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Auswahl der wissenschaftlichen Literatur zum Thema „Orchestral resonance on the piano“
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Zeitschriftenartikel zum Thema "Orchestral resonance on the piano"
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Rusin, Anna. „Reprezentacje karnawału w fantazjach na fortepian z orkiestrą Dariusa Milhauda i Heitora Villi-Lobosa“. Kwartalnik Młodych Muzykologów UJ, Nr. 54 (3) (07.12.2022): 43–70. http://dx.doi.org/10.4467/23537094kmmuj.22.013.16813.
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The Representations of Carnival in Fantasias for Piano and Orchestra by Darius Milhaud and Heitor Villa-Lobos In the 1920s, Frenchman Darius Milhaud (1892–1974) and Brazilian Heitor Villa-Lobos (1887–1959), inspired by the carnival, created works that resemble each other in genre and scoring. These are the fantasias for piano and orchestra: Mômoprecóce by Villa-Lobos and Le Carnaval d'Aix, Op. 83b by Milhaud. The article presents an attempt to analyse the pieces in the context of carnivalesque aesthetics as well as musical representation (as described by Peter Kivy and Lawrence Kramer) and seeks to deeply comprehend the phenomenon’s resonance in the composers’ music.
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Rupprecht, Philip. „ABOVE AND BEYOND THE BASS: HARMONY AND TEXTURE IN GEORGE BENJAMIN'S ‘VIOLA, VIOLA’“. Tempo 59, Nr. 232 (April 2005): 28–38. http://dx.doi.org/10.1017/s0040298205000136.
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George Benjamin's rich harmonic imagination was apparent from his earliest published works. A distinctive chordal sensibility is already evident in the 1978 Piano Sonata, with its glittering streams of five- or six-pitch clusters; in the hollow bell-chords punctuating the 1979 orchestral score, Ringed by the Flat Horizon; and in the supreme stasis of the A-minor pedal chord (a six-three triad) unveiled by the icy glissandi lines opening A Mind of Winter (1981). All three pieces share a fascination with degrees of chordal resonance – the interplay of upper partials above a fundamental – and a sensitivity to chords as sound objects. True, Benjamin's style, beginning at least with Antara (1987), has shown signs of a more linear-contrapuntal orientation, and less reliance on what one critic terms ‘purely coloristic phenomena’. Yet one could equally claim some continuity between the refined harmonic world of the early scores and the surprising richness of chordal sonority to be heard in a far more recent arrival, the 1997 duo Viola, Viola.
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Rumiantseva, A. „The concept of spirituality in V. Ptushkin’s compositional, particularly piano creativity: on the 75th anniversary of the Master“. Culture of Ukraine, Nr. 85 (25.09.2024): 46–52. http://dx.doi.org/10.31516/2410-5325.085.05.
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The relevance of the article conditioned by the modern immediacy of the problem of maintenance of spiritual values, by the necessity of the research of regional features of composer’s schools and specifics of embodiment of spiritual instructions in V. Ptushkin’s compositional, particularly piano creativity, that hasn’t got an exhaustive coverage in modern national musicology. The purpose of the article is to highlight the specifics of the concept of spirituality as the worldview and axiological center of V. Ptushkin’s compositional, particularly piano creativity. The methodology of the article is based on comparative, historical-typological, interpretative method, methods of generalization, stylistic and genre analysis. The results. The article highlights the concept of spirituality, represented as a concentrated reflection of the humanistic orientation of V. Ptushkin’s compositional, particularly piano creativity and a means of affirming spiritual values in a dialogue with the spiritual experience of mankind, appeals to the signs of cultural eras, genre model of the past — requiem, choral, spiritual cantata, concerto grosso, in the reproduction of eternally relevant images and themes — symbols of spirituality, in particular the image of Virgin Mary as the ideal of humanity’s existence and the positioning of the sublime and the earthly as the poles of worldview and human existence. It is revealed that the specificity of the embodiment of the concept of spirituality in the work for two pianos “The Sublime and the Earthly” is related to: understanding its significance through the prism of comparing personal and universal principles and allusions to the signs of the Renaissance, Classicism, romanticism; resonance with worldview guidelines of the culture of the border of XX–XXI centuries; functional mobility; the variability of performing teams; compositional and structural abnormality. The global significance of the concept of spirituality is imprinted in the work on the following levels: texture — in large-scale vertical chords, chronotope and dynamics — in powerful orchestral sonority, tonal organization — in the affirmation of major constructions, genre — in the movement from lyrical, individualized elegy to anthem as a reflection of the human unity. The scientific novelty of the article is due to the substantiation of the concept of spirituality as a worldview basis of V. Ptushkin’s work and the study of the peculiarities of its embodiment, in particular in the play «The Sublime and the Earthly». The practical significance of the article is determined by the possibility of using the results of the study in performing and pedagogical practice.
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Babcock, David. „Cyril Scott's orchestral music“. Tempo 59, Nr. 233 (21.06.2005): 78–79. http://dx.doi.org/10.1017/s0040298205250258.
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Stronko, Boryslav. „Orchestration of Proper Piano Pieces as a Self-Interpretation“. Studia Universitatis Babeş-Bolyai Musica 68, Nr. 2 (30.12.2023): 115–28. http://dx.doi.org/10.24193/subbmusica.2023.2.08.
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"The study is focused on the problem of composers’ self-interpretation in the orchestrations of their own piano pieces. This specific case of a creative re-thinking contains not only adaptation of a piano score to orchestral instruments, but also adding new semantic meaning, sound atmosphere and texture principles as well as further development of initial music idea. For the analysis two pieces of Maurice Ravel and Borys Lyatoshinsky – two prominent masters of orchestration and piano miniature of 20th century, were chosen. Their approaches are distinguishably different: (a) the detailed reordering of the initial idea from an “instrument Piano” to an “instrument Orchestra” (Ravel); (b) throughout development with essential changes firstly within piano means, than by orchestral means in the genre of Symphony (Lyatoshinsky). Keywords: creative re-thinking, self-interpretation, self-orchestration"
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Zakharbekova, Irina S. „Ravel the arranger: transcriptions of piano and orchestra music“. Contemporary Musicology, Nr. 3 (2019): 44–72. http://dx.doi.org/10.56620/2587-9731-2019-3-044-072.
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It is common practice for composers to make arrangements and transcriptions of their own or other composers’ music. However, Maurice Ravel stands out by his piano and orchestral transcriptions which constitute a prominent part of his works and reveal certain creative purposes and techniques. This shapes the subject of the article which, inter alia, also focuses on terminology not typical for Russian musicology. The study is novel as it examines Ravel’s transcriptions that have been virtually out of research or performance scope in Russia, namely, Debussy’s “Danse” and “Sarabande”, Chabrier’s “Menuet pompeux”, and others. The paper describes Ravel’s transcriptions from three perspectives: time of creation, the original author’s material developed by Ravel, and timbre interpretation. The orchestral versions of his own piano compositions (“Pavana of the Sleeping Infante,” “Tomb of Couperin”, “Alborada”, etc.), as well as compositions by other authors (Debussy, Chabrier, Mussorgsky) form the biggest part of Ravel’s heritage. The article compares compositions written in different timbres as well as different approaches Ravel uses to make piano arrangements, hence, the comparative method is central to the study. Ravel’s piano transcriptions show him as an attentive arranger sensitive to the subtleties of the score as well as a diligent student who has “digested” and mastered the original sound material, which, subsequently, influenced his own work. Creating orchestral versions of his own and his colleagues’ works, the composer remakes and interprets originals in a new way. Ravel’s orchestral instinct, his brilliant timbre ear, attention to structural detail, sense of proportion as well as his impeccable taste make him a genuine master of arrangement.
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Anderson, Martin. „Norwegian Orchestral Music“. Tempo 58, Nr. 229 (Juli 2004): 49–50. http://dx.doi.org/10.1017/s0040298204250227.
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KLEIBERG: Lamento: Cissi Klein in memoriam1; Symphony No. 1, The Bell Reef2; Kammersymfoni (Symphony No. 2).3 Trondheim Symphony Orchestra c. 1Eivind Aadland, 2Rolf Gupta, 3Christian Eggen. Aurora ACD 5032FLEM: Piano Concerto; Solar Wind; Ultima Thule per Orchestra.1 Sergei Ouryvaev (pno), St Petersburg State Symphony Orchestra c. Alexander Kantorov; 1Bergen Philharmonic Orchestra c. Terje Boye Hansen. Aurora ACDPERSEN: Over Kors og Krone. Oslo Philharmonic Orchestra c. Christian Eggen. Aurora ACD 5029NYSTEDT: Apocalypsis Joannis, op. 115. Mona Julsrud (soprano), James Gilchrist (tenor), Oslo Philharmonic Orchestra and Choir c. Aril Remmereit. Simax PSC 1241 (2-CD set).
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Rickards, Guy. „Icarus Soaring: the music of John Pickard“. Tempo, Nr. 201 (Juli 1997): 2–5. http://dx.doi.org/10.1017/s0040298200005763.
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Although John Pickard's music has received a good many performances and radio broadcasts over the past decade, it was the relay of his dazzling orchestral tone poem The Flight of Icarus (1990) during the 1996 Proms1 which brought him to the notice of the wider concert–going and –listening public. There is some justice in that piece attracting such attention, as it is one of his most immediate in impact, while completely representative of his output at large. That output to date encompasses three symphonies (1983–4, 1985–7, 1995–6) and five other orchestral works, three string quartets (1991, 1993, 1994; a fourth in progress), a piano trio (1990), sonatas for piano (1987) and cello and piano (1994–5), vocal and choral works, pieces for orchestral brass (Vortex, 1984–5) and brass band – the exhilarating Wildfire (1991), which crackles, hisses and spits in ferocious near–onomatopoeia, and suite Men of Stone (1995), celebrating four of the most impressive megalithic sites in Britain, one to each season of the year. There are other works for a variety of solo instruments and chamber ensembles, such as the intriguing grouping of flute, clarinet, harpsichord and piano trio in Nocturne in Black and Gold (1983) and the large–scale Serenata Concertante for flute and six instruments of a year later. Still in his mid-thirties – he was born in Burnley in 1963 – Pickard has already made almost all the principal musical forms of the Western Classical tradition his own, with only opera, ballet and the concerto as yet untackled.
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Jones, Daniel A. „Paul Hindemith's Symphonic Metamorphosis of Themes by Carl Maria von Weber for Orchestra: A Historical and Analytical Perspective“. Musicology Today 17, Nr. 1 (01.12.2020): 60–71. http://dx.doi.org/10.2478/muso-2020-0005.
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Abstract A now standard component of orchestral and wind band repertoire, Symphonic Metamorphosis of Themes by Carl Maria von Weber was originally intended to be ballet music. This study examines the history and background surrounding Paul Hindemith's orchestral piece and demonstrates how Hindemith crafted each movement based off Weber's original piano duets and incidental orchestral music. The study was undertaken as limited information exists about the piece in its entirety, and much of what has been written primarily concerns itself with grammatical and contextual aspects of Hindemith's title. Existing analyses either only focus on a singular movement, or are limited; presumably, due to a prevailing notion that Hindemith simply orchestrated the piano pieces. Potentially exacerbating the issue may be the fact that it was not known for nearly twenty years after Symphonic Metamorphosis was premiered which Weber duets Hindemith reworked. This analysis, coupled with the background information provided, shows that Hindemith's settings transcend mere orchestrations and, in some cases, exhibit qualities of original composition. The analysis thoroughly delineates Weber's Turandot overture and three piano duets, part by part and hand by hand, to show exactly where and how Hindemith altered the original writings. The differences in overall form, measure numbers, tempi, meter, and harmony are listed. In addition, it is revealed which thematic additions, alterations, and omissions Hindemith includes.
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McBurney, Gerard. „Brian Elias's recent music“. Tempo, Nr. 174 (September 1990): 12–18. http://dx.doi.org/10.1017/s0040298200019392.
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In the past ten years a remarkable change has come over Brian Elias. He has turned from being a miniaturist to being a composer on a symphonic scale and with symphonic aspirations. Not that he has written any work with so self-conscious a title as ‘symphony’ – at least, not yet. But in these few years he has given us two extended cycles for voice and symphony orchestra, a large-scale single-movement orchestral work that must certainly be called symphonic, a set of 49 Variations for piano inspired by Beethoven's set of 32 in C minor, and now an orchestral ballet in progress for Kenneth Macmillan and the Royal Ballet. All these, and some impressive chamber works too, have come from a composer whose earlier reputation was based on a tiny scattering of compositions including a rarified solo soprano piece (based on a particularly obscure bit of Browning), a piece for solo violin, and the microscopic Five Piano Pieces for right hand alone.
Dissertationen zum Thema "Orchestral resonance on the piano"
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Liu, Hongye. „Interpréter les symphonies de Beethoven dans les transcriptions de Franz Liszt“. Electronic Thesis or Diss., Strasbourg, 2024. http://www.theses.fr/2024STRAC022.
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Les transcriptions des symphonies de Beethoven pour piano seul par Liszt sont considérées comme les transcriptions les plus proches de l'original. Liszt a nommé ces transcriptions « partition de piano », signifiant spécifiquement reproduire ainsi la résonance orchestrale au piano. Liszt a également encouragé les jeunes pianistes du conservatoire à apprendre ces transcriptions. Cependant, les recherches existantes se limitent à l'étude des sources historiques et à l'analyse sur les partitions, ignorant la description de Liszt quant aux effets sonores résultant de l'interprétation orchestrale sur la partition de piano et trahissent le manque d'étude sur la façon dont elles s’interprètent sur piano moderne. Notre recherche prend la performance de la résonance orchestrale au piano comme thème de recherche, à partir des contextes historiques, de la comparaison entre les partitions symphoniques et de leurs transcriptions et de la façon d'interpréter en imitant l'orchestre sur piano moderne. Notre étude comporte trois parties, l'objectif étant de clarifier le concept « partition de piano » et la véritable pensée de Liszt pour ces transcriptions et ainsi d'enrichir le jeu pianistique en imitant la résonance orchestrale à travers l'étude de ces transcriptions des symphonies de Beethoven par LisztLiszt 's transcriptions of Beethoven's symphonies for piano solo are considered the most faithful to the original works. Liszt named these transcriptions « partition de piano » (piano score), specifically referring to reproduction of orchestral resonance on the piano. Liszt also encouraged young pianists of conservatories to learn these transcriptions. However, existing research has been limited to the study of historical sources and score analysis, which overlooked Liszt's description of the orchestral sound effect from the piano score and lacked studies on how they should be performed on the modern piano. The principal theme of our research focuses on the orchestral resonance on the piano, consists of historical contexts, comparison of the symphonic scores with their piano transcriptions, and exploration of how to perform them on the modern piano. Our study is divided into three parts, aiming to clarify the concept of « partition de piano » (piano score) and Liszt's true thinkings behind these transcriptions, and to enrich piano playing by reproducing orchestral resonance through the study of these transcriptions of Beethoven's symphonies by Liszt
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O'Meara, Connor. „Selected Orchestral Excerpts for Bass Clarinet with Piano Reduction“. Thesis, University of North Texas, 2017. https://digital.library.unt.edu/ark:/67531/metadc984170/.
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The idea of reducing popular and musically satisfying operatic or orchestral works to smaller instrumental forces is not uncommon, but the idea of reducing large scores for the exclusive use of orchestral excerpt pedagogy is. Although there are a multitude of excellent resources detailing how select excerpts from both the clarinet and bass clarinet orchestral repertoire should be performed, no resources for clarinetists or bass clarinetists provide a piano reduction of orchestral scores. Through piano reduction of orchestral scores, bass clarinetists have access to a resource that simulates the experience of playing in an orchestra. Bass clarinetists using a piano reduction will learn the pitch tendencies of the instrument. Consequently, the performer will discover ways to study excerpts in-tune with other instruments that will not compromise for the shortcomings of the bass clarinet. Use of piano transcriptions will also aid with recognition of important moving lines, harmonic textures and rhythmic ostinatos that might otherwise be overlooked by score study and listening alone. Finally, many of the excerpt transcriptions provided are taken from several bars before the primary bass clarinet excerpt, unlike many excerpt books currently available. This provides bass clarinets a more contextual view of an excerpt by facilitating the need to count rests correctly and play solo entrances in the correct style and affect presented by the preceding orchestral material.
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Hsu, Yu-Ching. „The Orchestral Mentality of Johannes Brahms' Piano Sonata No. 3“. Thesis, University of North Texas, 2017. https://digital.library.unt.edu/ark:/67531/metadc1011840/.
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Although the current, exhaustive studies of Brahms' works have covered many aspects of the composer's art, it is still surprising that his large-scale, five-movement Piano Sonata No.3 has in many ways been insufficiently studied by scholars who have emphasized the genre of the piano sonata and the aspect of performance practice over the work's more diverse features. Another reason that this early work has been understudied could in fact be that his later compositions in other genres, such as his symphonies, chamber music or choral music, have been perceived by scholars to represent best his most mature, comprehensive style. This dissertation will therefore examine the orchestral underpinnings of this monumental work which owes most often its already mature artistic essence to Brahms' multi-instrumental approach.
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Kim, Grace Jisoo. „Functional Orchestral Collaboration Skills for Wind Band Pianists: A Study Guide“. Thesis, University of North Texas, 2016. https://digital.library.unt.edu/ark:/67531/metadc862795/.
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As opportunities to perform as a soloist diminish, more pianists consider chamber and orchestral playing as an alternative solution. By so doing, ample performance opportunities are introduced. Although most university music programs offer ensemble courses for pianists and have begun to offer degrees with an emphasis in accompaniment, their curriculum lacks instructions specifically designed to train and prepare pianists for playing in large ensembles, especially wind bands. This dissertation addresses the difficulties, which one might encounter in large ensemble collaboration, and recommends useful suggestions for acquiring functional skills to solve these difficulties. Pianists can attain professional status by acquiring the functional skills presented in each chapter. The goal of this study is to provide pedagogical support and direction for novice pianists in the larger ensemble collaboration.
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Carson, Benjamin Leeds. „The self and its pleasures : a collection of music for piano and music for orchestra /“. Diss., Connect to a 24 p. preview or request complete full text in PDF format. Access restricted to UC campuses, 2001. http://wwwlib.umi.com/cr/ucsd/fullcit?p3013702.
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Yun, Hee Sun. „An Orchestral Approach to Johannes Brahms' "Variationen und Fuge über ein Thema von Händel," Op. 24: Orchestral Transcription as an Interpretive Tool“. Thesis, University of North Texas, 2020. https://digital.library.unt.edu/ark:/67531/metadc1752377/.
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This dissertation provides an interpretive guide to Variationen und Fuge über ein Thema von Händel, Op. 24, written in 1861 by Johannes Brahms (1833–1897), in orchestral terms, using as basis the orchestral transcription by Edmund Rubbra (1901–1986), published as his Op. 47 in 1938. Not only does Brahms' Variationen present players with considerable pianistic difficulties, its intense harmonic and polyphonic structures make the music sound symphonic. The English composer Edmund Rubbra, a great Brahms enthusiast, transcribed the work for orchestra. The transcription in effect represents Rubbra's interpretation of the piano work as well as his respect for it. When both orchestra and piano versions of a composition exist, pianists may obtain essential musical ideas from studying the orchestral version, just as it is advisable for conductors to study the piano versions of symphonic works, not only those arranged by the composer. Brahms himself was not only a composer but also a pianist and conductor. It is possible that he imagined orchestral sound when composing large-scale piano works such as his Variationen. New experiments in interpretation can offer a refreshing perspective. This study focuses on elements from Rubbra's orchestral version of Variationen that can inform pianists' interpretation.
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Delespaul, Caroline. „Le piano-orchestral en France entre 1835 et 1849 : une écoute de l'oeuvre pianistique“. Thesis, Lyon, 2017. http://www.theses.fr/2017LYSE2087.
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En France, l’idée d’un piano-orchestral voit le jour durant la première moitié du XIXe siècle. Dès les premières décennies, de nombreux commentateurs reconnaissent dans l’instrument à clavier la capacité de restituer en son sein l’ensemble symphonique. Les écrits instaurent une relation étroite entre le piano et l’orchestre. Dans l’inconscient collectif, le piano ne tarde pas à devenir un « petit-orchestre complet » comme tend à le prouver le discours qui utilise ce qualificatif en tant que référence commune. Dans l’ombre de cette pensée s’élabore l’idée de la pénétration d’une « figure orchestrale » dans l’œuvre pianistique et naît alors l’idée d’un piano-orchestral. L’enjeu principal de cette thèse sera de tenter de définir le piano-orchestral français à travers un travail lié à la réception. Nous faisons en effet l’hypothèse que certaines œuvres pour piano ou certains éléments de celles-ci invitent l’auditeur à effectuer un transfert d’idées entre le piano et l’orchestre ou à reconnaître l’ensemble symphonique au clavier. Le piano-orchestral serait alors une écoute de l’œuvre pianistique. En tant que phénomène lié à laréception de l’œuvre, le piano-orchestral appartient au domaine de la verbalisation de la musique et nous avons donc choisi de l’étudier à travers le prisme du discours musical. Notre ambition étant de définir le piano-orchestral, nous avons décidéd’interroger son élaboration et ses fondements en nous concentrant sur ses prémices. Notre recherche s’étendra donc de 1835 à 1849 ; une période correspondant à la reconnaissance de l’idée jusqu’au début de sa remise en questionIn France, the idea of an orchestral piano was born during the first half of the 19th century. Since the early decades, many commentators recognized in the keyboard instrument the ability to reproduce the orchestra by itself and the writingsestablished a close relationship between the piano and the orchestra. In the collective unconscious, the piano soon became a "complete small orchestra" as the use of this qualifier as a common reference shows. In the shadow of this thought, the idea of including an “orchestral figure“ into the pianistic work was developed and thus the idea of an orchestral piano. The main challenge of this thesis will be to attempt to define the French orchestral piano through the study of its reception. Indeed, we hypothesise that some works for piano or some parts of them invite the listener to make a transfer of ideas between the piano and the orchestra or to recognize the orchestra on the keyboard. The orchestral piano would then be a listening to the pianistic work. As a phenomenon related to the reception of the work, the orchestral piano belongs to the domain of the verbalization of music and we therefore chose to study it through the prism of musical speech. Our ambition being to define the orchestral piano, we decided to question its elaboration and its foundations by focusing on its infancy. Our research will consequently extend from 1835 to 1849, a period corresponding to the recognition of the idea until the beginning of it being brought into question
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Lington, Victoria DiMaggio. „The piano as an orchestra, the accompanist and the twentieth-century orchestral reduction“. Thesis, view full-text document. Access restricted to the University of North Texas campus, 2002. http://www.library.unt.edu/theses/open/20022/lington%5Fvictoria%5Fdimaggio/index.htm.
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Thesis (D.M.A.)--University of North Texas, 2002.Accompanied by 4 recitals, recorded Apr. 26, 1999, Apr. 17, 2000, Mar. 19, 2001, and Apr. 17, 2002. Includes bibliographical references (p. 83-86).
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Chang, Liang-Fang. „The orchestral elements in Franz Schubert's Wanderer fantasy-with implications for piano performance“. Diss., University of Iowa, 2011. https://ir.uiowa.edu/etd/2680.
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Most pianists and music scholars consider Schubert's Wanderer Fantasy his most virtuosic piano work. The piece was written in November 1822 when the composer was twenty-five. By that time, Schubert was known for his lieder and some four-hand piano works, which were written in a very lyrical style. In comparison to these works, the Fantasy was written with a demanding technique requiring a richer, orchestral sound. The technical demands of the Wanderer Fantasy at times cause pianists to injure their arms. Even if this does not happen, the instrument, nonetheless, can sound harsh. This type of thick texture may have prompted Robert Schumann's comments in his 1828 review of the Fantasy (M.J.E. Brown, Schubert, A Critical Biography [London: Macmillan & Co., 1958], 124.): Schubert would like, in this work, to condense the whole orchestra into two hands...
This essay will address two main subjects: first, the Fantasy will be considered from an orchestral perspective with reference to Schubert's own symphonic writing; second, this essay will seek to assist the pianist in producing a better sound, as well as avoiding injury. It is this essay's thesis that Schubert, when composing the Wanderer Fantasy, was actually constructing an orchestral plan under the guise of a piano score. In order to analyze Schubert's orchestral writing, this essay will be divided into four chapters. Chapter one will offer the historical background of the Wanderer Fantasy, chapter two will discuss Schubert as a symphonist as well as the Unfinished Symphony, which was written only two weeks before the Fantasy. Chapter three, based on the parallel orchestral elements found in the Unfinished Symphony piano sketch, will discuss the relationship between the piano sketch of the Symphony and the Wanderer Fantasy. Following this comparative analysis, chapter three will also offer practical performance suggestions based on previously discussed orchestral elements for the pianist. Chapter four presents conclusions offered by the author. The conclusions reached in this essay are presented in the hope that they will assist the pianist to achieve a more meaningful performance when performing the Wanderer Fantasy.
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Jeoung, Ko Eun. „Bohuslav Martinů's Oboe Concerto, H. 353: A New Piano Reduction of the Orchestral Score“. Thesis, University of North Texas, 2020. https://digital.library.unt.edu/ark:/67531/metadc1752395/.
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Bohuslav Martinů's "Concerto for Oboe and Small Orchestra" is one of the most frequently played pieces in the oboe repertoire. For this reason, it is often played with the piano reduction instead of the orchestra in oboe recitals. However, the existing piano reductions include many errors and discrepancies from the orchestral score, misrepresent the orchestration, sometimes fail to make the oboe entries clear, and tend to be unplayable for pianists. Moreover, the scores were published after the composer's death without him supervising the final editing. I have prepared a new, playable piano reduction to represent the orchestration more faithfully and help pianists work with their soloists more easily. Based on the work of Martin Katz, a prominent collaborative-pianist, I establish four principles for creating a new piano reduction. After scrutiny of the deficiencies of existing piano reductions, I suggest solutions for making the passages in question practical and bringing out the leading voices clearly so that the soloist can join in as easily as playing with an orchestra. To aid in reflecting the orchestral texture that Martinů created, I include abbreviated instrument names in many passages to help pianists to understand how to create balance. I have changed some passages completely to make the sound closer to the orchestral texture. All changes and suggestions are based on the orchestral score and its layout. This simplified and practical piano reduction should help pianists have more enjoyable and more successful collaborations with their soloists.
Bücher zum Thema "Orchestral resonance on the piano"
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1833-1897, Brahms Johannes, Zimerman Krystian 1956-, Bernstein Leonard 1918- und Wiener Philharmoniker, Hrsg. Piano concertos nos.1 & 2. Hamburg: Deutsche Grammophon, 1988.
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2
Dorff, Daniel, Michael Parloff und Martha Rearick. Opera excerpts for flute: With piano accompaniment. [Bryn Mawr, Pa.]: T. Presser, 2000.
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Bohnke, Robert-Alexander. Classical romance. [Holland?]: Point Productions, 1990.
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Debussy, Claude. Debussy for daydreaming: Music to caress your innermost thoughts. [Baarn, The Netherlands]: Philips, 1995.
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Santi, Nello, und Niklaus Stoss. Nello Santi. Zollikon: Kranich-Verlag, 2001.
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Beethoven, Ludwig van. Masters of classical music: Vol. 3 : Ludwig van Beethoven. Los Angeles, CA: LaserLight, 1988.
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Bach, Johann Sebastian. Classical naptime for tots. [Place of publication not identified]: Telarc, 2008.
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8
Sitsky, Larry. Busoni and the piano: The works,the writings, and the recordings. Westport, Conn: Greenwood Press, 1985.
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Strauss, Richard. Salome: Musikdrama in einem Aufzug. Amsterdam: De Nederlandse Operastichting, 1988.
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Strauss, Richard. Salome: Richard Strauss ; Textbuch : Einführung und Kommentar von Kurt Pahlen unter Mitarbeit von Rosmarie [sic] König. Mainz: Schott, 1995.
Den vollen Inhalt der Quelle findenBuchteile zum Thema "Orchestral resonance on the piano"
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„Ravel Piano Concerto“. In Orchestral Masterpieces under the Microscope, 371–84. Boydell and Brewer, 2023. http://dx.doi.org/10.1515/9781800106611-024.
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„Mozart Piano Concertos“. In Orchestral Masterpieces under the Microscope, 308–16. Boydell and Brewer, 2023. http://dx.doi.org/10.1515/9781800106611-019.
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„Orchestral Images and Piano Préludes:“. In Claude Debussy, 260–72. Boydell & Brewer, 2019. http://dx.doi.org/10.2307/j.ctvb4bvz2.27.
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Bruhn, Siglind. „Piano Poems and Orchestral Recitations“. In Word and Music Studies: Defining the Field, 277–99. BRILL, 1999. http://dx.doi.org/10.1163/9789004649217_018.
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„Busoni Piano Concerto, op.39“. In Orchestral Masterpieces under the Microscope, 94–96. Boydell and Brewer, 2023. http://dx.doi.org/10.1515/9781800106611-008.
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Katz, Martin. „More about Orchestral Playing“. In The Complete Collaborator, 189–232. Oxford University PressNew York, NY, 2009. http://dx.doi.org/10.1093/oso/9780195367959.003.0009.
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Abstract Let us assume the homework on studying scores and listening to recordings has been done, the instrumentation has been marked on the pianist’s music, and, as always, the words have been translated. Our imagination has been ignited, we know which sounds we are intent on imitating—the time has come to sit at the piano and learn the piece in question. I would suggest now that the process for learning something for orchestra differs significantly from that of learning something originally written for piano. With a keyboard accompaniment, we know from the outset that we must play our part—every note of it—as written. Each of us has a different way of learning a piece—perhaps hands practiced separately, perhaps very slowly, perhaps not, perhaps inserting dotted rhythms, perhaps avoiding pedal at the outset … whatever. The process is not at all dissimilar to that of learning a piece for solo piano.
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Musgrave, Michael. „Orchestral Music“. In The Music of Brahms, 120–42. Oxford University PressOxford, 1994. http://dx.doi.org/10.1093/oso/9780198164012.003.0005.
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Abstract The status of the Piano Quartet in C minor in spanning an entire era and symbolising Brahms’s struggle for mastery of the formal treatment of powerfully expressive ideas finds a striking parallel in the history, key and moods of the First Symphony. Although we cannot be sure that its earliest part, the first Allegro, was conceived at the same time as the Quartet - the familiar ‘1855’ derives from Kalbeck’s view only1 - the overtly Beethovenian spirit does not contradict a possible date in the 1850s: and the final resolution likewise took until the 1870s. Further, it was not Brahms’s first attempt in the genre.
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„Orchestral Images and Piano Préludes: 1910“. In Claude Debussy, 260–72. Boydell and Brewer Limited, 2019. http://dx.doi.org/10.1017/9781787444515.025.
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„Liszt Piano Concerto No.1 in E flat“. In Orchestral Masterpieces under the Microscope, 271–77. Boydell and Brewer, 2023. http://dx.doi.org/10.1515/9781800106611-015.
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Watson, Derek. „Original piano music“. In Liszt, 218–57. Oxford University PressOxford, 2001. http://dx.doi.org/10.1093/oso/9780198164999.003.0011.
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Abstract Three works published in Paris in 1824-5 were principally designed to show Liszt’s grasp of keyboard technique: Allegro di bravura (of which he sketched an orchestral arrangement), Rondo di bravura and Huit Variations. They are otherwise of no great value except for signs that show the young composer’s already wideranging sense of tonality and harmonic adventure. The Allegro, which has an improvisatory quality, is particularly restless in key: its 37-bar slow introduction encompasses E flat minor, G flat major, D flat minor, D major, D minor and again E flat minor, before reaching E flat major, the home key of the work. And in the Rondo some harmonic touches are quite untamed.
Konferenzberichte zum Thema "Orchestral resonance on the piano"
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Li, You, Christoph M. Wilk, Takeshi Hori und Shigeki Sagayama. „Automatic Piano Reduction of Orchestral Music Based on Musical Entropy“. In 2019 53rd Annual Conference on Information Sciences and Systems (CISS). IEEE, 2019. http://dx.doi.org/10.1109/ciss.2019.8693036.
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Synofzik, Thomas. „„Würde Sie’s zu sehr ermüden zu begleiten?“ – Clara Schumann als Lied- und Kammermusikpartnerin“. In Jahrestagung der Gesellschaft für Musikforschung 2019. Paderborn und Detmold. Musikwissenschaftliches Seminar der Universität Paderborn und der Hochschule für Musik Detmold, 2020. http://dx.doi.org/10.25366/2020.82.
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80 percent of Clara Schumann‘s playbills in her complete collection of concert programmes (Robert-Schumann-Haus Zwickau) include vocal participation of solo singers, choirs or actors. The question is to which extent Clara Schumann used to accompany these vocal contributions herself on the piano. Only rarely are other accompanists named on the concert playbills, but evidence from concert reviews suggests that these vocal contributions normally served as rests for the solo pianist. Sometimes separate accompanists are named in the concert reviews. In orchestral concerts it was usually the conductor who accompanied solo songs on the piano, not the solo pianist. The Popular Concerts in St. James’s Hall in London were chamber concerts, which had a regular accompanist who was labelled as „conductor“ though there was no orchestra participating. These accompanists sometimes also performed with instrumentalists, e. g. basso continuo music from the 18th century or piano reductions of orchestral concerts.
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Cosciug, Svetlana, und Victoria Melnic. „Excentric dances by Vitaly Verhola: a young composer in search of his own style“. In International scientific conference "Valorization and preservation by digitization of the collections of academic and traditional music from the Republic of Moldova". Academy of Music, Theatre and Fine Arts, Republic of Moldova, 2023. http://dx.doi.org/10.55383/ca.06.
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The Eccentric Dances No.1 and No.2 by Vitaly Verhola present a piano cycle for four hands. Original in their own way, contrasting in tempo, character, and artistic content, both miniatures show the influence of Igor Stravinsky's music (the ballets The Rite of Spring and Petrushka, intonations of the Concerto for piano and wind instruments). At the same time, thanks to the use of techniques such as ostinato, dissonant multiphonic chords, rhythm overlays, timbre harmonies, combination of heterogeneous stylistic elements, etc., the music of the two dances is infused with a personal spirit and eloquently illustrates the self-expression searches of a young composer at the beginning of his career. The piano writing for four hands gives both Eccentric Dances an orchestral sound.
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Li, Yuwei, Minye Wu, Yuyao Zhang, Lan Xu und Jingyi Yu. „PIANO: A Parametric Hand Bone Model from Magnetic Resonance Imaging“. In Thirtieth International Joint Conference on Artificial Intelligence {IJCAI-21}. California: International Joint Conferences on Artificial Intelligence Organization, 2021. http://dx.doi.org/10.24963/ijcai.2021/113.
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Hand modeling is critical for immersive VR/AR, action understanding, or human healthcare. Existing parametric models account only for hand shape, pose, or texture, without modeling the anatomical attributes like bone, which is essential for realistic hand biomechanics analysis. In this paper, we present PIANO, the first parametric bone model of human hands from MRI data. Our PIANO model is biologically correct, simple to animate, and differentiable, achieving more anatomically precise modeling of the inner hand kinematic structure in a data-driven manner than the traditional hand models based on the outer surface only. Furthermore, our PIANO model can be applied in neural network layers to enable training with a fine-grained semantic loss, which opens up the new task of data-driven fine-grained hand bone anatomic and semantic understanding from MRI or even RGB images. We make our model publicly available.
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Liang, Beici, Gyorgy Fazekas und Mark Sandler. „Piano Legato-Pedal Onset Detection Based on a Sympathetic Resonance Measure“. In 2018 26th European Signal Processing Conference (EUSIPCO). IEEE, 2018. http://dx.doi.org/10.23919/eusipco.2018.8553341.
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Amiranashvili, Tamta. „THE FUNCTION OF MUSIC IN ANTHONY BURGESS’S A CLOCKWORK ORANGE“. In Proceeding of the Thirteenth International Conference at the Faculty of Foreign Languages, 168–75. Alfa BK University Belgrade, 2024. https://doi.org/10.46793/lld24.168a.
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English writer and composer Anthony Burgess, world-famous for his dystopian novel A Clockwork Orange (1962), skillfully incorporates music in his several artistic works, such as The Earthly Powers (1980), The Piano Players (1986), Mozart and Wolf Gang (1991). Due to the author’s frequent reference to Beethoven’s Ninth Symphony in A Clockwork Orange, its use in the novel cannot be accidental. This article aims to explore the multifaceted role of music in A Clockwork Orange, analyze its influence on character development, narrative structure, and thematic resonance. The fact that Alex, the brutal criminal, can perceive classical music gives the novel an unexpected twist. The desire for violence especially awakens in Alex when he listens to Beethoven’s Ninth Symphony. In the most difficult moments of his life, he finds strength in music. It can’t be a coincidence that Alex’s taste of music changes when he grows out of criminal acts. Writing the novel, Burgess was also guided by the structure of Beethoven’s Ninth Symphony. Unlike the novel, the Ninth Symphony consists of four movements. The fourth movement of the symphony is thematically and musically distinct from the other three and it is often referred to as a “symphony within a symphony.” Although A Clockwork Orange consists of three parts, its final chapter is completely different in content from the rest of the book. At the same time, like Beethoven’s Ninth Symphony, in which the first and third movements are similar in sound, Burgess’s book shows some parallelism between the first and third movements, while the second movement, again like the symphony, is different in its subject matter. The insertion of classical music within the novel’s ultraviolent themes also prompts an exploration of the relationship between art and morality. Burgess raises questions about the transformative power of art, and its potential to influence human behavior.
Berichte der Organisationen zum Thema "Orchestral resonance on the piano"
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Pedersen, Gjertrud. Symphonies Reframed. Norges Musikkhøgskole, August 2018. http://dx.doi.org/10.22501/nmh-ar.481294.
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Symphonies Reframed recreates symphonies as chamber music. The project aims to capture the features that are unique for chamber music, at the juncture between the “soloistic small” and the “orchestral large”. A new ensemble model, the “triharmonic ensemble” with 7-9 musicians, has been created to serve this purpose. By choosing this size range, we are looking to facilitate group interplay without the need of a conductor. We also want to facilitate a richness of sound colours by involving piano, strings and winds. The exact combination of instruments is chosen in accordance with the features of the original score. The ensemble setup may take two forms: nonet with piano, wind quartet and string quartet (with double bass) or septet with piano, wind trio and string trio. As a group, these instruments have a rich tonal range with continuous and partly overlapping registers. This paper will illuminate three core questions: What artistic features emerge when changing from large orchestral structures to mid-sized chamber groups? How do the performers reflect on their musical roles in the chamber ensemble? What educational value might the reframing unfold? Since its inception in 2014, the project has evolved to include works with vocal, choral and soloistic parts, as well as sonata literature. Ensembles of students and professors have rehearsed, interpreted and performed our transcriptions of works by Brahms, Schumann and Mozart. We have also carried out interviews and critical discussions with the students, on their experiences of the concrete projects and on their reflections on own learning processes in general. Chamber ensembles and orchestras are exponents of different original repertoire. The difference in artistic output thus hinges upon both ensemble structure and the composition at hand. Symphonies Reframed seeks to enable an assessment of the qualities that are specific to the performing corpus and not beholden to any particular piece of music. Our transcriptions have enabled comparisons and reflections, using original compositions as a reference point. Some of our ensemble musicians have had first-hand experience with performing the original works as well. Others have encountered the works for the first time through our productions. This has enabled a multi-angled approach to the three central themes of our research. This text is produced in 2018.