By Ethan Mordden
Cozy and obtainable standard, this authoritative advisor is the 1st symphony guide for non-musicians. The booklet starts off with a common advent to the symphony and brief items at the orchestra and musical kinds. Mordden is going directly to describe, chronologically, over seven-hundred pieces--from Vivaldi to twentieth-century composers. extra aids to the reader contain lists of repertory developers and a thesaurus of musical phrases. "Easy and pleasant to read...a surely worthwhile advisor for the track lover who has no longer had a musical schooling yet loves live performance music."--John Barkham stories
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Extra resources for A Guide to Orchestral Music: The Handbook for Non-Musicians (Oxford Paperback Reference)
Thus, the balance of orchestra and solo group was assured: the one would sound the refrain and the other would "develop" that refrain between its appearances. But the invention of sonata form changed all that. It made concerto first movements more complex, called for some effort in organization. This renovated concerto, devoted to the virtuoso soloist, was developed about the same time as the symphony (roughly the time of Haydn), and it is interesting to follow its development from Mozart through Beethoven to Mendelssohn and Liszt.
Many conductors of the recent past and the present have, it is true, found little encouragment for their compositions. Otto Klemperer, Wilhelm Furtwangler, Victor de Sabata, and Jean Martinon, to name only a few, found their conducting careers overshadowing their careers as composers. But others such as Leonard Bernstein, Hans Werner Henze, and Benjamin Britten have played as well as made music. All are known for their interpretations of their own works, yes—but they also have exercised certain specialties in the classic repertory.
It was as if they could not support a "Back to Bach" movement with a straight face. While the neo-Classicists reduced the orchestra and worked in transparently small-scaled forms (such as twenty-minute symphonies), other innovators retained their Romantic roots, dallied with expressionism and other grotesquerie, and found their way at last into atonalism (music with rhythm and melody but no conventional harmony). This is where "contemporary" music begins to carry an unsavory air for many people—even now, there are many symphony buffs who refuse to hear Arnold Schonberg, Alban Berg, or Anton Webern.