Relevant bibliographies by topics / Concertos (Oboe with string orchestra)

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  2. Dissertations / Theses
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Academic literature on the topic 'Concertos (Oboe with string orchestra)'

Author: Grafiati
Published: 4 June 2021
Last updated: 30 July 2024

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Journal articles on the topic "Concertos (Oboe with string orchestra)"

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de Vries, Han, John Downey, Gary Karr, London Symphony Orchestra, and Geoffrey Simon. "John Downey: Declamations; Discourse for Oboe, Harpsichord and String Orchestra; Jingalodeon; Concerto for Double Bass and Orchestra." Musical Times 133, no. 1795 (1992): 466. http://dx.doi.org/10.2307/1002386.

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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.

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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
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Stein, Robert. "BBC Promenade Concerts: Jörg Widmann, Armonica, BBC Philharmonic/Storgårds 1.8.16; Mark Simpson, Israfel, BBC Philharmonic/Mena 9.8.16; Emily Howard, Torus, RLPO/V Petrenko 25.8.16." Tempo 71, no. 279 (2016): 93–94. http://dx.doi.org/10.1017/s0040298216000759.

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Jörg Widmann is a German composer who is acutely conscious but certainly not in awe of his musical forebears. His best-known string quartet, no. 3 ‘The Hunt’ makes dramatic use of – and has great fun with – Schumann. His 2011 concerto Flûte en suite, performed at the 2014 Proms, more than nods to Bach and baroque elegance. In Armonica, commissioned by the International Mozarteum Foundation to celebrate Mozart's 251st birthday in 2007, Widmann surprisingly and yet unsurprisingly features the glass harmonica, the distinctive instrument that Mozart featured in his own last chamber piece, the Adag
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Martynova, Valeriya. "Concerting oboe: timbre, technique, traditional and latest methods of playing." Problems of Interaction Between Arts, Pedagogy and the Theory and Practice of Education 50, no. 50 (2018): 149–65. http://dx.doi.org/10.34064/khnum1-50.11.

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Background. Oboe as a concert instrument has passed a rather long path of evolution, on which it has been improved according the parameters of its design, the technique of virtuoso play and the requests of composer writing. The concentrate of universal capabilities of the soloing (concerting) oboe is the concerto genre, in which all these parameters are combined in an integral entire. The objective of this article is to sequentially consider the components of the concerting oboe “image”, such as timbre and articulation-and-stroke technique, including typical and latestmethods of writing and pl
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Palmer, Peter. "Swiss Cello Concertos." Tempo 60, no. 235 (2006): 39–40. http://dx.doi.org/10.1017/s0040298206270049.

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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).
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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.

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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
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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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Chystiakova, Katerina. "Dramaturgical function of the orchestra in song cycle by Hector Berlioz – Théophile Gautier “Summer Nights”." Aspects of Historical Musicology 16, no. 16 (2019): 190–206. http://dx.doi.org/10.34064/khnum2-16.11.

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Background. In recent scholar resources musicologists actively study the problem of typology of chamber song cycle. The article cites analytical observations of M. Kolotylenko on works in this genre by R. Strauss (2014), of I. Leopa – on G. Mahler’s (2017), of N. Vlasova – on A. Schoenberg’s (2007). It is stated, that unlike Austro-German phenomena of this kind have been studied to a certain degree, song cycle “Summer Nights” by H. Berlioz hasn’t received adequate research yet, although it is mentioned by N. Vlasova as on of the foremost experiences of this kind. It allows to regard the French
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Rakochi, Vadym. "Innovations of Presentation in Antonio Vivaldi’s Concertos and Their Impact on the Development of the Orchestra." Часопис Національної музичної академії України ім.П.І.Чайковського, no. 3-4(52-53) (December 14, 2021): 21–35. http://dx.doi.org/10.31318/2414-052x.3-4(52-53).2021.251790.

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Transformation of the presentation in Vivaldi’s instrumental concertos is considered in this paper. It is noted that the Corellian model of the concerto (concerto grosso, changeable number of movements, variety of tempos, thematic unity of tutti and solo episodes, trio-sonata-like instrumentation of the concertino) becomes the basis for Vivaldi’s modifications. His model is based on a solo concerto prevalation, a fast — slow — fast three-movements structure, ritornello musical form in the outer movements and the motivic mosaic of the first tutti. The significance of these transformations gives
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Conway, Paul. "James MacMillan premieres in Edinburgh, Glasgow and London." Tempo 68, no. 269 (2014): 70–72. http://dx.doi.org/10.1017/s0040298214000114.

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

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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.

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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
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Manning, Dwight C. (Dwight Carroll). "A Study of the Oboe Concertos of Johann Friedrich Fasch with a Performing Edition of Oboe Concerto in G Major (Küntzel 8) : A Lecture Recital Together with Three Other Recitals of Selected Works of Handel, Mozart, Bellini, Poulenc, Britten and Others." Thesis, University of North Texas, 1994. https://digital.library.unt.edu/ark:/67531/metadc278576/.

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Johann Friedrich Fasch's music displays a stylistic variability characteristic among some composers of the early eighteenth century, a time in which the mature Baroque style period of Western art music was beginning to show new elements of the Classical style. Opinions regarding Fasch's contribution vary from praise for his role as one of the most important pioneers to simple acknowledgment as merely one among many significant, forward-looking, transitional composers. During the early eighteenth century, a wealth of fine literature for solo oboe was produced. Current oboe repertoire includes m
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Tartini, Giuseppe Burden Michael. "Six concertos for violin and string orchestra, 1733 /." Title page, contents and summary only, 1986. http://web4.library.adelaide.edu.au/theses/09ARM/09armb949.pdf.

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Kimbler, Chad. "CONCERTO FOR AMPLIFIED MANDOLIN, STRING ORCHESTRA, AND PERCUSSION." Bowling Green State University / OhioLINK, 2006. http://rave.ohiolink.edu/etdc/view?acc_num=bgsu1143068097.

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Moon, Jeong-Hyun. "Concertino for Flute, Timpani and String Orchestra." Thesis, University of North Texas, 1995. https://digital.library.unt.edu/ark:/67531/metadc279127/.

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Concertino for Flute, Timpani, and String Orchestra is a three movement piece that blends Western European forms with Korean idioms. The following essay addresses pitch materials, melodic structure, rhythm, form, instrumentation, vertical structures, and developmental procedures used in the work.
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Widstrand, Alex Christopher. "Lev Konstantinovich Knipper's concerto for bassoon and string orchestra: introduction and critical performing edition." Diss., University of Iowa, 2018. https://ir.uiowa.edu/etd/6338.

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Recent studies of bassoon music in twentieth-century Russia have unearthed a rich trove of previously little-known repertoire. Despite the abundance of original Russian bassoon music, little of it approaches the sophistication of the bassoon writing within the late nineteenth- and early twentieth-century Russian symphonic tradition. One work which does come close to equaling those aesthetic standards is Lev Knipper’s Concerto for Bassoon and String Orchestra (1970), which confronts the bassoonist with far greater expressive and technical demands than previous Russian solo bassoon works. In ord
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Reed, Marc Allen. "An historical and stylistic examination of Charles Chaynes' Concerto Pour Trompette and Deuxième Concerto Pour Trompette, with an interview of the composer." Thesis, University of North Texas, 2007. https://digital.library.unt.edu/ark:/67531/metadc3924/.

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Research has been conducted on prominent mid-twentieth century French trumpet concertos and their composers. Jolivet, Bozza, and Tomasi have all been the subject of research. Charles Chaynes' music is equally valuable to modern trumpet repertoire as that of Jolivet, Bozza, and Tomasi. Chaynes' exclusion from research leaves a void in resources available to future trumpet students. A study of Charles Chaynes and his trumpet concertos is essential to preserving the history of the valve trumpet's young modern repertoire. Lack of understanding of Chaynes' trumpet concertos can only lead to misconc
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Nazor, Craig. "Concerto for solo violin, strings, and percussion /." Digital version accessible at:, 1999. http://wwwlib.umi.com/cr/utexas/main.

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Murray, Lauren Baker. "The Nineteenth Century Oboe Concertino: An Overview of its Structure with Two Performance Guides." Thesis, view full-text document, 2002. http://www.library.unt.edu/theses/open/20022/murray%5Flauren%5Fbaker/index.htm.

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Estacio, John Anthony. "Composition recital." Thesis, University of British Columbia, 1991. http://hdl.handle.net/2429/42040.

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This is a compilation of the music performed at the graduation recital of John Estacio on April 11,1991, at 2.30 p.m. in the U.B.C. Recital Hall. There were four pieces performed that afternoon including Azimuth for viola, clarinet and marimba, written in 1989. Ode on the Death of A Favourite Cat, Drowned in a Tub of Goldfishes for S.A.T.B. choir was written in 1989 and uses the text of Thomas Gray. Moments is a set of three pieces for woodwind quintet written in 1990. Viola Concerto is in three movements and was written in 1991 for Reg Quiring, a former U.B.C. student. The concerto is
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Books on the topic "Concertos (Oboe with string orchestra)"

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Vivaldi, Antonio. Concerto. Productions d'Oz, 2004.

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1932-, Botvay Karoly, Guttler Ludwig, Sandau Kurt, et al., eds. Masters of classical music: Vol. 7 : Antonio Vivaldi. LaserLight, 1988.

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Zwilich, Ellen Taaffe. Concerto for oboe and orchestra. Merion Music, 1992.

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Downey, John W. Discourse: Oboe, harpsichord, and string orchestra. Henmar Press, 1992.

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

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Giegling, Franz. Konzerte für flöte, für Oboe und für Fagott. Bärenreiter, 1986.

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Bartók, Béla. Piano concertos. Urania, 2006.

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Zwilich, Ellen Taaffe. Concerto for horn and string orchestra. Merion Music, 1995.

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Górecki, Henryk Mikołaj. Concerto for harpsichord (or piano) and string orchestra, opus 40. Boosey & Hawkes, 1990.

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Kilian, Dietrich. Konzerte für Violine, für zwei Violinen, für Cembalo, Flöte und Violine: Kritischer Bericht. Bärenreiter, 1989.

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Book chapters on the topic "Concertos (Oboe with string orchestra)"

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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.

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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.
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Heyman, Barbara B. "The Last Years, 1967–1981." In Samuel Barber. Oxford University Press, 2020. http://dx.doi.org/10.1093/oso/9780190863739.003.0019.

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During the last fifteen years of his life, Barber struggled with depression, alcoholism, and creative blocks. His publisher believed this was due to the reception of Antony and Cleopatra, but Barber’s annual pilgrimages to Europe had begun much earlier, and it was more likely that the forced sale of Capricorn, the home he and Menotti had shared for three decades, contributed to his low morale. The upheaval was equivalent to the dissolution of a marriage. Money from the Metropolitan Opera commission enabled him to build a chalet in Santa Cristina, where he spent most of his time. He did not withdraw from composing but turned to what had been most gratifying: writing vocal music in short forms, choosing biographically pointed texts reflecting a preoccupation with dark and quasi-religious themes. He produced the song cycle Despite and Still, two choral works, and Mutations from Bach for brass. He wrote Chorale for Ascension Day for the Washington National Cathedral and an elaborate work for chorus, vocal solos, and the Philadelphia Orchestra, The Lovers. A commission for the new Alcoa Hall in Pittsburgh resulted in Fadograph of a Yestern Scene, an orchestral piece inspired by a passage in James Joyce’s Finnegans Wake. Barber composed Three Songs, op. 45, and in 1974 wrote a piano piece, Ballade. That commission allowed him to purchase an apartment overlooking Central Park in New York. In the summer of 1978, he began a concerto for oboe and orchestra, but as his health worsened, he realized he would not be able to complete it and titled the single movement Canzonetta for Oboe and String Orchestra. He was diagnosed with multiple myeloma, and in spite of chemotherapy, Barber died on January 23, 1981.
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Kildea, Paul. "Conversation with Benjamin Britten (1944)." In Britten on Music. Oxford University PressOxford, 2003. http://dx.doi.org/10.1093/oso/9780198167143.003.0016.

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Abstract Question. You have written works in many forms and combinations, but you seem to prefer certain mediums to others. For example, you have written a great deal for string orchestra, but comparatively little for full orchestra. Why is that? Answer. I am attracted by the many features of the strings. For instance, the possibilities of elaborate devise-the effect of many voices of the same kind. There is also the infinite variety of colour-the use of mutes, pizzicato, harmonics and so forth. Then again, there is the great dexterity in the technique of string players. Generally speaking, I like to think of the smaller combinations of players, and I deplore the tendency of present-day audiences to expect only the luscious ‘tutti’ effect from an orchestra. I think this has been engendered by a ‘Hollywood’ method of scoring-both here and abroad-and also by the modern radio sets and electrical gramophones, which tend to cut off the upper partials and give the orchestra a constant rounded, booming and ‘fat’ sound. I’ve always inclined to the clear and clean-the ‘slender’ sound of, say, Mozart or Verdi or Mahler-or even Tchaikovsky, if he is played in a restrained, though vital, way. But I also write for string orchestra because I don’t like writing music in a vacuum. To my mind, actual contact with performance is very important. String orchestras are more enterprising in their programmes than symphony orchestras and I have often been asked to write for them. I feel grateful if artists take the trouble to be interested in my music and ask me to compose something. In this way, I have been glad to write for soprano and tenor voices, for the horn and oboe, and string orchestra-and even for the opera-house.
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