Relevant bibliographies by topics / Concertos (Chamber orchestra)

Contents

  1. Journal articles
  2. Dissertations / Theses
  3. Books
  4. Book chapters
  5. Conference papers

Academic literature on the topic 'Concertos (Chamber orchestra)'

Author: Grafiati
Published: 4 June 2021
Last updated: 30 January 2023

Create a spot-on reference in APA, MLA, Chicago, Harvard, and other styles

Select a source type:

Consult the lists of relevant articles, books, theses, conference reports, and other scholarly sources on the topic 'Concertos (Chamber orchestra).'

Next to every source in the list of references, there is an 'Add to bibliography' button. Press on it, and we will generate automatically the bibliographic reference to the chosen work in the citation style you need: APA, MLA, Harvard, Chicago, Vancouver, etc.

You can also download the full text of the academic publication as pdf and read online its abstract whenever available in the metadata.

Journal articles on the topic "Concertos (Chamber orchestra)"

1

Palmer, Peter. "Swiss Cello Concertos." Tempo 60, no. 235 (2006): 39–40. http://dx.doi.org/10.1017/s0040298206270049.

Full text
Abstract:
URS JOSEPH FLURY: Vineta; Concerto for Cello and Orchestra; Sinfonietta for Strings. Biel Symphony Orchestra; Pierre Fournier (vlc), Vienna Volksoper Orchestra; Vienna Chamber Orchestra c. Urs Joseph Flury. Musikszene Schweiz MGB CD 6184.SCHOECK: Concerto for Cello and String Orchestra, op. 61; Suite in A flat for Strings, op. 59. Julius Berger (vlc), South West German Chamber Orchestra of Pforzheim c. Vladislav Czarnecki. ebs 6145 (www.EBSMusikproduktion.de).
APA, Harvard, Vancouver, ISO, and other styles
2

Driver, Paul. "Gruber's Concertos." Tempo, no. 178 (September 1991): 22–27. http://dx.doi.org/10.1017/s004029820001398x.

Full text
Abstract:
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 ‘
APA, Harvard, Vancouver, ISO, and other styles
3

Kashuba, Denis. "Chamberness in genre-stylistic field of Piano concertos by Johannes Brahms." Aspects of Historical Musicology 16, no. 16 (2019): 207–24. http://dx.doi.org/10.34064/khnum2-16.12.

Full text
Abstract:
Introduction. In recent years, there has been indefatigable interest of scholars in the concerto genre, and that can be proven by constantly appearing research article and dissertation, devoted to it. For example, in 2017 and 2019 candidate dissertation [Ph. D] have been published, that illuminated previously obscure pages of, respectively, French tradition of this genre, embodied in concertos for various instruments with orchestra by C. Saint-Saëns, and AustroGerman of the first decades of XIX century (including those by J. N. Hummel, I. Moscheles, F. Ris). Expansion of the knowledge
APA, Harvard, Vancouver, ISO, and other styles
4

Упанова, А. А. "Domra and Chamber Orchestra in Concertos by Igor Rogalyov and Andrey Tikhomirov. An Alliance with a “Stranger”?" OPERA MUSICOLOGICA, no. 2021 (December 24, 2021): 37–56. http://dx.doi.org/10.26156/om.2021.13.4.002.

Full text
Abstract:
Статья посвящена сочинениям известных петербургских композиторов — Концерту «Доменико Скарлатти» для четырехструнной домры (мандолины) и камерного оркестра Игоря Ефимовича Рогалёва и Концерту для домры и камерно-симфонического оркестра Андрея Генриховича Тихомирова. Эти произведения представляют примеры взаимодействия сфер народно-инструментального исполнительства и академического музыкального искусства. Ранее данная проблема не рассматривалась в отечественном музыкознании. Появление в последней четверти XX века сочинений, в которых домра выступает в качестве солиста с симфоническим оркестром,
APA, Harvard, Vancouver, ISO, and other styles
5

Martynova, V. I. "Concerto for Oboe and Orchestra in the Works by Modern Time Composers: Aspects of Genre Stylistics." Problems of Interaction Between Arts, Pedagogy and the Theory and Practice of Education 54, no. 54 (2019): 71–93. http://dx.doi.org/10.34064/khnum1-54.05.

Full text
Abstract:
Introduction. Concerto for oboe and orchestra in the music of modern time (20th – early 21st centuries), on the one hand, is based on the traditions of past eras, on the other hand, it contains a number of new stylistic trends, among which the leading trend is the pluralism of composer’s decisions. Despite this, the works created during this period by the composers of different national schools can be divided into three groups – academic, experimental, and pastoral. The article gives the review of them. Objective. The main objective of the article is to identify the features of genre stylistic
APA, Harvard, Vancouver, ISO, and other styles
6

ZOHN, STEVEN. "THE SONATE AUF CONCERTENART AND CONCEPTIONS OF GENRE IN THE LATE BAROQUE." Eighteenth Century Music 1, no. 2 (2004): 205–47. http://dx.doi.org/10.1017/s1478570604000132.

Full text
Abstract:
Much recent writing concerning the early eighteenth-century sonata has focused on a subgenre that appropriates stylistic elements from more fully scored works. Thus several of J. S. Bach’s solo and trio sonatas signify the concerto in certain movements by adopting ritornello form and establishing instrumental roles of ‘soloist’ and ‘orchestra’, only to undermine the integrity of these roles during the course of a movement. These Sonaten auf Concertenart, and a number of similar examples by Bach’s German contemporaries, have been viewed as responses to Vivaldi’s solo concertos and especially hi
APA, Harvard, Vancouver, ISO, and other styles
7

Danyliuk, Yana. "D.KLEBANOV’S CONCERTO FOR DOMRA AND SYMPHONIC ORCHESTRA IN THE CONTEXT OF GENRE DEVELOPMENT." Aspects of Historical Musicology 25, no. 25 (2021): 152–70. http://dx.doi.org/10.34064/khnum2-25.07.

Full text
Abstract:
Statement of the problem. D. Klebanov played an important role in the development of domra concerto genre in the middle of the 20th century. Ocheretovska N. (2015), Savchenko H. (2021), Kosenko H. (2018), Shapovalova O. (2011) have studied D. Klebanov’s composer style, in particular, his orchestral thinking. However, the creative principles that guided him when writing Domra Concerto, as well as genre and style features of this composition went unexplored. This determines the relevance and scientific novelty of this study aiming to reveal the features of Klebanov’s composer thinking, which are
APA, Harvard, Vancouver, ISO, and other styles
8

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.

Full text
Abstract:
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
APA, Harvard, Vancouver, ISO, and other styles
9

ICHIM, Mihai, and Stela DRAGULIN. "Evaluation of the stylistic path of authors of concertos composed for double bass and orchestra in XVIII-XX centuries." BULLETIN OF THE TRANSYLVANIA UNIVERSITY OF BRASOV SERIES VIII - PERFORMING ARTS 13 (62), SI (2021): 113–22. http://dx.doi.org/10.31926/but.pa.2020.13.62.3.12.

Full text
Abstract:
The choice of the following subject is conditioned by the artistic practice itself. The double bass not only being today an indispensable element of symphony and chamber orchestras, of different instrumental ensembles (trio, quartets, quintets, etc.), but also as a soloistic instrument, whose expressive possibilities as a soloist and participant in the instrumental dialogue reveals the genre of concerto for this instrument. The concerto has been and remains an object widely explored both by musical practice, through the creation of composers and the work of performers, and by musicological sci
APA, Harvard, Vancouver, ISO, and other styles
10

Николаевна Березовикова, Татьяна. "Orchestral suite in the work of Moldovan composers." SCIENTIFIC WORK 70, no. 09 (2021): 20–25. http://dx.doi.org/10.36719/2663-4619/70/20-25.

Full text
Abstract:
This article is a brief overview of the genre of the orchestral suite in the works of the composers of the Republic of Moldova. The history of the orchestral suite in Moldova from its beginnings to the present day has 100 years old. During this time, it has undergone certain transformations, while retaining its main qualities: the brightness of the musical language and timbre embodiment. The article notes the variety of performing ensembles for which suites are written: these are symphonic, chamber, string, pop and jazz orchestra, orchestra of folk instruments. Special attention is paid to the
APA, Harvard, Vancouver, ISO, and other styles

Dissertations / Theses on the topic "Concertos (Chamber orchestra)"

1

Scott, Stephen 1944. "Concerto for Guitar and Chamber Orchestra." Thesis, North Texas State University, 1986. https://digital.library.unt.edu/ark:/67531/metadc935713/.

Full text
Abstract:
The Concert for Guitar and Chamber Orchestra, a three-movement work, is approximately seventeen and one-half minutes in duration. Adhering to the three movement concerto form, the work reflects the influence of several styles of twentieth-century orchestral music. In the first movement, two principal motives, significant throughout the work, are developed in a series of metered and non-metered events. The second movement consists of a set of guitar cadenzas framed by increasingly complex material in the orchestra. The third movement explores an application of the two principal motives in a ron
APA, Harvard, Vancouver, ISO, and other styles
2

Picton, Michael. "Curio shop, concerto for piano and chamber orchestra." Thesis, National Library of Canada = Bibliothèque nationale du Canada, 1997. http://www.collectionscanada.ca/obj/s4/f2/dsk2/ftp01/MQ29856.pdf.

Full text
APA, Harvard, Vancouver, ISO, and other styles
3

Kothman, Keith. "Concerto for clarinet and chamber orchestra /." Diss., Connect to a 24 p. preview or request complete full text in PDF format. Access restricted to UC campuses, 1998. http://wwwlib.umi.com/cr/ucsd/fullcit?p9824645.

Full text
APA, Harvard, Vancouver, ISO, and other styles
4

Picton, Michael. "Curio shop : concerto for piano and chamber orchestra." Thesis, McGill University, 1996. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=27481.

Full text
Abstract:
v. 1. Score (197 p.) -- v. 2. Analysis (29 leaves)<br>Curio Shop is a concerto for piano and chamber orchestra. It is composed for an ensemble of fifteen performers: piano solo, flute (doubling on piccolo), oboe, clarinet, bass clarinet, bassoon, horn, trumpet, trombone, percussion, two violins, viola, cello, and contrabass.<br>It is composed as a suite of short movements, scored for the full ensemble, interspersed with interludes composed as duos for piano and one other instrument. The accompanying paper discusses the form of the work along with some of its historical precedents. Further topi
APA, Harvard, Vancouver, ISO, and other styles
5

Johnson, Crystal. "Abstracts for the mind : a work in three movements for viola and orchestra /." View online, 2008. http://repository.eiu.edu/theses/docs/32211131464908.pdf.

Full text
APA, Harvard, Vancouver, ISO, and other styles
6

Esperilla, Efrain E. "La primavera concertino for English horn and chamber orchestra /." connect to online resource, 2002. http://www.library.unt.edu/theses/open/20021/esperilla%5Fgarcia%5Fefrain%5Fernesto/index.htm.

Full text
APA, Harvard, Vancouver, ISO, and other styles
7

Reuter, Rocky J. "Part I: Evocation as a compositional device : Part II: Concerto for chamber orchestra /." The Ohio State University, 1986. http://rave.ohiolink.edu/etdc/view?acc_num=osu1300460522.

Full text
APA, Harvard, Vancouver, ISO, and other styles
8

Esperilla, Garcia Efrain Ernesto. "La Primavera: Concertino for English Horn and Chamber Orchestra." Thesis, University of North Texas, 2002. https://digital.library.unt.edu/ark:/67531/metadc3148/.

Full text
Abstract:
La Primavera: Concertino for English Horn and Chamber Orchestra is a work in a traditional chamber orchestra instrumentation: single woodwinds (flute, oboe, clarinet, and bassoon), two French horns, trumpet, timpani and strings. A through-composed work of 14 minutes in duration, the Concertino is conceptually based on the idea that spring is not the first of the seasons, but rather the last. As a result, all of its motivic materials are organically linked to one another, and function as paired forces that struggle for supremacy. The introduction of the third motive functions as a motivic synt
APA, Harvard, Vancouver, ISO, and other styles
9

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.

Full text
Abstract:
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
APA, Harvard, Vancouver, ISO, and other styles
10

Costa, Anthony J. "A bibliography of chamber music and double concerti literature for oboe and clarinet." Connect to resource, 2005. http://rave.ohiolink.edu/etdc/view?acc%5Fnum=osu1117551575.

Full text
Abstract:
Thesis (Ph.D.)--Ohio State University, 2005.<br>Title from first page of PDF file. Document formatted into pages; contains xiv, 146 p.; also includes musical examples. Includes bibliographical references (p. 142-146). Available online via OhioLINK's ETD Center
APA, Harvard, Vancouver, ISO, and other styles

Books on the topic "Concertos (Chamber orchestra)"

1

Lazarof, Henri. Concerto for oboe and chamber orchestra. Merion Music, 1996.

Find full text
APA, Harvard, Vancouver, ISO, and other styles
2

Lazarof, Henri. Clarinet concerto. Merion Music, 1990.

Find full text
APA, Harvard, Vancouver, ISO, and other styles
3

Panufnik, Andrzej. Sinfonia concertante: For flute, harp and strings ; Concertino for timpani, percussion and strings ; Harmony. Conifer Classics, 1994.

Find full text
APA, Harvard, Vancouver, ISO, and other styles
4

Baird, Tadeusz. Epiphany music ; Concerto lugubre: For viola and orchestra ; Elegeia : for orchestra ; Four love sonnets ; Symphony no. 3. Olympia, 1989.

Find full text
APA, Harvard, Vancouver, ISO, and other styles
5

Concerto in G-dur für Flöte (Violine) und Orchester, mit Violinkadenzen versehen und hrsg. von Hermann Scherchen. Gebrüder Hug, n.d.

Find full text
APA, Harvard, Vancouver, ISO, and other styles
6

Penderecki, Krzysztof. Sixtieth birthday gala concert. Sony Classical, 1995.

Find full text
APA, Harvard, Vancouver, ISO, and other styles
7

Bazelon, Irwin. Spires--: Concert piece for trumpet and small orchestra. T. Presser, 1992.

Find full text
APA, Harvard, Vancouver, ISO, and other styles
8

Le arie da concerto di Wolfgang Amadeus Mozart per voce di soprano. Libreria musicale italiana, 2006.

Find full text
APA, Harvard, Vancouver, ISO, and other styles
9

Schwanendreher: For Viola and Orchestra. Eulenburg Germany (Schott), 1986.

Find full text
APA, Harvard, Vancouver, ISO, and other styles
10

Lieuwen, Peter. Concerto Alfresco for Trumpet and Chamber Orchestra, Full Score. Leonard Corporation, Hal, 2014.

Find full text
APA, Harvard, Vancouver, ISO, and other styles

Book chapters on the topic "Concertos (Chamber orchestra)"

1

Ellis, Katharine. "Instrumental Music and Urban Gravitas." In French Musical Life. Oxford University Press, 2021. http://dx.doi.org/10.1093/oso/9780197600160.003.0005.

Full text
Abstract:
Bands, chamber ensembles, and (especially) orchestral societies acted as indicators of the musical maturity of urban centers. Together with conservatoires and opera houses, orchestras formed centers of gravity often overseen by town councils as an interconnected unit or as a set of overlapping units. A relative lack of state regulation resulted in less focus on centralization and more on internal organization (including dealing with the progressive unionization of musicians), rivalries between concert societies, and distinctive patterns in repertory selection and programming. Nevertheless, a strong touring circuit for composer-conductors, the soft power of Parisian institutions (notably the Concerts Populaires of Jules Pasdeloup), and town council demands for standard repertory rather than new music, meant that regionalist particularism had little part to play. Angers, Bordeaux, Montpellier, Nancy, and Toulouse provide case-studies of the intersections of local politics, concert administration and orchestral professionalization; Lyon, Lille, and Strasbourg emerge as centers with an especially distinctive mix of chamber and orchestral music, especially during the Third Republic.
APA, Harvard, Vancouver, ISO, and other styles
2

Fiala, Michele. "Gordon Hunt." In Great Oboists on Music and Musicianship. Oxford University Press, 2020. http://dx.doi.org/10.1093/oso/9780190915094.003.0011.

Full text
Abstract:
Gordon Hunt is currently principal oboe of the London Chamber Orchestra, and formerly of the Philharmonia and London Philharmonic Orchestras. In this interview, he discusses his early career, tone, reeds, vibrato, and the application of the string concept of louré to oboe. He shares his ideas on breathing, air support, and making a musical plan. He closes with reminiscences of great concerts.
APA, Harvard, Vancouver, ISO, and other styles
3

Preston, Katherine K. "“The Life of a Musician”." In George Frederick Bristow. University of Illinois Press, 2020. http://dx.doi.org/10.5622/illinois/9780252043420.003.0002.

Full text
Abstract:
Bristow’s first teacher was his father, William Richard Bristow; he later studied with George Macfarren, Ole Bull, and others. During the 1840s he performed professionally in theater orchestras (Park, National, and Olympic), joined the Philharmonic Society (1842), and soon began performing in the orchestra (1843). Important mentors included William Musgrif and George Loder. In the same decade he wrote songs, piano pieces, and chamber works, as well the Concert Overture (1845) and Sinfonia No. 1 (1847). By mid-decade he was thoroughly immersed in the thriving performance scene of the city: as an ensemble member, conductor, and solo violinist or pianist.
APA, Harvard, Vancouver, ISO, and other styles
4

Fiala, Michele. "Humbert Lucarelli." In Great Oboists on Music and Musicianship. Oxford University Press, 2020. http://dx.doi.org/10.1093/oso/9780190915094.003.0018.

Full text
Abstract:
Humbert Lucarelli has appeared as soloist with orchestras and chamber music groups throughout the United States, South America, Europe, Australia, and Asia. Among his recordings is the Concerto for Oboe and Orchestra written for him by John Corigliano. He held positions as professor of oboe at the Hartt School in West Hartford, Connecticut, and the Steinhardt School at New York University. In this chapter, Lucarelli describes his musical training, early career, and how he became a soloist. He shares his musical decision-making process and how he uses storylines in interpretation. Lucarelli discusses qualities of great performers and his experience in studying drama and the visual arts to further his artistry. He describes physical aspects of performing such as tongue placement and the relationship of the cheeks to the embouchure. He talks about vibrato, the character of the oboe, and his advice for young performers.
APA, Harvard, Vancouver, ISO, and other styles
5

Saylor, Eric. "The Music of 1902–1908." In Vaughan Williams. Oxford University Press, 2022. http://dx.doi.org/10.1093/oso/9780190918569.003.0004.

Full text
Abstract:
Vaughan Williams’s creative efforts were enriched, directly and tangentially, by his engagement with musical styles, traditions, and performance practices beyond the academic curriculum and concert-hall repertory of his training, including those of the Anglican church, the Purcell Society, and amateur choristers, though none had a greater long-term impact than English folk music. But while folk songs consumed much of his time and energy, they were not his sole focus in the early 1900s. Vocal music—including solo songs, duets, part songs, and a cantata (Willow-Wood)—accounted for seventeen of Vaughan Williams’s twenty-one stand-alone works published or first performed between 1902 and 1903. The variety of music that he wrote and edited over the next several years, however, was enormous: orchestral works (such as the Fantasia for Piano and Orchestra, In the Fen Country, the three Norfolk Rhapsodies, and the Four Orchestral Impressions), choral music (Toward the Unknown Region, The English Hymnal), stage works (including incidental music for Pan’s Anniversary and scenes from The Pilgrim’s Progress), and a smattering of chamber pieces. The impact of some of these works would be felt for many years to come—such as The English Hymnal, the Pilgrim’s Progress music, and The Solent (one of the Four Orchestral Impressions)—and collectively, they helped advance Vaughan Williams to the front line of younger British composers.
APA, Harvard, Vancouver, ISO, and other styles
6

Fiala, Michele. "László Hadady." In Great Oboists on Music and Musicianship. Oxford University Press, 2020. http://dx.doi.org/10.1093/oso/9780190915094.003.0008.

Full text
Abstract:
László Hadady graduated from the Franz Liszt Academy of Budapest. From 1976 to 1980, he was soloist of the Hungarian State Concert Orchestra. From 1980 to 2010, he was solo oboist in Pierre Boulez’s Paris chamber orchestra, Ensemble Intercontemporain, and since 1995, he is professor at the Conservatoire National Supérieur de Musique de Paris. In this interview, Hadady discusses his early career and his ideas about teaching, the fundamentals of music, vibrato, and reeds. He talks about the importance of versatility and his mindset in performing
APA, Harvard, Vancouver, ISO, and other styles
7

Fiala, Michele. "Neil Black." In Great Oboists on Music and Musicianship. Oxford University Press, 2020. http://dx.doi.org/10.1093/oso/9780190915094.003.0001.

Full text
Abstract:
Neil Black was an internationally known oboist and a professor at London’s Guildhall School of Music and Drama. Black attended Oxford University and earned a degree in history. Three years after finishing at Oxford, he became principal oboist for the London Philharmonic Orchestra. Later in his career, he became the principal oboist for the Academy of St. Martin in the Fields and the English Chamber Orchestra. In this chapter he discussed his beginnings in music, ideas on tone production, reeds, and technique. He further shared his thoughts on flexibility in musical settings, solo playing, and pedagogy. He also reminisced about his role models and his memorable concerts.
APA, Harvard, Vancouver, ISO, and other styles
8

Ellis, Katharine. "Choral Voices." In French Musical Life. Oxford University Press, 2021. http://dx.doi.org/10.1093/oso/9780197600160.003.0004.

Full text
Abstract:
Discussion of why choral and instrumental concerts were only lightly regulated by the state provides a springboard for examining the freedom the French provinces enjoyed and the considerable expansion of concert life that was based on individual and collective initiative. Core institutions such as the orphéon, “concerts populaires” and reconstituted cathedral choir schools (maîtrises—some of them state-subsidized) complemented private clubs and chamber ensembles in a bourgeois musical economy that often displayed a varied mix of high and low genres in comparison with Paris. Local administrative machinery aided a “democratizing” shift from private to public (accessibility). Parisian modes of choral and orchestral concert life are introduced as a prelude to discussion in chapters 3 and 4 of the distinctiveness of provincial centers. Discussion touches on provincial attitudes to touring ensembles from Paris and the increasing extent of soft power exerted by the capital.
APA, Harvard, Vancouver, ISO, and other styles
9

Rice, Albert R. "Music for the Chalumeau." In The Baroque Clarinet and Chalumeau. Oxford University Press, 2020. http://dx.doi.org/10.1093/oso/9780190916695.003.0002.

Full text
Abstract:
Chapter 2 provides an overview of chalumeau music written from 1694 to 1780. Seventeen works are discussed that represent the large chalumeau repertoire: opera, oratorio, cantata, psalm, concerto, stage, chamber, and orchestral. The chalumeau was prominently used in European courts, schools, and concerts in Vienna, Hanover, Düsseldorf, Venice, Prague, Darmstadt, Hamburg, Liechtenstein, Frankfurt, London, Darmstadt, Zerbst, Eisenstadt, Dresden, and other cities, and in monasteries at Göttweig in Austria, and Osek and Lubens in Poland. Chalumeaux were made in five sizes: soprano, alto, tenor, bass, and basset bass (extended range bass). Soprano and bass chalumeaux were used in Vienna by several composers; soprano chalumeaux in Amsterdam by Dreux; alto, tenor, and bass chalumeaux by Graupner and Telemann in Darmstadt, Hamburg, and Frankfurt; and basset bass by Steffani in Düsseldorf and Pichler in Göttweig.
APA, Harvard, Vancouver, ISO, and other styles

Conference papers on the topic "Concertos (Chamber orchestra)"

1

Synofzik, Thomas. "„Würde Sie’s zu sehr ermüden zu begleiten?“ – Clara Schumann als Lied- und Kammermusikpartnerin." In Jahrestagung der Gesellschaft für Musikforschung 2019. Paderborn und Detmold. Musikwissenschaftliches Seminar der Universität Paderborn und der Hochschule für Musik Detmold, 2020. http://dx.doi.org/10.25366/2020.82.

Full text
Abstract:
80 percent of Clara Schumann‘s playbills in her complete collection of concert programmes (Robert-Schumann-Haus Zwickau) include vocal participation of solo singers, choirs or actors. The question is to which extent Clara Schumann used to accompany these vocal contributions herself on the piano. Only rarely are other accompanists named on the concert playbills, but evidence from concert reviews suggests that these vocal contributions normally served as rests for the solo pianist. Sometimes separate accompanists are named in the concert reviews. In orchestral concerts it was usually the conduct
APA, Harvard, Vancouver, ISO, and other styles
We offer discounts on all premium plans for authors whose works are included in thematic literature selections. Contact us to get a unique promo code!

To the bibliography