart. This work is an ideal introduction to readers and listeners at any level.
Call Number: ML410 .M9 S377 2013
Mozart by
Wolfgang Amadeus Mozart is one of the great icons of Western music. An amazing prodigy--he toured the capitals of Europe while still a child, astonishing royalty and professional musicians with his precocious skills--he wrote as an adult some of the finest music in the entire Europeantradition.Julian Rushton offers a concise and up-to-date biography of this musical genius, combining a well-researched life of the composer with an introduction to the works--symphonic, chamber, sacred, and theatrical--of one of the few musicians in history to have written undisputed masterpieces acrossevery genre of his time. Rushton offers a vivid portrait of the composer, ranging from Mozart the Wunderkind--travelling with his family from Salzburg to Vienna, Paris, London, Rome, and Milan--to the mature author of such classic works as "The Marriage of Figaro", "Don Giovanni", and "The MagicFlute". During the past half-century, scholars have thoroughly explored Mozart's life and music, offering new interpretations of his compositions based on their historical context and providing a factual basis for confirming or, more often, debunking fanciful accounts of the man and his work.Rushton takes full advantage of these biographical and musical studies as well as the definitive New Mozart Edition to provide an accurate account of Mozart's life and, equally important, an insightful look at the music itself, complete with musical examples.An engaging biography for general readers that will also be an informative resource for scholars, this new addition to the prestigious Master Musicians series offers an authoritative portrait of one of the defining figures of European culture.
Call Number: ML410 .M9 R87 2006
A Life in Letters by
A selection of Mozart's letters, translated into English, complete with notes, linking commentary and chronology.
Call Number: ML410 .M9 A4 2006
Mozart by
Although there are many accounts of Mozart's life, and countless descriptions and analyses of his music, this is the first attempt to protray Mozart's creative life as a composer. Kuster selects forty works or groups of works covering virtually every important stage in Mozart's career, fromthe first keyboard works of the young Wunderkind to Mozart's final days and the composition of the Requiem. In between, each chapter deals with the developments and events in the lives of the Mozarts as associated with or highlighted by a particular work or constellation of works. The bulk of thebook - the last 25 out of 40 chapters - is concerned with Mozart's life and compositions from his arrival in Vienna in 1781 to his death there some ten years later.Drawing on the tremendous advances in Mozart research over the last thirty years, and the publication of the New Mozart Edition, Kuster's book makes a major contribution to our understanding of the creative development of the composer who represents for most musicians and music lovers the highestpinnacle of musical achievement.
Call Number: ML410 .M9 K9813 1996
Scores of Sergei Prokofiev's Music
Violin Concerto No. 1 in Full Score by
A product of Prokofiev’s early maturity, the Violin Concerto No. 1 in D Major, Op. 19 was described by the composer himself as representing a "softening of temper" from the tone of his early works — despite the fact that it was completed in 1917, amid the tumult of the October Revolution. Developed from a single movement into a three-part concerto for violin and orchestra, this work begins and ends in meditative, lyrical moods with a lively scherzo in between, highlighted by virtuoso passages that make it a showcase for performers. This authoritative and affordably priced edition of a longtime audience favorite and a requisite work in the repertoire of every serious violinist will gratify violinists, conductors, and students of 20th-century music.
Call Number: M1012 .P96 op.19 2005
Violin Concerto No. 2 in G minor, op. 63 by
In 1935 Prokofiev was ready to return to Russia. He had left his homeland in 1918, and tried living in the United States and Paris - when he wasn't touring, that is. Genuine homesickness and a sense for career opportunities drove Prokofiev's decision to ignore the ominously lowering Stalinist clouds. He had begun the awkward steps of a repatriation dance in 1932 when he accepted a commission to compose music for the film Lieutenant Kijé, and similar projects followed, including the ballet Romeo and Juliet.
The Second Violin Concerto was Prokofiev's last Western commission, from the French violinist Robert Soëtens, who had played the 1932 premiere of Prokofiev's Sonata for Two Violins with Samuel Dushkin.
The soloist opens the concerto, alone and unequivocally in G minor. Yet by the end of his metrically ambiguous phrase, the muted violas and basses enter in the remote key of B minor. The home key is soon restored, however, and the warm second theme enters in the relative major, B-flat. In the recapitulation, it is the cellos and basses that bring back the opening theme. When they get to the point where the orchestra had redirected the motion to B minor, it is the soloist who now enters in G minor, completing a classical harmonic reconciliation.
The Andante assai is in many ways the sunlight version of the dark lyricism of the first movement. The soloist arcs a radiant, long-breathed melody over pizzicato strings, their two-against-three metrical divergence suggesting a gentle jazz rubato more than real tension. This is launched in E-flat major, and at the close of the soloist's initial statement, strings take it up, muted and on B as in the first movement, though this time in major mode.
Beethoven's main harmonic diversions in his Symphony in B-flat - the relative major key of G minor - also point to B. By this time, it should be no surprise that one of the episodes in Prokofiev's rondo finale is in B major. This is dance music, angular and athletic. The premiere performance was scheduled for Madrid, and Prokofiev added castanets and Spanish ornamentation and cross-accents to the mix. It ends with a big coda, mostly with the soloist dancing furiously in 5/4 with just percussion and a bass line - the final flurry is marked tumultuoso.
Call Number: M1012 .P96 op.63 .K3
Classical Symphony, Op. 25, in Full Score by
Prokofiev's first symphony, which he mischievously dubbed "Classical," is a sprightly piece based on the symphonic models of Haydn. "I thought that if Haydn were alive today he would compose just as he did before, but at the same time would include something new in his manner of composition," Prokofiev remarked. "I wanted to compose such a symphony: a symphony in the classical style." The composer's synthesis of twentieth harmonies and timbres with eighteenth-century structure and form has captivated audiences since its premiere in 1918. This is Prokofiev's most frequently performed symphonic work, and this edition is meticulously reproduced from an authoritative early source.
Call Number: M1001 .P96 op.25 2006
Piano Concerto No. 3 in C major, op. 26 by
In common with Beethoven, Prokofiev wrote five piano concertos, but only one of them is played often. It is the Third, which was first performed in Chicago in December of 1921, during the composer’s self-imposed exile from his native Russia. Although the work had been in progress since 1911, its elements are united in an exciting and colorful display piece that betrays no signs of its long gestation period.
Prokofiev had made his debut as a pianist-composer in 1908, when he shocked the audience with such daring works as his Suggestion diabolique, and he would go on to write a significant body of work for the keyboard (including an astonishing trilogy of so-called “War” Sonatas – Nos. 6, 7, and 8 – between 1939 and 1944).
Prokofiev’s distinctive style, blending rapid and percussive playing with liquid lyricism and pungent harmonies, makes his music almost instantly recognizable. You will hear pre-echoes of his wonderful Romeo and Juliet ballet score (1935-36) in this Concerto, which the composer himself introduced in Chicago, and would do so later in Los Angeles.
The first movement opens with a haunting theme in the clarinets that is soon displaced by energetic activity in the strings, making way in turn for the piano’s entry. The staccato passagework required of the soloist is of the most exciting (and exacting) order. An interlude for oboe (with castanets) leads to a development of the opening melody, then more fireworks for the soloist and orchestra.
The second movement is in the form of theme and variations, alternately rapt and poetic, dazzling and dynamic. The third and final movement returns to the brilliant style of the first, uniting the composer’s almost schizophrenic proclivities for extremely (even decadently) luscious melody and brittle, machine-like rhythmic energy.
Call Number: M1011 .P95 op.26, 1956
Online Audio Materials for Sergei Prokofiev
Click on the album cover to be directed to NAXOS Music Library!
About UTK Concerto Competition
The University of Tennessee-Knoxville School of Music hosts a competition every year during the spring semester where students - graduate, undergraduate, and artist certificate - compete to play a movement from a concerto they have been working on in private lessons with the University of Tennessee Symphony Orchestra (UTSO) on the March concert. This is a grand experience for those that win the competition because they get to be accompanied by the original orchestration of the piece instead of a piano accompaniment and they get to perform in such a beautiful hall like James R. Cox Auditorium. During the rehearsal process, the soloist gets to come in and work with the orchestra and have their private instructor provide feedback along the way. There are four winning categories for the competition:
- Strings
- Voice
- Piano
- Winds, Brass, and Percussion
In the past, there have been five winners sometimes, but it is most common for the judges to select a single winner from the four categories above.
For more information, click: https://music.utk.edu/ugrad/concerto.php
Throughout this LibGuide, you will find information on what concertos are, a gallery of composers that have won, the top three composers that have been performed the most, and fun statistics on wins per instrument/voice type. We will be featuring scores and books in our collection and our online databases!
What is a concerto?
"An instrumental work that maintains contrast between an orchestral ensemble and a smaller group or a solo instrument, or among various groups of an undivided orchestra. Before 1700 the term was applied to pieces in a variety of forms for an even greater variety of performing media, voices as well as instruments; it was also used in the sense of ‘ensemble’ or ‘orchestra’. Not until the beginning of the 18th century was it applied consistently (though not exclusively) to works in three movements (fast–slow–fast) for soloist and orchestra, two or more soloists and orchestra (concerto grosso) or undivided orchestra.
In the late 18th century and during most of the 19th and the solo concerto was a prominent form of virtuoso display, while, in the same period, the concerto grosso fell out of public favour; some of its aspects were subsumed by the short-lived form of the Symphonie concertante. During its long history, the concerto has built on forms and procedures adopted by Corelli, Torelli, Vivaldi, J.S. Bach and later composers, particularly Mozart, to develop into a form that ranks with the symphony and the string quartet in the range of its artistic expression."
For more information on concertos, click the link below:
."
Bing Yang Li, violin, performing the third movement of Sibelius's Violin Concerto with the University of Tennessee Symphony Orchestra (2018)
Citation
Hutchings, Arthur, Michael Talbot, Cliff Eisen, Leon Botstein, and Paul Griffiths. "Concerto." Grove Music Online. 2001. Oxford University Press. Date of access 16 Feb. 2021
Books on Specific Concertos
Jean Sibelius's Violin Concerto by
Jean Sibelius's Violin Concerto is the story of Sibelius as performer and composer, of violin performing traditions, of histories of musical transmission, and of virtuosity itself. It investigates the history and legacy of one of the most recorded concertos in the violin repertoire. Sibelius,a celebrated and influential composer of the late 19th and 20th centuries, was an accomplished violinist, whose enduring interest in the instrument has been paralleled by the broad success of the only concerto in his oeuvre: his violin concerto (premiered in 1904 and revised in 1905).Considering how violinists engage with the work, author Tina K. Ramnarine discusses technology's central role in the concerto's transmission from Jascha Heifetz's seminal 1935 recording to contemporary online performances, gender issues in violin solo careers, and nature-based musical aestheticsthat lead to thinking about the ecology of virtuosity in an era of environmental crisis. Beginning with Sibelius's early training as a violinist and his aspirations as a performer, Ramnarine traces the dramatic historical context of the violin concerto. It was composed as Finland underwent a periodof heightened self-determination, nationalism, and protest against Russian imperial policies, and it heralded intense political dynamics relating to Europe's East-West border that have extended to the present. This story of the violin concerto points to the notion of Sibelius - and the virtuoso moregenerally - as a political figure.
Call Number: ML410 .S54 R36 2020
The Seven Concertos of Beethoven by
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.
Call Number: MT130 .B43 H67 1996
Bartok's Viola Concerto by
When Bela Bartok died in September of 1945, he left a partially completed viola concerto commissioned by the virtuoso violist William Primrose. Yet, while no definitive version of the work exists, this concerto has become arguably the most-performed viola concerto in the world. The story ofhow the concerto came to be, from its commissioning by Primrose to its first performance to the several completions that are performed today is told here in Bartok's Viola Concerto:The Remarkable Story of His Swansong.After Bartok's death, his family asked the composer's friend Tibor Serly to look over the sketches of the concerto and to prepare it for publication. While a draft was ready, it took Serly years to assemble the sketches into a complete piece. In 1949, Primrose finally unveiled it, at a premiereperformance with the Minneapolis Symphony Orchestra.For almost half a century, the Serly version enjoyed great popularity among the viola community, even while it faced charges of inauthenticity. In the 1990s, several revisions appeared and, in 1995, the composer's son, Peter Bartok, released a revision, opening the way or an intensified debate onthe authenticity of the multiple versions. This debate continues as violists and Bartok scholars seek the definitive version of this final work of Hungary's greatest composer.Bartok's Viola Concerto tells the story of the genesis and completion of Bartok's viola concerto, its reception over the second half of the twentieth century, its revisions, and future possibilities.
Call Number: MT130 .B34 M28 2004
Beethoven's Violin Concerto by
This is the first individual study of Beethoven's Violin Concerto. It explores the work's background and the influences that combined in its creation, and describes its indifferent initial reception. It considers the numerous textual problems that confront the performer, including discussion of Beethoven's adaptation for piano and orchestra. Following a detailed synopsis of the work itself, a final section reviews the wide variety of cadenzas that have been written to complement the concerto throughout its performance history.
Call Number: ML410 .B4 S76 1998
Mozart's Clarinet Concerto by
Mozart's Clarinet Concerto is of supreme importance as his last instrumental work. Yet there are a number of special problems surrounding the piece, since the autograph is lost and the unique instrument for which it was written has not survived. This book provides evidence of the development of the clarinet, Mozart's encounter with it, and the composition and subsequent reception of the Clarinet Concerto. An analysis of the work is complemented by discussion of performance practice and of surviving relevant instruments. Expertise from the author's colleagues contributes to some valuable appendices.
Call Number: ML410 .M9 L26 1996
Dvorák's Cello Concerto by
Dvorák's Cello Concerto, composed during his second stay in America, is one of the most popular works in the orchestral repertoire. This guide explores Dvorák's reasons for composing a concerto for an instrument which he at one time considered unsuitable for solo work, its relationship to his American period compositions and how it forms something of a bridge with his operatic interests. A particular focus is the concerto's unique qualities: why it stands apart in terms of form, melodic character and texture from the rest of Dvorák's orchestral music. The role of the dedicatee of the work, Hanus Wihan, in its creation is also considered, as are performing traditions as they have developed in the twentieth century. In addition the guide explores the extraordinary emotional background to the work which links it intimately to the woman who was probably Dvorák's first love.
Call Number: MT130 .D9 S6 1999
Berg's Violin Concerto by
Described by Aaron Copland as 'among the finest creations in the modern repertoire', Alban Berg's Violin Concerto has become a twentieth-century classic. In this authoritative and highly readable guide to the work the reader is introduced not only to the concerto itself but to all that surrounded and determined its composition. This is a book about musical culture in the 1930s, about the Second Viennese School, about tonality, atonality and serialism, about Berg's own musical development, compositional method and the private significance the Violin Concerto held for him. The book describes the genesis of the work, its performance history and critical reception and, in two detailed musical chapters, provides a section-by-section account of the book and a closer analysis of the musical language and structure. Anthony Pople's ability to combine musical anecdote with scholarly discussion makes this guide compelling reading for the amateur and the specialist alike.
Call Number: Ml410 .B47 P6 1991
First - Sergei Rachmaninoff (6 Times)
Sergei Rachmaninoff
(1873 - 1943)
Books on Sergei Rachmaninoff
The Great Composers: Rachmaninov by
Rachmaninov's pre-eminence as a pianist was never in doubt, but our assessment of his composing has varied during his lifetime and since his death. He has been thought too aloof from contemporary tendencies, and his deliberate interruption of his composing for several years in order to establish a late reputation as a concert virtuoso was misunderstood. A few of his early works have always remained popular, however; and recently our growing familiarity with the important works of his maturity has led to a reassessment of his stature.
Call Number: ML410 .R12 P5
Rachmaninoff by
In his time, Rachmaninoff knew equal success as a pianist and conductor. Born in 1873, the great Russian musician became world-famous at 19. He went on to write a body of work that carried the lyricism of Tchaikovsky and the technical brilliance of Liszt into the 20th century. This revised biography aims to capture the spirit of Rachmaninoff's music and his often tormented life.
Call Number: ML410 .R12 N67 1994
Scores of Wolfgang Amadeus Mozart's Music
Complete Concert Arias for Soprano by
All of Mozart's concert arias for soprano in three volumes. Includes cadenzas by Juliane Banse and information on performance practice.
"Ch'io mi scordi di te? - Non temer, amato bene" was performed for the UTK Concerto Competition (page 32).
Call Number: M1612 .M6 A72 1999 v. 3
Don Giovanni by
Due to numerous customer requests, Bärenreiter will be successively offering vocal scores to Major Mozart operas in hardback editions again. This means you now have the choice: perhaps you prefer a lower-priced and slightly lighter soft-cover edition with excellent lay-flat characteristics or you feel that sturdier hardcover editions of important repertoire works are more likely to survive the rigours of a musician's life. Our vocal score to "Don Giovanni" K. 527 (BA 4550-93) is the first edition we have now published in a hardback version. The vocal score of this ingenious opera by Mozart contains the original Prague version of 1787, which, due to its musical and dramaturgical coherence, should unquestionably be preferred to any hybrid versions. The changes made for the Vienna performances of 1788 are included in the appendix. Based on the research findings published in 2003 in the Critical Commentary to the respective music volume of the "New Mozart Edition" (Volume II/5/17), the highest musicological standards have been adhered to in this vocal score edition.
Call Number: M1503 .M939 D62 2005
Clarinet Concerto in A major, K. 622 by
Included in the piano reduction:
- Urtext solo clarinet part
- Reconstructed bassett -clarinet part
- Preface with suggestions for the embellishment of the first movement fermatas from an early 19th century source
Call Number: M1015 .M8 K.622 1999
Violin Concerto No. 5 in A major, "Turkish," K. 219 by
The new Urtext performing editions to Mozart’s violin concertos nos. 1-5 contain new easy to play piano reductions. They offer in addition to the Urtext solo violin part, an extra violin part prepared with bowings and fingerings by M. Wulfhorst.
A brochure with cadenzas, lead-ins and fermata embellishments by Joseph Joachim, Sam Franko, Leopold Auer, Eugène Ysaye and Martin Wulfhorst is also included.
Call Number: M1013 .M7 K.219 1979
Online Audio Materials for Wolfgang Amadeus Mozart
Click on the album cover to be directed to NAXOS Music Library!
- Naxos Music Library
A streaming audio database featuring a comprehensive collection of classical music. Search by composer, artist, label, and more. Includes guides on musical eras and other topical resources.
Tie for Second/Third - Sergei Prokofiev (5 Times)
Sergei Prokofiev
(1891 - 1953)
Books on Sergei Prokofiev
Sergey Prokofiev and His World by
Sergey Prokofiev (1891-1953), arguably the most popular composer of the twentieth century, led a life of triumph and tragedy. The story of his prodigious childhood in tsarist Russia, maturation in the West, and rise and fall as a Stalinist-era composer is filled with unresolved questions. Sergey Prokofiev and His World probes beneath the surface of his career and contextualizes his contributions to music on both sides of the nascent Cold War divide. The book contains previously unknown documents from the Russian State Archive of Literature and Art in Moscow and the Prokofiev Estate in Paris. The literary notebook of the composer's mother, Mariya Grigoryevna, illuminates her involvement in his education and is translated in full, as are ninety-eight letters between the composer and his business partner, Levon Atovmyan. The collection also includes a translation of Sigizmund Krzhizhanovsky's unperformed stage adaptation of Eugene Onegin, for which Prokofiev composed incidental music in 1936. The essays in the book range in focus from musical sketches to Kremlin decrees. The contributors explore Prokofiev's time in America; evaluate his working methods in the mid-1930s; document the creation of his score for the film Lieutenant Kizhe; tackle how and why Prokofiev rewrote his 1930 Fourth Symphony in 1947; detail his immortalization by Soviet bureaucrats, composers, and scholars; and examine Prokofiev's interest in Christian Science and the paths it opened for his music. The contributors are Mark Aranovsky, Kevin Bartig, Elizabeth Bergman, Leon Botstein, Pamela Davidson, Caryl Emerson, Marina Frolova-Walker, Nelly Kravetz, Leonid Maximenkov, Stephen Press, and Peter Schmelz.
Call Number: ML410 .P865 S47 2008
Prokofiev by
Born in Russia in 1891, Serge Prokofiev tirelessly devoted himself to the search for a new, individual music. His rich creative life coincided with the artistic, cultural, and political tumult that forged the early life of the Soviet Union. When first performed, much of Prokofiev's work was greeted with scorn and derision. However, the fiery Russian composer went on to exert an influence on modern music which is still being felt to this day. This study by one France's most eminent musicologists gives a detailed account of Prokofiev's development as a composer, including his progressive search for new musical forms and his heady collaborations with Serge Diaghilev's fabulous Ballets Russes. The book is heavily illustrated throughout with many rare photographs and drawings, as well as scores, costume designs and choreographic sketches.
Call Number: ML410 .P865 S3513 2000ISBN: 0714504904Publication Date: 2000-09-01
Diaries 1924-1933 by
The third and final volume of Prokofiev's Diaries covers the years 1924 to 1933, when he was living in Paris. Intimate accounts of the successes and disappointments of a great creative artist at the heart of the European arts world between the two world wars jostle with witty and trenchant commentaries on the personalities who made up this world. The Diaries document the complex emotional inner world of a Russian exile uncomfortably aware of the nature of life in Stalin's Russia yet increasingly persuaded that his creative gifts would never achieve full maturity separated from the culture, people, and land of his birthplace. Since even Prokofiev knew that the USSR was hardly the place to commit inner reflections to paper, the Diaries come to an end after June 1933 although it would be another three years before he, together with his wife and children, finally exchanged the free if materially uncertain life of a cosmopolitan Parisian celebrity for Soviet citizenship and the credo of Socialist Realism within which the regime struggled to straitjacket its artists. Volume Three continues the kaleidoscopic impressions and the stylish language--Prokofiev was almost as gifted and idiosyncratic a writer as a composer--of its predecessors.
Call Number: ML410 .P865 A3 2013
Prokofiev by Prokofiev by Call Number: ML410 .P865 A3153
