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Journal articles on the topic 'Concertos (Viola) – Solo with piano'

Author: Grafiati

Published: 26 July 2024

Last updated: 31 July 2025

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1

Josephson, Nors S. "Unifying stylistic syntheses in the late compositions (1939–1945) of Béla Bartók." Studia Musicologica 58, no. 2 (2017): 147–73. http://dx.doi.org/10.1556/6.2017.58.2.2.

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Bartók’s later works from the years 1939–1945 present an impressive synthesis of his musical innovations. Beginning with the Divertimento and Sixth String Quartet (both composed in 1939), the Hungarian composer starts with a freely tonal, neo-Classical foundation. Above this initial compositional level he then superimposes Beethovenian formal structures gleaned from the latter’s opp. 53 and 135, in addition to a prominent Stravinsky quotation from The Rite of Spring, part two. In both works Bartók achieves an impressive large-scale cyclical unity, frequently through wholetone scalar integratio

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Stahnke, Manfred. "György Ligeti: hamburgisches Konzert für Horn und Kammerorchester mit 4 obligaten Naturhörnern. Aspects of a Crystalline Microtonality." Studia Universitatis Babeş-Bolyai Musica 69, Sp.Issue 2 (2024): 61–89. http://dx.doi.org/10.24193/subbmusica.2024.spiss2.06.

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This is a study on the microtonal aspects of György Ligeti’s Hamburgisches Konzert für Horn und Kammerorchester mit 4 obligaten Naturhörnern, with special reference to its relationship with the American composer Harry Partch. The special mixture of equal temperament versus just intonation is analyzed for longer passages and adhoc chords in the concept of Ligeti. The movement “Choral” is confronted with Harry Partch’s idea of “tonality flux”. The “Hamburgisches Konzert für Horn und Kammerorchester mit 4 obligaten Naturhörnern” by György Ligeti, composed in 1998-2002, joins a long chain of explo

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Shchetynsky, Oleksandr. "Valentyn Bibik: reaching artistic maturity." Aspects of Historical Musicology 23, no. 23 (2021): 42–64. http://dx.doi.org/10.34064/khnum2-23.03.

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The object of research is the works of V. Bibik written at the beginning of his mature period. The aim of the research is to reveal the main features of Bibik’s style. Methods of research include technical analysis of the works in the context of the innovative tendencies in the Ukrainian music of 1960–70s, as well as comparative research. Research results. Outstanding Ukrainian composer Valentyn Bibik (1940–2003) wrote over 150 works. Mostly they are large-scale symphonic, choral, vocal, and chamber pieces. Among them are 11 symphonies, over 20 concerti for various instruments with orchestra,

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An, Le. "“Wolfgang Amadeus Mozart’s Piano Concertos in the Context of Genre Development”." Highlights in Art and Design 7, no. 3 (2024): 1–29. http://dx.doi.org/10.54097/v40kxj92.

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Aim of study is to consider Wolfgang Amadeus Mozart’s piano concertos in the context of genre development. To achieve this aim, the following objectives defined: 1) to trace concerto origins; 2) to identify solo concerto origins; 3) to reveal the peculiarities of the musical language of Mozart piano concertos. The thesis concept contains a comprehensive interdisciplinary approach that contributes to the multidimensional disclosure of the phenomenon of classical concert. Due to the need to determine the individual stylistic amplitude of Mozart's piano concertos, the analytical (structural-compo

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Shevtsova, Anastasiya Vladimirovna. "Genre evolution of the Russian viola repertory." PHILHARMONICA. International Music Journal, no. 4 (April 2020): 70–84. http://dx.doi.org/10.7256/2453-613x.2020.4.32769.

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The research object is Russia&rsquo;s repertory heritage including compositions for viola by the composers of the 20th century. The works are considered from the viewpoint of a direct impact on their appearance of the brightest representatives of the Russian viola school V.V.Borisovsky, F.S. Druzhinin and Yu.A. Bashmet. The analysis is based on pieces devoted to V.V. Borisovsky (Sonata for viola and Piano by V. Kryukov and S. Vasilenko, &ldquo;Songs of the Dead&rdquo; and Rhapsody for viola and piano by A. Veprik, A suite for viola and piano by V. Gaigerova) and to Yu.A. Bashmet (A

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Keefe, Simon P. "A Complementary Pair: Stylistic Experimentation in Mozart's Final Piano Concertos, K. 537 in D and K. 595 in B-flat." Journal of Musicology 18, no. 4 (2001): 658–84. http://dx.doi.org/10.1525/jm.2001.18.4.658.

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Given the chronological separation of Mozart's final piano concertos, K. 537 and K. 595, from his extraordinary sequence of 15 piano concertos of 1782-86 (K. 413-503), it is no surprise that critics have continually stressed stylistic and affective departures from the composer's norm. But the stylistic significance of these final concertos remains fundamentally misunderstood. In spite of sharply contrasting characteristics——ostentatious virtuosity in K. 537 and carefully measured writing in K. 595——these works are, in fact, kindred spirits. In both concertos Mozart experiments with the introdu

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Rickards, Guy. "Berlin: Hindemith's ‘Klaviermusik mit orchester’." Tempo 59, no. 233 (2005): 55–56. http://dx.doi.org/10.1017/s0040298205260230.

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Paul Wittgenstein's commissioning of concertos for piano left-hand is as enviable a legacy as any performer could wish to have, centred as it is on concertos by Korngold, Franz Schmidt (who also penned for Wittgenstein a set of Concertante Variations on a theme of Beethoven with orchestra and three piano quintets), Richard Strauss, Prokofiev, Britten (his op. 21 Diversions) and Ravel. Yet the maimed pianist's quixotic attitude to the works he received is almost as remarkable. Ravel he offended by the liberties he took with the solo part, while Prokofiev's Concerto No. 4 languished unplayed for

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Benedetti, Danieli Verônica Longo. "A produção para piano solo da Société Musicale Indépendante-SMI." Revista Música 19, no. 2 (2019): 44–64. http://dx.doi.org/10.11606/rm.v19i2.161147.

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O presente artigo – segmento de pesquisa de Pós-doutorado – pretende, por meio do estudo dos programas de concertos e da produção da crítica especializada da época investigada, realizar uma análise e uma reflexão sobre a produção pianística apresentada nas temporadas da Société Musicale Indépendante – SMI. O trabalho está fundamentado em material coletado nos acervos privados da Bibliothèque nationale de France – BnF e do Arquivo do compositor Charles Koechlin - ACK.

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Knysh, P. О. "Piano concertos by F. Chopin: “composing center” means." Problems of Interaction Between Arts, Pedagogy and the Theory and Practice of Education 57, no. 57 (2020): 270–84. http://dx.doi.org/10.34064/khnum1-57.17.

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The article focuses on characterizing compositional and structural peculiarities of piano concertos by F. Chopin. The research emphasis is laid on the revealed fact that the corresponding “composing center” means (V. Kholopova) function as fundamental issues in terms of creating their interpretational versions, thus, joining analytical procedures performers of the above pieces have to follow. With a view to objectivize data concerning the composing component of the Concertos e-moll and f-moll by F.Chopin, the article presents an actual comparative analysis of various perspectives as for the fu

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Swenson-Eldridge, Joanne. "Six Bagatelles: for Solo Viola, and: Rhapsodic Variations No. 4: for Solo Viola, and: Sonate: pour alto seul, and: Requiescat: for Viola and Piano, and: Tinuviel's Dance: pour alto & piano, and: Urizen: for Viola and Piano (review)." Notes 59, no. 2 (2002): 453–58. http://dx.doi.org/10.1353/not.2002.0196.

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Maunder, Richard. "J. C. Bach and the Early Piano in London." Journal of the Royal Musical Association 116, no. 2 (1991): 201–10. http://dx.doi.org/10.1093/jrma/116.2.201.

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A study of Johann Christian Bach's keyboard music prompts the obvious and important question: which of his sonatas and concertos were composed for harpsichord, and which for the piano? (Indeed, did he think of them as two distinct instruments at all?) And what sort of pianos did he have available on the occasions when he played them in public? Did he really play his ‘Solo on the Piano Forte’ at the Thatched House on 2 June 1768 (in a concert that consisted mainly of orchestral music) on a little Zumpe square, or was he already using a prototype English grand? When were these various models of

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Palmer, Peter. "Frédéric Rapin, Musik in Luzern, Rhapsodische Kammermusik aus der Schweiz’. ERNST LEVY, HERMANN SUTER." Tempo 58, no. 229 (2004): 58–60. http://dx.doi.org/10.1017/s0040298204350229.

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‘Frédéric Rapin: Concertos suisses pour clarinettes’. Works by HERBERT FRIES, ARMIN SCHIBLER, JEAN BINET, JEAN BALISSAT, ANDOR KOVACH and ALEXIS CHALIER. Frédéric Rapin (cl), Kammerorchester Arpeggione Hohenems c. Jean-François Antonioli. Musiques Suisses Grammont Portrait MGB CTS-M 80.‘Musik in Luzern: Kammermusik Duo Lang’. FRITZ BRUN: Sonata No. 1 for Violin and Piano. THÜRING BRÄM: Album ‘Goodbye Seventies’. With works by MENDELSSOHN and RACHMANINOV. Brigitte Lang (vln), Yvonne Lang (pno). GALLO CD-1084.‘Rhapsodische Kammermusik aus der Schweiz’. ERNST LEVY: Quintet in C minor for 2 violin

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VARVARICHI, Leona, and Alina-Maria NAUNCEF. "Wilhelm Georg Berger’s Music: Elements of compositional style and instrumental techniques necessary for the public performance." BULLETIN OF THE TRANSYLVANIA UNIVERSITY OF BRASOV SERIES VIII - PERFORMING ARTS 14 (63), no. 1 (2021): 97–108. http://dx.doi.org/10.31926/but.pa.2021.14.63.1.11.

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The present paper approaches a part of the vast creation of a musician of certain value, to whom generations of players have a moral duty. The analyses of Wilhelm Berger’s sonatas for viola come to the help of those set on the road of an interpretative effort projected over these opuses. The purpose of this brief research is to investigate several elements of the metamorphosis of the compositional phenomenon in two of Wilhelm Georg Berger’s works: The Sonata for viola and piano op. 3 (1957) and the Sonata for solo viola op. 35 (1968). The particular way of processing the musical material origi

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Дорофеев, Д. Н. "THE “UNFINISHED” SONATA FOR VIOLA AND PIANO BY M. I. GLINKA IN THE CONTEXT OF THE DEVELOPMENT OF VIOLA ART." Music Journal of Northern Europe, no. 4(28) (April 8, 2024): 37–45. http://dx.doi.org/10.61908/2413-0486.2021.28.4.37-45.

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В статье рассматривается «Неоконченная» соната для альта и фортепиано d-moll М. И. Глинки в контексте истории альтового исполнительства в русской и зарубежной музыкальной культуре XVIII–XIX веков. Автор уделяет внимание творчеству К. Стамица, И. Е. Хандошкина и М. И. Глинки – композиторов, расширивших функциональную область применения альта, представив его в качестве солирующего концертного инструмента. The article considers the “Unfinished” Sonata for Viola and Piano by M. I. Glinka in D minor in the context of the history of viola performance in Russian and foreign musical culture of the 18t

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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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Keefe, Simon P. "‘We hardly knew what we should pay attention to first’: Mozart the Performer-Composer at Work on the Viennese Piano Concertos." Journal of the Royal Musical Association 134, no. 2 (2009): 185–242. http://dx.doi.org/10.1080/02690400903109067.

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Late eighteenth-century writings bear witness to Mozart's extraordinary skills as a performer-composer. But this dual status has yet to exert a serious influence on our understanding of Mozart's piano concertos. An examination of changes to the autograph scores of his Viennese works catches him in the act of negotiating performance needs as soloist and compositional needs as author. His acute attention to detail and his intense personal involvement and commitment – evident in written testimony and in alterations to the autographs – reveal a performer-composer intent on harnessing very specific

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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-Sa&#235;ns, 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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Makarevych, Andrii. "Piano Concerto in a Minor for Piano and Orchestra by Stanyslav Liudkevych – a Detected Sample of the First Ukrainian Piano Concerto." Bulletin of KNUKiM. Series in Arts, no. 45 (December 17, 2021): 107–15. https://doi.org/10.31866/2410-1176.45.2021.247375.

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The purpose of the article is to study the history of three concertos for piano and orchestra composition by Stanyslav Liudkevych, particularly the concerto in A Minor; research further performance issues of this work; find out the place of the concerto in the composer’s work and its genre uniqueness. Research methodology is based on historical, reference and analytical methods. The historical method makes it possible to highlight the process of S. Liudkevych’s work on the A Minor concerto and consider the differences of interpretations regarding the number of works of this genre i

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Mykhailova, O. V. "Woman in art: a breath of beauty in the men’s world." Aspects of Historical Musicology 17, no. 17 (2019): 163–80. http://dx.doi.org/10.34064/khnum2-17.11.

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Background. А history of the development of the human community is at the same time a history of the relationship between men and women, their role in society, in formation of mindset, development of science, technology and art. A woman’s path to the recognition of her merits is a struggle for equality and inclusion in all sectors of public life. Originated with particular urgency in the twentieth century, this set of problems gave impetus to the study of the female phenomenon in the sociocultural space. In this context, the disclosure of the direct contribution of talented women to art and th

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Schwartz, Elliott, Earle Brown, and Morton Feldman. "Centering; For Solo Violin, Flute, Clarinet, Bassoon, Horn, Trumpet, Trombone, Piano, Violin, Viola, Cello." Notes 44, no. 3 (1988): 596. http://dx.doi.org/10.2307/941563.

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Izergina, A. R. "IN THE MIRROR OF A MASTERPIECE: "FIVE REFLECTIONS ON THE THEME OF THE 24TH CAPRICE OF PAGANINI" BY KUZMA BODROV." Arts education and science 1, no. 1 (2021): 131–40. http://dx.doi.org/10.36871/hon.202101015.

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Since the second half of the XXth century intertextuality has become a key feature of musical culture, bringing together compositions of different epochs, traditions, styles and authors. In this regard, the text of a masterpiece acquires special significance. Being an open and mobile system, it enters into various dialogues with the whole set of stylistic and genre forms of modern music. The article considers the work "Five Reflections on the Theme of the 2018th Caprice of Paganini" (61) for viola, five solo violins and chamber orchestra by the Russian composer Kuzma Bodrov. The concept of the

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Zhang, Zeyi. "TWELVE-SOUND VERTICAL ROWS IN THE COMPOSITION GAO WEIJIE “MYSTERIOUS DREAM” FOR VIOLA AND PIANO SOLO." Ukrainian music 45, no. 2 (2023): 74–84. http://dx.doi.org/10.32782/2224-0926-2023-2-45-9.

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Okuneva, Ekaterina G. "The Instrumental Concerto in Bent Sørensen’s Musical Output." Problemy muzykal'noi nauki / Music Scholarship, no. 2 (July 2023): 162–76. http://dx.doi.org/10.56620/2782-3598.2023.2.162-176.

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In the musical output of the modern Danish composer Bent Sørensen, the genre of the instrumental concerto occupies the leading position. The composer has written eight concertos, as well as a number of orchestral works in which particular solo instruments stand out. Based on their analysis, the article reveals the composer’s approach to this genre and the possibility of maintaining it. One of the characteristic features of Sørensen’s concerto works is the programmatic quality. The composer’s works are united by common themes of decay, disappearance, as well as reflection of musical culture, wh

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Conway, Paul. "John Pickard - JOHN PICKARD: Piano Concerto1; Sea-Change2; Tenebrae3. 1Fredrik Ullén (pno), 1–3Norrköping SO c. Martyn Brabbins. BIS 1873. - PICKARD: Piano Trio1; Insomnia, for violin and piano2; Chaconne for solo viola3; Valedictions, for cello and piano4; Sonata for Violin and Piano5; Snowbound, for bass clarinet, cello and piano6. 1,3–5Rupert Marshall-Luck (vln, vla), 1,4,6Sophie Harris (vlc), 6Ian Mitchell (bcl), 1,2,4-6Matthews Richard (pno). Toccata Classics TOCC 0150. - London, Purcell Room: Pickard's String Quartet No. 5." Tempo 67, no. 266 (2013): 109–11. http://dx.doi.org/10.1017/s0040298213001101.

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Richmond, Sam W., Burrill Phillips, Alberta Phillips, Elinor Armer, and Ursula K. Le Guin. "Letters from Italy Hill: Landscape with Figures; For Soprano Solo, Flute, B[flat] Clarinet, 2 Violins, Viola, Cello, Piano." Notes 43, no. 4 (1987): 930. http://dx.doi.org/10.2307/898187.

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Antonova, Olena. "Edward MacDowell's First piano concerto: at the origins of American genre history." Scientific herald of Tchaikovsky National Music Academy of Ukraine, no. 136 (March 28, 2023): 165–78. http://dx.doi.org/10.31318/2522-4190.2023.136.276573.

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The relevance of the study. It consists in considering the concerto in A minor op. 15 by Edward MacDowell not only in the context of the author's artistic evolution, but also as the beginning of the history of the American branch of the genre. Written in 1882, it became the composer's first large-scale work and, at the same time, the first piano concerto composed by an American. The main objective of the study is to identify the genre models by which MacDowell created his First Concerto, and to mark the composer's intended prospects for the further development of the American piano conce

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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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Pashkovska, Marharyta. "«The Viola in My Life» by M. Feldman: the search for meaning on the verge of the timbre feeling." Problems of Interaction Between Arts, Pedagogy and the Theory and Practice of Education 65, no. 65 (2022): 27–49. http://dx.doi.org/10.34064/khnum1-65.02.

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Statement of the problem. The creative output of American composer Morton Feldman (1926–1987) is a unique phenomenon that stands out from the overall musical context. With each passing year, there is a growing interest in the composer’s personality and work, leading to an increase in performances and the emergence of more monographs. A significant work in Morton Feldman’s repertoire is the cycle of miniatures for viola titled «The Viola in my Life». However, this cycle remains the only instance where the viola timbre is used as the leading voice. Therefore, «The Viola in my Life» can be seen a

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Oshchepkov, Maxim. ""The Mountain Legend" for Viola and String Instruments by E. Stankovych: History, Composition, Dramaturgy." Часопис Національної музичної академії України ім.П.І.Чайковського, no. 4(61) (December 22, 2023): 108–20. https://doi.org/10.31318/2414-052x.4(61).2023.301192.

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This article dwells on the peculiarities of the unique music play of small form by Yevhen Stankovych −“The mountain legend” for viola and string instruments. The author revealed the circumstances of its creation, finding out that it was written specifically for the Zenon Dashak International Violin Competition (Kyiv, 2004) as a mandatory competition piece. The existence of two author's versions of the musical work has been established: the first for viola and piano; the second for viola and string orchestra. The existing audio recordings of the "The Mountain Legend" made by the famous Kyiv vio

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Dmytro, Malyi. "The “open” notation as a tool for creating a composer’s text (self‑commentary)." Problems of Interaction Between Arts, Pedagogy and the Theory and Practice of Education 63, no. 63 (2023): 26–51. http://dx.doi.org/10.34064/khnum1-63.02.

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Statement of the problem. Musical notation is an open, symbolic system of composer’s thinking. At the dry stage of its development, it becomes individualized in the creativity of a number of composers, which is thought out the development of new forms of overcoming the material through advanced piano techniques and atypical logic. The article introduces the concept of “open” musical notation as a method of musical composition. On the example of compositional analysis of his “Engravings” for piano (2021), the author sets out its principles. Analysis of recent research and publications. A number

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Cherednychenko, O. V. "Concert genres for piano and orchestra in the works of Sergei Bortkiewicz." Aspects of Historical Musicology 15, no. 15 (2019): 138–57. http://dx.doi.org/10.34064/khnum2-15.07.

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Background. The last two decades testify to the fact that the music of the Ukrainian composer S. Bortkiewicz (1877–1952) has become popular in various countries not only in Europe, but also around the world, giving birth to a so-called multilingual “Bortkiewicziana”. It would be already enough to mention the works published in German, English, Bulgarian, Dutch, Italian, Portuguese, Polish, Russian, Ukrainian and Japanese. The literature and multi-genre musical heritage left by the composer provides vast opportunities for researchers. However, many creativity aspects of the “last romanticist”,

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Nikolenko, R. V. "M.-A. Hamelin’s composing and performing style in the context of postmodern aesthetics." Aspects of Historical Musicology 14, no. 14 (2018): 168–80. http://dx.doi.org/10.34064/khnum2-14.12.

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Background. The peculiarities of the worldview and philosophy of modern contradictory era put forward before the art new requirements and benchmarks, which the Postmodern aesthetics embodies. The phenomenon of «Postmodernism» covers different levels of contemporary life. In philosophy, this concept was first introduced by J.-F. Lyotard in his report «The status of postmodernism». The French philosopher revealed the essence of Postmodernism consisting in «awareness of diversity and pluralism of forms of rationality, activity of life, as well as the recognition of this diversity as a natural pos

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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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Dai, Liping. "A Quantitative Study of Chineseized Musical Styles in the Piano Composition of the Yellow River Concerto Based on Audio Analysis." Applied Mathematics and Nonlinear Sciences 9, no. 1 (2024). http://dx.doi.org/10.2478/amns-2024-3376.

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Abstract The piano concerto “Yellow River”is one of the most influential works in Chinese piano concertos. This paper designs an ANN beat classification model based on audio analysis, calculates the beat cycle of the piano piece, and synthesizes the beats of the piano piece using the PSOLA algorithm, presenting an audio analysis of the piano concerto “The Yellow River”. Collate the compositional techniques and layout elements, musical characteristics, and points of nationalistic performance styles of the piano concerto“Yellow River”. Verify the universality of the audio analysis technique for

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Prommachart, Poom, and Tanaporn Rajatanavin. "Accompaniment Guide: Brahms’ Scherzo from FAE Sonata." Rangsit Music Journal 20, no. 2 (2025). https://doi.org/10.59796/rmj.v20n2.2025.a0202.

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Due to the similar resemblance of their ranges, Johannes Brahms’ Scherzo from the FAE Sonata can be performed on both violin and viola. While the differences between the sounds of two string instruments may be hardly noticeable to the untrained ears, piano accompanists must remain adaptable to changes in timbre and other technical aspects when the viola assumes the solo role. This article demonstrates that the shift in instrumentation results in a significantly altered creative outcome, especially when appropriately supported by insightful perspectives on a comprehensive rendition of the piano

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Иванов, А. И. "Второй концерт для тромбона и фортепиано Владислава Блажевича: особенности композиции". АКТУАЛЬНЫЕ ПРОБЛЕМЫ ВЫСШЕГО МУЗЫКАЛЬНОГО ОБРАЗОВАНИЯ, № 2(69) (30 червня 2023). https://doi.org/10.26086/nk.2023.69.2.005.

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Владислав Михайлович Блажевич известен как замечательный тромбонист и педагог, который за годы преподавания в Московской консерватории сформировал отечественную школу исполнителей на духовых инструментах. В свою очередь, композиторская деятельность Блажевича на сегодняшний день малоизучена, хотя он является автором целого ряда сочинений в различных жанрах, в том числе, 13 концертов для тромбона и фортепиано, созданных в 1930–1940-е годы. Второй концерт для тромбона и фортепиано (1933) занимает особое место в музыкальном наследии мастера. Здесь проявились важные черты его стиля, индивидуальная

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Connor, Will. "Positively Monstrous!" M/C Journal 24, no. 5 (2021). http://dx.doi.org/10.5204/mcj.2822.

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Bones are one of the oldest materials used to create musical instruments. Currently, the world’s oldest known instruments are flutes made out of bones (Turk, Turk, and Otte 11). In fact, bones have been used to create or enhance musical instruments in a variety of settings throughout history and in modern day instrument making. Bone bull roarers, jaw bone percussion, clappers, trumpets, drum shells, lyres, or construction parts, such as frets, plectrums, pipes and pipe fittings, embouchure adjustments, or percussive strikes are just a few of the more common uses of bones in musical instrument

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