Scan 150
The American history and encyclopedia of music .., 1908
22 lines. Read by computer on 11 September 2026. Printed page 128. See the scan on archive.org.
1concertina
2from G on the third space below the treble staff to G on the fourth line above. It is capable of much variety of tone and can be played with great expression and with complete effects of holding the notes and of playing them shortly and crisply. Music written for violin, flute and oboe can be played on it without alteration, but music written especially for it can be played only on organ or harmonium. The tenor, bass and double bass instruments are single action, that is, produce sounds by pressing the bellows only. They can play tenor, bass and double bass parts without alteration and have a compass as follows: tenor, from B on the second added space below the treble staff to C on the third line above; bass, from C on the second line below the bass staff to C on the third line above the treble staff; double bass, from C on the second line below the bass staff to E on the third space of that staff. The keys producing the sounds on these instruments connect with metal reeds in the two ends of the bellows, which are worked by the wrists, while the fingers are free to press the keys.
4concertino (kôn-chĕr-tĕ'-nō) It.
5A short concerto. The leading instruments, as violin concertino, the principal violin. The principal part in a concerto or other piece for full orchestra. This name is sometimes given the first violin part in which begin the other independent parts.
7concertiren (kôn-tsĕr-tĕ'-rĕn) Ger. v.
81. To concert; to devise.
92. To harmonize or agree in sound.
103. Movements played by one performer to each part in which each instrument or voice in turn takes the principal part.
12concertista (kôn-chĕr-tĭs'-tă) It. n.
13A virtuoso, a solo player: one who plays in concerts.
15Concertmeister (kôn-tsĕrt'-mĭs-tĕr) Ger. n.
16Concert-master. In an orchestra, the leader of the first violins, who sits next to the conductor and makes known his wishes to the others. He is second in importance to the conductor, whose lieutenant he is. Upon him depend, to a great extent, the attack, the time and the shades of expression in the playing.
18concerto (kôn-chĕr'-tō) It. n.
19Concert harmony. A form of instrumental composition for the display of one, sometimes of several solo instruments, almost always accompanied by orchestra. Originally the term was applied to almost any kind of concerted music, and in 1602 Viadana applied it to motets having organ accompaniment. Torelli is considered the inventor of the instrumental concerto owing to his concerted pieces for two violins and basso published in 1686. In the time of Bach and Handel it was much freer in form and much like our suites. The modern form of the concerto is probably due to Mozart. His concertos usually begin with a passage for the whole orchestra containing the principal subjects and usually the second subjects and ending in the original key. This is followed by the solo instrument sometimes with a brilliant introduction sometimes at once with the chief subject. A repetition of the first orchestral passage with modifications now follows for both solo and orchestra. The second subject is now introduced followed by a brilliant ending of the first solo. A short passage for orchestra follows, leading up to the second solo which after a number of modulations goes back to the original key. The principal subject is now repeated by the orchestral passage which brings the first movement to a close. In older concertos a pause is made near the end of this last orchestral passage to admit of a cadenza by the soloist. The second movement might be an andante, an adagio, larghetto or any slow movement and sometimes it was the variation form. The solo parts in this slow movement were usually very florid in character and a cadenza was sometimes introduced at the end of this movement, but if it appeared, was much shorter than that in the first movement. The third movement was usually in rondo form. Sometimes in form of variations and occasionally the rondo was subject to complete change of tempo. A short cadenza was usually introduced in the finale.
21In Beethoven's concertos we find the orchestra of greater importance, the second and third movements were often connected and the introductory orchestral passage usually shortened, also the cadenza in the first movement is written out in full instead of
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