Abstract

Abstract:

The orchestration of Schumann's Piano Concerto is considered revealing of the composer's particular approach to the concerto orchestra. The rejection of exact doublings, the alternations between different woodwind instruments and the piano, the concerto-like solos in the orchestra, all preclude textural and timbral monotony, add plasticity to the orchestral texture and modify the character of the sound. Processes occur with such dynamic vitality that a "moving orchestration" effect appears. Not only the concerto's aesthetics, style, and form, but surprisingly its orchestration had an impact on Schumann's successors.

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Additional Information

ISSN
2296-4339
Print ISSN
0001-6241
Pages
pp. 135-159
Launched on MUSE
2020-12-02
Open Access
No
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