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Scan 187
Harvard Dictionary Of Music, 1944
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1CONCERTANT
21884 they took place in the Alte Gewandhaus (Old Cloth Hall) which was replaced in that year by a new concert hall, the Neue Gewandhaus. Famous conductors were Mendelssohn (1835-47), under whom the concerts first attained international recognition, Nikisch, Furtwängler, and Bruno Walter.
4For the development of concert life in America, see under *American music. For the various concert institutions, see *Orchestras.
6Lit.: K. Meyer, Das Konzert (1926); G. Pinthus, Die Entwicklung des Konzertwesens in Deutschland bis zum Beginn des 19. Jahrhunderts (1932); E. Hanslick, Geschichte des Konzertwesens in Wien (2 vols., 1869/70); A. Dörffel, Geschichte der Gewandhauskonzerte (1881); Dandelot, Les Concerts du Conservatoire (1897); M. Brenet, Les Concerts en France sous l'ancien régime (1900).
8Concertant [F.], Concertato [It.]. Eighteenth-century name for symphonies (Symphonie concertante) with participation of several solistic instruments, after the model of the earlier *concerto grosso, but in the style and form of the Mannheim School. Such works were written by Cannabich, Karl Stamitz, Haydn, and Mozart. In 17th-century vocal works, coro concertato denotes a small body of solo-singers, in contrast to the large chorus, the coro ripieno or the cappella [see *Concertino (1)]. Terms such as Sonate concertate (Merula, 1637) refer to the "rivaling" use of several instruments [see *Concerto grosso].
10Concertgebouw. See *Orchestras II.
12Concert grand. The largest size of the pianoforte, built for concert performance. See *Pianoforte.
14Concert halls. For a list of the most important concert halls see *Orchestras. For the acoustical properties of concert halls, see *Architectural acoustics. Cf. also LavE ii.6, 3860.
16Concertina. See under *Accordion.
18CONCERTO
19Concertino. (1) In Baroque music, the soloist group of the *concerto grosso. — (2) Nineteenth-century compositions in the style of a concerto but in free form, usually in one single movement with sections of varying speed and character. A German name for the same type is Konzertstück. Examples are: Weber, Concertino for Clarinet, op. 26; Schumann, Introduction and Allegro appassionato, op. 92 (piano and orchestra). Others are by Rubinstein (piano, op. 113), Bruch (violin, op. 84), Carpenter (piano), Dohnányi (violoncello, op. 12).
21Concertmaster [F. chef d'attaque; G. Konzertmeister; It. violino primo]. The first violinist of an orchestra. He is entrusted with violin solo passages, but also represents the orchestra in negotiations with the management and the conductor, assists the latter in rehearsing, and occasionally replaces him in conducting.
23Concerto [F. concert; G. Konzert; It. concerto]. I. General. A composition for a solo player and an orchestra teamed, not in a master-servant relationship (as in the case of *accompaniment), but in one of rivalry on an equal basis (the term comes from L. concertare, i.e., "to fight side by side," "to compete as brothers-in-arms"). The development of the classical and modern concerto, i.e., from Mozart to the present day, generally follows that of the *sonata from which it borrowed its chief features of form and style. There are, however, the following differences: (a) the concerto practically always has three movements only, the scherzo being omitted (Brahms's Piano Concerto op. 83 is one of the few exceptions); (b) the first movement is written in a modified sonata form in which the exposition, instead of being repeated in full, is written out twice, for the first time in a preliminary and abbreviated form with the tonic as the main key throughout and for the orchestra only, then in its full form for the soloist and orchestra and with the proper modulation into the dominant, a form which is known as concerto-sonata form; (c) the last movement is usually in
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