Relevant bibliographies by topics / Klavier op

Academic literature on the topic 'Klavier op'

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Published: 27 July 2024
Last updated: 28 July 2024

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Journal articles on the topic "Klavier op"

1

Busch, Regina. "Leopold Spinner: A List of his works." Tempo, no. 154 (September 1985): 22–35. http://dx.doi.org/10.1017/s004029820002146x.

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When René Leibowitz was preparing the first performance of the Piano Concerto op.4 in 1949 (it was for this occasion that Spinner made the transcription for chamber orchestra, which is the only version of the piece that is known, printed, and performed), he asked Spinner for some details about his work and himself. The answer was characteristic:…Nun schliesslich, Sie würden gerne Einzelheiten von mir wissen: Ich bin 42, habe eine Frau und ein Kind (Margaret, 6 Jahre), das ist ganz privat narürlich (aber für mich sehr wichtig, darum erwähne ich es)! Ich habe bei Webern studiert. Was ich bis jetzt geschrieben habe, fängt mit der Sonate für Violin und Klavier op.1 an, dann ein Streichquartett op.2, eine Sonate für Klavier op.3. Op.4 kennen Sie bereits.
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Levy, David B., Ludwig van Beethoven, and Sieghard Brandenburg. "Sechs Bagatellen fur Klavier, Op. 126." Notes 44, no. 3 (March 1988): 555. http://dx.doi.org/10.2307/941534.

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Roesner, Linda Correll, Robert Schumann, Hans Joachim Kohler, Wolfgang Boetticher, and Hans-Martin Theopold. "Grande Sonate Fmoll, Op. 14; fur Klavier." Notes 41, no. 3 (March 1985): 596. http://dx.doi.org/10.2307/941198.

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Oosthuizen, M., and W. Lüdemann. "Arnold van Wyk (1916-1983) se Carmine Petronii - Carmine Petronii by Arnold van Wyk (1916-1983)." Tydskrif vir Geesteswetenskappe 62, no. 3 (September 2022): 568–87. http://dx.doi.org/10.17159/2224-7912/2022/v62n3a7.

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Die beeld van Arnold van Wyk as liedkomponis berus op sy liedsiklusse Vier weemoedige liedjies en Van liefde en verlatenheid, asook enkele losstaande liedere. Die beeld behoort uitgebrei te word deur kennis te neem van die ongepubliseerde Petronius-liedere, waarvan die komposisiesketse en outograwe bewaar word in die Arnold van Wyk-versameling by die Universiteit Stellenbosch. Die Petronius-liedere is 'n liedsiklus vir bariton en klein instrumentale ensemble (fluit, altviool, tjello, Franse horing, perkussie, harp en klavier) op vyf Latynse tekste uit die Satyricon van Petronius Arbiter (c. 27-66 GE). Die komposisieproses, begin gedurende 1957-1959, is toe onderbreek en is eers in 1964 voltooi. Die onderskeie liedere toon Van Wyk se vermoe om gedigte verbeeldingryk te toonset en om 'n oortuigende vormeenheid te gee aan elke lied en die siklus as geheel. Hy ontgin die instrumente se klankkarakter in die ensemble op vindingryke wyse en gebruik die begeleiding tegelyk as middel tot klankskildering en vormgewing. Saambindende elemente in die siklus is die eensoortige sentiment van die tekste, die klavier se deurlopende teenwoordigheid, die wisselnootmotief, en die gebruik van die tritonus in verskillende toonsoorte, asook pedaalpunte. Akkoordsamestellings lees dikwels moeilik weens die dubbele spelling van note. Nadat elke lied individueel bespreek word, word gewys op die moontlike invloed van Benjamin Britten se werk op die Petronius-liedere.
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Sichardt, Martina. "Narrativität in der Musik?" Die Musikforschung 58, no. 4 (September 22, 2021): 361–75. http://dx.doi.org/10.52412/mf.2005.h4.640.

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In der Schlussfuge in Ludwig van Beethovens Sonate für Violoncello und Klavier op. 102/2 wird in Takt 143 ein neues Kontrasubjekt eingeführt. Da hier erstmals die vorher fast durchgängige Achtelbewegung aufgegeben wird, lässt sich diese Episode im Sinne der Narrativitätstheorie als eine Art Rückblick beschreiben. bms online (Schöner, Oliver)
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Niemöller, Klaus. "Sonate und Sonatina für Violoncello und Klavier von Kodály im gattungsgeschichtlichen Zusammenhang." Studia Musicologica 50, no. 1-2 (March 1, 2009): 49–74. http://dx.doi.org/10.1556/smus.50.2009.1-2.3.

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The history of the genre of the sonata written for violoncello and pianoforte begins in 1796 with the five sonatas by Beethoven opp. 5, 69 and 102. The sonata op. 69 is a model for its special role until the 20th century: the lyrical character of the opening theme with a fantasy-like closing solo-cadenza and a fermata. Since the 1st Sonata of Brahms (1865), it was mostly young composers like Strauss (op. 6), Pfitzner (op. 1), Reger (op. 5) and Dohnányi (op. 8) who followed this tradition. As also the Sonata op. 4 by the young composer Kodály (1909) whose opening Adagio as “Fantasia” has the same conceptions: rhapsodic melody with closing cadenza and a fermata. The final return of the Adagio establishes a cyclic unity. The first performance of the sonata in 1910 with string quartets by Kodály and Bartók founded the beginning of modern music in Hungary. Also the Sonatina, originally the 3rd part of Sonata, published in 1922, has a Lento-introduction with rhapsodic-like parts wich begins a process-like evolution of composition. A relationship with the special features of the Sonata for Cello and Piano in the history of the genre includes also works by Debussy (1915) and Hindemith (1919).
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Ho, Allan B., Sergey Ivanovich Taneyev, Viktor Stepanovich Kosenko, and Stephan Breith. "Quartett fur Klavier, Violine, Viola und Violoncello, Op. 20." Notes 51, no. 4 (June 1995): 1465. http://dx.doi.org/10.2307/899161.

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Lloyd, William, and Ferruccio Busoni. "Concerto fur Klavier und Orchester mit Mannerchor Op.39." Musical Times 136, no. 1834 (December 1995): 670. http://dx.doi.org/10.2307/1003567.

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Draheim, Joachim. "Schumann-Erstdrucke." Die Musikforschung 46, no. 1 (September 22, 2021): 53–60. http://dx.doi.org/10.52412/mf.1993.h1.1143.

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Diese Bibliographie verzeichnet Erstdrucke von Kompositionen Robert Schumanns (neben vollständigen Werken auch längere Skizzen, Früh- und Alternativfassungen), die nicht in den Arbeiten von Kurt Hofmann und Siegmar Keil erfaßt sind. Die wichtigsten sind: "Der Korsar" , die Klavierbegleitung zur Suite III C-Dur für Violoncello solo von Bach , die Violinfassung des Cellokonzerts a-moll op. 129 und der Konzertsatz d-moll für Klavier und Orchester. (Autor)
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Stoll, Renan Eduardo, and Catarina Leite Domenici. "Duas práticas de performance de Variationen für Klavier, Op. 27 de Anton Webern: Um estudo comparativo de edições e gravações." Revista Vórtex 4, no. 3 (December 31, 2016): 1–65. http://dx.doi.org/10.33871/23179937.2016.4.3.1343.

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Este artigo investiga duas práticas de performance da obra Variationen für Klavier, Op. 27 de Anton Webern através da comparação de duas edições da obra e da comparação de três gravações realizadas por Peter Stadlen (1948), Yvonne Loriod (1961) e Charles Rosen (1969). Foram comparadas a primeira edição da obra (a edição Urtext de 1937) e a edição Prática elaborada por Peter Stadlen (1979), resultado de sua interação com o compositor durante o perí­odo que antecedeu a estreia do Op. 27. Os aspectos estéticos e interpretativos da obra foram considerados a partir dos textos de Stadlen e da literatura recente. Utilizando o software Sonic Visualiser foram mapeadas as flutuações de tempo nas três gravações do Op. 27. Os resultados evidenciaram dois estilos distintos de performance: o estilo pós-guerra (Cook, 2016) de Loriod e Rosen, marcado pela influência da vanguarda de Darmstadt, e o estilo pré-guerra de Stadlen.
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Dissertations / Theses on the topic "Klavier op"

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De, Villiers Wynand Gideon. "Die uitvoering van Barokklawerbordwerke op die klavier / W.G. de Villiers." Thesis, North-West University, 2007. http://hdl.handle.net/10394/1138.

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When Baroque keyboard works are performed on the piano, some pianists try to imitate the sound of the harpsichord and clavichord. Others try to avoid this by applying performance practices of the Romantic period to Baroque keyboard works, for the sake of musical expression. The aim of this study is to determine which alterations can be made to the performance of Baroque keyboard works on the piano to ensure a musically expressive, yet stylistically acceptable result. The following aspects are investigated: The production and quality of sound, as well as technique of playing at the harpsichord, clavichord and piano. The possibilities of musical expression at these instruments are also compared. The manner of accomplishing musical expression within a Baroque keyboard work, in terms of appropriate tempo, dynamics and articulation. The extent to which the sound qualities of the piano can be utilised when performing Baroque keyboard works on the piano. This study proves that the alterations made to the performance of Baroque keyboard works on the piano can be of such nature that the unique sound possibilities of the piano are utilised, but that the performance still corresponds to Baroque performance practice.
Thesis (M.Mus.)--North-West University, Potchefstroom Campus, 2007.
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Hirschfeld, Caspar René, and Annemarie Bostroem. "5 Lieder in einer Sommernacht: für Sopran und Klavier nach Texten von Annemarie Bostroem: (op. 28)." C. René Hirschfeld, 2020. https://slub.qucosa.de/id/qucosa%3A70947.

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5 Lieder für Sopran und Klavier nach Texten von Annemarie Bostroem.:1. Den Frühling, Liebster 2. Wie soll ich diese Nacht nur überstehen 3. Noch ist es Sommer 4. So warm ist die Nacht 5. Weil ich das Feuer liebe
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Stoll, Renan Eduardo. "Variationen für klavier, op. 27 de Anton Webern : sobre duas práticas de performance distintas a partir da edição dos textos e da gravação de Peter Stadlen e das gravações de Yvonne Loriod e Charles Rosen." reponame:Biblioteca Digital de Teses e Dissertações da UFRGS, 2016. http://hdl.handle.net/10183/149552.

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A presente pesquisa investiga duas práticas de performance da obra Variationen für Klavier, Op. 27 de Anton Webern através da comparação de duas edições da obra e da comparação de três gravações realizadas por Peter Stadlen (1948), Yvonne Loriod (1961) e Charles Rosen (1969). Foram comparadas a primeira edição da obra (a edição Urtext de 1937) e a edição Prática elaborada por Peter Stadlen (1979), resultado de sua interação com o compositor durante o período que antecedeu a estreia do Op. 27. Os aspectos estéticos e interpretativos da obra foram considerados a partir dos textos de Stadlen e da literatura recente. Utilizando o software Sonic Visualiser foram mapeadas as flutuações de tempo nas três gravações do Op. 27. Os resultados evidenciaram dois estilos diferentes de performance. De um lado, o estilo pós-guerra (Cook, 2016) de Loriod e Rosen, marcado pela influência da vanguarda de Darmstadt; de outro lado, o estilo pré-guerra de Stadlen, o qual lança questionamentos sobre o cânone interpretativo estabelecido pelo estilo do pós-guerra.
This research investigates two performance practices of Anton Webern’s Variationen für Klavier, Op. 27 through a comparison between two editions and three recordings of the work. The first edition (the Urtext edition of 1937) and Stadlen’s practical edition of 1979 were compared in regards to the expressive markings added by the composer and the performer, and interpretive aspects of recente literature as well as Stadlen’s texts were considered. Using the software Sonic Visualiser tempo fluctuations were analysed in the recordings by Peter Stadlen (1948), Yvonne Loriod (1961) and Charles Rosen (1969). The results brought to evidence two contrasting performance styles. On the one hand, the post-war style (Cook, 2016) of Loriod and Rosen, marked by the influence of the Darmstadt avant-garde, and, on the other hand, the pre-war style of Peter Stadlen, which calls into question the interpretive canon of the work established by the post-war style of performance.
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Hsiao, Han Hung, and 洪小涵. "A study of Fantasiestücke für Klarinette und Klavier, Op. 73 by Robert Schumann." Thesis, 2016. http://ndltd.ncl.edu.tw/handle/8j2xcn.

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碩士
國立臺南藝術大學
鋼琴合作藝術研究所
104
Robert Schumann (1810-1856) was one of the representative romantic composers, and was a great music critic. His creation included piano works, art songs, instrumental works, symphonies, concertos, chamber music, operas and so on. Among them, the piano works and art songs took the major place. Fantasy pieces for Clarinet and Piano, Op. 73 (1849) was composed in 1849 and was a mature work in Robert Schumann's later stage. One can find his three other chamber works created in the same year: Adagio and Allegro for Horn and Piano, Op. 70 (1849), 3 Romances for Oboe and Piano, Op. 94 (1849), 5 Pieces in Folk Style, Op. 102 (1849). That year was a prolific period of chamber music creation for Robert Schumann. This report firstly discussed the development of the collaborative piano art and further connected the relationships among composer's biography, background of the time period, and the music creation. At the last, the author also focused on three perspectives of the Fantasy pieces work: the musical structure, the compositional material, and interpretation of the tempo, to categorize and generalize the creative approaches that Robert Schumann usually used. And the author also provided her opinion for interpretation from dual perspectives of clarinetist and collaborative pianist.
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Lu, Weichen, and 呂維真. "The Analysis and Interpretation of Robert Schumann's《Fantasiestücke für Klavier und Klarinette, Op.73》." Thesis, 2011. http://ndltd.ncl.edu.tw/handle/53569570938306510037.

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碩士
國立臺北教育大學
音樂學系碩士班
99
This thesis studies a clarinet work, Fantasiestücke für Klavier und Klarinette, Op.73 by German composer, Robert Schumann. It was composed in 1849. This work comprises with three separate pieces. The various style and tempo change represent Schumann’s split personality. The author divided this thesis into four chapter. The Introduction includes the research motivation and purpose, scope of research, methodology and literatures. The second chapter provides the background information about Schumann, his style. The third chapter researches his work “Fantasiestücke für Klavier und Klarinette, Op.73,”using music analysis technique and the interpretation of performers. The following forth chapter concludes the previous three chapters. Through this thesis, performers will have better understanding of the birth of “Fantasiestücke, Op.73, ” the meaning of the music, hence perform accordingly.
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Liu, Hung-I., and 劉虹儀. "An Analysis and Interpretation of Robert Schumann’s Märchenbilder: 4 Stücke für Klavier und Viola, Op. 113." Thesis, 2015. http://ndltd.ncl.edu.tw/handle/49cx6p.

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碩士
國立臺南藝術大學
鋼琴合作藝術研究所
103
Abstract Robert Schumann(1810-1856) composed Märchenbilder: 4 Stücke für Klavier und Viola, Op. 113 in 1851. It consisted of four character pieces and was the only duo work that Schumann wrote for the viola and piano. This work was premiered in 1853. Schumann applied various tempi and dynamic expressions in this work. The poetic dialogues between the viola and the piano make each piece its own unique mood and personality. The thesis comprises three chapters. The composer's life and a discussion of correlation of literature, fairy tale, and character pieces will be introduced in the first chapter. The compositional background, the characteristics as well as the formal structures of the Märchenbilder will be discussed in the second chapter. The third chapter will stress on interpretative points on the tempi, interesting harmonies, keys, dynamics, and interactions between the piano and the viola.
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Hong-Jun, Chen, and 陳虹君. "A Study of Sechs Deutsche Lieder für eine Singstimme, Klarinette und Klavier Op.103 by Louis Spohr." Thesis, 2014. http://ndltd.ncl.edu.tw/handle/g664mq.

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謝佳臻. "Franz Peter Schubert：Variations für Flöte und Klavier über “Trockene Blumen” aus “Die schöne Müllerin”. D 802 - Op.160." Thesis, 2006. http://ndltd.ncl.edu.tw/handle/27406813906209046091.

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碩士
臺北市立教育大學
音樂藝術研究所
94
Franz Peter Schubert (1797-1828) was one of the most important pioneers of Romanticism. He was also considered as one of the representatives of post-Classicalism. Although, the musical concept of Classicalism is quite different from that of Romanticism, Schubert successfully integrated two styles in his compositions. In other words, Schubert’s works reflect a dual style which combines the restrictive style of Classicalism and the relatively free style of Romanticism. In his 31-year-long life, Schubert left considerable amount of compositions. Because of the fine melodies and the various internal expressions of his music, his Lieder became popular. As a result, Schubert was awarded a reputation--- the King of Lieder. However, the reputation became a sort of task to him; people ignored the distinctive characters of his instrumental music. Variations for Flute and Piano on “Trockene Blumen” from “Die schöne Müllerin” D 802 - Op.160 is a solo piece, which Schubert recomposed one of his own vocal music, Die Schöne Müllerin, D. 795, for flute. This piece includes an Adagio prelude, an Andante theme section and seven variations. Contrasted with that of Schubert’s compositions for other instruments, the amount of his compositions for flute is relevant less; however, Variations for Flute and Piano on “Trockene Blumen” from “Die schöne Müllerin” D 802 - Op.160 becomes one of the most popular repertoires of flute music. This paper is focused on the historical and musical analysis of Variations for Flute and Piano on “Trockene Blumen” from “Die schöne Müllerin” D 802 - Op.160. It will be divided into three sections: (1) the introduction of historical background and the main idea of Variations for Flute and Piano on “Trockene Blumen” from “Die schöne Müllerin” D 802 - Op.160(2) the analysis of musical structure and (3) the interpretation and other performing concern. By pursuing this research, I hope to understand the perspective of Variations for Flute and Piano on “Trockene Blumen” from “Die schöne Müllerin” D 802 - Op.160, and further effect Schubert’s primary idea in performance.
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Lee, Wan-Ling, and 李宛玲. "An Analysis and Interpretation of Sonate in B-Dur, Op.121 für Flöte und Klavier by Sigfrid Karg-Elert." Thesis, 2012. http://ndltd.ncl.edu.tw/handle/10915879455400807966.

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碩士
輔仁大學
音樂研究所
100
Sigfrid Karg-Elert (1877-1933), a German composer during first half twentieth century. He was also an organist, a musicologist and a music educationalist. Base on his outstanding harmonic theory, he often used a simple music element to develop as a skillful and emotional master works. During World War one (1914-1918) Sigfrid Karg-Elert has met the member of Gewandhaus Orchestra, and made a lot of works on woodwinds composition. This thesis is a research of Sonata in B flat major for flute Op.121 as made in 1918, in order to give to his best friend Carl Bartuźat who was a flutist in the military. Sigfrid Karg-Elert has modified this work as a trio which included flute, violin and piano. This thesis contains five chapters. The first chapter covered the motive and method of this research. In the second chapter, the composer’s biography, compositional style, and technique were presented. The third chapter was discussed about this specific composition analysis includes the frameworks, use of elements, motives, and development. The fourth chapter focused on the interpretation according to the performance. In the conclusion, it summarizes the personality and background which had influence on Sigfrid Karg-Elert. It presents the whole feature and characteristic of Sonata in B flat major for flute Op.121.
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Yun-Wen, Lai, and 賴韻文. "G. F. Händel：Sonata for Violin and Klavier in G minor, Op.1,No.10 W. A. Mozart Sonata for Klavier and Violin in C major, KV 296; J. Brahms：Sonata for Violin and Piano in A major, Op. 100; Pablo de Sarasate：Op. 23‚ No. 1 Playera ＆ No. 2 Zapateado." Thesis, 2008. http://ndltd.ncl.edu.tw/handle/4m2eb9.

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碩士
東海大學
音樂系
97
W. A. Mozart Sonata for Violin and Klavier in G minor, Op.1,No.10 W. A. Mozart Sonata for Klavier and Violin in C major, KV 296 J. Brahms：Sonata for Violin and Piano in A major, Op. 100 Pablo de Sarasate：Op. 23‚ No. 1 Playera ＆ No. 2 Zapateado
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Books on the topic "Klavier op"

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Johannes, Brahms. Balladen op. 10 für Klavier =: Ballads op. 10 for piano. Wien: Wiener Urtext Edition, 1990.

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Pärt, Arvo. Zwei Sonatinen für Klavier, op. 1 (1958). Wien: Universal Edition, 1997.

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Schumann, Robert. Davidsbündlertänze: Op. 6 : 18 Charakterstücke für Klavier. Edited by Kapp Reinhard, Hauschild Peter, and Sherman Russell. Wien: Wiener Urtext Edition, 1997.

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Laera, Palma. La Sonata op. 58 per pianoforte di Fryderick Chopin: Aspetti analitici, con uno sguardo sul processo compositivo. Milano: Rugginenti, 2011.

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Schreker, Franz. Fünf Lieder für Gesang und Klavier, op. 4. Vienna]: Universal Edition, 1996.

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Kjerulf, Halfdan. Sechs neue skizzen: Für klavier (1863), op. 12. Niedernhausen: Edition Kemel, 2016.

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Shostakovich, Dmitriĭ Dmitrievich. Aphorismen: Op. 13 für Klavier = Aphorisms : for piano. Wiesbdaen: Breitkopf & Härtel, 1996.

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Wolpe, Stefan. 1. Sonate für Klavier op. 1 (1925) ; Sechs Märsche op. 10 (1928-1934). Hamburg: Peer Musikverlag, 1995.

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Mendelssohn-Bartholdy, Felix. Sonate f-Moll für Violine und Klavier, op. 4. Hofheim: F. Hofmeister, 1999.

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Kuhlau, Friedrich. Variationen op. 94 für Flöte und Klavier =: For flute and piano. Frankfurt: Zimmermann, 1995.

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Book chapters on the topic "Klavier op"

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Andre, Mark. "Einige Bemerkungen zu den ,Zwischenräumen' in Anton Weberns Drei kleine Stücke für Cello und Klavier op. 11." In »Zwischenräume« in Architektur, Musik und Literatur, 189–212. Bielefeld, Germany: transcript Verlag, 2021. http://dx.doi.org/10.14361/9783839450291-009.

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Döge, Klaus. "Erwin Steins Bearbeitung der Schönbergschen Orchesterstücke op. 16, I, II und IV für 2 Klaviere zu 8 Händen." In Jahrbuch des Staatlichen Instituts für Musikforschung Preußischer Kulturbesitz, 249–76. Stuttgart: J.B. Metzler, 1996. http://dx.doi.org/10.1007/978-3-476-03627-8_10.

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Andre, Mark. "Einige Bemerkungen zu den ‚Zwischenräumen‘ in Anton Weberns Drei kleine Stücke für Cello und Klavier op. 11." In »Zwischenräume« in Architektur, Musik und Literatur, 189–212. transcript Verlag, 2021. http://dx.doi.org/10.1515/9783839450291-009.

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