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Thematische Bibliographien / Violino e piano / Zeitschriftenartikel

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Zeitschriftenartikel zum Thema „Violino e piano“

Autor: Grafiati

Veröffentlicht am 7. September 2021

Zuletzt aktualisiert am 29. Juli 2025

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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 (2019): 199–216. http://dx.doi.org/10.5604/01.3001.0013.7175.

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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 K

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2

Dokuzova, Stanka. "Didaktična literatura za violino Dušana Vodiška / Didactic violin literature by Dušan Vodišek." Glasbenopedagoški zbornik Akademije za glasbo ◆ The Journal of Music Education of the Academy of Music in Ljubljana 17, no. 34 (2021): 115–45. http://dx.doi.org/10.26493/2712-3987.17(34)115-145.

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The article discusses didactic violin literature by violinist and pedagogue Dušan Vodišek. Covering the period between 1966 and 2016, his oeuvre represents a bridge between didactic violin literature of the previous century and contemporary didactic violin literature. Over these 50 years, he significantly enriched didactic violin literature in Slovenia with his works, which include a violin book for beginners, children’s compositions for violin and piano, youth compositions for violin and piano, compositions for chamber ensemble and string orchestra, and two textbooks on position changing. The

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3

Barreto, Homero De Sá. "Ondulações para violoncelo (ou violino) e piano (1916)." Revista Brasileira de Música 32, no. 2 (2020): 401–4. http://dx.doi.org/10.47146/rbm.v32i2.36084.

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4

Salles, Paulo de Tarso. "Na trilha do Trio nº 1 de Villa-Lobos." Revista Vórtex 11, no. 2 (2023): 1–31. http://dx.doi.org/10.33871/23179937.2023.11.2.7488.

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Este artigo levanta a hipótese de que uma partitura perdida de Villa-Lobos, o Trio para flauta, violoncelo e piano em Dó menor, Op. 25 (1913) seria uma adaptação do Trio nº 1 para violino, violoncelo e piano (1911), também em Dó menor, Op. 25. As coincidências observadas na tonalidade, numeração de opus e títulos dos movimentos, são indícios de que essa adaptação tenha sido feita de modo a acomodar a formação instrumental dos concertos de música de câmara realizados por Villa-Lobos em Friburgo em 1915, com participação de sua esposa Lucília Guimarães ao piano e do flautista Agenor Bens. A poss

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5

Santos, Luis Alberto Ferreira Brandão. "Fantasias para violino, voz, piano, flauta e percussão." Revista Literária do Corpo Discente da Universidade Federal de Minas Gerais 25, no. 23 (1991): 46. http://dx.doi.org/10.17851/0103-5878.25.23.46-54.

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6

Lima, Rodrigo. "Matiz II para violino, violoncelo e piano (2013)." Arteriais - Revista do Programa de Pós-Gradução em Artes 3, no. 3 (2016): 15. http://dx.doi.org/10.18542/arteriais.v3i3.3868.

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“O vento experimenta o que irá fazer com sua liberdade...”1 Deixei-me guiar por este sugestivo Hai-kai de Guimarães Rosa durante o processo composicional de “Matiz II” para violino, violoncelo e piano. Passei a conceber a música não apenas com os materiais definidos inicialmente, mas, sobretudo com liberdade para incorporar as estruturas que fui encontrando durante a composição. O ato de compor é um ato de descoberta. Perceber essas estruturas é a parte do jogo onde os materiais não são vistos como entidades fixas, mas como uma espécie de paleta de cores que o pintor transfigura na tela, mistu

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7

Almeida, Thadeu De Moraes. "Notas introdutórias a Ondulações para violoncelo (ou violino) e piano de Homero de Sá Barreto." Revista Brasileira de Música 32, no. 2 (2020): 393–400. http://dx.doi.org/10.47146/rbm.v32i2.36083.

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Descrição de contexto histórico, estrutura formal, e documentação e metodologia utilizadas para a preparação da edição de Ondulações, para violoncelo (ou violino) e piano, do compositor Homero de Sá Barreto (1884-1924), com informações sobre audições de época e recepção póstuma.

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8

Schmid, Aloísio Leoni, Juarez Bergmann Filho, and Rodrigo Mateus Pereira. "Em busca da identidade dos instrumentos musicais no Brasil: um estudo exploratório da literatura de cordel." Anais do Museu Paulista: História e Cultura Material 25, no. 1 (2017): 279–300. http://dx.doi.org/10.1590/1982-02672017v25n0111.

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RESUMO O presente trabalho procura, em consulta a uma coleção de 2340 obras da Literatura de Cordel, explorar identidades culturais presentes nos instrumentos musicais aparentemente mais populares junto à população cultora de tal forma literária - sertão nordestino e parte da Região Norte do Brasil - desde o final do século XIX até o presente. Há no trabalho o pressuposto de que a Literatura de Cordel representa, muito mais que o trabalho criativo dos seus autores, as práticas vigentes no grupo social que a origina. Assim, à procura de menções a instrumentos musicais, este estudo detém-se em a

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9

Rodrigues, Mauren Liebich Frey, Marcos Pablo Dalmacio, and Juan Carlos Rossi. "Romance para Violino e Piano de José Vieira Brandão: Edição Prática." Orfeu 9, no. 1 (2024): e0501. http://dx.doi.org/10.5965/2525530409012024e0501.

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Com o interesse voltado prioritariamente ao resgate e à performance desta obra de Brandão, apresentamos a seguir uma edição prática (Carneiro, 2021; Figueiredo, 2004), elaborada com aporte crítico, realizada a partir do manuscrito autógrafo disponível no Museu Villa-Lobos.

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10

Berbert, Bruna Caroline De Souza, and Emerson Luiz de Biaggi. "Edino Krieger e sua escrita para o violino: contexto, estilo, idiomatismo e interpretação de Sonâncias II (1981)." OPUS 25, no. 3 (2019): 531. http://dx.doi.org/10.20504/opus2019c2524.

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A composição Sonâncias de Edino Krieger é considerada uma das obras mais representativas de sua produção para o violino. Neste artigo, buscamos evidenciar as características estilísticas, idiomáticas e interpretativas presentes na escrita de Edino Krieger para o seu próprio instrumento, a partir da análise de Sonâncias II (1981) para violino e piano. Após a introdução, tecemos uma síntese biográfica do compositor (concentrando-nos em sua relação com o violino) e abordamos as particularidades de sua linguagem musical, além de sua produção para o instrumento. A seguir, expomos conceitos e critér

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11

Zomer, Ana Leticia, and Adriana Moreira. "A natureza livre de Mario Ficarelli: uma análise da obra Maktub II (1972) para violino e piano." Opus 27, no. 2 (2021): 1–19. http://dx.doi.org/10.20504/opus2021b2711.

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Este trabalho apresenta uma análise da obra Maktub II (1972) para violino e piano de Mario Ficarelli, considerado um dos compositores brasileiros mais relevantes de sua época. A série Maktub contém três peças, compostas durante a década de 1970. Apoiadas pelos trabalhos teóricos de Joseph Straus (2013) e Michael Friedmann (1987), empregamos recursos analíticos voltados a obras pós-tonais. Observamos que a aparentemente despretensiosa Maktub II é formada por sutis desdobramentos de uma única ideia principal, os quais vão sendo gradativamente imbuídos de grande sofisticação ao associarem técnica

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12

Vidal, João Vicente, and Pauxy Gentil-Nunes. "Homenagem a Antonio José Augusto." Revista Brasileira de Música 32, no. 2 (2020): 195–200. http://dx.doi.org/10.47146/rbm.v32i2.36064.

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A Revista Brasileira de Música apresenta número de homenagem ao músico e musicólogo Antonio José Augusto, editor convidado (in memoriam) do volume com o dossiê temático "Música brasileira: construção, permanências e apropriações", dedicado a Heitor Villa-Lobos. O volume inclui ainda as seções: "Memória", com uma republicação comentada do Americanismo musical de Francisco Curt Lange; "Entrevista", com transcrição de depoimento de Antonio José Augusto; "Resenha", dedicada ao livro de Paulo de Tarso Salles sobre os Quartetos de cordas de Villa-Lobos; e "Arquivo de Música Brasileira", apresentando

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13

Cruz, Claudio Pereira, and Eliel Almeida Soares. "Análise da Sonata Fantasia n. 1 de Heitor Villa-Lobos." Revista da Tulha 7, no. 2 (2021): 108–48. http://dx.doi.org/10.11606/issn.2447-7117.rt.2021.194867.

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A Sonata Fantasia nº. 1 para Violino e Piano de Heitor Villa-Lobos (1887-1959) constitui-se como uma das três obras do gênero escritas entre 1912 e 1920, sendo que ela é conhecida por: Désespérance, possivelmente estreada em 1917. É pertinente ressaltar que, nesse período de sua vida, Villa-Lobos transita entre o romantismo tardio e modernismo, além do nacionalismo (neofolclorismo) nascente. Nesse sentido, o presente trabalho tem como proposta expor o tratamento complexo das melodias, harmonias e dos motivos trabalhados pelo compositor, apresentando, assim, alguns resultados obtidos mediante u

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14

Rizzatti, Luísa, and Cida Golin. "Franz Kafka no cinema animado." Novos Olhares 8, no. 2 (2019): 43–55. http://dx.doi.org/10.11606/issn.2238-7714.no.2019.154512.

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Por meio do diálogo comparado entre audiovisual e literatura, este artigo analisa o conto Um médico rural, de Franz Kafka, e a sua adaptação para o cinema a partir da animação homônima criada pelo japonês Koji Yamamura. O objetivo central é compreender e investigar como as características narrativas e a atmosfera criada no fantástico de Kafka são trabalhadas na animação. Através da análise fílmica, verificamos que os principais recursos utilizados foram as deformações gráficas no desenho das personagens, o exagero nos gestos, a ênfase no modo de se movimentar das figuras, as abruptas mudanças

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15

Côrte, Beltrina, and Pedro Lodovici Neto. "A musicoterapia na doença de Parkinson." Ciência & Saúde Coletiva 14, no. 6 (2009): 2295–304. http://dx.doi.org/10.1590/s1413-81232009000600038.

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Este estudo descreve uma pesquisa qualitativa, interfaciando dois campos - gerontologia e musicoterapia -, em uma metodologia interativo-dialógica - com dez indivíduos ligados de forma íntima à questão parkinsoniana, entrevistados na Associação Brasil Parkinson (ABP) paulistana. Objetiva-se verificar, a partir de narrativas pessoais, a importância de práticas alternativas fundadas em elementos sonoro-rítmico-musicais, sendo exemplares o exercício de tocar um instrumento (piano, violino, etc.), ou cantar em grupo, ou praticar um exercício musical orientado, que podem funcionar como atividade te

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16

Mahmudin, Mohammad. "ANALISIS TEKNIK PERMAINAN VIOLIN II PADA LAGU CONCERTO FOR TWO VIOLINS, 1st MOVEMENT KARYA J.S. BACH." Repertoar Journal 2, no. 2 (2022): 295–311. http://dx.doi.org/10.26740/rj.v2n2.p295-311.

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Abstrak: Penelitian ini membahas tentang teknik permainan violin yaitu teknik bowing dan teknik fingering lagu Concerto For Two Violins, 1st Movement karya J.S. Bach. Penelitian ini bertujuan untuk mendeskripsikan teknik permainan violin II pada Lagu Concerto For Two Violins, 1st Movement karya J.S. Bach. Metode yang digunakan pada penelitian ini adalah metode penelitian kualitatif deskriptif. Data yang diperoleh dalam penelitian ini melalui observasi, wawancara, dan dokumentasi. Teknik analisis data yang digunakan adalah reduksi data, penyajian data, dan kesimpulan data. Sementara itu, terdap

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17

Pickard, John. "Bernard Stevens." Tempo 58, no. 229 (2004): 57–58. http://dx.doi.org/10.1017/s0040298204340222.

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BERNARD STEVENS: Piano Trio op.3; Sonata for violin and piano op.1; Trio for horn, violin and piano op.38; Fantasia on a theme of Dowland for violin and piano op.23; Improvisation for solo violin op.48a. The Academy of St. Martin-in-the-Fields Chamber Ensemble – Kenneth Sillito (vln), Stephen Orton (vlc), Hamish Milne (pno), Timothy Brown (hn). Albany Records TROY 572.

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18

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 (2020): 121–35. http://dx.doi.org/10.34064/khnum1-56.08.

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Background. The name of Amanda Maier (married – R&#246;ntgen-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,

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19

Tovar-Henao, Felipe. "Partitura. Elegía litúrgica para violín y piano (2015)." Ricercare, no. 4 (2015): 65–75. http://dx.doi.org/10.17230/ricercare.2015.4.7.

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20

Stuckenbruck, Dale, Robert Mann, Daniel Capelletti, et al. "Duo for Violin and Piano." Notes 45, no. 1 (1988): 158. http://dx.doi.org/10.2307/941414.

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21

Brooks, Davis, Ruth Crawford, Lee Hoiby, and Friedrich Zehm. "Sonata; For Violin and Piano." Notes 43, no. 1 (1986): 186. http://dx.doi.org/10.2307/897870.

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22

MacAdam, Laurel A., and Charles Wuorinen. "Sonata for Violin and Piano." American Music 12, no. 4 (1994): 472. http://dx.doi.org/10.2307/3052347.

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23

Schneider, Wayne, and Ruth Crawford. "Sonata for Violin and Piano." American Music 17, no. 1 (1999): 118. http://dx.doi.org/10.2307/3052377.

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24

Saulova, Inessa. "Innovative features in ”Sonata for violin and piano” by Boris Dubosarschi." Akademos, no. 4(67) (March 2023): 122–28. http://dx.doi.org/10.52673/18570461.22.4-67.16.

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The article examines the Sonata for violin and piano by B. Dubosarsky in terms of content, form and interpretative treatment. The author aims to reveal the innovative features of this work, which are manifested primarily in the interpretation of the form, combining the features of a three-part cycle and a large one-part composition. The intonation-thematic structure of the sonata, the ratio of the violin and piano parts are analyzed in detail, performing recommendations are offered for developing a creative version of the interpretation. As a result, it is concluded that the Sonata for Violin

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25

Thompson Kruse, Penny. "The Other Piano Trio: Works for Violin, Viola, and Piano." American String Teacher 69, no. 1 (2019): 21–28. http://dx.doi.org/10.1177/0003131318816980.

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26

LALƏ, MUXTAROVA. "NİKOLAY RAKOVUN VİOLİN VƏ FORTEPİANO ÜÇÜN №2 SONATİNASININ (D-DUR) İFAÇILIQ XÜSUSİYYƏTLƏRİ." World of Music, no. 4/97 (December 12, 2023): 53–59. https://doi.org/10.5281/zenodo.10364763.

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The present article analyzes Sonatina No.2 for violin and piano (D major) by the famous Russian composer,People's Artist of the USSR, State Prize laureate Nikolay Rakov and discusses its performance characteristics.The article emphasizes that the violin instrument occupies a central place in the work of N.Rakov and that he isfamiliar with the performance capabilities of this instrument, as he studied the violin. Also, during the analysis, itwas revealed that the composer's sonata for violin and piano is based on classical traditions and is filled withfeatures of modern music.Keywords: N. Rakov

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27

Palmer, Peter. "Frédéric Rapin, Musik in Luzern, Rhapsodische Kammermusik aus der Schweiz’. ERNST LEVY, HERMANN SUTER." Tempo 58, no. 229 (2004): 58–60. http://dx.doi.org/10.1017/s0040298204350229.

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‘Frédéric Rapin: Concertos suisses pour clarinettes’. Works by HERBERT FRIES, ARMIN SCHIBLER, JEAN BINET, JEAN BALISSAT, ANDOR KOVACH and ALEXIS CHALIER. Frédéric Rapin (cl), Kammerorchester Arpeggione Hohenems c. Jean-François Antonioli. Musiques Suisses Grammont Portrait MGB CTS-M 80.‘Musik in Luzern: Kammermusik Duo Lang’. FRITZ BRUN: Sonata No. 1 for Violin and Piano. THÜRING BRÄM: Album ‘Goodbye Seventies’. With works by MENDELSSOHN and RACHMANINOV. Brigitte Lang (vln), Yvonne Lang (pno). GALLO CD-1084.‘Rhapsodische Kammermusik aus der Schweiz’. ERNST LEVY: Quintet in C minor for 2 violin

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28

Florea, Augustina. "7. Echoes of Romanticism in Violin and Piano Sonata No. 2, Op. 45 by Marcel Mihalovici - Analytical Landmarks for an Upscale Interpretation." Review of Artistic Education 19, no. 1 (2020): 46–57. http://dx.doi.org/10.2478/rae-2020-0007.

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AbstractThe evolution of the genre of violin and piano sonata in the Romanian composition creation in the first half of the 20th century, marked by the tendency towards getting close to the European musical phenomenon by assimilating stylistic influences of Romanticism, especially, of Enescian Romanticism, distinctly manifesting in Violin and Piano Sonata no. 2, op. 45, by Marcel Mihalovici, one of the most renowned Romanian composers settled in Paris, appreciated by the famous contemporaries, such as M.Ravel, V.d’Indy, F. Poulenc etc. Sonata (1941), preceded by a motto in the sonnet of Romant

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Saulova, Inessa. "Sonatas for violin and piano by composers from the Republic of Moldova in the educational process at the Academy of Music, Theatre and Fine Arts." Studiul artelor şi culturologie: istorie, teorie, practică, no. 2(47) (March 2025): 43–51. https://doi.org/10.55383/amtap.2024.2.07.

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The article provides an overview of sonatas for violin and piano by the local composers L. Gurov, V. Verhola, V. Ciolac, B. Dubosarschi, V. Rotaru used in the educational process of AMTAP in the discipline „Chamber ensemble”. It also presents the interpretive potential of these opuses, which allows musicians to improve their professional skills. The musical form and means of expression of the violin and piano parts are characterized. It is concluded that these sonatas for violin and piano are among the representative examples of National Chamber Music, and the intonational-rhythmic elements of

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30

Rosen, Jerome, Leslie Bassett, and John Harbison. "Trio for Violin, Clarinet, and Piano." Notes 46, no. 3 (1990): 821. http://dx.doi.org/10.2307/941460.

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31

Cope, David, and George Rochberg. "Trio for Piano, Violin, and Violoncello." Notes 44, no. 3 (1988): 589. http://dx.doi.org/10.2307/941557.

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32

Tommasini, Anthony, Virgil Thomson, Thomas Halpin, and Yvar Mikhashoff. "Five Ladies; For Violin and Piano." Notes 42, no. 4 (1986): 849. http://dx.doi.org/10.2307/897806.

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Sills, David L., H. H. A. Beach, Roger Hannay, Volker David Kirchner, and Franco Mannino. "Sonata (Originally for Violin and Piano)." Notes 42, no. 4 (1986): 860. http://dx.doi.org/10.2307/897816.

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34

Carbon, John, and Thea Musgrave. "Pierrot for Violin, Clarinet and Piano." Notes 50, no. 2 (1993): 761. http://dx.doi.org/10.2307/898520.

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35

Anthony, Carl, and Leon Kirchner. "Duo for Violin and Piano [1947]." Notes 49, no. 3 (1993): 1270. http://dx.doi.org/10.2307/899017.

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36

Brooks, Richard, and Witold Lutoslawski. "Partita for Violin and Piano (1984)." Notes 47, no. 1 (1990): 220. http://dx.doi.org/10.2307/940563.

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37

Charalabopoulos, Manos. "Canto for violin, horn and piano." Textual Practice 32, no. 1 (2018): 29. http://dx.doi.org/10.1080/0950236x.2018.1419964.

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38

Bishop, Laura, and Werner Goebl. "Beating time: How ensemble musicians’ cueing gestures communicate beat position and tempo." Psychology of Music 46, no. 1 (2017): 84–106. http://dx.doi.org/10.1177/0305735617702971.

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Ensemble musicians typically exchange visual cues to coordinate piece entrances. “Cueing-in” gestures indicate when to begin playing and at what tempo. This study investigated how timing information is encoded in musicians’ cueing-in gestures. Gesture acceleration patterns were expected to indicate beat position, while gesture periodicity, duration, and peak gesture velocity were expected to indicate tempo. Same-instrument ensembles (e.g., piano–piano) were expected to synchronize more successfully than mixed-instrument ensembles (e.g., piano–violin). Duos performed short passages as their hea

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Serdiuk, Ya O. "Amanda Maier: a violinist, a pianist, a composer – the representative of Leipzig Romanticism." Aspects of Historical Musicology 17, no. 17 (2019): 232–48. http://dx.doi.org/10.34064/khnum2-17.15.

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Background. The performance practice of recent decades demonstrates an obvious tendency to expand and update the repertoire due to the use of the works of those composers whose pieces had “lost” over time against to the pieces of their more famous contemporaries. At the same time, in sociology, psychology, culturology, gender issues are largely relevant. Musicology does not stand aside, applying the achievements of gender psychology in the study of composer creativity and musical performing (Tsurkanenko, I., 2011; Gigolaeva-Yurchenko, V., 2012, 2015; Fan, Liu, 2017). In general, the issue of g

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40

Fuchs, Kenneth, Antal Ribary, Oddvar S. Kvam, et al. "Arietta e capriccio; For Violin and Piano." Notes 41, no. 3 (1985): 591. http://dx.doi.org/10.2307/941192.

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41

Koozin, Timothy, and Toru Takemitsu. "Between Tides for Violin, Cello, and Piano." Notes 54, no. 1 (1997): 278. http://dx.doi.org/10.2307/899981.

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42

Stuckenbruck, Dale, Robert Hall Lewis, Judith Weir, Graciane Finzi, Gerald Finzi, and Howard Ferguson. "Duetto da camera; For Violin and Piano." Notes 42, no. 1 (1985): 153. http://dx.doi.org/10.2307/898266.

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43

Berrett, Joshua, and Charles Wuorinen. "Works for Violin and Piano (1969-1983)." American Music 8, no. 1 (1990): 121. http://dx.doi.org/10.2307/3051942.

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44

Laporta, Mark S., and George Rochberg. "Quartet; For Piano, Violin, Viola and Violoncello." Notes 44, no. 4 (1988): 830. http://dx.doi.org/10.2307/941060.

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45

Strasser, Michael. "Saint-Saëns’s Works for Violin and Piano." Notes 79, no. 1 (2022): 116–21. http://dx.doi.org/10.1353/not.2022.0084.

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46

Lee, Seow Phing, C. H. Raymond Ooi, and Ku Wing Cheong. "Bach and Busoni Essentials in A Chaotic World." Harmonia: Journal of Arts Research and Education 21, no. 1 (2021): 1–8. http://dx.doi.org/10.15294/harmonia.v21i1.30152.

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The study analyses the manifestation of structural change from the Bach Violin Chaconne (BWV1004, c.1720) to the Bach-Busoni piano transcription (c.1897). This article explores the use of two-dimensional music abstraction for vertical (pitch height) and horizontal (time) and its signal insignificant identified bariolage sections in music. Bariolage excerpts are chosen for they are implied sounds captured in repeatability and recontextuality. The first part of the article offers an excerpt of the Bariolage from violin at bars (113-120) and its parallel piano transcription at bars (118-125). Sig

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47

Stuckenbruck, Dale, and Iannis Xenakis. "Dikhthas; pour piano et violon." Notes 42, no. 1 (1985): 152. http://dx.doi.org/10.2307/898265.

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48

Saulova, Inessa. "Sonata for violin and piano by V. Ciolac: methodical and interpretative recommendations." Studiul artelor şi culturologie: istorie, teorie, practică, no. 1(46) (December 2024): 70–76. https://doi.org/10.55383/amtap.2024.1.10.

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The article offers recommendations for the performance of the Sonata for Violin and Piano by Vladimir Ciolac, which has taken a worthy place in the pedagogical repertoire of the students of the Academy of Music, Theater and Fine Arts from the Republic of Moldova. The musical form and means of expression of the violin and piano parts are analyzed: melody, harmony, rhythm, and dynamics. It is concluded that the interpretation of the Sonata requires the performers to have a mature mindset, technical equipment and a high level of ensemble skill.

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49

Nidecka, Ewa. "Piano concerto no. 1 by Andrzej Nikodemowicz – a hidden desire for freedom." Notes Muzyczny 1, no. 9 (2018): 123–59. http://dx.doi.org/10.5604/01.3001.0012.9902.

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Piano concerto no. 1 (1994) by Andrzej Nikodemowicz (1925-2017) is among seven piano concertos written by the composer. Its first version is the Violin concerto created in 1973. Because of the difficult violin part, the composer remade the composition for the piano. The first performance of the Piano concerto no. 1 took place in 1998 in Lviv. While writing the piece, Andrzej Nikodemowicz was persecuted by the Soviet authorities in Lviv for his religious views, that is why the piece expresses his hidden desire for creative freedom. It remains close to expressionist tradition influenced by Scria

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50

Ioniţă, Raluca Dobre. "14. Pablo De Sarasate - Andalusian Romance for Violin and Piano." Review of Artistic Education 25, no. 1 (2023): 94–100. http://dx.doi.org/10.2478/rae-2023-0014.

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Abstract Pablo de Sarasate was a famous violinist and composer of Spanish origin. In his creations, Sarasate highlighted to the maximum the technical and interpretative potential of the violin, composing both works for violin and orchestra (including fantasias on operatic themes) and musical miniatures for violin and piano. Sarasate’s musical language is mainly inspired by Spanish folklore.

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