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1
Uspenska, I. O. "Violin concerto principles as a way of musical thinking: semantic discourse." Problems of Interaction Between Arts, Pedagogy and the Theory and Practice of Education 56, no. 56 (July 10, 2020): 169–88. http://dx.doi.org/10.34064/khnum1-56.11.
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Background. The history of concert music, separated from ritual and other non-musical functions, is closely connected with the art of violin. The violin was the leading instrument of the Baroque concert style, the examples of which are still unsurpassed. Despite the large amount of research on the formation and varieties of violin style, the concept of “concert” in combination with the concept of “violin” has not yet been considered separately, which determines the relevance of the topic of this article. The object of the research is a concerto principle of musical thinking in violin music; the purpose of the study is to identify the features of the phenomenon of concert in the system of music genres with the participation of the violin. Research methodology. To highlight the content of the stated topic, the article uses elements of both general and special musicological methods, including: historical genetic, deductive, comparative (general scientific approaches); organological, genre and stylistic analysis (musicological approach). Results. The article is devoted to the characterization of the “concerto principles” concept, which is the basis for the study of concert works for violin. It is noted that such phenomena and concepts as “concerto principles”, “concertіzing”, “concerto” are based on the reflection of the dialogue idea in its projection on the dialectic of musical formation (according to B. Asafiev). The author of the article identifies the main approaches to classifying the types of concerto as a musical genre, pointing out the following oppositions: “composer – performer-soloist”, “performer-soloist – orchestra”, and “structural canon – freedom of construction”. The significance of such attributes of concerto as virtuosity and improvisation inherent in any concert forms, including with the participation of the violin, is highlighted. It is noted that the implementation of the concerto principles, which come from large concert forms by J. S. Bach (according to Yu. Kholopov), is a prerequisite in the practical application of the concerto violin music models that are individually embodied in the work of modern masters, including Kharkiv citizens. In order to characterize the phenomenon of violin concerto principles, it was necessary to dwell on the nature of a whole complex of phenomena defined by B.Asafiev as “the basis and principle of concerto”. Based on the observations made by the founder of intonation theory, we can conclude that there is a common core of any concerto music – the idea of a dialogue that arises between the generating and generated intonational and thematic impulses that potentially contain a key to the dialectic of the musical process in its various structural formulations. The dialogue nature of concerto as a special musical genre also includes such attributes as virtuosity and improvisation. However, their presence in a concerto has various gradations and is not, as a rule, a foreground factor. At the same time, we cannot deny that the virtus aesthetics (lat. – valor, talent) is important within the system of concerto genres represented in music for a certain instrument, in particular, the violin. In this regard, a concerto is always a “competition and agreement” between the soloist and the orchestra accompanying him. As a result, and on this basis, we can say about the formation of the three main types of interaction between the participants in the concert dialogue: dominating solo, dominating orchestra, and parity (according to K. Kuznetsov). It should be noted that the improvisation clarifies the meaning of concerto as a performing genre, which is aimed at the free expression of a musician, unlimited by the existing canons and structural models. The genome of concerto (M. Bondarenko) is realized in a rather wide variety of musical forms and genre subtypes – from the standard model of a concerto for a solo instrument with orchestra, a concert for orchestra, a “concerto without orchestra” (R. Schumann), to any other genre forms containing signs of concerto (K. Bila). In evolutionary terms, the development of the concert dialogue idea went through several stages in which two multidirectional vectors are distinguished – centripetal (the way to concerto as a special kind of symphonic genre) and centrifugal (“dispersal” of concerto as a principle of musical thinking in different intonation systems – mono-, poly- and liberal-genre, according to G. Daunoravichene). The “Genre Explosion” (L. Shapovalova), inherent in Modern music, influenced concerto as a musical genre, where composers and performers can discover for themselves and for listeners the most diverse elements of language and technology, referring to different eras and genre styles. The absence of a unified concert model in modern composer and performing practice is largely due to the set of instruments. The instrumental component of concert genres (namely genres, not a genre) is in modern conditions a key determinant in implementing the principles of concerto, which fully applies to violin music. It was the violin that was one of the main instruments that determined the appearance of a solo concerto in the Baroque music, where the foundations of the entire subsequent development of instrumental genre traditions were laid in the direction from the typical vision to the author’s version – the hypothesis of the world (M. Starcheus), concentrated in the genre “matrix” (E. Nazaikinsky). The unsurpassed examples of a large concerto form, which composers of all subsequent eras have oriented themselves to, are found in the works of J. S. Bach, who was not so much an “inventor” as a “trend-setter”. In concertos by J. S. Bach, the severity and seriousness of thought are combined with a peculiar “neutralization” (Yu. Kholopov) of form elements that create a kind of its internal tonal and harmonic “frame”. At the heart of Bach’s concerto principles, which apply to all other manifestations of this principle, and to modern violin literature, there are two constructive standards – polyphonic (theme and interlude) and homophonic (theme and episode), in which Yu. Kholopov sees not only differences, but also similarities. The author of this article did not set the goal of illustrating these principles on the material of specific works from the creative portfolios of Kharkiv masters. At the same time, the three principles of constructing a large concerto form – alternative, developmental and reprise-repeated (Yu. Kholopov), developed by I. S. Bach, can be traced in a number of examples – from concertos for violin (violins) with orchestra – to concerto miniatures , where the “image” of the instrument is realized through various gradations of concerto as the basis and principle of musical thinking. Conclusions. The semantics of violin concerto is revealed in two meanings, concentrated in the components of this phenomenon. The main one is “concert” as a principle of musical thinking, based on a combination and different types of ratio of dialogicity (genre constant), virtuosity and improvisation (genre attributes). The second component of the phenomenon – “violin” – specifies the first at the level of the genre system, which is multifaceted and includes works of different models, classified on the basis of mono-, poly- and librogenre. The semantic “matrices” of violin concerto find expression in the corresponding genre forms, which was first demonstrated in the music of the late Baroque (J. S. Bach), where they were divided into two most common types of poetics: polyphonic (theme and interlude), homophonic (theme and episode). The article states that on this methodological basis it is necessary to approach the concert violin style in the works of both individual authors and regional schools, in particular, one of the leading in Ukraine – Kharkiv, which is the immediate prospect of further study of the topic.
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Adlington, Robert, Holloway, Kovacic, Tuckwell, SCO, Bamert, Ligeti, et al. "Violin Concerto; Horn Concerto." Musical Times 136, no. 1825 (March 1995): 163. http://dx.doi.org/10.2307/1004015.
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Cleman, Tom, and Henri Lazarof. "Violin Concerto." Notes 46, no. 3 (March 1990): 815. http://dx.doi.org/10.2307/941454.
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Jensen, Byron, William Schuman, Philip Quint, Charles Ives, Jose Serebrier, and Bournemouth Symphony Orchestra. "Violin Concerto." American Music 21, no. 4 (2003): 530. http://dx.doi.org/10.2307/3250580.
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Morgan, Robert P., and Elliott Carter. "Violin Concerto (1990)." Notes 50, no. 3 (March 1994): 1181. http://dx.doi.org/10.2307/898608.
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Palmer, Peter. "Holliger's Violin Concerto." Tempo 59, no. 231 (January 2005): 70. http://dx.doi.org/10.1017/s0040298205220077.
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Whittall, Arnold. "Carter’s Violin Concerto." Tempo 60, no. 236 (March 23, 2006): 75. http://dx.doi.org/10.1017/s0040298206220151.
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Morgan, Robert P., and Anthony Pople. "Berg: Violin Concerto." Music Analysis 12, no. 3 (October 1993): 400. http://dx.doi.org/10.2307/854152.
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Cope, David, and Toshi Ichiyanagi. "Violin Concerto: Circulating Scenery." Notes 44, no. 3 (March 1988): 593. http://dx.doi.org/10.2307/941561.
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Quinn, Peter. "Pēteris Vasks's Violin Concerto." Tempo 59, no. 233 (June 21, 2005): 82–83. http://dx.doi.org/10.1017/s0040298205280257.
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Berrett, Joshua, William Schuman, and Leonard Bernstein. "Concerto for Violin and Orchestra." American Music 9, no. 3 (1991): 335. http://dx.doi.org/10.2307/3051443.
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Murphy, Michael. "Romantic Violin Concerto – Vol. 4." Nineteenth-Century Music Review 2, no. 2 (November 2005): 217–19. http://dx.doi.org/10.1017/s1479409800002408.
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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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Grebneva, I. "”The image” of the violin in the creative work of A. Corelli (on the example of the concerto grosso genre)." Problems of Interaction Between Arts, Pedagogy and the Theory and Practice of Education 49, no. 49 (September 15, 2018): 115–27. http://dx.doi.org/10.34064/khnum2-49.08.
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Statement of the problem. The violin style of A. Corelli, a composer-violinist who laid the foundation for the development of the violin art in Europe, represents a special “image of the instrument” that entered the professional-academic arena during the Baroque era. The research of A. Corelli’s violin style belongs to the field of organology, which is dedicated to the integrated study of instruments as the “organs” of musicians’ thinking. The close relationship, connection of the individual who is playing music with his/her instrument is not only one of the little developed theoretical problems, but also the basis of the practice for performing music, as well as learning this art. Analysis of recent publications on the topic. The available sources on the creative work of A. Corelli (written by K. Kuznetsov, I. Yampolsky, L. Ginzburg, N. Harnoncourt) contain either general information or individual observations on the image of the violin in the Baroque era. It is necessary to point out the significance of the general theory of the violin style (E. Nazaikinsky, V. Medushevsky, V. Kholopova, Y. Bentya) for the development of scientific ideas about the "image of the violin". The purpose of the article is to identify the special features of the “image” of the violin in the style of A. Corelli on the material of Concerti grossi op.6. The presentation of the main material. At the time of the creation of Concerts op.6 by A. Corelli, in Italy there was a violin school, which was distinguished by an exceptional variety of playing techniques. It was here that the historical process of replacing the viol with the violin was finally completed. The violin becomes the leading instrument in the instrumental genres of the 17th century music – suite, trio-sonata, solo sonata, and by the end of the century – concerto grosso. The path of movement to A. Corelli’s universal, generalized-reduced violin style ran along the line “ensemble feature – concert feature – solo feature”. The creation of the academic style of the violin playing logic is the merit of the Bologna school. The main thrust of the violin style of Bologna masters (Torelli, Antonia, Bassani, Vitali, and later Corelli and Vivaldi) is the combination of “church” and “chamber” models of the violin playing. For instrumental sound in an ensemble or orchestra, a “canon” and certain limitations in the technique of the playing are necessary, allowing establishing the balance of the parts of instruments and instrumental groups. The “invention” (inventio) in the violin playing, characteristic of the Italian school of the first half of the 17th century, was aimed at identifying the whole complex of the possible techniques of playing this instrument. The violin plating logic in Concertі grossi by A. Corelli is subordinated to the combination of two artistic and aesthetic tasks arising from two styles of concert making – the “church” one and the “chamber” one. Hence the choice of the appropriate techniques for playing. The “church” style, despite its democratization inherent in the Italian violin school, acquired the functions of a public concert for a mass audience and was distinguished by greater severity and regulation of the complex of the violin playing techniques. This stemmed from the genre style (“concert in the church”), where polyphonic presentation prevailed in the fast parts, the “tempo” names of the parts were used, and the organ in the numbered bass part was used. The “chamber” style opened up wider possibilities for the violin and the creation of an expressive technical complex associated with the genre (“dance” parts), replacing the organ in basso continuo with the harpsichord (cembalo), other stringed and plucked instruments (lute, theorbo), low string-and-bow instruments (gamba, cello, double bass), which gave a mono-articulate character to the general sounding. Playing shades of "lively speech" on the violin is a characteristic feature of A. Corelli’s violin style, reflected in the instrumental-playing complex through phrasing, attention to details and to micro-intonation. Conclusions. In describing the historical and artistic situation, in the context of which the style of the “great citizen of Bologna” was formed, its innovations have been outlined. The signs of the turning epoch have been indicated – they are the transition from the Renaissance polyphony and the “church” style to the secular homophony, with the instruments of the violin family singled out as the main ones. The particular attention has been paid to the principles of the violin intonation in the form of a speech playing (sprechendes Spiel) and dance motor skills, which together formed the semantics of A. Corelli’s violin style in the genres of concerto grosso, trio sonatas, solo sonata with bass. The main features of A. Corelli’s violin style, which became determinant for compositional decisions in the field of thematic, texture, and harmony, have been revealed.
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Laki, Péter. "Performance practice and philology in Bartók’s Violin Concerto (1938)." Studia Musicologica 53, no. 1-3 (September 1, 2012): 153–60. http://dx.doi.org/10.1556/smus.53.2012.1-3.11.
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The world premiere recording of Bartók’s Violin Concerto, played by Zoltán Székely has been a classic for seventy-two years now. Since that time, dozens of artists have committed the work to disc and hundreds more—from concert artists to conservatory students—have played the Concerto. Székely’s extremely subtle, almost chamber-music-like interpretation has been widely admired but many violinists in past decades have favored, by and large, a more robust approach, one that stresses the work’s connections to the Romantic concerto tradition. The question is: can a careful reading of the musical text—the final version as well as the various manuscript sources—help a player make practical stylistic decisions? A comparative examination of the performance of the first 16 measures from a number of older and more recent recordings will be set against what textual analysis can tell us, as a test case for a productive dialog between scholarship and performance.
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Mottershead, Tim. "Manchester University: Psappha in Klas Torstensson's Violin Concerto." Tempo 67, no. 265 (July 2013): 80–81. http://dx.doi.org/10.1017/s0040298213000545.
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You're probably wondering why a violin concerto was given its UK première by the chamber ensemble Psappha? An informative programme note by Paul Griffiths for the 15 February concert revealed that Swedish composer Klas Torstensson (b. 1951) had in fact written a much longer, though still compactly scored, work in 2010 and had ‘squashed it down’ in length and further reduced the number of players. The work's full title is Pocket Size Violin Concerto – scored for soloist with unconducted accompaniment from piano, flute, and cello. Whilst compression of this kind is not uncommon in other branches of the arts, and concision is a noble artistic aim, one's fear was that such drastic pruning might have short-circuited the music's arguments. Happily this proved unfounded; and whilst the original half-hour's duration might have been pushing it a bit, the modified version (at a whisker under 17 minutes) seemed just about right.
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Young, Toby. "BBC Proms 2014: Gabriel Prokofiev and Brett Dean." Tempo 69, no. 271 (January 2015): 74–75. http://dx.doi.org/10.1017/s0040298214000692.
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A traditional four-movement violin concerto might seem a departure from the grime-influenced crossover language of the composer of the infamous Concerto for Turntables (given its Proms premiere in 2011). However, in many ways Gabriel Prokofiev's first Violin Concerto, commissioned by the BBC for Daniel Hope and the Borusan Istanbul Philharmonic Orchestra, is a highly satisfactory step in the composer's artistic trajectory.
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Drakeford, Richard, Lydia Mordkovitch, LSO, and Richard Hickox. "Alwyn: Violin Concerto; Symphony No. 3." Musical Times 135, no. 1813 (March 1994): 172. http://dx.doi.org/10.2307/1002915.
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Bello, Juan, Yann LeCun, and Robert Rowe. "Concerto for violin and Markov model." Communications of the ACM 54, no. 3 (March 2011): 86. http://dx.doi.org/10.1145/1897852.1897874.
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Koay, Kheng Keow. "BAROQUE MINIMALISM IN JOHN ADAMS'S VIOLIN CONCERTO." Tempo 66, no. 260 (April 2012): 23–33. http://dx.doi.org/10.1017/s0040298212000149.
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AbstractThis study explores Adams's interpretation of Baroque genres and his creative methods that draw on a relationship between past and present in the Violin Concerto. In this composition, Adams not only revives Baroque musical language through new performance practices, but also draws together diverse musical idioms, creating a way to communicate with our society. Repetition plays a large part in the Violin Concerto, but more in the sense of variation and sequences than of literal repetition. On the other hand, techniques such as the Lombard Snap and “unequal-note’ (notes inégales) are not treated in a traditional way. Structurally, although there is no trace of motivic connexion throughout the work, the music does not lack stylistic unity. The ‘harmonic’ language is generally consonant, which reflects Adams's honor of conventional musical sound. The Concerto certainly demonstrates the composer's creative imagination.
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Gabrielyan, Nikolai Zakharovich. "A.Arensky’s A minor violin concerto: performance analysis of the solo section." PHILHARMONICA. International Music Journal, no. 3 (March 2021): 22–31. http://dx.doi.org/10.7256/2453-613x.2021.3.34646.
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The author studies A.Arensky’s violin concerto which is a chamber lyrical model of one-part structure. The purpose of the article is to search for the performance features of the violin section which are necessary for a successful interpretation of the composition. The object of the research is the violin concerto genre. The subject of the research is the performance peculiarities of the solo section of A.Arensky’s violin concerto. The author uses theoretical and empirical research methods including analysis, generalization, and systematization of scientific sources, as well as a comprehensive performance analysis of Arensky’s violin concerto. The author analyzes the functions of the soloist in various themes and episodes of the composition, formulates the methodic guidelines for the bow change and allocation and its movement speed, defines the technical and intonation difficulties of the violin section. Special attention is given to dash performance. The author is the first to find out that the performance values of the solo section are one of the keys to the successful performance. They create the melodic, smooth and plastic sound achieved by means of appropriate allocation of the bow, its smooth change, a good command of legato, and the creation of wide breath phrases. The performer has to take into account the performing ideals of the epoch when the composition was created, which to a large extent consist in pedagogical guidelines of L. Auer about the appropriate pressure of the forearm and the shoulder on the bow. Based on the performance analysis of the violin section, the author finds out that to create an artistic image of the composition, the performer needs to find an individual color palette of the violin section based on the performance ideals of the creation time of the composition.
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Helbing, Volker. "Konzert als Groteske — Anmerkungen zum ersten Satz des Violinkonzerts." Studia Musicologica 57, no. 1-2 (June 2016): 139–60. http://dx.doi.org/10.1556/6.2016.57.1-2.10.
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The grotesque and the theatrical, as essential facets of Ligeti’s oeuvre, become more evident in his Violin Concerto than in most of his works from the 1980s. The analysis shows how these facets find expression on different levels of the composition — from the harmonic and rhythmic pre-settings over the compositional detail to the individual interpretation of the Violin Concerto as a genre and the formal dramaturgy.
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Henry, Rebecca. "Repertoire Surrounding Vivaldi's A-Minor Violin Concerto." American String Teacher 43, no. 2 (May 1993): 77–78. http://dx.doi.org/10.1177/000313139304300223.
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Conridge, Graham. "A Wrong Note in Berg's Violin Concerto?" Musical Times 130, no. 1754 (April 1989): 205. http://dx.doi.org/10.2307/966464.
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Bye, Antony. "A Note on Elliott Carter's Violin Concerto." Musical Times 132, no. 1776 (February 1991): 75. http://dx.doi.org/10.2307/966600.
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Chamczyk, Ewa. "Duels in Sound: Pietro Antonio Locatelli vs Jean-Marie Leclair." Kwartalnik Młodych Muzykologów UJ, no. 47 (4) (2020): 69–102. http://dx.doi.org/10.4467/23537094kmmuj.20.043.13916.
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The tradition of musical duels harkens back to the days of ancient Greece. One of the earliest examples of musical rivalry is the myth of Marsyas and Apollo, which ends tragically for the satyr. Without doubt, the tournaments of the ancients served as an inspiration for later generations of musicians. In each epoch they took a different form, tailored to the current norms and customs. In the sixteenth century the singing contests of the Meistersingers became extremely popular. With the development of instrumental music in the seventeenth century, duels, in which the main subject of the dispute was the superiority of one of the performers in terms of interpretation and mastery of playing a given instrument, were increasingly growing in importance. The eighteenth century, in which public concert life flourished and demand for virtuoso instrumentalists consequently grew, brought a genuine boom in musical duels. During that era, musical duels were not only confrontations between individual musicians or their patrons, but also important contributions to the exchange of experiences between artists, the spread of musical novelties and dissemination of the works themselves. Additionally, such ‘battles’ symbolised a confrontation of musical styles, in particular the Italian and the French one. Jean-Marie Leclair, known as the French Corelli, is considered by many researchers as the founder of the French violin school. Pietro Antonio Locatelli, an heir to the legacy of Arcangelo Corelli, is justifiably considered as the Paganini of the eighteenth century. Despite shared roots in the Italian violin school, their music differs in both form and expression. At first glance, Locatelli’s typically Italian music goes far beyond the previously accepted norms as far as demands placed on the violinists are concerned, whereas Leclair’s French music bears the mark of Antonio Vivaldi’s models set in the latter’s violin concertos. We know that the first confrontation of the violinists took place on 22 December 1728 at Kassel court. Some authors speculate that it was not the only meeting of these two musicians. The surviving accounts suggest that both of them stirred strong emotions among the audiences with their playing. Despite their enormous importance for the development of violin music, both composers remain underrated. This article briefly outlines the history of musical duels and sheds light on the practice of violin performances in the first half of the eighteenth century. Additionally, I have attempted a comparative analysis of selected violin concerts, namely: Locatelli’s Violin Concerto in G major Op. 3 No. 9 and Violin Concerto in A minor Op. 7 No. 5 by Jean-Marie Leclair. These two come from a similar period in the work of both composers and are close in time of composition to the famous duel.
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Conway, Paul. "Birmingham." Tempo 60, no. 238 (October 2006): 65–66. http://dx.doi.org/10.1017/s0040298206240336.
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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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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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Quinn, Peter. "Tigran Mansurian." Tempo 58, no. 229 (July 2004): 46. http://dx.doi.org/10.1017/s0040298204220228.
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MANSURIAN: Monodia. Viola Concerto (‘…and then I was in time again’); Violin Concerto; Lachrymae; Confessing with Faith. Kim Kashkashian (via), Leonidas Kavakos (vln), Jan Garbarek (ss), The Hilliard Ensemble, Münchener Kammerorchester c. Christoph Poppen. ECM New Series 472 7842 (2-CD set).
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Walton, Chris. "Bach, Brahms, Schoenberg: Marginalia on Berg's Violin Concerto." Musical Times 149, no. 1903 (July 1, 2008): 81. http://dx.doi.org/10.2307/25434540.
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Wright, David, Sergiu Luca, American Composers Orchestra, and Dennis Russell Davies. "William Bolcom: Violin Concerto; Fantasia Concertante; Fifth Symphony." Musical Times 133, no. 1795 (September 1992): 466. http://dx.doi.org/10.2307/1002387.
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Rice, Hugh Collins. "SERIAL EXPRESSION IN SCHOENBERG'S VIOLIN CONCERTO, OP. 36." Tempo 63, no. 247 (January 2009): 38–44. http://dx.doi.org/10.1017/s0040298209000047.
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This article is, in many ways, a direct response to the more or less simultaneous publication of Alex Ross's The Rest is Noise and the release of Hilary Hahn's recording of the Schoenberg Violin Concerto.
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Foreman, Lewis. "Webern, the BBC and the Berg Violin Concerto." Tempo, no. 178 (September 1991): 2–10. http://dx.doi.org/10.1017/s0040298200013954.
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The simplistic commentator would sometimes have it that, compared to elsewhere in Europe, British music–making between the wars was insular and inward–looking. This is not strictly true; and it very much depended on where you were. While in some quarters there was a strong conviction of the superiority of the British music that had emerged since Elgar, there was also widespread and increasing interest in what was happening on the Continent, as exemplified in the activities of Arthur Bliss, Eugene Goossens and later Constant Lambert and Frank Bridge, and the journalism of Havergal Brian. It was, of course, true that the new composers presented by the Diaghilev ballet attracted a wide following, not only for the brilliance of the ballets themselves but also for their high quality of orchestral performance, at a time when British orchestras were not renowned for their performance standards. Many British composers of the time were also performed abroad, far more than might now be realized, and the new music from Europe was heard in London. Particularly after the inception of the ISCM Festivals in 1922, with British musicians playing a leading role in their organization, an awareness of the latest trends in Europe was widely felt in UK musical circles — though certain idioms, particularly those of the Second Viennese School and some works of Bartók, would not become accepted by the wider public until the 1950s and 1960s. Throughout, Sir Henry Wood and Sir Adrian Boult, in particular, performed new music in all styles.
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Newbould, Brian. "Beethoven's Violin Concerto: the first period-instrument recording." Early Music XXII, no. 1 (February 1994): 164–66. http://dx.doi.org/10.1093/earlyj/xxii.1.164.
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Lorkovic, Radovan, and Douglas Jarman. "Berg's Violin Concerto: Discrepancies in the Published Score." Musical Times 130, no. 1755 (May 1989): 268. http://dx.doi.org/10.2307/966314.
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Marks, Kent. "The Interior Monologue in Earl Kim's Violin Concerto." Perspectives of New Music 34, no. 2 (1996): 106. http://dx.doi.org/10.2307/833473.
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Kennaway, George. "Haydn's (?) Cello Concertos, 1860-1930: Editions, Performances, Reception." Nineteenth-Century Music Review 9, no. 2 (December 2012): 177–211. http://dx.doi.org/10.1017/s1479409812000274.
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While there exist numerous nineteenth- and early twentieth-century annotated editions of repertoire such as the violin sonatas of Beethoven, the repertoire for the cello was in general edited significantly less frequently. The cello concertos by or attributed to Haydn constitute an exception, both in the number of versions and the degree of editorial intervention. Three cello concertos were associated with Haydn's name: the well-known concerto in D Hob.VIIb:2, another concerto in D Hob.VIIb:4, and a concerto in C Hob.VIIb:5. The first is now known to be a genuine work of Haydn's although this attribution was not universally accepted in the nineteenth century. The second is an unattributable eighteenth-century concerto claimed to be by Haydn and accepted as such at its publication in 1895. The third was compiled by the cellist David Popper who claimed to have based it on Haydn's sketches, providing orchestration and linking material. This article discusses aspects of the five performing editions of Hob.VIIb:2 by Bockmühl, Servais, Becker, Klengel and Whitehouse, the two editions of Hob.VIIb:4 by Grützmacher and Trowell, and Popper's concerto, considering these texts, the reception of the concertos as compositions, and the reception of individual performances. This article surveys the period of the greatest diversity of editions, a period whose later limit is determined by the eventual entry of this work into the cello canon. It will be suggested that this diversity is a consequence of non-canonicity.
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Givan, Benjamin. "The South‐Grappelli Recordings of the BachDouble Violin Concerto." Popular Music and Society 29, no. 3 (July 2006): 335–57. http://dx.doi.org/10.1080/03007760600670406.
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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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Green, Edward. "Interview with Composer George Tsontakis." ICONI, no. 2 (2020): 38–49. http://dx.doi.org/10.33779/2658-4824.2020.2.038-049.
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This interview for the journal ICONI, taken by Dr. Edward Green, Professor at the Manhattan School of Music, is with one of the leading composers of the United States, George Tsontakis. A professor at Bard Conservatory of Music, he is the recipient of numerous awards for his work, including the prestigious Grawmeyer Award for his Second Violin Concerto. Professor Tsontakis’ work — nearly all of it commissioned — is wide-ranging in terms of genre, imaginative in its orchestrations, and always strongly emotional. Included in this interview are discussions of some of the biographical background to a number of his major pieces, including The Past, The Passion. Among the subjects discussed is the meaning of “concerto.” Several of his concertos and concerto-like compositions are specifically discussed in this interview, including Man of Sorrows (piano), and Sonnets (English Horn). The interview also touches upon his relations with two important American composers of earlier generation: George Rochberg, and Roger Sessions — who had been Tsontakis’ teacher of composition at Julliard.
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Chamczyk, Ewa. "Pojedynki dźwiękiem pisane. Pietro Antonio Locatelli versus Jean-Marie Leclair." Kwartalnik Młodych Muzykologów UJ, no. 47 (4) (2020): 71–104. http://dx.doi.org/10.4467/23537094kmmuj.20.018.13204.
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Duels of the Sound: Pietro Antonio Locatelli Versus Jean-Marie Leclair The tradition of musical duels harkens back to the days of the ancient Greece. One of the earliest examples of a musical rivalry is the myth of Marsyas and Apollo, which ends tragically for the satyr. Without doubt, the battles of the ancients served as an inspiration for the next generations of musicians. In each era, they took a different form, tailored to the prevailing norms and customs. In the 16th century the singing competitions of the Meistersingers became extremely popular, and along with the development of instrumental music in 17th century, duels, in which the main subject-matter of the dispute was the superiority of one of the performers in terms of interpretation and fluidity in playing a given instrument, gained increased importance. A real boom of musical duels did not came along until 18th century, in which public concerts bloomed and along with it, the demand for virtuoso instrumentalists increased. During that era, musical duels were not only confrontations between specific musicians or their patrons, but also contributed to the exchange of experiences between the artists and the spread of musical news and the works themselves. Additionally, the battles symbolised a confrontation of musical styles, in particular the Italian and French styles. Jean-Marie Leclair, known as the French Corelli, is considered by many researches as the founder of the French violin school. Pietro Antonio Locatelli, an heir to the legacy of Arcangelo Corelli is justifiably considered the Paganini of the 18th century. Their music has shared roots in the tradition of the Italian violin school, yet it differs both in terms of its formality as well as expressiveness. At first glance the French music of J.M. Leclair bears the imprint of standards of the violin concerts of Antonio Vivaldi, whereas the typically Italian works of P.A. Locatelli significantly transcend the norms accepted at that time in terms of requirements imposed on violinists. We know that the first confrontation of the violinists took place on 22 December 1728 at the manor in Kassel. However, some speculate that it was not the only meeting of the musicians. The preserved information suggest that both of them stirred strong emotions among the audiences with their playing. The profiles of the aforementioned composers, despite their immense importance on the development of violin music, still remain underrated. This article outlines the short story of musical duels and sheds light on violin concerts in the first half of the 18th century. Additionally, the author made an attempt of a comparative analysis of selected violin concerts, i.e. Locatelli’s Violin Concerto in G major, Op. 3, No. 9 and Violin Concerto in A minor Op. 7, No. 5 by Jean-Marie Leclair’s from a similar artistic period of both composers and close in terms of the time of their creation to their famous duel.
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Johnson, Bret. "Recent Ned Rorem CDs." Tempo 60, no. 238 (October 2006): 43–45. http://dx.doi.org/10.1017/s0040298206270311.
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ROREM: Flute Concerto; Violin Concerto; Pilgrims for strings. Philippe Quint (vln), Jeffrey Khaner (fl), Royal Liverpool Philharmonic Orchestra c. José Serebrier. Naxos American Classics 8.559278.ROREM: The Auden Songs; The Santa Fe Songs. Christopher Lemmings (ten), Sara Fulgoni (mezzosop), Chamber Domaine. Black Box BBM 1104.ROREM: Works for Choir and Organ. Harvard University Choir dir. Murray Forbes Somerville with Carson Cooman (organ). Black Box BBM 1102.
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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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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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Zhang, Chengye, and Tyrone Greive. "An Oriental Flower in the Garden of Violin Concertos Introducing the Butterfly Lovers Concerto." American String Teacher 51, no. 2 (May 2001): 62–67. http://dx.doi.org/10.1177/000313130105100210.
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Campbell, Carey. "The Violin Concerto Soloist’s Orchestral Role, from Mozart to Beethoven." Performance Practice Review 14, no. 1 (2009): 1–21. http://dx.doi.org/10.5642/perfpr.200914.01.02.
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Headlam, Dave. "Konzert für Violine und Orchester = Concerto for Violin and Orchestra: Dem Andenken eines Engels, and: Violinkonzert = Violin Concerto, and: Violinkonzert “Dem Andenken eines Engels.” (review)." Notes 68, no. 4 (2012): 876–79. http://dx.doi.org/10.1353/not.2012.0078.
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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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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.