Articoli di riviste: "Concertos"

1

Rochester, Marc. "Concertos". Musical Times 126, n. 1707 (maggio 1985): 291. http://dx.doi.org/10.2307/961323.

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O'Loughlin, Niall. "Multiple Concertos". Musical Times 127, n. 1723 (ottobre 1986): 567. http://dx.doi.org/10.2307/964403.

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3

Stowell, Robin. "Bach Concertos". Musical Times 126, n. 1711 (settembre 1985): 539. http://dx.doi.org/10.2307/964467.

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4

Lamb, Andrew. "Offenbach Concertos". Musical Times 128, n. 1734 (agosto 1987): 421. http://dx.doi.org/10.2307/965001.

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O'Loughlin, Niall. "Flute Concertos". Musical Times 126, n. 1713 (novembre 1985): 677. http://dx.doi.org/10.2307/965056.

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6

O'Loughlin, Niall. "Clarinet Concertos". Musical Times 131, n. 1767 (maggio 1990): 273. http://dx.doi.org/10.2307/966166.

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7

Smith, Richard Langham, Heinichen, Musica Antiqua Koln, Goebel e George J. Buelow. "Dresden Concertos". Musical Times 134, n. 1805 (luglio 1993): 410. http://dx.doi.org/10.2307/1003112.

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8

Smith, Richard Langham, Bach, New London Consort e Pickett. "Brandenburg Concertos". Musical Times 136, n. 1823 (gennaio 1995): 42. http://dx.doi.org/10.2307/1003289.

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9

Humphreys, David. "Bach concertos". Early Music XXIII, n. 1 (febbraio 1995): 171–72. http://dx.doi.org/10.1093/earlyj/xxiii.1.171.

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10

Elcombe, Keith. "Baroque concertos". Early Music XXV, n. 2 (maggio 1997): 329–30. http://dx.doi.org/10.1093/earlyj/xxv.2.329.

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11

Driver, Paul. "Gruber's Concertos". Tempo, n. 178 (settembre 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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Rickards, Guy. "Petrassi's Concertos". Tempo 59, n. 233 (21 giugno 2005): 74–76. http://dx.doi.org/10.1017/s0040298205220259.

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13

Maunder, Richard. "Cataloguing concertos". Early Music 34, n. 1 (1 febbraio 2006): 148–49. http://dx.doi.org/10.1093/em/cah208.

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14

Rakochi, Vadym. "The instrumental concerto: classification ISSUES". Problems of Interaction Between Arts, Pedagogy and the Theory and Practice of Education 60, n. 60 (3 ottobre 2021): 7–35. http://dx.doi.org/10.34064/khnum1-60.01.

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Statement of the problem. The question of classification of instrumental concertos is considered in the paper. It is emphasized that the problem still remains one of the most controversial in musicology. It was noted that there were many attempts to classify the concertos but they are incomplete due to some factors. The main obstacle is a particular flexibility of the concerto resulting in many forms, structures, and forms of performance. In case when a researcher focuses on the analysis of certain characteristics of concertos (cadence, musical form, interpretation of the soloist’s part, concertos of one composer, etc.), the question of classification is out of date. Instead, while covering the evolution of a concerto in general, the need to systematize the latest emerges. Thus, the significance of the concerto’s changes in different historical and socio-cultural conditions and the unequal interpretation of the concept of “genre classification” can be the obstacles, which make the classification process difficult. Among methods used, the following can be outlined: comparative, systematic, structural-functional, and historical approaches have been used to reveal the interaction between the soloists and the orchestra in different historical contexts and to follow up changes in different elements’ interactions. The purpose of the research paper is to offer a cross functional concerto’s classification as well as to reveal the role of the orchestra as a unifying criteria in it. The results obtained prove that the proposed classification of concertos is based on their categorization as the formation of hierarchical relationships between the most of structural elements. All criteria for classifying have been divided into two groups: conceptual (genre features, presence of singer parties, type of interaction, stylistic epoch, “purity of the genre”) and constructive (number of soloists and orchestras, choice of solo instrument, instrumental composition of the orchestra, typical or atypical music forms). All these elements are arranged in a hierarchy, the consequence of subordination levels is explained, multilevel connections between separate components are established. The conclusion was drawn that there is an adequate order of all criteria that allows us to offer a cross functional concerto’s classification. The orchestra plays a key role in it. Six periods of particularly intense correlation between the evolution of the instrumental concerto and the transformations of the orchestra have been disclosed

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15

Hill, George R., Eugene K. Wolf, Douglass M. Green e Gordana Lazarevich. "Antecedents of the Symphony. The Ripieno Concerto: Five Concertos". Notes 42, n. 2 (dicembre 1985): 389. http://dx.doi.org/10.2307/897447.

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Ma, Rong, e Professor Advisor. "Performer’s Guide for Luigi Boccherini’s Cello Concerto No. 9 in B-flat Major from a Pedagogical Point of View". Learning & Education 10, n. 5 (13 marzo 2022): 193. http://dx.doi.org/10.18282/l-e.v10i5.2734.

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Cello Concerto No. 9 in B-flat Major by Luigi Boccherini, edited by German cellist and composer Friedrich Grützmacher, is the bridge to lead amateur cellists to become professional, and it is essential for cellists in building a solid foundation before exploring other standard concertos. Similar to the major concertos, including the Elgar Concerto in E Minor, the Schumann Cello Concerto in A minor, or the Dvorak Cello Concerto in B minor, Boccherini’s Cello Concerto No. 9 contains virtuosic techniques, such as various bow strokes, vibrato, thumb position, shifting, rapid string crossings and double stops. However, compared to the major concertos, Boccherini’s concerto has an easier musical structure and a shorter music length, so it serves as a preparation before continuing on to the more standard concertos. This paper will provide a pedagogical approach to the Boccherini’s ninth concerto, along with analyzing other composers’ pedagogical approaches with supporting materials, such as etudes and cello exercises written by string pedagogue and violinist Shinichi Suzuki, and Bohemian cellist and composer David Popper.

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Pavlo, Knysh. "Romantic interpretative model of F. Chopin’s Piano Concertos in A. Rubinstein’s (First Concerto) and H. Czerny-Stefańska’s (Second Concerto) versions". Problems of Interaction Between Arts, Pedagogy and the Theory and Practice of Education 63, n. 63 (23 gennaio 2023): 108–23. http://dx.doi.org/10.34064/khnum1-63.06.

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The Romantic model of interpretation is characterized by significant influence of an interpreter on the composer’s text in those part, which is the field of performer’s responsibility, and it is an alternative to the Classical as well as the Impressionistic models proposed by some scholars. The purpose of the present research is to reveal the features of Romantic interpretational model of F. Chopin’s Piano Concertos based on examples of various performers’ versions. The article analyses the performances of F. Chopin’s Piano Concertos by two outstanding pianists of the XX century, A. Rubinstein and H. Czerny-Stefańska; it is revealed how the Romantic mode of interpretation is embodied in their sound versions of these pieces. The individual approachs of the performers to the choice of temps are studied; it is revealed how the pianists emphasise the genre genesis of the certain themes of the Concertos. The performance stiyle of H. CzernyStefańska’s is briefly outlined, since she is much lesser-known in Ukrainian musicologyic space than A. Rubinstein. At the first time the idea of three interpretative models (Romantic, Classical, Impressionistic) is applied to the musical material of F. Chopin’s piano Concertos regarded in the article. Based on analysis, the conclusion is made that the both version of Piano Concertos by F. Chopin considered in the study lean to the Romantic model of interpretation. At the same time, it is quite natural that they are not the same in their essence that can be explained both, by obvious reasons (the choice of different Concertos or gender-determined performing differences), and by individual artistic preferences of the pianists, by their unique performance styles. For instance, A. Rubinstein chooses somewhat slowed down temps in multiple passages of the Concerto, including its first movement, he emphases the song features of many themes in the cases where it is appropriate and does not contradict what was written by the composer. H. Czerny-Stefańska tends to accentuate emotionallyplayful essence of the Concerto, as she focuses her attention on different types of intonation, articulation, dynamics etc. Obviously, she does not neglect lyrical nature of the work, in several themes stressing it as a predominant genre genesis. Nevertheless, H. Czerny-Stefańska aims to break the stereotypes of “feminine performance” of F. Chopin’s music, which can be seen in tendency to “wide strokes” and creation of through line of musical development.

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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 (27 ottobre 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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Gurgul, Wojciech. "A Panorama of Polish Guitar Concertos". Edukacja Muzyczna 15 (2020): 85–103. http://dx.doi.org/10.16926/em.2020.15.12.

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The present article constitutes an attempt at outlining the musical oeuvre of Polish composers in the field of concertos for guitar and orchestra. Since the 1940s, when the first concerto with a guitar part was created, more than 100 concertos have been composed in Poland. In an effort to write such a piece of music, composers discovered different creative paths, which often revealed various new colours of the guitar. The article discusses a proposal to divide the concertos created in Poland according to the specificity of the pieces, introduces the history of the first Polish concertos and paints a picture of guitar literature created by 2020.

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Özer, Yigitcan, Simon Schwär, Vlora Arifi-Müller, Jeremy Lawrence, Emre Sen e Meinard Müller. "Piano Concerto Dataset (PCD): A Multitrack Dataset of Piano Concertos". Transactions of the International Society for Music Information Retrieval 6, n. 1 (2023): 75–88. http://dx.doi.org/10.5334/tismir.160.

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21

O'Loughlin, Niall. "18th-Century Concertos". Musical Times 128, n. 1728 (febbraio 1987): 92. http://dx.doi.org/10.2307/964790.

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22

Cammarota, Robert M., Matthias Weckmann e Alexander Silbiger. "Four Sacred Concertos". Notes 43, n. 1 (settembre 1986): 177. http://dx.doi.org/10.2307/897860.

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23

Forsberg, Suzanne, Maddalena Laura Lombardini Sirmen e Jane L. Berdes. "Three Violin Concertos". Notes 50, n. 3 (marzo 1994): 1173. http://dx.doi.org/10.2307/898605.

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Tyniec, Andréa. "Three Violin Concertos". Circuit: Musiques contemporaines 28, n. 2 (2018): 112. http://dx.doi.org/10.7202/1051300ar.

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Sweeney-Turner, Steve, Bach, Malcolm Boyd, Mozart, Elaine Sisman, Mendelssohn e R. Larry Todd. "The Brandenburg Concertos". Musical Times 135, n. 1813 (marzo 1994): 156. http://dx.doi.org/10.2307/1002903.

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26

Anderson, Robert, Mariaclara Monetti, ECO, Brigitte Haudebourg, Frederick Marvin, Dana Protopopescu, Slovak Radio New PO e Alexander Rahbari. "Paisiello: Piano Concertos". Musical Times 135, n. 1819 (settembre 1994): 578. http://dx.doi.org/10.2307/1003315.

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Boyd, Malcolm. "18th-Century Concertos". Musical Times 126, n. 1704 (febbraio 1985): 101. http://dx.doi.org/10.2307/963482.

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Davies, Benjamin K. "Joan Guinjoan concertos". Tempo 59, n. 234 (21 settembre 2005): 56–57. http://dx.doi.org/10.1017/s0040298205220326.

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JOAN GUINJOAN: Concerto for clarinet and orchestra; Concerto for piano and orchestra; Música per a violoncel i orquestra. Joan Enric Lluna (cl), David Abramovitz (pno), Lluís Claret (vlc). Orquestra Simfònica de Barcelona i Nacional de Catalunya, c. Ernest Martínez Izquierdo. Harmonia Mundi HMI 987056.

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Palmer, Peter. "Swiss Cello Concertos". Tempo 60, n. 235 (gennaio 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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Cooper, Barry. "Keyboard concertos galore". Early Music 44, n. 1 (febbraio 2016): 161–64. http://dx.doi.org/10.1093/em/caw008.

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Dibble, Jeremy. "Context, Form and Style in Sterndale Bennett’s Piano Concertos". Nineteenth-Century Music Review 13, n. 2 (dicembre 2016): 195–219. http://dx.doi.org/10.1017/s1479409816000616.

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A concert pianist in his own right and a prodigious youth, Sterndale Bennett composed his five complete piano concertos at the beginning of his career. Although Mozart is often cited as a major influence on Bennett’s musical style, and Bennett was a keen executant of Mozart’s piano concertos throughout his career as a virtuoso (at a time when a performing tradition of Mozart’s concertos was still establishing itself), of equal or even greater impact on Bennett’s style of concerto was the ‘London School’ of pianists, among them Field, Hummel, Potter (Bennett’s teacher), Cramer and Moscheles whose first-movement structural paradigms of ritornello and sonata are especially evident in the corresponding movements of the first four of Bennett’s concertos. Structural and stylistic factors are also discussed in relation to the more romantically inclined slow movements (which includes an examination of the programmatic movement of the Third Concerto in C minor Op. 9, so enthusiastically reviewed by Schumann in Leipzig, and the unpublished ‘Adagio in G minor’) as well as the ‘shared sonata’ schemes of the finales in which the influence of Mendelssohn features more conspicuously. Finally, the stylistic amalgam of Bennett’s concertos, in particular the frequently performed Fourth Concerto in F minor Op. 19 and the unpublished Konzert-Stück in A minor, is considered within the larger context of the first half of the nineteenth century with particular reference to the tensions that existed between the composer’s classical instincts and the desire to experiment with freer Romantic forms.

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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, n. 57 (10 marzo 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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Plotnikova, N. Yu. "FOUR-PART CHORAL CONCERTOS BY NIKOLAY DILETSKY: ON THE WAY TO PUBLICATION". Arts education and science 1, n. 4 (2020): 63–72. http://dx.doi.org/10.36871/hon.202004008.

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The author's discovery of 2012 four-part choral concertos by Nikolay Diletsky, an outstanding composer of the Baroque period, completed in 36, broadened the understanding of Russian Baroque music and the partes concerto genre. This was the starting point for preparing the works for publication (32 concertos are currently composed in full four-part scores). The article reveals the main stages of this path. Special attention is paid to source studies: searching in various archives in Russia and abroad for manuscripts containing Diletsky's concertos, attribution, dating and description of manuscript sources. Analyzing the paleographic features of manuscripts, their composition, the author makes assumptions and conclusions about the chronology and geography of Diletsky's concertos in Russia, about their demand in the singing repertoire of the last third of the XVIIth — late XVIIIth centuries, about the degree of popularity of certain concertos. Of particular importance is the discovery of the earliest manuscripts, which can be attributed to lifetime. The article examines various singing centers in Russia where manuscripts with Diletsky's concertos were created or preserved: Tobolsk, Novy Valaam and Yaroslavl, the largest center of the middle XVIIIth century.

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LaRue, Jan, David Cannata, Kathryn Shanks, Johann Christian Bach e Richard Maunder. "Keyboard Concertos, I-IV". Notes 46, n. 3 (marzo 1990): 797. http://dx.doi.org/10.2307/941446.

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35

Jones, Tim. "Mozart's keyboard concertos reconsidered". Early Music XXV, n. 3 (agosto 1997): 479–84. http://dx.doi.org/10.1093/earlyj/xxv.3.479.

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36

Grayson, David. "Review: Mozart's Piano Concertos". Music and Letters 85, n. 2 (1 maggio 2004): 281–85. http://dx.doi.org/10.1093/ml/85.2.281.

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37

Klett, R., e D. Langworthy. "Ivo Dimchev's Body Concertos". Theater 42, n. 3 (1 gennaio 2012): 88–92. http://dx.doi.org/10.1215/01610775-1597647.

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38

Holman, P. "Bach concertos and cantatas". Early Music 34, n. 3 (1 agosto 2006): 517–20. http://dx.doi.org/10.1093/em/cal047.

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39

Kitchen, J. "Bach concertos and suites". Early Music 36, n. 2 (1 maggio 2008): 336–38. http://dx.doi.org/10.1093/em/can010.

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40

Mangsen, S. "Bolognese sonatas and concertos". Early Music 37, n. 3 (1 agosto 2009): 470–73. http://dx.doi.org/10.1093/em/cap047.

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41

Cross, E. "Handel sonatas and concertos". Early Music 37, n. 4 (1 novembre 2009): 683–85. http://dx.doi.org/10.1093/em/cap087.

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42

Roche, E. "Telemann concertos and suites". Early Music 37, n. 4 (1 novembre 2009): 694–97. http://dx.doi.org/10.1093/em/cap094.

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Irving, J. "Mozart: complete fortepiano concertos". Early Music 40, n. 4 (1 novembre 2012): 721–22. http://dx.doi.org/10.1093/em/cas118.

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Lehman, B. "Two dozen Bach concertos". Early Music 43, n. 1 (7 gennaio 2015): 175–79. http://dx.doi.org/10.1093/em/cau144.

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45

Jacobs, Arthur, Sterndale Bennett, Philharmonia, LPO e Braithwaite. "Piano Concertos nos. 1 & 3. Piano Concertos nos. 2 & 5". Musical Times 132, n. 1782 (agosto 1991): 399. http://dx.doi.org/10.2307/965901.

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46

Giardina, Adriano. "Vers le style d’exécution « mainstream » des concertos pour piano de Mozart: l’enregistrement Columbia du Concerto en Sol majeur, K. 453, par Ernst von Dohnányi". Studia Musicologica 58, n. 2 (giugno 2017): 197–224. http://dx.doi.org/10.1556/6.2017.58.2.4.

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Abstract (sommario):

The gramophone recording of Mozart’s Piano Concerto in G major, K. 453, featuring Ernst von Dohnányi as soloist and conductor of the Budapest Philharmonic Orchestra, made in 1928 for the Columbia Company, is important in many respects. The Hungarian pianist and composer made little more than a handful of gramophone recordings until the late 1940s. This performance is also the first audio recording ever to be published that contained a Mozart piano concerto (some piano rolls with concertos or extracts did exist beforehand). From the beginning of his career, Dohnányi had been one of the keenest promoters of the Austrian composer’s piano pieces. In the Columbia recording, the performing style of Dohnányi and his orchestra is characteristic of its time, notably because it chooses to use a flexible tempo. In addition, the soloist makes use of rubato and chord dislocation. Nonetheless, the performers are also playing in an intimate conversational tone and they emphasize Mozart’s structural clarity. The execution of themes by the pianist is both poetic and restrained. These traits will define the “mainstream” performing style of Mozart’s piano concertos over most of the twentieth century. An implicit aesthetic standard comes into force in the critical reviews of the Columbia records: Mozart’s piano concertos require lightness and gentleness from the soloist. The elements given prominence to the recording and in the reviews also appear in contemporary musicological literature and in texts on music. Recordings of two additional Mozart piano concertos (K. 271 and K. 503), played live by Dohnányi in the 1950s, display a broadly similar performing style. Over the ten years that followed the Columbia recording, the majority of Mozart’s “great” piano concertos were published on records. This newly found popular interest is connected with a positive re-evaluation of this group of Mozart’s works.

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47

Martynova, V. I. "Concerto for Oboe and Orchestra in the Works by Modern Time Composers: Aspects of Genre Stylistics". Problems of Interaction Between Arts, Pedagogy and the Theory and Practice of Education 54, n. 54 (10 dicembre 2019): 71–93. http://dx.doi.org/10.34064/khnum1-54.05.

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Introduction. Concerto for oboe and orchestra in the music of modern time (20th – early 21st centuries), on the one hand, is based on the traditions of past eras, on the other hand, it contains a number of new stylistic trends, among which the leading trend is the pluralism of composer’s decisions. Despite this, the works created during this period by the composers of different national schools can be divided into three groups – academic, experimental, and pastoral. The article gives the review of them. Objective. The main objective of the article is to identify the features of genre stylistics in oboe concertos by composers of the 20th – early 21st centuries. Methods. In order to realize this objective, the elements of a number of general scientific and special musicological research methods have been used – historical-and-genetic, deductive, comparative, organological, stylistic, genre and performing analysis. Results and Discussion. The article discusses and systematizes the features of the genre stylistics of modern time oboe concertos. Based on the analysis of the historical-and-stylistic context, the correlation of traditions and innovations in the oboe-concerto genre, as well as the nature of the relationship between concerto and chamber manners as its common features are revealed. The classification of oboe concertos of the specified period by three genre-and-style groups – academic, experimental, and pastoral, is proposed. The main development trends in each of these groups are analyzed, taking into account the genre, national and individual-author’s stylistics (more than 70 pieces are involved). For the first time, the generalizations are proposed regarding the oboe expressiveness and techniques, generally gravitating towards universalism as a style dominant in the concerto genre. It is noted that, in spite of this main trend, the oboe in the concertos by modern time masters retains its fundamental organological semantics – the aesthetics and poetics of pastoral mode. The music of modern time, the count of which starts from the last decade of the 19th century and to present, comes, on the one hand, as a unique encyclopedia of the previous genres and styles, and on the other hand, as a unique multicomponent artistic phenomenon of hypertext meaning. The first is embodied in the concept of the style pluralism which means the priority of the person’s (composer’s and performer’s) component in aesthetics and poetics of a musical work. The second involves an aspect of polystylistics that is understood in two meanings: 1) aesthetic, when different stylistic tendencies are represented in a particular artistic style; 2) purely “technological”, which is understood as the technique of composing, when different intonation patterns in the form of style quotations and allusions (according to Alfred Schnittke) constitute the compositional basis of the same work. It is noted that the oboe concertos of the modern time masters revive the traditions of solo music-making, which were partially lost in the second half of the 19th century. At the new stage of evolution, since the early 20th century (1910s), the concerto oboe combines solo virtuosity with chamber manner, which is realized in a special way by the authors of different styles. Most of them (especially in the period up to the 1970s–1980s of the previous century) adhere to the academic model which is characterized by a three-part composition with a tempo ratio “fast – slow – fast” with typical structures of each of the parts – sonata in the first, complex three-part in the second, rondo-sonata in the third, as well as traditional, previously tried and used means of articulation and stroke set (concertos by W. Alvin, J. Horovitz – Great Britain; E. T. Zwillich, Ch. Rouse – USA; O. Respighi – Italy; Lars-Erik Larrson – Switzerland, etc.). The signs of the oboe concertos of the experimental group are the freedom of structure both in the overall composition and at the level of individual parts or sections, the use of non-traditional methods of playing (J. Widmann, D. Bortz – Germany; C. Frances-Hoad, P. Patterson – England; E. Carter – USA; J. MacMillan – Scotland; O. Navarro – Spain; N. Westlake – Australia). The group of pastoral concertos is based on highlighting the key semantics of oboe sound image. This group includes concertos of two types – non-programmatic (G. Jacob, R. Vaughan Williams, M. Arnold – Great Britain; О. T. Raihala – Finland; M. Berkeley, Е. Carter – USA and other authors); programmatic of two types – with literary names (L’horloge de flore J. Françaix – France; Helios, Two’s Company T. Musgrave; Angel of Mons J. Bingham – Great Britain); based on the themes of the world classics or folklore (two concertos by J. Barbirolli – Great Britain – on the themes of G. Pergolesi and A. Corelli; Concerto by B. Martinu – Czechia – on the themes from Petrushka by I. Stravinsky, etc.). This group of concertos also includes the genre derivatives, such as suite (L’horloge de flore J. Françaix); fantasy (Concerto fantasy for oboe, English horn and orchestra by V. Gorbulskis); virtuoso piece (Pascaglia concertante S. Veress); concertino (Concertino by N. Scalcottas, R. Kram, A. Jacques); genre “hybrids” (Symphony-Concerto by J. Ibert; Symphony-Concerto by T. Smirnova; Chuvash Symphony-Concerto by T. Alekseyeva; Concerto-Romance by Zh. Matallidi; Concerto-Poem for English horn, oboe and orchestra by G. Raman). Conclusions. Thus, the oboe concerto in the works by modern time composers appears as a complex genre-and-intonation fusion of traditions and innovations, in which prevail the individual-author’s approaches to reproducing the specificity of the genre. At the same time, through the general tendency of stylistic pluralism, several lines-trends emerge, defined in this article as academic, experimental, and pastoral, and each of them can be considered in more detail in the framework of individual studies.

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Пастушкова, Анна Сергеевна. "Opera-Based Instrumental Parodies in Antonio Vivaldi's Concertos". Музыкальная академия, n. 4(772) (21 dicembre 2020): 46–67. http://dx.doi.org/10.34690/112.

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В статье рассмотрена проблема композиционных параллелизмов между инструментальными концертами и оперными ариями Антонио Вивальди. Введены термины для описания типов «театрализованной» ритурнельной формы и композиционного устройства концертов. Показано влияние признаков оперной арии на форму и жанровую специфику частей инструментального концерта. Предложена новая классификация примеров протяженного цитирования оперных арий в инструментальных концертах, среди которых - неизвестные ранее цитаты, обнаруженные автором статьи в концертах RV 139, RV 159 и RV 189. The article deals with thematic concordances between instrumental concertos and operatic arias by Antonio Vivaldi. New terms are proposed in order to describe the types of ‘operatic' ritornello form and sections of musical compositions. Comparative analysis of the music material of arias and corresponding concertos shows the influence of operatic aria's features to musical form and genre of concerto's movements. Based on various types of such influence, new classification of all presently known cases of the operatic arias reworked by Vivaldi for his instrumental concertos and vice versa is delivered. Proposed classification includes previously unknown cases of self-borrowing discovered by the author of this article in the instrumental concertos RV 139, RV 159 and RV 189.

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Wright, David, Cristina Ortiz, Royal Philharmonic Orchestra e Gomez-Martinez. "Villa-Lobos: Five Piano Concertos". Musical Times 133, n. 1797 (novembre 1992): 588. http://dx.doi.org/10.2307/1002598.

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50

Freeman, Daniel E. "The Earliest Italian Keyboard Concertos". Journal of Musicology 4, n. 2 (1986): 121–45. http://dx.doi.org/10.2307/763792.

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