Relevant bibliographies by topics / Concertos (Viola with orchestra)

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

Academic literature on the topic 'Concertos (Viola with orchestra)'

Author: Grafiati
Published: 4 June 2021
Last updated: 15 February 2022

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Journal articles on the topic "Concertos (Viola with orchestra)"

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Talbot, John. "York Bowen's Viola Concerto." Tempo 60, no. 238 (2006): 42–43. http://dx.doi.org/10.1017/s0040298206260315.

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YORK BOWEN: Viola Concerto in C minor, op.25. CECIL FORSYTH: Viola Concerto in G minor. Lawrence Power (vla), BBC Scottish Symphony Orchestra c. Martyn Brabbins. Hyperion CDA67546.BOWEN: Viola Concerto; Viola Sonata No.2 in F major; Melody for the C string, op.51 no.2. Doris Lederer (vla), with Czech Philharmonic Chamber Orchestra c. Paul Polivnick, Bruce Murray (pno). Centaur CRC 2786.BOWEN: Viola Concerto. WALTON: Viola Concerto in A minor. HOWELLS: Elegy for viola, string quartet and string orchestra. VAUGHAN WILLIAMS: Suite for viola and orchestra (Group I). Helen Callus (vla), New Zealand
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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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Sills, David L., and Krzysztof Penderecki. "Concerto per viola ed orchestra, 1983." Notes 46, no. 1 (1989): 230. http://dx.doi.org/10.2307/940777.

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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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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’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, “Songs of the Dead” 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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Stein, Robert. "London, Proms 2012 (2): Olga Neuwirth, Kaija Saariaho." Tempo 67, no. 263 (2013): 73–75. http://dx.doi.org/10.1017/s0040298212001416.

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Postmodernism in music may be hard to define – even harder than the same notoriously slippery term in literature – but Olga Neuwirth's viola concerto Remnants of songs … an Amphigory (2009) may be as good an exemplar as any. Given its UK première on 13 August by the talented British violist Lawrence Power, with the Philharmonia Orchestra under Susanna Mälkki, the concerto's Proms appearance marks the first time the festival has put on any of her pieces.
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Sholikhah, Jamitul Nihayatus. "Concerto in C Minor for Viola Karya Henri Casadesus dalam Tinjauan Bentuk Musik dan Teknik Permainan." Virtuoso: Jurnal Pengkajian dan Penciptaan Musik 2, no. 1 (2019): 15. http://dx.doi.org/10.26740/vt.v2n1.p15-27.

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Penelitian ini bertujuan untuk mendeskripsikan bentuk musik dan teknik permainan Concerto in C Minor for Viola Karya Henri Casadesus. Concerto in C Minor for Viola termasuk karya musik klasik, dimainkan dalam format solo viola diiringi strings orchestra. Dasar teori yang digunakan dalam meneliti bentuk musik dan teknik permainan dalam Concerto in C Minor for Viola karya Henri Casadesus yakni analisis bentuk musik Concerto, yang didalamnya menganalisis bentuk musik sonata, analisis bentuk lagu tiga bagian, analisis bentuk musik rondo dan terakhir, menganalisis teknik permainan pada solo viola.
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Городецький, Антон. "Bartok’s Concerto for Viola and Orchestra: Figurative and Semantic Aspects of the Composition." Art Research of Ukraine, no. 17 (December 18, 2017): 268–75. http://dx.doi.org/10.31500/2309-8155.17.2017.140131.

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Tuchapets, Andrii. "The viola in Zoltan Almashi creation: the view of the first performer." Ukrainian musicology 46 (October 27, 2020): 166–76. http://dx.doi.org/10.31318/0130-5298.2020.46.234626.

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The article examines the viola works of Z. Almashi from the position of their first performer and addressee. The importance of such an approach was emphasized, since the author is not only well familiar with the presented material, but also has the opportunity to communicate directly with the composer, being in the center of the creative process. The lack of researches, devoted to the viola works of Z. Almashi and all his works in general, determine the obvious relevance and scientific novelty of the article. Its main objective is to introduce the viola part of Z. Almashi composer’s creation i
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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 (Viola with orchestra)"

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Holmquist, Mats G. (Mats Göran). "Concertino for Jazz Clarinet, Electric Viola and Symphonic Orchestra." Thesis, University of North Texas, 1991. https://digital.library.unt.edu/ark:/67531/metadc500779/.

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Concertino for Jazz Clarinet. Electric viola and Symphonic Orchestra is a composition of approximately fifteen minutes' duration, and is scored for two flutes (second doubling piccolo), two oboes, two Bb clarinets, two bassoons, four F- horns, two Bb trumpets, three trombones (third bass), two percussionists, solo Bb clarinet, solo electric viola and strings. The piece is divided into two movements; Andante and Canon. Concepts derived from jazz music are employed in, for example, harmony and improvisation in the solo parts, whereas the orchestration is mainly traditional. The piece is written
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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.

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Price-Brenner, Paul Alan. "Concerto for viola section and orchestra." Diss., University of Iowa, 2017. https://ir.uiowa.edu/etd/5605.

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Concerto for Viola Section and Orchestra is a two-movement work lasting nineteen minutes. Its first movement in entitled Frenetic, and the second, Song and Finale, is made up of a slow and fast section. The concerto is scored for piccolo, two flutes, two oboes, two clarinets in B-flat, bass clarinet, two bassoons, two horns in F, two trumpets in C, tenor trombone, bass trombone, four percussion, a section of seven violists, violins 1, violins 2, violoncellos, and double basses. Balance can be one of the main problems with writing a work for solo viola and orchestra. While the viola’s timbre ma
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Betancourt, Cindy Alyce. "William Walton's viola concerto : a methodology of study." Virtual Press, 1997. http://liblink.bsu.edu/uhtbin/catkey/1063302.

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This study provides a resource for performers preparing Walton's Viola Concerto. It is intended to provide information regarding history, technical and musical obstacles, and common alterations to the viola part. The study begins with a historical overview of the work, including information about the composer and the composition. A review of the existing literature examines sources for parallel information and similar studies.The development of a methodology of study is based on the examination of nine excerpts from the Concerto. These excerpts represent technical and musical challenges found
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Beall, Stephen J. "A Performance Edition of the Alessandro Rolla Concerto in F for Viola and Orchestra, Op 4 (Bi 549)." Thesis, University of North Texas, 2014. https://digital.library.unt.edu/ark:/67531/metadc699948/.

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The Concerto in F, Op. 4 (BI 549) by Alessandro Rolla (1757-1841) is a relatively unknown work that can serve as a complement for existing standard Classical repertoire for the viola, thus providing the means for greater stylistic education and technical foundation for viola study from this time period. In order to make the music from this lesser-known composer more readily available for future performers, a performance edition has been created from uncirculated sources using the notation software “Finale,” combining separate parts into a conductor’s full score, which did not exist before. T
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Reiter, Erica Amelia 1968. "Krzysztof Penderecki's Cadenza for Viola Solo as a derivative of the Concerto for Viola and Orchestra: A numerical analysis and a performer's guide." Diss., The University of Arizona, 1997. http://hdl.handle.net/10150/289622.

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The intent of this study is to explore the musical, structural, and intervallic relationship between Krzysztof Penderecki's two works for viola, the Concerto for Viola and Orchestra and Cadenza for Viola Solo. The Concerto for Viola is a twenty-minute work accompanied by full orchestra; the Cadenza for Viola Solo is an eight-minute solo work. In these viola works, Penderecki has encapsulated the characteristics of the viola: the tone, technical capacity, and character. Both of Penderecki's viola works demand and reinforce the unique qualities of the viola. This document provides a performance
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Melendez, Melissa Sybel. "Gonzalo Castellanos-Yumar's Concerto for Viola and Orchestra (2003): A Phenomenological and Traditional Analysis of the Concerto with Consideration of its Stylized Venezuelan Folk Rhythms." Diss., Tucson, Arizona : University of Arizona, 2006. http://etd.library.arizona.edu/etd/GetFileServlet?file=file:///data1/pdf/etd/azu%5Fetd%5F1445%5F1%5Fm.pdf&type=application/pdf.

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Chiang, I.-Chun. "A Historical Technique from a Modern Perspective: The Transcription Scordatura in Mozart’s Sinfonia Concertante for Violin, Viola and Orchestra in E-flat major, K. 364." University of Cincinnati / OhioLINK, 2010. http://rave.ohiolink.edu/etdc/view?acc_num=ucin1282169540.

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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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Yang, Shang Ju. "Sonic Imagery in the Viola Arrangement of Hwang-Long Pan's Concerto for Violoncello and Chamber Orchestra (1996/97)." Diss., The University of Arizona, 2013. http://hdl.handle.net/10150/294020.

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The Viola Concerto by Hwang-Long Pan (b. 1945) is a transcription of the composer's Cello Concerto (1996/1997) created at the request of the author in 2007 in order to enrich the concert repertory for solo viola, and to promote the music of one of China's most distinguished modern composers. In his musical compositions, Pan translates ideas from Chinese music, philosophy, literature and art into contemporary sound imagery. This composition technique is what he refers to as yīn xiăng yì jìng [音響意境] in Chinese, which literally means "Sonic Imagery." This document examines Pan's Cello Concerto (
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Books on the topic "Concertos (Viola with orchestra)"

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Penderecki, Krzysztof. Concerto per viola ed orchestra (1983). Schott, 1987.

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Schafer, R. Murray. Concerto for viola and orchestra. Arcana Eds., 2005.

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Telemann, Georg Philipp. Concerto in G major for viola and orchestra. G. Schirmer, 1991.

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Casadesus, Henri Gustave. Konzert c-Moll für Viola und Orchester. C.F. Peters, 1995.

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Bach, Johann Sebastian. Konzert Es-Dur, für Viola, Streicher und Basso continuo: Rekonstruktion nach BWV 169, 49, 1053 = Concerto in E-flat major for viola, strings, and basso continuo : reconstructed from BWV 169, 49, 1053. Bärenreiter, 1996.

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Mascitti, Michele. Concerto II in mi min. opera settima: "a sei stomenti" : "due violini e basso del concertino e un violino, alto viola, col basso di ripieno". Camerata Anxanum, 1997.

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Mascitti, Michele. Concerto III in Sol magg. opera settima: "a sei stromenti" : "due violini e basso del concertino e un violino, alto viola, col basso di ripieno". Camerata Anxanum, 1997.

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Mascitti, Michele. Concerto IV in La magg. opera settima: "a sei stromenti" : "due violini e basso del concertino e un violino, alto viola, col basso di ripieno". Camerata Anxanum, 1997.

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Mascitti, Michele. Concerto I in Si b magg. opera settima: "a sei stromenti" : "due violini e basso del concertino e un violino, alto viola, col basso di ripieno". Camerata Anxanum, 1997.

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Jenisch, Kurt, and Eckart Schloifer. Viola: Sammlung wichtiger Passagen aus der Opern- und Konzertliteratur = Viola : excerpts from the operatic and concert repertoire. Schott, 1991.

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Book chapters on the topic "Concertos (Viola with orchestra)"

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"The Concertos with Multiple Soloists and Orchestra." In Vivaldi’s Music for Flute and Recorder. Routledge, 2017. http://dx.doi.org/10.4324/9781315084169-13.

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"Recording Concertos: Balancing Solo Instruments with Orchestra." In Recording Orchestra and Other Classical Music Ensembles. Routledge, 2016. http://dx.doi.org/10.4324/9781315721040-20.

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Ramnarine, Tina K. "Legacies." In Jean Sibelius's Violin Concerto. Oxford University Press, 2020. http://dx.doi.org/10.1093/oso/9780190611538.003.0007.

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This chapter reflects on the legacies of Sibelius’s Violin Concerto in D Minor (op. 47), noting the establishment of the Sibelius Violin Competition and listing violin concertos composed by Finnish composers after Sibelius. It discusses concerto writing as an exploration of the relationship between soloist and orchestra. By situating virtuosity as a trope in relational thought within philosophical discourses on human tendencies, this chapter argues that a politics of possibility emerges because the element of risk in a virtuoso’s performance is haunted by a moral drama played out on public stages with uncertain outcomes. This chapter, and the book as a whole, ends by moving away from a political view of the concerto to the question of how performing traditions are formed over time. The chapter concludes with a reading of the Sibelius violin concerto within the long ecological histories of musical transmission.
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