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

Author: Grafiati

Published: 4 June 2021

Last updated: 15 February 2022

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1

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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3

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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4

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&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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6

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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7

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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8

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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9

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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10

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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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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Conway, Paul. "John McCabe CD round-up." Tempo 58, no. 229 (2004): 53–54. http://dx.doi.org/10.1017/s0040298204290222.

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JOHN McCABE: Concerto for Piano and Wind Quintet; Musica Notturna; Fauvel's Rondeaux; Postcards for wind quintet. The Fibonacci Sequence. Dutton CDLX 7125.‘Old City New Image’. McCABE: String Trio; String Quartet No. 2. DAVID ELLIS: Trio for violin, viola and cello; String Quartet No. 1. Camerata Ensemble. Campion Cameo 2027.McCABE: Piano Concerto No. 2; Concertante Variations on a theme of Nicholas Maw; Six-Minute Symphony; Sonata on a Motet. Tamami Honma (pno), St Christopher Chamber Orchestra c. Donatas Katkus. Dutton CDLX 7133.‘Tenebrae’. McCABE: Variations; Intermezzi; Sostenuto (Study No

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Komlikova, Anastasiіa. "The concert for viola and orchestra by Hennady Liashenko as a reflection of his world outlook." Scientific herald of Tchaikovsky National Music Academy of Ukraine, no. 122 (August 29, 2018): 33–41. http://dx.doi.org/10.31318/2522-4190.2018.122.141759.

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14

Ivanova, Irina. "“The Confession” of a Child of the Century (Concerto for orchestra with solo viola by Anton Lubchenko)." Aspects of Historical Musicology 16, no. 16 (2019): 259–80. http://dx.doi.org/10.34064/khnum2-16.15.

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Introduction. Recent decades have seen a revival of interest the problems of genre-creating and typology of genres in musicology, an interest largely stimulated by the complexity of processes happening in this area of modern composers’ creativity. Given article considers a work by A. Lubchenko, entitled “Confession” (Concerto for orchestra with solo viola) from this standpoint. While the second part of the title, placed in brackets, doesn’t need to be commented, the first one, in quotation marks, must be considered additionally. Theoretical background. In order to comprehend it as sign of genr

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15

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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Ryan, Pamela, and Heidi Castleman. "Advanced Intermediate Chamber Music for Double Bass and Unusual Combinations." American String Teacher 44, no. 2 (1994): 79–80. http://dx.doi.org/10.1177/000313139404400229.

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Pamela Ryan is an associate professor of viola at Florida State University in Tallahassee and in May becomes president of ASTA's Florida state unit. Previously, she taught at Bowling Green State University, Cincinnati College-Conservatory, Brooklyn College, and Aspen Music School. A graduate of the North Carolina School of the Arts, she received her B.M. from the University of Maryland, an M.A. in performance from the Conservatory of Music of Brooklyn College, and a D.M.A. from the Cincinnati College-Conservatory. She was a winning soloist of the Aspen Concerto Competition and has performed wi

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17

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

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

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18

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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19

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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20

Rickards, Guy. "Petrassi's Concertos." Tempo 59, no. 233 (2005): 74–76. http://dx.doi.org/10.1017/s0040298205220259.

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21

Dudkiewicza, Emilia. "K. Penderecki, Concerto per viola (sassofono) ed orchestra, Concerto per violino solo ed orchestra no. 2 Metamorphosen, seria: Penderecki Special Edition, wyk. P. Gusnar, S. Krylow, Polska Orkiestra Sinfonia Iuventus, K. Penderecki, M. Tworek – dyr. Wydawnictwo Dux Recording Producers (DUX 1344), Warszawa 2016/2017." Seminare. Poszukiwania naukowe 2018(39), no. 2 (2018): 217–28. http://dx.doi.org/10.21852/sem.2018.2.23.

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Davies, Benjamin K. "Joan Guinjoan concertos." Tempo 59, no. 234 (2005): 56–57. http://dx.doi.org/10.1017/s0040298205220326.

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JOAN GUINJOAN: Concerto for clarinet and orchestra; Concerto for piano and orchestra; Música per a violoncel i orquestra. Joan Enric Lluna (cl), David Abramovitz (pno), Lluís Claret (vlc). Orquestra Simfònica de Barcelona i Nacional de Catalunya, c. Ernest Martínez Izquierdo. Harmonia Mundi HMI 987056.

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23

Gable, Tony. "IGNAZ JOSEPH PLEYEL (1757–1831) SYMPHONIES CONCERTANTES, VIOLIN CONCERTO David Perry (violin), Isabella Lippi (violin), Victoria Chiang (viola), Baltimore Chamber Orchestra / Markand Thakar Naxos, 8.570320, 2009; one disc, 79 minutes." Eighteenth Century Music 8, no. 2 (2011): 341–44. http://dx.doi.org/10.1017/s1478570611000170.

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HANNINEN, DORA A. "Feldman, Analysis, Experience." Twentieth-Century Music 1, no. 2 (2004): 225–51. http://dx.doi.org/10.1017/s1478572205000137.

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The growing number of performances and recordings of Feldman’s music in recent years attests to increased interest among performers and listeners; yet his music remains an uncommon subject for detailed music analysis. Proceeding on the premise that this disparity is no accident, I argue that certain distinctive qualities of the music render it difficult to analyse with tools, methods, and practices developed in response to other repertories. This paper investigates the analytical challenges posed by Feldman’s music. A survey of such challenges as they relate to his output in general is followe

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Palmer, Peter. "Brun and Bloch." Tempo 59, no. 233 (2005): 80–82. http://dx.doi.org/10.1017/s0040298205270250.

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BRUN: Symphony No. 3 in D minor. Moscow Symphony Orchestra c. Adriano. Sterling CDS-1059-2.BLOCH: Helvetia; Suite for viola and orchestra; Suite Hébraïque for viola and orchestra. Gérard Caussé, (vla), Orchestre de la Suisse Romande c. Lior Shambadal. Cascavelle RSR 6170.

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Peppercorn, Lisa M. "Villa-Lobos in Israel." Tempo, no. 169 (June 1989): 42–45. http://dx.doi.org/10.1017/s0040298200025158.

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Heitor Villa-Lobos's sole visit to Israel, in 1952, was significant in several ways. During a stay of a few days, he presented himself as conductor of his own works, lectured on his pedagogical ideas by explaining and demonstrating his manosolfa system, and was inspired to compose a symphonic poem based on his impressions of Israel, which he dedicated to that country. Seven years later, in 1959, it was in Israel that Villa-Lobos's Concerto for Harmonica and Orchestra, a work commissioned by John Sebastian, the American virtuoso harmonica player, was first performed.

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Gurgul, Wojciech. "A Panorama of Polish Guitar Concertos." Edukacja Muzyczna 15 (2020): 85–103. http://dx.doi.org/10.16926/em.2020.15.12.

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The present article constitutes an attempt at outlining the musical oeuvre of Polish composers in the field of concertos for guitar and orchestra. Since the 1940s, when the first concerto with a guitar part was created, more than 100 concertos have been composed in Poland. In an effort to write such a piece of music, composers discovered different creative paths, which often revealed various new colours of the guitar. The article discusses a proposal to divide the concertos created in Poland according to the specificity of the pieces, introduces the history of the first Polish concertos and pa

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Bailey, Bert. "Concertos for the End of the Milennium." Tempo 59, no. 234 (2005): 61–63. http://dx.doi.org/10.1017/s0040298205260321.

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‘Conciertos para el fin del milenio’. TOUSSAINT: Concierto No. 2 para violonchelo y orquesta (1999). MARQUEZ: Espejos en la arena (2000). SIERRA: Cuatro versos (Concerto for Cello & Orchestra) (1999). Carlos Prieto (vlc), Orquesta de las Americas c. Carlos Miguel Prieto, conductor. Urtext JBCC 047.

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29

Milcarz, Aleksandra. "Lwówek Śląski in the arms of the muses. The activity of prince Constantin Hohenzollern’s private orchestra in the period of 1852–1869." Notes Muzyczny 1, no. 9 (2018): 161–77. http://dx.doi.org/10.5604/01.3001.0012.9903.

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Prince Constantine (Friedrich Wilhelm Constantine) of Hohenzollern-Hechingen, a great music lover, aimed to create a good orchestra at his court. In the 1840s, he had already had a decent ensemble conducted by Thomas Täglichsbeck, which gave regular concerts in Hechingen. Villa Eugenia, the prince’s palace at that time, hosted numerous prominent figures from the world of music, first of all Franz Liszt; this acquaintance had a great influence on Constantine. After he abdicated and moved to his dominions in Silesia, in 1852 the prince decided to build a little palace with a concert hall for thr

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30

Serdiuk, Ya O. "Amanda Maier: a violinist, a pianist, a composer – the representative of Leipzig Romanticism." Aspects of Historical Musicology 17, no. 17 (2019): 232–48. http://dx.doi.org/10.34064/khnum2-17.15.

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Background. The performance practice of recent decades demonstrates an obvious tendency to expand and update the repertoire due to the use of the works of those composers whose pieces had “lost” over time against to the pieces of their more famous contemporaries. At the same time, in sociology, psychology, culturology, gender issues are largely relevant. Musicology does not stand aside, applying the achievements of gender psychology in the study of composer creativity and musical performing (Tsurkanenko, I., 2011; Gigolaeva-Yurchenko, V., 2012, 2015; Fan, Liu, 2017). In general, the issue of g

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31

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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MacDonald, Calum. "PETERASSI AND THE CONCERTO PRINCIPLE (II)." Tempo 57, no. 225 (2003): 9–22. http://dx.doi.org/10.1017/s0040298203000214.

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The first part of this article was published in Tempo No.194 (October 1995), pp. 2–11, and dealt with Goffredo Petrassi's first two Concertos for Orchestra as well as other works, notably the major choral compositions Coro di Morti and Noche Oscura. At the time Petrassi was 91 years of age and it was intended to complete the article within a few issues' time. Other commitments supervened, however; but the composer's death has given added urgency to the need to publish a second instalment concentrating on his concertos of the 1950s. A third and final instalment, covering Concertos 7 and 8 and s

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Carnovale, Norbert, and Gunther Schuller. "Three Concertos: Concerto no. 1 for Horn and Orchestra. Concerto for Piano and Orchestra. Concerto for Bassoon and Orchestra." American Music 15, no. 3 (1997): 413. http://dx.doi.org/10.2307/3052333.

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34

Giardina, Adriano. "Vers le style d’exécution « mainstream » des concertos pour piano de Mozart: l’enregistrement Columbia du Concerto en Sol majeur, K. 453, par Ernst von Dohnányi." Studia Musicologica 58, no. 2 (2017): 197–224. http://dx.doi.org/10.1556/6.2017.58.2.4.

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The gramophone recording of Mozart’s Piano Concerto in G major, K. 453, featuring Ernst von Dohnányi as soloist and conductor of the Budapest Philharmonic Orchestra, made in 1928 for the Columbia Company, is important in many respects. The Hungarian pianist and composer made little more than a handful of gramophone recordings until the late 1940s. This performance is also the first audio recording ever to be published that contained a Mozart piano concerto (some piano rolls with concertos or extracts did exist beforehand). From the beginning of his career, Dohnányi had been one of the keenest

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35

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

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

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38

Agócs, Kati. "TWO RECENT CONCERTOS BY GEORGE TSONTAKIS." Tempo 62, no. 246 (2008): 11–21. http://dx.doi.org/10.1017/s0040298208000247.

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Music's ability to animate a range of expressive nuances between the tangible and the intangible, and to play many different roles in spiritual life, are but two reasons why artists with mystical inclinations often choose it over other media. The composer George Tsontakis (born 1951 in Astoria, New York, of Cretan origins) writes music that frequently explores mystical themes both directly and more obliquely. The goal of this – the first major journal article on his work – is to touch upon important attributes of that language and its development by comparing two recent works, both of which ha

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Vastamäki, Martti, Heidi Vastamäki, Leena Ristolainen, Katrinas Laimi, and Mikhail Saltychev. "Violists and Violinists Report More Intense Hand Pain on NRS Than Other Orchestra Musicians." Medical Problems of Performing Artists 35, no. 3 (2020): 162–66. http://dx.doi.org/10.21091/mppa.2020.3024.

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AIMS: Among musicians, string players have the highest prevalence for musculoskeletal overuse. Playing a violin or viola requires rapid, repetitive, and complicated movements of the hands and fingers. This cross-sectional study aimed to examine whether violin/viola, violin/cello, and violin/French horn players experience more intense musculoskeletal pain than other instrumentalists. METHODS: The study sample consisted of 590 orchestra musicians (354 male, 236 female, mean age 36 yrs). Self-administered questionnaires were used to assess pain of the back, neck, shoulder, face, jaw, and upper ex

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Soloviova, Oksana. "Concerts for Clavier and Orchestra by Wolfgang Amadeus Mozart: Trends in the Development of the Genre in the Context of His Composer Method." Ukrainian musicology 46 (October 27, 2020): 127–39. http://dx.doi.org/10.31318/0130-5298.2020.46.234610.

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In recent years, research opportunities in the field of Mozart studies have expanded. As a result, new scientific paradigms are emerging that differ from the generally accepted ones. Even the well-known facts of the composer's biography and work can be viewed in a new way today. The interdependence of Mozart's instrumental and theatrical music has long been studied, but still remains an inexhaustible source for new research – this determines the relevance of the study. Main objective of the study – to determine the interaction of the two sides of Mozart's work: instrumental and theatrical and

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Bekenova, A. "N.Karimov's viola transcriptions in the pedagogical repertoire (on the example of the transcription of «Kuy» by M.Sagatov)." Pedagogy and Psychology 47, no. 2 (2021): 256–64. http://dx.doi.org/10.51889/2021-2.2077-6861.30.

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In the Kazakh educational process today, in addition to the generally recognized arrangements and treatments of world music classics and original works for viola, national music adapted for viola is actively involved. There are several collections of works for viola edited, arranged and processed by such authors as A.Nurbayeva, E.Liberchuk, Ya.Fudimana, N.Sagimbayeva, D.Makhmud. The musical literature presented in these collections is widely used at different levels of education – by students of music schools, colleges and even universities of the republic, which is mainly due to the limited r

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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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Zavyalov, Evgeny N. "Rodion Shchedrin’s Concertos for Orchestra: Concerning the Problem of Interpretation of the Genre." Music Scholarship / Problemy Muzykal'noj Nauki, no. 4 (December 2017): 175–82. http://dx.doi.org/10.17674/1997-0854.2017.4.175-182.

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Burel, Oleksandr. "On Gabriel Pierné and his compositions for piano and orchestra." Aspects of Historical Musicology 16, no. 16 (2019): 170–89. http://dx.doi.org/10.34064/khnum2-16.10.

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Background. The French composers’ creativity of the late XIX – first third of XX centuries is the admirable treasury of the world musical art. It is worth mentioning such remarkable and original artists as C. Debussy and M. Emmanuel, P. Dukas and E. Satie, A.Roussel and M.Ravel. The name of G. Piern&#233; (1863–1937) can surely be added to this series of authors. But his oeuvre is still terra incognita for us. The thorough considerable researches about the author are not numerous. The monograph “Gabriel Piern&#233;: musicien lorrain” by G. Masson was created in 1987, and the publicatio

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Fallas, John. "CONDITIONS OF IMMEDIACY: HOWARD SKEMPTON IN INTERVIEW." Tempo 66, no. 262 (2012): 13–28. http://dx.doi.org/10.1017/s0040298212000344.

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AbstractAt 65, Howard Skempton is somewhere near the centre of British compositional life: a surprising development for an avowedly ‘experimental’ composer, whose output until his early forties consisted primarily of short pieces written for himself and a few associates. This annotated interview traces Skempton's career, from the early influences of Webern, Feldman and Britten, through the mentorship of Cornelius Cardew and friendship with Michael Parsons, to the influence of text-setting and of the commissioning process on his recent work. Skempton's preoccupation with ‘the sound’ looms large

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Ревуцький, А. Я., and О. П. Гужва. "Melody of S. Prokofiev as the main feature of his style (on the examples of Concerts No. 1 and No. 2 for violin and orchestra)." Музикознавча думка Дніпропетровщини, no. 15 (November 1, 2019): 61–75. http://dx.doi.org/10.33287/22195.

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The purpose of the article is to analyze the violin concertos No. 1and No. 2, to find and explore the characteristic signs of S. Prokofievʼsmelody, lyrics, cantilenas, and ways of its construction. One of the taskswill be to discover their differences, using the example of concerts to showthe evolution of melody development by S. Prokofiev. Find thecharacteristics of his melody with works that were created in the same timeinterval along with the violin concertos. The methods are based on a comprehensive analysis of violin concertos; the historical and structurallyanalytical methods are used to

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Vanscheeuwijck, Marc. "In Search of the Eighteenth-Century “Violoncello”: Antonio Vandini and the Concertos for Viola by Tartini." Performance Practice Review 13, no. 1 (2008): 1–20. http://dx.doi.org/10.5642/perfpr.200813.01.07.

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Polzonetti, Pierpaolo. "Tartini and the Tongue of Saint Anthony." Journal of the American Musicological Society 67, no. 2 (2014): 429–86. http://dx.doi.org/10.1525/jams.2014.67.2.429.

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This article explores the nexus between Giuseppe Tartini's concertos for violin and orchestra, written for the Franciscan Basilica of Saint Anthony in Padua, and the devotion to this Saint's tongue, still preserved as a relic. Anthony's tongue, hagiographers write, was the instrument of a rhetoric that transcended verbal signification, able to move people of different languages and even animals. Soon, the tongue of Saint Anthony became a powerful symbol of universal language. In the eighteenth century, the Catholic Church, and especially the followers of Saint Anthony, revitalized their global

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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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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.

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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

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