Relevant bibliographies by topics / Arranged Flute with orchestra

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  1. Journal articles
  2. Dissertations / Theses
  3. Books
  4. Book chapters

Academic literature on the topic 'Arranged Flute with orchestra'

Author: Grafiati
Published: 4 June 2021
Last updated: 17 February 2022

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Journal articles on the topic "Arranged Flute with orchestra"

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Graubart, Michael. "Erwin Schulhoff, et al. - ‘Lost Generation’. ERWIN SCHULHOFF: Double Concerto for Flute, Piano and String Orchestra with Two Horns, WV 89, op. 63; Sonata for Flute and Piano, WV 86, op. 61; Three Pieces for String Orchestra, WV 5, op. 6. VIKTOR ULLMANN: Chamber Symphony, op. 46a (String Quartet No.3, op. 46) (arranged for string orchestra by Kenneth Woods). VILEM TAUSKY: Coventry – Meditation for String Orchestra. Ulrike Anton (fl), Russell Ryan (pno), English Chamber Orchestra c. David Parry. Exil.Arte Gramola 98964 – LC 20638." Tempo 67, no. 264 (2013): 105–7. http://dx.doi.org/10.1017/s0040298213000375.

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Berrett, Joshua, and Lukas Foss. "Renaissance Concerto for Flute and Orchestra." American Music 10, no. 2 (1992): 232. http://dx.doi.org/10.2307/3051730.

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Krusenstjerna, Mary, Joaquin Rodrigo, and James Galway. "Concierto pastoral; For Flute and Orchestra; Reduction for Flute and Piano." Notes 43, no. 4 (1987): 929. http://dx.doi.org/10.2307/898185.

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Johnson, Bret. "Paul Kletzki as composer." Tempo 58, no. 230 (2004): 78. http://dx.doi.org/10.1017/s0040298204230339.

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Stein, Robert. "Proms 2014: Holt and Widmann." Tempo 69, no. 271 (2015): 78–79. http://dx.doi.org/10.1017/s0040298214000722.

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How many flutes are there in Simon Holt's flute concerto Morpheus Wakes? Nominally one, here the amazing Emanuel Pahud, but more usefully two or more. Scored for alto as well as standard flute, Holt exploits the timbral possibilities of both while ensuring that the orchestra's own flautist (doubling bass flute) and alto flautist (doubling piccolo) continue the idea of ‘two-in-one’ so central to his other recent concerto Centauromachy for clarinet, flugelhorn and orchestra written in 2010 and given its London premiere at the 2011 Proms.
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Conway, Paul. "Thea Musgrave round-up." Tempo 57, no. 226 (2003): 50–51. http://dx.doi.org/10.1017/s004029820325035x.

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‘Pierrot Dreaming’. MUSGRAVE: Canta! Canta!; Ring Out Wild Bells; Threnody; Pierrot; Chamber Concerto No. 2. Victoria Soames Samek (cl), Gabrielle Byam-Grounds (fl), David Le Page (vn/va), Matthew Sharp (vc), Mark Troop (pno). Clarinet Classics CC0038.‘The Fall of Narcissus’. MUSGRAVE: Serenade; Narcissus; Impromptu for flute and cello; Wind Quintet; Impromptu No. 2 for flute, oboe and clarinet; Four Portraits for baritone, clarinet and piano. Victoria Soames Samek (cl), Members of English Serenata, David Le Page (va), Matthew Sharp (vc), Stephen Varcoe (bar), Rachel Masters (hp). Clarinet Cla
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Salomon, Gavriel. "Studying the flute and the orchestra: controlled vs. classroom research on computers." International Journal of Educational Research 14, no. 6 (1990): 521–31. http://dx.doi.org/10.1016/0883-0355(90)90022-z.

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Johnson, Bret. "Recent Ned Rorem CDs." Tempo 60, no. 238 (2006): 43–45. http://dx.doi.org/10.1017/s0040298206270311.

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ROREM: Flute Concerto; Violin Concerto; Pilgrims for strings. Philippe Quint (vln), Jeffrey Khaner (fl), Royal Liverpool Philharmonic Orchestra c. José Serebrier. Naxos American Classics 8.559278.ROREM: The Auden Songs; The Santa Fe Songs. Christopher Lemmings (ten), Sara Fulgoni (mezzosop), Chamber Domaine. Black Box BBM 1104.ROREM: Works for Choir and Organ. Harvard University Choir dir. Murray Forbes Somerville with Carson Cooman (organ). Black Box BBM 1102.
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Voon, Chai Yem. "Some Observations on Flute Playing in Malaysia." ASIAN-EUROPEAN MUSIC RESEARCH JOURNAL 6 (December 4, 2020): 60–80. http://dx.doi.org/10.30819/aemr.6-5.

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Surviving in an environment that seems to be not encouraging music performances for entertainment or for mental contemplation, Malaysian musicians have to strive very hard in order to earn a living. The situation gets worse when it comes to a particular group of musicians who have no choice but share the similar job opportunities. Apparently, the market is not offering enough opportunities for flautists compared to pianists and string instrument players. This eventually leads to a very competitive situation in both the performing and teaching scene. The time frame of this observation reaches b
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Driver, Paul. "Gruber's Concertos." Tempo, no. 178 (September 1991): 22–27. http://dx.doi.org/10.1017/s004029820001398x.

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The concerto evidently appeals to HK Gruber, as symphonies do not. He has so far written four works that are unambiguously in this form: ‘…aus schatten duft gewebt…’, a concerto for violin and orchestra of 1977–8; the concerto for percussion and orchestra Rough Music (Rauhetöne) of 1982–3; Nebelsteinmusik, for solo violin and string orchestra, of 1988; and the Concerto for Cello and Chamber Orchestra of 1989. Ambiguous examples of the form are his early Concerto for Orchestra (1960–64) – concertos for orchestra are by definition ambiguous – and Frankenstein!!, his ‘pan–demonium’ (rather than ‘
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Dissertations / Theses on the topic "Arranged Flute with orchestra"

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Moon, Jeong-Hyun. "Concertino for Flute, Timpani and String Orchestra." Thesis, University of North Texas, 1995. https://digital.library.unt.edu/ark:/67531/metadc279127/.

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Concertino for Flute, Timpani, and String Orchestra is a three movement piece that blends Western European forms with Korean idioms. The following essay addresses pitch materials, melodic structure, rhythm, form, instrumentation, vertical structures, and developmental procedures used in the work.
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Weikel, Anthony L. III. "Brahms’s Four Serious Songs: Arranged for Trombone and String Orchestra." The Ohio State University, 2015. http://rave.ohiolink.edu/etdc/view?acc_num=osu1437755386.

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Real, Nicolas. "Concerto No. 1 for Flute, String Orchestra and Percussion." Diss., Temple University Libraries, 2013. http://cdm16002.contentdm.oclc.org/cdm/ref/collection/p245801coll10/id/252765.

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Music Performance<br>D.M.A.<br>A doctoral thesis based on the Concerto No. 1 for Flute, String Orchestra and Percussion by Nicolas Real. Historic background and musical analysis of the work.<br>Temple University--Theses
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Mosakowski, Anthony. "'Once was wood' (2002) : concertino for flute & chamber orchestra." Thesis, Durham University, 2002. http://etheses.dur.ac.uk/10144/.

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Potts, Elizabeth (Elizabeth Ann). "The Mozart Flute: Old and New Transcriptions of KV. 10-15." Thesis, University of North Texas, 2017. https://digital.library.unt.edu/ark:/67531/metadc984277/.

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My lecture serves as a critical examination of the Six Sonatas Op. 3, KV. 10-15 by W.A. Mozart. I will engage the variances between the first edition of Op. 3 and those by Joseph Bopp and Louis Moyse edited specifically for the flute in hopes of providing another perspective for students, performers, and pedagogues alike. This study will (1) provide background information regarding the creation of KV. 10-15, (2) include a brief analysis of each sonata, (3) compare adaptions between the first edition, according to NMA, and two modern flute transcriptions, and (4) produce two new transcriptions.
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Pillman, Laura 1990. "Transcription and Critical Edition of Carl Nielsen's Songs, Op. 4 and 10 for Flute and Piano." Thesis, University of North Texas, 2019. https://digital.library.unt.edu/ark:/67531/metadc1538733/.

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Widely regarded as one of the most significant composers of the late nineteenth and early twentieth centuries, Carl Nielsen and his music have come to define the early twentieth-century musical traditions of Denmark. His original songs for voice and piano are often revered as popular folk tunes and contributed to his status as a national icon. My dissertation explores Nielsen's vocal repertoire through a multipart project that includes transcribing and editing eleven of Nielsen's early songs from Op. 4 (1891) and Op. 10 (1894), originally for voice and piano, for flute and piano. I discuss the
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Jones, Margo S. "Joan Tower's Hexachords for Solo Flute: an Analysis and Comparison of its Flute Writing to Tower's Flute Concerto with Three Recitals of Selected Works of Vivaldi, Rivier, Mozart, Davidowsky, and Others." Thesis, University of North Texas, 1993. https://digital.library.unt.edu/ark:/67531/metadc279028/.

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This dissertation discusses two flute works by Joan Tower (born 1938). The performance medium consists of flute alone, Hexachords for Solo Flute (1972), and flute and orchestra, the Flute Concerto (1989). The discussion on Hexachords consists of a theoretical analysis; discussion on the Flute Concerto pertains to Tower's flute writing through an investigation into her musical language and specific performance techniques. Numerous examples are included to illustrate various aspects of Tower's style. Conclusions follow. The purpose of the paper is, first, to illustrate that basic knowledge of th
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Lattimore, Lee Ian. "Les Morceaux de Concours de Flûte du Conservatoire de Paris: A Structural Comparison of Selected Works of Jean-Louis Tulou and Joseph-Henri Altès: A Lecture Recital Together with Three Recitals of Selected Works of Mozart, Halffter, Gaubert and Others." Thesis, North Texas State University, 1987. https://digital.library.unt.edu/ark:/67531/metadc330772/.

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The lecture was presented April 7, 1987. This presentation centered on the flute music literature used for the Concours of the Conservatoire de Paris from 1828 through 1893. The historical parameter began with Jean-Louis Tulou's tenure as flute professor at the Conservatoire and ended with Joseph-Henri Altes'tenure in the same capacity. The Concours is an annual performance competition to determine which students on each instrument will graduate from the Conservatoire. The majority of Concours pieces for flute during the tenures of professors from Tulou through Altes were composed by those tw
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Porter, Amanda H. "Remnants." Connect to this title online, 2007. http://rave.ohiolink.edu/etdc/view?acc%5Fnum=bgsu1166400966.

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Thesis (M.M.)--Bowling Green State University, 2007.<br>Document formatted into pages; contains 1 score (36 p.) For soprano and chamber orchestra (flute, bassoon, viola, piano, harp and percussion) Includes bibliographical references.
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Spence, Jacob F. "L'Éternité : cantata for SATB soloists and choir, flute, cor anglais, bass clarinet, alto saxophone, timpani, eight percussionists, piano, harpsichord, celesta, harp, guitar and string orchestra." Thesis, University of Edinburgh, 2008. http://hdl.handle.net/1842/27450.

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Books on the topic "Arranged Flute with orchestra"

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Amadeus, Mozart Wolfgang. Concerto no. 1 in G, K. 313: Concerto no. 2 in D, K. 314 ; Andante in C, K. 315. RCA Gold Seal, 1985.

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Wieniawski, Henri, Pablo de Sarasate, Georges Bizet, Jenő Hubay, and H. W. Ernst. Fantasies from opera: For violin and piano : Carmen, Faust, The magic flute and Otello. Dover Publications, 2014.

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Foster, Stephen Collins. The social orchestra: For flute or violin, a collection of popular melodies arranged as solos, duets, trios, and quartets. Firth, Pond, 1988.

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Beethoven, Ludwig van. Symphonie Nr. 2 in D-dur: Op. 36 = symphony no. 2 in D major. Bärenreiter, 1998.

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Beethoven, Ludwig van. Symphony no. 5 opus 67. Edition Peters, 1992.

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Beethoven, Ludwig van. Symphonie Nr.2 in D-dur =: Symphony no.2 in D major : op.36. Bärenreiter, 1996.

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Mennin, Peter. Concerto for flute and orchestra. Carl Fischer, 1988.

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Zwilich, Ellen Taaffe. Concerto for flute and orchestra. Merion Music, 1991.

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Foss, Lukas. Renaissance concerto: For flute and orchestra. Pembroke Music, 1986.

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Corigliano, John. Voyage: For flute and string orchestra. G. Schirmer, 1990.

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Book chapters on the topic "Arranged Flute with orchestra"

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"The Concertos with Multiple Soloists and Orchestra." In Vivaldi’s Music for Flute and Recorder. Routledge, 2017. http://dx.doi.org/10.4324/9781315084169-13.

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Heyman, Barbara B. "Recognition." In Samuel Barber. Oxford University Press, 2020. http://dx.doi.org/10.1093/oso/9780190863739.003.0008.

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This chapter describes Barber’s close relationship with Italian conductor Arturo Toscanini. Barber would frequently visit the conductor in his home, most days ending with music. This friendship resulted in Toscanini requesting that Barber write a work for the newly formed NBC Symphony Orchestra. This was a rare privilege, as Toscanini in the past had ignored American composers. His broadcasts were received with much enthusiasm from audiences. Toscanini further advanced Barber’s career by bringing his music to Latin America, with Barber being the first American composer whose work reached those shores. For Toscanini, Barber composed Essay for Orchestra and arranged the second movement of his earlier string quartet as the Adagio for Strings, which brought him international fame and became, as it were, the national funeral music of the United States, associated with the deaths of such famous names as Albert Einstein, Franklin Roosevelt, and Grace Kelly and with the tragedy of September 11, 2001. The chapter also covers Barber’s unaccompanied choral works.
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van Delden, Ate. "The California Ramblers Taking Off." In Adrian Rollini. University Press of Mississippi, 2019. http://dx.doi.org/10.14325/mississippi/9781496825155.003.0005.

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Arthur Hand had an orchestra of his own which was incorporated into Kirkeby's California Ramblers and which he would co-lead with Ed Kirkeby. In April 1922, Kirkeby arranged for the first of countless record dates for almost any label. The band did not have a bass player and Adrian Rollini decided to fill the gap and quickly learned to play the bass saxophone. In just a few months, he developed a new style of playing, both for the bass line and for solo work. His sound would identify the California Ramblers for years to come. The band was fully employed from its start and one of their engagements was as a replacement for Paul Whiteman's band at the Palais Royal. However, Kirkeby and Hand preferred to have their own place where their band would perform regularly. They found it North of the City of New York and called it the California Ramblers Inn.
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Heyman, Barbara B. "Lincoln Center Commissions." In Samuel Barber. Oxford University Press, 2020. http://dx.doi.org/10.1093/oso/9780190863739.003.0017.

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For the opening week of the new Philharmonic Hall at New York’s Lincoln Center for the Performing Arts in 1962, Barber composed a piano concerto in honor of the 100th anniversary of his publisher. The concerto was tailored to the technical prowess and individual style of John Browning, reflecting the Russian influence of his piano teacher Rosina Lhévinne. The second movement was a reworking of an earlier piece, Elegy, written for Manfred Ibel, a young art student and amateur flute player, to whom Barber dedicated his piano concerto. This chapter details Barber’s compositional process and influences for each movement of the concerto and describes the enthusiastic reception of the debut performance. Nearing completion of the concerto, Barber was invited to Russia as the first American composer ever to attend the biennial Congress of Soviet Composers, where he freely discussed his compositional philosophy and methods. For the concerto, Barber won his second Pulitzer Prize and the Annual Award of the Music Critics Circle of New York. His second composition for the opening season of Lincoln Center was Andromache’s Farewell, for soprano and orchestra. Based on a scene from Euripides’s The Trojan Women, the piece displayed deep emotional expression and striking imagery. With a superior opera singer, Martina Arroyo, singing the solo part, the success of Andromache’s Farewell presaged Barber’s opera Antony and Cleopatra.
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