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

Author: Grafiati

Published: 4 June 2021

Last updated: 28 July 2025

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1

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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7

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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9

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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Anderson, Martin. "A Conversation with Kalevi Aho." Tempo, no. 181 (June 1992): 16–18. http://dx.doi.org/10.1017/s0040298200015138.

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At the relatively young age of 43 (which his schoolboyish looks nonetheless belie), Kalevi Aho is one of the best-known of Finnish composers, with a substantial corpus of music to his credit – seven symphonies and other orchestral pieces, two operas and several smaller vocal works, three concertos (for violin, cello and for piano), and a healthy amount of chamber and instrumental music. I visited him in Helsinki last summer, in the offices of the Helsinki Festival, where he has a hand in the planning of the programmes, and remarked first on the richness and sheer vigour of Finnish musical life

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Bandy, Dorian. "Beethoven's Rhetoric of Embellishment." 19th-Century Music 46, no. 2 (2022): 125–62. http://dx.doi.org/10.1525/ncm.2022.46.2.125.

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This article examines the communicative and interpretive significance of melodic embellishment in Beethoven's oeuvre, with a particular focus on multi-movement instrumental works from the period 1795–1824. Embellishment has received comparatively little attention in Beethoven studies; yet it formed a crucial part of his musicianship as both a performer and a composer. The article begins with a broad overview of Beethoven's embellishment practices, drawing examples primarily from his early piano trios and piano sonatas. It then goes on to examine a series of issues in more detail: first, the ro

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Anderson, Julian. "HARMONIC PRACTICES IN OLIVER KNUSSEN'S MUSIC SINCE 1988: PART II." Tempo 57, no. 223 (2003): 16–41. http://dx.doi.org/10.1017/s0040298203000020.

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Songs without Voices, composed in 1991–2, is a set of four pieces for small instrumental ensemble comprising flute, cor anglais, clarinet, horn, piano, violin, viola and cello, lasting about eleven minutes. It follows on naturally from Knussen's Whitman Settings which preceded it, as three of its four movements derive their main melodic lines from purely instrumental settings of Whitman texts from the collection Leaves of Grass. Indeed the first movement's source text, Soon shall the winter's foil be here, is placed by Whitman in the collection immediately after The Voice of the Rain, the fina

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Shaymukhametova, Liudmila N. "Transcriptions of Musical Texts in Work with Beginning Pianists." Problemy muzykal'noi nauki / Music Scholarship, no. 1 (2024): 126–35. http://dx.doi.org/10.56620/2782-3598.2024.1.126-135.

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The article examines artistic tutorial assignments for transforming the primary authorial musical text in the conditions of ensemble music-making in a piano class. Their goal is the mastery of certain skills of free music-making in the context of the dialogic structures and intonational lexis of baroque music. Examination is made of such universal techniques of artistic transformation as registering and doubling, which were widely used in the 17th and 18th centuries upon the re-exposition of the clavier musical text into various instrumental ensemble textures. The technique of application pres

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Hammond, Matthew. "Huddersfield Contemporary Music Festival: 21–23 November 2014." Tempo 69, no. 272 (2015): 63–65. http://dx.doi.org/10.1017/s0040298214001077.

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hcmf// 2014 kicked off with a typically tough and knotty concert from Petr Kotik's chamber orchestra Ostravská banda, who performed a collection of UK premieres for small ensemble by Christian Wolff, three Czech composers and another American. The concert was billed as a tribute to Wolff, who was in attendance and who celebrates his eightieth birthday this year, and this acknowledgement of his status as one of the few remaining high modernists allowed the festival to begin with a celebration of the music with which it has been most closely associated. First up was Wolff's 37 Haiku, a setting o

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Golovan, Ievgeniia. "The latest approaches to piano interpretation in chamber and ensemble creativity of V. Silvestrov (the case of the "Drama" cycle for violin, cello and piano)." Culturology Ideas, no. 20 (2'2021) (2021): 107–14. http://dx.doi.org/10.37627/2311-9489-20-2021-2.107-114.

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The article overviews a set of issues related to the latest interpretation of the piano in the second half of the XXth century, the use of non-specific techniques of playing the instrument and the peculiarities of its use in the chamber ensemble. It describes the main elaboration direction of compositional methods and techniques, their objectification in the ensemble work of Ukrainian artists. V. Silvestrov's "Drama" for violin, cello and piano is analyzed as a unique example of synthesis of traditional and avant-garde tendencies in the music of the XXth century, which combines music making wi

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Berehova, Olena. "Art as a Weapon: The Works of Composer Bohdana Frolyak During the Russia–Ukraine War." ARTISTIC CULTURE. TOPICAL ISSUES, no. 20(2) (November 28, 2024): 81–87. https://doi.org/10.31500/1992-5514.20(2).2024.318254.

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The works of Bohdana Frolyak composed during 2022–2023 are introduced into the scientific circulation of Ukrainian musicology: the programmatic symphonic compositions The Way, Let There Be Light, Cello and Oboe Instrumental Concertos, music for the theatrical performance The War that Changed Rondo. It was revealed that the figurative content and themes of the composer’s wartime works are extremely broad, ranging from intimate lyrics, memories of the beautiful past and reminders of the beauty of the world to anxious moods, reflections on death, grief, mourning for the dead, and prayer. Many of

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Garibaldi, Pipin, Danny Ceri, and Farel Jonggi Lundito. "Penciptaan Karya Konserto Grosso Untuk Menunjang Pembelajaran Mata Kuliah Ansambel Gesek." Resital: Jurnal Seni Pertunjukan 25, no. 2 (2024): 290–320. https://doi.org/10.24821/resital.v25i2.13675.

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Artikel ini ditulis untuk menjelaskan proses penciptaan Konserto Grosso yang disusun penulis sebagai materi pembelajaran ansambel gesek di Jurusan Musik ISI Yogyakarta. Karya konserto ini memuat pembelajaran teknik permainan instrumen gesek, meliputi biola, viola, cello, dan contrabass. Teknik seperti tangga nada mayor, minor, arpeggio, double stop, detache, legato, staccato, dan spiccato disertakan dalam komposisi ini demi membangun fondasi teknik bagi tangan kanan dan tangan kiri seorang instrumentalis. Komposisi ini memiliki satu gerakan yang terdiri dari bagian cepat dan lambat sebagaimana

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Radzetskaya, Olga Vladimirovna. ""Four Pieces on Lute Music Themes of the XVI and XVII Centuries" by S.N. Vasilenko: in the Context of Art." Development of education, no. 4 (10) (December 20, 2020): 63–68. http://dx.doi.org/10.31483/r-96705.

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The relevance of the article is related to the process of studying ensemble disciplines, because students due to this process need to create a three-dimensional representation of the work of the studied composer. The purpose of the article is an acquaintance with a number of compositions to create a convincing artistic interpretation of the work. Methods – description, observation, representation. The article presents an overview of the heritage of one of the prominent figures of Russian musical art in the first half of the XX century – Sergey Nikiforovich Vasilenko, who had a well-deserved re

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Zachinyaeva, M. P. "AFTER READING "HAMLET": THREE VIEWS ON A MASTERPIECE BY W. SHAKESPEARE." Arts education and science 1, no. 4 (2020): 96–102. http://dx.doi.org/10.36871/hon.202004012.

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This article is devoted to modern interpretations of W. Shakespeare's famous play in Russian music at the turn of the XXth — XXIst centuries on the example of R. Shchedrin's "Hamlet Ballad" — an instrumental work for the cello ensemble (2004), operas of the same name by S. Slonimsky (1991) and V. Kobekin (2006). Little-known pages from the history of creation and stage fate of "Hamlet Ballad" by R. Shchedrin are opened. The main emphasis in the publication is placed on the work of Vladimir Kobekin as the most radically read domestic version of the classic tragedy of the English playwright. The

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Zhaoyin, Wang. "MARCO FRANK'S COMPOSITIONAL AND PEDAGOGICAL HERITAGE ON VIOLA PLAYING." Arts education and science 4, no. 33 (2022): 24–33. http://dx.doi.org/10.36871/hon.202204024.

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Modern viola performing is at its peak, as evidenced by the serious array of solo and chamber ensemble works for this instrument, as well as a developed performing school represented by such outstanding musicians as Lionel Tertis, William Primrose, Vadim Borisovsky, Yuri Bashmet and many others. However, less than a century ago, the situation was not so rosy: the viola (along with the double bass), as an independent musical instrument, was struggling to make its way, being in the shadow of its mighty relatives — the violin and the cello. It was only after the Second World War that the viola be

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Hadžajlić, Hanan. "Composition-Interpretation-Improvisation Processes in XO pt. II by Dino Rešidbegović: Comparative Analysis of two Interpretations." INSAM Journal of Contemporary Music, Art and Technology, no. 1 (December 15, 2018): 56–71. http://dx.doi.org/10.51191/issn.2637-1898.2018.1.1.56.

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The composition XO pt. II for flute with processors, amplified cello, amplified piano and analog sound synthesizers, by Dino Rešidbegović, was published in 2016 as an electroacoustic adaptation of its previous version, XO for undetermined instrumentation. The phenomenon of the notation of both versions, presented through the graphic score, comes from the very idea of/about the composition. The score is divided into nine squares which form a network with incorporated abstract shapes of different colors. In the middle of the score is a chart of a spectral analysis of the composition The Impact o

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Rickards, Guy. "New Releases of music by Women Composers." Tempo 59, no. 231 (2005): 74–80. http://dx.doi.org/10.1017/s0040298205260072.

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CECILIE ØRE: A. – a shadow opera. Joachim Calmeyer, Anneke von der Lippe, Tilman Hartenstein, Henrik Inadomi, Lakis Kanzakis, Rob Waring (voices). Aurora ACD 5034.BETH ANDERSON ‘Swales and Angels’: March Swale1; Pennyroyal Swale1; New Mexico Swale2,1,3; The Angel4,1,5,6,8; January Swale1; Rosemary Swale1; Piano Concerto6,1,7,3,8. 1Rubio String Quartet, 2Andrew Bolotowsky (fl, picc), 3David Rozenblatt (perc), 4Jessica Marsten (sop), 5Joseph Kubera (vc, pno), 6André Tarantiles (hp), 7Darren Campbell (bass), c. 8Gary M. Scheider. New World 80610-2.RAGNHILD BERSTAD: Anstrøk for violin and cello1;

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Burel, O. V. "About compositions for piano and orchestra by Ch.-M. Widor. Background." Aspects of Historical Musicology 13, no. 13 (2018): 45–60. http://dx.doi.org/10.34064/khnum2-13.04.

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Ch.-M. Widor (1844–1937) inscribed his name in the history of French music primarily as an author of organ works (10 Organ Symphonies, 1872–1900, in particular). But other genre branches of his creativity (symphonic, chamber-instrumental, chamber-vocal, operatic, choral) remains less famous for wide public. This quite vast layer is mostly not studied in musical science. However, at the recent time the interest is somewhat growing both among musicologists (A. Thomson, E. Krivitskaya, M. R. Bundy), and among the performers, which confi rms the relevance of this article. The objectives of this st

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Litvyshchenko, O. V. "Directions of concertmaster activity of Oleksandr Nazarenko." Problems of Interaction Between Arts, Pedagogy and the Theory and Practice of Education 57, no. 57 (2020): 246–59. http://dx.doi.org/10.34064/khnum1-57.15.

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Formulation of the problem. At the current stage, concertmaster activity as a kind of performing art requires a comprehensive study to justificatе the artistic effectiveness of the artist. Thereby, there was a need for research of the concertmaster activity of Oleksandr Nazarenko (Professor of the Department of Ukrainian Folk Instruments in I. P. Kotlyarevsky Kharkiv National University of Arts), in order to characterize his performing skills. This article is about the instrumental work of a accordionist, which is an organic component of the activities of art institutions in a variety of forms

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Sheludiakova, Svitlana. "The genre of the piano concerto in John Adams’s work on the example of “Must the Devil Have All the Good Tunes?”." Problems of Interaction Between Arts, Pedagogy and the Theory and Practice of Education 70, no. 70 (2024): 161–84. http://dx.doi.org/10.34064/khnum1-70.09.

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Statement of the problem. The genre of the instrumental concerto is an important part of the famous American composer John Coolidge Adams’s oeuvre. This is evidenced by the popularity of his concertos among performers and the ongoing interest of researchers in them. However, the composer’s piano concertos, especially the Third Concerto titled “Must the Devil Have All the Good Tunes?”, remains largely unexplored, which prevents the elucidation of the principles of interpreting the genre. Objectives, methods, and novelty of the research. The purpose of the study is to reveal the specifics of the

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Pluzhnikov, Victor. "«Forgotten name... Yakov A. Rosenstein»." Aspects of Historical Musicology 16, no. 16 (2019): 90–105. http://dx.doi.org/10.34064/khnum2-16.05.

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Problem statement. Conductor is considered to be one of the most prestigious occupation in musical field, so there has always been a certain interest to its history. But, despite a large amount of literature, there are no musicologist’s scientific works, with the systematized and generalized materials on training conducting staff in Ukraine in the 1920s – 1940s. This is partly due to a shortage of primary documents at a difficult historical period: most of them were destroyed by the employees of state institutions before being evacuated behind the lines during the Second World War; the other p

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Sokolova, Lidiya. "R. Schumann’s romantic “Fantastic Pieces” op. 88 – on the way to the piano trio." Aspects of Historical Musicology 16, no. 16 (2019): 126–42. http://dx.doi.org/10.34064/khnum2-16.07.

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Introduction. The article analyzes R. Schumann’s “Fantastic Pieces” op. 88 as a creative debut in the subsequent development of the piano trio genre. The “Fantastic Pieces” op. 88 are the first composer’s creative experience in combining such musical instruments. Theoretical Background. The analysis of musicological literature did not reveal any special research dedicated to this score, but only its references in E. Karelina’s (1996) thesis research and D. Zhitomirsky’s (1964) monograph. Thus, this article is the first special research of the compositional and ensemble analysis of R. Schumann’

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PAVLIV, Yarema. "СREATIVE PORTRAIT OF PROMINANT VIOLINIST (IN MEMORY OF SERHIY OREL)". Bulletin of the Lviv University. Series of Arts Studies 280, № 20 (2019): 133–46. http://dx.doi.org/10.30970/vas.20.2019.10646p.

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Serhiy Orel (1952–2017) – an outstanding violinist, original composer, Carpathian folklore interpreter, teacher, organizer of musical work, born in Kolomyia in the family of a choral singing teacher and multi-instrumentalist Stepan Orel. He studied at the Lysenko Musical Institute Branch since the age of six years in Matviy Ruzichner’s violin class. He proved himself as a gifted improviser, while gaining universal academic violin education. In his student days at D. Sichynsky College in Ivano-Frankivsk he began composing music and orchestrating his favourite classical works. He deeply immersed

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Whittall, Arnold. "Hyde - HYDE: Three Dancers; Autumnal; Nocturnes; Second Suite for Solo Cello; Birthday Song; Winter Music; String Quartet. Edward Vanderspar (vla), Katherine Jenkinson (vlc), Evelina Puzaite (pno), Martin Cousin (pno), Aquinas Piano Trio, Juventus Quartet, Instrumental Ensemble c. John Traill. Guild GMCD 7389." Tempo 67, no. 265 (2013): 108–9. http://dx.doi.org/10.1017/s0040298213000697.

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Serdiuk, Ya O. "Chamber music works by Amanda Maier in the context of European Romanticism." Problems of Interaction Between Arts, Pedagogy and the Theory and Practice of Education 56, no. 56 (2020): 121–35. http://dx.doi.org/10.34064/khnum1-56.08.

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Background. The name of Amanda Maier (married – R&#246;ntgen-Maier), the Swedish violinist, composer, pianist, organist, representative of the Leipzig school of composition, contemporary and good friend of С. Schumann, J. Brahms, E. Grieg, is virtually unknown in the post-Soviet space and little mentioned in the works of musicologists from other countries. The composer’s creativity has long been almost completely forgotten, possibly due to both her untimely death (at the age of 41) and thanks to lack of the research interest in the work of women composers over the past century. The latter,

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Davitadze, A. H. "The principles of re-intonation of multinational folklore in the work of Ludwig van Beethoven (on the example of the collection of arrangements “Songs of Different Nations”)." Problems of Interaction Between Arts, Pedagogy and the Theory and Practice of Education 53, no. 53 (2019): 75–91. http://dx.doi.org/10.34064/khnum1-53.05.

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Background. The study of Beethoven’s arrangements of folk songs touches upon the corpus of theoretical and methodological issues related to the problem “a composer and folklore”, and, accordingly, with the re-intonation of folklore in composer creativity, with the dialogue of “national and international”, “folk and professional”, “traditional and modern”. These phenomena contemporary musicology considers more often in relation to new and newest directions in the musical art, defining them in terms of “folklore”, “neo-folklorizm”, “new folklore wave”; they represent by various forms of direct o

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Стахевич, Г. О. "ВЗАЄМОДІЯ РОМАНТИЧНИХ ТА КЛАСИЧНИХ СТИЛЬОВИХ ПРОЕКЦІЙ У КОНЦЕРТІ ДЛЯ ФОРТЕПІАНО З ОРКЕСТРОМ № 3 ІГНАЦА МОШЕЛЕСА". Традиції та новації у вищій архітектурно-художній освіті, № 4 (1 грудня 2018): 132–38. https://doi.org/10.5281/zenodo.1807123.

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Changing of the styles from classical to romantic in the music of the first third of the nineteenth century received a vivid expression in the instrumental concert, which gained rapid distribution in that period. Immanent features of the genre – emotional uplift, virtuosity, shine, artistry – provided the popularity of these works among the public and brought the desired success to musicians. The greatest flowering got of the piano concerto, in which the weighty place took works of the Austro-Germanic composers-pianists J. N. Hummel, I. Mosсheles, I. P. Pixis, F. Ris, W. Taubert, F

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Milan, Kerry. "The Violinist's Collection, Books 3 & 4 selected and edited by Yfrah Neaman. Kevin Mayhew, 1993. £7.50. - Cadenzas to Mozart's Violin Concertos by Robert Levin. Universal, 1992. £9.95. - Jigs, Reels & Hornpipes selected and arranged by Edward Huws Jones. Boosey & Hawkes, 1992. Violin part, £4.95; piano part, £9.95. - Strings - Ensemble 1 (Wind and Waves, and Dorian Prelude) by Michael Radanovics. Universal, 1991. £7.50. - Quartet Club 1 & 2 by Sheila Nelson. Boosey & Hawkes, 1992. £7.95 each. - Famous Transcriptions for Cello and Piano edited by Adalbert Skocic. Universal, 1991. £7.95. - …wie ein Walzer auf Glas for violoncello solo by Roland Moser. Edition Hug, 1991. £6.20." British Journal of Music Education 10, no. 3 (1993): 281–83. http://dx.doi.org/10.1017/s026505170000190x.

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Ketter, Daniel. "Discovering Essential Voices in Johann Sebastian Bach’s Solo Instrumental Suite Movements." Society for Music Theory Videocast Journal 6, no. 3 (2020). http://dx.doi.org/10.30535/smtv.6.3.

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This video-article presents the concept of “essential voices” in Bach’s solo instrumental works, which explains how notes can be connected together or implied so as to form continuous musical voices that support the solo part. The contrapuntal lines that essential voices highlight are often repeated in transformed ways within movements to relate different thematic rotations and heighten the musical drama. The video concludes with an analysis and performance of the intriguing Sarabande from J.S. Bach’s Cello Suite No. 5 in C Minor, BWV 1011, accompanied by a four-part setting of essential voice

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Enrico Ruggieri. "The Lamentações para a Semana Santa by José Joaquim dos Santos and Luciano Xavier dos Santos and the music for two violas, voices concertate and low instruments." Royal Conservatoire Research Portal, no. 1 (September 11, 2017). http://dx.doi.org/10.22501/koncon.216636.

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Name: Enrico Ruggieri Main Subject: Choral Conducting Research Supervisors: Charles Toet, Ricardo Bernardes Title of Research: The Lamentações para a Semana Santa by José Joaquim dos Santos and Luciano Xavier dos Santos and the music for two violas, voices concertate and low instruments Research Question: What are the main features of the viola in this specific repertoire and consequently, what becomes its main function? Summary of Results: In 18th-century Portugal, a particular instrumental setting was used in the music composed for a specific Roman Catholic rite called the officium tenebraru

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