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Journal articles on the topic 'Concerto for trumpet concerto for piano'

Author: Grafiati

Published: 4 June 2021

Last updated: 11 February 2022

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1

Conway, Paul. "James MacMillan premieres in Edinburgh, Glasgow and London." Tempo 68, no. 269 (June 16, 2014): 70–72. http://dx.doi.org/10.1017/s0040298214000114.

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The concerto form is well represented in James MacMillan's output. So far, he has written three for piano, two for percussion and one each for violin, viola, cello, trumpet, oboe and clarinet. There is also threaded through his output a series of concertante works, such as A Deep but Dazzling Darkness, for violin, ensemble and tape (2003), A Scotch Bestiary, for organ and orchestra (2004) and the concertino Seraph, for trumpet and strings (2010). All share a common concern to realise fully the soloist's expressive potential.

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2

Springer, D. Gregory, and Brian A. Silvey. "The Role of Accompaniment Quality in the Evaluation of Solo Instrumental Performance." Journal of Research in Music Education 66, no. 1 (February 21, 2018): 92–110. http://dx.doi.org/10.1177/0022429418761044.

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The purpose of this study was to examine the effect of accompaniment quality on the evaluation of solo instrumental performance. Undergraduate instrumental music education majors ( N = 71) listened to and evaluated the accuracy and expressivity of six excerpts of Haydn’s Concerto for Trumpet in E-Flat Major, which we created by synchronizing recordings of good and bad performances of a trumpet soloist with good and bad performances of a piano accompaniment (as well as a no-accompaniment condition). Participants also chose one “best aspect of the performance” and one “aspect needing most improvement” for each excerpt. Significant main effects for accompaniment condition (good, bad, or none) and solo condition (good or bad) were found, in addition to interaction effects. Results of a Solo × Accompaniment interaction signified that participants’ ratings were not independent of accompaniment condition, and this effect was moderated by the performance quality of the trumpet soloist. Additionally, participants noted different “best aspects” and “aspects needing most improvement” based on both solo performance quality and accompaniment condition.

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3

Silvey, Brian A., and D. Gregory Springer. "The Role of Accompaniment Quality in Band Directors’ Evaluations of Solo Instrumental Performance." Journal of Research in Music Education 67, no. 4 (October 9, 2019): 481–93. http://dx.doi.org/10.1177/0022429419878148.

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The purpose of this replication study was to examine the effects of accompaniment on evaluations of solo instrumental performances. Although previous findings have indicated that instrumental music education majors’ evaluations of soloists were not independent of accompaniment, it is unknown whether more experienced evaluators are similarly affected by accompaniment. In addition to using a new population (in-service band directors), we also extended the previous study by asking participants whether they believed their evaluations of a soloist were influenced by the accompaniment provided. Participants ( N = 58) listened to six excerpts of Haydn’s Concerto for Trumpet, which we created by pairing different recordings of solo trumpet performance (good or bad) with piano accompaniment (good, bad, or none). Participants evaluated the accuracy and expressivity of the soloist in each excerpt. Similar to the previous study, results indicated that participants discriminated between good and bad solo performances successfully, but a significant three-way interaction among solo, accompaniment, and order indicated that these differences were further influenced by the quality/presence of accompaniment and order. Most participants (72.4%) believed that their evaluations of the soloist were not influenced by the piano accompaniment, primarily because they were able to focus on the soloist or because they followed the instructions provided.

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4

Hewett, Ivan, Ligeti, Ensemble Modern, Peter Eotvos Miklos Perenyi, and Ueli Wiget. "Cello Concerto; Chamber Concerto; Piano Concerto." Musical Times 135, no. 1818 (August 1994): 515. http://dx.doi.org/10.2307/1003340.

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5

Thomas, Gavin, Heinrich Schiff, Heinz Holliger, Hakan Hardenberger, SWF SO Baden-Baden, Michael Gielen, Saschko Gawriloff, Siegfried Palm, Alfons, and Aloys Kontarsky. "Cello Concerto, Oboe Concerto, Trumpet Concerto, Canto di speranza." Musical Times 135, no. 1812 (February 1994): 108. http://dx.doi.org/10.2307/1002990.

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6

Terras, V., and Ojārs Vācietis. "Piano Concerto." World Literature Today 59, no. 3 (1985): 467. http://dx.doi.org/10.2307/40141038.

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7

Weirich, Robert, John Harbison, David Stock, Robert Moevs, and Jacob Druckman. "Piano Concerto." American Music 3, no. 3 (1985): 361. http://dx.doi.org/10.2307/3051483.

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8

Drakeford, Richard, Hugh Wood, Joanna MacGregor, BBC SO, and Andrew Davis. "Piano Concerto." Musical Times 134, no. 1805 (July 1993): 412. http://dx.doi.org/10.2307/1003113.

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9

Bonus, Alexander. "Johann Nepomuk Hummel, Trumpet Concerto in E major, piano reduction and parts, edited by Michael Kube (Munich: G. Henle Verlag, 2009), viii+68pp. - Johann Nepomuk Hummel, Concerto for Trumpet and Orchestra in E major (Partitur Nr. 15119), and Version in E flat Major (Partitur 15118), edited by Michael Kube (Wiesbaden: Breitkopf & Härtel, 2010), iv+48pp." Nineteenth-Century Music Review 9, no. 2 (December 2012): 379–87. http://dx.doi.org/10.1017/s1479409812000407.

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10

Carnovale, Norbert, Gunther Schuller, and Robert Waddell. "Concerto for Trumpet and Chamber Orchestra." Notes 43, no. 3 (March 1987): 679. http://dx.doi.org/10.2307/898222.

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11

Svard, Lois, and Joseph Schwantner. "Concerto for Piano and Orchestra." Notes 48, no. 4 (June 1992): 1452. http://dx.doi.org/10.2307/942167.

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12

Hassen, Marjorie, and Milton Babbitt. "Concerto for Piano and Orchestra." American Music 6, no. 4 (1988): 478. http://dx.doi.org/10.2307/3051712.

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13

Kriz, Andrea. "Piano concerto for new hands." Nature 557, no. 7703 (May 2018): 134. http://dx.doi.org/10.1038/d41586-018-05000-8.

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14

Burk, James M., Elliott Carter, Ursula Oppens, Michael Gielen, and David Schiff. "Piano Concerto; Variations for Orchestra." American Music 6, no. 1 (1988): 114. http://dx.doi.org/10.2307/3448359.

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15

Conway, Paul. "Civic Hall, Stratford-Upon-Avon: John McCabe's Trumpet Concerto ‘La Primavera’." Tempo 67, no. 263 (January 2013): 89–91. http://dx.doi.org/10.1017/s0040298212001489.

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Although John McCabe's Rainforest II, of 1987, is in effect a chamber concerto for trumpet and 11 strings, his extensive body of concertante works has lacked an official trumpet concerto. La Primavera, which had its première on 15 June 2012, now happily fills that gap. The subtitle derives from McCabe's consideration of two aspects of the approach of Spring: the vitality of burgeoning growth and the flowering of the new or refreshed life as it expands.

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16

Carnovale, Norbert, and Ellen Taaffe Zwilich. "Concerto for Trumpet and Five Players, 1984." Notes 44, no. 4 (June 1988): 832. http://dx.doi.org/10.2307/941062.

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17

Koozin, Timothy, Toshi Ichiyanagi, and Toru Takemitsu. "Piano Concerto No. 2 "Winter Portrait"." Notes 50, no. 1 (September 1993): 387. http://dx.doi.org/10.2307/898778.

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18

Hewett, Ivan, Alexander Goehr, BBC Scottish Symphony Orchestra, Richard Bernas, Peter Serkin, London Sinfonietta, and Oliver Knussen. "Symphony in One Movement; Piano Concerto." Musical Times 136, no. 1833 (November 1995): 604. http://dx.doi.org/10.2307/1003500.

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19

Roseberry, Eric. "Britten's Piano Concerto: The Original Version." Tempo, no. 172 (March 1990): 10–18. http://dx.doi.org/10.1017/s0040298200061088.

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Benjamin Britten's revision of the original (1938) version of his ‘First’ Piano Concerto (he wrote no other) was undertaken in 1945. There had been discussions of a revival of the work between the composer and his friend, the pianist Clifford Curzon, who had encouraged Britten to replace the original third movement, entitled ‘Recitative and Aria’, and was delighted with the substituted ‘Impromptu’. As Curzon wrote to Britten on 1 September, 1946:It has arrived and is exquisite. I can't tell you how delighted I am…

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20

Lawless, Patrick, and Amnon Wolman. "Concerto for Piano, Pianos and Orchestra." Computer Music Journal 15, no. 2 (1991): 72. http://dx.doi.org/10.2307/3680918.

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21

Hill, Peter. "Aspects of Zsolt Durkó's Piano Concerto." Tempo, no. 169 (June 1989): 47–49. http://dx.doi.org/10.1017/s004029820002516x.

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Durkó is no pianist, but you would never know from the way he writes for the piano, with a meticulous feeling for what makes the instrument musical. This much was evident from a glance at the score of his Concerto when it arrived (‘on approval’, as they say) on my piano last summer. So, too, was the depth of character and nuance in those passages simple enough for me to read at sight - one especially seductive example being a little two-part invention for the soloist, pedantic and wistful, to which a third voice (scored, of all things, for timpani) lends an air of oafish charm.

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22

Williamson, Rosemary. "Sterndale Bennett's Lost Piano Concerto Found." Journal of the Royal Musical Association 119, no. 1 (1994): 115–29. http://dx.doi.org/10.1093/jrma/119.1.115.

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I have as I before stated, not yet played this season in the great Concerts [at the Gewandhaus] because I preferred to wait until I was just leaving Leipzig, and had finished all my compositions for the Publisher, therefore on the 3rd. March I will if possible play a new Concerto which I have in hand.THIS, in a letter to Mary Anne Wood dated 7 February 1842, is the earliest specific mention of Bennett's last piano concerto, which was never published and for many years was missing. Only a ‘tantalising fragment’ of a two-piano reduction made by the composer's son and biographer, J. R. Sterndale Bennett, was known to researchers. Autograph manuscripts of two versions of the work, and two sets of orchestral parts copied for different performances, have recently come to light during the present author's research on Bennett. The discovery enables a fresh assessment to be made of an ‘unpublished work of outstanding importance’ by a composer of relatively few large-scale pieces, composed at the end of his most creative period and when he was arguably at the height of his powers. It also presents the possibility of the concerto's performance and publication, 150 years after its conception. A summary of all the sources now known is given in Table 1.

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23

Norris, Jeremy. "A Note on Balakirev's Piano Concerto." Musical Times 131, no. 1769 (July 1990): 361. http://dx.doi.org/10.2307/965748.

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24

Nidecka, Ewa. "Piano concerto no. 1 by Andrzej Nikodemowicz – a hidden desire for freedom." Notes Muzyczny 1, no. 9 (June 20, 2018): 123–59. http://dx.doi.org/10.5604/01.3001.0012.9902.

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Piano concerto no. 1 (1994) by Andrzej Nikodemowicz (1925-2017) is among seven piano concertos written by the composer. Its first version is the Violin concerto created in 1973. Because of the difficult violin part, the composer remade the composition for the piano. The first performance of the Piano concerto no. 1 took place in 1998 in Lviv. While writing the piece, Andrzej Nikodemowicz was persecuted by the Soviet authorities in Lviv for his religious views, that is why the piece expresses his hidden desire for creative freedom. It remains close to expressionist tradition influenced by Scriabin and his idea of “unhindered power of artistic creation” and “apotheosis of the freedom of creative spirit” . The proof for the expressionist origin of Piano concerto no. 1 are the lack of melodic lines, significant dispersion of sound material, loosened rhythmic relationships, lack of tonal centralisation (full atonalism) and a special kind of musical material formation that places the tension layer on extremely different poles: from arhythmic, muffled, slowed, veiled and dreamlike, to a cascade of scattered tones and harmonies preferring sharp, extensive dissonances, passages which are maximally dense in terms of rhythm and divergent, leading to an explosion of drama. The shape of the piano part indicates a clear analogy to an expressionist character – alienated, contradicted and conflicted with the world, experiencing loneliness and suffering. Piano concerto no. 1 by Andrzej Nikodemowicz was also influenced by other 20th century composers, such as B. Bartók and I. Stravinsky (new kind of expression manifested e.g. in impulsive rhythm) and W. Lutosławski (aleatorism).

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25

Carnovale, Norbert, and Gunther Schuller. "Three Concertos: Concerto no. 1 for Horn and Orchestra. Concerto for Piano and Orchestra. Concerto for Bassoon and Orchestra." American Music 15, no. 3 (1997): 413. http://dx.doi.org/10.2307/3052333.

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26

Meckna, Michael, and Ned Rorem. "Piano Concerto for Left Hand and Orchestra." American Music 16, no. 3 (1998): 365. http://dx.doi.org/10.2307/3052649.

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27

Franklin, Peter, Viktor Ullmann, Konrad Richter, Staatsphilharmonie Bruun, and Israel Yinon. "Piano Concerto, Variations Op.5, Second Symphony." Musical Times 134, no. 1806 (August 1993): 468. http://dx.doi.org/10.2307/1003039.

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28

Taruskin, Richard. "Stravinsky, Ditta, and Bartók’s First Piano Concerto." Studia Musicologica 60, no. 1-4 (October 21, 2020): 5–14. http://dx.doi.org/10.1556/6.2019.00001.

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In a memorable letter of 18 March 1926, brought to the attention of Anglophone scholars by David Schneider, Bartók’s second wife Ditta Pásztory described her reaction (obviously also reflecting that of her husband’s) to Stravinsky’s Piano Concerto just after listening to its Budapest premiere with the composer at the piano as being attracted to the machine music but missing in it what she called her “homeland.” In the present article I should like to show that the machine music described as intimidating is no more threatening than a sewing machine, because the inspiration for it was 192Os-style performances of Bach. Furthermore, despite his notorious rhetoric, Stravinsky too aimed at exaltation and catharsis. Parallels between the climaxes in Bartók’s First Piano Concerto and those in Stravinsky’s (especially in the first movement) might reveal the real kinship between the two works. At the same time, Bartók’s obviously different approach to Bach, testified in his few fragmentary recordings, may help us understand the differences of aesthetics between the two composers in their respective neoclassical style showcased in the most important genre for a concertizing pianist.

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29

Correia, Eduardo. "Contrapuntal processes in Brahms' First Piano Concerto." Ars Nova 27, no. 1 (January 1995): 52–76. http://dx.doi.org/10.1080/03796489508566525.

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30

Roe, Stephen. "The Autograph Manuscript of Schumann's Piano Concerto." Musical Times 131, no. 1764 (February 1990): 77. http://dx.doi.org/10.2307/966392.

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31

Davies, Benjamin K. "Joan Guinjoan concertos." Tempo 59, no. 234 (September 21, 2005): 56–57. http://dx.doi.org/10.1017/s0040298205220326.

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JOAN GUINJOAN: Concerto for clarinet and orchestra; Concerto for piano and orchestra; Música per a violoncel i orquestra. Joan Enric Lluna (cl), David Abramovitz (pno), Lluís Claret (vlc). Orquestra Simfònica de Barcelona i Nacional de Catalunya, c. Ernest Martínez Izquierdo. Harmonia Mundi HMI 987056.

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32

Waltham-Smith, Naomi. "Beethoven's ‘Orpheus’ Concerto: The Fourth Piano Concerto in its Cultural Context - By Owen Jander." Journal for Eighteenth-Century Studies 35, no. 2 (May 24, 2012): 284–85. http://dx.doi.org/10.1111/j.1754-0208.2011.00403.x.

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33

Popielska, Klaudia. "The Artistic Profile of Aleksander Zarzycki: A Forgotten Composer of the Romantic Era." Kwartalnik Młodych Muzykologów UJ, no. 46 (3) (2020): 21–37. http://dx.doi.org/10.4467/23537094kmmuj.20.035.13908.

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The second half of the nineteenth century is a neglected period in the history of Polish music, in the aspects of both research and performance. Works by many composers from this period have unfortunately been forgotten. One such composer is undoubtedly Aleksander Zarzycki (1834–1895), also a teacher and piano virtuoso, the author of more than 40 opuses, including many solo songs with piano accompaniment, which have frequently been compared to the songs of Stanisław Moniuszko. Similarly as Poland’s most famous song composer, Zarzycki created two songbooks that belong to the trend of egalitarian songs. He was also renowned for his short piano pieces, written in the salon style with virtuoso elements. One of his most famous works is the Mazurka in G major, popularised by the Spanish virtuoso violinist Pablo Sarasate. Also of note is his Piano Concerto in A-flat major Op. 17, drawing on Fryderyk Chopin’s Piano Concerto in A minor and Józef Wieniawski’s Concerto in G minor. Zarzycki’s works are characteristic of his era, and contain elements of folklore, national style, virtuosity, and the so-called ‘Romantic mood’.

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34

Mottershead, Tim. "Manchester, Bridgewater Hall: Concertos by Hakola and Broström." Tempo 67, no. 265 (July 2013): 75–77. http://dx.doi.org/10.1017/s0040298213000508.

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Given that the BBC Philharmonic had taken the courageous step to perform not one but two substantial premières on 1 February, one might have expected enticing potboilers to make up the rest of the menu. However, the remainder of the programme was devoted to Stravinsky's Petrushka (admittedly his most colourful ballet) along with his austere Symphonies of Wind Instruments. The concert was given a novel twist in that the first half (Symphonies of Wind Instruments and Hakola Violin Concerto) was directed by visiting guest conductor Håkan Hardenberger with John Storgårds as soloist; whilst in the second half (Broström Trumpet Concerto and Petrushka) Storgårds donned his more familiar guise as Principal Guest Conductor, with Hardenberger in his better-known role as trumpet soloist.

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35

Schiff, David. "Keeping up with Carter." Tempo, no. 214 (October 2000): 2–6. http://dx.doi.org/10.1017/s0040298200008019.

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What next indeed! Since his 90th birthday in December 1998, Elliott Carter has turned out a stream of works that are as personal and inventive as ever – if not more so. In addition to significant miniatures for solo piano, solo violin and string quartet, Carter has written his first settings of Italian poems (Tempo e tempi), his first concerto grosso (Askö Concerto) and, most surprising of all, his first opera, What Next? with a libretto by Paul Griffiths. (And a Cello Concerto – for Yo-yo Ma – is well underway.)

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36

Horez, Iulian. "16. Sinfonia Avanti Il Barcheggio by Alessandro Stradella in Interpretations of the Trumpeters Iulian Horez and Miroslav Kejmar." Review of Artistic Education 21, no. 1 (June 1, 2021): 133–38. http://dx.doi.org/10.2478/rae-2021-0016.

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Abstract Alessandro Stradella is a lesser-known composer in trumpet works. However, the Sinfonia avanti il Barcheggio is of great beauty and is written perfectly trumpet. The original is composed for trumpet in C, but the key of D major in which the concerto played with trumpet in C is written poses the biggest tuning problems. For this reason, I recommend for this concert a trumpet in A. The tuning will be much better, it will be played in F major, the natural notes of the trumpet will be used a lot (C, E, G).

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37

Tusa, Michael C. "Reading a Relationship: Solo-Tutti Interaction and Dramatic Trajectory in Beethoven's Second Piano Concerto." Journal of Musicology 29, no. 1 (January 1, 2012): 44–84. http://dx.doi.org/10.1525/jm.2012.29.1.44.

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The evolving relationship between the solo and the tutti over the course of Beethoven's Piano Concerto No. 2 in B♭♭ major, op. 19, contributes to its individuality as a piece of music and provides clues for understanding its significance for Beethoven's early career. A structural analysis of solo-tutti interaction reveals a double trajectory spanning the concerto, one leading from relative opposition between the protagonists to proximity or agreement, and the other from the leadership of the tutti to that of the soloist. The extant sources of the protracted genesis of the concerto provide evidence for how Beethoven may have contemplated alternative enactments of the solo-tutti relationship in the first movement and suggest reasons behind his decision to replace the early (if not in fact original) conclusion to the concerto, the Rondo in B♭♭ major WoO 6, with the definitive finale of op. 19. The essay concludes with some thoughts on the implications of the solo-tutti relationship in op. 19 for the ways that the young Beethoven positioned himself within Viennese society and its musical heritage.

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Johnson, Bret. "Composer in Interview: Benjamin Lees." Tempo, no. 214 (October 2000): 28–30. http://dx.doi.org/10.1017/s0040298200008044.

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BL: The Concerto dates from 1966. It was written for Gary Graffman. We had worked together two years previously on the Fourth Piano Sonata, which I wrote on a Ford Foundation Grant. In those days the foundation was very active in getting performers and composers together and commissioning works. So we decided to do a Concerto. By chance a letter arrived from Eric Leinsdorf, then Music Director of the Boston Symphony, on another matter and when I mentioned in my reply that I was doing a Concerto for Gary, Leinsdorf said he wanted to do the première.

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39

MacDonald, Calum. "British Piano Music." Tempo 60, no. 235 (January 2006): 44–49. http://dx.doi.org/10.1017/s0040298206310042.

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KENNETH LEIGHTON: Sonatinas Nos. 1 and 2, op.1; Sonata No.1 op.2; Sonata No.2 op.17; Five Studies op.22; Fantasia Contrappuntistica (Homage to Bach) op.24; Variations op.30; Nine Variations op.36; Pieces for Angela op.47; Conflicts (Fantasy on Two Themes) op.51; Six Studies (Study-Variations) op.56; Sonata (1972) op.64; Household Pets op.86; Four Romantic Pieces op.95; Jack-in-the-Box; Study; Lazy-bones. Angela Brownridge (pno). Delphian DCD 34301-3 (3-CD set).PATRICK PIGGOTT: Fantasia quasi una Sonata; 8 Preludes and a Postlude (Third Set). Second Piano Sonata. Malcolm Binns (pno). British Music Society BMS 430CD.SORABJI: Fantasia ispanica. Jonathan Powell (pno). Altarus AIR-CD-9084.ROWLEY: Concerto for piano, strings and percussion, op.49. DARNTON: Concertino for piano and string orchestra. GERHARD: Concerto for piano and strings. FERGUSON: Concerto for piano and string orchestra, op.12. Peter Donohoe (pno and c.), Northern Sinfonia. Naxos 8.557290.Severnside Composers’ Alliance Inaugural Piano Recital. GEOFFREY SELF: Sonatina 1. IVOR GURNEY:Preludes, Sets 1, 2 and 3. JOLYON LAYCOCK: L’Abri Pataud. RICHARD BERNARD: On Erin Shore. STEVEN KINGS: Fingers Pointing to the Moon. SUSAN COPPARD: Round and Around. JOHN PITTS: Aire 1; Fantasies 1, 5. JAMES PATTEN: Nocturnes 3, 4. SULYEN CARADON: Dorian Dirge. RAYMOND WARREN: Monody; Chaconne. Peter Jacobs (pno). Live recording, 23 February 2005. Dunelm DRD0238.Severnside Composers’ Alliance – A Recital by two pianists. MARTINŮ: Three Czech Dances. BEDFORD: Hoquetus David. JOHN PITTS: Changes. HOLLOWAY: Gilded Goldbergs Suite. JOLYON LAYCOCK: Die! A1 Sparrow. POULENC: Élégie. LUTOSLAWSKI: Paganini Variations. Steven Kings, Christopher Northam (pnos). Live recording, 14 May 2005. Dunelm DRD0243.‘Transcendent Journey’. FOULDS: Gandharva-Music, op.49; April-England, op.48 no.1. CORIGLIANO: Fantasia on an Ostinato. PROKOFIEV: Toccata, op.11. With works by BACH-CHUQUISENGO, HANDEL, BEETHOVENLISZT, BACH-BUSONI, SCHUMANN. Juan José Chuquisengo (pno). Sony SK 93829.

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40

Plantinga, Leon. "When Did Beethoven Compose His Third Piano Concerto?" Journal of Musicology 7, no. 3 (1989): 275–307. http://dx.doi.org/10.2307/763602.

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41

Hayes, Deborah, and Peggy Glanville-Hicks. "Etruscan Concerto [For] Piano and Chamber Orchestra (1954)." Notes 47, no. 2 (December 1990): 558. http://dx.doi.org/10.2307/942013.

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42

Anderson, Robert, Carl Loewe, Ewa Kupiec, Philharmonie de Lorraine, Jacques Houtmann, Carl Reinecke, Klaus Hellwig, Nordwestdeutsche Philharmonie, and Alun Francis. "Symphony in D Minor Piano Concerto in A." Musical Times 136, no. 1832 (October 1995): 552. http://dx.doi.org/10.2307/1003621.

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43

Plantinga, Leon. "When Did Beethoven Compose His Third Piano Concerto?" Journal of Musicology 7, no. 3 (July 1989): 275–307. http://dx.doi.org/10.1525/jm.1989.7.3.03a00010.

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44

Skaadel, Håvard. "W. A. Mozart and the Rise of the Classical Piano Concerto: Piano concerto No 9 in E flat major (K271)." Studia Musicologica Norvegica 32, no. 01 (October 2, 2006): 23–33. http://dx.doi.org/10.18261/issn1504-2960-2006-01-03.

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Carey, Christian. "AN INTRODUCTION TO THE MUSIC OF HELEN GRIME." Tempo 73, no. 289 (July 2019): 42–50. http://dx.doi.org/10.1017/s0040298219000093.

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AbstractThis article examines the music of composer Helen Grime. It discusses her use of melodic and harmonic materials derived from a Bothy Ballad in Two Eardley Pictures. It analyzes the frequent use of interpenetration and stratification in her music, and the morphing of motivic material via a number of transformations in her Violin Concerto. Finally, the article discusses the narrative quality found in Grime's Piano Concerto.

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Rustamova, Parvin. "Classical Traditions of the Piano Concerto by Ruslan Agababayev." Bulletin of Kyiv National University of Culture and Arts. Series in Musical Art 4, no. 1 (June 4, 2021): 130–39. http://dx.doi.org/10.31866/2616-7581.4.1.2021.233345.

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The article is devoted to the analysis of the concert for piano and symphony orchestra by the modern Azerbaijani composer R. Agababayev. The article is very relevant from the point of view of identifying ways to implement classical traditions in a modern piano concerto of the 21st century. It must be said that in this issue we have found many such stylistic features that testify to the strong reliance of Azerbaijani composers on classical traditions. This article is devoted to the study of identifying the stylistic features of R. Agababayev’s piano concerto in the context of the historical development of this genre. Research methodology. The choice of the methodological basis for this study is due to the above goals and tasks that we set ourselves in the framework of this work. Based on the subject matter of the article, the methodological basis of this scientific work is a complex analysis, which implies the interaction of several research methods at different levels. The basis for the analytical analysis of the piano concerto was a theoretical approach, in which such aspects of the work as the problem of form formation, stylistic features of individual elements of the musical language are subject to research. The scientific novelty of the research lies in the fact that for the first time as special research work is the study and detailed analysis of R. Agababayev’s piano concerto. Conclusions. The main conclusion of our scientific research was to determine the stylistic features of the Azerbaijani piano concert created in the 21st century. Based on the data obtained during the analysis, we were able to determine the main trends and ways of development of this genre at the present stage of the development of Azerbaijani academic music. One of the important, if not decisive, aspect in achieving this kind of goal is to identify issues of preserving and transforming traditions, as well as innovative tendencies in the composer’s solution of a particular work. Single-movement piano concertos have become widespread in academic music since the beginning of the era of romanticism. And in the Azerbaijani one-part piano concerts, connections with romantic traditions are deeply felt. Moreover, in each specific work, these traditions are reflected especially. Since the concert by R. Agababayev demonstrates an interesting and original one-part interpretation, combined with an inner poly-part one, this is a typically romantic tendency associated with the composers’ desire to compress the cycle.

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Popielska, Klaudia. "Sylwetka twórcza Aleksandra Zarzyckiego – zapomnianego kompozytora doby romantyzmu." Kwartalnik Młodych Muzykologów UJ, no. 46 (3) (2020): 23–39. http://dx.doi.org/10.4467/23537094kmmuj.20.010.12852.

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The Artistic Profile of Aleksander Zarzycki: A Forgotten Composer of the Romantic Era The second half of the 19th century in the history of Polish music is a neglected period, both in the aspect of performance and the aspect of research on this music. Unfortunately, works of many composers from this period have been forgotten. One of such composers is undoubtedly Aleksander Zarzycki (1834–1895), a composer, teacher, virtuoso pianist; the author of over 40 opuses and the composer of many solo songs with piano accompaniment, which were often compared to the songs of Stanisław Moniuszko. Similarly to the most famous Polish composer of songs, Zarzycki created two songbooks that are part of the trend of egalitarian songs. He was also renowned for his short piano pieces, written in a salon style with virtuoso elements. One of his most famous works was the Mazurka in G major, which was popularised by the Spanish virtuoso violinist Pablo Sarasate. Also noteworthy is his Piano Concerto in A flat major Op. 17, referring to the Piano Concerto in A minor by Fryderyk Chopin and the Concerto in G minor by Józef Wieniawski. Zarzycki’s works are characteristic of his era, including references to folklore, national style, virtuosity and the socalled "Romantic mood".

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Broad, Leah. "Harrison Birtwistle Responses: Sweet disorder and the carefully careless for piano and orchestra, Royal Festival Hall, London." Tempo 69, no. 272 (April 2015): 61–62. http://dx.doi.org/10.1017/s0040298214001041.

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2014, Sir Harrison Birtwistle's 80th birthday year, witnessed a plethora of events celebrating his music, from the Barbican's ‘Birtwistle at 80’ series to the ‘In Broken Images’ concerts at the Southbank Centre. Included in the latter was the UK premiere of his new concerto for piano and orchestra, Responses: Sweet disorder and the carefully careless, performed on 6 December 2014 by Pierre-Laurent Aimard and the London Philharmonic Orchestra under the direction of Vladimir Jurowski. Birtwistle describes the concerto as addressing the problem of ‘the relationship between the piano and the orchestra’, with the subtitle (taken from essays by architect Robert Maxwell) expressing the ‘essence’ of his composition.

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Pitombeira, Liduino. "O serialismo de Camargo Guarnieri no seu Concerto para Piano e Orquestra N.º 5." Per Musi, no. 20 (2009): 44–53. http://dx.doi.org/10.1590/s1517-75992009000200006.

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Camargo Guarnieri, que com tanta firmeza lutou contra o estabelecimento do serialismo no Brasil, na década de 1950, posteriormente utilizou estruturas atonais e procedimentos seriais. Este artigo demonstra a utilização de atonalismo e serialismo no Concerto para Piano e Orquestra N.º 5, através da análise da exposição de seu primeiro movimento. Na análise, definiu-se um sistema classificatório para as cinco sonoridades atonais utilizadas no concerto, tomando como referência a teoria dos conjuntos de classes-de-notas (FORTE, 1973).

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Cvetković, Stefan. "Aleksandar Obradović: 'Pro libertate concerto for piano and orchestra no. 3'." New Sound, no. 42 (2013): 99–109. http://dx.doi.org/10.5937/newso1341099c.

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The Third Piano Concerto by Aleksandar Obradović, composed in 1999, is one of the authorgs late works. While the poetical concept of the composition reflects the authorgs personal reaction to the events from that period, aesthetically it shows that the coexistence of different compositional and technical patterns is possible, amalgamated within a unique stylistic procedure of the work. According to its compositional and technical procedures, the concerto belongs to the class of neoclassical pieces which, apart from confirming Obradoviügs openness towards various musical solutions, attests to resorting to designs that stem from an extramusical stimulus to creativity.

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