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Relevant bibliographies by topics / Chaconnes (Viola and piano)

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Academic literature on the topic 'Chaconnes (Viola and piano)'

Author: Grafiati

Published: 4 June 2021

Last updated: 5 February 2022

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Journal articles on the topic "Chaconnes (Viola and piano)"

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Sills, David L., George Walker, Tibor Harsanyi, Hayes Biggs, Gerhard Prasent, Jean-Michel Damase, and Marc-Andre Dalbavie. "Viola Sonata for Viola and Piano (1989)." Notes 50, no. 2 (December 1993): 763. http://dx.doi.org/10.2307/898522.

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Griffin, Judson, Irwin Bazelon, and Piero Papini. "Duo for Viola and Piano." Notes 41, no. 3 (March 1985): 592. http://dx.doi.org/10.2307/941193.

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Pollack, Howard, and Samuel Adler. "Sonata for Viola and Piano." Notes 49, no. 3 (March 1993): 1259. http://dx.doi.org/10.2307/899011.

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Loudet, Pablo Martín. "Tres piezas para viola y piano." Plurentes. Artes y Letras, no. 11 (October 26, 2020): 015. http://dx.doi.org/10.24215/18536212e015.

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O'Neill, D. "Shostakovich's sonata for viola and piano." BMJ 345, aug31 1 (August 31, 2012): e5860-e5860. http://dx.doi.org/10.1136/bmj.e5860.

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Thompson Kruse, Penny. "The Other Piano Trio: Works for Violin, Viola, and Piano." American String Teacher 69, no. 1 (January 22, 2019): 21–28. http://dx.doi.org/10.1177/0003131318816980.

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Shevtsova, Anastasiya Vladimirovna. "Genre evolution of the Russian viola repertory." PHILHARMONICA. International Music Journal, no. 4 (April 2020): 70–84. http://dx.doi.org/10.7256/2453-613x.2020.4.32769.

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The research object is Russia’s repertory heritage including compositions for viola by the composers of the 20th century. The works are considered from the viewpoint of a direct impact on their appearance of the brightest representatives of the Russian viola school V.V.Borisovsky, F.S. Druzhinin and Yu.A. Bashmet. The analysis is based on pieces devoted to V.V. Borisovsky (Sonata for viola and Piano by V. Kryukov and S. Vasilenko, “Songs of the Dead” and Rhapsody for viola and piano by A. Veprik, A suite for viola and piano by V. Gaigerova) and to Yu.A. Bashmet (A liturgy for a large orchestra and a solo viola “Bemoaned by the Wind” and “Styx” for viola, choir and orchestra by G. Kancheli), and the works by F.S. Druzhinin (Sonata for solo viola and Variations for solo viola). The works are considered from the position of a player’s influence on the composers’ interest in the solo manifestation of viola and its gradual development. The author defines the term “character-performer” corresponding with the image of a violist of the 20th century. The author denotes the new features of solo viola repertory as a result of the work of the above mentioned violists: the acknowledgement of a uniqueness of a viola voice, the establishment of a viola as a bright concert instrument, the expansion of a used range of a viola, the revelation of a mystic component of a viola timbre, the definition of a unique unifying ability of a viola timbre, a full technical liberation of an instrument, and the need for a co-author thinking of a player.   

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

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Sills, David L., Zsolt Serei, and Pekka Kostiainen. "Iv (Arch); For Violin or Viola and Piano." Notes 41, no. 4 (June 1985): 793. http://dx.doi.org/10.2307/940896.

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Swenson-Eldridge, Joanne. "Six Bagatelles: for Solo Viola, and: Rhapsodic Variations No. 4: for Solo Viola, and: Sonate: pour alto seul, and: Requiescat: for Viola and Piano, and: Tinuviel's Dance: pour alto & piano, and: Urizen: for Viola and Piano (review)." Notes 59, no. 2 (2002): 453–58. http://dx.doi.org/10.1353/not.2002.0196.

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Dissertations / Theses on the topic "Chaconnes (Viola and piano)"

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Heim, Matthew David. "Trio for Clarinet, Viola, and Piano." University of Cincinnati / OhioLINK, 2006. http://rave.ohiolink.edu/etdc/view?acc_num=ucin1155752522.

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Lansdown, Louise. "Paul Hindemith's sonatas for viola and piano." Thesis, Stellenbosch : University of Stellenbosch, 2004. http://hdl.handle.net/10019.1/50056.

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Thesis (MMus) -- University of Stellenbosch, 2004.
ENGLISH ABSTRACT: This dissertation is an account of Paul Hindemith's life between 1919 and 1939 with special reference to his compositional development through the three sonatas for viola and piano. The introduction to the dissertation initially provides a list of Hindemith's vast output for the viola followed by insight into the reason and need for undertaking this research, literary sources used and their function in the context of this study and the conclusion that there is a lack of extant research on the three sonatas for viola and piano. This is followed by comments on Hindemith as a viola player and composer, supported by opinions of scholars and performers. An overview of the contents and aim of the dissertation completes the introduction. This first of the two comprehensive chapters briefly discusses Hindemith's character traits as viewed by a number of scholars and continues by introducing the political, social and financial circumstances in Germany in 1919. The chapter progresses into a division of the period 1919-1939 into six sub-sections of dates within this time span. Each section focuses on the political, financial and musical circumstances in Hindemith's life, with special attention given to the periods of greatest change and conflict. Included in this chapter are also the specific circumstances surrounding the composition, first performances and publication of the three sonatas for viola and piano, alongside mention of other works written at the same time. This is supported by references and quotations from correspondence between Hindemith and his wife, colleagues and friends, as well as translations of newspaper articles, letters and articles which thus far have not been translated into English. Special attention is given to possible reasons for the late publication of op.25 no.4 in 1977. Chapter 2 looks deeper into the significance, success and development of Hindemith through these three works. His stylistic development beginning with the influences of Debussy and Reger, his identification with the 'Neue Sachlichkeit' until the beginning of his later conservatism can be seen clearly in these three works. The aim of the study is to assimilate the available information into an accurate and coherent picture of the composer's life and stylistic development between 1919 and 1939 in a way that has not been presented before. It is my intention through this work that the unique style of the sonatas as well as their important place in the viola repertoire is apparent, and consequently of interest to other viola players, hopefully encouraging them to play the works themselves.
AFRIKAANSE OPSOMMING: In hierdie tesis word Paul Hindemith se lewe tussen 1919 en 1939 beskryf, met spesiale verwysing na sy ontwikkeling as komponis soos dit waargeneem kan word in die drie sonates vir altviool en klavier. Die inleiding tot die tesis verskaf 'n lys van Hindemith se omvangryke oeuvre vir die altviool, gevolg deur 'n motivering waarom hierdie studie onderneem word. Die omvattende literatuurstudie dui daarop dat daar tot op datum baie min navorsing oor die drie altvioolsonates gedoen is. Vervolgens word kommentaar gelewer op Hindemith as altviolis en komponis, ondersteun deur opinies van uitvoerende kunstenaars en musikoloë. 'n Oorsig oor die inhoud en die doelstellings van die tesis sluit die inleiding af. Die eerste van die twee omvattende hoofstukke begin met 'n bespreking van Hindemith se karakter, gevolg deur 'n oorsig oor die politieke, sosiale en ekonomiese omstandighede in Duitsland rondom 1919. Die tydperk 1919-1939 word dan in ses onderafdelings verdeel. Elke onderafdeling plaas die fokus op spesifieke politieke, finansiële en musikale omstandighede in Hindemith se lewe. Die jare waarin konflik en verandering op besondere wyse na vore tree word meer omvattend bespreek. Teen die agtergrond van ander werke uit hierdie tyd word die spesifieke omstandighede rondom die komposisie, eerste uitvoering en publikasie van die drie altvioolsonates in detail beskryf. Dit word aangevul deur verwysings na en aanhalings uit korrespondensie tussen Hindemith en sy vrou, kollegas en vriende, sowel as deur vertalings van koerantartikels en briewe wat tot dusver nog nie in Engels beskikbaar was nie. Hoofstuk 2 plaas die klem op Hindemith se stilistiese ontwikkeling, soos dit in the drie sonates waargeneem word. Die sonates illustreer Hindemith se ontwikkeling vanaf sy bewondering vir Debussy en Reger, oor sy vereenselwiging met die ideale van die 'Neue Sachlichkeit' tot by die meer konservatiewe benadering wat hy later gevolg het. Hierdeur word gepoog om die unieke waarde van die sonates, asook die belangrike plek wat hulle in die algemene altvioolrepertorium beklee, te beskryf. Hopelik sal die studie die belangstelling van altvioliste wek en hulle aanmoedig om die werke ook self te speel. Die doel van die studie is dus om die beskikbare inligting tot 'n samehangende en akkurate beeld van die komponis se lewe en stilistiese ontwikkeling tussen 1919 en 1939 te voeg op 'n wyse wat nog nie voorheen gedoen is nie. Hierdeur word gepoog om die unieke waarde van die sonates asook die belangrike plek wat hulle in die algemene altvioolrepertorium beklee, te beskryf. Hopelik sal die studie die belangstelling van altvioliste wek en hulle aanmoedig om die werke ook self te speel.

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Sokolov, Yaron. "Atteone significa : for viola, piano and percussion with controllers /." May be available electronically:, 2007. http://proquest.umi.com/login?COPT=REJTPTU1MTUmSU5UPTAmVkVSPTI=&clientId=12498.

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Pereira, Antonio Carlos de Mello. "Concerto para viola de Claudio Santoro : edição de partitura, redução para viola e piano e subsidios para interpretação." [s.n.], 2008. http://repositorio.unicamp.br/jspui/handle/REPOSIP/284717.

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Orientador: Emerson Luiz de Biaggi
Dissertação (mestrado) - Universidade Estadual de Campinas, Instituto de Artes
Made available in DSpace on 2018-08-12T12:06:02Z (GMT). No. of bitstreams: 1 Pereira_AntonioCarlosdeMello_M.pdf: 3600416 bytes, checksum: c92d7d21bb89a916777ef4de9d4054a7 (MD5) Previous issue date: 2008
Resumo: Este trabalho tem o intuito de contribuir para a pesquisa e o enriquecimento do repertório de música brasileira específica para viola, em vista da pouca quantidade de obras em forma de concerto escritas para o instrumento no Brasil. A produção de uma partitura editada e a redução no formato para viola e piano, permite em primeiro lugar o estudo de forma prática da obra por músicos e professores, e conseqüentemente sua aplicação no currículo das escolas de música, conservatórios e universidades. Isso contribui para divulgar esse concerto especialmente representativo na obra de Claudio Santoro. O trabalho de edição utiliza sugestões de James Grier, com uma investigação histórica sobre as fontes, estabelecendo critérios de revisão e edição fundamentados num estudo e identificação dos elementos de estilo do compositor. Em seguida realizamos uma análise da peça seguindo a proposta de Jan LaRue em seu livro Guidelines for Style Analysis, que igualmente propõe a identificação dos elementos musicais, suas inter-relações que ajudam a definir aspectos de estilo do compositor. Finalizando, oferecemos informações e sugestões como subsídios para a interpretação do concerto, sempre lembrando a conexão da parte teórica e analítica com a realidade prática do intérprete. As sugestões de sonoridades específicas são embasadas em aspectos técnicas da prática violística com especificações em dedilhados, arcadas, e articulações.
Abstract: The primary purpose of this study is to contribute to the research on the contemporary Brazilian repertoire for viola, which has very few concertos. The musical edition prepared in this research, including the score, the reduction for viola and piano, and the solo-viola part, will allow its study by musicians, teachers and students, and consequently its inclusion in the curriculum of conservatories, music schools and universities. This way we hope to help preserving this concerto so representative of Claudio Santoro's musical production. The edition process was based on James Grier's suggestions, using historic investigation of the sources and establishing review and edition criteria based on the identification of the composer's style. In the sequence of the study, we use the method proposed by Jan LaRue's in his book "Guidelines for Style Analysis" to identify the musical elements and its inter-relation to help define aspects of the composer's style. Finally, we offer information and subsidies for the interpretation of the concert, connecting analysis and instrumental practice, with suggestions about musical and technical problems.
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Orsi, Ivana Paris. "Pequena suite de Villa-Lobos : transcrição para viola e piano." [s.n.], 2000. http://repositorio.unicamp.br/jspui/handle/REPOSIP/284150.

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Orientador: Gualberto Estades Basavilbaso, Eduardo Ostergren
Dissertação (mestrado) - Universidade Estadual de Campinas, Instituto de Artes
Made available in DSpace on 2018-07-28T13:31:24Z (GMT). No. of bitstreams: 1 Orsi_IvanaParis_M.pdf: 4168320 bytes, checksum: dad402affb1b0c4f3948e88de080d9ed (MD5) Previous issue date: 2000
Resumo: Este trabalho transcreve para viola e piano Pequena Suite, escrita originalmente para violoncelo e piano por Heitor Villa-Lobos. Está dividido em quatro partes: INTRODUÇÃO, J}ANÁLiSE, 2)TRANSCRIÇÃO e CONCLUSAO. A Introdução da uma rápida explanação sobre o papel das transcrições no repertório violístico e expõe o plano do trabalho. A Análise toma contato com a estrutura da Suite em seus aspectos micro, médio e macro e depois, através de um Estudo, tira conclusões unindo os três níveis estruturais; logo após, uma síntese aborda os aspectos melódicos, rítmicos, harmônicos e timbrísticos presentes em Pequena Suíte. A Transcrição apresenta seus principais impasses e soluções (através da análise), objetivos didáticos das peças e regras de interpretação, bem como sugestão dededilhados e arcadas. A Conclusão é a partitura completa (piano e viola) mais a parte do solista (viola) para a utilização dos instrumentistas
Abstract: This work transcribes for viola and piano Pequena Suite, written originally for violoncello and piano by Heitor Villa-Lobos. It is divided into four parts: INTRODUCTION, 1) ANALYSIS, 2) TRANSCRlPTION and CONCLUSION. The Introduction gives a brief explanation about the role of transcriptions in viola' s repertoire and exhibits the work's plan itself. The Analysis brings to focus the Suite's structure in its micro, middle and macro aspects; a Study offers conclusions uniting the three structural levels; afterwords, a Synthesis approaches the aspects of melody, rhythm, harmony and sound in Pequena Suite. The Transcription presents its main problems and solutions (through analysis), didactical objectives of the pieces and interpretative suggestions including fingerings and bowings. The Conclusion is the complete music itself, including the viola and piano score and an independent solo viola part as well
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Braddock, Andrew. "A Performance Guide to Arthur Bliss's Sonata for Viola and Piano." UKnowledge, 2019. https://uknowledge.uky.edu/music_etds/152.

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Arthur Bliss’s Sonata for Viola and Piano stands as a significant achievement in early twentieth-century chamber music for viola and is the result of a fruitful collaboration between composer and virtuoso performer. Multiple scholars recognize the sonata as one of Bliss’s finest works. Despite these accolades, the work has failed to attract sustained scholarly investigation. This document provides performers with the necessary tools for a thorough and contextualized presentation of the work. The main body of this study details the technical aspects of performing the sonata: viola technique, expressive challenges, and ensemble concerns. Preceding this, I cover the relevant biographical details from Bliss’s life, examine the roots of his chamber music writing for viola by analyzing two early works, and investigate the collaboration between Lionel Tertis and Bliss in creating this work.

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Marshall, Adrienne Marie. "The Clarinetist’s Guide to the Performance of the Clarinet, Viola, and Piano Trios by Mozart, Bruch, and Larsen." The Ohio State University, 2013. http://rave.ohiolink.edu/etdc/view?acc_num=osu1366379914.

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Hendrickson, Tyler John. "John Blackwood McEwen Sonata in A minor for viola and piano (1941): a critical performance edition." Diss., University of Iowa, 2019. https://ir.uiowa.edu/etd/6762.

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Tábora, Deras Manuel Emilio. "The viola works of Peter Racine Fricker, with emphasis on his Three movements for viola solo, op. 25 plus an overview of his Concerto for viola op. 18, and Fantasy for viola and piano, op. 44." Diss., University of Iowa, 2015. https://ir.uiowa.edu/etd/1921.

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British composer Peter Racine Fricker (1920-1990) is known among violists for his masterly Concerto for Viola and Orchestra, Op. 18, dedicated to and premiered by the famous Scottish violist William Primrose. He wrote two other works that feature the viola: Three Movements for Viola Solo, Op. 25, and Fantasy for Viola and Piano, Op. 44. Fricker was a well-respected and prolific composer, one of the foremost young composers to emerge in England after World War II. After his move to the United States in 1964, the prominence he had established in his homeland virtually disappeared, and he never became a household name in America. Despite this, it is my contention that his music deserves study and a place in our repertoire. The above-mentioned Concerto has remained available in print since its initial publication. Fantasy for Viola and Piano was published in 2014 by the American Viola Society. This essay gives an introduction to these two works which are currently in circulation. The Concerto is considered from the standpoint of viola technique and pedagogy, while the Fantasy is briefly analyzed in terms of Fricker’s stated compositional ideals. The culmination of this work is a performance edition of the Three Movements, to be published later this year by the American Viola Society.

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Artamonova, Elena. "Between tradition and modernity : Sergei Vasilenko and his unknown works for viola and piano." Thesis, Goldsmiths College (University of London), 2013. http://research.gold.ac.uk/9916/.

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Sergei Vasilenko has been perceived as a conformist and inconsequential Soviet composer in post-Soviet Russia. The recent discoveries of unpublished documents reveal Vasilenko to be a talented musician whose search for a niche within the culture of Soviet music forced him to keep his true musical writings secret from the public in a drawer of his desk. The author of this thesis was fortunate to find a number of his unknown and unpublished compositions for viola and piano. In view of the paucity of music for stringed instruments in Russia in the first decades of the last century, Vasilenko’s seven compositions for viola, which are all different in style, mode and technique, assume especial importance. The analysis of these works shows that Vasilenko equally combined the elements of many diverse and often contradictory musical conceptions of the time, including the Silver Age, Neoclassicism, Romanticism and the Avant-garde. His innovative style – expanding the technical and sonorous potential of the instrument, and the rhythmic and harmonic resources of Russian music – launched new standards in viola performance and expanded its repertoire. This thesis investigates the language, performing issues and the reasons for the neglect of his viola works as well as their stylistic roots that spanned from Vasilenko’s interest in the Baroque to Russian liturgical music. The aim of this study is to re-evaluate the role of Vasilenko in the enhancement of the viola as a solo instrument in the twentieth century and bring his works to a concert platform. The analysis and discussion of these subjects rely heavily on unpublished and little-explored materials on Vasilenko from the archives in Moscow. This PhD submission has practical and written components that consist of the written thesis, edited musical scores and the first complete recording of Vasilenko’s compositions for viola and piano released by Toccata Classics.

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Books on the topic "Chaconnes (Viola and piano)"

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Hoiby, Lee. Ciaconetta for viola and piano. Bryn Mawr, Pa: T. Presser, 1994.

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Carl, Nielsen. Chaconne for solo piano, op. 32. Boca Raton, Fla: Masters Music Publications, 1993.

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Karchin, Louis. Viola variations: Viola and piano. New York: C.F. Peters, 1988.

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Nyman, Michael. Viola and piano. London: Chester Music, 1997.

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Hindemith, Paul. Sonatas for viola/piano and viola alone. München: ECM, 1988.

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Samuel, Adler. Sonata for viola and piano. Bryn Mawr, Pa: T. Presser, 1987.

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Fine, Vivian. Lieder for viola and piano. Washington, D.C. (1719 Bay St., SE, Washington, D.C. 20003): Sisra Publications, 1987.

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Wieniawski, Henri. Rêverie: For viola and piano. New York: International Music Co., 1994.

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Liebermann, Lowell. Sonata for viola and piano. Bryn Mawr, PA: T. Presser, 1988.

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Bauer, Ross. Chin music: Viola and piano. New York: C.F. Peters, 1993.

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Book chapters on the topic "Chaconnes (Viola and piano)"

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"Quartet for Violin, Viola, Violoncello, and Piano op.113." In Selected Writings of Max Reger, 145–46. Routledge, 2013. http://dx.doi.org/10.4324/9780203958858-27.

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Reiter, Walter S. "Temperament and “Historical” Intonation: An Outline." In The Baroque Violin & Viola, 99–107. Oxford University Press, 2020. http://dx.doi.org/10.1093/oso/9780190922696.003.0011.

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The modern piano is tuned to a system known as equal temperament, in which all semitones are equal. This system is convenient because it enables the pianist to play in any key and, to the modern ear at least, in tune. To musicians from the Baroque period, the piano’s intonation would have sounded excruciatingly out of tune! This lesson explains the basics of temperament, what it is, why it is needed and how the modern performer can become comfortable with systems of intonation that existed in the Baroque era, whether the mathematics are understood or not. Topics such as “pure” intonation, meantone, the qualities of individual tonalities, flatter sharps, and sharper flats are discussed and there is an exercise comparing pure intonation with equal temperament. Clear practical guidance is given as to how to explore historical intonation by ear, using Leopold Mozart’s charts on overtones and the mysterious “phantom cellist.”

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Harrison, Bryn. "Foreshadowing and Recollection: Listening Through Morton Feldman’s Piano, Violin, Viola, Cello." In Being Time. Bloomsbury Academic, 2019. http://dx.doi.org/10.5040/9781501396267.ch-002.

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Passamae, Maria Aparecida dos Reis Valiatti, Orquestra Sinfônica do Espírito Santo, and Felipe Mendes de Vasconcelos. "ANÁLISE DA SONATA PARA VIOLA E PIANO DE RADAMÉS GNATTALI: PRIMEIRO MOVIMENTO." In Música, Filosofia e Educação, 95–104. Antonella Carvalho de Oliveira, 2019. http://dx.doi.org/10.22533/at.ed.0461050210.

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Schmelz, Peter J. "Ghosts and Shadow Sounds." In Sonic Overload, 254–92. Oxford University Press, 2021. http://dx.doi.org/10.1093/oso/9780197541258.003.0009.

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Chapter 9 begins studying Alfred Schnittke’s lengthy retreat from polystylism by looking at several of his key compositions from the 1980s, among them his Piano Sonata no. 2, Violin Concerto no. 4, String Trio, and Viola Concerto. In these works, polystylism began to fade as Schnittke emphasized the grotesque, artificial nature of his quotations. He also began speaking more about what he called “shadow sounds,” which soon took precedence in his aesthetic schema, largely replacing polystylism. Yet by the end of the 1980s, as polystylism dissipated, it remained a central category for critics and listeners. Schnittke himself became more unrooted; he emigrated from the USSR to Germany but continued to express a deep ambivalence about his true home.

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