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Journal articles on the topic 'Bassoons (2) with orchestra'

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Published: 4 June 2021

Last updated: 1 February 2022

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1

Weait, Christopher, Andrzej Panufnik, and Daniel Dorff. "Concerto for Bassoon and Small Orchestra [Flute, 2 Clarinets in B-Flat, Strings]." Notes 51, no. 3 (March 1995): 1141. http://dx.doi.org/10.2307/899346.

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2

Chystiakova, Katerina. "Dramaturgical function of the orchestra in song cycle by Hector Berlioz – Théophile Gautier “Summer Nights”." Aspects of Historical Musicology 16, no. 16 (September 15, 2019): 190–206. http://dx.doi.org/10.34064/khnum2-16.11.

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Background. In recent scholar resources musicologists actively study the problem of typology of chamber song cycle. The article cites analytical observations of M. Kolotylenko on works in this genre by R. Strauss (2014), of I. Leopa – on G. Mahler’s (2017), of N. Vlasova – on A. Schoenberg’s (2007). It is stated, that unlike Austro-German phenomena of this kind have been studied to a certain degree, song cycle “Summer Nights” by H. Berlioz hasn’t received adequate research yet, although it is mentioned by N. Vlasova as on of the foremost experiences of this kind. It allows to regard the French author as a pioneer in tradition of chamber song cycle. The aim of given research is to reveal the essence of orchestration as a part of songs cycle’s artistic whole. In order to achieve it, semantical, compositionally-dramaturgical and intonational methods of research are used. Originally, “Summer Nights” were meant to be performed by a duo of voice and piano (1834). It was not until 1856 that composer orchestrated this cycle, similarly to the way G. Mahler and in several cases R. Strauss done it later. The foundation of cycle by H. Berlioz are six poems from a set by T. Gautier «La Comédie de la mort», published in 1838. In spite of having epic traits, this set is still an example of lyrical poesy, where subjective is being generalised, while chosen motive of death, according to L.Ginzburg, corresponds to existential essence of lyric (L. Ginzburg). French poet, prose writer, critic, author ow the poems set to music in “Summer Nights” by H. Berlioz – Théophile Gautier (1811–1872) – is one of the most enigmatic and singular figures in history of XIX century art. He was eclipsed by his contemporaries, although his creativity paved the way for upcoming symbolism, that incarnated in poetry of C. Baudelaire, and set “Émaux et Camées” became an aesthetic ideal for Parnassian School. A work by H. Berlioz on lyrics by T. Gautier consists of four songs: “Villanelle”, “Le Spectre de la Rose”, “Sur le lagunes”, “Absence”, “Au cimetiere. Clair de Lune” and “L`ile Inconnue”. It is founded on a plot of lyrical type, that is built according to the principle of appearing associations. Lyrical “I”, whose inner world is revealed during the cycle, provides logical congruity of the work. Each mélodie has its own spectrum of images, united by general lyrical plot. The first and last songs, grounding on a theme of nature, create thematic arch. The denouement of the plat falls on “L`ile Inconnue”, where hero’s conclusion about impossibility of everlasting love is proclaimed. The orchestra part is equal significance with the voice and intonated verbal text, simultaneously playing an important role in illuminating underlying meaning of the lyrics. H. Berlioz doesn’t tend to use supplementary woodwind instruments. Although, each instrument reveals its unique sonic and expressive possibilities, demonstrating its singular characteristics. Due to that an orchestra becomes differentiated, turning into a flexible living organism. Composer doesn’t use exceedingly large orchestra, moreover, each song has its unique set of performers. However, there are stable players: strings (including double basses), two flutes, 2 clarinets (in A and in B). Besides of that, H. Berlioz occasionally uses the timbre of solo oboe, bassoons, natural French horns in different keys, and in the second song he employs coloristic potential of the harp. From a standpoint of the semantics, the score is built according to the principle of the opposition between two spheres. The former one is attached to the motives of the nature and has pastoral mod. At the same time, it reveals idealistic expanse of dreams and vision, thus being above the existing realm. This sphere is represented by woodwinds and brass. The latter, on the contrary, places the hero in real time. It is a sphere of sensuality, of truly human, it also touches themes of fate and inevitable death. It is characteristic that this sphere is incarnated through string instruments. Although, the harp cannot be bracketed with either of the groups. This elusive timbre in instrumental palette is saved for “Le Spectre de la Rose” and creates unsubstantial image of a soul ascending to Heaven. H. Berlioz evades usage of mixed timbers in joining of different groups of the orchestra. Even when he does it, it has sporadic nature and provides emphasis on a particular motive. Orchestral tutti are almost non-existent. Composer uses concerto principle quite regularly as well. Additional attention must be drawn to psychologising of role of clarinet and semantisation of flute and bassoon. Clarinet becomes a doppelganger of lyrical “I” and, quite like a personality of a human, acquires ambivalent characteristics. Because of that, it interacts not only with its light group, but with low strings as well, thus demonstrating an ability to transformation of the image. Bassoon reflects the image of the death. This explains its rare usage as well as specific way of interaction with other instruments and groups. Flute is attached to the image of the nature, symbolises a white dove, that in a poetry of T. Gautier represents an image of beautiful maiden. Consequently, this allows to state that timbre of flute incarnates the image of lyrical hero’s love interest. The most significant instruments of string group are the low ones, accenting either the aura of dark colours or sensuality and passion. Neglecting the tradition requiring lyrical hero to be paired with a certain voice type, H. Berlioz in each mélodie uses different timbres, that suit coloristic incarnation of the miniature the most in the terms of tessiture and colour. A conclusion is made, that composer become a forefather of chamber song cycle of new type, with its special trait being equivalence of the voice and the orchestra, that allows them to create united multi-layered integrity

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3

TALBOT, MICHAEL. "WILLIAM BATES AND HIS CONCERTOS IN TEN PARTS, OP. 2: AN ENTERPRISING EIGHTEENTH-CENTURY COMPOSER AND AN UNRECOGNIZED ORCHESTRAL SUBGENRE EMPLOYING HORNS." Eighteenth Century Music 14, no. 2 (August 30, 2017): 235–63. http://dx.doi.org/10.1017/s1478570617000069.

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ABSTRACTWilliam Bates, who died in 1778, was a prolific and, in his day, successful composer of stage music and concert songs performed in London in the 1760s and 1770s; but a scarcity of biographical information and uncertainties over his position vis-à-vis the new style introduced in the early 1760s by J. C. Bach and others have tended to disadvantage him in modern commentary. New facts about his life and background together with a recently discovered sale catalogue reveal him to have been a cultivated man of wide interests, with a sympathy for the ‘ancient’ style. His most substantial musical contribution, as regards its potential for modern revival, is a remarkable set of six concertos for strings with oboes, bassoons and horns (plus, in two concertos, trumpets and timpani) published in 1762. These concertos, related in style to contemporary overtures to stage works but making much greater use of concertante writing, form a high point in a peculiarly British tradition of concertos employing French horns. The cult of the horn in Georgian Britain that nourished this tradition is the subject of extended discussion.

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4

Rickards, Guy. "MARGARET BROUWER, CHEN YI, SADIE HARRISON, MISATO MOCHIZUKI, ONUTE NARBUTAITE, APPARENZE." Tempo 58, no. 229 (July 2004): 60–66. http://dx.doi.org/10.1017/s0040298204360225.

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MARGARET BROUWER: Lament for violin, clarinet, bassoon and percussion12,4,6,10; Light for soprano, harpsichord, flute, clarinet, violin, cello and percussion1,7,2,5,13,14,11; Under the Summertree for piano8; Skyriding for flute, violin, cello & piano3,13,14,9; Demeter Prelude for string quartet15. 1Sandra Simon (sop), 2Sean Gabriel (fl), 3Alice Kogan Weinreb (fl), 4Jean Kopperud (cl), 5Amitai Vardi (cl), 6Donald McGeen (bsn), 7Jeanette Sorrell (hpschd), 8Kathryn Brown (pno), 9Mitsuko Morikawa (pno), 10Dominic Donato (perc), 11Scott Christian (perc), 12Laura Frautschi (vln), 13Gabriel Bolkosky (vln), 14Ida Mercer (vlc), 15Cavani String Quartet. New World 80606-2.CHEN YI: Momentum; Chinese Folk Dance Suite for violin and orchestra1; Dunhuang Fantasy for organ and chamber wind ensemble3; Romance and Dance for 2 violins and string orchestra1,2; Tu. 1Cho-Liang Lin (vln), 2Yi-Jia Susanne Hou (vln), 3Kimberley Marshall (org), Singapore SO c. Lan Shui. BIS-CD-1352.SADIE HARRISON: The Light Garden for mixed quintet1; The Fourteenth Terrace for clarinet and ensemble2; Bavad Khair Baqi! for solo violin3. Traditional Afghan Music4. 1Tate Ensemble, 2Andrew Spalding (cl), Lontano c. Odaline de la Martinez, 3Peter Sheppard Skærved (vln), 4Ensemble Bakhtar. Metier MSV CD92084.MISATO MOCHIZUKI: Si bleu, si calme1; All that is including me for bass flute, clarinet and violin1,2,3; Chimera; Intermezzi I for flute & piano1,4; La chamber claire. 1Eva Furrer (fl, bass fl), 2Bernhard Zachhuber (cl), 3Sophie Schafleitner (vln), 4Marino Formenti (pno), Klangforum Wien c. Johannes Kalitzke. Kairos 0012402KAIONUTE NARBUTAITE: Symphony No. 2; Liberatio for 12 winds, cymbals & 4 strings; Metabole for chamber orchestra. Lithuanian National SO c.Robertas Fervenikas. Finlandia 0927-49597-2.ALLA PAVLOVA: Symphony No. 1, Farewell Russia1,3,4; Symphony No.32,3,5. 1Leonid Lebedev (fl), Nikolay Lotakov (picc), Mikhail Shestakov (vln), Valery Brill (vlc), Mikhail Adamovich (pno); 2Olga Verdernikova (vln), 3Russian PO c. 4Konstantin D. Krimets, 5Alexander Vedernikov. Naxos 8.557157.‘APPARENZE: Collana di Nuove Musiche 1997’. Works by SILVIA DELITALA, RITA PORTERA, CATERINA DE CARLO, BEATRICE CAMPODONICO, PAOLA CIAR-LANTINI, JANET MAGUIRE, MARCO SANTAM BROGIO, PAOLO MINETTI, FEDERICO MONTAGNER, RINALDO BELLUCCI and BIAGIO PUTIGNANO. Maria Vittoria Vallese (sop), Pia Zanca, Fiametta Facchini, Rinaldo Bellucci (pnos), Duo Soncini-Flückiger, Italian Guitar Quartet, Ensemble Paul Klee, Fabrizio Fantini, Gianluca Calonghi (cls), Giuseppe Giannotti (ob). Radio Onda d'Urto E.F.B 001.

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K.F. "String Orchestra: Aebersold for Everyone (Flute/Vibes/Oboe/Violin, Trombone/Baritone bass clef/Cello/Bassoon, Viola, Guitar, Bass, Grade 2-3)Aebersold for Everyone (Flute/Vibes/Oboe/Violin, Trombone/Baritone bass clef/Cello/Bassoon, Viola, Guitar, Bass, Grade 2-3). Jamey Aebersold/Peter Blair. Heritage Music Press, 2003. Student book $6.95, Conductor Score/Teacher's Guide (including CD) $19.95." American String Teacher 53, no. 3 (August 2003): 116. http://dx.doi.org/10.1177/000313130305300330.

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6

Swift, Richard, Arthur Bird, and Gunther Schuller. "Nonet for Woodwinds (Marche miniature); For Piccolo, 2 Flutes, 2 Oboes, 2 Clarinets and 2 Bassoons." Notes 42, no. 2 (December 1985): 403. http://dx.doi.org/10.2307/897456.

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Swift, Richard, and Gunther Schuller. "Concerto No. 2 for Orchestra." Notes 44, no. 1 (September 1987): 153. http://dx.doi.org/10.2307/941002.

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Marsden, Hannah. "Symphonies, Status and Soft Power: The Symphony Orchestra of India." ASIAN-EUROPEAN MUSIC RESEARCH JOURNAL 7 (June 21, 2021): 19–36. http://dx.doi.org/10.30819/aemr.7-2.

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The Symphony Orchestra of India (SOI) is India's only professional symphony orchestra. In this paper, I explore the roles and meanings of the SOI. First, I situate it locally within its home city of Mumbai, positioning it within discourses of social class, status, and globally-minded aspiration. I argue that local values and ideologies surrounding professional musicianship compromise attempts to embed orchestral musicking in the city. I then move on to place the SOI within discourses of nation building, questioning the role of the orchestra as a marker of national development. I suggest that Mumbai's transnational middle class and elite communities, as well as the SOI's multinational corporate donors, consider investment in an orchestra a part of India's wider political and economic development. I point to tensions that are created as India's local and national government resist the notion of the orchestra as a marker of modernity and instead champion Indian arts and cultures as foundational to India's nationhood. Finally, I explore the SOI's transnational networks, looking at its role within cultural diplomacy and soft power. I show that, whilst the SOI has made significant steps in 'reaching out' and finding a place within transnational cultural networks, its efforts are hampered by its failure to 'stand out'; to forge its own national identity as an Indian symphony orchestra.

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Anderson, Martin. "Norwegian Orchestral Music." Tempo 58, no. 229 (July 2004): 49–50. http://dx.doi.org/10.1017/s0040298204250227.

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KLEIBERG: Lamento: Cissi Klein in memoriam1; Symphony No. 1, The Bell Reef2; Kammersymfoni (Symphony No. 2).3 Trondheim Symphony Orchestra c. 1Eivind Aadland, 2Rolf Gupta, 3Christian Eggen. Aurora ACD 5032FLEM: Piano Concerto; Solar Wind; Ultima Thule per Orchestra.1 Sergei Ouryvaev (pno), St Petersburg State Symphony Orchestra c. Alexander Kantorov; 1Bergen Philharmonic Orchestra c. Terje Boye Hansen. Aurora ACDPERSEN: Over Kors og Krone. Oslo Philharmonic Orchestra c. Christian Eggen. Aurora ACD 5029NYSTEDT: Apocalypsis Joannis, op. 115. Mona Julsrud (soprano), James Gilchrist (tenor), Oslo Philharmonic Orchestra and Choir c. Aril Remmereit. Simax PSC 1241 (2-CD set).

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Stein, Robert. "CORIGLIANO ROUSE HIGDON." Tempo 58, no. 230 (October 2004): 87–88. http://dx.doi.org/10.1017/s0040298204300331.

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CORIGLIANO: Symphony No. 2; The Mannheim Rocket. Helsinki Philharmonic Orchestra c. John Storgårds. Ondine ODE10392ROUSE: Violin Concerto1; Rapture; Der gerettete Alberich2. 1Cho-Liang Lin (vln), 2Evelyn Glennie (perc), Helsinki Philharmonic Orchestra c. Leif Segerstam. Ondine ODE10162HIGDON: Concerto for Orchestra; City Scape. Atlanta Symphony Orchestra c. Robert Spano. Telarc. CD80620 (Super Audio version SACD60620)

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Kruglik, V. L. "Folk-instrumental bases musical style of Vadim D. Bibergan." Vestnik of Saint Petersburg State University of Culture, no. 2 (31) (June 2017): 126–29. http://dx.doi.org/10.30725/2619-0303-2017-2-126-129.

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In the article, the example of «Concerto for gusli with the orchestra» discusses Bibergan’s principles of work with musical material, shows color of gusli, discusses their potential as a solo instrument, and in collaboration with the orchestra. Also attention is paid to timbre and texture characteristics of an orchestra of Russian folk instruments

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12

Talbot, John. "York Bowen's Viola Concerto." Tempo 60, no. 238 (October 2006): 42–43. http://dx.doi.org/10.1017/s0040298206260315.

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YORK BOWEN: Viola Concerto in C minor, op.25. CECIL FORSYTH: Viola Concerto in G minor. Lawrence Power (vla), BBC Scottish Symphony Orchestra c. Martyn Brabbins. Hyperion CDA67546.BOWEN: Viola Concerto; Viola Sonata No.2 in F major; Melody for the C string, op.51 no.2. Doris Lederer (vla), with Czech Philharmonic Chamber Orchestra c. Paul Polivnick, Bruce Murray (pno). Centaur CRC 2786.BOWEN: Viola Concerto. WALTON: Viola Concerto in A minor. HOWELLS: Elegy for viola, string quartet and string orchestra. VAUGHAN WILLIAMS: Suite for viola and orchestra (Group I). Helen Callus (vla), New Zealand Symphony Orchestra c. Marc Taddei. ASV CD DCA 1181.

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13

Kahn, Barbara B., and Luciano Rossetti. "Type 2 diabetes — who is conducting the orchestra?" Nature Genetics 20, no. 3 (November 1998): 223–25. http://dx.doi.org/10.1038/3018.

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Palmer, Peter. "Brun and Bloch." Tempo 59, no. 233 (June 21, 2005): 80–82. http://dx.doi.org/10.1017/s0040298205270250.

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BRUN: Symphony No. 3 in D minor. Moscow Symphony Orchestra c. Adriano. Sterling CDS-1059-2.BLOCH: Helvetia; Suite for viola and orchestra; Suite Hébraïque for viola and orchestra. Gérard Caussé, (vla), Orchestre de la Suisse Romande c. Lior Shambadal. Cascavelle RSR 6170.

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Head, Raymond. "John Foulds." Tempo 59, no. 232 (April 2005): 52–53. http://dx.doi.org/10.1017/s0040298205230152.

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FOULDS: Three Mantras op. 61b3; Lyra Celtica, Concerto for voice and orchestra op. 501; Apotheosis (Elegy) for violin and orchestra op. 182; Mirage op. 20. 1Susan Bickley (mezzo), 2Daniel Hope (vln), 3City of Birmingham Youth Chorus, City of Birmingham Symphony Orchestra c. Sakari Oramo. Warner Classics 2564 61525-2.

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Rickards, Guy. "Petrassi's Concertos." Tempo 59, no. 233 (June 21, 2005): 74–76. http://dx.doi.org/10.1017/s0040298205220259.

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Sutherland, Roger. "Dutilleux." Tempo 57, no. 226 (October 2003): 45–47. http://dx.doi.org/10.1017/s0040298203220350.

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DUTILLEUX: Métaboles1; Cello Concerto2; The Shadows of Time3. 1Orchestra National de France c. Mstislav Rostropovitch; 2Arto Noras (vlc), Finnish Radio Symphony Orchestra c. Jukka-Pekka Saraste; 3Boston Symphony Orchestra c. Seiji Ozawa. Hlatus 0927-49830-2.

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Johnson, Bret. "American Music." Tempo 57, no. 226 (October 2003): 56–57. http://dx.doi.org/10.1017/s004029820330035x.

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LEES: Symphonies Nos. 2, 3 and 51; Etudes for piano and orchestra2. 1Staatsphilharmonie Rheinland-Pfalz c. Stephen Gunzenhauser, 2James Dick (pno), Texas Festival Orchestra c. Robert Spano. Albany TROY 564/565 (2-CDset).LEES: Passacaglia. PERSICHETTI: Symphony No 4. DAUGHERTY: Philadelphia Stories; Hell's Angels. Oregon Symphony c. James De Preist. Delos DE 3291.FLAGELLO: Symphony No. 1; Theme, Variations and Fugue; Sea Cliffs; Intermezzo. Slovak Radio Symphony Orchestra c. David Amos. Naxos 8.559148.HOVHANESS: Symphony No 22, City of Light1; Cello Concerto2. 2Janos Starker (vlc), Seattle Symphony c. 1Alan Hovhaness, 2Dennis Russell Davies. Naxos 8.559158.HOVHANESS: Symphonies: No 2, Mysterious Mountain; No 50, Mount St Helens; No 66, Hymn to Glacier Peak; Storm on Mt Wildcat, op.2 no.2. Royal Liverpool Philharmonic Orchestra c. Gerard Schwarz. Telarc CD-80604.

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Tareeva, M. M., V. U. Muhortov, and T. P. Suprunova. "Vegetables and music?! The Viennese Vegetable Orchestra." Vegetable crops of Russia, no. 2 (June 30, 2009): 56–60. http://dx.doi.org/10.18619/2072-9146-2009-2-56-60.

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Kashuba, Denis. "Chamberness in genre-stylistic field of Piano concertos by Johannes Brahms." Aspects of Historical Musicology 16, no. 16 (September 15, 2019): 207–24. http://dx.doi.org/10.34064/khnum2-16.12.

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Introduction. In recent years, there has been indefatigable interest of scholars in the concerto genre, and that can be proven by constantly appearing research article and dissertation, devoted to it. For example, in 2017 and 2019 candidate dissertation [Ph. D] have been published, that illuminated previously obscure pages of, respectively, French tradition of this genre, embodied in concertos for various instruments with orchestra by C. Saint-Saëns, and AustroGerman of the first decades of XIX century (including those by J. N. Hummel, I. Moscheles, F. Ris). Expansion of the knowledge about this genre in historical aspect is accompanied by refinements and changes of viewpoints on its essence, that allows, in particular, to comprehend the phenomenon of intersection of different traits of a symphony, a concerto and an ensemble in composers’ activity of XX – beginning of XXI century. A presumption is made, that between these stated genres there is some kind of interlocutor, that is dialogism. At the same time, it is noted, that various types of a dialogue in given work do not lead inevitably to some “mix” or ambivalence, but can contribute to realisation of the potential of the concerto genre. The last one can be applied to the Piano concertos by J. Brahms. Objectives. The goal of the given article is to reveal signs of chamberness in genre-stylistic field of Piano concertos by Johannes Brahms. Results and discussion. In spite of widely disseminated opinion that they belong to predominately orchestral type or even are “symphonies with piano obligato” (Kuznetsov, 1980; Beyer, 1897), they reveal influence of another essential characteristics of the genre, including chamberness. This can be explained either by classicism of J. Brahms’s composer style, who has always orientated towards tradition of his times or by integrativity, that is an iconic trait of late-Romantic music. The examples are given of grand-scale symphonic conceptions deriving from primal ensemble ideas. It is noted, that while the understanding of the genre’s nature remains stable, in each Concerto the proportion of symphonism, concertoness and chamberness is singular due to a significant time interval passing between them and noticeable difference in level of composer’s maturity. Both Concertos reveal the following attributes of chamberness: frequent usage of separate orchestra groups, eventual appearance of “ensemble of soloists” on the background of certain groups or without any accompaniment, significant dramaturgic role played by solos of the piano either slightly supported by sparse instruments while their parts are rather scattered or absolutely unaccompanied. It is stressed that regarding playing piano one should not equate one performer with one part as there are parts of right and left hands and dialogues appearing between them (Polskaya, 2001). On the other side, mono-pianistic expression doesn’t necessarily coincide with a monologue, as self-comprehension of a personality can be marked by a significant dialogism and even conflict (Misitova, 2004). The Piano concertos by J. Brahms can serve as an example for the last observation as appearances of the soloist (chiefly, solo) create additional thread of dramaturgy, sometimes governing the development of music and its images. In the First concerto, given its allusions to the Baroque era, one can discern frequent usage of chamber, sometimes exclusively string orchestra. It is pointed out that initial image of Maestoso, that is supposed to be portrayed by sonority of the accentuated brass group as it has tremendous and formidable mood, is in fact embodied by strings with occasional illuminations of another groups. In Adagio the archi section also plays the leading role, being in dialogue with two bassoons in the first orchestral episode, later entering compassionate dialogue with the piano. In both movements the full orchestra is used only in the climactic moments, often with the soloist involved. And the Finale is the only movement where the semantics of the competition and festivities of the masses urges the composer to use entire orchestra. The logic of changes of emotional states in the solo part is quite clear. It is a personification of a “lyrical hero”, who is in a state of an inner dialogue, and that engenders a conflict situation, largely contributing to the dramatism of further events in the music. Employments of the ensemble are sporadic and are usually illuminated by a background of the orchestra. In Second concerto, while the strategy of chamberness of orchestra and raising the significance of the soloist remains stable, on the contrary, different means of ensemble communication are developed, including those involving “satellite” instruments. Their activity is revealed in the very first bars of Allegro non troppo, where French horn and piano resemble quiet and leisurely conversation. This duet in its further appearances marks the borders of large chapters of the structure, therefore acquiring compositional significance. Ensemble qualities are intrinsic for Andante from this Concerto, where another soloist appears, singled out from the group of cellos, and later oboe, clarinets make their entrance, and the score turns into sheer dialogue of soloists. Conclusions. Comparison of two Piano concertos by J. Brahms allows to state that composer simultaneously has firm understanding of this genre and favours different traits of chamberness in each of them. In the latter one “satellite” timbres are used, ensemble structures are more significant. And this paves the way for ensemble differentiation of the orchestra, that can be regarded as one of the first portents of modern understanding of concerto genre and abovementioned processes of “mixing”.

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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 ‘concerto’) for baritone chansonnier and orchestra (on children's rhymes by H.C. Artmann), finalized in 1977. Then there are four works which remain in manuscript (withdrawn from circulation): Concerto No. l for flute, vibraphone, xylophone and percussion (1961); Concerto No. 2 for tenor saxophone, double bass and percussion (1961); ‘furbass’ for double bass and orchestra; and an unsatisfactory forerunner of the violin concerto, Arien (1974–5). The symphony he has not touched; and one is tempted to see in this reliance on solo/ensemble confrontation an attempt to hold together the self–splintered, all too globally diversified language of the late 20th century by an eloquent soloist's sheer persuasiveness, by musical force, so to speak, the soloist being dramatized as a kind of Atlas. In the same way Gruber's recourse to popular songs and idioms of ‘light music’ in these works can seem like a desperate attempt to find a tonal prop and sanction for a language so pervasively threatened by tone–deafness and gobbledygook.

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Turner, Kay-Alana, Craig S. Escamilla, and Enrique Henry R. Venta. "The Symphony Of Southeast Texas In 2015: A Regional Orchestra Navigating New Horizons." Journal of Business Case Studies (JBCS) 12, no. 2 (March 31, 2016): 61–68. http://dx.doi.org/10.19030/jbcs.v12i2.9623.

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The Symphony of Southeast Texas (Beaumont, TX) is the only professional symphony orchestra between Houston, TX, and Lake Charles, LA. From 2010- 2014, the organization focused on resolving internal management and financial challenges. Additionally, the orchestra identified 3 major goals: (1) To be an orchestra able to play anything, (2) To be an orchestra reaching 1/3 of the local population each season, and (3) To be an orchestra hosting a music school with a full youth orchestra. As the 2014 -2015 season began, these initiatives created a position full of possibilities for the orchestra’s new executive director. He could now reach beyond simply solving problems within the organization, in order to bring the community of Southeast Texas a new perspective on classical music and the Symphony. This case study, best used in undergraduate or graduate management, marketing, service management, nonprofit management, operations management, or strategy courses, describes the progress of the orchestra and studies the opportunities and challenges still facing the Symphony of Southeast Texas in light of this new era. The information presented in the case study was obtained through interviews with staff and board members of the organization, along with a case study of the orchestra conducted in 2010. The findings were then analyzed to identify trends in opinions among members of the organization and to gather facts about the current management and the future of the Symphony of Southeast Texas. The study finds that the Symphony is well-managed, but must find new, exciting ways to fulfill its mission of reaching the community.

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Kalimullina, O. "Springs of the folk soul: from the history of the formation of Kazan culture of the XX century." Heritage and Modern Times 4, no. 2 (July 12, 2021): 198–204. http://dx.doi.org/10.52883/2619-0214-2021-4-2-198-204.

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The article attempts to systematize the historical stages of the formation of the Orchestra of Folk Instruments of the Republic of Tatarstan, which is led by the People's Artist of Russia, Professor A.I. Shutikov. Creative connections of the collective are revealed, the foundations of the creative orientation of the leader and musicians are formulated. The activities of the orchestra are regarded as an important segment of the Republic of Tatarstan culture.

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Rickards, Guy. "SKALKOTTAS: 36 Greek Dances (with alternative versions of Nos. II/8–9 & III/6); The Return of Ulysses. BBC Symphony Orchestra c. Nikos Christodoulou. BIS-CD-1333/1334. SKALKOTTAS: Concerto for 2 violins1–3; Quartet for oboe, trumpet, bassoon & piano2,4–6; Concertino for oboe & piano2,4; Concertino for trumpet & piano2,5; Tango and Fox-trot for oboe, trumpet, bassoon & piano2,4–6; Sonata Concertante for bassoon & piano2,6. 1Eiichi Chijiiwa, Nina Zymbalist (vlns), 2Nikolaos Samaltanos (pno), 3Christophe Sirodeau (pno), 4Alexeï Ogrintchouk (ob), 5Eric Aubier (tpt), 6Marc Trenel (bsn). BIS-CD-1244." Tempo 58, no. 227 (January 2004): 78–80. http://dx.doi.org/10.1017/s0040298204300069.

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Johnson, Bret. "MORTON GOULD McKINLEY." Tempo 58, no. 230 (October 2004): 88–90. http://dx.doi.org/10.1017/s0040298204310338.

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MORTON GOULD: Symphony No. 2. HARBISON: Cello Concerto1. STUCKY: Son et Lumière. GABRIEL GOULD: Watercolors2. 1David Finckel (vlc), 2Robert Sheena (cor anglais), Albany Symphony Orchestra c. David Alan Miller. Albany TROY 605.McKINLEY: Violin Concerto1; Symphony of Winds; Sinfonie Concertante2. 1Janet Packer (vln), Warsaw National Philharmonic c. Jerzy Svoboda, 2Silesian Philarmonic Orchestra c. Joel Suben. MMC2119.McKINLEY: Wind, Fire, and Ice1; Mostly Mozart2; Silent Whispers3. 1Victoria Griswold (pno), London Symphony Orchestra c. Roger Briggs, 2Royal Liverpool Philharmonic c. Gerard Schwarz, 3Warsaw Philharmonic c. Robert Black. MMC2134.McKINLEY: Symphony No. 6, Prague1. STEWART: Scherzo. BIGGS: Salutation. ROSSI: Moon-Mirror. 1Roman Janal (bar), Czech Radio Symphony c. Vladimir Valek. MMC2123.

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BOSTAN, Maria-Cristina. "Dmitri Shostakovich – Concerto no.2 for cello and orchestra op.126." " BULLETIN OF THE TRANSYLVANIA UNIVERSITY OF BRASOV, SERIES VIII - PERFORMING ARTS" 12(61), no. 2 Special (February 4, 2020): 61–70. http://dx.doi.org/10.31926/but.pa.2019.12.61.29.

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Stein, Robert. "London, Proms 2012 (2): Olga Neuwirth, Kaija Saariaho." Tempo 67, no. 263 (January 2013): 73–75. http://dx.doi.org/10.1017/s0040298212001416.

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Postmodernism in music may be hard to define – even harder than the same notoriously slippery term in literature – but Olga Neuwirth's viola concerto Remnants of songs … an Amphigory (2009) may be as good an exemplar as any. Given its UK première on 13 August by the talented British violist Lawrence Power, with the Philharmonia Orchestra under Susanna Mälkki, the concerto's Proms appearance marks the first time the festival has put on any of her pieces.

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Conway, Paul. "Thea Musgrave round-up." Tempo 57, no. 226 (October 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 Classics CC0039.MUSGRAVE: Memento Vitae; Helios; Night Music; The Seasons. Nicholas Daniel (ob), Scottish Chamber Orchestra c. Nicholas Kraemer; BBC Symphony Orchestra c. Jac van Steen. NMC (ANCORA+) D074.‘Oriental Landscapes’. MUSGRAVE: Journey Through a Japanese Landscape. CHEN YI: Percussion Concerto. ZHOU LONG: Out of Tang Court. HOVHANESS: Fantasy on Japanese Wood Prints. Evelyn Glennie (perc), Singapore Symphony Orchestra c. Lan Shui. BIS CD 1222.

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Leisner, David, Francesco Molino, and Ruggero Chiesa. "Concerto in mi minore per chitarra e Orchestra [2 Oboes, 2 Horns, Strings], op. 56." Notes 41, no. 4 (June 1985): 783. http://dx.doi.org/10.2307/940885.

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30

Hash, Phillip M. "The National High School Orchestra 1926—1938." Journal of Research in Music Education 57, no. 1 (April 2009): 50–72. http://dx.doi.org/10.1177/0022429409333376.

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The purpose of this study was to document the history of the National High School Orchestra (NHSO), a select ensemble organized by Joseph E. Maddy under the auspices of the Music Supervisors' National Conference during the 1920s and 1930s. Research questions examined the orchestra's (1) origin, performances, and operation; (2) instrumentation and repertoire; (3) influence on music education; and (4) implications for modern practice. The first NHSO was assembled for the 1926 meeting of the Music Supervisors' National Conference in Detroit, Michigan. Initially led by Maddy, this ensemble was reorganized in 1927, 1928, 1930, 1932, and 1938. The NHSO helped promote instrumental music education through conference performances, radio broadcasts, and concerts presented throughout the country. This organization also demonstrated the potential of high school musicians and served as a basis for the NHSO Camp—the institution known today as the Interlochen Center for the Arts.

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31

Brown, Jonathan. "Alexander Berne and The Abandoned Orchestra: Self Referentials Volumes 1&2." Computer Music Journal 37, no. 4 (December 2013): 91–93. http://dx.doi.org/10.1162/comj_r_00204.

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White, John P. M., Mario Cibelli, Laszlo Urban, Bernd Nilius, J. Graham McGeown, and Istvan Nagy. "TRPV4: Molecular Conductor of a Diverse Orchestra." Physiological Reviews 96, no. 3 (July 2016): 911–73. http://dx.doi.org/10.1152/physrev.00016.2015.

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Transient receptor potential vanilloid type 4 (TRPV4) is a calcium-permeable nonselective cation channel, originally described in 2000 by research teams led by Schultz ( Nat Cell Biol 2: 695 –702, 2000) and Liedtke ( Cell 103: 525–535, 2000). TRPV4 is now recognized as being a polymodal ionotropic receptor that is activated by a disparate array of stimuli, ranging from hypotonicity to heat and acidic pH. Importantly, this ion channel is constitutively expressed and capable of spontaneous activity in the absence of agonist stimulation, which suggests that it serves important physiological functions, as does its widespread dissemination throughout the body and its capacity to interact with other proteins. Not surprisingly, therefore, it has emerged more recently that TRPV4 fulfills a great number of important physiological roles and that various disease states are attributable to the absence, or abnormal functioning, of this ion channel. Here, we review the known characteristics of this ion channel's structure, localization and function, including its activators, and examine its functional importance in health and disease.

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Borchers, Jan, Eric Lee, Wolfgang Samminger, and Max M�hlh�user. "Personal orchestra: a real-time audio/video system for interactive conducting." Multimedia Systems 9, no. 6 (June 1, 2004): 594. http://dx.doi.org/10.1007/s00530-004-0139-2.

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34

Dunn, Joanna. "Richard Rodney Bennett’s ‘The Mines of Sulphur’." Tempo 60, no. 235 (January 2006): 33–34. http://dx.doi.org/10.1017/s0040298206220047.

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Rickards, Guy. "LEE HYLA." Tempo 58, no. 230 (October 2004): 86–87. http://dx.doi.org/10.1017/s0040298204290337.

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Lister, Rodney. "Bolcom, Gann and other Americans." Tempo 60, no. 235 (January 2006): 37–39. http://dx.doi.org/10.1017/s0040298206260042.

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WILLIAM BOLCOM: Songs of Innocence and of Experience. Christine Brewer, Measha Brueggergosman, Hana Davidson, Linda Hohenfeld, Carmen Pelton (sops), Joan Morris (mezzo-sop), Marietta Simpson (con), Thomas Young (ten), Nmon Ford (bar), Nathan Lee Graham (speaker/vocals), Tommy Morgan (harmonica), Peter ‘Madcat’ Ruth (harmonica and vocals), Jeremy Kittel (fiddle), The University of Michigan Musical Society Choral Union, Chamber Choir, University Choir, Orpheus Singers, Michigan State University Children’s Choir, Contemporary Directions Ensemble, University Symphony Orchestra c. Leonard Slatkin. Naxos 8.559216-18.AARON COPLAND: Inscape. ROGER SESSIONS: Symphony No. 8. GEORGE PERLE: Transcendental Modulations. BERNARD RANDS: …where the murmurs die… . The American Symphony Orchestra c. Leon Botstein. New World 80631-2.KYLE GANN: Nude Rolling Down an Escalator: Studies for Disklavier. New World 80633-2.

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Barrett, Richard. "Eliane Radigue - Eliane Radigue: Occam Ocean 2. Onceim Orchestra, Frédéric Blondy. Shiin, SHIIINEER2." Tempo 74, no. 293 (June 10, 2020): 95–96. http://dx.doi.org/10.1017/s004029822000011x.

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38

Sparer, Michael S. "Leading the Health Policy Orchestra: The Need for an Intergovernmental Partnership." Journal of Health Politics, Policy and Law 28, no. 2-3 (April 2003): 245–70. http://dx.doi.org/10.1215/03616878-28-2-3-245.

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39

Kirsten, Kuhlbrodt, Mouysset Julien, and Hoppe Thorsten. "Orchestra for assembly and fate of polyubiquitin chains." Essays in Biochemistry 41 (October 1, 2005): 1–14. http://dx.doi.org/10.1042/bse0410001.

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Selective protein degradation by the 26 S proteasome usually requires a polyubiquitin chain attached to the protein substrate by three classes of enzymes: a ubiquitin-activating enzyme (E1), a ubiquitin-conjugating enzyme (E2), and a ubiquitin ligase (E3). This reaction can produce different polyubiquitin chains that, depending on size and linkage type, can provide distinct intracellular signals. Interestingly, polyubiquitination is sometimes regulated by additional conjugation factors, called E4s (polyubiquitin chain conjugation factors). Yeast UFD2 (ubiquitin fusion degradation protein-2), the first E4 to be described, binds to the ubiquitin moieties of preformed conjugates and catalyses ubiquitin-chain elongation together with E1, E2, and E3. Recent studies have illustrated that the E4 enzyme UFD2 co-operates with an orchestra of ubiquitin-binding factors in an escort pathway to transfer and deliver polyubiquitinated substrates to the 26 S proteasome. Here we propose a model in which E4-dependent polyubiquitination pathways are modulated by different ubiquitin-binding proteins, using ataxin-3 as an example.

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40

Johnson, Bret. "Geirr Tviett's ‘Baldur's Dreams’." Tempo 58, no. 229 (July 2004): 50–51. http://dx.doi.org/10.1017/s0040298204260223.

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TVEITT: Baldur's Dreams (complete)1; Telemarkin.21Solveig Kringelborn (sop), 2Trine Øien (mezzo), 1Ulf Øien (ten), 1Magne Fremmerlid (bass), 1,2Jon Eikemo (reciter), Stavanger Symphony Orchestra c. Ole Kristian Ruud. BIS 1337/1338 (2-CD set).

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41

Rickards, Guy. "Chinary Ung." Tempo 59, no. 233 (June 21, 2005): 83–84. http://dx.doi.org/10.1017/s0040298205290253.

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CHINARY UNG: Spiral VI; Seven Mirrors; Grand Alap; Grand Spiral (‘Desert Flowers Bloom’). Quake, Gloria Cheng (pno), Walter Gray (vc), Rob Tucker (perc). La Jolla Symphony Orchestra c. Harvey Sollberger. New World 80619-2.

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42

Tsabary, Eldad. "Stabilizing and Destabilizing Agents in Laptop Orchestra Improvisation." Les Cahiers de la Société québécoise de recherche en musique 17, no. 1 (April 17, 2018): 39–49. http://dx.doi.org/10.7202/1044668ar.

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The purpose of this study is to explore effective strategies for successful collective improvisation in laptop orchestras. Collective music-making requires listening to and interacting with others in order to create a cohesive performance. However, musical expression also involves a sense of agency (Maus 1991; Levinson 2004), which may be perceived most prominently when individuals take temporary creative leadership roles and intentionally destabilize the sense of cohesion, either to rejuvenate it or to catalyze change. In my experience teaching and directing the Concordia Laptop Orchestra (CLOrk), I have observed that orchestra members learn to be attentive to stabilization and cohesion and to apply those concepts to their music-making relatively quickly, but that they have more difficulty learning and applying destabilization and catalysis techniques. Through interviews and questionnaires with CLOrk members, I have learned that the obstacles to taking destabilizing actions while improvising may be technical (primarily monitoring challenges), personal (ego depletion and attentional limits), and/or social (risks of peer rejection, exclusion, and shame). CLOrk members proposed strategies to address these challenges, including (1) arranging the orchestra in subgroups to improve audio monitoring coherence and to reduce attentional load and (2) communicating regularly about all relevant matters, including emotional and social obstacles in order to promote a mindful environment of sharing and a safe space for trial and error in the creative process.

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43

Palmer, Peter. "Frédéric Rapin, Musik in Luzern, Rhapsodische Kammermusik aus der Schweiz’. ERNST LEVY, HERMANN SUTER." Tempo 58, no. 229 (July 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 violins, viola, cello and double bass1. HERMANN SUTER: Sextet in C major for 2 violins, viola, 2 cellos and double bass2. FRANK MARTIN: Rhapsodie for 2 violins, 2 violas and double bass3. Florian Kellerhals, Stefan Häussler (vlns), 2,3Nicolas Corti, 1,3Bodo Friedrich (vlas), Imke Frank, 2Matthias Kuhn (vcs), Andreas Cincera (db). Musiques Suisses MGB CD 6201.HERMANN SUTER: Symphony in D minor. HANS JELMOLI: Three Pieces for Orchestra from the comic opera Sein Vermächtnis. Moscow Symphony Orchestra c. Adriano. Sterling CDS-1052-2.

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Johnson, Christopher M., Clifford K. Madsen, and John M. Geringer. "A Study of Music Students’ Tempo Changes of a Soloist’s Performance of Mozart’s 1st Horn Concerto." Journal of Research in Music Education 60, no. 2 (May 11, 2012): 217–31. http://dx.doi.org/10.1177/0022429412445486.

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The purpose of the present investigation was to investigate music students’ tempo changes of a soloist’s performance in an excerpt from Mozart’s Concerto No. 1 in D Major for Horn and Orchestra. We then compared the composite rubato pattern to tendencies found in a previous investigation using Mozart’s Concerto No. 2 in E ♭ Major for Horn and Orchestra. Data were collected directly from listeners’ Continuous Response Digital Interface (CRDI) dial movements, which controlled the instantaneous tempo of the solo horn performance. Some tendencies from previous rubato performances were replicated; however, overall performances more closely reflected the previous performances of the lowest rated horn performers than those judged as the highest caliber performers.

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Conway, Paul. "Birmingham, Symphony Hall and Manchester, RNCM: Muldowney's Piano Concerto No. 2 and ‘Serenade’." Tempo 57, no. 224 (April 2003): 46–47. http://dx.doi.org/10.1017/s0040298203250154.

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The world première of Dominic Muldowney's Second Piano Concerto on 7 November came as part of a concert marking the 80th birthday of the BBC. The work was fashioned for Angela Hewitt, who was accompanied by the BBC Symphony Orchestra under Leonard Slatkin. Hewitt's core repertoire of Bach, Ravel and Messiaen was reflected in the style of Muldowney's new piece, which married Classical with neo-Classical idioms yet at the same time sounded thoroughly post-modern in its cheerful eclecticism, witty sidesteps and theatrical leaps of imagination.

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Nicholls, David, Ruth Crawford, Judith Tick, and Wayne Schneider. "Music for Small Orchestra (1926); Suite No. 2 for Four Strings and Piano (1929)." Notes 53, no. 2 (December 1996): 626. http://dx.doi.org/10.2307/900163.

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47

Hüppe, Eberhard, and Richard Polex. "Georg Hajdu: Der Sprung Wireworks Orchestra, Pumpenhaus Theater, Münster, Germany, 2–3 October 1999." Computer Music Journal 24, no. 2 (June 2000): 90–92. http://dx.doi.org/10.1162/comj.2000.24.2.90.

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48

Huertas, Alice, Christophe Guignabert, Joan A. Barberà, Peter Bärtsch, Jahar Bhattacharya, Sunita Bhattacharya, Maria R. Bonsignore, et al. "Pulmonary vascular endothelium: the orchestra conductor in respiratory diseases." European Respiratory Journal 51, no. 4 (March 15, 2018): 1700745. http://dx.doi.org/10.1183/13993003.00745-2017.

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The European Respiratory Society (ERS) Research Seminar entitled “Pulmonary vascular endothelium: orchestra conductor in respiratory diseases - highlights from basic research to therapy” brought together international experts in dysfunctional pulmonary endothelium, from basic science to translational medicine, to discuss several important aspects in acute and chronic lung diseases. This review will briefly sum up the different topics of discussion from this meeting which was held in Paris, France on October 27–28, 2016. It is important to consider that this paper does not address all aspects of endothelial dysfunction but focuses on specific themes such as: 1) the complex role of the pulmonary endothelium in orchestrating the host response in both health and disease (acute lung injury, chronic obstructive pulmonary disease, high-altitude pulmonary oedema and pulmonary hypertension); and 2) the potential value of dysfunctional pulmonary endothelium as a target for innovative therapies.

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Cagney, Liam. "Murail, Dufourt, Grisey: BBC Symphony Orchestra, Barbican Centre, London." Tempo 68, no. 269 (June 16, 2014): 66–67. http://dx.doi.org/10.1017/s0040298214000084.

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‘Why shouldn't we be allowed to write symphonic poems?’ Tristan Murail asked the audience gathered at the BBC's Maida Vale Studios for his interview with Jonathan Cross. Murail, now 67, was visiting the UK for the first time in many years, here for the world premiere of his new orchestral work Reflections, which took place on 2 November 2013 in a robust performance by the BBC Symphony Orchestra conducted by Sakari Oramo. Reflections parts one and two evoke certain aspects of early modernist music, and, most of all, the music of Debussy, a composer Murail has come to cite more and more frequently. This diptych premiered by the BBC SO comprises the first two parts, said Murail, of a projected cycle for orchestra of several relatively brief pieces, each of which reflects on a certain image, memory or object of personal significance to the composer.

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Johnson, Bret. "George Rochberg." Tempo 60, no. 235 (January 2006): 35–36. http://dx.doi.org/10.1017/s004029820624004x.

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ROCHBERG: Symphony No. 2; Imago Mundi. Naxos 8.559182.ROCHBERG: Symphony No. 5; Black Sounds; Transcendental Variations. Naxos 8.559115.ROCHBERG: Violin Concerto (revised and extended version). Peter Sheppard Skaerved (vln). Naxos 8.559129. All three discs Saarbrücken Radio Symphony Orchestra c. Christopher Lyndon-Gee.

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