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1
Driver, Paul. "Gruber's Concertos." Tempo, no. 178 (September 1991): 22–27. http://dx.doi.org/10.1017/s004029820001398x.
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The concerto evidently appeals to HK Gruber, as symphonies do not. He has so far written four works that are unambiguously in this form: ‘…aus schatten duft gewebt…’, a concerto for violin and orchestra of 1977–8; the concerto for percussion and orchestra Rough Music (Rauhetöne) of 1982–3; Nebelsteinmusik, for solo violin and string orchestra, of 1988; and the Concerto for Cello and Chamber Orchestra of 1989. Ambiguous examples of the form are his early Concerto for Orchestra (1960–64) – concertos for orchestra are by definition ambiguous – and Frankenstein!!, his ‘pan–demonium’ (rather than ‘concerto’) for baritone chansonnier and orchestra (on children's rhymes by H.C. Artmann), finalized in 1977. Then there are four works which remain in manuscript (withdrawn from circulation): Concerto No. l for flute, vibraphone, xylophone and percussion (1961); Concerto No. 2 for tenor saxophone, double bass and percussion (1961); ‘furbass’ for double bass and orchestra; and an unsatisfactory forerunner of the violin concerto, Arien (1974–5). The symphony he has not touched; and one is tempted to see in this reliance on solo/ensemble confrontation an attempt to hold together the self–splintered, all too globally diversified language of the late 20th century by an eloquent soloist's sheer persuasiveness, by musical force, so to speak, the soloist being dramatized as a kind of Atlas. In the same way Gruber's recourse to popular songs and idioms of ‘light music’ in these works can seem like a desperate attempt to find a tonal prop and sanction for a language so pervasively threatened by tone–deafness and gobbledygook.
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Yaropud, Natalya. "Double concertos for violin and cello with orchestra by Johannes Brahms and Vitalyi Kyreiko: genrе and style dimentions." Scientific herald of Tchaikovsky National Music Academy of Ukraine, no. 138 (December 22, 2023): 161–74. http://dx.doi.org/10.31318/2522-4190.2023.138.294810.
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The relevance of the article. The Concertos for violin and cello with symphony orchestra by J. Brahms (a moll, op. 102) and V. Kyreikо (a moll, op. 65) are considered in terms of embodying the artistic pursuit of composers of different eras and national schools. Genre-stylistic features are outlined, their individual and common features are revealed, which testify to the preservation and development of the tradition of the concert genre, the reinterpretation of the Brahms concert model in a new cultural context. It is emphasized that works belong to the type of symphonized concert, in which the means of symphonic transformation of thematic material, a rich polyphonic texture, complex forms of interaction between soloists and orchestra prevail. It is noted that the methods of symphonizing the musical fabric take place in accordance with the creative attitude of each composer, whose common stylistic space fits into the paradigm of romanticism — neoromanticism. Special attention paid to the V. Kyreiko’s concerto for violine and cello with orchestra, as the first in Ukraine double concert for string instruments, which is considered from point of imitation and development of the genre of instrumental concert. Emphasized the uniqueness of the author’s concept, which is revealed in the combination of deep musical content and clear form, understanding of the expressive possibilities of the violin and cello, and the disclosure of the natural beauty of the sound of the instruments.
The main objective of the article is to compare the genre-stylistic features of the double concertos for violin and cello with the orchestra by J. Brahms and V. Kyreiko and to reveal the possibilities of their modern performance interpretation.
The methodology of the research methodology includes the following methods: historical, which made it possible to determine the historical framework and attribute the work of composers to a certain era and style; genre-style analysis, which made it possible to reveal the stylistic features of musical expressiveness in the specified works of the composers; comparative analysis, thanks to which it became possible to compare intonation genre-style complexes in the work of composers; performance analysis, with the help of which the artistic and performance specifics of the double concerto for violin and cello with orchestra are highlighted in the aspect of updating the genre tradition of the 19th - second half of the 20th centuries.
Results and conclusions. A comparative analysis of two original in design and methods of musical implementation of concertos for violin and cello and symphony orchestra by J. Brahms and V. Kуreiko allowed us to outline the wide genre and style space of existence of these bright artistic phenomena, which extends from the romanticism of the 19th century to the neo-romanticism of the 20th century, demonstrates the durability genre tradition, reveals the common features and individual differences of these works. Despite the different national and cultural context, both works embody the symphonic scale of the development of musical thought, they are marked by the breadth and ambiguity of lyrical and dramatic images. The thematic layer of the concerts is distinguished by its imaginative breadth: an epic story, elegiac romantic-song episodes, a multifaceted lyricaldramatic sphere, genre-dance finales with different emotional moods. The principle of thematic development is built on the basis of complementarity, contrasting juxtapositions of theme-images, avoidance of sharp clashes, associatively reminiscent of romantic poetic dramatic concepts. The double concertos for violin and cello by J. Brahms and V. Kуreiko demonstrate perfect skill in the presentation of each of the soloists, the construction of ensemble dialogues, and the interaction of the soloists with the orchestra. As a general trend, we state that both concerts continue the tradition of symphonizing the genre. Reviews of concerts performed by leading Ukrainian musicians of different generations (O. Horokhov — V. Chervov, B. Pivnenko — K. Polyanska) provide examples of standard performance versions, the performers' deep understanding of the composer's concepts, their inclusion in the general cultural and historical process. Undoubtedly, they are guidelines for further revealing the artistic potential of concerts.
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Kailin, Zhang. "POLARITY OF S. SLONIMSKY'S STYLISTIC GUIDELINES IN THE INSTRUMENTAL CONCERTS "PRIMAVERILE" AND "TRAGICOMEDY"." Arts education and science 1, no. 3 (2021): 141–47. http://dx.doi.org/10.36871/hon.202103018.
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This article is devoted to the comparative description of two string concerts by Sergei Mikhailovich Slonimsky (1932–2020): the violin "Concerto Primaverile" (1983), focused on the Romantic style of the XIXth century, and the viola "Tragicomedy" (2005), related to the avant-garde line of the composer's work. Each of the opuses embodies different types of programmaticity: a generalized one in "Concerto Primaverile" for violin and string orchestra, and more concretized one in the concert on "Crime and Punishment" by F. Dostoevsky for viola and chamber orchestra. Thus, Slonimsky also turned to both types of programmaticity in solo compositions for these instruments, for example, figurative specificity becomes the main characteristic in the dramaturgy of the final piece for violin "Legend" (based on the novel by I. Turgenev). On the contrary, the Viola Sonata and Variations for a solo instrument rather address a generalized compositional approach. Comparison of the two concert scores follows the lines of their stylistic difference: programmaticity, specificity of dramaturgy and technical implementation, and in particular problems such as complex melodic figuration, contrapuntal saturation of homophonic monodic texture, the role of micropolyphony, the introduction of third and quarter tones and other non-standard principles of sound production.
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Ревуцький, А. Я., and О. П. Гужва. "Melody of S. Prokofiev as the main feature of his style (on the examples of Concerts No. 1 and No. 2 for violin and orchestra)." Музикознавча думка Дніпропетровщини, no. 15 (November 1, 2019): 61–75. http://dx.doi.org/10.33287/22195.
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The purpose of the article is to analyze the violin concertos No. 1and No. 2, to find and explore the characteristic signs of S. Prokofievʼsmelody, lyrics, cantilenas, and ways of its construction. One of the taskswill be to discover their differences, using the example of concerts to showthe evolution of melody development by S. Prokofiev. Find thecharacteristics of his melody with works that were created in the same timeinterval along with the violin concertos. The methods are based on a comprehensive analysis of violin concertos; the historical and structurallyanalytical methods are used to track the evolution of the melody ofS. Prokofiev. Scientific novelty claims relevance because, unfortunately,very little attention is paid to the unique lyrics of Prokofiev, which standsout very clearly among other composers. Therefore, the study of thecharacteristics of the canted melody reveals the melodic style in itsmainstream. Especially since it is the cantilena that contains the mostimportant artistic discoveries of the composer in the field of melody, this iswhere the peculiarity of his melodic thinking manifested itself.Conclusions. Prokofiev was one of the first composers of the twentiethcentury, who brought the violin art back to its natural, for centuries acertain lyrical-emotional direction. The violin in his works appears mostoften in the role of „actorˮ, who predominantly distinctly „singsˮ. Thisfeature is inextricably linked with the lyrical direction – very strong in allProkofievʼs works. The lyrical direction, we can assume, dominatesProkofievʼs entire violin heritage. His innovation in the field of updatingthe melody from the inside consisted in updating its imaginative,intonational, mode. Over the years, the Prokofievʼs violin style haschanged, reflecting the general evolution of its artistic and aestheticprinciples. The last period of his work was marked by the desire forsimplicity, clarity of musical thinking, and hence to even greater modesty,transparent texture, and wise savings in the means of expression.
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Rakochi, Vadym. "TIMBRAL ALTERNATIONS IN TCHAIKOVSKY’S VIOLIN CONCERTO AS A MULTIFUNCTIONAL SYSTEM." National Academy of Managerial Staff of Culture and Arts Herald, no. 2 (September 17, 2021): 257–61. http://dx.doi.org/10.32461/2226-3209.2.2021.240077.
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The purpose of the article is to consider the alternations in Tchaikovsky’s Violin Concerto as a multifunctional system. The methodology includes score analysis as a way to determine the functions of different instruments in the Concerto and variants of their interaction; stylistic analysis is applied in order to highlight the specific features of the presentation in the orchestra of Tchaikovsky; comparative method allows us to compare the features of the orchestra in different concertos of other composers. The scientific novelty lies in the interpretation of the alternations in the Violin Concerto as an interconnected system with multifaceted influence. This paper aims to examine timbral alternations in the Concerto. On the first layer, there are alternations as a means to expose musical material: the change of timbre becomes an impetus to deploy the theme. On the second layer, there are alternations as a means of expression: a lyrical mood receives a touch of joy, a dramatic component strength, the foreground/background comparisons give a three-dimensional effect. On the third level, the alternations have form-defining function. They mark the end of a section when thematically different but emotionally identical material appears; recall the ‘remote alternations’ (tutti – tutti frame the development in the first movement). On the fourth layer, the alternations reflect Tchaikovsky’s style: his reliance on the strings’ timbers, particular attention to woodwind instruments and the horn, and a number of ‘in-the-orchestra’ soloists. Conclusions. The alternations enhance the concertizing effect, enforce the timbre and texture contrasts, add particular dynamization, and contribute to the active involvement of the orchestra in a development process by making the interaction between the soloist and the orchestra, and within the orchestra itself, much more expressive. Such a diversity of alternations creates a multifunctional system that became a distinctive feature of the Concerto.
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Inna, Uspenskaya. "Typology of genres of concert music for violin: classification criteria." Problems of Interaction Between Arts, Pedagogy and the Theory and Practice of Education 57, no. 57 (March 10, 2020): 150–62. http://dx.doi.org/10.34064/khnum1-57.09.
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The article is devoted to the systematization of the criteria of the classification of concert music for violin, in which, along with the traditional genre criteria, stylistic and textured ones are highlighted It is noted that such a comprehensive consideration allows solving a number of tasks of both research and performance profile. Based on the modern approach to the genre system, the article extrapolates it to concert violin music, which covers the range from solo miniature pieces to concerts for violin and symphony orchestra. It is emphasized that the least researched is the question of the stylistics of concert violin genres, constituted according to the same parameters as the musical texture – horizontal, vertical and depth (E. Nazaikinsky). The article proposes an original classification of the genre-stylistic complex of concert violin music, that is based on the following factors: the style of the highest levels (epoch-making, national, specific), genre (the complex of existing genres of violin music), texture in the aspect of stylistics (the main “identification mark” of the genre) and the style of concretized levels (author’s individual level and separate work). Considering the first classification criterion – the genre one, its universal nature it should be noted, covering two levels of the concert violin music system: functional – performers, the way of performance – and semantic-compositional – genre content and style (I. Tukova). The style criterion acts as a parallel to the genre criterion and means the differentiation of the genre system according to the signs of introversion (style as an introvert category, according to V. Kholopova). Here the phenomena and concepts are formed that cover all levels of the style hierarchy in its distribution to concert music for violin – from the historical to the author’s individual and even the style of a separate piece. It is emphasized that the least explored area of violin concert is its stylistics, which is closely related to its texture – the “external form” of the genre manifestation (L. Shapovalova). The stylistic aspect in violin music-making is reviewed in the article according to the same parameters as the texture aspect, since they largely coincide (E. Nazaikinsky). We are talking about the factors of horizontal (the types of texture that form the stylistic relief of the text of the work), vertical (the combination of textures in their different stylistic meanings), depth (based on the author’s handwriting of his connections with the texture and style sources – historical, national ones, characteristic of certain violin schools and directions). It is noted that this refers to both sides of the genre-stylistic system of concert music for violin (with the participation of a violin) – functional and semanticcompositional – and is realized in the following variants of textured style: solo orchestra (violin or several violins with an orchestra); solo ensemble (the same accompanied by a chamber ensemble); solo piano (violin and piano duet); solo violin (violin without accompaniment). It is proved that all these textured and stylistic varieties of concert violin music are combined on the basis of the idea of a concert style – “competition-agreement” (B. Asafiev) of the participants in the act of playing music. The measure of the correlation of performing forces in a concert dialogue ultimately determines the choice of criteria for classifying its varieties in their extrapolation to a concert violin. The article reveals the features of all four above-named options for this dialogue, taking into account their possible combination. It is noted that this combination is most fully reflected in a violin concert with an orchestra, where other forms of concert appear occasionally – solo without accompaniment (solo cadenzas), ensemble (microdialogues of the violin and other orchestral instruments). The classification criteria highlighted in the article, first of all texture-stylistic ones, together form the following system of genres of concert music for violin (with the participation of a violin), considered from the standpoint of: 1) concert dialogue in its textured manifestations (gradation in the dominance of the soloist instrument over accompaniment or, conversely, accompaniment over a solo part); 2) the principle of intimacy, bordering on concertness, but meaning the parity of the performing parts (a distinctive feature of chamber ensembles, in which it stands out as the leading violin part); 3) the self-sufficiency of the violin as a universal instrument suitable for the implementation of concert dialogue in the solo form of music-making (a wide range of genre forms of violin music – from miniatures and their cycles to suites, partitas and solo sonatas). It is noted that, in the future, the classification patterns identified in this article can be considered using the example of specific samples belonging to a particular genre group. The author of this article plans to do this on the basis of concert genres of violin music created by the composers of the Kharkiv school. Focusing on classical and modern samples, as well as the traditions of the Kharkiv stringbow performing school represented by A. Leshchinsky, A. Yuriev, S. Kocharyan, G. Averyanov, E. Shchelkanovtseva, L. Kholodenko, E. Kupriyanenko and other string players, Kharkiv authors interpret the concert-violin style in various ways, revealing in it both the general (the “image” of the violin in the system of specific instrumental styles), and the special (the styles of the national and regional schools), as well as the unique, individual (the representations of the latter are their best works).
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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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Johnson, Bret. "Benjamin Lees: Quo Vadis?" Tempo, no. 175 (December 1990): 11–17. http://dx.doi.org/10.1017/s0040298200012560.
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Fifteen years ago, Nicolas Slonimsky wrote of Benjamin Lees in Tempo: ‘At a time when so many otherwise valiant composers are star-crossed and complain of malign neglect, Benjamin Lees rises “in excelsis” in the musical firmament’. And so he has continued since, with many commissions and numerous major works to his credit, matched by frequent performances in the United States. It is a time that has seen the creation of his Fourth and Fifth Symphonies, a set of Variations for Piano and Orchestra, a Concerto for Brass Choir and Orchestra, a Double Concerto for Piano, Cello and Orchestra, at least four other orchestral compositions of substantial scale, and the Third and Fourth String Quartets. All of these have contributed to his continuing high profile in the American musical scene. When one surveys Lees's entire corpus of music over the last four decades, one sees an impressive range of works, achievements and awards. Such pieces as the Violin Concerto (1958), Third Symphony (1969) and Concerto for String Quartet and Orchestra (1965), all commercially recorded, stand out as landmarks not only of his own music but of postwar American music generally. His style has continued to evolve in recent years and whilst his hallmark is still his adherence to form and structure, he has become more concerned with orchestral sonority and, without becoming explicitly programmatic, practises his art within an ever-widening sound spectrum and colouristic palette. He has always possessed a strongly individual personality, and the ‘Lees Sound’ is unquestionably unique, even through his exposition and development of musical ideas-and the technique of continual evolution which he favours at present-derive, at source, from his most important early musical teacher: George Antheil.
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Conway, Paul. "John McCabe CD round-up." Tempo 58, no. 229 (July 2004): 53–54. http://dx.doi.org/10.1017/s0040298204290222.
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JOHN McCABE: Concerto for Piano and Wind Quintet; Musica Notturna; Fauvel's Rondeaux; Postcards for wind quintet. The Fibonacci Sequence. Dutton CDLX 7125.‘Old City New Image’. McCABE: String Trio; String Quartet No. 2. DAVID ELLIS: Trio for violin, viola and cello; String Quartet No. 1. Camerata Ensemble. Campion Cameo 2027.McCABE: Piano Concerto No. 2; Concertante Variations on a theme of Nicholas Maw; Six-Minute Symphony; Sonata on a Motet. Tamami Honma (pno), St Christopher Chamber Orchestra c. Donatas Katkus. Dutton CDLX 7133.‘Tenebrae’. McCABE: Variations; Intermezzi; Sostenuto (Study No. 2); Capriccio (Study No. 1); Aubade (Study No. 4); Tenebrae; Scrunch (Study No. 8); Evening Harmonies (Study No. 7). Tamami Honma (pno). Metier MSV CD92071.
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Broman, Per F. "In Beethoven's and Wagner's footsteps: Phrase structures and Satzketten in the instrumental music of Béla Bartók." Studia Musicologica 48, no. 1-2 (March 1, 2007): 113–31. http://dx.doi.org/10.1556/smus.48.2007.1-2.7.
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Abstract Recent studies of formal structure in themes in the Classical repertoire (William Caplin) as well as the music of Wagner (Matthew BaileyShea) point towards the enormous importance and potential of the Sentence phrase structure with its hybrid forms for analyzing tonal music. Initially described by Schoenberg, a Sentence is phrase consisting two main events of equal length, a presentation phrase (consisting of one repeated basic idea) and a continuation phrase. In this paper I will demonstrate Bartók's dependence upon Classical and Romantic phrase structures, including the Sentence, and also the Classical Period (consisting of an antecedent and consequent phrase). In both his small-and large-scale works, Bartók's sentences display a Classical coherence, despite the lack of a functional harmonic framework, due to their clear formal articulation and clearly defined modal pitch centers. Bartók also utilized chains of Sentences, Satzketten, in several works including Concerto for Orchestra. I will describe the different paradigmatic types utilized by Bartók in works such as Divertimento, the String Quartets, along with the Violin and Piano Concertos. Particularly significant is how Bartók alters the repeated basic idea and elaborates the continuation phrase and the creation of compound forms.
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Titarov, Mykhailo. "Clarinet Quintet and the Legacy of the Mannheim Chapel Composers." ARTISTIC CULTURE. TOPICAL ISSUES, no. 19(1) (June 13, 2023): 181–85. http://dx.doi.org/10.31500/1992-5514.19(1).2023.283147.
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The paper considers the processes of establishment of the clarinet quintet genre in the instrumental chamber music of the composers of the Mannheim chapel. It is noted that the Mannheim chapel was one of the first in Europe to employ clarinetists on a permanent basis. This contributed to the formation of a double composition of the orchestra and the emergence of a solo-ensemble repertoire for the clarinet in the genre of a solo instrumental concerto and in chamber music. It was discovered that the clarinet entered the chamber music of the people of Mannheim as an instrument that could replace the first violin, so the genres of trio and quartet for clarinet and string instruments became the most popular. In the ensembles with a larger number of participants, the search for optimal performing compositions continued. One of them was a quintet for clarinet, two violins, viola, and cello. It required independence of all parts and did not allow the interchangeability of clarinet and violin. Individual works were written for this composition, one of them isin the pieces byC. Stamitz. It isindicated that the connection between composers and clarinetists appeared for the first time in the legacy of Mannheim school. A conclusion is made about the influence of chamber music with the participation of clarinet representatives of the Mannheim chapel on the genre and style priorities of W.A. Mozart, whose works include a clarinet quintet (1789).
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Bohatyriov, Volodymyr. "Orchestration as a factor of genre reproduction (on the example of analysing Zoltan Almashi’s Concerto Grosso no. 4 “Seasons”)." Aspects of Historical Musicology 33, no. 33 (December 28, 2023): 142–55. http://dx.doi.org/10.34064/khnum2-33.08.
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Statement of the problem. Among the many trends in the creative search in music of the XX–XXI centuries, one of the leading ones is the appeal to the ideas and models of the past. This has led to the revival of previous centuries musical genres. The accuracy of a genre’s reproduction is determined by its constituent elements, such as musical themes, harmony, form structure, etc. Orchestration plays an important role in this process, as it forms a timbre-textural complex that has structural, organisational and semantic functions in musical work. The considered piece, Z. Almash’si Concerto Grosso No. 4 “Seasons” for violin and orchestra, is an example of the use of the early genre in contemporary music. Despite the genre classification mentioned in the title, the composition has its own unique features that indicate a free interpretation of the genre model. In this regard, it seems necessary to to identify the features characteristic of the concerto grosso genre. Among them, orchestration can be considered the key one. Objectives, methods, and novelty of the research. The existing scientific sources do not pay enough attention to the orchestration in «Seasons» by Z. Almashi, as wee as its role in the reproduction of the genre, which determines the scientific novelty of this study. The purpose of the article is to identify the orchestration features attributable to concerto grosso in Z. Almasy’s work and to determine the specific principles of the structure of the orchestral texture. The study uses: the historical-typological method – to understand the contextual and socio-cultural belonging of Z. Almashi’s piece, the genre method – to reveal its typological and individual features with a projection on the orchestration, the stylistic method – to determine the artistic and aesthetic, linguistic and technological properties, a structural and functional method – to disclose the peculiarities of the organization of an orchestral texture. Recent research and publications. The work is based on sources devoted to the relationship of genre and orchestration (Korobetska, 2011; 2013), the use of contemporary composers with genre models of early music (Tukova, 2003), the formation and development of the instrumental concerto (Rakochi, 2021), to the orchestral style of Baroque composers (Borodavkin, 1998), orchestration as a component of compositional technique (Savchenko, 2021), and to the definition of the position of timbre and texture in orchestration (Kashyrtsev, 2021; Klebanov, 2019). Research results and conclusion. The analysis revealed those features in the orchestration that correspond to the genre of concerto grosso. First of all, it is the availability of two instrumental groups with different orchestral functions. The first ‘concertino’ group includes the principale violin, ocarina, flute, clarinet in B and piano; the second ‘ripieno’ group includes the string orchestra. Nevertheless, instruments from the first group (primarily woodwinds and piano) can be combined with stringed instruments in accompaniment of solo violin. When these groups of instruments interact, there is a juxtaposition of timbres, volumes and sound densities. Also, the contrast is enhanced due to the virtuosity of the parts in the ‘concertino’ group. This creates dialogue and competition, which necessary for the realization of the genre. A variety of orchestration techniques, among which are timbre mixtures, duplication, re-colouring, swinging, and sound painting, embodies the concerto principle. They form a timbre dramaturgy, which is essential for actualising the concert genre and the program title of the piece.
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Gąsiorowska, Małgorzata. "Grażyna Bacewicz – The Polish Sappho." Musicology Today 16, no. 1 (December 31, 2019): 65–102. http://dx.doi.org/10.2478/muso-2019-0003.
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Abstract The paper is an attempt at a synthetic presentation of the Polish composer Grażyna Bacewicz’s (1909–1969) musical output and artistic career, presented against the background of events in her personal life, and of major events in Polish and European history in the first seven decades of the 20th century. Bacewicz was called ‘the Polish Sappho’ already in the years between World Wars I and II, when there were very few women-composers capable of creating works comparable to the most eminent achievements of male composers. Her path to success in composition and as a concert soloist leads from lessons with her father, the Lithuanian Vincas Bacevičius, to studies at the Łódź and Warsaw Conservatories (violin with Józef Jarzębski, composition with Kazimierz Sikorski), and later with Nadia Boulanger at the École Normale de la Musique, as well as violin lessons with André Tourret. Her oeuvre has for many years been linked with neoclassicism, and folkloric inspirations are evident in many of her works. Her crowning achievement in the neoclassical style is the Concerto for String Orchestra of 1948, while influences from folklore can distinctly be heard in many concert pieces and small forms. The breakthrough came around 1958, under the influence of avant-garde trends present in West European music, which came to be adapted in Poland thanks to the political transformations and the rejection of socialist realism. In such pieces as Music for Strings, Trumpets and Percussion of 1958, Bacewicz transforms her previously fundamental musical components (melody, rhythm, harmony) into a qualitatively new type of sound structures, mainly focused on the coloristic aspects. Grażyna Bacewicz also applied the twelve-note technique, albeit to a limited extent, as in String Quartet No. 6 (1960). Her last work was the unfinished ballet Desire to a libretto by Mieczysław Bibrowski after Pablo Picasso’s play Le désir attrapé par la queue.
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Hromchenko, Valerii, and Andriy Gorban. "PERFORMANCE-STYLE FEATURES OF THE CONCERTO № 3 FOR CLARINET AND ORCHESTRA BY L. SPOHR." Музикознавча думка Дніпропетровщини, no. 17 (November 20, 2019): 61–69. http://dx.doi.org/10.33287/222005.
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The purpose of this scientific investigation is the disclosure of the creative phenomenon of German composer L. Spohr in wind contemporary academic music and performing art by identifying the most characteristic performance and the stylistic peculiarities of creator that is instrumentally artistic speech. The material of this study is the well-known Concerto № 3 for Clarinet with symphonic orchestra by L. Spohr. The methods of this scientific intelligence are in the application of general scientific approaches to the study of a particular topic. The historical method is used to highlight the place of clarinet masterpieces and, in particular, Concert № 3, in the palette of the artistʼs creative achievements. The comparative method creates the possibility of comparing a number of clarinet means of expression with the artistic potential of string-bow performance. The sequence of presentation of the material is determined by the action of the structural-analytical method. Methods of observation and generalization are of practical importance. The scientific novelty of this specialized disquisition is due to the insufficient study of the clarinet works of L. Spohr in the light of modern musicological thought. Conclusions. The distinctiveness of L. Spohrʼs performance- stylistic peculiaritics of instrumental speech in clarinet Concerto № 3 for clarinet and orchestra is marked, first of all, by the use of various types of virtuosity (shallow, combined, large virtuosity), the performance of various types of melismatics both in slow and melodic ways, the use of high and ultra-high sound registers of the instrument (note to the fourth octave), which, we emphasize, comes from the violin academic artistic and creative activity of L. Spohr and, in general, and of high performing skill as a virtuoso violinist.
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Grebneva, I. "”The image” of the violin in the creative work of A. Corelli (on the example of the concerto grosso genre)." Problems of Interaction Between Arts, Pedagogy and the Theory and Practice of Education 49, no. 49 (September 15, 2018): 115–27. http://dx.doi.org/10.34064/khnum2-49.08.
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Statement of the problem. The violin style of A. Corelli, a composer-violinist who laid the foundation for the development of the violin art in Europe, represents a special “image of the instrument” that entered the professional-academic arena during the Baroque era. The research of A. Corelli’s violin style belongs to the field of organology, which is dedicated to the integrated study of instruments as the “organs” of musicians’ thinking. The close relationship, connection of the individual who is playing music with his/her instrument is not only one of the little developed theoretical problems, but also the basis of the practice for performing music, as well as learning this art. Analysis of recent publications on the topic. The available sources on the creative work of A. Corelli (written by K. Kuznetsov, I. Yampolsky, L. Ginzburg, N. Harnoncourt) contain either general information or individual observations on the image of the violin in the Baroque era. It is necessary to point out the significance of the general theory of the violin style (E. Nazaikinsky, V. Medushevsky, V. Kholopova, Y. Bentya) for the development of scientific ideas about the "image of the violin". The purpose of the article is to identify the special features of the “image” of the violin in the style of A. Corelli on the material of Concerti grossi op.6. The presentation of the main material. At the time of the creation of Concerts op.6 by A. Corelli, in Italy there was a violin school, which was distinguished by an exceptional variety of playing techniques. It was here that the historical process of replacing the viol with the violin was finally completed. The violin becomes the leading instrument in the instrumental genres of the 17th century music – suite, trio-sonata, solo sonata, and by the end of the century – concerto grosso. The path of movement to A. Corelli’s universal, generalized-reduced violin style ran along the line “ensemble feature – concert feature – solo feature”. The creation of the academic style of the violin playing logic is the merit of the Bologna school. The main thrust of the violin style of Bologna masters (Torelli, Antonia, Bassani, Vitali, and later Corelli and Vivaldi) is the combination of “church” and “chamber” models of the violin playing. For instrumental sound in an ensemble or orchestra, a “canon” and certain limitations in the technique of the playing are necessary, allowing establishing the balance of the parts of instruments and instrumental groups. The “invention” (inventio) in the violin playing, characteristic of the Italian school of the first half of the 17th century, was aimed at identifying the whole complex of the possible techniques of playing this instrument. The violin plating logic in Concertі grossi by A. Corelli is subordinated to the combination of two artistic and aesthetic tasks arising from two styles of concert making – the “church” one and the “chamber” one. Hence the choice of the appropriate techniques for playing. The “church” style, despite its democratization inherent in the Italian violin school, acquired the functions of a public concert for a mass audience and was distinguished by greater severity and regulation of the complex of the violin playing techniques. This stemmed from the genre style (“concert in the church”), where polyphonic presentation prevailed in the fast parts, the “tempo” names of the parts were used, and the organ in the numbered bass part was used. The “chamber” style opened up wider possibilities for the violin and the creation of an expressive technical complex associated with the genre (“dance” parts), replacing the organ in basso continuo with the harpsichord (cembalo), other stringed and plucked instruments (lute, theorbo), low string-and-bow instruments (gamba, cello, double bass), which gave a mono-articulate character to the general sounding. Playing shades of "lively speech" on the violin is a characteristic feature of A. Corelli’s violin style, reflected in the instrumental-playing complex through phrasing, attention to details and to micro-intonation. Conclusions. In describing the historical and artistic situation, in the context of which the style of the “great citizen of Bologna” was formed, its innovations have been outlined. The signs of the turning epoch have been indicated – they are the transition from the Renaissance polyphony and the “church” style to the secular homophony, with the instruments of the violin family singled out as the main ones. The particular attention has been paid to the principles of the violin intonation in the form of a speech playing (sprechendes Spiel) and dance motor skills, which together formed the semantics of A. Corelli’s violin style in the genres of concerto grosso, trio sonatas, solo sonata with bass. The main features of A. Corelli’s violin style, which became determinant for compositional decisions in the field of thematic, texture, and harmony, have been revealed.
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Grebneva, I. "”The image” of the violin in the creative work of A. Corelli (on the example of the concerto grosso genre)." Problems of Interaction Between Arts, Pedagogy and the Theory and Practice of Education 49, no. 49 (September 15, 2018): 115–27. http://dx.doi.org/10.34064/khnum1-49.08.
Full textAbstract:
Statement of the problem. The violin style of A. Corelli, a composer-violinist who laid the foundation for the development of the violin art in Europe, represents a special “image of the instrument” that entered the professional-academic arena during the Baroque era. The research of A. Corelli’s violin style belongs to the field of organology, which is dedicated to the integrated study of instruments as the “organs” of musicians’ thinking. The close relationship, connection of the individual who is playing music with his/her instrument is not only one of the little developed theoretical problems, but also the basis of the practice for performing music, as well as learning this art. Analysis of recent publications on the topic. The available sources on the creative work of A. Corelli (written by K. Kuznetsov, I. Yampolsky, L. Ginzburg, N. Harnoncourt) contain either general information or individual observations on the image of the violin in the Baroque era. It is necessary to point out the significance of the general theory of the violin style (E. Nazaikinsky, V. Medushevsky, V. Kholopova, Y. Bentya) for the development of scientific ideas about the "image of the violin". The purpose of the article is to identify the special features of the “image” of the violin in the style of A. Corelli on the material of Concerti grossi op.6. The presentation of the main material. At the time of the creation of Concerts op.6 by A. Corelli, in Italy there was a violin school, which was distinguished by an exceptional variety of playing techniques. It was here that the historical process of replacing the viol with the violin was finally completed. The violin becomes the leading instrument in the instrumental genres of the 17th century music – suite, trio-sonata, solo sonata, and by the end of the century – concerto grosso. The path of movement to A. Corelli’s universal, generalized-reduced violin style ran along the line “ensemble feature – concert feature – solo feature”. The creation of the academic style of the violin playing logic is the merit of the Bologna school. The main thrust of the violin style of Bologna masters (Torelli, Antonia, Bassani, Vitali, and later Corelli and Vivaldi) is the combination of “church” and “chamber” models of the violin playing. For instrumental sound in an ensemble or orchestra, a “canon” and certain limitations in the technique of the playing are necessary, allowing establishing the balance of the parts of instruments and instrumental groups. The “invention” (inventio) in the violin playing, characteristic of the Italian school of the first half of the 17th century, was aimed at identifying the whole complex of the possible techniques of playing this instrument. The violin plating logic in Concertі grossi by A. Corelli is subordinated to the combination of two artistic and aesthetic tasks arising from two styles of concert making – the “church” one and the “chamber” one. Hence the choice of the appropriate techniques for playing. The “church” style, despite its democratization inherent in the Italian violin school, acquired the functions of a public concert for a mass audience and was distinguished by greater severity and regulation of the complex of the violin playing techniques. This stemmed from the genre style (“concert in the church”), where polyphonic presentation prevailed in the fast parts, the “tempo” names of the parts were used, and the organ in the numbered bass part was used. The “chamber” style opened up wider possibilities for the violin and the creation of an expressive technical complex associated with the genre (“dance” parts), replacing the organ in basso continuo with the harpsichord (cembalo), other stringed and plucked instruments (lute, theorbo), low string-and-bow instruments (gamba, cello, double bass), which gave a mono-articulate character to the general sounding. Playing shades of "lively speech" on the violin is a characteristic feature of A. Corelli’s violin style, reflected in the instrumental-playing complex through phrasing, attention to details and to micro-intonation. Conclusions. In describing the historical and artistic situation, in the context of which the style of the “great citizen of Bologna” was formed, its innovations have been outlined. The signs of the turning epoch have been indicated – they are the transition from the Renaissance polyphony and the “church” style to the secular homophony, with the instruments of the violin family singled out as the main ones. The particular attention has been paid to the principles of the violin intonation in the form of a speech playing (sprechendes Spiel) and dance motor skills, which together formed the semantics of A. Corelli’s violin style in the genres of concerto grosso, trio sonatas, solo sonata with bass. The main features of A. Corelli’s violin style, which became determinant for compositional decisions in the field of thematic, texture, and harmony, have been revealed.
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McVeigh, Simon. "L'estro armonico, Op. 3, in Full Score: 12 Concertos for Violins and String Orchestra, and: Le quattro stagioni = The Four Seasons (review)." Notes 58, no. 4 (2002): 924–26. http://dx.doi.org/10.1353/not.2002.0085.
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Serdiuk, Ya O. "Amanda Maier: a violinist, a pianist, a composer – the representative of Leipzig Romanticism." Aspects of Historical Musicology 17, no. 17 (September 15, 2019): 232–48. http://dx.doi.org/10.34064/khnum2-17.15.
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Background. The performance practice of recent decades demonstrates an obvious tendency to expand and update the repertoire due to the use of the works of those composers whose pieces had “lost” over time against to the pieces of their more famous contemporaries. At the same time, in sociology, psychology, culturology, gender issues are largely relevant. Musicology does not stand aside, applying the achievements of gender psychology in the study of composer creativity and musical performing (Tsurkanenko, I., 2011; Gigolaeva-Yurchenko, V., 2012, 2015; Fan, Liu, 2017). In general, the issue of gender equality is quite acute in contemporary public discourse. The indicated tendencies determine the interest of many musicians and listeners in the work of women-composers (for example, recently, the creativity by Clara Schumann attracts the attention of performers all over the world, in particular, in Ukraine the International Music Festival “Kharkiv Assemblies” – 2018 was dedicated to her works). The theme of the proposed work is also a response to the noted trends in performing practice and musicology discourse. For the first time in domestic musicology an attempt is made to give a brief overview of the life and career of another talented woman, whose name is little known in the post-Soviet space. This is a Swedish violinist, composer and pianist Amanda Röntgen-Maier (1853–1894), a graduate of the Stockholm Royal College of Music and the Leipzig Conservatory, a contemporary of Clara Schumann, J. Brahms, E. Grieg, with whom she and her husband – composer, pianist, conductor Julius Röntgen – were associated for enough long time by creative and friendly relationships. In the post-Soviet space, not a single work has been published that would be dedicated to the works of A. Maier. In European and American musicology, the composer’s personality and creative heritage is also not widely studied. Her name is only occasionally mentioned in works examining the musical culture and, in particular, the performing arts of Sweden at that time (Jönsson, Å., 1995, 151–156; Karlsson, Å., 1994, 38–43; Lundholm, L., 1992, 14–15; Löndahl, T., 1994; Öhrström, E., 1987, 1995). The aim of the proposed study is to characterize Amanda Meier’s creative heritage in the context of European romanticism. Research results. Based on the available sources, we summarized the basic information about the life and career of A. Maier. Carolina Amanda Erica Maier (married Röntgen-Maier ) was born on February 20, 1853 in Landskrona. She received the first music lessons from his father, Karl Edward Mayer, a native of Germany (from Württemberg), who worked as a confectioner in Landskrona, but also studied music, in particular, in 1852 he received a diploma of “music director” in Stockholm and had regular contracts. In 1869, Amanda entered to the Kungliga Musikaliska akademien (Royal College of Music) in Stockholm. There she learns to play several instruments at once: the violin, cello, piano, organ, and also studies history, music theory and musical aesthetics. A. Maier graduated from Royal College successfully and became the first woman who received the title of “Musik Direktor”. The final concert, which took place in April 1873, included the performance of the program on the violin and on the organ and also A. Maier’s own work – the Romance for Violin. In the spring of 1874, Amanda received the grant from the Royal College for further studies at the Leipzig Conservatory. Here, Engelbert Röntgen, the accompanist of the glorious orchestra Gewandhaus, becomes her teacher on the violin, and she studies harmony and composition under the guidance of Karl Heinrich Karsten Reinecke and Ernst Friedrich Richter. Education in Leipzig lasts from 1874 to 1876. In the summer and autumn of 1875, A. Maier returns to Landskron, where she writes the first major work – the Concerto for violin and orchestra in one-movement, D minor, which was performed twice: in December 1875 in Halle and in February 1876 with the Gewandhaus Orchestra under the direction of K. Reinecke. The further career of A. Maier, both performing and composing, developed very successfully. She made several major concert trips between 1876 and 1880: to Sweden and Norway, to Finland and St. Petersburg; she also played to the Swedish king Oscar II (1876); concerts were held with constant success. While studying in Leipzig, A. Maier met her future husband (the son of her violin teacher) Julius Röntgen, composer and conductor. They married 1880 in Landskrona. Their personal relationships included active creative communication, both playing music together, and exchanging musical ideas, getting to know each other’s works. Part of his chamber opuses, for example, the cycle of Swedish folk dances, A. Maier created in collaboration with her husband. An analogy with life of Robert and Clara Schumann may take place here, although the Röntgen spouses did not have to endure such dramatic collisions that fell to the lot of the first. After the wedding, Röntgen family moved to Amsterdam, where Julius Röntgen soon occupies senior positions in several music organizations. On the contrary, the concert and composing activities of A. Maier go to the decline. This was due both, to the birth of two sons, and to a significant deterioration in her health. Nevertheless, she maintains her violin skills at the proper level and actively participates in performances in music salons, which the family arranges at home. The guests of these meetings were, in particular, J. Brahms, K. Schumann, E. Grieg with his wife and A. Rubinstein. The last years of A. Maier’s life were connected with Nice, Davos and Norway. In the fall of 1888 she was in Nice with the goal of treating the lungs, communicating there with her friends Heinrich and Elizabeth Herzogenberg. With the latter, they played Brahms violin sonatas, and the next (1889) year A. Maier played the same pieces with Clara Schumann. Amanda Maier spent the autumn of 1889 under the supervision of doctors in Davos, and the winter – in Nice. In 1890, she returned to Amsterdam. His last major work dates back to 1891 – the Piano Quartet in D minor. During the last three years of her life, she visited Denmark, Sweden and Norway, where she performed, among other, her husband’s works, for example, the suite “From Jotunheim”. In the summer of 1889, A. Maier took part in concerts at the Nirgaard Castle in Denmark. In 1894, she returned to Amsterdam again. Her health seems stable, a few hours before her death she was conducting classes with her sons. A. Maier died July 15, 1894. The works of A. Maier, published during the life of the composer, include the following: Sonata in H minor (1878); 6 Pieces for violin and piano (1879); “Dialogues” – 10 small pieces for piano, some of which were created by Julius Röntgen (1883); Swedish songs and dances for violin and piano; Quartet for piano, violin, viola and cello E minor (1891). Still unprinted are the following works: Romance for violin and piano; Trio for violin, cello and piano (1874); Concert for violin and orchestra (1875); Quartet for piano, violin, viola and clarinet E minor; “Nordiska Tonbilder” for violin and piano (1876); Intermezzo for piano; Two string quartets; March for piano, violin, viola and cello; Romances on the texts of David Wiersen; Trio for piano and two violins; 25 Preludes for piano. The composer style of A. Mayer incorporates the characteristic features of the Romantic era, in particular, the Leipzig school. Lyric elements prevail in her works, although the composer is not alien to dramatic, heroic, epic images (the Piano Quartet E minor, some pieces from the Six Songs for Violin and Piano series). In the embodiment of such a circle of images, parallels with the musical style of the works of J. Brahms are quite clearly traced. In constructing thematic structures, A. Maier relies on the melody of the Schubert-Mendelssohn type. The compositional solutions are defined mainly by the classical principles of forming, which resembles the works of F. Mendelssohn, the late chamber compositions of R. Schumann, where the lyrical expression gets a clear, complete form. The harmonic language of the works of A. Maier gravitates toward classical functionality rather than the uncertainty, instability and colorfulness inherent in the harmony of F. Liszt, R. Wagner and their followers. The main instrument, for which most of the opuses by A. Maier was created, the violin, is interpreted in various ways: it appears both, in the lyrical and the virtuoso roles. The piano texture of chamber compositions by A. Maier is quite developed and rich; the composer clearly gravitates towards the equality of all parties in an ensemble. At the same time, piano techniques are reminiscent of texture formulas by F. Mendelssohn and J. Brahms. Finally, in A. Mayer’s works manifest themself such characteristic of European romanticism, as attraction to folklore, a reliance on folk song sources. Conclusions. Periods in the history of music seemed already well studied, hide many more composer names and works, which are worthy of the attention of performers, musicologists and listeners. A. Mayer’s creativity, despite the lack of pronounced innovation, has an independent artistic value and, at the same time, is one of such musical phenomena that help to compile a more complete picture of the development of musical art in the XIX century and gain a deeper understanding of the musical culture of this period. The prospect of further development of the topic of this essay should be a more detailed study of the creative heritage of A. Maier in the context of European musical Romanticism.
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Kutluieva, Dar’ia. "PIANO QUARTETS OF L. BEETHOVEN: MOZART’S PROTOTYPES AND AUTHOR’S INITIO." Problems of Interaction Between Arts, Pedagogy and the Theory and Practice of Education 58, no. 58 (March 10, 2021): 9–22. http://dx.doi.org/10.34064/khnum1-58.01.
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Background. The article provides an analysis of L. Beethoven’s piano quartets through the prism of the ensemble writing and composition experience by W. A. Mozart. The disclosure of the successive ties between the two great Viennese classics in the field of chamber instrumental music contributes to the scientific understanding of the history of this genre, which is not sufficiently covered in musicology. The analysis revealed that the four piano quartets of L. Beethoven are focused on Mozart’s prototypes, or rather, on sonatas for violin and piano. It was found that the formative principles of Beethoven’s piano quartets grow from the above-mentioned compositions by W. A. Mozart, but the content and the ensemble-dramatic solution reflect the independence and originality of the young composer’s thinking, revealing the sprouts of a future mature style. The purpose of this article is to disclose the ways of rethinking the prototypes of Mozart in the piano quartets of L. Beethoven. The piano quartets of the latter serve as the musical material of the article: No. 1 Es-dur, No. 2 D-dur, No. 3 C-dur WoO 36, and No. 4 Es-dur op. 16. Results. L. Beethoven changes the algorithm of ensemble events contained in Mozart’s opuses, where the theme is presented in turn by piano, violin, followed by the conversation of the two. The composer immediately includes all members of the quartet in the presentation of the leading material, which specifies this genre, revealing its “intermediateness” between the intimacy of the trio and the “representativeness” of the concerto. Since the genetic origins of the genre of the piano quartet are the trio sonata, the string quartet and the clavier concerto with the accompaniment of a string ensemble, these genres influenced the type of Beethoven’s piano quartets. Thus, Beethoven’s Bonn quartets resemble in their writing a string quartet; and the piano quartet Es-dur op. 16 resembles a clavier concerto with orchestra. These compositions are related to the first of the above mentioned prototypes by the consistent application of the trio principle, which is expressed in various combinations of ensemble voices. In the timbre refraction, the trio-principle underlies the pairing of stringed instruments, where the bowed instruments form a strictly homophonic vertical with the traditional functional relationship according to the “upper voice ‒ bass ‒ middle” model. Another dimension of the trio principle arises when one of the string parts of the piano is displaced, as a result of which a multi-timbre sound field is formed. There is an obvious desire of the composer for the equality of four voices in the piano quartet. At the same time, the timbre uniqueness of the piano and the virtuosity of its part make it possible to recognize in it the leader of the ensemble union. Conclusion. The leading role of the piano in L. Beethoven’s piano quartets brings this genre closer to a piano concerto. At the same time, the piano has a variety of role functions: it can act as an equal partner, being one of the voices of the quartet score; as a concert instrument demonstrating its virtuoso capabilities; as a leader of an ensemble, a kind of conductor, giving impetus to performance, initiative in ensemble play. Similar functions can be observed in W. A. Mozart’s sonatas for violin and piano, which L. Beethoven was guided by.
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Palmer, Peter. "Swiss Cello Concertos." Tempo 60, no. 235 (January 2006): 39–40. http://dx.doi.org/10.1017/s0040298206270049.
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URS JOSEPH FLURY: Vineta; Concerto for Cello and Orchestra; Sinfonietta for Strings. Biel Symphony Orchestra; Pierre Fournier (vlc), Vienna Volksoper Orchestra; Vienna Chamber Orchestra c. Urs Joseph Flury. Musikszene Schweiz MGB CD 6184.SCHOECK: Concerto for Cello and String Orchestra, op. 61; Suite in A flat for Strings, op. 59. Julius Berger (vlc), South West German Chamber Orchestra of Pforzheim c. Vladislav Czarnecki. ebs 6145 (www.EBSMusikproduktion.de).
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Чигарёва, Е. И. "“An Alien Word” in the Composer's Work: Alfred Schnittke and Nikolai Korndorf." Журнал Общества теории музыки, no. 2(26) (June 3, 2019): 23–32. http://dx.doi.org/10.26176/otmroo.2019.26.2.002.
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В статье делается попытка применить филологическое понятие М. М. Бахтина «чужое слово» к музыкальному искусству (это цитаты, квазицитаты, аллюзии, символические мотивы, темы-монограммы). Перечисленные явления связаны с полистилистикой в музыке, в более широком плане — с концепцией интертекстуальности.С этой точки зрения в качестве примеров сравнивается использование цитат, квазицитат, аллюзий в произведениях композиторов, различных по эстетическим и художественным установкам: Струнное трио «В честь Альфреда Шнитке (AGSCH)», Mozart-Variationen для струнного секстета, Скерцо из Четвертой симфонии («Underground music») Николая Корндрофа; Четвертый концерт для скрипки с оркестром, Реквием (Lacrimosa), Moz-Art, вторая часть Третьей симфонии Альфреда Шнитке.Выявляется различное отношение композиторов к стилевым моделям: у Шнитке — противопоставление цитат и квазицитат авторской музыке (полистилистика), у Корндорфа — напротив, сближение их с собственной стилистикой (в целом — тяготение к моностилистике). In the present article, the author attempts to apply M. M. Bakhtin's philological concept of “an alien word” to the art of music (that is quotes, quasi-quotes, allusions, symbolic motifs, monograms). As an example, the are considered. The listed phenomena are associated with polystylistics in music, and, more generally, with the concept of intertextuality.From this point of view, the uses of quotes, quasi-quotes, and allusions are compared by the examples of works of the composers, who are different in aesthetic and artistic settings: The String Trio “In honor of Alfred Schnittke (AGSCH)”, Mozart-Variationen for String Sextet, Scherzo from the Fourth Symphony (“Underground music”) by Nikolai Korndorf; Fourth Concerto for Violin and Orchestra, Requiem (Lacrimosa), Moz-Art, second part of Alfred Schnittke's Third Symphony.A different attitude of composers to stylistic models is revealed: in Schnittke’s works — the opposition of quotes and quasi-quotes to author's music (polystylistics), in Korndorf’s works — on the contrary, their approaching composer’s own stylistics (in general — monostylistics).
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Urniežius, Rytis. "Grieg and Violins." Musicological Annual 57, no. 2 (December 28, 2021): 83–103. http://dx.doi.org/10.4312/mz.57.2.83-103.
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Violin was Edvard Grieg’s favourite orchestral instrument. This affinity expanded to other string family instruments and a string orchestra. The article aims to characterise Grieg’s two-movement cycles of miniatures for string orchestra, emphasizing the features of their orchestration. The analysis revealed that these cycles should be considered as original and creative orchestral compositions where the composer efficiently employs the possibilities of string instruments.
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Gillespie, Robert. "A New ASTA Product: Videotapes." American String Teacher 36, no. 1 (February 1986): 48–49. http://dx.doi.org/10.1177/000313138603600122.
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Robert Gillespie is director of string education and assistant professor of music at The Ohio State University, where he is responsible for the undergraduate and graduate curriculum in string pedagogy and orchestral teaching. He received his Ph.D. from The University of Michigan. A violinist, adjudicator, researcher, and clinician, Dr. Gillespie is currently principal second violin of the PRO MUSICA Chamber Orchestra of Columbus. The founder and director of The Ohio State University-Columbus Symphony Orchestra Junior Strings Youth Orchestra, and of The Ohio String Teachers Middle School Summer Orchestra Camp, he also reviews new music for the American String Teacher. Dr. Gillespie has developed a series of diagnostic videotapes for string teachers which are now available nationally through the American String Teachers Association.
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Asaulyuk, I. "Formation of professionally significant qualities of future specialists of music specialties." Scientific Journal of National Pedagogical Dragomanov University. Series 15. Scientific and pedagogical problems of physical culture (physical culture and sports), no. 9(140) (September 30, 2021): 13–17. http://dx.doi.org/10.31392/npu-nc.series15.2021.9(140).03.
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The article presents a general analysis of professionally significant qualities of future specialists of music specialties, specializations "piano", "orchestra string instruments (violin)".
Materials and methods. The paper includes the analysis of professional scientific and methodological literature and sociological research methods, the method of expert evaluation and methods of mathematical statistics.
Results of work. It is determined that the most significant professional physical quality for students majoring in "piano" is strength endurance (R = 1.42), less significant - hand motility (R = 2.17), coordination of movements of the shoulders and forearms (R = 2.67) and muscle strength of the shoulder girdle, arms (R = 4.00).
For students majoring in "orchestra string instruments" (violin), physical qualities such as "strength of the muscles of the neck, shoulder girdle" are especially important. So, holding a musical instrument and playing it allows them to properly transfer a long load on the upper extremities and shoulder girdle.
Conclusions. As a result of the research, the role and the place of professionally significant qualities of future specialists in music specialties, specializations "piano", "orchestra string instruments (violin)" necessary for further professional activity and the level of professionalism were analysed.
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Matias, Ferry, and Abraham Lutfiansyah. "Global Culture Reproduction Through The String Orchestra’ Repertoire (The Role of Brandenburg Concerto III BWV 1084 J.S Bach toward the Skills and the musical Spirit of Strings Ensemble Students at the Pasundan University Music Study Program)." Jomantara: Indonesian Journal of Art and Culture 1, Vol. 1 No. 1 (January 31, 2021): 1–13. http://dx.doi.org/10.23969/jijac.v1i1.3407.
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The selection of repertoire on a musical ensemble is quite important, especially in the context of rehearsal in the non-professional string ensemble community. It is very common if there is a diversity of skill levels in each member. Such diversity will usually be a common obstacle when it comes to determining a shared repertoire. An overly difficult repertoire (advance) will be difficult for some members otherwise an easy one will create a bored atmosphere for members who are already proficient. Even the role of unbalanced work will make some members may struggle while others will become bored so that the rehearsal atmosphere is not conducive. The author observed that there is an interesting repertoire that is often used as an ensemble rehearsal material in the bowed string’s formation, namely Brandenburg Concerto no. III BWV 1048 Part III in G Major by Johan Sebastian Bach for 3 violins, 3 violas, 3 cellos and 1 double bass. This work is often used as an alternative work together in the community environment of string orchestras in Bandung, and based on the observation of the author of this work is often used in several workshops and ensemble learning materials, with a relatively balanced role, this complex-sounding work has techniques and finger positions that can still be reached by players in the skill range level 3-5 ABRSM. The authors collected data through observations, interviews and documentation on Unpas Music Study Program students who had played this work. After being described and analyzed, the authors found that this work had a significant role in improving ensemble skills playing in string ensembles that would indirectly also improve their individual skills especially for advanced entry-level string instrument students. Keywords: Brandenburg Concerto III, String Orchestra, Music Ensembles, Baroque, Bach.
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Yaroslava, Serdiuk. "Evolution of Amanda Maier’s chamber music work." Problems of Interaction Between Arts, Pedagogy and the Theory and Practice of Education 63, no. 63 (January 23, 2023): 124–43. http://dx.doi.org/10.34064/khnum1-63.07.
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Statement of the problem. In modern performance and musicological practice, there is a clear tendency to revite the works of little-known or forgotten authors, in particular, female composers. The study of their work in modern discourse, mainly English-speaking, is mostly of an overview nature. The work of female composers is often considered from the standpoint of gender inequality and gender psychology. A certain lack of actually musicological studies of the works by female composers is observed. One of such little-known figures is Amanda Maier Röntgen – a Swedish violinist and composer, a graduate of the Royal Academy of Music in Stockholm and the Leipzig Conservatory, the first woman received the title of “Musik Direktor” and was actively toured in Europe, whose work is practically not studied in Ukrainian musicology. Analysis of recent publications. The figure of A. Maier is briefly mentioned in a number of works devoted to Swedish musical culture, in reference materials (Jönsson, 1995; Karlsson, 1994; Öhrström, 1987; Öhrström & Eriksson, 1995; Riemann, 2017; Laurence, 1978), in the studies devoted to other composers: J. Brahms, E. Grieg, J. Röntgen (Internationaler Brahms-Kongress Gmunden, 2001; Hofmann & Hofmann, 2006; Grieg, 2001; Vis, 2007). The most meaningful study dedicated to A. Maier is J. Martin’s dissertation (2018), but it focuses on the biographical moments and the position of female artists in the 19th century in general, omitting the actual musicological consideration of the composer’s works. Analysis of recent research and publications. The figure of A. Maier is briefly mentioned in a number of works devoted to Swedish musical culture, in reference materials (Jönsson, 1995; Karlsson, 1994; Öhrström, 1987; Öhrström & Eriksson, 1995; Riemann, 2017; Laurence, 1978), studies devoted to other composers: J. Brahms, E. Grieg, J. Röntgen (Internationaler Brahms-Kongress Gmunden, 2001; Hofmann & Hofmann, 2006; Grieg, 2001; Vis, 2007). The most meaningful study dedicated to the creative personality of A. Maier is the dissertation of J. Martin, but the researcher focuses on biographical moments and the position of female artists in the 19th century in general, omitting the actual musicological consideration of the composer’s works. The purpose of this article is to characterize A. Maier’s chamber work, to prorose its periodization and to trace the specifics of evolution of the composer’s chamber-instrumental style. The scientific novelty. For the first time in Ukrainian musicology, a comprehensive study of A. Maier’s chamber-instrumental work is carried out. Methodology of the research. The research results is based on such scientific and culturologic methods as historical and biographical; historical and genrestylistic; also the analytical musicological methods were used when considering A.Maier’s chamber instrumental works. Conclusions. The main phases of A. Maier’s professional development as a composer are the early and mature periods. Taking into account both, the biographical and purely musical stylistic factors, we regarde it inappropriate to talk about the late period of the artist’s work. We consider the early period to be the study time at the Royal Academy of Music in Stockholm. The mature period begins after its end with the creation of the Sonata for violin and piano (1873). The mature period of the composer’s creativity is also subject to internal differentiation, since the time period from 1873 to 1880 (the year of marriage) was marked by much more active creative searches, a greater variety of genres and instrumental compositions, than the later years of A. Mayer’s life (in addition to chamber instrumental works, the Concerto for violin and orchestra, the chamber and vocal pieces were written). In the mature period, such notable opuses as Piano Trio, String Quartet, cycles of miniatures for piano and violin were created. The analysis of A. Maier’s scores revealed the main trends in the development of the composer’s chamber-instrumental style: an aspiration to symphonize the chamber music; the expansion of the imagery palette (the dominance of lyricodramatic impulses in the first mature works, the synthesis of lyrico-dramatic, lyrico-epic, epico-heroic, folklore-genre imagery spheres in the laters ones); active search for an individual solution to the violin miniature genre, in which the Swedish national musical traditions are most vividly embodied.
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Foreman, Lewis. "Webern, the BBC and the Berg Violin Concerto." Tempo, no. 178 (September 1991): 2–10. http://dx.doi.org/10.1017/s0040298200013954.
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The simplistic commentator would sometimes have it that, compared to elsewhere in Europe, British music–making between the wars was insular and inward–looking. This is not strictly true; and it very much depended on where you were. While in some quarters there was a strong conviction of the superiority of the British music that had emerged since Elgar, there was also widespread and increasing interest in what was happening on the Continent, as exemplified in the activities of Arthur Bliss, Eugene Goossens and later Constant Lambert and Frank Bridge, and the journalism of Havergal Brian. It was, of course, true that the new composers presented by the Diaghilev ballet attracted a wide following, not only for the brilliance of the ballets themselves but also for their high quality of orchestral performance, at a time when British orchestras were not renowned for their performance standards. Many British composers of the time were also performed abroad, far more than might now be realized, and the new music from Europe was heard in London. Particularly after the inception of the ISCM Festivals in 1922, with British musicians playing a leading role in their organization, an awareness of the latest trends in Europe was widely felt in UK musical circles — though certain idioms, particularly those of the Second Viennese School and some works of Bartók, would not become accepted by the wider public until the 1950s and 1960s. Throughout, Sir Henry Wood and Sir Adrian Boult, in particular, performed new music in all styles.
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Johnson, Bret. "Recent Ned Rorem CDs." Tempo 60, no. 238 (October 2006): 43–45. http://dx.doi.org/10.1017/s0040298206270311.
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ROREM: Flute Concerto; Violin Concerto; Pilgrims for strings. Philippe Quint (vln), Jeffrey Khaner (fl), Royal Liverpool Philharmonic Orchestra c. José Serebrier. Naxos American Classics 8.559278.ROREM: The Auden Songs; The Santa Fe Songs. Christopher Lemmings (ten), Sara Fulgoni (mezzosop), Chamber Domaine. Black Box BBM 1104.ROREM: Works for Choir and Organ. Harvard University Choir dir. Murray Forbes Somerville with Carson Cooman (organ). Black Box BBM 1102.
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Conway, Paul. "James MacMillan premieres in Edinburgh, Glasgow and London." Tempo 68, no. 269 (June 16, 2014): 70–72. http://dx.doi.org/10.1017/s0040298214000114.
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The concerto form is well represented in James MacMillan's output. So far, he has written three for piano, two for percussion and one each for violin, viola, cello, trumpet, oboe and clarinet. There is also threaded through his output a series of concertante works, such as A Deep but Dazzling Darkness, for violin, ensemble and tape (2003), A Scotch Bestiary, for organ and orchestra (2004) and the concertino Seraph, for trumpet and strings (2010). All share a common concern to realise fully the soloist's expressive potential.
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Dokuzova, Stanka. "Didaktična literatura za violino Dušana Vodiška / Didactic violin literature by Dušan Vodišek." Glasbenopedagoški zbornik Akademije za glasbo ◆ The Journal of Music Education of the Academy of Music in Ljubljana 17, no. 34 (June 30, 2021): 115–45. http://dx.doi.org/10.26493/2712-3987.17(34)115-145.
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The article discusses didactic violin literature by violinist and pedagogue Dušan Vodišek. Covering the period between 1966 and 2016, his oeuvre represents a bridge between didactic violin literature of the previous century and contemporary didactic violin literature. Over these 50 years, he significantly enriched didactic violin literature in Slovenia with his works, which include a violin book for beginners, children’s compositions for violin and piano, youth compositions for violin and piano, compositions for chamber ensemble and string orchestra, and two textbooks on position changing. These materials provide original solutions to challenges concerning individual elements of violin playing and the musical development of students. Therefore, they also represent an important contribution to the development of violin pedagogy and violin playing in Slovenia.
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Polzonetti, Pierpaolo. "Tartini and the Tongue of Saint Anthony." Journal of the American Musicological Society 67, no. 2 (2014): 429–86. http://dx.doi.org/10.1525/jams.2014.67.2.429.
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This article explores the nexus between Giuseppe Tartini's concertos for violin and orchestra, written for the Franciscan Basilica of Saint Anthony in Padua, and the devotion to this Saint's tongue, still preserved as a relic. Anthony's tongue, hagiographers write, was the instrument of a rhetoric that transcended verbal signification, able to move people of different languages and even animals. Soon, the tongue of Saint Anthony became a powerful symbol of universal language. In the eighteenth century, the Catholic Church, and especially the followers of Saint Anthony, revitalized their global mission to overcome cultural and linguistic barriers. Commissioning orchestral church music was part of this strategy. Like Anthony's preaching, Tartini's music was informed by the utopian goal to reach out to a pluralist community. His music and ideas attracted the attention of Jean-Jacques Rousseau and Charles Burney, both engaged in contemporary debates on the quest for universality of music in a multicultural world. Newly discovered evidence sheds light on the liturgical context of Tartini's violin concertos, as well as on religious rituals of music making and listening that left long-lasting traces of sacrality in the secular rites of production and consumption of instrumental music.
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Agócs, Kati. "TWO RECENT CONCERTOS BY GEORGE TSONTAKIS." Tempo 62, no. 246 (October 2008): 11–21. http://dx.doi.org/10.1017/s0040298208000247.
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Music's ability to animate a range of expressive nuances between the tangible and the intangible, and to play many different roles in spiritual life, are but two reasons why artists with mystical inclinations often choose it over other media. The composer George Tsontakis (born 1951 in Astoria, New York, of Cretan origins) writes music that frequently explores mystical themes both directly and more obliquely. The goal of this – the first major journal article on his work – is to touch upon important attributes of that language and its development by comparing two recent works, both of which have been released in première recordings in the last year. Violin Concerto No. 2 (2003) and Man of Sorrows (2005), written within a two-year period, both belong to the concerto genre. (Although it does not bear the word ‘concerto’ in its title, Man of Sorrows is a large-scale work for piano soloist and orchestra). Despite their remarkable differences, both works represent a recent ‘crystallization’ of Tsontakis's musical language, as shown in the outstanding impact that they have made in the international sphere, and in their ability to appeal to both cognoscenti and lay people alike.
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Rakochi, Vadym. "Innovations of Presentation in Antonio Vivaldi’s Concertos and Their Impact on the Development of the Orchestra." Часопис Національної музичної академії України ім.П.І.Чайковського, no. 3-4(52-53) (December 14, 2021): 21–35. http://dx.doi.org/10.31318/2414-052x.3-4(52-53).2021.251790.
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Transformation of the presentation in Vivaldi’s instrumental concertos is considered in this paper. It is noted that the Corellian model of the concerto (concerto grosso, changeable number of movements, variety of tempos, thematic unity of tutti and solo episodes, trio-sonata-like instrumentation of the concertino) becomes the basis for Vivaldi’s modifications. His model is based on a solo concerto prevalation, a fast — slow — fast three-movements structure, ritornello musical form in the outer movements and the motivic mosaic of the first tutti. The significance of these transformations gives grounds to define them as a paradigmatic shift in the evolution of the genre. It is emphasized that these changes would be impossible without reviewing of the presentation in the orchestra. Innovations concern the ways of highlighting a soloist, the use of inexact (background-ornamental) doubling, activation of the internal orchestral soloists (especially in concertos for a wind instrument), increasing the significance of alternations, intensification of timbral, register, textural, dynamic, and thematic contrasts, changes in the orchestra’s composition (the double bass), and expansion of a palette of soloing instruments. It is pointed out that all these modifications had a strong impact on the development of the orchestra. First, the rise of wind instruments and reinforcement of expression in their parts resulted in the diversification of the orchestral sound: probably, we would not have heard the Mannheim Orchestra without Vivaldi’s concertos. Secondly, the dominance of the homophonic texture formed a proper basis for internal orchestral soloing and increased the relevance of a particular timbre color. Third, the standardization of a four-parts string section formed the basis for further changes of the orchestra. Fourth, the use of such orchestral techniques as the pedal (the future substitute for the basso continuo in the orchestra of Viennese classics), background-ornamental doublings, unison texture, etc. reflected in ways of musical material presentation in all orchestral genres. Everything convinces that the interdependence between the evolution of the instrumental concerto and the transformations of the orchestra is evident and strong.
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Vastamäki, Martti, Heidi Vastamäki, Leena Ristolainen, Katrinas Laimi, and Mikhail Saltychev. "Violists and Violinists Report More Intense Hand Pain on NRS Than Other Orchestra Musicians." Medical Problems of Performing Artists 35, no. 3 (September 1, 2020): 162–66. http://dx.doi.org/10.21091/mppa.2020.3024.
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AIMS: Among musicians, string players have the highest prevalence for musculoskeletal overuse. Playing a violin or viola requires rapid, repetitive, and complicated movements of the hands and fingers. This cross-sectional study aimed to examine whether violin/viola, violin/cello, and violin/French horn players experience more intense musculoskeletal pain than other instrumentalists. METHODS: The study sample consisted of 590 orchestra musicians (354 male, 236 female, mean age 36 yrs). Self-administered questionnaires were used to assess pain of the back, neck, shoulder, face, jaw, and upper extremity. Pain intensity during the last 7 days was measured by an 11-point numeric rating scale (NRS) with a score from 0 to 10, as well as was disadvantage at work and leisure. RESULTS: Of the interviewed musicians, 20% presented playing-related musculoskeletal disorders at the time of the interview. Compared to other professional orchestra musicians, violin and viola players reported significantly more intense pain in the hand during the last week. Also, they had experienced more frequent neck pain ever and in 5 years than the others. During the past 30 days, violin and viola players had also perceived more harm in their upper limb joints. Violin/cello and violin/French horn players did not differ from the others. CONCLUSIONS: Our study showed that musicians playing the violin or viola have more intense hand pain and more frequent neck pain than other musicians, but these seem to disturb their daily tasks only a little.
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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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Hill, A. Kori. "Florence B. Price, Florence Price: Violin Concertos. Er-Gene Kahng, violin; Ryan Cockerham, conductor; The Janáček Philharmonic Orchestra. Albany Records TROY1706, 2018." Journal of the Society for American Music 13, no. 4 (November 2019): 549–51. http://dx.doi.org/10.1017/s1752196319000452.
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Izergina, A. R. "IN THE MIRROR OF A MASTERPIECE: "FIVE REFLECTIONS ON THE THEME OF THE 24TH CAPRICE OF PAGANINI" BY KUZMA BODROV." Arts education and science 1, no. 1 (2021): 131–40. http://dx.doi.org/10.36871/hon.202101015.
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Since the second half of the XXth century intertextuality has become a key feature of musical culture, bringing together compositions of different epochs, traditions, styles and authors. In this regard, the text of a masterpiece acquires special significance. Being an open and mobile system, it enters into various dialogues with the whole set of stylistic and genre forms of modern music. The article considers the work "Five Reflections on the Theme of the 2018th Caprice of Paganini" (61) for viola, five solo violins and chamber orchestra by the Russian composer Kuzma Bodrov. The concept of the work is based on the author's dialogue with outstanding compositions for violin of the XIXth and XXth centuries: concertos by Beethoven (D-dur Op. 77), Brahms (D-dur Op. 35), Tchaikovsky (D-dur Op. 1), Prokofiev (No. 19 D-dur Op. 24) and Berg ("To the Memory of an Angel"). Herewith, the key role in the composition is given to Paganini's Caprice for solo violin (No. 1 a-moll Op. XNUMX), which is treated as a universal lexical model. In the process of reinterpretation, masterpieces receive a new original reading and become part of modernity.
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Soloviova, Oksana. "Concerts for Clavier and Orchestra by Wolfgang Amadeus Mozart: Trends in the Development of the Genre in the Context of His Composer Method." Ukrainian musicology 46 (October 27, 2020): 127–39. http://dx.doi.org/10.31318/0130-5298.2020.46.234610.
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In recent years, research opportunities in the field of Mozart studies have expanded. As a result, new scientific paradigms are emerging that differ from the generally accepted ones. Even the well-known facts of the composer's biography and work can be viewed in a new way today. The interdependence of Mozart's instrumental and theatrical music has long been studied, but still remains an inexhaustible source for new research – this determines the relevance of the study. Main objective of the study – to determine the interaction of the two sides of Mozart's work: instrumental and theatrical and extrapolate it to the formation of composition and thematic dramaturgy in the genre of piano concerto. Methodology of research: biographical method that highlights the context and motivation of writing music works, including piano concertos, analytical and comparative method allows identifying patterns in the development of the compositional form of piano concertos. Results and conclusions. Mozart's piano concertos in the context of interaction with the composer's opera and theatre activities are considered. A synchronized chronography of his piano concertos and operas is provided. It was found that the interdependence does not lie in the intonational affinity of the thematic material of works written in one year (although there is some similarity of themes in several works). Piano concertos, which Mozart wrote during his life (unlike violin concertos, which almost all were written in one year – 1775), demonstrate an evolutionary slice of his work, in the depths of this genre formed a new approach to its composition, which is an important link formation of a piano concerto of the XIX century. Piano concerts are analyzed in terms of trends in the formation of musical themes: almost all works are polithematism in the main parts. Regarding the distribution of themes in the double exposition, there is also a certain tendency, namely in the appearance of part B (or part B2) in the soloist's exposition. Mozart preferred a new keyboard instrument with percussion mechanics – the pianoforte. It met the agogic and dynamic needs in the development of thematic material. Mozart's desire to be recognized as an opera composer in Vienna faced many obstacles - from the established rules of the genre and the dominance of Italian opera on the Viennese stage to even restrictions on thematic development (respectively, intonation and dramaturgy development of the characters). However, it was his opera characters that inspired the composer to create bright themes in instrumental music, including piano concerts. We can say that his piano concertos are a kind of theatre for instruments, in which events develop according to the rules of theatrical dramaturgy. The significance of the research. The article proposes a comprehensive approach, which clarifies how the creative method of Mozart is formed. The analysis of the main tendencies in the development of the intonation form of piano concertos revealed regularities that allow us to speak about the composer's creative motivation, and is a contribution to Ukrainian research of the Mozart’s music works.
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Fang, Fang. "A Brief Analysis of Brahms Violin Concerto in D Major, Op.77." Arts Studies and Criticism 4, no. 2 (December 22, 2023): 42. http://dx.doi.org/10.32629/asc.v4i2.1459.
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Brahms is a giant in the era of romantic music, his works contain complex and delicate ideological changes in the hearts of the characters. His creative inspiration is deeply influenced by Schumann and other musicians, and the musical language expression in his works is sometimes tactful and sometimes obscure. Brahms has composed a large number of musical works throughout his life, including a large number of orchestral works, piano ensemble works, string ensemble works, solo piano songs, piano four-hand joint play, vocal duets, chorus, and solo works. Brahms's violin concerto consists of three movements, including the moderate Allegro in the first movement, the flexibility in the second movement, and the lively Allegro in the third movement. The first movement uses a 3/4 beat rhythm, a sonata style, the second movement uses a 2/4 rhythm, three paragraphs, and the third movement is also called the game-style Allegro, as the name suggests, is very fun, like a game. It uses a 2/4 beat rhythm, with an irregular rondo style. This article aims to helping learners to under its writing background and writing connotation of the Brahms Violin Concerto in depth, and to truly helping them restore a series of problems such as the deep promotion of the composer’s creation process and the origin of inspiration.
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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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Anderson, Martin. "Estonian Composers (combined Book and CD Review)." Tempo 59, no. 232 (April 2005): 60–66. http://dx.doi.org/10.1017/s0040298205210161.
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Ancient Song Recovered: The Life and Music of Veljo Tormis, by Mimi S. Daitz. Pendragon Press, $54.00/£36.00.The Works of Eduard Tubin: Thematic-Bibliographical Catalogue of Works by Vardo Rumessen. International Eduard Tubin Society/Gehrmans Musikförlag, E.57.TORMIS: ‘Vision of Estonia’ II. The Ballad of Mary's Land; Reflections with Hando Runnel; Days of Outlawry; God Protect Us from War; Journey of the War Messenger; Let the Sun Shine!; Voices from Tammsaare's Herdboy Days; Forget-me-not; Mens' Songs. Estonian National Male Choir c. Ants Soots. Alba NCD 20.TORMIS: ‘Vision of Estonia’ III. The Singer; Songs of the Ancient Sea; Plague Memory; Bridge of Song; Going to War; Dialectical Aphorisms; Song about a Level Land; We Are Given; An Aboriginal Song; The Estonians' Political Parties Game; Song about Keeping Together; Martinmas Songs; Shrovetide Songs; Three I Had Those Words of Beauty. Estonian National Male Choir c. Ants Soots. Alba NCD 23.TAMBERG: Cyrano de Bergerac. Soloists, Orchestra and Chorus of Estonian National Opera c. Paul Mägi. CPO 999 832-2 (2-CD set).ROSENVALD: Violin Concerto Nos. 11 and 2, Quasi una fantasia2; Two Pastorales3; Sonata capricciosa4; Symphony No. 35; Nocturne6. 1,2Lemmo Erendi (vln), Tallinn CO c. Neeme Järvi, 2Estonian State SO c. Jüri Alperten; 3Estonian State SO c. Vello Pähn; 4Valentina Gontšarova (vln); 56Estonian State SO c. Neeme Järvi. Antes BM-CD 31.9197.DEAN: Winter Songs. TÜÜR: Architectonics I. VASKS: Music for a Deceased Friend. PÄRT: Quintettino. NIELSEN: Wind Quintet. Berlin Philharmonic Wind Quintet, with Daniel Norman (tenor), c. Hermann Bäumer. BIS-CD–1332.TULEV: Quella sera; Gare de l'Est; Adiós/Œri Ráma in memoriam; Isopo; Be Lost in the Call. NYYD Ensemble c. Olari Elts. Eesti Raadio ERCD047.ESTONIAN COMPOSERS I: MÄGI: Vesper.1 KANGRO: Display IX.2 SUMERA: Shakespeare's Sonnets Nos. 8 & 90.3TAMBERG: Desiderium Concordiae.4 TULEV: String Quartet No. 1.5 EESPERE: Glorificatio.6 TORMIS: Kevade: Suite.71Estonian National SO c. Aivo Välja; 24NYYD Ensemble c. Olari Elts; 3Pirjo Levadi (soprano), Mikk Mikiver (narrator), Estonian National Boys' Choir, Estonian National SO c. Paul Mägi; 5Tallinn String Quartet; 6Kaia Urb (sop), Academic Male Choir of Tallinn Technical University c. Arvo Volmer; 7Estonian National SO c. Paul Mägi Eesti Raadio ERCD 031.ESTONIAN COMPOSERS II: TULVE: Traces.1 TALLY: Swinburne.2 KÕRVITS: Stream.3 STEINER: Descendants of Cain.4 KAUMANN: Long Play.5 LILL: Le Rite de Passage.6 SIMMER: Water of Life.71,5,6NYYD Ensemble c. Olari Elts; 2Ardo-Ran Varres (narrator), Iris Oja (sop), Alar Pintsaar (bar), Vambola Krigul (perc), Külli Möls (accordion), Robert Jürjendal (elec guitar); 3Virgo Veldi (sax), Madis Metsamart (perc); 4The Bowed Piano Ensemble c. Timo Steiner; 7Teet Järvi (vlc), Monika Mattieson (fl). Eesti Raadio ERCD032.ESTONIAN COMPOSERS III: GRIGORJEVA: Con misterio;1On Leaving. SUMERA: Pantomime; The Child of Dracula and Zombie. 1Tui Hirv (sop), 1Iris Oja (mezzo), 1Joosep Vahermägi (ten), 1Jaan Arder (bar), Hortus Musicus c. Andres Mustonen. Eeesti Raadio ERCD 045ESTONIAN COMPOSERS IV: KRIGUL: Walls.1 JÜRGENS: Redblueyellow.2 KÕRVER: Pre.3 KOTTA: Variations.4 SIIMER: Two Pieces.5 KAUMANN: Ausgewählte Salonstücke.6 AINTS: Trope.7 STEINER: In memoriam.81,6New Tallinn Trio; 2Liis Jürgens (harp); 3,8Voces Musicales Ensemble c. Risto Joost; 4Mati Mikalai (pno); 5Mikk Murdvee (vln), Tarmo Johannes (fl), Toomas Vavilov (cl), Mart Siimer (organ); 7Tarmo Johannes (fl). Eeesti Raadio ERCD 046.BALTIC VOICES 2: SISASK: Five songs from Gloria Patri. TULEV: And then in silence there with me be only You. NØRGÅRD: Winter Hymn. GRIGORJEVA: On Leaving (1999). SCHNITTKE: Three Sacred Hymns. Estonian Philharmonic Chamber Choir c. Paul Hillier. Harmonia Mundi HMU 907331.SCHNITTKE: Concerto for Chorus; Voices of Nature. PÄRT: Dopo la vittoria; Bogoróditse Djévo; I am the True Vine. Swedish Radio Choir c. Tõnu Kaljuste. BIS-CD-1157.PÄRT: Es sang vor langen Jahren; Stabat Mater; Magnificat; Nunc Dimittis; My Heart's in the Highlands; Zwei Sonatinen; Spiegel im Spiegel. Chamber Domaine; Stephen de Pledge (pno), Stephen Wallace (counter-ten), Choir of St Mary's Cathedral, Edinburgh c. Matthew Owens. Black Box BBM1071.
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Katz, Mark. "The Great War, the Little String, and the Transformation of Modern Violin Playing." Journal of the American Musicological Society 77, no. 1 (2024): 65–101. http://dx.doi.org/10.1525/jams.2024.77.1.65.
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Abstract For centuries, gut strings, especially the highest and thinnest string, E, plagued violinists. They broke frequently, went out of tune easily, and whistled unpredictably. Starting in the 1870s, an alternative offered a solution—the steel E string. But steel strings were variously condemned as “an abomination,” “dangerous,” and “evil,” and most violinists continued to use gut. Then a remarkable change occurred. Within a mere three years—1918 to 1921—there was a large-scale shift in the reception and use of steel strings in Europe and the United States. As The Etude magazine reported in 1921, “practically all the famous concert violinists, and literally all the symphony orchestra violinists [are] using the wire E string.” The driving force behind this change was World War I. The conflict shut down the export of gut strings from Germany, the world’s largest producer, and vast quantities of sheep intestines—necessary for gut strings—were desperately needed for sutures. By war’s end, the steel string came be seen as an acceptable, even desirable alternative. The shift to steel affected the violin’s construction, sound, and performance practice, marking one of the most significant changes in the history of the instrument. Broader forces are also implicated in the story of the little violin string—global trade, nationalism, surgery, meatpacking, and modernity. This article presents the first detailed account of the causes and effects of the widespread adoption of the steel violin E string, a seemingly small change whose consequences continue to resound.
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Uspenska, I. O. "Violin concerto principles as a way of musical thinking: semantic discourse." Problems of Interaction Between Arts, Pedagogy and the Theory and Practice of Education 56, no. 56 (July 10, 2020): 169–88. http://dx.doi.org/10.34064/khnum1-56.11.
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Background. The history of concert music, separated from ritual and other non-musical functions, is closely connected with the art of violin. The violin was the leading instrument of the Baroque concert style, the examples of which are still unsurpassed. Despite the large amount of research on the formation and varieties of violin style, the concept of “concert” in combination with the concept of “violin” has not yet been considered separately, which determines the relevance of the topic of this article. The object of the research is a concerto principle of musical thinking in violin music; the purpose of the study is to identify the features of the phenomenon of concert in the system of music genres with the participation of the violin. Research methodology. To highlight the content of the stated topic, the article uses elements of both general and special musicological methods, including: historical genetic, deductive, comparative (general scientific approaches); organological, genre and stylistic analysis (musicological approach). Results. The article is devoted to the characterization of the “concerto principles” concept, which is the basis for the study of concert works for violin. It is noted that such phenomena and concepts as “concerto principles”, “concertіzing”, “concerto” are based on the reflection of the dialogue idea in its projection on the dialectic of musical formation (according to B. Asafiev). The author of the article identifies the main approaches to classifying the types of concerto as a musical genre, pointing out the following oppositions: “composer – performer-soloist”, “performer-soloist – orchestra”, and “structural canon – freedom of construction”. The significance of such attributes of concerto as virtuosity and improvisation inherent in any concert forms, including with the participation of the violin, is highlighted. It is noted that the implementation of the concerto principles, which come from large concert forms by J. S. Bach (according to Yu. Kholopov), is a prerequisite in the practical application of the concerto violin music models that are individually embodied in the work of modern masters, including Kharkiv citizens. In order to characterize the phenomenon of violin concerto principles, it was necessary to dwell on the nature of a whole complex of phenomena defined by B.Asafiev as “the basis and principle of concerto”. Based on the observations made by the founder of intonation theory, we can conclude that there is a common core of any concerto music – the idea of a dialogue that arises between the generating and generated intonational and thematic impulses that potentially contain a key to the dialectic of the musical process in its various structural formulations. The dialogue nature of concerto as a special musical genre also includes such attributes as virtuosity and improvisation. However, their presence in a concerto has various gradations and is not, as a rule, a foreground factor. At the same time, we cannot deny that the virtus aesthetics (lat. – valor, talent) is important within the system of concerto genres represented in music for a certain instrument, in particular, the violin. In this regard, a concerto is always a “competition and agreement” between the soloist and the orchestra accompanying him. As a result, and on this basis, we can say about the formation of the three main types of interaction between the participants in the concert dialogue: dominating solo, dominating orchestra, and parity (according to K. Kuznetsov). It should be noted that the improvisation clarifies the meaning of concerto as a performing genre, which is aimed at the free expression of a musician, unlimited by the existing canons and structural models. The genome of concerto (M. Bondarenko) is realized in a rather wide variety of musical forms and genre subtypes – from the standard model of a concerto for a solo instrument with orchestra, a concert for orchestra, a “concerto without orchestra” (R. Schumann), to any other genre forms containing signs of concerto (K. Bila). In evolutionary terms, the development of the concert dialogue idea went through several stages in which two multidirectional vectors are distinguished – centripetal (the way to concerto as a special kind of symphonic genre) and centrifugal (“dispersal” of concerto as a principle of musical thinking in different intonation systems – mono-, poly- and liberal-genre, according to G. Daunoravichene). The “Genre Explosion” (L. Shapovalova), inherent in Modern music, influenced concerto as a musical genre, where composers and performers can discover for themselves and for listeners the most diverse elements of language and technology, referring to different eras and genre styles. The absence of a unified concert model in modern composer and performing practice is largely due to the set of instruments. The instrumental component of concert genres (namely genres, not a genre) is in modern conditions a key determinant in implementing the principles of concerto, which fully applies to violin music. It was the violin that was one of the main instruments that determined the appearance of a solo concerto in the Baroque music, where the foundations of the entire subsequent development of instrumental genre traditions were laid in the direction from the typical vision to the author’s version – the hypothesis of the world (M. Starcheus), concentrated in the genre “matrix” (E. Nazaikinsky). The unsurpassed examples of a large concerto form, which composers of all subsequent eras have oriented themselves to, are found in the works of J. S. Bach, who was not so much an “inventor” as a “trend-setter”. In concertos by J. S. Bach, the severity and seriousness of thought are combined with a peculiar “neutralization” (Yu. Kholopov) of form elements that create a kind of its internal tonal and harmonic “frame”. At the heart of Bach’s concerto principles, which apply to all other manifestations of this principle, and to modern violin literature, there are two constructive standards – polyphonic (theme and interlude) and homophonic (theme and episode), in which Yu. Kholopov sees not only differences, but also similarities. The author of this article did not set the goal of illustrating these principles on the material of specific works from the creative portfolios of Kharkiv masters. At the same time, the three principles of constructing a large concerto form – alternative, developmental and reprise-repeated (Yu. Kholopov), developed by I. S. Bach, can be traced in a number of examples – from concertos for violin (violins) with orchestra – to concerto miniatures , where the “image” of the instrument is realized through various gradations of concerto as the basis and principle of musical thinking. Conclusions. The semantics of violin concerto is revealed in two meanings, concentrated in the components of this phenomenon. The main one is “concert” as a principle of musical thinking, based on a combination and different types of ratio of dialogicity (genre constant), virtuosity and improvisation (genre attributes). The second component of the phenomenon – “violin” – specifies the first at the level of the genre system, which is multifaceted and includes works of different models, classified on the basis of mono-, poly- and librogenre. The semantic “matrices” of violin concerto find expression in the corresponding genre forms, which was first demonstrated in the music of the late Baroque (J. S. Bach), where they were divided into two most common types of poetics: polyphonic (theme and interlude), homophonic (theme and episode). The article states that on this methodological basis it is necessary to approach the concert violin style in the works of both individual authors and regional schools, in particular, one of the leading in Ukraine – Kharkiv, which is the immediate prospect of further study of the topic.
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Howe, Sondra Wieland. "Julius Eichberg: String and Vocal Instruction in Nineteenth-Century Boston." Journal of Research in Music Education 44, no. 2 (July 1996): 147–59. http://dx.doi.org/10.2307/3345667.
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Julius Eichberg (1824-1893) made valuable contributions to the development of music education through his string and vocal instruction in Boston. Educated in Europe, Eichberg was a violin professor in Geneva before immigrating to the United States in 1857. He directed the Boston Museum Concerts 1859-1866 and composed four operas. In 1867, he founded the Boston Conservatory, developed its string department, and published string method books and chamber music. In the Boston public schools, Eichberg taught high school vocal music, supervised music for the entire school system, and taught teacher-training courses. Boston s school system became a model for other school systems. The annual Music Festivals in Boston, with Eichberg conducting choruses and orchestras, brought the schools positive publicity. Eichberg also composed choral works for his school choruses and edited music textbooks. Eichbergs work in string education and high school choral music laid foundations for programs in the twentieth century.
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PAVLIV, Yarema. "СREATIVE PORTRAIT OF PROMINANT VIOLINIST (IN MEMORY OF SERHIY OREL)." Bulletin of the Lviv University. Series of Arts Studies 280, no. 20 (2019): 133–46. http://dx.doi.org/10.30970/vas.20.2019.10646p.
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Serhiy Orel (1952–2017) – an outstanding violinist, original composer, Carpathian folklore interpreter, teacher, organizer of musical work, born in Kolomyia in the family of a choral singing teacher and multi-instrumentalist Stepan Orel. He studied at the Lysenko Musical Institute Branch since the age of six years in Matviy Ruzichner’s violin class. He proved himself as a gifted improviser, while gaining universal academic violin education. In his student days at D. Sichynsky College in Ivano-Frankivsk he began composing music and orchestrating his favourite classical works. He deeply immersed in folklore, collaborated with well-known Hutsul virtuosos-performers on the flute traditional instruments – Vasyl Popadiuk (1940–1991), Mykhaylo Tymofiiv (1944), violinist Petro Terpeliuk (1941–2012), cymbalist Vasyl Myroniuk. He gained performance experience while serving together with them Huzul wedding ceremonies in a manner aimed at folk authentication and adopted traditional huzul folklore repertoire using oral method. At the time of obtaining higher education at the Kyiv Institute of Culture (specialty of folk bandmaster), S. Orel already had a two-year record of the soloist and bandmaster of the Hutsul song-and-dance ensemble of the Ivano-Frankivsk Philharmonia, as well as the experience of Kolomyia musical bands director. Musician’s move to the village of Deliatyn, Nadvirna district of Ivano-Frankivsk region in 1977 became fateful major shift, where he, having taken a position of the musical school director, founded together with his wife – singer Liubov Orel (Bilinkevych) the Arkan orchestra. Having rallied first nine participants he created his music piece – musical adaptation of Arkan Hutsul dance. Subsequently, the entire band’s repertory was developing of personal orchestrations and musician’s own works. The general features of his orchestral style include the improvisatory enriched themes of the violin-solo part, main texture load on the string group (violin solo, three parts of violin, viola, cello, contrabass), fipple flute and cymbal second parts, accordeon’s chordal and harmonic functions, tambourine rhythmic patterns, which highlight melody features. A year later, the orchestra gained “folk” title and represented Hutsul region in contests and festivals taking winner awards. Today, about 3,000 S. Orel’s note developments are known, including his own vocal and instrumental works, numerous orchestrations of Ukrainian and multi-ethnic folklore, interpretation of famous composer miniatures, church choral works, author’s music for children’s performances and theatrical productions, genre music pieces for violins and cymbals with orchestra. The phenomenon of the violin-interpreter had an impact on a style of play of presently municipal Arkan folk music orchestra founded by Serhiy Orel, which represents in complex the creative achievements of its artistic director across different scenes of Ukraine and worldwide.
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Упанова, А. А. "Domra and Chamber Orchestra in Concertos by Igor Rogalyov and Andrey Tikhomirov. An Alliance with a “Stranger”?" OPERA MUSICOLOGICA, no. 2021 (December 24, 2021): 37–56. http://dx.doi.org/10.26156/om.2021.13.4.002.
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Статья посвящена сочинениям известных петербургских композиторов — Концерту «Доменико Скарлатти» для четырехструнной домры (мандолины) и камерного оркестра Игоря Ефимовича Рогалёва и Концерту для домры и камерно-симфонического оркестра Андрея Генриховича Тихомирова. Эти произведения представляют примеры взаимодействия сфер народно-инструментального исполнительства и академического музыкального искусства. Ранее данная проблема не рассматривалась в отечественном музыкознании. Появление в последней четверти XX века сочинений, в которых домра выступает в качестве солиста с симфоническим оркестром, в значительной мере способствовало расширению ее выразительных возможностей, а также становлению и развитию нового направления в домровом репертуаре. Основными позициями сравнительного анализа концертов И. Е. Рогалёва и А. Г. Тихомирова стали трактовка роли солирующей домры, различия в композиции и драматургии названных сочинений. Отдельное внимание уделяется вопросам исполнительской интерпретации. Автором статьи приведены нотные примеры, иллюстрирующие наиболее важные с его точки зрения идеи и положения. The article is devoted to the works of famous St. Petersburg composers — Concerto Domenico Scarlatti for four-string domra (mandolin) and chamber orchestra by Igor Ye. Rogalyov and Concerto for domra and chamber symphony orchestra by Andrey G. Tikhomirov. These works are examples of interaction of the spheres of folk-instrumental performance and academic musical art. Previously, this problem was not considered in Russian musicology. In the last quarter of the 20th century, compositions appeared, where domra acts as a soloist with a symphony orchestra, which to a large extent contributed to expansion of its expressive capabilities, as well as formation and development of a new direction in the domra repertoire. The main positions of the comparative analysis of the Rogalyov’s and Tikhomirov’s concertos were: interpretation of the solo domra’s role, differences in the composition and dramaturgy of the above works. Special attention is paid to the issues of performing interpretation. The author of the article proposes musical examples illustrating the most important ideas and provisions from her point of view.
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Zhang, Vincent. "Synthesizing Human Characteristics based on String Instruments." Highlights in Science, Engineering and Technology 39 (April 1, 2023): 286–91. http://dx.doi.org/10.54097/hset.v39i.6541.
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As music technology continues to evolve, new software enables us to digitally produce audio. Although plenty of progresses have been made in music genres (e.g., EDM or hip hop), many string instruments have yet to be thoroughly synthesized. Instruments, such as the cello, require incorporating human characteristics to evoke emotion. On this basis, Nyquist and Audacity are utilized in this paper to analyze and create the synthesized pitch of the cello. Some may argue that computers are incapable of human characteristics in music, but the results of this study clarify the feasibilities at some extent. Based on both visualizing and listening, the output creates a similar sound hardly indistinguishable from a human. It presents the possibility of expanding onto other string instruments including the violin, viola, etc. Instead of the necessity for an entire orchestra, anyone can have their own symphony at their fingertips. From movies, video games, or any form of entertainment, the advancements in this field of research could revolutionize the music industry. These results shed light on guiding further exploration of synthesizing human characteristics in context of string instruments.
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Casado, Santiago. "Studying friction while playing the violin: exploring the stick–slip phenomenon." Beilstein Journal of Nanotechnology 8 (January 16, 2017): 159–66. http://dx.doi.org/10.3762/bjnano.8.16.
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Controlling the stick–slip friction phenomenon is of major importance for many familiar situations. This effect originates from the periodic rupture of junctions created between two rubbing surfaces due to the increasing shear stress at the interface. It is ultimately responsible for the behavior of many braking systems, earthquakes, and unpleasant squeaky sounds caused by the scratching of two surfaces. In the case of a musical bow-stringed instrument, stick–slip is controlled in order to provide well-tuned notes at different intensities. A trained ear is able to distinguish slight sound variations caused by small friction differences. Hence, a violin can be regarded as a perfect benchmark to explore the stick–slip effect at the mesoscale. Two violin bow hairs were studied, a natural horse tail used in a professional philharmonic orchestra, and a synthetic one used with a violin for beginners. Atomic force microscopy characterization revealed clear differences when comparing the surfaces of both bow hairs, suggesting that a structure having peaks and a roughness similar to that of the string to which both bow hairs rubbed permits a better control of the stick–slip phenomenon.
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Kashuba, Denis. "Chamberness in genre-stylistic field of Piano concertos by Johannes Brahms." Aspects of Historical Musicology 16, no. 16 (September 15, 2019): 207–24. http://dx.doi.org/10.34064/khnum2-16.12.
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Introduction. In recent years, there has been indefatigable interest of scholars in the concerto genre, and that can be proven by constantly appearing research article and dissertation, devoted to it. For example, in 2017 and 2019 candidate dissertation [Ph. D] have been published, that illuminated previously obscure pages of, respectively, French tradition of this genre, embodied in concertos for various instruments with orchestra by C. Saint-Saëns, and AustroGerman of the first decades of XIX century (including those by J. N. Hummel, I. Moscheles, F. Ris). Expansion of the knowledge about this genre in historical aspect is accompanied by refinements and changes of viewpoints on its essence, that allows, in particular, to comprehend the phenomenon of intersection of different traits of a symphony, a concerto and an ensemble in composers’ activity of XX – beginning of XXI century. A presumption is made, that between these stated genres there is some kind of interlocutor, that is dialogism. At the same time, it is noted, that various types of a dialogue in given work do not lead inevitably to some “mix” or ambivalence, but can contribute to realisation of the potential of the concerto genre. The last one can be applied to the Piano concertos by J. Brahms. Objectives. The goal of the given article is to reveal signs of chamberness in genre-stylistic field of Piano concertos by Johannes Brahms. Results and discussion. In spite of widely disseminated opinion that they belong to predominately orchestral type or even are “symphonies with piano obligato” (Kuznetsov, 1980; Beyer, 1897), they reveal influence of another essential characteristics of the genre, including chamberness. This can be explained either by classicism of J. Brahms’s composer style, who has always orientated towards tradition of his times or by integrativity, that is an iconic trait of late-Romantic music. The examples are given of grand-scale symphonic conceptions deriving from primal ensemble ideas. It is noted, that while the understanding of the genre’s nature remains stable, in each Concerto the proportion of symphonism, concertoness and chamberness is singular due to a significant time interval passing between them and noticeable difference in level of composer’s maturity. Both Concertos reveal the following attributes of chamberness: frequent usage of separate orchestra groups, eventual appearance of “ensemble of soloists” on the background of certain groups or without any accompaniment, significant dramaturgic role played by solos of the piano either slightly supported by sparse instruments while their parts are rather scattered or absolutely unaccompanied. It is stressed that regarding playing piano one should not equate one performer with one part as there are parts of right and left hands and dialogues appearing between them (Polskaya, 2001). On the other side, mono-pianistic expression doesn’t necessarily coincide with a monologue, as self-comprehension of a personality can be marked by a significant dialogism and even conflict (Misitova, 2004). The Piano concertos by J. Brahms can serve as an example for the last observation as appearances of the soloist (chiefly, solo) create additional thread of dramaturgy, sometimes governing the development of music and its images. In the First concerto, given its allusions to the Baroque era, one can discern frequent usage of chamber, sometimes exclusively string orchestra. It is pointed out that initial image of Maestoso, that is supposed to be portrayed by sonority of the accentuated brass group as it has tremendous and formidable mood, is in fact embodied by strings with occasional illuminations of another groups. In Adagio the archi section also plays the leading role, being in dialogue with two bassoons in the first orchestral episode, later entering compassionate dialogue with the piano. In both movements the full orchestra is used only in the climactic moments, often with the soloist involved. And the Finale is the only movement where the semantics of the competition and festivities of the masses urges the composer to use entire orchestra. The logic of changes of emotional states in the solo part is quite clear. It is a personification of a “lyrical hero”, who is in a state of an inner dialogue, and that engenders a conflict situation, largely contributing to the dramatism of further events in the music. Employments of the ensemble are sporadic and are usually illuminated by a background of the orchestra. In Second concerto, while the strategy of chamberness of orchestra and raising the significance of the soloist remains stable, on the contrary, different means of ensemble communication are developed, including those involving “satellite” instruments. Their activity is revealed in the very first bars of Allegro non troppo, where French horn and piano resemble quiet and leisurely conversation. This duet in its further appearances marks the borders of large chapters of the structure, therefore acquiring compositional significance. Ensemble qualities are intrinsic for Andante from this Concerto, where another soloist appears, singled out from the group of cellos, and later oboe, clarinets make their entrance, and the score turns into sheer dialogue of soloists. Conclusions. Comparison of two Piano concertos by J. Brahms allows to state that composer simultaneously has firm understanding of this genre and favours different traits of chamberness in each of them. In the latter one “satellite” timbres are used, ensemble structures are more significant. And this paves the way for ensemble differentiation of the orchestra, that can be regarded as one of the first portents of modern understanding of concerto genre and abovementioned processes of “mixing”.
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Wright, David, Manhattan Chamber Orchestra, and Richard Aulden Clark. "Henry Cowell: Persian set; Hymn and Fuguing Tune for String Orchestra; American Melting Pot; Air for Violin and Strings; Old American Countruy Set; Adagio for String Orchestra." Musical Times 135, no. 1811 (January 1994): 46. http://dx.doi.org/10.2307/1002846.
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