The Concerto

By: Robert Greenberg, The Great Courses

Narrated by: Robert Greenberg

The concerto offers a kind of unique excitement no other instrumental music can match. Where a symphony enthralls us with its thematic variations and development, a concerto gives us human drama - the exhilaration of a soloist or group of soloists ringing forth against the mass of the orchestra.

In 24 musically rich lectures, Professor Greenberg provides a guided tour of the concerto, from its conception as a child of Renaissance ideals, through its maturation in the Classical age, its metamorphosis in the Romantic era, and its radical transformation in the 20th century and beyond.

You'll listen to selections from nearly 100 concerti from more than 60 composers - from Gabrieli to Gershwin, from Schumann to Shostakovich. Along with the bedrock of the repertoire - represented by Vivaldi, Bach, Mozart, Beethoven, Mendelssohn, Chopin, Schumann, Liszt, Brahms, Tchaikovsky, Dvorak, Rachmaninoff, Bartok, and many others - you are introduced to superb concerti by a host of less-familiar masters.

You'll study in depth some of the greatest and most beloved works of the genre, including Mozart's Concerto for Flute in G Major, K. 313; Haydn's Concerto for Trumpet in E-flat Major; Beethoven's Piano Concerto no. 4 in G Major, op. 58; Chopin's Piano Concerto no. 2 in F Minor, op. 21; Grieg's Piano Concerto in A Minor, op. 16; and Tchaikovsky's Violin Concerto in D Major, op. 35.

Finally, you'll look at some notoriously esoteric and difficult 20th-century composers, including Arnold Schönberg and Elliott Carter, learning how their music is much more accessible than it appears.

PLEASE NOTE: When you purchase this title, the accompanying reference material will be available in your Library section along with the audio.

©2006 The Teaching Company, LLC (P)2006 The Great Courses

fantastic

Robert Greenberg never disappoints in providing a wonderful, informative, and down right entertaining series of history and music. I even lover the section on Carter. ha!

The Concerto by Robert Greenberg

Robert Greenberg gives an entertaining and enjoyable series of lectures covering the concerto. The content is excellent and I learned a lot - as much about the individual composers as the concerti themselves. As a derivative of English culture rather than American I initially found his presentation style a little brash but once I was used to it I enjoyed the lectures thoroughly. I heartily recommend this course.

Who were the artists in examples?

Fabulous, informative, course .Robert Greenberg is great teacher. He should credit the source of his musical examples. What recordings did he use? The musicians deserve to be known. Thanks

And I am finally entering the 20th century willing

What does Professor Robert Greenberg bring to the story that you wouldn’t experience if you just read the book?

When I began "The Concerto" I thought it would be a traumatic experience. After all, when I began listening to Dr. G's lectures I had only two favorites--Bach and Mozart. Gradually, as I listened to "How to Listen to and Understand Great Music," I began to see more stars on the horizon. They weren't as bright, but they made lovely music. So I took baby steps through the Romantic Era and "Oh-my-goshed" at Schoenberg--but then I heard "To an Angel" by Berg and "The Tree of Dreams" by Dutilleux and Bartok's "Concerto for Orchestra" and I liked them! I never expected to enjoy modern composers so easily. I guess Dr. G did change my mind and my expectations.

As (almost) superb as Prof. Greenberg usually does

Have you listened to any of Professor Robert Greenberg’s other performances before? How does this one compare?

Most of them, with great pleasure.

Was there a moment in the book that particularly moved you?

When he does an analysis of the musical theory behind the music.

Any additional comments?

It's amazing and wonderful, almost as usually. It's a pity that the fact that the potential listeners are from the USA makes him include too many irrelevant US composers in this survey. He usually keeps an exquisite balance of who really is/was who in the musical world history. Of course, there are some who are really worthy and should be here, but many others... By doing this, other composers of higher worth from other countries have been neglected sadly. Moreover, it's surprising how the Spanish (and American) composers are misrepresented, except the American composers born in the USA, of course. No mention of Héitor Villa-Lobos or Manuel de Falla, for example. No mention of Tomás Luis de Victoria or Antonio de Cabezón, two of the three most eminent composers all over Europe during the Renaissance. Or many others. In the survey lectures about The symphony, the Professor overrepresented as well some over-rated US composers (and also a few from the London colonies -just kidding, or not?), but in this survey he's gone way farther. The lecture about Elliot Carter I guess should have never been included, should he have made this lecture in 2017, and not in 2005. And he should have included some other names he mentioned but discarded. But in general, provided that this is a survey made by a USA company and a US Professor, it is not too jingoistic, at least not until when the lectures enter the 20th century... :-) Another detail : I would love and would buy immediately a course about "Musical theory (and applied to masterworks), and some notions about the compositional compared methods by the great masters, for the layman", by Professor Greenberg.