Symphonic Music, Its Evolution since the Renaissance

Symphonic Music, Its Evolution since the Renaissance

Symphonic Music, Its Evolution since the Renaissance

Symphonic Music, Its Evolution since the Renaissance

Synopsis

This book attempts to survey this large field afresh, and to do so in connected, chronological fashion. It takes notice of the fact that concertos, overtures, ballets, and suits- often overlooked or minimized in other books on symphonic music- are also parts of the literature.

Excerpt

The books which deal with symphonic music are numerous; their approaches to the field are as varied as their purposes. Some provide analyses of the orchestral works of a single composer; a few are briefly concerned with but a single musical form. Others resemble minor encyclopedias and, with their alphabetically arranged program notes, do not pretend to be continuous. Still others, more venerable ones, are of lesser value to the present generation because of age, inaccessibility, and outmoded content.

The present book attempts to survey this large field afresh, and to do so in connected, chronological fashion. It takes notice of the fact that concertos, overtures, ballets, and suites--often overlooked or minimized in other books on symphonic music--are also parts of the literature. It endeavors to provide the reader with an account of the form and style of the compositions that constitute the various orchestral repertoires; to present information about the origin and content of significant works in those repertoires; and to facilitate the musical and historical understanding--as well as the enjoyment --of the entire field.

Nevertheless, this book is not a history of all music composed for orchestral ensembles. Such a history could scarcely be compressed into one volume and still do justice to the great number of works that exist. My choice of material may be questioned in geographical regions where native sons are duly honored, and I may, in some instances, have slighted the reader's favorite composer. I can plead only that I have attempted to observe proper proportion in the space at my disposal and to avoid writing a book for the specialist in any particular historical period.

A brief explanation of the principle which underlies the treatment may be made here. a musical composition may be discussed from . . .

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