| Date: 13 April 2011, 10:14
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Ready for thrills? A concerto is exciting in ways that no other instrumental music can match. Where a symphony enthralls us with themes that are contrasted, varied, transformed, and developed, a concerto adds the extra dimension of human drama—the exhilaration of a soloist or group of soloists ringing forth against the mass of the orchestra.
Little wonder, then, that the concerto grew out of the same musical setting in 17th-century Italy that gave birth to opera. And like opera, the concerto is a vehicle for the depiction of every human emotion and relationship imaginable, from the gentlest and most tender to the most violent and confrontational, and everything in between.
The concerto is also an extreme sport for soloists, representing musical life lived at the edge, as instruments and the musicians who play them are pushed to the very limit of what is possible by composers exploring the extremes of instrumental virtuosity.
Best of all, the concerto repertoire is huge! The genre was invented long before the symphony. As a result, Bach, Handel, Vivaldi, Corelli, and Telemann composed hundreds of concerti, but among them not a single symphony. Mozart's great concerti far outnumber his great symphonies; Beethoven wrote almost as many concerti as symphonies; and Brahms composed equal numbers of both. During the 18th and 19th centuries, at least as many concerti were composed as symphonies. And during the 20th century, in terms of sheer quantity, the concerto was by far the single most important genre of orchestral music.
Thrills, drama, emotion, virtuosity, and a vast repertoire—what more could a music lover ask?
[b]300 Years of Concerti[/b]
In this series of 24, 45-minute lectures, Professor Robert Greenberg gives you a guided tour of the concerto from its conception as a child of Renaissance ideals, through its maturation in the Classical age, its metamorphosis in the Romantic era, and its radical transformation in the 20th century. The course closes with a look into the future at concerto composers who are now in mid-career and poised to carry this vibrant musical tradition well into the 21st century.
These lectures are musically rich, including selections from nearly 100 concerti representing more than 60 composers—from Gabrieli to Gershwin, from Schumann to Shostakovich.
Along with the bedrock of the repertoire, represented by Vivaldi, Bach, Mozart, Beethoven, Mendelssohn, Chopin, Schumann, Liszt, Brahms, Tchaikovsky, Dvorak, Rachmaninoff, Bartok, and many others, you will be introduced to superb concerti by Hummel, Vieuxtemps, Wieniawski, Moszkowski, Paderewski, Ginastera, and other less-familiar masters.
[b]The many pieces you will explore in depth include:
[/b]
[list][*]Mozart's Concerto for Flute in G Major, K. 313: For one who claimed to detest the flute, Wolfgang Mozart composed some of the most gorgeous music ever written for the instrument.
[*]Haydn's Concerto for Trumpet in E-flat Major: Often heard on today's concert stage, this stirring piece was nearly lost forever. It was only found in 1929—120 years after Joseph Haydn's death.
[*]Beethoven's Piano Concerto no. 4 in G Major, op. 58: Ludwig van Beethoven's Fourth Piano Concerto is one of his greatest works in the genre—filled with compositional, pianistic, and expressive innovations that changed the course of Western music.
[*]Chopin's Piano Concerto no. 2 in F Minor, op. 21: Disdaining large-scale form, Frederic Chopin strove for achingly beautiful themes and an amazing harmonic palette. The spectacular third movement of this piece is a Polish mazurka gone wild.
[*]Grieg's Piano Concerto in A Minor, op. 16: The most beloved and recognizable concerto to early 20th century audiences was not by Bach, Mozart, Beethoven, Mendelssohn, or Brahms; it was this piece by the Norwegian composer Edvard Grieg.
[*]Tchaikovsky's Violin Concerto in D Major, op. 35: In Professor Greenberg's estimation, this concerto is Peter Tchaikovsky's single greatest work and one of the greatest concerti of the 19th century.
[/list]Other highlights of the course include virtually an entire lecture devoted to Johannes Brahms's Piano Concerto no. 2 in B-flat Major, op. 83; and another lecture focusing on Antonin Dvorak's Concerto for Cello in B Minor, op. 104, "the greatest cello concerto ever written," says Professor Greenberg. You also explore some notoriously esoteric and difficult 20th-century composers, including Arnold Schoenberg and Elliott Carter, learning how their music is much more accessible than it appears.
[hide=Course Lecture Titles][list][*]1. The Voice in the Wilderness
[*]2. The Baroque Italian Concerto
[*]3. Baroque Masters
[*]4. Bach’s Brandenburg Concerti
[*]5. Mozart, Part 1
[*]6. Mozart, Part 2
[*]7. Classical Masters
[*]8. Beethoven
[*]9. The Romantic Concerto
[*]10. Hummel and Chopin
[*]11. Mendelssohn and Schumann
[*]12. Romantic Masters
[*]13. Tchaikovsky
[*]14. Brahms and the Symphonic Concerto
[*]15. Dvorak
[*]16. Rachmaninoff
[*]17. The Russian Concerto, Part 1
[*]18. The Russian Concerto, Part 2
[*]19. The Concerto in France
[*]20. Bartok
[*]21. Schonberg, Berg and the 12-Tone Method
[*]22. Twentieth-Century Masters
[*]23. Elliott Carter
[*]24. Servants to the Cause and Guilty Pleasures
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