Academic literature on the topic 'Concertos (Viola) – Solo with piano'
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Journal articles on the topic "Concertos (Viola) – Solo with piano"
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Josephson, Nors S. "Unifying stylistic syntheses in the late compositions (1939–1945) of Béla Bartók." Studia Musicologica 58, no. 2 (June 2017): 147–73. http://dx.doi.org/10.1556/6.2017.58.2.2.
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Bartók’s later works from the years 1939–1945 present an impressive synthesis of his musical innovations. Beginning with the Divertimento and Sixth String Quartet (both composed in 1939), the Hungarian composer starts with a freely tonal, neo-Classical foundation. Above this initial compositional level he then superimposes Beethovenian formal structures gleaned from the latter’s opp. 53 and 135, in addition to a prominent Stravinsky quotation from The Rite of Spring, part two. In both works Bartók achieves an impressive large-scale cyclical unity, frequently through wholetone scalar integration. The Concerto for Orchestra (1943) blends pervasive quotation techniques with analogous cyclical intervallic patterns, such as major third cells on F–A–D4. One is again distinctly reminded of the F Major Divertimento. Like the latter work, the Concerto is especially notable for its expansive codas, which function in the manner of Beethovenian second developments. Similarly, the Sonata for Solo Violin (1944) fuses neo-Bachian counterpoint with the expansive forms of the Concerto for Orchestra. Finally, the interrelated last two Concertos for piano and viola (both penned in 1945) present a cumulative synthesis of Bartókʼs later style, emphasizing the tertial (and modal) degrees of VI and flattened VI. Here, too, we encounter elaborate quotational systems that distantly recall the 1910s and 1920s music of French composers as Debussy, Ravel and Satie.
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Shchetynsky, Oleksandr. "Valentyn Bibik: reaching artistic maturity." Aspects of Historical Musicology 23, no. 23 (March 26, 2021): 42–64. http://dx.doi.org/10.34064/khnum2-23.03.
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The object of research is the works of V. Bibik written at the beginning of his mature period. The aim of the research is to reveal the main features of Bibik’s style. Methods of research include technical analysis of the works in the context of the innovative tendencies in the Ukrainian music of 1960–70s, as well as comparative research. Research results. Outstanding Ukrainian composer Valentyn Bibik (1940–2003) wrote over 150 works. Mostly they are large-scale symphonic, choral, vocal, and chamber pieces. Among them are 11 symphonies, over 20 concerti for various instruments with orchestra, vocal and choral cycles, chamber compositions (the last group includes 5 string quartets, 3 piano trios, sonatas for string instruments both solo and with piano), 10 piano sonatas, piano solo works (two sets of preludes and fugues – 24 and 34 total, Dies Irae – 39 variations). The composer was born in Kharkiv. In 1966 he completed studies at Kharkiv Conservatory, where he attended the composition class of D. Klebanov. Since 1994, he had been living in St.-Petersburg, and since 1998, in Israel where he died in 2003. Bibik’s formative period coincided with a substantive modernization of Ukrainian culture in the 1960s. During those years, members of the “Kyiv avantgarde” group (L. Hrabovsky, V. Sylvestrov, V. Godziatsky, et al.) sought to utilize modernistic idioms and techniques, such as free atonality, dodecaphony, sonoristic and aleatoric textures, cluster harmony, etc. Unlike the others, Bibik started with a more conservative style, which bore the influences of Shostakovich, Prokofiev, and Bartók. Bibik’s mature period started several years later in the early 1970s with Piano Trio No. 1 (1972) and the composition Watercolors for soprano and piano (1973). Together with his next piano work 34 Preludes and Fugues, these compositions show extremely individual features of Bibik’s style, such as: 1. Special treatment of the sound, which is considered not just a material for building certain musical structures but a self-valuable substance (Bibik has an original manner of organizing sound). Hence, timbral and textural aspects draw special attention to the composer. 2. The pitch and rhythmic structure of the themes is quite simple. A combination of several simple motives becomes the starting point of long and sophisticated development. These motives are derived from folk music, however, due to rhythmic transformation, they have lost their direct connection with the folk source. 3. Rhythmic structures areal so very simple. They often include sequences of equal rhythmic values (usually crotchets or eights). However, the composer avoids monotony dueto due to variable time signatures and permanent rubato, as well as significant flexibility in phrasing. 4. The development relies mostly on melodic and polyphonic elaboration of initial simple motives. The composer utilizes various kinds of polyphony, such as canonic imitations, various combinations of the main and supportive voices, heterophony, hyper-polyphony. In fugues he employs both traditional and new methods of thematic and tonal distribution. 5. The harmony in Bibik’s works is mostly modal, as well as a combination of modality with free atonality and extended tonality. The structure of the dense chords is close to clusters, while more transparent chords include mostly seconds and fourths (as well as their inversions). He almost never used traditional tonal harmony and chords built up from thirds, and was interested in their color aspect rather than their tonal functionalism. 6. The sonoristic texture is very important. It does not diminish the importance of the melody but gets into special collaboration with it (“singing sonority”). A special “mist” around a clear melodic line is one of Bibik’s most typical devices. Due to special “pedal” orchestration, both the line and the “surrounding” sounds become equally important. 7. Elements of limited aleatoric music may be found in his rhythm and agogics, and sometimes inpitch structures (passages and figurations with free choice of the pitches). His favorite technique is a superposition of two rhythmically and temporally independent textural layers (for instance, a combination of the viola solo and the sonoristic orchestral background in the third movement of the Fourth Symphony). 8. Sonata for mand the fugue were significantly reinterpreted within free atonality and modal harmony. These provisions are the scientific novelty of the study.
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Shevtsova, Anastasiya Vladimirovna. "Genre evolution of the Russian viola repertory." PHILHARMONICA. International Music Journal, no. 4 (April 2020): 70–84. http://dx.doi.org/10.7256/2453-613x.2020.4.32769.
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The research object is Russia’s repertory heritage including compositions for viola by the composers of the 20th century. The works are considered from the viewpoint of a direct impact on their appearance of the brightest representatives of the Russian viola school V.V.Borisovsky, F.S. Druzhinin and Yu.A. Bashmet. The analysis is based on pieces devoted to V.V. Borisovsky (Sonata for viola and Piano by V. Kryukov and S. Vasilenko, “Songs of the Dead” and Rhapsody for viola and piano by A. Veprik, A suite for viola and piano by V. Gaigerova) and to Yu.A. Bashmet (A liturgy for a large orchestra and a solo viola “Bemoaned by the Wind” and “Styx” for viola, choir and orchestra by G. Kancheli), and the works by F.S. Druzhinin (Sonata for solo viola and Variations for solo viola). The works are considered from the position of a player’s influence on the composers’ interest in the solo manifestation of viola and its gradual development. The author defines the term “character-performer” corresponding with the image of a violist of the 20th century. The author denotes the new features of solo viola repertory as a result of the work of the above mentioned violists: the acknowledgement of a uniqueness of a viola voice, the establishment of a viola as a bright concert instrument, the expansion of a used range of a viola, the revelation of a mystic component of a viola timbre, the definition of a unique unifying ability of a viola timbre, a full technical liberation of an instrument, and the need for a co-author thinking of a player.
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Keefe, Simon P. "A Complementary Pair: Stylistic Experimentation in Mozart's Final Piano Concertos, K. 537 in D and K. 595 in B-flat." Journal of Musicology 18, no. 4 (2001): 658–84. http://dx.doi.org/10.1525/jm.2001.18.4.658.
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Given the chronological separation of Mozart's final piano concertos, K. 537 and K. 595, from his extraordinary sequence of 15 piano concertos of 1782-86 (K. 413-503), it is no surprise that critics have continually stressed stylistic and affective departures from the composer's norm. But the stylistic significance of these final concertos remains fundamentally misunderstood. In spite of sharply contrasting characteristics——ostentatious virtuosity in K. 537 and carefully measured writing in K. 595——these works are, in fact, kindred spirits. In both concertos Mozart experiments with the introduction of abrupt juxtapositions of harmonically contrasting material while avoiding the outright opposition of piano and orchestral forces evident in his earlier Viennese first movements; with piano figuration, omitting it when expected or reconstituting it at important formal junctures; and with unexpected thematic and harmonic disjunctions. While Mozart's harmonic experimentation in K. 537 and 595 can be partially explained in general stylistic terms, given similarities to passages in the last three symphonies, and considered representative of the "bizarre tonal sequences" and "striking modulations" often remarked upon by Mozart's contemporaries, it cannot be attributed to a fundamental shift in the composer's "world view." Rather, the complementary nature of radicalism and innovation in the two first movements in particular——K. 537 in the orchestral and solo expositions and recapitulation and K. 595 in the development——reveals these final concertos as thoroughly pragmatic and systematic essays in stylistic reinvention.
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Benedetti, Danieli Verônica Longo. "A produção para piano solo da Société Musicale Indépendante-SMI." Revista Música 19, no. 2 (November 24, 2019): 44–64. http://dx.doi.org/10.11606/rm.v19i2.161147.
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O presente artigo – segmento de pesquisa de Pós-doutorado – pretende, por meio do estudo dos programas de concertos e da produção da crítica especializada da época investigada, realizar uma análise e uma reflexão sobre a produção pianística apresentada nas temporadas da Société Musicale Indépendante – SMI. O trabalho está fundamentado em material coletado nos acervos privados da Bibliothèque nationale de France – BnF e do Arquivo do compositor Charles Koechlin - ACK.
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Rickards, Guy. "Berlin: Hindemith's ‘Klaviermusik mit orchester’." Tempo 59, no. 233 (June 21, 2005): 55–56. http://dx.doi.org/10.1017/s0040298205260230.
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Paul Wittgenstein's commissioning of concertos for piano left-hand is as enviable a legacy as any performer could wish to have, centred as it is on concertos by Korngold, Franz Schmidt (who also penned for Wittgenstein a set of Concertante Variations on a theme of Beethoven with orchestra and three piano quintets), Richard Strauss, Prokofiev, Britten (his op. 21 Diversions) and Ravel. Yet the maimed pianist's quixotic attitude to the works he received is almost as remarkable. Ravel he offended by the liberties he took with the solo part, while Prokofiev's Concerto No. 4 languished unplayed for a quarter of a century, until three years after the composer's death. Yet these cases pale into insignificance compared to the treatment meted out to the concerto that Paul Hindemith wrote for Wittgensein in 1923.
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Knysh, P. О. "Piano concertos by F. Chopin: “composing center” means." Problems of Interaction Between Arts, Pedagogy and the Theory and Practice of Education 57, no. 57 (March 10, 2020): 270–84. http://dx.doi.org/10.34064/khnum1-57.17.
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The article focuses on characterizing compositional and structural peculiarities of piano concertos by F. Chopin. The research emphasis is laid on the revealed fact that the corresponding “composing center” means (V. Kholopova) function as fundamental issues in terms of creating their interpretational versions, thus, joining analytical procedures performers of the above pieces have to follow. With a view to objectivize data concerning the composing component of the Concertos e-moll and f-moll by F.Chopin, the article presents an actual comparative analysis of various perspectives as for the functional means, represented in the socalled note “schemes” of the both Concertos. It is highlighted that on the basis of the aesthetics and poetics of the style brilliant (J. N. Hummel, F. Kalkbrenner), in his Concertos F. Chopin demonstrates an individual innovative exceeding (M. Tomashevsky) of those existing standards of representing the concerto form, turning to the national character genre topicality, reconstructing that peculiar texture configuration type that makes the piano a musical instrument of a selfsufficient status. In accordance with the objective of the present research being to reveal the nature of the “composing center” means in Concertos by F. Chopin, first, the article concentrates on those life and creativity circumstances which served as determinants that had brought those musical pieces to life. It is highlighted that, on the one hand, his Concertos close the initial period of F. Chopin’s creative activities, where piano and orchestra music was dominant. On the other hand, for F. Chopin the early 1830s were the time of saying farewell to Poland, which was reflected in the deeply personal nature of the content of the both Concertos which appeared under the influence of the author’s feeling for K. Gladkovska and D. Pototska (it is the latter that the Concerto f-moll was dedicated to). It is found out that it is F. Kalkbrenner that the Concerto e-moll by F. Chopin is dedicated to, which, therefore, demonstrates his link to the epoch, to which Chopin was actually saying farewell, as well. In the present article, the subject-matter of the research is points of view of famous musicians and scholars-chopinists concerning the content and the form of the above-mentioned Concertos by Chopin. In this connection, the object of the work is our extrapolation of these data onto interpreting the composing center means as an ingredient of the corresponding performance analysis of the above pieces. Applying elements of general scientific (historic-genetic, deductive, comparative) and specific musicological (genre, style, texture, theme) gnoseological methods, we arrive at the conclusion that stylistically the composing means of the both Concertos by F. Chopin demonstrate a dual quality. On the one hand, they more than meet the requirements of the model of the modern at that time concerto virtuoso style of the epoch of transferring from Classicism to Romantism, and, on the other hand, they serve as the development of the traditions shaped up for the many-century existence of piano-concerto forms, starting with J. S. Bach, F. Couperin and W. A. Mozart with subsequently working their way to the future reconstruction of the concerto-piano style in the world practice of modern times. In terms of their composition structure the both Concertos are built according to the model of the three-part cycle of the classicist pattern with the corresponding inter-part tempo correlative ratio “fast – slow – fast”. However, F. Chopin’s content of this form is exclusively individual, integrating “a sole performance” and “deep poetic expressiveness”, “virtuosity” and “romanticism” (M. Tomashevskiy). It is emphasized that the existing points of view concerning the Concertos by F. Chopin are quite diverse in many respects. Some authors, in particular Yu. Kremlyov, point out to a certain composing style “immaturity” F. Chopin demonstrates there, admitting, at the same time, the fact of genius godsends being present in “details”. This author lays a special emphasis on the nationally peculiar sources of the music language of the Concertos, where Polish musical lexis prove to be dominant, which is especially typical of the genre final components (cracovienne). At present the above perspective concerning the both Concertos seems to be rather one-sided, which is in the focus of the monograph by M. Tomashevskiy). The Polish author regards the Concertos by F. Chopin as masterpieces of world concerto-piano literature, especially highlighting their slow parts Larghetto. It is there that Chopin’s piano expressive semantic and technique innovations are concentrated, being unique in terms of their self-sufficiency, though corresponding with orchestra accompaniment. It is no coincidence that the Concertos were the last piano-orchestra music pieces by F. Chopin, after which he composed only solo piano music. The means of the “composing center”, discovered in the Concertos, become fundamental for creating the texture-polyphonic complex based on a polygenre ontology and the technique of overlapping (S. Shkolyarenko), which implies modelling orchestra voices and colors on the piano, using solely the resources of this instrument. The both Concertos being dominant-piano oriented is also proved by the fact that F. Chopin himself considered it to be reasonable to perform them when accompanied by a string quartet, thus emphasizing the self-sufficiency of the piano constituent. Nevertheless, it did not mean any decrease of the significance of orchestra means that in the both Concertos are represented expertly, which proves wrong the quite popular idea as for F. Chopin’s not being proficient enough in the field of composing for orchestras. It is in the orchestra in the both Concertos that the theme development processes which set off the piano constituent according to the principle of double expositions as an attribute of a classical concert “contest” take place. The conducted analysis of the composition dramaturge peculiarities of the both Concertos is aimed at revealing their performance potential. It has been concluded that such qualities of the theme material of these masterpieces as their polygenre modality, polytexture, a peculiar correlative ratio of the background and the relief generate diverse versions of approaches to performing the corresponding textual content, which is determined by the dialectical correlation of the following two origins – the Chopin author’s and the interpretational performer’s ones. It has been emphasized that for performing pianists the expressive-content and the composition-technique versatility of the both Concertos by F. Chopin creates a way to individually reconstructing and reviving composition means complemented with various author’s and editors’ directions and comments. The latter form an integrative unity in terms of creating a cluster of “composing center” means, constituting still another component of the interpretational reflection and performers’ realization of the content and form of the piano Concertos by F. Chopin, building up the perspective of our further research as for the subject of the present article.
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Swenson-Eldridge, Joanne. "Six Bagatelles: for Solo Viola, and: Rhapsodic Variations No. 4: for Solo Viola, and: Sonate: pour alto seul, and: Requiescat: for Viola and Piano, and: Tinuviel's Dance: pour alto & piano, and: Urizen: for Viola and Piano (review)." Notes 59, no. 2 (2002): 453–58. http://dx.doi.org/10.1353/not.2002.0196.
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Palmer, Peter. "Frédéric Rapin, Musik in Luzern, Rhapsodische Kammermusik aus der Schweiz’. ERNST LEVY, HERMANN SUTER." Tempo 58, no. 229 (July 2004): 58–60. http://dx.doi.org/10.1017/s0040298204350229.
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‘Frédéric Rapin: Concertos suisses pour clarinettes’. Works by HERBERT FRIES, ARMIN SCHIBLER, JEAN BINET, JEAN BALISSAT, ANDOR KOVACH and ALEXIS CHALIER. Frédéric Rapin (cl), Kammerorchester Arpeggione Hohenems c. Jean-François Antonioli. Musiques Suisses Grammont Portrait MGB CTS-M 80.‘Musik in Luzern: Kammermusik Duo Lang’. FRITZ BRUN: Sonata No. 1 for Violin and Piano. THÜRING BRÄM: Album ‘Goodbye Seventies’. With works by MENDELSSOHN and RACHMANINOV. Brigitte Lang (vln), Yvonne Lang (pno). GALLO CD-1084.‘Rhapsodische Kammermusik aus der Schweiz’. ERNST LEVY: Quintet in C minor for 2 violins, viola, cello and double bass1. HERMANN SUTER: Sextet in C major for 2 violins, viola, 2 cellos and double bass2. FRANK MARTIN: Rhapsodie for 2 violins, 2 violas and double bass3. Florian Kellerhals, Stefan Häussler (vlns), 2,3Nicolas Corti, 1,3Bodo Friedrich (vlas), Imke Frank, 2Matthias Kuhn (vcs), Andreas Cincera (db). Musiques Suisses MGB CD 6201.HERMANN SUTER: Symphony in D minor. HANS JELMOLI: Three Pieces for Orchestra from the comic opera Sein Vermächtnis. Moscow Symphony Orchestra c. Adriano. Sterling CDS-1052-2.
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Maunder, Richard. "J. C. Bach and the Early Piano in London." Journal of the Royal Musical Association 116, no. 2 (1991): 201–10. http://dx.doi.org/10.1093/jrma/116.2.201.
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A study of Johann Christian Bach's keyboard music prompts the obvious and important question: which of his sonatas and concertos were composed for harpsichord, and which for the piano? (Indeed, did he think of them as two distinct instruments at all?) And what sort of pianos did he have available on the occasions when he played them in public? Did he really play his ‘Solo on the Piano Forte’ at the Thatched House on 2 June 1768 (in a concert that consisted mainly of orchestral music) on a little Zumpe square, or was he already using a prototype English grand? When were these various models of piano first made in London, and what musical use did other composers and performers, as well as J. C. Bach, make of them?
Dissertations / Theses on the topic "Concertos (Viola) – Solo with piano"
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Tábora, Deras Manuel Emilio. "The viola works of Peter Racine Fricker, with emphasis on his Three movements for viola solo, op. 25 plus an overview of his Concerto for viola op. 18, and Fantasy for viola and piano, op. 44." Diss., University of Iowa, 2015. https://ir.uiowa.edu/etd/1921.
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British composer Peter Racine Fricker (1920-1990) is known among violists for his masterly Concerto for Viola and Orchestra, Op. 18, dedicated to and premiered by the famous Scottish violist William Primrose. He wrote two other works that feature the viola: Three Movements for Viola Solo, Op. 25, and Fantasy for Viola and Piano, Op. 44.
Fricker was a well-respected and prolific composer, one of the foremost young composers to emerge in England after World War II. After his move to the United States in 1964, the prominence he had established in his homeland virtually disappeared, and he never became a household name in America. Despite this, it is my contention that his music deserves study and a place in our repertoire.
The above-mentioned Concerto has remained available in print since its initial publication. Fantasy for Viola and Piano was published in 2014 by the American Viola Society. This essay gives an introduction to these two works which are currently in circulation. The Concerto is considered from the standpoint of viola technique and pedagogy, while the Fantasy is briefly analyzed in terms of Fricker’s stated compositional ideals. The culmination of this work is a performance edition of the Three Movements, to be published later this year by the American Viola Society.
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Parys, Marcin. "Tchaikovsky's Piano Concerto No. 1 In B-Flat Minor, Op. 23: A Newly Arranged Edition of the Orchestral Reduction." Thesis, University of North Texas, 2019. https://digital.library.unt.edu/ark:/67531/metadc1609138/.
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As it stands, only one arrangement of Tchaikovsky's Piano Concerto No. 1, Op. 23 orchestral reduction exists, which is by Tchaikovsky himself. A number of critical editions of the piece exist, but none of them cover the subject of the material within the orchestral reduction. Tchaikovsky wrote the reduction from a compositional rather than a pianistic perspective, thus some passages present awkward technical challenges. The purpose of this dissertation is ultimately to contribute to the repertoire of accompanists by producing a new edition of Tchaikovsky's Piano Concerto No. 1. I created my arrangement through a process of practical trial and error as well as observing the strategies used by other arrangers of orchestral reductions. Through a series of carefully selected omissions, note rearrangements, visual adjustments, and editorial changes, I simplified the reduction as a whole. I sought to improve the readability of the music by reducing accidentals as much as possible and also incorporating small-print cues into the main staves. Each minor adjustment or major revision contributes cumulatively to the ease of execution of the accompanimental part as a whole. Although Tchaikovsky's reduction is authentic and authoritative, a newly revised and simplified version would be useful for collaborative pianists. Thus, I have chosen to create an alternative version of Tchaikovsky's reduction, while still retaining as much of the original material as possible. This edition focuses solely on the collaborative pianist's part.
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Tang, Wen-Chien. "Antonín Dvořák’s Piano Concerto in G Minor, Opus 33: A Discussion of Musical Intent and Pianistic Effectiveness in Vilém Kurz's Version of the Solo Piano Part." Thesis, University of North Texas, 2010. https://digital.library.unt.edu/ark:/67531/metadc30516/.
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Since its premiere in 1878, Antonín Dvořák’s Piano Concerto in G Minor has been underrated and held in low regard by musicologists, critics, performers and audiences alike. Vilém Kurz (1872-1945), a Czech pianist and pedagogue, revised and reworked the piano solo part to incorporate what he considered to be added brilliance and pianistic effectiveness. However, the revised version has not increased the popularity of the work. In recent decades, this concerto has begun to appear more often in the programs and recordings are currently available, utilizing either the original piano part or Kurz's revision or a combination of both. In order to gain a broader analytical perspective and achieve a more authentic interpretation of the piece, a thorough understanding of the relation between Dvořák’s work and Kurz's revisions is indispensable. This study examines these adaptations and compares them with Dvořák’s scoring in order to gain further insight to Kurz's musical intent and pianistic aims. Examples from all movements are evaluated vis-à-vis the original to determine their purpose and musical validity.
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Lee, Sungyo. "Composer/Performer Collaboration as Seen in the Solo Piano Part of Percy Grainger's Edition of the Edvard Grieg Piano Concerto in A Minor Opus 16." Thesis, University of North Texas, 2017. https://digital.library.unt.edu/ark:/67531/metadc984142/.
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The purpose of this document is threefold. First, it demonstrates what Grieg contributes to the musical text compared with the original Peters edition, particularly, those additions that refer to expression, interpretation, and style. Second, this document focuses on presenting Grainger's changes that were approved by Grieg. Third, the document evaluates Grainger's own suggestions for pedaling, hand redistribution and fingering, addition of notes, tempo markings, and other performance guidelines.
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Duhaime, Ricky Edward. "A Neglected Clarinet Concerto by Ludwig August Lebrun: A Performing Edition with Critical Commentary: A Lecture Recital, Together with Three Other Recitals." Thesis, North Texas State University, 1986. https://digital.library.unt.edu/ark:/67531/metadc331084/.
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The present study makes available a modern performing edition of an eighteenth-centyry clarinet concerto. Written by the Mannheim oboist and composer Ludwig August Lebrun, the Concerto in B-flat for solo clarinet and orchestra has existed solely as a set of manuscript parts for over 200 years. The following chapters present biographical information on Ludwig August Lebrun as an oboist and composer of the late eighteenth century, the historical background of Lebrun's Concerto in B-flat. a thematic and harmonic analysis of the concerto's three movements, and a summary of the procedures followed in preparing the present edition of orchestral parts and piano reduction. Contemporaneous sources which provided pertinent performance practice information in the areas of articulation and ornamentation are also discussed. A copy of the piano reduction and orchestral performing parts are included in the appendices.
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Oliver, Jason L. "The Creation of a Performance Edition of the Georg Christoph Wagenseil Concerto for Trombone with Attention Given to the Surviving Manuscripts and Primary Sources of Performance Practice from the Middle of the Eighteenth Century." Thesis, University of North Texas, 2010. https://digital.library.unt.edu/ark:/67531/metadc30500/.
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The Concerto for Trombone, written in 1763 by Georg Christoph Wagenseil, is a piece in 2 movements for alto trombone and chamber orchestra. The orchestration consists of 2 parts for violin, 1 part for viola, cello and string bass, 2 French horn parts and 2 parts for flute. It is the first concerto form solo work for the alto trombone and was written during a time when wide use of this instrument had been diminished from centuries past. The Concerto for Trombone helped mark the beginning of a time when the musical expressiveness of the trombone began to be noticed in chamber genres where such attention had been lacking in previous decades. Chapter 2 examines the life and musical background of the composer. Chapter 3 discusses the history surrounding the possible origin of the Concerto and its performance history. Chapter 4 provides analytical insights into the construction and format of the piece. Chapter 5 details the creation of an urtext edition of the Concerto. Chapter 6 concludes this document with a performer's guide to the work based on the urtext edition of the solo trombone part to create the performance edition. This performance edition of the work includes historically informed solutions to the problematic technical elements of ornaments. The final section of the chapter makes suggestions regarding the preparation and performance of a historically informed version of the Concerto for Trombone.
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Bogard, Rick. "The Trumpet in Selected Solo and Chamber Works of Paul Hindemith : Elements of Trumpet Technique and Their Relationship to the Gebrauchsmusik Concept, a Lecture Recital, Together with Three Recitals of Selected Works of J.N. Hummel, A. Jolivet, C. Chaynes, and Others." Thesis, University of North Texas, 1994. https://digital.library.unt.edu/ark:/67531/metadc278128/.
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The trumpet was one of the wind instruments Hindemith used frequently in his chamber music, and he employed it prominently in five works from 1925 to 1954. These works are the Sonate fur Trompete (1939), the Konzert fur Trompete in B und Fagott mit Streichorchester (1954), Drei Stucke (19251 the Septett fur Blasinstrumente (1949), and "Morgenmusik," from the collection Plöner Musiktag (1932). This study examines and compares Hindemith's writing for the trumpet in these selected works, noting features in his use of the instrument which determine the applicability of the works to the Gebrauchsmusik concept.
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Yin, Te-Lun, and 殷德倫. ""Symphonic"and "Virtuosic" Expressions of the Solo Concerto--Illustrated by Brahms' Two Piano Concertos." Thesis, 2001. http://ndltd.ncl.edu.tw/handle/69564900023543685090.
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"A portfolio of four original music compositions." 1998. http://library.cuhk.edu.hk/record=b5889514.
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Trombone concerto (first movement) -- Post-Zero -- Trio for flute, violin and cello, no. 2.submitted by Tang Pan-hang Benny.
Thesis submitted in: December 1997.
Thesis (M.Mus.)--Chinese University of Hong Kong, 1998.
Abstract also in Chinese.
Abstract --- p.i
摘要 --- p.ii
Acknowledgment --- p.iii
Declaration --- p.iv
Introduction --- p.1
Trombone Concerto (first movement) --- p.2
Programme notes --- p.3
Remarks --- p.5
Instrumentation --- p.6
Seating Plan --- p.7
Scores --- p.8
Post-Zero 零後 --- p.56
Introduction --- p.57
Programme notes --- p.57
Performance direction --- p.61
Instrumentation --- p.62
Seating plan --- p.62
Scores --- p.63
"Trio for Flute, Violin and Cello No.2" --- p.144
Programme notes --- p.145
Performance direction --- p.145
Scores --- p.146
Biography --- p.159
Music Works List --- p.160
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Miranda, Clayton. "The Inception of Trumpet Performance in Brazil and Four Selected Solos for Trumpet and Piano Including Modern Performance Editions: Fantasia for Trumpet (1854) By Henrique Alves De Mesquita (1830-1906); Vocalise-Etude for Trumpet (1929) By Heitor Villa-Lobos (1887-1959); Invocation and Point (1968) By Osvaldo Costa de Lacerda (1927-2011); and Concerto for Trumpet And Piano (2004) By Edmundo Villani-Côrtes (B. 1930)." 2016. http://hdl.handle.net/10365/25708.
Full textBooks on the topic "Concertos (Viola) – Solo with piano"
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Bartók, Béla. Viola concerto. London: Boosey & Hawkes, 1995.
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2
Druckman, Jacob. Viola concerto. [New York?]: Boosey & Hawkes, 1992.
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3
Casadesus, Henri Gustave. Konzert c-Moll für Viola und Orchester. Frankfurt/M: C.F. Peters, 1995.
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Telemann, Georg Philipp. Concerto in G major for viola and orchestra. New York, NY: G. Schirmer, 1991.
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Bach, Johann Sebastian. Konzert Es-Dur, für Viola, Streicher und Basso continuo: Rekonstruktion nach BWV 169, 49, 1053 = Concerto in E-flat major for viola, strings, and basso continuo : reconstructed from BWV 169, 49, 1053. Kassel: Bärenreiter, 1996.
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Delius, Frederick. Concerto for violoncello and piano. Boca Raton, Fla: Masters Music Publications, 1998.
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Respighi, Ottorino. Concerto gregoriano: For violin and piano. Boca Raton, Fla: Masters Music Publications, 1998.
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Prokofiev, Sergey. Two violin concerti for violin and piano. United States]: Kalmus, 1999.
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Rudnyt︠s︡ʹkyĭ, Antin. Concerto for cello and piano, op. 29. Hastings on Hudson, N.Y: Henri Elkan, 1985.
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Amram, David. Concerto for violin and orchestra: Violin and piano. New York: C.F. Peters, 1995.
Find full textBook chapters on the topic "Concertos (Viola) – Solo with piano"
1
Stevens, Halsey. "The Concertos." In The Life and Music of Béla Bartók, 227–55. Oxford University PressOxford, 1993. http://dx.doi.org/10.1093/oso/9780198163497.003.0008.
Full textAbstract:
Abstract BartÓK’S follow work in the concerto mold was not originally intended as a concerto at all. The Rhapsody, opus 1, was written for solo piano, and later rewritten for piano and orchestra in preparation for his Paris visit in 1905 to compete for the Prix Rubinstein. Dated November 1904, the original differs in certain respects from the version with orchestra, chiefly in the addition of a rather extended introduction, as well as in the amplification of several internal passages in order to provide balance.
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Hutchings, Arthur. "Conclusion. Mozart And Modern Performance Performance: Orchestral And Solo." In A Companion to Mozart’s Piano Concertos, 198–208. Oxford University PressOxford, 1998. http://dx.doi.org/10.1093/oso/9780198167082.003.0021.
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Abstract Perfunctory and over-delicate performances of Mozart are growing rarer, though this age has introduced distortions of its own; sometimes a piece loses entity in its general movement while each section, each phrase, is well preened and pinned; sometimes exaggeration takes an opposite course, and the taut, lithe exquisiteness of Mozart’s phrases becomes lost in a tempestuous tribute to his poetry. Archaism and ‘historical’ preciosity produce rival falsehoods to Schumann izing or Bcethovenizing.
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Hutchings, Arthur. "The ancestry. Keyboard concertos before mozart." In A Companion to Mozart’s Piano Concertos, 26–35. Oxford University PressOxford, 1998. http://dx.doi.org/10.1093/oso/9780198167082.003.0003.
Full textAbstract:
Abstract In his fifth deal of ‘Brandenburg’ instruments, Bach raises the continuo player to chief performer. It is notable that the bass of the harpsichord part is figured only where the right hand stave is empty; it is therefore probable that the functions of Cembalo Concertato and Cembalo Continuo were invested in one keyboard; it is also possible, but not probable, that Mozart’s audiences remembered seeing a continuo player doing his duty even when a clavier soloist was to the forefront. Mozart’s clavier remembers its humble origin, though its memory fades until in the last three concertos it sometimes fails to provide its own bass. But in Mozart solo and orchestra are in mutual liaison. It is mistaken to declare that, in concerto, Beethoven set the orchestra free. He set the piano free--so free that players long for support while practising. The Mozartian performer, doubling orchestral bass as he should when not playing a concertante section, rattling away in memory of Domenico Alberti, or arpeggiating orchestral harmony, is not an accompanied soloist; he is sparring partner to the band. His part never anticipates that of the Grieg Concerto, which one can play at home quite happily without a pocket orchestra or a second piano.
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Ferraguto, Mark. "Music for a Virtuoso." In Beethoven 1806, 47–69. Oxford University Press, 2019. http://dx.doi.org/10.1093/oso/9780190947187.003.0003.
Full textAbstract:
In both his Fourth Piano Concerto and Violin Concerto, Beethoven inverts the standard formula of the concerto by foregrounding lyricism and introspection rather than bravura and brilliance. In so doing, he responds to contemporary conceptions of virtuosity that privileged expressiveness over technical proficiency, proffering a new kind of relationship between virtuoso and public that centered on Innigkeit—the spectacle of the self—as the hallmark of the true virtuoso. But concertos are mutable texts; Beethoven’s revisions to the solo part of the Fourth Piano Concerto reveal a desire to further exploit the disjunction between the brilliant and lyrical styles in performance.
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Reiter, Walter S. "A Brief History of Baroque Romanticism." In The Baroque Violin & Viola, vol. II, 203–10. Oxford University Press, 2020. http://dx.doi.org/10.1093/oso/9780197525111.003.0020.
Full textAbstract:
This lesson looks at how the way of playing the solo works of Bach evolved through the nineteenth and twentieth centuries. The author expresses respect for the great artists who perform in a more traditional way but notes that times are changing, with today’s students having more available stylistic options. Both the title and title page of Bach’s book are discussed in detail and the question of symbolism here and elsewhere in the work is explored. A history of the book and the Bach revival from Mendelssohn to modern times follows. Robert Schumann, Felix Mendelssohn, Johannes Brahms, and Fritz Kreisler added piano accompaniments. The philosophy of bringing Bach’s music stylistically “up to date” was a constant, the first editions liberally changing bowings and adding fingerings reflecting contemporary playing style. Not until modern times were editions available showing what Bach actually wrote. By that time the tradition of playing Bach in a Romantic way firmly embedded.
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Davies, Stephen. "Musical Understanding and Musical Kinds1." In Themes in the Philosophy of Music, 213–32. Oxford University PressOxford, 2003. http://dx.doi.org/10.1093/oso/9780199241576.003.0014.
Full textAbstract:
Abstract Suppose someone, call her Cecilia, is keen to understand the music composed by Mozart after 1778. She listens carefully and repeatedly to the first movements of the Sinfonia Concertante for Violin and Viola in E flat major (K. 364 of 1779 or later), Symphony No. 36 in C major (the ‘Linz’, K. 425 of 1783), the last of the piano concertos in C major (K. 503 of 1786), Symphony No. 41 in C major (the ‘Jupiter’, K. 551 of 1788), and the Clarinet Concerto in A major (K. 622 of 1791; the first movement was written in G for basset-horn in 1789). She reads (from the record notes) that each of these movements is in sonata form and she listens to them with that in mind.2 In time she knows of each movement how it is put together.3 Does she understand the music composed by Mozart after 1778?
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Steinberg, Michael. "Bach." In The Concerto, 11–20. Oxford University PressNew York, NY, 1998. http://dx.doi.org/10.1093/oso/9780195103304.003.0002.
Full textAbstract:
Abstract Bach wrote these works about 1720, and presumably led and took part in their first performances at the court of Cothen soon after their composition. They were almost certainly introduced singly, not as a set. Bach played the harpsichord in the Concerto No. 5, and probably played violin in the first four concertos and viola in No. 6. The scoring is discussed in the notes on the individual works. When Bach assumed the post of Capellmeister to His Most Serene Highness Leopold, Prince of Anhalt-Cothen, in 1717, he made that move in the hope of spending the rest of his life there. The court was Calvinist and thus required no church music, and Bach enjoyed the change of not being primarily an organist and the challenge of providing great quantities of solo, chamber, and orchestral music. His new patron, just twenty-three, loved music and played the violin, the viola da gamba, and keyboards skillfully. But the idyll was spoiled when Bach’s wife died suddenly in the summer of 1720, and the next year the professional scene darkened when the prince married. His musical interests, Bach recalled later, became “somewhat lukewarm, the more so since the new Princess seemed to be alien to the muses.” In fact the Amusa, as Bach called her, soon died, and Leopold’s second wife was a sympathetic and sensitive patron, but by then Bach was restless and determined to leave.
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Kildea, Paul. "Dennis Brain 1921-1957 (1958)." In Britten on Music, 158–60. Oxford University PressOxford, 2003. http://dx.doi.org/10.1093/oso/9780198167143.003.0051.
Full textAbstract:
Abstract Since the war, the horn playing of Dennis Brain has been one of the most familiar, certainly one of the happiest, features of British musical life. No season went by without his superlative performances as soloist in horn concertos. He was frequently to be seen at the first desk of one or other of the London orchestras, and no one will ever forget his inimitable tone and phrasing in the solo passages, from the small fragments in the works of the earlier masters (often devastatingly high-but so securely played), to the full dress melodies of more recent times (including Siegfried’s horn call). Then there were his many appearances in chamber music either with a piano (Schumann’s Adagio and Allegro, op. 70) or a string group (Mozart’s Quintet, K. 407). His own excellent ensemble,1 too, has delighted us with musician and beautifully rehearsed performances of music from Mozart to the present day, some of which was inspired by and written for Dennis. The tragic car accident of 1st September leaves a musical gap which can never be filled.2 It has robbed us of an artist with the unique combination of a superb technical command of his instrument, great musicianship, a lively and intelligent interest in music of all sorts, and a fine performing temperament, coupled with a charming personality. It has also robbed us of a man of rare generosity, simplicity and charm.