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010 a| 99030919;

020 a| 0674158911 (alk. paper);

035 a| (Sirsi) o41273235;

035 a| (OCoLC)41273235;

042 a| pcc;

048 b| ka01a| oa;

048 b| sa01a| oa;

048 b| ka01a| oz;

049 a| EREM;

050 00 a| ML1263b| .K47 1999;

082 00 a| 784.2/32| 21;

099 a| CD-4757;

100 1 a| Kerman, Joseph,d| 1924-2014.=| ^A30801;

245 10 a| Concerto conversations /c| Joseph Kerman.;

260 a| Cambridge, MA :b| Harvard University Press,c| 1999.;

300 a| 175 pages :b| illustrations, music ;c| 24 cm +e| 1 audio disc (digital ; 4 3/4 in.).;

336 a| text2| rdacontent;

337 a| unmediated2| rdamedia;

338 a| volume2| rdacarrier;

490 1 a| The Charles Eliot Norton lectures ;v| 1997-98;

504 a| Includes bibliographical references (pages 131-136) and index.;

505 0 a| Getting started -- Particularity and polarity -- Reciprocity, roles, and relationships -- Virtuosity/virtu -- Diffusion: concerto textures -- The sense of an ending -- Conversation-stopper (after-words).;

505 0 a| Accompanying disc contents: Piano concerto no. 3 in C minor : 1st mvt., Allegro con brio (15:55) ; Piano concerto no. 5 in E-flat "Emperor" : 1st mvt., Allegro Selections (1:19) / Beethoven (Robert Levin, fortepiano ; Orchestre Révolutionaire et Romantique ; John Eliot Gardner, conductor) -- Concerto for piano and wind instruments : 3rd mvt., Allegro / Stravinsky (Olli Mustonen, piano ; Deutsches Symphonie-Orchester Berlin ; Vladimir Ashkenazy, conductor) (4:35) -- Piano concerto no. 2 : 3rd mvt., Allegro molto / Bartók (Zoltán Kocsis, piano ; Budapest Festival Orchestra ; Ivan Fischer, conductor) (5:59) -- Piano concerto in A minor : 2nd mvt., Intermezzo, Andantino grazioso : Selections / Schumann (Radu Lupu, piano ; London Symphony Orchestra ; André Previn, conductor) (1:56) -- Violin concerto : 2nd mvt., Canzonetta (Andante) (6:10) ; 3rd mvt., Allegro vivacissimo : Selections (2:59) / Chaikovsky (Arthur Grumiaux, violin ; New Philharmonia Orchestra ; Jan Krenz, conductor) -- Piano concerto no. 1 in E-flat : 1st mvt., Allegro maestoso : Selections / Liszt (Martha Argerich, piano ; London Symphony Orchestra ; Claudio Abbado, conductor) -- Violin concerto no. 1 in D : 1st mvt., Andantino (9:47) ; 3rd mvt. Moderato, Più tranquillo : Selections (2:17) / Prokofiev (Kyung Wha Chung, violin ; London Symphony Orchestra ; André Previn, conductor) -- Brandenburg concerto no. 3 in G : 1st mvt., Allegro / Bach (Musica Antiqua Köln ; Reinhard Goebel, conductor) (4:55) -- Piano concerto no. 20 in D minor, K. 466 : 3rd mvt., Allegro assai / Mozart (Malcolm Bilson, fortepiano ; English Baroque Soloists ; John Eliot Gardner, director).;

520 a| The concerto has attracted relatively little attention as a genre, Joseph Kerman observes, and his urbane and wide-ranging Norton Lectures fill the gap in a way that will delight all music listeners. Kerman addresses the full range of the concerto repertory, treating both the general and the particular. His perceptive commentary on individual works--with illustrative performances on the accompanying CD--is alive with enthusiasm, intimations, and insights into the spirit of concerto. Concertos model human relationships, according to Kerman, and his description of the conversation between solo instrument and orchestra brings this observation vividly to life. What does the solo instrument do when it first enters in a concerto? How do composers balance claims of solo-orchestra contrast and solo virtuosity? When do they deploy the sumptuous musical textures that only concertos can provide? Kerman's unexpected answers offer a new understanding of the concerto and a stimulus to enhanced listening. In language that the Boston Globe's Richard Dyer calls "always delightfully vivid," Kerman conducts readers and listeners into the conversations that concertos so eloquently enact. Amid the musical forces at play, he renews the dialogue of music lovers with the language of the concerto--the familiar, the lesser-known, the cherished, and the undervalued. The CD packaged with the book contains movements from works that Kerman treats most intensively--by Bach, Mozart, Beethoven, Liszt, Tchaikovsky, Bartók, Stravinsky, and Prokofiev.;

511 0 a| Various performers.;

650 0 a| Concerto.=| ^A605002;

650 0 a| Concertos (Violin)x| History and criticism.=| ^A20359;

650 0 a| Concertos (Piano)x| History and criticism.=| ^A42487;

650 0 a| Concerti grossi.=| ^A46776;

830 0 a| Charles Eliot Norton lectures ;v| 1997-1998.=| ^A313766;

910 a| PromptCat;

980 a| 1999-10-27b| 24.95d| 1.26e| 20.96f| 37192;

590 a| Joyner-JOYNER MUSIC LIBRARY BOOK ACCOMPANIED BY SOUND RECORDING LOCATED AT CALL NUMBER:MusicLib CD-4757;

596 a| 3;

998 a| 657662;

999 a| CD-4757w| ALPHANUMc| 1i| 30372010648548d| 3/20/2018e| 3/13/2018f| 6/9/2017g| 3l| MMEm| JMUSICn| 7r| Ys| Yt| MMESCDu| 3/21/2000x| CDz| MMEDIAo| .STAFF. 0;

999 a| ML1263 .K47 1999w| LCc| 1i| 30372010648555d| 4/24/2018e| 2/26/2018f| 4/4/2024g| 4l| MSTm| JMUSICn| 28q| 8r| Ys| Yt| MGESBKu| 3/21/2000x| BOOKz| MCIRCo| .STAFF. enhanced 1/15/23 -jjab;

Concerto conversations / Joseph Kerman.

Author/creator	Kerman, Joseph
Format	Audio (CD)
Publication Info	Cambridge, MA : Harvard University Press, 1999.
Description	175 pages : illustrations, music ; 24 cm + 1 audio disc (digital ; 4 3/4 in.).
Subjects	Concerto. Concertos (Violin)--History and criticism. Concertos (Piano)--History and criticism. Concerti grossi.

Series	The Charles Eliot Norton lectures ; 1997-98 Charles Eliot Norton lectures ; 1997-1998. ^A313766
Contents	Getting started -- Particularity and polarity -- Reciprocity, roles, and relationships -- Virtuosity/virtu -- Diffusion: concerto textures -- The sense of an ending -- Conversation-stopper (after-words).
Contents	Accompanying disc contents: Piano concerto no. 3 in C minor : 1st mvt., Allegro con brio (15:55) ; Piano concerto no. 5 in E-flat "Emperor" : 1st mvt., Allegro Selections (1:19) / Beethoven (Robert Levin, fortepiano ; Orchestre Révolutionaire et Romantique ; John Eliot Gardner, conductor) -- Concerto for piano and wind instruments : 3rd mvt., Allegro / Stravinsky (Olli Mustonen, piano ; Deutsches Symphonie-Orchester Berlin ; Vladimir Ashkenazy, conductor) (4:35) -- Piano concerto no. 2 : 3rd mvt., Allegro molto / Bartók (Zoltán Kocsis, piano ; Budapest Festival Orchestra ; Ivan Fischer, conductor) (5:59) -- Piano concerto in A minor : 2nd mvt., Intermezzo, Andantino grazioso : Selections / Schumann (Radu Lupu, piano ; London Symphony Orchestra ; André Previn, conductor) (1:56) -- Violin concerto : 2nd mvt., Canzonetta (Andante) (6:10) ; 3rd mvt., Allegro vivacissimo : Selections (2:59) / Chaikovsky (Arthur Grumiaux, violin ; New Philharmonia Orchestra ; Jan Krenz, conductor) -- Piano concerto no. 1 in E-flat : 1st mvt., Allegro maestoso : Selections / Liszt (Martha Argerich, piano ; London Symphony Orchestra ; Claudio Abbado, conductor) -- Violin concerto no. 1 in D : 1st mvt., Andantino (9:47) ; 3rd mvt. Moderato, Più tranquillo : Selections (2:17) / Prokofiev (Kyung Wha Chung, violin ; London Symphony Orchestra ; André Previn, conductor) -- Brandenburg concerto no. 3 in G : 1st mvt., Allegro / Bach (Musica Antiqua Köln ; Reinhard Goebel, conductor) (4:55) -- Piano concerto no. 20 in D minor, K. 466 : 3rd mvt., Allegro assai / Mozart (Malcolm Bilson, fortepiano ; English Baroque Soloists ; John Eliot Gardner, director).
Abstract	The concerto has attracted relatively little attention as a genre, Joseph Kerman observes, and his urbane and wide-ranging Norton Lectures fill the gap in a way that will delight all music listeners. Kerman addresses the full range of the concerto repertory, treating both the general and the particular. His perceptive commentary on individual works--with illustrative performances on the accompanying CD--is alive with enthusiasm, intimations, and insights into the spirit of concerto. Concertos model human relationships, according to Kerman, and his description of the conversation between solo instrument and orchestra brings this observation vividly to life. What does the solo instrument do when it first enters in a concerto? How do composers balance claims of solo-orchestra contrast and solo virtuosity? When do they deploy the sumptuous musical textures that only concertos can provide? Kerman's unexpected answers offer a new understanding of the concerto and a stimulus to enhanced listening. In language that the Boston Globe's Richard Dyer calls "always delightfully vivid," Kerman conducts readers and listeners into the conversations that concertos so eloquently enact. Amid the musical forces at play, he renews the dialogue of music lovers with the language of the concerto--the familiar, the lesser-known, the cherished, and the undervalued. The CD packaged with the book contains movements from works that Kerman treats most intensively--by Bach, Mozart, Beethoven, Liszt, Tchaikovsky, Bartók, Stravinsky, and Prokofiev.
Local note	Joyner-JOYNER MUSIC LIBRARY BOOK ACCOMPANIED BY SOUND RECORDING LOCATED AT CALL NUMBER:MusicLib CD-4757
Bibliography note	Includes bibliographical references (pages 131-136) and index.
Performer	Various performers.
LCCN	99030919
ISBN	0674158911 (alk. paper)

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Library	Location	Call Number	Status	Item Actions
Music	Music Media - Ask at Circulation Desk	CD-4757	✔ Available	Place Hold
Music	Music Stacks	ML1263 .K47 1999	✔ Available	Place Hold

Concerto conversations / Joseph Kerman.

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