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Relevant bibliographies by topics / Trios (Oboe, violins (2))

Academic literature on the topic 'Trios (Oboe, violins (2))'

Author: Grafiati

Published: 10 December 2022

Last updated: 29 January 2023

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Dissertations / Theses
Books

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Journal articles on the topic "Trios (Oboe, violins (2))"

1

Zaidel-Rudolph, Jeanne. "Lifecycle: Flute (piccolo), oboe, clarinet (bass clarinet), bassoon, horn, 2 percussionists, 2 violins and cello, Xhosa vocal ensemble and indigenous instruments." Journal of Musical Arts in Africa 3, no. 1 (January 2006): 80–81. http://dx.doi.org/10.2989/18121000609486710.

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Mikolon, Anna. "Piano and chamber works by Jerzy Gablenz (1888-1937)." Notes Muzyczny 2, no. 10 (December 20, 2018): 123–43. http://dx.doi.org/10.5604/01.3001.0012.9815.

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The article is aimed at presenting piano and chamber music written by the forgotten composer of the period of the Young Poland. Born in Cracow to a family with rich music traditions, Jerzy Gablenz learned to play the piano, flute, cello and organ. But his main interest was to write music himself. As early as in his youthful years, he wrote songs and piano miniatures mainly dedicated to Małgorzaa Schoen, his future wife. He graduated from law school, but he also studied composition and theory of music with Władysław Żeleński, Feliks Nowowiejski and Zdzisław Jachimecki. His main occupation was managing the vinegar and mustard factory. Despite that, he found time for writing symphonic, opera, chamber, piano and vocal pieces. His piano works – due to their tunefulness, diversified texture, mysteriousness and ballroom elegance – are unquestionably worth promoting. They include: 4 Small Bagatelles op. 1 no. 1, 4 Improvisations op. 1 no. 3, 3 Improvisations op. 1 no. 4, Intermezzo a la mazurka op. 2, 2 Morceaux op. 3, Two Small Bagatelles op. 8, 2 Skizzen op. 24 Es war niemal…, or Suite op. 35. Gablenz’s chamber works cover: Canzona op. 1 no. 2 for flute and piano, Sonata op. 15 for cello and piano, 5 Waltzes op. 28 for piano 4 hands, Arabesque op. 28 no. 6 for oboe and piano, Trios for three female voices and piano to lyrics by Leopold Staff op. 4 and op. 19. Unfortunately, Gablenz’s tragic death on 11 November 1937 in a plane crash near Piaseczno made the further development of his great talent impossible. I believe that his creative output deserves promoting among music lovers not only in the Dominican Republic and Canada, but first of all in Poland, where some of his works still have not had their premiere performances, despite numerous efforts of Tomasz Gablenz, the composer’s son.

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Rosen, Jerome, Hans Werner Henze, Joji Yuasa, Edward Cowie, and David Maslanka. "Le Miracle de la rose: imaginares Theater II; Musik fur einen Klarinettisten und 13 Spieler [Flute, Oboe, Bassoon, Horn, Trumpet, Trombone, Percussion, Piano and Celesta, 2 Violins, Viola, Cello, Bass] (1981)." Notes 42, no. 3 (March 1986): 647. http://dx.doi.org/10.2307/897357.

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4

Burrows, D. "George Frideric Handel, The Chamber Music: Vol I, The Flute Sonatas; Vol. II, The Violin Sonatas; The OBOE Sontas, Vol. III, The Trio Sonatas OP 2, Vol. IV, The Trio Sonatas OP 5; Vol V, Trio Sonatas for Two Violins and Basso Continuo; Vol VI, The Recorder Sonatas, L' Ecole d'Orphee CRD 3373-78 (six CDs, issued 1992) Trio Sonatas OP.2 London Baroque Harmoma Mundi HMC 901379 (rec 1991) Trio Sonatas OP.5, London Baroque Harmoma Mundi HMC 901389 (rec 1991); Trio Sonatas OP.5, La Stravaganza Salzburg, directed by Siegbert Rampe, Saphir INT 830.882 (rec 1990)." Early Music XXI, no. 1 (February 1, 1993): 153–55. http://dx.doi.org/10.1093/em/xxi.1.153.

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Dissertations / Theses on the topic "Trios (Oboe, violins (2))"

1

McConnell, Michael (Woodwind instrument player). "A Grundgestalt Analysis of the Clarinet Trio and Clarinet Quintet by Johannes Brahms." Thesis, University of North Texas, 2019. https://digital.library.unt.edu/ark:/67531/metadc1538725/.

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The Grundgestalt (Ger: 'basic shape') is a term coined by Arnold Schoenberg to describe the basis for coherence within a musical composition. Although neither precisely defined, nor adequately supported by examples from his literature, the Grundgestalt remains an important facet of Schoenbergian theory. Composed of several gestalten that occur repeatedly, Schoenberg's Grundgestalt functions as a germinating factor within a piece that allows its motivic, thematic, and rhythmic information to become more accessible through their frequent repetition and diverse presentation. In addition to Schoenberg's definition, the first part of this dissertation discusses the individual findings of Schoenberg's pupils Josef Rufer and Rudolf Réti. Subsequently developed by the contributions of David Epstein, Walter Frisch, Patricia Carpenter, Michael Schiano, and Brent Auerbach, their combined efforts then attempt to illustrate the organicism of the Grundgestalt, to clarify its terminology, and to refine the framework of its analysis. Based upon the framework described in the previous chapter, the second half of this dissertation presents the criteria for the determination of the Grundgestalt. Beginning with a derivation of Brent Auerbach's proto-Grundgestalt analysis that catalogs the various voice-leading strands of a given composition into a summary chart that tracks the frequency of each motive's occurrence within its underlying musical segments, the analysis then evaluates the basis for each motive's hierarchy through a relative valuation according to the principles of cardinality and individuality. Following a subsequent expansion of the rules governing the organic map that Auerbach proposed to provide a visual representation of the hierarchy described in the proto-Grundgestalt analysis, summary chart, and relative valuation, Part III this dissertation uses that data to specify the location of the Grundgestalt in Johannes Brahms' Trio, Op. 114. A subsequent analysis of Brahms' Quintet, Op. 115 then provides the information necessary to qualify the Trio as emergent Grundgestalt archetype, and the Quintet as a cyclic Grundgestalt archetype.

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2

Goodner, Robert Lynn. "Chamber music featuring trumpet in three different settings with voice, with woodwinds, with strings." 2007. http://hdl.handle.net/1903/9729.

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"A portfolio of four original music compositions." 1998. http://library.cuhk.edu.hk/record=b5889514.

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Trombone concerto (first movement) -- Post-Zero -- Trio for flute, violin and cello, no. 2.
submitted by Tang Pan-hang Benny.
Thesis submitted in: December 1997.
Thesis (M.Mus.)--Chinese University of Hong Kong, 1998.
Abstract also in Chinese.
Abstract --- p.i
摘要 --- p.ii
Acknowledgment --- p.iii
Declaration --- p.iv
Introduction --- p.1
Trombone Concerto (first movement) --- p.2
Programme notes --- p.3
Remarks --- p.5
Instrumentation --- p.6
Seating Plan --- p.7
Scores --- p.8
Post-Zero 零後 --- p.56
Introduction --- p.57
Programme notes --- p.57
Performance direction --- p.61
Instrumentation --- p.62
Seating plan --- p.62
Scores --- p.63
"Trio for Flute, Violin and Cello No.2" --- p.144
Programme notes --- p.145
Performance direction --- p.145
Scores --- p.146
Biography --- p.159
Music Works List --- p.160

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Hall, Philip Jeremy. "Portfolio of compositions and exegesis: Leitmotifs and their development." 2009. http://hdl.handle.net/2440/56830.

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This submission for the degree of Master of Music at the Elder Conservatorium of Music, University of Adelaide, consists of a portfolio of original compositions supported by an explanatory exegesis. The portfolio consists of six works: The Gingerbread Man, for a sinfonietta ensemble (woodwind quintet, two violins, viola, cello, double bass and percussion); a Jazz Quintet (alto saxophone, fluegel horn, vibraphone, tambourine and double bass); a Horn Quintet and String Quartet (violin, two violas and cello); Alone (for solo horn and 3 female voices – SSA); and Sonata for Horn (or Tuba) and Piano. The supporting exegesis explains the creative and investigative processes that have taken place, exploring the idea of the leitmotif and developing it through the six compositions within the portfolio.
http://proxy.library.adelaide.edu.au/login?url= http://library.adelaide.edu.au/cgi-bin/Pwebrecon.cgi?BBID=1457750
Thesis (M.Mus.) -- University of Adelaide, Elder Conservatorium of Music, 2009

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5

Hall, Philip Jeremy. "Portfolio of compositions and exegesis: Leitmotifs and their development." Thesis, 2009. http://hdl.handle.net/2440/56830.

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This submission for the degree of Master of Music at the Elder Conservatorium of Music, University of Adelaide, consists of a portfolio of original compositions supported by an explanatory exegesis. The portfolio consists of six works: The Gingerbread Man, for a sinfonietta ensemble (woodwind quintet, two violins, viola, cello, double bass and percussion); a Jazz Quintet (alto saxophone, fluegel horn, vibraphone, tambourine and double bass); a Horn Quintet and String Quartet (violin, two violas and cello); Alone (for solo horn and 3 female voices – SSA); and Sonata for Horn (or Tuba) and Piano. The supporting exegesis explains the creative and investigative processes that have taken place, exploring the idea of the leitmotif and developing it through the six compositions within the portfolio.
Thesis (M.Mus.) -- University of Adelaide, Elder Conservatorium of Music, 2009

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Books on the topic "Trios (Oboe, violins (2))"

1

Boismortier, Joseph Bodin de. Concerto h-Moll für zwei Soloinstrumente (Querflöte und Violine, zwei Querflöten, Querflöte und Oboe), Streicher (drei Violinen) und Basso continuo oder für zwei Soloinstrumente und Basso continuo =: Concerto in B minor for two solo instruments (flute and violin, two flutes, flute and oboe), strings (three violins) and basso continuo or for two solo instruments and basso continuo, op. 21/4. Kassel: Bärenreiter, 1988.

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2

Dornel, Antoine. Triosonate h-Moll für Querflöten oder Oboen oder Violinen und Basso continuo =: Trio sonata in B minor for flutes or oboes or violins and basso continuo, op. III/3. Kassel: Bärenreiter, 1988.

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3

Nancarrow, Conlon. Trio no. 2, oboe, bassoon, and piano. New York: C.F. Peters, 1994.

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4

Scarlatti, Alessandro. Concerto XXI dai 24 concerti del manoscritto di Napoli (1725) per flauto, 2 violini e basso continuo. Bologna: UT Orpheus, 1998.

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Scarlatti, Alessandro. Concerto XXII dai 24 concerti del manoscritto di Napoli (1725) per flauto, 2 violini e basso continuo. Bologna: UT Orpheus, 1998.

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6

Schickele, Peter. Little London trio: For two violins and viola. Bryn Mawr, Pa: Elkan-Vogel, 1990.

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7

Toch, Ernst. Serenade, op. 25, for two violins and viola. Miami Lakes, FL: Masters Music Publications, 1989.

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8

Amadeus, Mozart Wolfgang. Oboe quintet in C minor, K. 388/406, for oboe, violin, two violas and cello, or oboe, two violins, viola and cello. New York: International Music Co., 2000.

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9

Sirmen, Maddalena Laura Lombardini. Trio sonatas 1-3, for two violins and 'cello obbligato. Bryn Mawr, PA: Hildegard Pub. Co., 1996.

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10

Joseph, Haydn. Divertimento no. 25 C-dur für 2 Violinen und Violoncello, Hob. V:C3. Wien: Doblinger, 1985.

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