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• W2939730898 abstract "With its previous books on Rhetoric and on Baroque String Playing by Judy Tarling, Corda Music has developed an enviable reputation for producing insightful practical guides to the historically informed performance of music, drawing on wide-ranging scholarship, authoritatively presented. The latest offering by the late Richard Maunder explores concerto performance practice of the classical Viennese school from c.1780 to 1810. Maunder’s book draws upon a range of existing scholarship (somewhat selective, though clearly enough itemized in the bibliography) and applies it to the careful examination of a large body of surviving performance materials for concertos found in Viennese, Austrian, and south German archives (an accurate list of which is provided at the end, helpfully cross-referenced against particular works analysed in the main text). Most frequently these materials comprise individual performing parts (Violin 1, Viola, Cello, and so forth). A key question explored at length in Maunder’s book is the role of string players: how many string players were engaged in performances of Mozart’s piano concertos, or in those of Beethoven? Did all of the string players perform all of the time? How do we know? How, indeed, did the original players know when they were required to play or to drop out? Maunder’s snappily delivered and forthright conclusion—extending those adumbrated in his earlier study, The Scoring of Early Classical Concertos (Woodbridge and Rochester, NY, 2004)—is that the string band in Viennese concertos was normally small: perhaps 1–1–1–1–1 or more usually 2–2–2–1–1 (or 2), allowing for two players sharing a desk in the violin sections. There seems to have been a fairly widespread practice in Vienna (and perhaps beyond, as far as Regensburg) of copying duplicate parts for at least the upper strings, some of which served a ripieno function, namely, including only those passages in which a larger body of strings was intended to participate. Ripieno parts include substantial rests indicating that players from these parts were required to drop out during solo sections and recommence in the periodic tuttis (such parts exist for Mozart’s D minor Piano Concerto, K. 466, for instance). Maunder wisely acknowledges that the performance implications of such indications in the original performance materials are by no means cut and dried, and that in some sources a tutti indication need not signify that the current solo section has concluded, but simply that additional reinforcement is now required during an ongoing solo (a point tellingly illustrated by his Ex. 6.1 (pp. 101–3), taken from the Andante of Conradin Kreutzer’s Piano Concerto No. 2, Op. 50)." @default.
• W2939730898 created "2019-04-25" @default.
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• W2939730898 date "2018-11-01" @default.
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• W2939730898 title "Concertos of the Classical Viennese School, c.1780–1810, and their Scoring. By Richard Maunder" @default.
• W2939730898 doi "https://doi.org/10.1093/ml/gcy107" @default.
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