Relevant bibliographies by topics / Concertos (Cello with instrumental ensemble)

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  2. Dissertations / Theses
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Academic literature on the topic 'Concertos (Cello with instrumental ensemble)'

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

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Journal articles on the topic "Concertos (Cello with instrumental ensemble)"

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Yaropud, Natalya. "Double concertos for violin and cello with orchestra by Johannes Brahms and Vitalyi Kyreiko: genrе and style dimentions". Scientific herald of Tchaikovsky National Music Academy of Ukraine, № 138 (22 грудня 2023): 161–74. http://dx.doi.org/10.31318/2522-4190.2023.138.294810.

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The relevance of the article. The Concertos for violin and cello with symphony orchestra by J. Brahms (a moll, op. 102) and V. Kyreikо (a moll, op. 65) are considered in terms of embodying the artistic pursuit of composers of different eras and national schools. Genre-stylistic features are outlined, their individual and common features are revealed, which testify to the preservation and development of the tradition of the concert genre, the reinterpretation of the Brahms concert model in a new cultural context. It is emphasized that works belong to the type of symphonized concert, in which th
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Titarov, Mykhailo. "Clarinet Quintet and the Legacy of the Mannheim Chapel Composers." ARTISTIC CULTURE. TOPICAL ISSUES, no. 19(1) (June 13, 2023): 181–85. http://dx.doi.org/10.31500/1992-5514.19(1).2023.283147.

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The paper considers the processes of establishment of the clarinet quintet genre in the instrumental chamber music of the composers of the Mannheim chapel. It is noted that the Mannheim chapel was one of the first in Europe to employ clarinetists on a permanent basis. This contributed to the formation of a double composition of the orchestra and the emergence of a solo-ensemble repertoire for the clarinet in the genre of a solo instrumental concerto and in chamber music. It was discovered that the clarinet entered the chamber music of the people of Mannheim as an instrument that could replace
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Naiko, Natalia M. "Elements of Programme Music in the Instrumental Works of the Late Period by Oleg Meremkulov (the Case of the Symphony Concerto for Cello, Piano and Orchestra)." Journal of Siberian Federal University. Humanities & Social Sciences 15, no. 1 (2022): 75–84. http://dx.doi.org/10.17516/1997-1370-0877.

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This article reveals some aspects of the creative identity and later works of the greatest Krasnoyarsk composer O. Meremkulov. To understand the artistic aspirations and originality of O. Meremkulov’s works, his Symphony Concerto for Cello, Piano, String Orchestra, Percussion and Wind Ensemble (2015) is an illustrative piece of art. The concerto genre was conceived by the composer as a composition showing the essential problems of human existence, preserving the modus of a personal statement «in the first person». This has led to the introduction of epigraphs and programme titles of parts that
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Dubka, O. S. "Sonata for the trombone of the second half of the 16th – the beginning of the 19th centuries in the context of historical and national traditions of development of the genre." Problems of Interaction Between Arts, Pedagogy and the Theory and Practice of Education 54, no. 54 (2019): 55–70. http://dx.doi.org/10.34064/khnum1-54.04.

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The present article is devoted to the general characteristics of the historical process of the formation of the sonata for the trombone (or with the participation of the trombone) in the European music of the Renaissance – Early Classicism era. A particular attention in the research has been paid to the study of the national stylistic, which was the main driving force in the evolution of the trombone at the level of the chamber instrumental and concert genres. It has been noted that since the time of A. Willaert and A. and J. Gabrieli brothers, the trombone and trombone consorts have been the
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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 ‘
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Yalong, Yu. "LIN YINGYONG — MEMBER OF SHANGHAI WOMEN’S QUARTET. YEARS OF PROFESSIONAL FORMATION." Arts education and science 3, no. 32 (2022): 107–12. http://dx.doi.org/10.36871/hon.202203013.

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This article focuses on the life and creative activities of the famous Chinese cellist Lin Yingyong (born in March 1933), a graduate of the Moscow Conservatory (1959), who devoted her life to performing in a string ensemble and teaching. She and her colleagues became the founders of the Shanghai Women's Quartet. At the same time, Lin Yingyong was a professor of the Shanghai Conservatory, where she worked with young musicians over half a century. During this time, she produced a vast number of cello textbooks, pieces of play-books and cello arrangements such as "Cello Exercises", "Selected Cell
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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 (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 proble
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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 (2018): 115–27. http://dx.doi.org/10.34064/khnum1-49.08.

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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 proble
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Grechanivska, Tetyana. "Functional role of the cello in Handel's solo cantatas." Culturology Ideas, no. 22 (2'2022) (2022): 63–71. http://dx.doi.org/10.37627/2311-9489-22-2022-2.63-71.

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The article considers the functional role of the cello in the vocal-instrumental musical works of the Baroque period and attempts to shift the problem from the practical-performing background into the field of professional musicological discourse. Two Italian solo cantatas by G. F. Handel were chosen for analysis, in which the composer clearly structured and used instrumental accompaniment according to the stylistic norms of the instrumental and vocal ensemble of the 17th–18th centuries — as a dialogue of two voices accompanied by others. Emphasis is placed on the differences between the basso
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Abdokov, Yuri B. "Boris Tchaikovsky: Youth Quartets. The Experience of Discovering the Unknown Scores." ТЕАТР. ЖИВОПИСЬ. КИНО. МУЗЫКА 3 (September 2024): 206–22. http://dx.doi.org/10.35852/2588-0144-2024-3-206-222.

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This article is the first to examine the scores for two violins, viola, and cello composed in his youth by one of the greatest Russian composers of the twentieth century, Boris Alexandrovich Tchaikovsky (1925–1996). These ensemble scores, discovered after Tchaikovsky’s death, have never been published or included in reference or encyclo- pedic directories, including the authorized list of works. They are not sketches or drafts of unfinished pieces, but rather complete works written between 1940 and 1945. The Lento (1940) and the Scherzo (1941) have survived as manuscript scores; the single-par
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Dissertations / Theses on the topic "Concertos (Cello with instrumental ensemble)"

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Simonson, Eric. "E/F : a concerto for MIDI acoustic piano, concertino group, live electronics, electro-acoustic tape, and chamber orchestra (live or pre-recorded) /." Diss., Connect to a 24 p. preview or request complete full text in PDF format. Access restricted to UC campuses, 1999. http://wwwlib.umi.com/cr/ucsd/fullcit?p9935486.

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Thesis (Ph. D.--Music)--University of California, San Diego.<br>Vita. For MIDI acoustic piano, concertino group (flute (piccolo), clarinet, violin, violoncello, and percussion), live or pre-recorded background ensemble or chamber orchestra, and electronics; may also be performed in shortened "suite" form, employing the live pianist and concertino without any technology. Electronic component includes electroacoustic sounds and texts drawn from Christ's Sermon on the Mount, Schumann's Critique attributed to Eusebius, and Nietzsche's Genealogy of morals. Includes performance instructions and tech
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Johansen, Ben McAllister Scott. "!MPACT." Waco, Tex. : Baylor University, 2008. http://hdl.handle.net/2104/5178.

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Burkhardt, Rick. "Pipeline : for voice, bass flute, cello, and percussion /." Diss., Connect to a 24 p. preview or request complete full text in PDF format. Access restricted to UC campuses, 2006. http://wwwlib.umi.com/cr/ucsd/fullcit?p3236631.

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Weirmeir, Jude Thomas. "Aspic trails : [for soprano, flute, and 'cello : 2004-06 : opus -1] /." Diss., Connect to a 24 p. preview or request complete full text in PDF format. Access restricted to UC campuses, 2006. http://wwwlib.umi.com/cr/ucsd/fullcit?p3236632.

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Greene, Adam. "A breath between : a double concerto for flute and violin with small ensemble /." Diss., Connect to a 24 p. preview or request complete full text in PDF format. Access restricted to UC campuses, 2003. http://wwwlib.umi.com/cr/ucsd/fullcit?p3099906.

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Thesis (Ph. D.--Music)--University of California, San Diego, 2003.<br>Vita. For flute and violin with ensemble of clarinet, violin, viola, violoncello, piano, oboe, bassoon, and double bass. Performance instructions precede score.
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Treybig, Joel Andrew. "An investigation and analysis of Karel Husa's Concerto for trumpet and wind orchestra /." Digital version accessible at:, 1999. http://wwwlib.umi.com/cr/utexas/main.

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Potter, David. "Concertino for Tuba, Winds, and Percussion." Thesis, North Texas State University, 1985. https://digital.library.unt.edu/ark:/67531/metadc500331/.

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Concertino for Tuba, Winds, and Percussion is a work for solo tuba and an ensemble consisting of two flutes, two oboes, two clarinets, bass clarinet, bassoon, four horns, two trumpets, two trombones, bass trombone, and three percussionists. The percussionists play small, medium, and large suspended cymbals, triangle, tam tam, metal wind chimes, five tom toms, snare drum, tenor drum, bass drum, two sets of two timbales, five temple blocks, maracas, glockenspiel, vibraphone, chimes, xylophone, marimba, and five timpani. The three movements of the work follow the arrangement of the standard conce
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Gutierrez, Jason. "The Prayer of Daniel: for flute (with alto flute), clarinet (with bass clarinet), violin, cello, doumbek, percussion, piano, bass-baritone voice, and men's chorus." Thesis, connect to online resource, 2003. http://www.library.unt.edu/theses/open/20032/gutierrez%5Fjason/index.htm.

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Baker, Robert A. 1970. "Time fields : chamber concerto #3 for fifteen instruments." Thesis, McGill University, 2004. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=81475.

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Time Fields: Chamber Concerto #3 for fifteen players (2004) is a composition for five woodwinds, three brass, one percussionist, piano, string quartet and double bass with an approximate duration of 14 minutes. This work addresses the nature of musical time and its role in the organisation of the large-scale structure of the piece. Four differing states of musical time, which I refer to as Temporal Textures (Static, Obscure, Temporal Counterpoint and Clear), are employed in particular alternations to form a single movement work in four distinct sections.
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Grenier, Marie-Noëlle. "Le concerto pour piano et orchestre en France de 1850 à nos jours : aspects de l'évolution d'un genre." Paris 4, 1999. http://www.theses.fr/1999PA040244.

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Cette étude historique, ayant pour objet le développement du concerto pour piano et orchestre en France depuis ces cent cinquante dernières années, se décompose en deux parties principales : la première constate et explique les raisons de la continuité du genre, et retrace l'évolution de ses caractéristiques telles que les contrastes (de forces, tempos et timbres) et les structures formelles (cadences, procédés cycliques et tripartition) ; la seconde aborde les partitions du corpus sous l'angle de l'analyse de quelques points fondamentaux de l'écriture et du langage (courants musicaux, influen
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Books on the topic "Concertos (Cello with instrumental ensemble)"

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Swift, Richard. Second concerto for piano and chamber ensemble (1980). J.B. Elkus & Son], 1994.

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Bach, Johann Christian. Ensemble-Konzerte. Breitkopf & Härtel, 1985.

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Weckmann, Matthias. Four sacred concertos. A-R Editions, 1985.

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Ma, Yo-Yo. A playlist without borders. Masterworks, 2013.

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Wolff, Christian. From leaning forward: For soprano, with baritone, clarinet/bass clarinet, cello. C.F. Peters, 1989.

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Barab, Seymour. Airs and fancies: For high voice, violin, cello and harpsichord or piano. Galaxy Music Corp., 1988.

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Warshauer, Meira. A time to blossom: Flute, cello, soprano, piano. Hildegard Pub. Co., 1995.

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Babbitt, Milton. Concerto for piano and orchestra ; The head of the bed. New World Records, 1987.

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Bryars, Gavin. Cadman requiem: For four male voices (alto, two tenors, and baritone), two violas, cello, and double bass (optional). Schott, 1996.

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Vivaldi, Antonio. Opere per viola all'inglese (viola da gamba). Studio per edizioni scelte, 2006.

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Book chapters on the topic "Concertos (Cello with instrumental ensemble)"

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Schulenberg, David. "Bach the Capellmeister." In Bach. Oxford University Press, 2020. http://dx.doi.org/10.1093/oso/9780190936303.003.0009.

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As Capellmeister, Bach was in charge of all musical matters at the court of Cöthen. Although the prince’s Reformed religious faith ruled out the performance of church cantatas, Bach did compose occasional vocal works for special occasions. His chief works of this period, however, were suites, sonatas, and concertos for the court instrumental ensemble, as well as keyboard music for his family and pupils. Among the famous compositions composed or completed at Cöthen and discussed in this chapter are the inventions, Well-Tempered Clavier, organ sonatas, cello suites, sonatas and partitas for viol
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Garrison, Leonard. "The Quintette instrumental de Paris." In Gaston Crunelle and Flute Playing in Twentieth-Century France. Oxford University PressNew York, NY, 2024. http://dx.doi.org/10.1093/9780197778579.003.0004.

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Abstract This chapter chronicles the Quintette instrumental de Paris from its founding until World War II. From the 1920s through the midsixties, the Quintette, consisting of flute, violin, viola, cello, and harp, was one of the most prominent chamber groups in France. It dominated the Parisian chamber music series and performed 1,800 concerts in Paris and on tour in Europe, northern Africa, and North America. The group also appeared on national radio broadcasts, recorded 78-rpm and LP records, and commissioned around fifty works, bequeathing a sumptuous repertoire. Founded by René Le Roy, the
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Careri, Enrico. "The Concertos." In Francesco Genminiani (1687–1762). Oxford University PressOxford, 1993. http://dx.doi.org/10.1093/oso/9780198163008.003.0005.

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Abstract ‘GEMINIANI with all his harmonica! abilities, was so circumscribed in his invention, that he was obliged to have recourse to all the arts of musical cookery, not to call it quackery, for materials to publish.’ The charge that Burney levels against the composer refers to his alleged lack of imagination, which caused him to recycle the same compositions several times over. Indeed, if we exclude all his numerous elaborations and transcriptions, the musical output of Geminiani seems rather exiguous: two sets of violin sonatas (Opp. I and N), one of cello sonatas (Op. V), three of Concerti
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Talbot, Michael. "The instrumental music." In Vivaldi. Oxford University PressOxford, 2001. http://dx.doi.org/10.1093/oso/9780198164975.003.0006.

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Abstract Vivaldi’s music for instruments falls into three broad genres: sonata, concerto and sinfonia. If one takes the catalogue of works in Appendix B as the basis of computation, discounting variants and excluding lost and incompletely preserved works, one arrives at a total of 92 sonatas (including two works with lute entitled ‘Trio’ and the Sinfonia al Santo Sepolcro, which is generically a sonata), 474 concertos and 14 sinfonias. This count includes some works recognized by many as spurious and – perhaps rather artificially – sinfonias not preserved independently of the larger vocal work
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Smallman, Basil. "Mixed Ensembles." In The Piano Quartet and Quintet. Oxford University PressOxford, 1994. http://dx.doi.org/10.1093/oso/9780198163749.003.0007.

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Abstract BEFORE the present century, compos1t1on for mixed chamber groups, with both wind and stringed instruments linked to the piano, was relatively little cultivated. Most fruitful of the available groupings was the trio—the one most precisely adapted to ‘three-sided’ scoring—which was preferred by leading composers to any of the larger ensembles. Its small, but eventually very impressive, repertoire includes the Trio for clarinet, viola, and piano, K. 498 of Mozart, and those in which a cello replaces the viola, by Beethoven (Op. u), and Brahms (Op. 114), together with the latter’s wonderf
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Voloshchuk, Yurii, and Petro Krul. "GENESIS AND DEVELOPMENT OF AEROPHONES AND CHORDOPHONES GROUPS IN THE MUSICAL CULTURE OF UKRAINE." In Traditions and new scientific strategies in the context of global transformation of society. Publishing House “Baltija Publishing”, 2024. http://dx.doi.org/10.30525/978-9934-26-406-1-16.

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Wind and string instruments belong to the oldest types of musical instruments. They emerged as a result of a complex development process of aerophones and chordophones. This became possible due to the general development of musical culture, changes in social conditions, and the increasing complexity of tasks faced by composers and musicians. The subject of our research is the genesis and development of groups of aerophones and chordophones in Ukrainian musical culture. The aim of the scientific inquiry is to study the evolutionary processes in the formation of wind and string instruments in th
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