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By Michael Thomas Roeder

This lucid consultant lines the concerto's evolution over the key classes of tune: baroque, classical, romantic, and twentieth century. The compositions of every vital composer are mentioned intimately, making this an invaluable better half to the shape.

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B. Wendling. Wendling introduced Mozart to a Dutch amateur flute player who commissioned the composer to write three "easy" concertos and quartets for flute. In a letter of 10 December 1777 to his father, Mozart identified the flute player as "De Jean" (possibly a phonetic representation of de Jong). " This 46 47 statement, which is difficult to reconcile with the beautiful music he wrote for the flute, may explain the reason for his procrastination in fulfilling this commission. It also would have been difficult for him to sustain an interest in writing for an amateur when surrounded by virtuosos.

The great challenge faced by concerto composers through the centuries has been directly related to this dual nature, and the history of the concerto is very much the story, not only of the ten < previous page < previous page page_13 page_130 next page > next page > Page 130 33 34 Figure 9 Mature concerto-sonata form typical of first movements  < previous page < previous page page_130 page_131 next page > next page > Page 131 The second, slow movements are cast in a variety of forms. Common are the concerto-sonata form on a smaller scale; a simple sonata-allegro form, with little or no development; ternary form; theme and variations; and romanza in a rondo form.

For example, the Serenade in D, K. 204/213a, composed in August 1775, contemporaneously with the violin concertos, contains a  < previous page < previous page page_138 page_139 next page > next page > Page 139 two-movement violin concerto in A. Other serenades with internal violin concertos are K. 185/167a (JulyAugust 1773), K. 203/189b (August 1774, with a three-movement internal concerto), and the Haffner Serenade, K. 250/248b (JuneJuly 1776). Furthermore, in his devotion to string concertos, Mozart apparently did not neglect the cello.

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