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1
Renat, Maryla. "The synthesis of tradition and avant-garde techniques in selected polish violin sonatas from the second half of the 20th century." Notes Muzyczny 2, no. 12 (December 13, 2019): 199–216. http://dx.doi.org/10.5604/01.3001.0013.7175.
Повний текст джерелаАнотація:
The article presents four chamber violin sonatas for an instrument duo written in the 1970s and 1980s, which in their concept of form and shape combine the elements of the widely understood tradition with innovative means of composition technique. The subject for a closer analysis are the following works: • Witold Rudziński, Sonata pastorale per violino e piano forte, 1978 (PWM, Cracow 1983) • Sławomir Czarnecki, Sonate tragique für Violine und Klavier, 1982 (Tonos, Darmstadt 1988) • Jan Krenz, Sonatina for two violins, 1986 (Brevis, Poznań 1994) • Zbigniew Bargielski, Sonate für Violine und Klavier „The sonata of oblivion”,1987, autograph. Each sonata listed above renders an individual concept for combining paradigms adopted from the tradition (e.g. forms, use of quotation, expression idiom) with selected avant-garde means in sound technique, which mainly derives from the sonoristic trend. What Witold Rudziński’s Sonata pastorale per violino e piano forte draws from music tradition is the thematic character of musical thoughts, and in its sound sphere it introduces the means of mild sonoristic, maintaining a balance between them. Sławomir Czarnecki’s Sonate tragique für Violine und Klavier using the quotation from the sequence of Dies irae refers to the Late-Romantic expression to which it adds unusual methods of sound production and sonoristic middle episode. The function of these innovative means is to contrast it against dramatic expression of the piece’s outermost elements. The third discussed work, Sonatina for two violins by Jan Krenz corresponds with the neoclassical trend from the 20th century and brings out diverse elements of violin technique. It refers to the B-A-C-H sound symbol known from the past and to the variation form and combines them with more recent sound structures. The fourth composition, Sonate für Violine und Klavier by Zbigniew Bargielski, is the most innovative one in terms of its sound layer and formal concept. Its connection to the past is maintained thanks to a quotation from Chopin’s music transformed in an interesting way. The analysis of the sonatas leads to the following final conclusion: the tradition and the avant-garde in the discussed works from the postmodern period are not in opposition one against another in terms of style and aesthetics but they create complementary phenomena, in which the message drawn from tradition is given a new face.
2
Smith, Richard Langham, Biber, Romanesca, Matteis, and The Arcadian Academy. "Violin Sonatas." Musical Times 136, no. 1825 (March 1995): 162. http://dx.doi.org/10.2307/1004013.
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3
Каrachevtseva, Inna. "Stylistic phenomenon of Violin sonatas by Franz Schubert." Aspects of Historical Musicology 16, no. 16 (September 15, 2019): 106–25. http://dx.doi.org/10.34064/khnum2-16.06.
Повний текст джерелаАнотація:
Background. In recent years musicologists revealed an increasing interest in the problem of historical typology of F. Schubert’s composer style. In fact, scholars question possibility to characterize it as romantic, in their turn suggesting another interpretations and characteristics. For instance, M. Brown avoids usage of the term “Romantic” referring to F. Schubert, insisting on him being a part of a Classical tradition. In order to substantiate his viewpoint, the scholar appeals to harmony of the composer, where novelties, according to M. Brown, are not in fact innovations but incredibly skilful incarnation of Classical ideas. More moderate opinion on the discussed problem is stated by Ch. Rosen (2003). While acknowledging “revolutionary” nature of F. Schubert’s harmony, the scholar simultaneously points out a “special status” of the composer in musical art, a status not allowing to apply neither Classical, nor Romantic standards to the works of master. Consequently, as Ch. Rosen says, F. Schubert ended up being “in-between” Classical tradition and Romantic innovations. In his earlier study (1997) abovementioned author uses term “Postclassicism” referring to F. Schubert and other artists of his generation. A collision “F. Schubert – L. van Beethoven” is regarded both by Е.Badura-Skoda (2004) and J. Daverio (2002). The latter one tries to solve it while regarding it through prism of R. Schumann’s observation on this problem. Thus, it is obvious that reception of F. Schubert’s style as typologically ambiguous has a long-lasting history dating back to Romantic era. This intrigue can be found in researches of XX century as well. For example, phenomenon of style of F. Schubert’s chamber works has become a topic of P. Wolfius’ rumination, who defined it as “intermediate” (1974). Mentioned above works of the last third of XX century and beginning of XXI century prove relevance of the problem of historical typology of F. Schubert’s composer style for modern musicology. This calls for its further development through analytical studying of musical material while using historically-typological method of research. In the given aspect, special attention should be drawn to early works by composer, including four Violin sonatas. Objectives. The goal of this paper is to comprehend stylistic phenomenon of these works as a result of mixture of Classical experience gained by F. Schubert and first signs of his oncoming individual view on the essence of music and sound. Methods. In order to achieve this goal, the author of current work uses a periodization of F. Schubert’s chamber legacy, created by H. Gleason and W. Becker (1988) as well as models of “biography scenario”, revealed by N. Savytska (2010). According to the former one, Violin sonatas, written in 1816–1817, don’t belong to the “mature” works; at the same time according to the latter ones, due to F. Schubert’s style evolution being smooth and gradual its starting and finishing points have no radical discrepancies, that would be caused by the change of orientation of composer’s creative method, and as a result, in the early works one can discern some key features of the mature ones. It is relevant, among others, for the sonata genre, where composers first achievements, incidentally, were made in its violin type, preceding highly individual accomplishments of piano sonatas. This situation in the given article is explained as a result of a composer becoming more and more mature as a musician through his life, undoubtedly influenced by special features of this process. Results and discussion. Given that F. Schubert’s Violin sonatas are named differently by performers, publishers and scholars (op. 137 consists of three Sonatas or Sonatinas, op. 162 is also known as “Duo”), it was necessary to conduct a research basing on various sources (Holl, 1973; Vetter, 1953; Deutsch, 1978), in order to ensure righteousness of definition of all the pieces regarded as “sonata”. On the foreground of observation on F. Schubert’s understanding of the cycle it was possible to reveal composer’s loyalty to rules of his time. Sonata ор. 137 № 1 is composed as a classical three-movement model; subsequent ones, including op. 162, embody four-movement model, and that can be a reason to draw parallels between F. Schubert and L. van Beethoven. Individual steps of the journey of author’s self-identification as a composer are traced. Sonata ор. 137 № 1 is marked by frequent employment of variative development in the principal theme of the first movement, that causes its turning into digressive episode; inclusion of contrasting episode in the middle sections of Andante in Sonatas ор. 137 № 2–3 (that is not prescribed by chosen musical form) foreshadows tonal device, favoured by F. Schubert in his mature works – preference to Subdominant sphere over Dominant in four-movement cycle with tonal and dramaturgical highlighting of pair “lyricism – game” in middle movements (slow ones and Minuets); binarity of tonal centres in expositions and even recapitulations of sonata form being substituted by ternarity, that causes a whole section to be a principal unit of structure etc. Sonata op. 162 acquires significance of climax in F. Schubert’s ascent to self-identity in sonata genre. Its expanded structure, including gigantic development of the Finale, Minuet being substituted by Scherzo, parts of performers being completely equal in every respect allow to regard this work as first “Grand Sonata” in F. Schubert’s legacy. Moreover – experience gained by composer while creating it will be applied in cyclic composition for piano in mature period of creativity. Conclusions. In Conclusions analytical observations are summarized and generalized as well as levels of artistic structure of Violin sonatas, incarnating specifics of F. Schubert’s understanding of music as a composer of his historical time, are revealed.
4
Allenby, David, Reger, and Ulrike-Anima Mathe. "Three Sonatas for Unaccompanied Violin." Musical Times 134, no. 1806 (August 1993): 468. http://dx.doi.org/10.2307/1003040.
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Talbot, Michael. "A Thematic Catalogue of the Instrumental Music of Martino Bitti (1655/6–1743)." Royal Musical Association Research Chronicle 46 (2015): 46–94. http://dx.doi.org/10.1080/14723808.2014.986256.
Повний текст джерелаАнотація:
Martino Bitti (1655/6–1743) was the leading violinist-composer working in Florence during a long period stretching from Corelli's first published works to the mature years of Vivaldi. Ironically, his nine sonatas for wind instruments are better known today than the 27 solo sonatas for his own instrument, the violin, which constitute a corpus of great technical accomplishment and musical expressiveness. Since the publication of a critical edition of Bitti's violin sonatas is currently in progress, the moment is right to present a thematic catalogue of his instrumental music, which forms the second part of the article. The first part comprises an updated biography of the composer (which for the first time proposes that Bitti briefly visited England) and a general evaluation of his highly distinctive musical style.
6
Tatian, Carol, George Frideric Handel, and David Burrows. "Sonatas for violin and basso continuo." Notes 45, no. 2 (December 1988): 384. http://dx.doi.org/10.2307/941372.
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Walls, Peter. "Performing Corelli's Violin Sonatas, op.5." Early Music XXIV, no. 1 (February 1996): 133–43. http://dx.doi.org/10.1093/earlyj/xxiv.1.133.
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Swack, Jeanne. "John Walsh's Publications of Telemann's Sonatas and the Authenticity of ‘Op. 2’." Journal of the Royal Musical Association 118, no. 2 (1993): 223–45. http://dx.doi.org/10.1093/jrma/118.2.223.
Повний текст джерелаАнотація:
In the past decade the eighteenth-century London music publisher John Walsh has been subject to a new evaluation with regard to his pirated editions and deliberate misattributions, especially of the music of George Frideric Handel. That Walsh's attributions were anything but trustworthy had already been recognized in the eighteenth century: a surviving copy (London, British Library, BM g.74.d) of his first edition of the Sonates pour un traversiere un violon ou hautbois con basso continuo composées par G. F. Handel (c.1730), which, as Donald Burrows and Terence Best have shown, was provided with a title-page designed to simulate that of Jeanne Roger, bears the manuscript inscription ‘NB This is not Mr. Handel's’ in an eighteenth-century hand at the beginning of the tenth and twelfth sonatas, precisely those that Walsh removed in his second edition of this collection (c. 1731–2), advertised on the title-page as being ‘more Corect [sic] than the former Edition’. In the second edition Walsh substituted two equally questionable works in their place, each of which bears the handwritten inscription ‘Not Mr. Handel's Solo’ in a copy in the British Library (BM g.74.h). Two of the sonatas attributed to Handel in Walsh's Six Solos, Four for a German Flute and a Bass and Two for a Violin with a Thorough Bass … Composed by Mr Handel, Sigr Geminiani, Sigr Somis, Sigr Brivio (1730; in A minor and B minor) are also possibly spurious, while three of the four movements of the remaining sonata attributed to Handel in this collection (in E minor) are movements arranged from his other instrumental works. And in 1734 Johann Joachim Quantz, to whom Walsh devoted four volumes of solo sonatas (1730–44), complained of the publication of spurious and corrupted works:There has been printed in London and in Amsterdam under the name of the [present] author, but without his knowledge, 12 sonatas for the transverse flute and bass divided into two books. I am obliged to advertise to the public that only the first, second, fourth, fifth and sixth [sonatas] from the first book, and the first three from the second book, are his [Quantz's] compositions; and that he furthermore wrote them years ago, and besides they have, due to the negligence of the copyist or the printer, gross errors including the omission of entire bars, and that he does not sanction the printing of a collection that has no relationship with the present publication that he sets before the public.
9
Matthew-Walker, Robert. "Hoddinott's Programmatic Structuralization." Tempo, no. 209 (July 1999): 22–26. http://dx.doi.org/10.1017/s0040298200014650.
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Alun Hoddinott has written music steadily for 50 years and, as a constantly prolific composer, has amassed an impressively wide-ranging body of work: six operas, ten symphonies, 20 concertos, a dozen piano sonatas, five violin sonatas, with vocal, choral, orchestral and instrumental works of equal abundance – in all, an output of about 300 works with which even his most ardent admirer will have found it difficult to keep up.
10
Rickards, Guy. "Music by women composers." Tempo 59, no. 234 (September 21, 2005): 66–72. http://dx.doi.org/10.1017/s0040298205300325.
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HOWELL: Violin Sonata in F minor; Rosalind for violin & piano; Piano Sonata in E minor; Humoresque for piano; 5 Studies for piano. Lorraine McAslan (vln), Sophia Rahman (pno). Dutton Epoch CDLX 7144.BACEWICZ: Violin Sonatas Nos. 4–5; Oberek No. 1; Sonata No. 2 for violin solo; Partita; Capriccio; Polish Capriccio. Joanna Kurkowicz (v;n), Gloria Chien (pno). Chandos CHAN 10250.MARIC: Byzantine Concerto1; Cantata: Threshold of Dream2,3,6; Ostinato Super Thema Octoïcha4–6; Cantata: Song of Space7. 1Olga Jovanovic (pno), Belgrade PO c. Oskar Danon, 2Dragoslava Nikolic (sop, alto), 3Jovan Milicevic (narr), 4Ljubica Maric (pno), 5Josip Pikelj (hp), 6Radio-TV Belgrade CO c. Oskar Danon, 7Radio-TV Belgrade Mixed Choir & SO c. Mladen Jagušt. Chandos Historical 10267H.MUSGRAVE: For the Time Being: Advent1; Black Tambourine2–3; John Cook; On the Underground Sets1–3. 1Michael York (narr), 2Walter Hirse (pno), 3Richard Fitz, Rex Benincasa (perc),New York Virtuoso Singers c. Harold Rosenbaum. Bridge 9161.KUI DONG: Earth, Water, Wood, Metal, Fire1; Pangu's Song2; Blue Melody3; Crossing (electronic/computer tape music); Three Voices4. 1Sarah Cahill (pno), 2Tod Brody (fl), Daniel Kennedy (perc), 3San Francisco Contemporary Music Players c. Olly Wilson, 4Hong Wang (Chinese fiddle), Ann Yao (Chinese zither), Chen Tao (bamboo fl). New World 80620-2.FIRSOVA: The Mandelstam Cantatas: Forest Walks, op. 36; Earthly Life, op. 31; Before the Thunderstorm, op. 70. Ekaterina Kichigina (sop), Studio for New Music Moscow c. Igor Dronov. Megadisc MDC 7816.KATS-CHERNIN: Ragtime & Blues. Sarah Nicholls (pno). Nicola Sweeney (vln). Signum SIGCD058.CHAMBERS: A Mass for Mass Trombones. Thomas Hutchinson (trb), Ensemble of 76 trombones c. David Gilbert. Centaur CRC 2263.
11
Zaslaw, Neal. "Ornaments for Corelli's Violin Sonatas, op.5." Early Music XXIV, no. 1 (February 1996): 95–118. http://dx.doi.org/10.1093/earlyj/xxiv.1.95.
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Zaslaw, N. "Ornaments for Corelli's violin sonatas, op.5." Early Music 24, no. 1 (February 1, 1996): 95–115. http://dx.doi.org/10.1093/em/24.1.95.
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Riis, Thomas L., Curt Thompson, and Rodney Waters. "Charles Ives, Violin Sonatas Nos. 1-4." American Music 24, no. 2 (July 1, 2006): 249. http://dx.doi.org/10.2307/25046025.
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GÁBOR, Előd, and Ignac Csaba FILIP. "J. P. von Westhoff: Six Suites pour Violon seul sans Basse." Bulletin of the Transilvania University of Braşov. Series VIII:Performing Arts 13(62), no. 1 (June 20, 2020): 75–82. http://dx.doi.org/10.31926/but.pa.2020.13.62.1.8.
Повний текст джерелаАнотація:
Johann Paul von Westhoff's character was a determining figure of the late 17th and early 18th century. Having a strong impact both on his contemporary fellow composers as well as the future generations like J.S.Bach, J.G.Pisendel, G.Ph.Telemann, etc. For me, Westhoff embodies the perfect 17th century violin virtuoso. Analyzing and playing these magnificient solo suites I found a very obvious similarity between the Bach Solo Sonatas and Partitas and Westhoff's Six Solo Suites for Violin Solo."
15
Durosoir, Georgie, Jean-Marie Leclair, and Robert E. Preston. "Sonatas for Violin and Basso Continuo. Opus 2." Revue de musicologie 75, no. 2 (1989): 311. http://dx.doi.org/10.2307/928903.
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Price, Charles Gower, Jean-Marie Leclair, and Robert E. Preston. "Sonatas for Violin and Basso Continuo, Opus 1." Notes 54, no. 4 (June 1998): 989. http://dx.doi.org/10.2307/900099.
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Marvin, Clara, G. F. Handel, Terence Best, and Peter Holman. "The Complete Sonatas for Violin and Basso Continuo." Notes 41, no. 4 (June 1985): 781. http://dx.doi.org/10.2307/940883.
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Kramer, Elizabeth. "The Beethoven Violin Sonatas: History, Criticism, Performance (review)." Notes 62, no. 1 (2005): 114–16. http://dx.doi.org/10.1353/not.2005.0098.
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Ioniță, Raluca Dobre. "18. Technical and Interpretive Considerations in the Third Sonata for Violin and Piano, OP. 45 by Edvard Grieg." Review of Artistic Education 19, no. 1 (April 1, 2020): 149–54. http://dx.doi.org/10.2478/rae-2020-0018.
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AbstractConsidered one of the founders of the Norwegian national music culture, Grieg sought to transpose into his music the grandeur of nature, the simplicity of people and their lives, the richness of fantasy and mythological stories. Edvard Grieg retains in his music essential elements of Norwegian folklore, which he uses in his own language. The third Sonata for violin and piano, op. 45 differs from the other two sonatas created previously, both by the dramatic character of the thematic material, as well as by the massive dimensions and the structure of the form that approaches the classical pattern. Starting with this Sonata, Grieg definitely crystallizes his style in the field of chamber music, revealing a mature language of dramatic essence, in which we find rich and inventive rhythmic and melodic structures, plastic harmonies and bold dissonances, picturesque timbre effects that capture the atmosphere and the specific Norwegian color.
20
Sukhanova, T. B. "THE STAGE FATE OF L. VAN BEETHOVEN'S VIOLIN AND CHAMBER INSTRUMENTAL HERITAGE IN RUSSIA IN THE XIXTH CENTURY." Arts education and science 2, no. 31 (2022): 76–84. http://dx.doi.org/10.36871/hon.202202010.
Повний текст джерелаАнотація:
The article discusses the history of Beethoven's violin and chamber instrumental works — his Concerto, violin sonatas, bowed quartets and pieces — on the Russian concert scene of the XIXth century. The purpose of this paper is to trace the most important stages in strengthening the position of the composer's violin and chamber-instrument works in Russia and to outline the main factors influencing this process. The paper provides a chronology of Beethoven's compositions appearing on the Russian stage, and also analyzes reasons for the popularity of certain works, such as the "Russian Quartets" op. 59, as well as the ambivalent attitude towards other works — the late quartets and the Violin Concerto. Another aspect of the article focuses on the contribution of Russian (A. Amatov, N. Golitsyn, A. Bogdanov, V. Bezekirsky) and foreign performers who worked and toured in Russia (L.-W. Maurer, A. Viethan, F. Laub, H. Wieniawski, and L. Auer) to the popularization of Beethoven's violin heritage. Particular emphasis is placed on the virtuoso-romantic context of performing art, in which the Beethoven tradition in Russia was born.
21
Michki, Kevin. "French Sonatas for Violin & Pianoby Lin He (violin) and Gregory Sioles (piano)." Music Reference Services Quarterly 14, no. 1-2 (January 2011): 78–80. http://dx.doi.org/10.1080/10588167.2011.570224.
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Ford, Robert, Carl Friedrich Abel, Thomas Augustine Arne, Charles Avison, William Boyce, Thomas Erskine, and Giuseppe Sammartini. "Six Sonatas for 2 Violins or Flute and Violin and Continuo, Op. 3." Notes 45, no. 2 (December 1988): 377. http://dx.doi.org/10.2307/941366.
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Eanes, Edward, and Alan Pedigo. "International Encyclopedia of Violin-Keyboard Sonatas and Composer Biographies." Notes 53, no. 4 (June 1997): 1148. http://dx.doi.org/10.2307/899463.
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Renat, Maryla. "Local folklore elements in 20th century Polish violin sonatas." Prace Naukowe Akademii im. Jana Długosza w Częstochowie. Edukacja Muzyczna 10 (2015): 59–92. http://dx.doi.org/10.16926/em.2015.10.03.
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Stadlen, Peter, Robert Schumann, Fabio Biondi, Luigi Di Ilio, and Clara Schumann. "Sonatas for Violin and Piano Op. 105 and 121." Musical Times 134, no. 1808 (October 1993): 593. http://dx.doi.org/10.2307/1002885.
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Johnstone, H. Diack. "Yet more ornaments for Corelli's Violin Sonatas, op.5." Early Music XXIV, no. 4 (November 1996): 623–34. http://dx.doi.org/10.1093/earlyj/xxiv.4.623.
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Brassine, Huguette. "Review: Sonatas for Violin and Basso Continuo Opus 3." Music and Letters 85, no. 4 (November 1, 2004): 681–82. http://dx.doi.org/10.1093/ml/85.4.681.
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Johnstone, H. "Yet more ornaments for Corelli's violin sonatas, op.5." Early Music 24, no. 4 (November 1, 1996): 623–34. http://dx.doi.org/10.1093/em/24.4.623.
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Ahn, So-Yung. "Some Formal Aspects Shown in Handel's Solo Violin Sonatas." Yonsei Music Research 16 (December 31, 2009): 1–24. http://dx.doi.org/10.16940/ymr.2009.16.1.
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Maytesian, T. D. "SOME STYLE FEATURES OF VIOLIN WORKS BY N. K. MEDTNER." Arts education and science 1, no. 4 (2020): 111–16. http://dx.doi.org/10.36871/hon.202004014.
Повний текст джерелаАнотація:
The article examines violin works by Nikolay Karlovich Medtner in the context of creative collaboration with his wife A. N. Medtner and his elder brother, violinist and conductor A. K. Medtner, who repeatedly made orchestral arrangements of piano works by Nikolay Karlovich. General and specific features of each of the five opuses are characterized: Three Nocturnes op. 16, Two Canzones op. 43 and Sonatas op. 21, 44 and 57. The leading role of the theme, the originality of rhythm, combining the static nature of ostinato episodes with improvisation are emphasized. The scale of the concept and the philosophical depth of violin works also determined new conceptual possibilities, which were revealed in the interpretation of forms, genre orientation and figurative content. The study of Medtner's creativity allows to expand the knowledge about the Silver Age violin art through a new search for eternal cultural values.
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Różański, Piotr. "PERFORMANCE CHALLENGES IN MIECZYSŁAW WAJNBERG’S SONATAS FOR VIOLIN AND PIANO – A PIANIST’S PERSPECTIVE." Notes Muzyczny 2, no. 18 (December 31, 2022): 79–96. http://dx.doi.org/10.5604/01.3001.0016.1107.
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The article Performance Challenges in Mieczysław Wajnberg’s Sonatas for Violin and Piano – a Pianist’s Perspective was written to sum up the author’s experiences connected with his work on the interpretation of the compositions mentioned in the title. The text points to the most significant style-related and instrumental issues a pianist is confronted with while reaching for Wajnberg’s pieces. They include (among others): frequent and long solo fragments, specific texture conditions, necessity to render a complicated metrorhythmic layer in a precise way, or the necessity to undertake – along with the performer of the violin part – creative and well-thought artistic decisions (referring to such elements as dynamics or articulation) in the context of the composer’s reticence related to interpretation tips. The author of the article based his reflections on monographic publications devoted to Wajnberg (which were written by Verena Mogl, Daniel Elphick and David Fanning) and his own analytical and performance work.
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Grebneva, I. "”The image” of the violin in the creative work of A. Corelli (on the example of the concerto grosso genre)." Problems of Interaction Between Arts, Pedagogy and the Theory and Practice of Education 49, no. 49 (September 15, 2018): 115–27. http://dx.doi.org/10.34064/khnum2-49.08.
Повний текст джерелаАнотація:
Statement of the problem. The violin style of A. Corelli, a composer-violinist who laid the foundation for the development of the violin art in Europe, represents a special “image of the instrument” that entered the professional-academic arena during the Baroque era. The research of A. Corelli’s violin style belongs to the field of organology, which is dedicated to the integrated study of instruments as the “organs” of musicians’ thinking. The close relationship, connection of the individual who is playing music with his/her instrument is not only one of the little developed theoretical problems, but also the basis of the practice for performing music, as well as learning this art. Analysis of recent publications on the topic. The available sources on the creative work of A. Corelli (written by K. Kuznetsov, I. Yampolsky, L. Ginzburg, N. Harnoncourt) contain either general information or individual observations on the image of the violin in the Baroque era. It is necessary to point out the significance of the general theory of the violin style (E. Nazaikinsky, V. Medushevsky, V. Kholopova, Y. Bentya) for the development of scientific ideas about the "image of the violin". The purpose of the article is to identify the special features of the “image” of the violin in the style of A. Corelli on the material of Concerti grossi op.6. The presentation of the main material. At the time of the creation of Concerts op.6 by A. Corelli, in Italy there was a violin school, which was distinguished by an exceptional variety of playing techniques. It was here that the historical process of replacing the viol with the violin was finally completed. The violin becomes the leading instrument in the instrumental genres of the 17th century music – suite, trio-sonata, solo sonata, and by the end of the century – concerto grosso. The path of movement to A. Corelli’s universal, generalized-reduced violin style ran along the line “ensemble feature – concert feature – solo feature”. The creation of the academic style of the violin playing logic is the merit of the Bologna school. The main thrust of the violin style of Bologna masters (Torelli, Antonia, Bassani, Vitali, and later Corelli and Vivaldi) is the combination of “church” and “chamber” models of the violin playing. For instrumental sound in an ensemble or orchestra, a “canon” and certain limitations in the technique of the playing are necessary, allowing establishing the balance of the parts of instruments and instrumental groups. The “invention” (inventio) in the violin playing, characteristic of the Italian school of the first half of the 17th century, was aimed at identifying the whole complex of the possible techniques of playing this instrument. The violin plating logic in Concertі grossi by A. Corelli is subordinated to the combination of two artistic and aesthetic tasks arising from two styles of concert making – the “church” one and the “chamber” one. Hence the choice of the appropriate techniques for playing. The “church” style, despite its democratization inherent in the Italian violin school, acquired the functions of a public concert for a mass audience and was distinguished by greater severity and regulation of the complex of the violin playing techniques. This stemmed from the genre style (“concert in the church”), where polyphonic presentation prevailed in the fast parts, the “tempo” names of the parts were used, and the organ in the numbered bass part was used. The “chamber” style opened up wider possibilities for the violin and the creation of an expressive technical complex associated with the genre (“dance” parts), replacing the organ in basso continuo with the harpsichord (cembalo), other stringed and plucked instruments (lute, theorbo), low string-and-bow instruments (gamba, cello, double bass), which gave a mono-articulate character to the general sounding. Playing shades of "lively speech" on the violin is a characteristic feature of A. Corelli’s violin style, reflected in the instrumental-playing complex through phrasing, attention to details and to micro-intonation. Conclusions. In describing the historical and artistic situation, in the context of which the style of the “great citizen of Bologna” was formed, its innovations have been outlined. The signs of the turning epoch have been indicated – they are the transition from the Renaissance polyphony and the “church” style to the secular homophony, with the instruments of the violin family singled out as the main ones. The particular attention has been paid to the principles of the violin intonation in the form of a speech playing (sprechendes Spiel) and dance motor skills, which together formed the semantics of A. Corelli’s violin style in the genres of concerto grosso, trio sonatas, solo sonata with bass. The main features of A. Corelli’s violin style, which became determinant for compositional decisions in the field of thematic, texture, and harmony, have been revealed.
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Grebneva, I. "”The image” of the violin in the creative work of A. Corelli (on the example of the concerto grosso genre)." Problems of Interaction Between Arts, Pedagogy and the Theory and Practice of Education 49, no. 49 (September 15, 2018): 115–27. http://dx.doi.org/10.34064/khnum1-49.08.
Повний текст джерелаАнотація:
Statement of the problem. The violin style of A. Corelli, a composer-violinist who laid the foundation for the development of the violin art in Europe, represents a special “image of the instrument” that entered the professional-academic arena during the Baroque era. The research of A. Corelli’s violin style belongs to the field of organology, which is dedicated to the integrated study of instruments as the “organs” of musicians’ thinking. The close relationship, connection of the individual who is playing music with his/her instrument is not only one of the little developed theoretical problems, but also the basis of the practice for performing music, as well as learning this art. Analysis of recent publications on the topic. The available sources on the creative work of A. Corelli (written by K. Kuznetsov, I. Yampolsky, L. Ginzburg, N. Harnoncourt) contain either general information or individual observations on the image of the violin in the Baroque era. It is necessary to point out the significance of the general theory of the violin style (E. Nazaikinsky, V. Medushevsky, V. Kholopova, Y. Bentya) for the development of scientific ideas about the "image of the violin". The purpose of the article is to identify the special features of the “image” of the violin in the style of A. Corelli on the material of Concerti grossi op.6. The presentation of the main material. At the time of the creation of Concerts op.6 by A. Corelli, in Italy there was a violin school, which was distinguished by an exceptional variety of playing techniques. It was here that the historical process of replacing the viol with the violin was finally completed. The violin becomes the leading instrument in the instrumental genres of the 17th century music – suite, trio-sonata, solo sonata, and by the end of the century – concerto grosso. The path of movement to A. Corelli’s universal, generalized-reduced violin style ran along the line “ensemble feature – concert feature – solo feature”. The creation of the academic style of the violin playing logic is the merit of the Bologna school. The main thrust of the violin style of Bologna masters (Torelli, Antonia, Bassani, Vitali, and later Corelli and Vivaldi) is the combination of “church” and “chamber” models of the violin playing. For instrumental sound in an ensemble or orchestra, a “canon” and certain limitations in the technique of the playing are necessary, allowing establishing the balance of the parts of instruments and instrumental groups. The “invention” (inventio) in the violin playing, characteristic of the Italian school of the first half of the 17th century, was aimed at identifying the whole complex of the possible techniques of playing this instrument. The violin plating logic in Concertі grossi by A. Corelli is subordinated to the combination of two artistic and aesthetic tasks arising from two styles of concert making – the “church” one and the “chamber” one. Hence the choice of the appropriate techniques for playing. The “church” style, despite its democratization inherent in the Italian violin school, acquired the functions of a public concert for a mass audience and was distinguished by greater severity and regulation of the complex of the violin playing techniques. This stemmed from the genre style (“concert in the church”), where polyphonic presentation prevailed in the fast parts, the “tempo” names of the parts were used, and the organ in the numbered bass part was used. The “chamber” style opened up wider possibilities for the violin and the creation of an expressive technical complex associated with the genre (“dance” parts), replacing the organ in basso continuo with the harpsichord (cembalo), other stringed and plucked instruments (lute, theorbo), low string-and-bow instruments (gamba, cello, double bass), which gave a mono-articulate character to the general sounding. Playing shades of "lively speech" on the violin is a characteristic feature of A. Corelli’s violin style, reflected in the instrumental-playing complex through phrasing, attention to details and to micro-intonation. Conclusions. In describing the historical and artistic situation, in the context of which the style of the “great citizen of Bologna” was formed, its innovations have been outlined. The signs of the turning epoch have been indicated – they are the transition from the Renaissance polyphony and the “church” style to the secular homophony, with the instruments of the violin family singled out as the main ones. The particular attention has been paid to the principles of the violin intonation in the form of a speech playing (sprechendes Spiel) and dance motor skills, which together formed the semantics of A. Corelli’s violin style in the genres of concerto grosso, trio sonatas, solo sonata with bass. The main features of A. Corelli’s violin style, which became determinant for compositional decisions in the field of thematic, texture, and harmony, have been revealed.
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Stowell, Robin. "Bach's Violin Sonatas and Partitas: Building a Music Library: 5." Musical Times 128, no. 1731 (May 1987): 250. http://dx.doi.org/10.2307/965100.
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Zhao, Z. "K. M. Weber. Sonatas for Violin and Piano Op. 10." Университетский научный журнал, no. 44 (2019): 141–54. http://dx.doi.org/10.25807/pbh.22225064.2019.44.141.154.
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Bandy, Dorian. "Beethoven's Rhetoric of Embellishment." 19th-Century Music 46, no. 2 (2022): 125–62. http://dx.doi.org/10.1525/ncm.2022.46.2.125.
Повний текст джерелаАнотація:
This article examines the communicative and interpretive significance of melodic embellishment in Beethoven's oeuvre, with a particular focus on multi-movement instrumental works from the period 1795–1824. Embellishment has received comparatively little attention in Beethoven studies; yet it formed a crucial part of his musicianship as both a performer and a composer. The article begins with a broad overview of Beethoven's embellishment practices, drawing examples primarily from his early piano trios and piano sonatas. It then goes on to examine a series of issues in more detail: first, the role of embellishments in the composition and performance of concertos (with a focus on the Piano Concertos Nos. 3–5); second, the role of embellishments in evoking musical character and expressive personae (with a focus on the Piano Sonata op. 31, no. 3, the Violin Sonata op. 30, no. 1, and the Cello Sonata op. 5, no. 1); and finally, the possibility of understanding embellishment as a musical topic in symphonic writing (with a focus on the slow movements of the Symphonies Nos. 4, 8, and 9). The article closes with reflections on the expressive function of embellishments in Beethoven's late style, arguing that melodic decorations, along with other rhetorical devices, provided a vehicle for the evocation of nostalgia and memory.
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Serdiuk, Ya O. "Chamber music works by Amanda Maier in the context of European Romanticism." Problems of Interaction Between Arts, Pedagogy and the Theory and Practice of Education 56, no. 56 (July 10, 2020): 121–35. http://dx.doi.org/10.34064/khnum1-56.08.
Повний текст джерелаАнотація:
Background. The name of Amanda Maier (married – Röntgen-Maier), the Swedish violinist, composer, pianist, organist, representative of the Leipzig school of composition, contemporary and good friend of С. Schumann, J. Brahms, E. Grieg, is virtually unknown in the post-Soviet space and little mentioned in the works of musicologists from other countries. The composer’s creativity has long been almost completely forgotten, possibly due to both her untimely death (at the age of 41) and thanks to lack of the research interest in the work of women composers over the past century. The latter, at least in domestic musicology, has significantly intensified in recent decades, which is due in part to the advancement in the second half of the XX and early XXI centuries of a constellation of the talanted women-composers in Ukraine – L. Dychko, H. Havrylets, A. Zagaikevych, I. Aleksiichuk, formerly – G. Ustvolska, S. Gubaydulina in Russia, etc. Today, it is obvious that the development of the world art is associated not only with the activities of male artists, but also with the creative achievements of women: writers, artists, musicians. During her life, A. Maier was the well-known artist in Europe and in the world and the same participant in the musical-historical process as more famous today the musicians of the Romantic era. Objectives and methodology. The proposed study should complement the idea of the work of women-composers of the 19th century and fill in one of the gap on the music map of Europe at that time. The purpose of this article is to characterize the genre-stylistic and compositional-dramaturgical features of selected chamber music works by A. Röntgen-Maier. In this research are used historical-stylistic, structural and functional, analytical, comparative, genre methods. Research results. Carolina Amanda Erika Maier-Röntgen was born in Landskrona, Sweden, where she received her first music lessons from her father. Then she studied at the Royal College of Music in Stockholm, where she mastered playing on the several instruments at once – violin, cello, piano, organ, as well as studied the music theory. She became the first woman received the title of “Musik Direktor” after successfully graduating from college. She continued her studies at the Leipzig Conservatory – in the composition under Carl Reineke and Ernst Friedrich Richter direction, in the violin – with Engelbert Röntgen (concertmaster of the Gewandhaus Orchestra, the father of her future husband J. Röntgen). She toured Europe a lot, firstly as a violinist, performing her own works and her husband’s works, alongside with world classics. After the birth of her two sons, she withdrew from active concert activities due to the deterioration of her health, but often participated in music salons, which she and her husband organized at home, and whose guests were J. Brahms, C. Schumann, E. Grieg with his wife, and A. Rubinstein. It is known that Amanda Maier performed violin sonatas by J. Brahms together with Clara Schumann. The main part of the composer’s creative work consists of chamber and instrumental works. She wrote the Sonata in B minor (1878); Six Pieces for violin and piano (1879); “Dialogues” – 10 small pieces for piano, some of which were created by Julius Röntgen (1883); Swedish songs and dances for violin and piano; Quartet for piano, violin, viola and cello E minor (1891), Romance for violin and piano; Trio for violin, cello and piano (1874); Concert for violin and orchestra (1875); Quartet for piano, violin, viola and clarinet E minor; “Nordiska Tonbilder” for violin and piano (1876); Intermezzo for piano; Two string quartets; March for piano, violin, viola and cello; Romances on the texts of David Wiersen; Trio for piano and two violins; 25 Preludes for piano. Sizable part of the works from this list is still unpublished. Some manuscripts are stored in the archives of the Stockholm State Library, scanned copies of some manuscripts and printed publications are freely available on the Petrucci music library website, but the location of the other musical scores by A. Maier is currently unknown to the author of this material; this is the question that requires a separate study. Due to the limited volume of the article, we will focus in detail on two opuses, which were published during the life of the composer, and which today have gained some popularity among performers around the world. These are the Sonata in B minor for Violin and Piano and the Six Pieces for Violin and Piano. Sonata in B minor is a classical three-part cycle. The first movement – lyricaldramatic sonata allegro (B minor), the second – Andantino – Allegretto, un poco vivace – Tempo I (G major) – combines lyrical and playful semantic functions, the third – Allegro molto vivace (B minor) is an active finale with a classical rondosonata structure. The Six Pieces for Violin and Piano rightly cannot be called the cycle, in the Schumann sense of this word, because there is no common literary program for all plays, intonation-thematic connections between this musical numbers, end-to-end thematic development that would permeate the entire opus. But this opus has the certain signs of cyclization and the common features to all plays, contributing to its unification: tonal plan, construction of the whole on the principle of contrast, genre, song and dance intonation, the leading role of the violin in the presentation of thematic material. Conclusions and research perspectives. Amanda Maier’s chamber work freely synthesizes the classical (Beethoven) and the romantic (Schubert, Mendelssohn, Schumann) traditions, which the composer, undoubtedly, learned through the Leipzig school. From there come the classical harmony, the orderliness of her thinking, clarity, conciseness, harmony of form, skill in ensemble writing, polyphonic ingenuity. There are also parallels with the music of J. Brahms. With the latter, A. Maier’s creativity correlates trough the ability to embody freely and effortlessly the subtle lyrical psychological content, being within the traditional forms, to feel natural within the tradition, without denying it and without trying to break it. The melodic outlines and rhythmic structures of some themes and certain techniques of textured presentation in the piano part also refer us to the works of the German composer. However, this is hardly a conscious reliance on the achievements of J. Brahms, because the creative process of the two musicians took place in parallel, and A. Maier’s Violin Sonata appeared even a little earlier than similar works by J. Brahms in this genre. Prospects for further research in this direction relate to the search for new information about A. Maier’s life and creativity and the detailed examination of her other works.
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Hall, Cordelia, and John T. O'Donnell. "Regular Expressions as Violin Bowing Patterns." Computer Music Journal 36, no. 2 (June 2012): 74–84. http://dx.doi.org/10.1162/comj_a_00120.
Повний текст джерелаАнотація:
String players spend a significant amount of practice time creating and learning bowings. These may be indicated in the music using up-bow and down-bow symbols, but those traditional notations do not capture the complex bowing patterns that are latent within the music. Regular expressions, a mathematical notation for a simple class of formal languages, can describe precisely the bowing patterns that commonly arise in string music. A software tool based on regular expressions enables performers to search for passages that can be handled with similar bowings, and to edit them consistently. A computer-based music editor incorporating bowing patterns has been implemented, using Lilypond to typeset the music. Our approach has been evaluated by using the editor to study ten movements from six violin sonatas by W. A. Mozart. Our experience shows that the editor is successful at finding passages and inserting bowings; that relatively complex patterns occur a number of times; and that the bowings can be inserted automatically and consistently.
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Stinson, Russell. "J.P. Kellner's copy of Bach's sonatas and partitas for violin solo." Early Music 13, no. 2 (May 1985): 199–211. http://dx.doi.org/10.1093/earlyj/13.2.199.
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Mikhieieva, Nadiia. "The clarinet and the viola in Sonatas op. 120 by J. Brahms and a pianist’s performing strategy." Problems of Interaction Between Arts, Pedagogy and the Theory and Practice of Education 59, no. 59 (March 26, 2021): 145–57. http://dx.doi.org/10.34064/khnum1-59.10.
Повний текст джерелаАнотація:
Background. Johannes Brahms composed his two Clarinet Sonatas, op. 120, in 1894, and dedicated them to the outstanding clarinet player Richard Mühlfeld. These were the last chamber pieces he wrote before his death, when he became interested in the possibilities the clarinet offered. Nowadays they are considered to be masterpieces of the clarinet repertoire, legitimizing the combination of piano and clarinet in new composers’ works. Brahms lavished particular care and affection on these works, and he clearly wished them to have the widest possible circulation, for he adapted them – with a certain amount of recomposition in each case – in two parallel forms: as sonatas for viola and piano, and for violin and piano. The violin versions are rarely heard, but the viola sonatas have become cornerstones of this instrument’s repertoire, just as the original forms have for the repertoire of the clarinet. Brahms was effectively establishing a new genre, since before they appeared there were virtually no important duo sonatas for viola and piano. These sonatas embody his compositional technique in its ultimate taut, essentialized, yet marvelously flexible manner. The purpose of this article is to show the interaction of variable and invariant components of the musical text as a factor influencing performance decisions in the process of working on a piece of music. To achieve this goal, it is necessary to conduct a comparative analysis of the musical text of clarinet and viola parts in the Sonatas of J. Brahms op 120, which are the material of this study. The article relevance is in the importance of comprehension the performing differences for pianists (especially, for those specialized on the sphere of chamber music) working J. Brahms’ Sonatas op. 120 with clarinetists or violists. Every piece could offer its own unique complex of special “challenges”, thus the need of analyzing specifics of performance in every such a piece of music appears. This uniqueness is the basis for the innovativeness of the results of the study of the performance specifics of J. Brahms’ Sonata op. 120 in a selected aspect. Results of the research. Clarinet and viola versions Sonatas by J. Brahms op. 120 occupy a prominent place in the performing repertoire, including training. Because the article provides a comparative analysis of the musical text of clarinet and viola parts with the same piano part; provides a comparative overview of the specifics of the artistic expression of the clarinet and viola to determine the performing strategy of the pianist in the ensemble. The differences found in the viola and clarinet parts are divided into the groups – octave transfers, addition of double notes and melismatics, changes in melodic lines, difference in the strokes (staccato, non legato, tenuto, portamento etc.). There is also a detailed description of clarinet and viola timbres. Due to the different possibilities of the instruments, it is quite obvious that the pianist faces certain creative tasks and in general they can be formulated as follows: when playing the viola, the dynamic range of the piano should be smaller than when performing with the clarinet. In addition, you need to pay attention to other details, such as pedal, texture quality, articulation. Yes, the viola sounds much more confident against the background of a “thick” pedal, while the clarinet in this case loses the volume of its sound. With regard to phrasing, it should be borne in mind that the clarinetist needs to take a breath, and the violist’s ability to lead a bow for a long time does not depend on his physiological characteristics. The question arises: which is more important – tempo or phrasing? In this situation, the specificity is that phrasing should be given more attention. The tempo when performing with the clarinet varies significantly than with the viola, and it is also chosen and changed for practical reasons that follow from the physical data of the performer. The pianist should also pay special attention to the differentiation of voices and the quality of articulation. In terms of sound balance, it is obvious that the clarinet needs more piano support than the viola, because it is dynamically brighter. Nevertheless, this does not mean that piano shades “p” should be avoided, because the contrast of dynamics expands the acoustic range of Sonatas and their expressive potential. Conclusion. The comparative-analytical description contributes to the awareness of the differences in the dynamic balance due to the change of the obligatory instrument. Accurate knowledge of where and how such changes occur not only focuses the musicians’ attention on the relevant details in the performance process, but also encourages them to make more informed decisions about the dynamic balance of performance in general.
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Garibaldi, Pipin, and Brian Farant. "Penciptaan Konserto Etude Tangganada Pentatonik untuk Pembelajaran Violin dan Orkestra." Resital: Jurnal Seni Pertunjukan 22, no. 3 (February 28, 2022): 187–97. http://dx.doi.org/10.24821/resital.v22i3.6736.
Повний текст джерелаАнотація:
The Creation of Pentatonic Scale Etude Concerto for Violin and Orchestral Learning. This research aims to explain creating a musical work in the form of a violin etude in the form of a concerto. The concerto is arranged in a free pentatonic scale from traditional Javanese idioms: the lancaran and gangsaran rhythm. The concerto consists of one movement that contains etude material, namely learning the technique of playing the violin in a beautiful and exciting melody. The problem highlighted is students' difficulty learning etude for the violin, which is often considered complicated. In the learning process, students tend to be oriented towards violin music such as concertos, sonatas, or musical pieces (short works) compared to etude works. Therefore, it is important for creating the concerto etude to bridge the students' violin learning process, both for educative and performative dimensions. Creating the etude concerto in this traditional idiom is expected to foster student interest in learning to practice etude. The research was organized in several stages: document collection, observation, artistic, trial, and dissemination. The research/design method was taken from Reginald Smith Brindle (1986), i.e., Musical Composition and King Palmer Teach Yourself to Composed Music (1952). The method is as follows: listening to different music that is close to the research topic to find ideas, using the violin and piano to make melodic pieces, including double, triple, four-stop techniques, connecting, combining, developing synchronized melody pieces, rhythmic variations, rhythms, articulation variations, syncopations, rhythm figures, melodic decorations, harmonies, dynamic variations, and so on. The conclusion of the research on creating a concerto with one movement is more freedom to express ideas. The use of lancaran and gangsaran rhythms in a pentatonic scale to give the nuances of the Central Java region, turns out to be more nuanced with a Mandarin concerto. After being implemented, it turns out that this concerto is still quite difficult for learning violin 3.
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Gratovich, Eugene, and Diana Steiner. "Bach's Solo Sonatas and Partitas for Violin: Guide to Practicing and Performing." American String Teacher 35, no. 4 (November 1985): 54–57. http://dx.doi.org/10.1177/000313138503500423.
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Blanton, Christen. "The Accompaniment in “Unaccompanied” Bach: Interpreting the Sonatas and Partitas for Violin." Music Reference Services Quarterly 20, no. 3-4 (October 2, 2017): 232–33. http://dx.doi.org/10.1080/10588167.2017.1377533.
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Tamagawa, Kiyoshi. "The Violin Sonatas of G. F. Handel: Clarifying the Confusion and Controversy." American String Teacher 51, no. 4 (November 2001): 88–95. http://dx.doi.org/10.1177/000313130105100413.
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Su, Di. "The Tardy Recognition of J.S. Bach's Sonatas and Partitas for Violin Solo." American String Teacher 61, no. 2 (May 2011): 24–28. http://dx.doi.org/10.1177/000313131106100215.
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Dubka, O. S. "Sonata for the trombone of the second half of the 16th – the beginning of the 19th centuries in the context of historical and national traditions of development of the genre." Problems of Interaction Between Arts, Pedagogy and the Theory and Practice of Education 54, no. 54 (December 10, 2019): 55–70. http://dx.doi.org/10.34064/khnum1-54.04.
Повний текст джерелаАнотація:
The present article is devoted to the general characteristics of the historical process of the formation of the sonata for the trombone (or with the participation of the trombone) in the European music of the Renaissance – Early Classicism era. A particular attention in the research has been paid to the study of the national stylistic, which was the main driving force in the evolution of the trombone at the level of the chamber instrumental and concert genres. It has been noted that since the time of A. Willaert and A. and J. Gabrieli brothers, the trombone and trombone consorts have been the permanent components of the concerts da chiesa, and later – da camera. Due to its construction and melodic-declamatory nature of the sounding, the trombone was in good agreement with both the voices of the choir and other instruments. Gradually, along with collective (concert) varieties of trombone sonatas, solo sonatas with bass began to appear, and they reflected the practice of the Baroque-era concert style. The article reviews a number of trombone sonatas of the Italian, Czech, Austro-German schools, which later became the model for composers of the Newest Time, who fully revealed the possibilities of the trombone semantics and techniques in the sonata genre. The article has noted that the formation of the instrumental sonata in Europe was associated with the practice of concerts in the church, which was for a long time practically the only place where academic music could be performed. The term “sonata” was understood then as the music intended for the instrumental performance, which, however, was closely connected with the vocal one. Therefore, the first samples of sonatas with the participation of the trombone were mixed vocal-instrumental compositions created by the representatives of the Venetian school of the second half of the 16th century – A. Willaert and A. and J. Gabrieli brothers. It has been noted that the key and largely “landmark” composition opening the chronicle of a concert sonata with the participation of trombones was the sonata called “Piano e forte” (1597), where the functions of trombone voices are already beginning to the counterpoint independence, rather than to duplicating the vocal ones. G. Gabrieli is the creator of one of the most large-scale, this time exclusively trombone compositions – “Canzon Quarti Toni” for 12 trombones, cornet and violin – one of the first trombone ensembles based on the genre of canzone as the progenitor of all the baroque instrumental-concert forms. It has been emphasized that among Italian masters of the subsequent period (the early Baroque), the trombone received a great attention from C. Monteverdi, who in his concert opuses used it as the substitute for viola da brazzo (three pieces from the collection called “Vespro della Beata Vergine”). It is noted that in the era of the instrumental versioning, when compositions were performed by virtually any instrumental compound, the trombone was already distinguished as an obligate instrument capable of competing with the cello. Sonata in D minor Op. 5 No. 8 by A. Corelli is considered a model of such a “double” purpose. It has been proved that the Italian schools of the 16th – 17th centuries, which played the leading role in the development of the sonata and concert instrumentalism, mainly the stringed and brass one and the brass one as well, were complemented by the German and Austrian ones. Among the masters of the latter one can distinguish the figure of G. Schütz, who created “Fili mi, Absalon” for the trombone quartet and basso-continuo, where trombones are interpreted as instruments of cantilena sounding, which for a long time determines their use in opera and symphonic music, not to mention the sonata genre (introductions and slow parts). Along with the chamber sonata, which was written in the Italian style, German and Austrian masters of the 17th century turn to “tower music” (Tower music), creating their own opuses with almost obligatory participation of one or several trombones. Among such compositions there are the collection by G. Reich called “Quatricinua” of 24 tower sonatas (1696) for the cornet and three trombones, where, modelled on A. Corelli’s string-and-bow sonatas, the plays of a homophonic and polyphonic content are combined. The article notes that the creation of a solo sonata with bass for the trombone was historically associated with the Czech composing school of the second half of the 17th century. The first sample of such composition is the Sonata for the trombone and the thorough-bass (1669), written by a certain monk from the monastery of St. Thomas in Bohemia, where the instrument is shown in a wide range of its expressive possibilities. A significant contribution to the development of a trombone sonata was made by the Czech composer of the late 17th century P. Y. Veyvanovsky, who created a number of sonatas, which, despite the typical for that time performing versioning (trombone or viola da brazzo), were a milestone in the development of the genre in question. The traditions of the trombone sonata-quality genre in its three main expressions – da chiesa, da camera, “tower music” – have been preserved for a certain time in the era of Classicism. This is evidenced, for example, by F. Schneider’s 12 “Tower sonatas” for 2 pipes and 3 trombones (1803–1804). In general, in the classic-romantic era in the evolution of the trombone sonata genre there is a “pause”, which refers to both its collective and solo varieties. The true flourishing of the trombone sonata appeared only in the Newest time (from the end of the 19th century), when the instrumental music of a concert-chamber type declared itself not only as the one demanded by the public, but also as the leading, “title” field of creativity of a number of the leading composers. Among the instruments involved in the framework of the “new chamber-ness” (B. Asafiev) was also the trombone, one of the recognized “soloists” and “ensemblers” of the music from the past eras. The conclusions of the article note that the path travelled by the sonata for the trombone (or with the participation of the trombone) shows, on the one hand, the movement of the instrument to the solo quality and autonomy within the framework of “little-ensemble” chamber-ness (the sonata duet or the solo sonata without any accompaniment), on the other hand, the sustainable preservation of the ensemble origins of this genre (the trombone ensemble, sometimes in combination with other representatives of the brass group).
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Inna, Uspenskaya. "Typology of genres of concert music for violin: classification criteria." Problems of Interaction Between Arts, Pedagogy and the Theory and Practice of Education 57, no. 57 (March 10, 2020): 150–62. http://dx.doi.org/10.34064/khnum1-57.09.
Повний текст джерелаАнотація:
The article is devoted to the systematization of the criteria of the classification of concert music for violin, in which, along with the traditional genre criteria, stylistic and textured ones are highlighted It is noted that such a comprehensive consideration allows solving a number of tasks of both research and performance profile. Based on the modern approach to the genre system, the article extrapolates it to concert violin music, which covers the range from solo miniature pieces to concerts for violin and symphony orchestra. It is emphasized that the least researched is the question of the stylistics of concert violin genres, constituted according to the same parameters as the musical texture – horizontal, vertical and depth (E. Nazaikinsky). The article proposes an original classification of the genre-stylistic complex of concert violin music, that is based on the following factors: the style of the highest levels (epoch-making, national, specific), genre (the complex of existing genres of violin music), texture in the aspect of stylistics (the main “identification mark” of the genre) and the style of concretized levels (author’s individual level and separate work). Considering the first classification criterion – the genre one, its universal nature it should be noted, covering two levels of the concert violin music system: functional – performers, the way of performance – and semantic-compositional – genre content and style (I. Tukova). The style criterion acts as a parallel to the genre criterion and means the differentiation of the genre system according to the signs of introversion (style as an introvert category, according to V. Kholopova). Here the phenomena and concepts are formed that cover all levels of the style hierarchy in its distribution to concert music for violin – from the historical to the author’s individual and even the style of a separate piece. It is emphasized that the least explored area of violin concert is its stylistics, which is closely related to its texture – the “external form” of the genre manifestation (L. Shapovalova). The stylistic aspect in violin music-making is reviewed in the article according to the same parameters as the texture aspect, since they largely coincide (E. Nazaikinsky). We are talking about the factors of horizontal (the types of texture that form the stylistic relief of the text of the work), vertical (the combination of textures in their different stylistic meanings), depth (based on the author’s handwriting of his connections with the texture and style sources – historical, national ones, characteristic of certain violin schools and directions). It is noted that this refers to both sides of the genre-stylistic system of concert music for violin (with the participation of a violin) – functional and semanticcompositional – and is realized in the following variants of textured style: solo orchestra (violin or several violins with an orchestra); solo ensemble (the same accompanied by a chamber ensemble); solo piano (violin and piano duet); solo violin (violin without accompaniment). It is proved that all these textured and stylistic varieties of concert violin music are combined on the basis of the idea of a concert style – “competition-agreement” (B. Asafiev) of the participants in the act of playing music. The measure of the correlation of performing forces in a concert dialogue ultimately determines the choice of criteria for classifying its varieties in their extrapolation to a concert violin. The article reveals the features of all four above-named options for this dialogue, taking into account their possible combination. It is noted that this combination is most fully reflected in a violin concert with an orchestra, where other forms of concert appear occasionally – solo without accompaniment (solo cadenzas), ensemble (microdialogues of the violin and other orchestral instruments). The classification criteria highlighted in the article, first of all texture-stylistic ones, together form the following system of genres of concert music for violin (with the participation of a violin), considered from the standpoint of: 1) concert dialogue in its textured manifestations (gradation in the dominance of the soloist instrument over accompaniment or, conversely, accompaniment over a solo part); 2) the principle of intimacy, bordering on concertness, but meaning the parity of the performing parts (a distinctive feature of chamber ensembles, in which it stands out as the leading violin part); 3) the self-sufficiency of the violin as a universal instrument suitable for the implementation of concert dialogue in the solo form of music-making (a wide range of genre forms of violin music – from miniatures and their cycles to suites, partitas and solo sonatas). It is noted that, in the future, the classification patterns identified in this article can be considered using the example of specific samples belonging to a particular genre group. The author of this article plans to do this on the basis of concert genres of violin music created by the composers of the Kharkiv school. Focusing on classical and modern samples, as well as the traditions of the Kharkiv stringbow performing school represented by A. Leshchinsky, A. Yuriev, S. Kocharyan, G. Averyanov, E. Shchelkanovtseva, L. Kholodenko, E. Kupriyanenko and other string players, Kharkiv authors interpret the concert-violin style in various ways, revealing in it both the general (the “image” of the violin in the system of specific instrumental styles), and the special (the styles of the national and regional schools), as well as the unique, individual (the representations of the latter are their best works).
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Król, Tomasz. "Violin sonatas by Polish composers of the turn of the 20th century as an example of shaping emotions in music." Notes Muzyczny 1, no. 11 (June 28, 2019): 87–108. http://dx.doi.org/10.5604/01.3001.0013.3523.
Повний текст джерелаАнотація:
In the article, the author analyses the influence of expressive elements on the listener’s experience based on sonatas for violin and piano composed by Polish composers at the turn of the 20th century. Music in the physical sense is an acoustic phenomenon where a listener is the recipient of the sound and emotions evoked by the music listened to. Musical awareness is also reflected in the progression of sounds that are interrelated in a special and original way. Functional concepts such the dynamics of the produced sound and sequences of sounds as well as their pace create a characteristic feature of the work. The author presents arguments in favour of the emotional reception of works by Polish composers.
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Bashford, Christina. "Symphony in G Minor, and: Symphonies, and: Sonatas for Violin and Pianoforte (review)." Notes 63, no. 3 (2007): 697–701. http://dx.doi.org/10.1353/not.2007.0003.
Повний текст джерела
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Simlett-Moss, Joyce. "Adolph Hummel: Music Publisher in Eighteenth-Century London." Royal Musical Association Research Chronicle 52 (April 2021): 90–182. http://dx.doi.org/10.1017/rrc.2020.5.
Повний текст джерелаАнотація:
AbstractAdolph Hummel, from Hesse, established in Soho a music publishing business that lasted 12 years (1760–1772). His publishing strategy differed in several ways from that commonly adopted by London publishers: he published only foreign-born (mostly German or Italian) composers; he did not issue vocal music; and, while taking the common routes of advertising his publications by notices in contemporary newspapers and listing issues in the imprints to title pages, he was highly unusual in that he produced no catalogue. He was also unusual in obtaining a royal licence to protect his copyright. He was the first publisher in London to issue a string quartet, and possibly the first to add violin accompaniments to already-published solo harpsichord sonatas to create accompanied sonatas. He was probably related to the Hummel music publishing brothers of the Netherlands. Personal information about him is hard to come by, but we know that Frau Anna Maria Mozart was godmother to his youngest child; he was a particular friend of J. C. Bach; he was prosecuted, for an undisclosed reason, by the musician Rudolf Straube; and he was the founder of three generations of the musical ‘English Hummells’. The final part of this article comprises a detailed catalogue of Hummel’s publications.