Letteratura scientifica selezionata sul tema "Concertos (Violin with string orchestra)"

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 Then there are four works which remain in manuscript (withdrawn from circulation): Concerto No. l for flute, vibraphone, xylophone and percussion (1961); Concerto No. 2 for tenor saxophone, double bass and percussion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.

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.

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.

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.

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).

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.

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.

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.

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.

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.

Concertino for Flute, Timpani, and String Orchestra is a three movement piece that blends Western European forms with Korean idioms. The following essay addresses pitch materials, melodic structure, rhythm, form, instrumentation, vertical structures, and developmental procedures used in the work.

Recent studies of bassoon music in twentieth-century Russia have unearthed a rich trove of previously little-known repertoire. Despite the abundance of original Russian bassoon music, little of it approaches the sophistication of the bassoon writing within the late nineteenth- and early twentieth-century Russian symphonic tradition. One work which does come close to equaling those aesthetic standards is Lev Knipper’s Concerto for Bassoon and String Orchestra (1970), which confronts the bassoonist with far greater expressive and technical demands than previous Russian solo bassoon works. In order to facilitate this concerto’s incorporation into the standard bassoon repertoire, the present study has produced the first-available critical edition of the score, piano reduction and solo bassoon part to this concerto. The edition is framed by a concise biography of the composer, including an overview of his various compositional style periods, historical background on the concerto itself and an assessment of its musical contents.

In this study the author develops a methodology for the study of the Samuel Barber Concerto for Violin and Orchestra, Opus 14 by analyzing the stylistic components of the work, presenting important pedagogical principles, and offering an array of performance practice techniques. The primary tool used to formulate the methodology was a survey of exceptional violinists and pedagogues. Twenty-six professional violinists responded to a survey that asked their suggestions for preparing and performing five specific excerpts from the Concerto. The compilation of the responses provides an invaluable guide for violinists who are studying or teaching this staple of the instrument’s repertoire.
School of Music

Research has been conducted on prominent mid-twentieth century French trumpet concertos and their composers. Jolivet, Bozza, and Tomasi have all been the subject of research. Charles Chaynes' music is equally valuable to modern trumpet repertoire as that of Jolivet, Bozza, and Tomasi. Chaynes' exclusion from research leaves a void in resources available to future trumpet students. A study of Charles Chaynes and his trumpet concertos is essential to preserving the history of the valve trumpet's young modern repertoire. Lack of understanding of Chaynes' trumpet concertos can only lead to misconceptions when interpreting these pieces. The thirty-nine year gap between Chaynes' Trumpet Concerto No. 1 and Trumpet Concerto No. 2 is a remarkable time span between major compositions, and examining the works gives insight to the evolution of the trumpet concerto throughout the twentieth century. This project highlights Charles Chaynes' contribution to the trumpet repertoire from both the beginning and end of his compositional career, and fills the research gap concerning his concertos. It includes correspondence with Charles Chaynes and others, in order to gain information not found in common source materials. It highlights examples from each concerto that are representative of the composer's compositional style.

Prokofiev had a specific approach to the modernist aesthetic that is worthy of a special study from a new perspective: eclecticism. There are two distinguishable views on his achievement in modern music. One is the Western version, which sees his eclectic approach as not innovative enough in comparison with modern composers such as Stravinsky. The other view is from the traditional Soviet approach, which holds Prokofiev in the highest esteem. These sources largely ignore Prokofiev's Paris and American periods. Such an oversimplification is likely to have reflected political circumstance. Neither the Western view nor the Soviet view provides a satisfying interpretation of Prokofiev's musical style. Therefore, understanding his eclectic approach is important to challenge and redefine our notion of Prokofiev's musical aesthetic. This dissertation examines Prokofiev's eclectic approach in his Violin Concerto in G minor with a combination of historical research and historically informed style analysis. The historical research is mainly based upon current interpretations of Prokofiev's musical style. The two contrasting views (Western and Soviet) on Prokofiev's contributions to modern music are equally lacking in objectivity due to their entrenchment in political rhetoric. Therefore, to have a more precise interpretation of Prokofiev's concerto, historically informed analysis is used to evaluate his essential self-characterization shift in his compositional style, the so-called "five lines."

This dissertation aims to examine the motivic voice leading of the first two movements of Korngold's Violin Concerto, Op. 35 to illuminate the interwoven motives within the underlying structures of the movements. The analysis principally concentrates on two main motives: the motivic tritone and rising-third motives. Moreover, the analysis of Korngold's motivic writing further investigates the semantics that are evoked by the technical aspects. With his exceptional ability to interconnect music to narratives both in operas and films, Korngold never ceased to express the recurring themes of love and revival also in his instrumental music. It is noteworthy that he borrowed only the "love themes" from his film scores for the first two movements of the violin concerto. The violin concerto was the first work written after Korngold returned to absolute music after a decade of composing for films to ensure his and his family's survival during the war. After the Anschluss, during his exile in California as a Jewish refugee, Korngold's love for his homeland Austria, his philanthropic concern for humanity, and longing for peace became his primary focus; these concerns are reflected in his Violin Concerto through his use of specific motives. By researching the historical and biographical materials, as well as employing linear analysis, this study seeks to explore the meanings of the linear motives in Korngold's music; more specifically, it attempts to show how particular motivic figures and tonal structures express the composer's ideas of transcendental "love." It argues that an in-depth understanding of both the technical and semantic aspects is also the first and foremost requirement for performing this piece.

This thesis is directed toward teachers who work primarily with music degree students on the collegiate level. Pedagogy is simply too often "hit or miss" in a student's degree curriculum, and yet the reality is that most musicians will have to teach at some point in their careers, whether they realize it as students or not.

This thesis provides a model for how to holistically integrate pedagogy into all aspects of the performance curriculum, so that string performance students are provided with the necessary tools to be both excellent performers and teachers, regardless of whether they ever take a pedagogy class. This is accomplished through: the examination of survey results regarding how schools are incorporating the National Association for Schools of Music requirements and recommendations for the integration of pedagogy into course curricula; an overview of survey results reporting how string performers and educators feel about the quality of the education they received in regards to preparedness for artist string teaching; and a discussion of how to create a holistic curriculum for performance and pedagogy that encompasses the three main areas of most string performance curriculums (the private studio, chamber music, and orchestra).

The overarching goal of this thesis is to build on the rich tradition of string playing and teaching that already exists, by introducing a curriculum that will holistically educate the student as both performer and pedagogue. At the heart of this approach is the need for fostering a "see one, do one, teach one" mentality in students.

This chapter reflects on the legacies of Sibelius’s Violin Concerto in D Minor (op. 47), noting the establishment of the Sibelius Violin Competition and listing violin concertos composed by Finnish composers after Sibelius. It discusses concerto writing as an exploration of the relationship between soloist and orchestra. By situating virtuosity as a trope in relational thought within philosophical discourses on human tendencies, this chapter argues that a politics of possibility emerges because the element of risk in a virtuoso’s performance is haunted by a moral drama played out on public stages with uncertain outcomes. This chapter, and the book as a whole, ends by moving away from a political view of the concerto to the question of how performing traditions are formed over time. The chapter concludes with a reading of the Sibelius violin concerto within the long ecological histories of musical transmission.