The novel structure of the book engages with the piece conceptually, historically, musically, and phenomenologically, with the six movements of the composition framing the six chapters.

Now these masterful works are playable by string orchestra or string quartet.

The first thorough English-language exploration of the concerto as a musical form, this is an oft-quoted, authoritative survey.

This book takes issue with this orthodox opinion to argue quite the reverse: that contemporaries regarded the concerto as chamber music.

One of Schnittke's best-known and most compelling works, the Concerto Grosso no. 1 sounds the surface of late Soviet life, resonating as well with contemporary compositional currents around the world.

Numerous musical examples illuminate critical points. While some readers may want to study the more detailed analyses with scores in hand, this is not essential for an understanding of the text.

... concerto grosso” in their titles were performed on the same day: Bolesław Szabelski's Concerto Grosso (1954) and Kazimierz Sikorski's Symphony no. 3 (1953), subtitled “In the Form of a Concerto Grosso.”4 In 1966, Schnittke's fellow ...

Now these masterful works are playable by string orchestra or string quartet.