xv + 186 pp.

Kalmus continues its series of flute music by Frederick the Great with this volume of his four concertos for flute and orchestra. This clean edition includes the flute part and a piano reduction of the orchestral parts for the concertos in C major, D major, and the two concertos in G major. Kalmus Editions are primarily reprints of Urtext Editions, reasonably priced and readily available. They are a must for students, teachers, and performers.

The Four Seasons and the rest of the concertos in Op. 8 represent Vivaldi's remarkable innovation in the field of the Baroque concerto. This detailed guide examines the work's origin and construction in a way that enables the reader to distinguish what is extraordinary about the Seasons and what constitutes the composer's customary method of 'characterising' the solo concerto. Drawing on recent research and his own expertise in the appraisal of Vivaldi's manuscripts, the author draws interesting and sometimes startling conclusions about the conception of the Seasons, the origin of their programme, the dating of the concertos and the rationale behind the collection's ritornello-form structures and aria-like slow movements. The significance of Vivaldi's idiosyncratic art is thus revealed in some of the most popular concert music of all time.

Mozart's supremacy as a composer is nowhere more apparent than in his piano concertos, which were a lifelong preoccupation for him from 1767, when he was 11 years old, until 1791, the year of his death. The remarkably precocious works in this volume, written in 1776 and 1777, foreshadow the even greater piano concertos to come. Each exhibits the qualities for which their successors are justly celebrated: keyboard mastery, experimentation with texture, and a natural sensitivity to form and balance. Despite his youth, Mozart captured the spirit of his times with these compositions, reflecting an eighteenth-century mood of elegance and refinement. This volume includes the Triple Concerto No. 7 in F (K.242), Mozart's only concerto for three pianos, with the composer's cadenzas for all three movements. Also here are the Concerto No. 8 in C (K.246) and Concerto No. 9 in E-flat (K.271), offering a contrast in moods — the former, in the lighthearted, refined galant spirit; the latter, a work of dramatic, emotional character. The concluding music in this prized compilation is the world-famous Double Concerto No. 10 in E-flat (K.365), written for the composer himself and his sister Nannerl. Pianists and all lovers of fine music will welcome this valuable compilation of seminal works, reproduced complete and unabridged from the authoritative Breitkopf & H�rtel Complete Works edition. Included as well, as appendixes, are Mozart's original cadenzas for Concerto No. 9 and reproductions of the rare autograph sketches of cadenzas for the Double Concerto.

The Brandenburg Concertos represent a pinnacle in the history of the Baroque concerto. This analysis places the concertos in their historical context, investigates their sources, traces their origins and discusses the changing traditions of performance.

This early work on Mozart's Piano Concertos is both expensive and hard to find in its first edition. It contains analyses of the themes and structure of some of Mozart's greatest piano compositions. This is a fascinating work and thoroughly recommended for anyone interested in music theory. Many of the earliest books, particularly those dating back to the 1900s and before, are now extremely scarce. We are republishing these classic works in affordable, high quality, modern editions, using the original text and artwork.

The concertos of Vivaldi, Bach, Handel and their contemporaries are some of the most popular, and the most frequently performed, pieces of classical music; and the assumption has always been they were full orchestral works. This book takes issue with this orthodox opinion to argue quite the reverse: that contemporaries regarded the concerto as chamber music. The author surveys the evidence, from surviving printed and manuscript performance material, from concerts throughout Europe between 1685 and 1750 (the heyday of the concerto), demonstrating that concertos were nearly always played one-to-a-part at that time. He makes a particularly close study of the scoring of the bass line, discussing the question of what instruments were most appropriate and what was used when. The late Dr RICHARD MAUNDER was Fellow of Christ's College, Cambridge.