virtuosomusic

...are secondary to the dialogue inherent in the concerto’s interrelationship of soloist and orchestra. This dialogue influences the very nature of the solo part by almost forcing the soloist into a virtuoso’s role so that he can compete on an equal footing with his adversary, the orchestra. The dialogue, furthermore, influences not only the construction of individual musical phrases but also...

The Romantic age was a period of refinement and intensification of Rococo principles with heavy literary overtones. It was the true age of the star virtuoso; that is, the age in which the role, person, and effect of the virtuoso was most dramatized and glamourized. The symphony orchestra in this period achieved its maximum development. Italian opera under Verdi found its noblest expression and...

...This traditional country fiddler is distinguished from his urban colleague by his nonstandardized technique, playing position, and tunings and by his learning process, which is totally aural. His virtuosity may be of a high order. The pleasures of the common folk have long been associated with the fiddle, though the medieval fiddler usually played the bagpipes, sang, juggled, and told jokes...

...devoted more of his energies to vocal than to instrumental composition. The development of instrumental writing—and of instrumental musical forms—was carried on more and more by virtuoso violinists. One of these was Carlo Farina (flourished c. 1630), who spent part of his life in the service of the court of Dresden, and there published a set of sonatas in 1626....

...dancers, a narrator, and seven instrumentalists. For these works a new kind of performer is required, and these works in turn have helped to train the new performer—who might be called the group-virtuoso. Teams or groups of such performers have sprung up everywhere. Often they are centred on a living composer or the university where he teaches, where they function as partners to his...

...for the relationship between participants in the musical experience—between performer and listener—became polarized. The first evidence for this shift was the rise of the professional vocal virtuoso about the last quarter of the 16th century, and this development soon had a profound influence on musical style. Italian composer-singers, such as Giulio Caccini and Jacopo Peri,...

...religious duty. He argued that this method of study would, in return, illuminate God’s omnipresence and goodness, thereby enhancing a scientist’s understanding of the divine. The Christian Virtuoso (1690) summarized these views and may be seen as a manifesto of Boyle’s own life as the model of a Christian scientist.

naturalized German composer and piano virtuoso best remembered for his opera Tiefland (1903) and his arrangements and transcriptions of the music of Johann Sebastian Bach.