Relevant bibliographies by topics / Arranged Violoncello with orchestra

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

Academic literature on the topic 'Arranged Violoncello with orchestra'

Author: Grafiati
Published: 4 June 2021
Last updated: 28 July 2025

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Journal articles on the topic "Arranged Violoncello with orchestra"

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А.С., Текучева. "«Большие скрипки» в партитурах И. С. Баха: Violoncello, Violoncello piccolo, Violone". Научный вестник Московской консерватории 15, № 3(58) (2024): 418–41. https://doi.org/10.26176/mosconsv.2024.58.3.04.

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Вопреки устоявшимся представлениям, в эпоху барокко существовало множество разновидностей басовых струнных инструментов. Тенденция к стандар- тизации, наблюдавшаяся с середины XVIII столетия, привела к тому, что из большого количества равноправных вариантов выделилось два основных, которые вошли в со- став классического оркестра. Остальные, оставшись в тени, надолго ушли в историю. Тем не менее, старинные словари предлагают многочисленные, не обходящиеся без путаницы названия и описания струнных басов, которые принадлежали скрипич- ному либо виольному семейству, имели разные размеры и количест
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Grayson, David A. "Mozart's Haffner and Linz Symphonies Arranged for Pianoforte, Flute, Violin, and Violoncello, and: Twelve Select Overtures Arranged for Pianoforte, Flute, Violin, and Violoncello (review)." Notes 61, no. 4 (2005): 1103–6. http://dx.doi.org/10.1353/not.2005.0060.

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Yulfita, Ade Febri, and Asril Asril. "Hibridisasi pada Musik Keroncong dalam Lagu Bugih Lamo oleh Grup Orkes Keroncong Buana Lestari Sawahlunto." Jurnal Mebang: Kajian Budaya Musik dan Pendidikan Musik 3, no. 2 (2023): 61–72. http://dx.doi.org/10.30872/mebang.v3i2.88.

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Minang pop song Bugih Lamo was composed by Syahrul Tarun Yusuf and arranged by the Buana Lestari Keroncong orchestra to become keroncong music. Bugih Lamo songs are already in the form of hybrid music between local and global cultures. The original musical arrangement uses modern musical instruments and uses diatonic tones. Keroncong music is also a hybrid music, so the two musical genres have adapted music globally following the western diatonic scale. The concept of the musical arrangement performed by the Buana Lestari Keroncong Orchestra in the Bugih Lamo song in the form of keroncong, by
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Febri Yulfita, Ade, and Asril Asril. "Hibridisasi pada Musik Keroncong dalam Lagu Bugih Lamo oleh Grup Orkes Keroncong Buana Lestari Sawahlunto." ULIL ALBAB : Jurnal Ilmiah Multidisiplin 2, no. 10 (2023): 4986–98. https://doi.org/10.56799/jim.v2i10.2274.

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Minang pop song Bugih Lamo was composed by Syahrul Tarun Yusuf and arranged by the Buana Lestari Keroncong orchestra to become keroncong music. Bugih Lamo songs are already in the form of hybrid music between local and global cultures. The original musical arrangement uses modern musical instruments and uses diatonic tones. Keroncong music is also a hybrid music, so the two musical genres have adapted music globally following the western diatonic scale. The concept of the musical arrangement performed by the Buana Lestari Keroncong Orchestra in the Bugih Lamo song in the form of keroncong, by
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Mary I. Arlin. "Cultivating the Seed: The Compositional History of the Solo ’Cello Part in Chou Wen-chung's Concerto for Violoncello and Orchestra." Indiana Theory Review 33, no. 1-2 (2017): 77. http://dx.doi.org/10.2979/inditheorevi.33.1-2.04.

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Ehlová, Hana. "Smetana’s Prague Carnival Arranged by Václav Talich." Musicalia 16, no. 1-2 (2024): 81–109. http://dx.doi.org/10.37520/muscz.2024.003.

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From the very beginning, Smetana’s last completed orchestral composition Prague Carnival was misunderstood as being evidence of the decline of the composer’s creative powers. Although this opinion was gradually changing, thanks in particular to the efforts of Josef Theurer from the end of the 1890s, the work rarely appeared on concert stages, and when it did, it was almost always in an arrangement by Karel Kovařovic. As is shown by the random discovery of a copy of the score of Prague Carnival in the archive of Czech Radio, besides Kovařovic’s revisions, there were also significant changes mad
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Schaarwächter, Jürgen. "Edward Elgar: Konzert in e für Violoncello und Orchester op. 85. Urtext / Edward Elgar: Concerto for Violoncello and Orchestra in E minor op. 85. Royal College of Music London MS 402. Facsimile." Die Musikforschung 62, no. 2 (2025): 201–2. https://doi.org/10.52412/mf.2009.h2.4377.

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Andriy, Strilets. "The formation of the original repertory for the Folk Instruments Orchestra of Kharkiv I. P. Kotlyarevsky National University of Arts as a historical mission of Kharkiv composers (1950–1960)." Problems of Interaction Between Arts, Pedagogy and the Theory and Practice of Education 60, no. 60 (2021): 216–38. http://dx.doi.org/10.34064/khnum1-60.12.

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Statement of the problem. The Folk Instruments Orchestra of Kharkiv I. P. Kotlyarevsky National University of Arts has been performing for more than 90 years. However, the original works composed for this orchestra have never been the subject of serious scientific interest. The relevance of the problem is determined by the necessity to generalize the previous generations of composers’, performers’ and teachers’ experience in the field of folk instrumental art, in particular, the training in the orchestra of folk instruments as a concert unit. Analysis of recent publications shows, that the stu
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Cury, Maria Zilda Ferreira, and Guilherme Augusto Lopes de Souza. "Entre modulações musicais e literárias: O inverno e depois, de Luiz Antonio de Assis Brasil." Navegações 11, no. 1 (2018): 3. http://dx.doi.org/10.15448/1983-4276.2018.1.33012.

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O inverno e depois, romance de Luiz Antonio de Assis Brasil, exibe uma articulada reflexão acerca da música clássica e da vida de artista, assim como os desafios dos musicistas de traduzir, por meio de sua arte, os sentimentos que as palavras não expressam. À vista disso, pretende-se fazer uma leitura do romance a partir das teorias dos estudos músico-literários, evidenciando as influências do Concerto para violoncelo e orquestra, de Antonín Dvořák – peça chave do romance – na narrativa de Assis Brasil, tanto no plano estrutural, como no plano de seu conteúdo. *** Between literary and musical
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Prouty, Kenneth E. "An Analysis of "One Day, Forever," as Arranged by Benny Golson for Orchestra and Voice." International Jazz Archive Journal 02, no. 2 (1999): 114–32. http://dx.doi.org/10.2307/44747484.

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Dissertations / Theses on the topic "Arranged Violoncello with orchestra"

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Kimmel, Tyler T. "Hermes, a Concerto for Violoncello and Orchestra." FIU Digital Commons, 2014. http://digitalcommons.fiu.edu/etd/1542.

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This thesis consists of a large composition for violoncello and orchestra, together with an analytical paper in which I discuss my compositional techniques and some of their historical antecedents. The composition draws on the genres of imaginary musical theater, the symphonic poem, and the concerto. It was also inspired by the story of Hermes, the messenger god from Greek mythology. While the myth partially informs the compositional structure, the work is ultimately meant to showcase the versatility of the cello, the coloristic range of the orchestra (in some cases emulating the orchestral st
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Fakhouri, Fouad K. "Memento mori concert for violoncello and orchestra /." Thesis, connect to online resource. Access restricted to the University of North Texas campus, 2006. http://www.unt.edu/etd/all/Dec2006/Restricted/fakhouri_fouad_kifah/index.htm.

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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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Vivaldi, Antonio Hodges Brian D. "A transcription of Vivaldi's violin concerto RV 208 for cello." Greensboro, N.C. : University of North Carolina at Greensboro, 2007. http://libres.uncg.edu/edocs/etd/1454/umi-uncg-1454.pdf.

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Brian D. Hodges' thesis (D.M.A.)--University of North Carolina at Greensboro, 2007.<br>Title from PDF t.p. (viewed Oct. 22, 2007). Directed by John M. Fadial; submitted to the School of Music. Transcription includes cello part only. Includes bibliographical references (p. 34-37).
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Close, Kathryn. "The history and development of violin and violoncello duets /." St. Lucia, Qld, 2003. http://www.library.uq.edu.au/pdfserve.php?image=thesisabs/absthe17486.pdf.

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Meilstrup, Sharon. "Concerto for Violoncello and Orchestra, Op. 27 by Paul Wranitzky: A Critical Edition." BYU ScholarsArchive, 2009. https://scholarsarchive.byu.edu/etd/2309.

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The Czech composer Paul Wranitzky (1756–1808) worked primarily in Vienna during the height of musical Classicism. He was well-respected among the higher artistic circles during his day as a composer, violinist, and conductor. His excellence in conducting was recognized by Haydn and Beethoven. His compositions were favored by Empress Marie Therese. Despite his contemporary fame and esteem, his works are relatively unknown today. His works are being revived today, bringing these once popular compositions back to the public. This thesis presents a critical edition of Wranitzky's cello concerto in
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Turnbull, Catherine. "Performing the Bach cello suites on the viola /." [St. Lucia, Qld.], 2006. http://www.library.uq.edu.au/pdfserve.php?image=thesisabs/absthe19293.pdf.

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Yang, Shang Ju. "Sonic Imagery in the Viola Arrangement of Hwang-Long Pan's Concerto for Violoncello and Chamber Orchestra (1996/97)." Diss., The University of Arizona, 2013. http://hdl.handle.net/10150/294020.

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The Viola Concerto by Hwang-Long Pan (b. 1945) is a transcription of the composer's Cello Concerto (1996/1997) created at the request of the author in 2007 in order to enrich the concert repertory for solo viola, and to promote the music of one of China's most distinguished modern composers. In his musical compositions, Pan translates ideas from Chinese music, philosophy, literature and art into contemporary sound imagery. This composition technique is what he refers to as yīn xiăng yì jìng [音響意境] in Chinese, which literally means "Sonic Imagery." This document examines Pan's Cello Concerto (
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Bottelli, Roberta M. "Double concerto for violin, violoncello, and orchestra by Frederick Delius : historical context, form and performance challenges from a cellist's perspective." Thesis, University of British Columbia, 2014. http://hdl.handle.net/2429/46727.

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Double Concerto for Violin, Violoncello, and Orchestra by Frederick Delius: Historical context, form and performance challenges from a cellist’s perspective covers different issues related to the Delius Double Concerto, including historical context, the form of the Concerto, and the challenges faced by the soloists when preparing the work for performance, especially from the solo cellist’s perspective. The History of the Work chapter includes an overview of Delius’ life, how the Double Concerto fits into his compositional output, and background about the performers for whom the work was writt
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Grove, Stefan Henry. "Suid-Afrikaanse musiek vir tjello en orkes." Thesis, Stellenbosch : University of Stellenbosch, 2006. http://hdl.handle.net/10019.1/17370.

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Thesis (M.Mus.)-- University of Stellenbosch, 2006.<br>ENGLISH ABSTRACT: This study represents a contribution to the literature on South African cello concertos. The term encompasses works created locally by composers who were visibly involved in the promotion of music in South Africa over a significant period. It appears that between the years 1893 and 2004 about 56 South African composers delivered a (provisional) total of 95 works in various genres for the medium. This study refers specifically to five concerto-type works, viz. those of Richard Cherry (1942), Bernard Langley (1965), Peter K
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Books on the topic "Arranged Violoncello with orchestra"

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1952-, Jando? Jeno?, Verhey Emmy, Dechenne Danielle, et al., eds. Masters of classical music: Vol. 9 : Franz Schubert. LaserLight, 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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Schoenberg, Arnold. Concerto for violoncello and orchestra. G. Schirmer, 1989.

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David, Diamond. Kaddish: For violoncello and orchestra. G. Schirmer, 1990.

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Arthur, Sullivan. Concerto for violoncello and orchestra. Weinberger, 1986.

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Zwilich, Ellen Taaffe. Concerto for violin, violoncello, and orchestra. Merion Music, 1992.

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Penderecki, Krzysztof. Concerto per violino ed orchestra: Concerto per violoncello ed orchestra no. 2. Orfeo, 1993.

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Joseph, Haydn. Sechs Trios für Violine oder Oboe (Flöte), Viola und Violoncello =: Six trios for violin or oboe (flute), viola, and violoncello. Amadeus, 1999.

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Book chapters on the topic "Arranged Violoncello with orchestra"

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Tilmouth, Michael, David Kimbell, and Roger Savage. "Édouard Lalo Violoncello Concerto Ind Minor." In The Classics of Music. Oxford University PressOxford, 2001. http://dx.doi.org/10.1093/oso/9780198162148.003.0016.

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Abstract There are very few violoncello concertos; and of those that exist the listener and the player will prefer the ones in which the violoncello can be heard. The violoncello is a sonorous instrument with twice the compass of the violin, whose top notes it can reach with as little effort as if it had no low notes to climb from. It has also a wide range of effects, many of which are ingenious; but the temptations of the ingenuity are towards the gruntulous and the grotesque, and the solo violoncello may easily be driven to develop these qualities in the effort to assert itself against an or
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Bentoiu, Pascal. "Ch03. Symphonie Concertante for Violoncello and Orchestra, Op. 8." In Masterworks of George Enescu. Rowman & Littlefield Publishers, 2010. https://doi.org/10.5771/9780810876903-30.

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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
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Steinberg, Michael. "Schumann." In The Concerto. Oxford University PressNew York, NY, 1998. http://dx.doi.org/10.1093/oso/9780195103304.003.0035.

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Abstract Robert Schumann was born in Zwickau, Saxony, on 8 June 1810 and died, insane, at Endenich, near Bonn, on 29 July 1856. Some reference works give him a middle name, Alexander, but that is a fiction. Schumann composed his Cello Concerto, which he listed in his own catalogue as a ‘ ‘Concertstuck ‘ ‘ for cello and orchestra, between 1C and 24 October 1850, but the first performance was posthumous, given by Ludwig Ebert at the Leipzig Conservatory on 9 June 1860 at a concert in honor of the composer’s fiftieth birthday. In 1966 Dmitri Shostakovich arranged this work as a violin concerto; i
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Sear, Frank. "Theatre and Audience." In Roman Theatres. Oxford University PressOxford, 2006. http://dx.doi.org/10.1093/oso/9780198144694.003.0001.

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Abstract Roman theatres were complex buildings, closer in design to modern theatres than Greek ones. The seating was arranged in a semicircle around the orchestra as in the Greek theatre, but the stage and scene building were joined to the auditorium and rose to the same height, creating a sense of enclosure more like that of a modern theatre. This sense of enclosure was made more emphatic by the fact that some smaller theatres or odea were roofed and larger ones often had awnings (vela) overhead to shade the audience. The Romans were skilled at building substructures under the auditorium whic
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Crease, Stephanie Stein. "Ol’ Man Depression." In Rhythm Man. Oxford University PressNew York, 2023. http://dx.doi.org/10.1093/oso/9780190055691.003.0009.

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Abstract In October 1929, the Wall Street stock market crash initiated widespread economic depression. The entertainment world in Harlem was not immediately impacted but would be in the early 1930s. Webb interacted with Baltimore musicians who came to New York: Blanche Calloway, who was a star singer in Chicago clubs, and her then-unknown younger brother Cab. In 1930, Cab’s breakthrough performance in New York led to fronting the Missourians; they appeared with Webb’s band at the Savoy and other places. In 1931, the Cotton Club’s gangster owners hired Cab Calloway and the Missourians to succee
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Shipton, Alyn. "Antecedents." In The Gerry Mulligan 1950s Quartets. Oxford University PressNew York, 2023. http://dx.doi.org/10.1093/oso/9780197579756.003.0001.

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Abstract By his late teens, Gerry Mulligan was already arranging music and playing the saxophone, working with Elliot Lawrence and then touring nationally with Gene Krupa, for whom he wrote the hit “Disc Jockey Jump.” From there he went to New York, and played and arranged for Claude Thornhill’s orchestra, as a result of which he started to cooperate with several of the musicians who would go on to work in Miles Davis’s “Birth of the Cool” nonet. Mulligan himself was to arrange half the material that this group recorded for Capitol, including “Jeru” and “Venus De Milo,” which were central to i
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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 engageme
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Douglass Grana, Natalie. "Canons, Solfeggi, and Horn Literature." In A Singing Approach to Horn Playing. Oxford University PressNew York, 2022. http://dx.doi.org/10.1093/oso/9780197603567.003.0003.

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Abstract The middle section of the book includes canons, solfeggio, and horn literature of progressive difficulty. Like the songs by tone set, the pieces have sing and play instructions as well as inner hearing, transposition, and polyphonic exercises. Basic harmonic progressions are introduced through the repertoire, with arpeggiations written in solfège and exercises to connect harmonies to horn parts. The canons provide fundamental polyphonic training, beginning with simple songs and moving to compositions by Schubert, Mozart, and Beethoven. The solfeggi are vocal etudes originally for voic
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Tucker, Mark. "Wilder Hobson: “Introducing Duke Ellington” (1933)." In The Duke Ellington Reader. Oxford University PressNew York, NY, 1993. http://dx.doi.org/10.1093/oso/9780195054101.003.0020.

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Abstract Leaders are not so fortunate. Manager Mills wastes considerable money buying Ellington special arrangements of standard tunes. By the time the orchestra plays them they are Ellingtonian-lustered with his own harmonies, pungent with his rhythm. Ellington spends his spare moments writing a score for a Negro musical show to be produced next season by John Henry Hammond Jr., son of the New York lawyer John Henry Hammond, and one of the leading jazz con noisseurs of the country. Ellington is also conceiving a suite in five parts, tentatively entitled Africa, The Slave Ship, The Plantation,
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