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

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

Academic literature on the topic 'Concertos (Violin with string orchestra)'

Author: Grafiati
Published: 4 June 2021
Last updated: 1 August 2024

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

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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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Yaropud, Natalya. "Double concertos for violin and cello with orchestra by Johannes Brahms and Vitalyi Kyreiko: genrе and style dimentions". Scientific herald of Tchaikovsky National Music Academy of Ukraine, № 138 (22 грудня 2023): 161–74. http://dx.doi.org/10.31318/2522-4190.2023.138.294810.

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The relevance of the article. The Concertos for violin and cello with symphony orchestra by J. Brahms (a moll, op. 102) and V. Kyreikо (a moll, op. 65) are considered in terms of embodying the artistic pursuit of composers of different eras and national schools. Genre-stylistic features are outlined, their individual and common features are revealed, which testify to the preservation and development of the tradition of the concert genre, the reinterpretation of the Brahms concert model in a new cultural context. It is emphasized that works belong to the type of symphonized concert, in which th
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Kailin, Zhang. "POLARITY OF S. SLONIMSKY'S STYLISTIC GUIDELINES IN THE INSTRUMENTAL CONCERTS "PRIMAVERILE" AND "TRAGICOMEDY"." Arts education and science 1, no. 3 (2021): 141–47. http://dx.doi.org/10.36871/hon.202103018.

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This article is devoted to the comparative description of two string concerts by Sergei Mikhailovich Slonimsky (1932–2020): the violin "Concerto Primaverile" (1983), focused on the Romantic style of the XIXth century, and the viola "Tragicomedy" (2005), related to the avant-garde line of the composer's work. Each of the opuses embodies different types of programmaticity: a generalized one in "Concerto Primaverile" for violin and string orchestra, and more concretized one in the concert on "Crime and Punishment" by F. Dostoevsky for viola and chamber orchestra. Thus, Slonimsky also turned to bo
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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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Rakochi, Vadym. "TIMBRAL ALTERNATIONS IN TCHAIKOVSKY’S VIOLIN CONCERTO AS A MULTIFUNCTIONAL SYSTEM." National Academy of Managerial Staff of Culture and Arts Herald, no. 2 (September 17, 2021): 257–61. http://dx.doi.org/10.32461/2226-3209.2.2021.240077.

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The purpose of the article is to consider the alternations in Tchaikovsky’s Violin Concerto as a multifunctional system. The methodology includes score analysis as a way to determine the functions of different instruments in the Concerto and variants of their interaction; stylistic analysis is applied in order to highlight the specific features of the presentation in the orchestra of Tchaikovsky; comparative method allows us to compare the features of the orchestra in different concertos of other composers. The scientific novelty lies in the interpretation of the alternations in the Violin Con
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Inna, Uspenskaya. "Typology of genres of concert music for violin: classification criteria." Problems of Interaction Between Arts, Pedagogy and the Theory and Practice of Education 57, no. 57 (March 10, 2020): 150–62. http://dx.doi.org/10.34064/khnum1-57.09.

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The article is devoted to the systematization of the criteria of the classification of concert music for violin, in which, along with the traditional genre criteria, stylistic and textured ones are highlighted It is noted that such a comprehensive consideration allows solving a number of tasks of both research and performance profile. Based on the modern approach to the genre system, the article extrapolates it to concert violin music, which covers the range from solo miniature pieces to concerts for violin and symphony orchestra. It is emphasized that the least researched is the question of t
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Josephson, Nors S. "Unifying stylistic syntheses in the late compositions (1939–1945) of Béla Bartók." Studia Musicologica 58, no. 2 (June 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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Johnson, Bret. "Benjamin Lees: Quo Vadis?" Tempo, no. 175 (December 1990): 11–17. http://dx.doi.org/10.1017/s0040298200012560.

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Fifteen years ago, Nicolas Slonimsky wrote of Benjamin Lees in Tempo: ‘At a time when so many otherwise valiant composers are star-crossed and complain of malign neglect, Benjamin Lees rises “in excelsis” in the musical firmament’. And so he has continued since, with many commissions and numerous major works to his credit, matched by frequent performances in the United States. It is a time that has seen the creation of his Fourth and Fifth Symphonies, a set of Variations for Piano and Orchestra, a Concerto for Brass Choir and Orchestra, a Double Concerto for Piano, Cello and Orchestra, at leas
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Conway, Paul. "John McCabe CD round-up." Tempo 58, no. 229 (July 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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Broman, Per F. "In Beethoven's and Wagner's footsteps: Phrase structures and Satzketten in the instrumental music of Béla Bartók." Studia Musicologica 48, no. 1-2 (March 1, 2007): 113–31. http://dx.doi.org/10.1556/smus.48.2007.1-2.7.

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Abstract Recent studies of formal structure in themes in the Classical repertoire (William Caplin) as well as the music of Wagner (Matthew BaileyShea) point towards the enormous importance and potential of the Sentence phrase structure with its hybrid forms for analyzing tonal music. Initially described by Schoenberg, a Sentence is phrase consisting two main events of equal length, a presentation phrase (consisting of one repeated basic idea) and a continuation phrase. In this paper I will demonstrate Bartók's dependence upon Classical and Romantic phrase structures, including the Sentence, an
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Dissertations / Theses on the topic "Concertos (Violin with string orchestra)"

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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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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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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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Platt, Jessica K. "A methodology of study for Samuel Barber's Concerto for violin and orchestra op. 14." CardinalScholar 1.0, 2009. http://liblink.bsu.edu/uhtbin/catkey/1467040.

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In this study the author develops a methodology for the study of the Samuel Barber Concerto for Violin and Orchestra, Opus 14 by analyzing the stylistic components of the work, presenting important pedagogical principles, and offering an array of performance practice techniques. The primary tool used to formulate the methodology was a survey of exceptional violinists and pedagogues. Twenty-six professional violinists responded to a survey that asked their suggestions for preparing and performing five specific excerpts from the Concerto. The compilation of the responses provides an invaluable g
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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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Yan, Jishuang. "Prokofiev's Eclectic Approach in his Violin Concerto No. 2 in G Minor." Thesis, University of North Texas, 2019. https://digital.library.unt.edu/ark:/67531/metadc1505201/.

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Prokofiev had a specific approach to the modernist aesthetic that is worthy of a special study from a new perspective: eclecticism. There are two distinguishable views on his achievement in modern music. One is the Western version, which sees his eclectic approach as not innovative enough in comparison with modern composers such as Stravinsky. The other view is from the traditional Soviet approach, which holds Prokofiev in the highest esteem. These sources largely ignore Prokofiev's Paris and American periods. Such an oversimplification is likely to have reflected political circumstance. Neith
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Hong, Dayeon. "The Semantics of the Motives and Linear Voice Leading in the First and Second Movements of Korngold's Violin Concerto, Op. 35." Thesis, University of North Texas, 2019. https://digital.library.unt.edu/ark:/67531/metadc1505269/.

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This dissertation aims to examine the motivic voice leading of the first two movements of Korngold's Violin Concerto, Op. 35 to illuminate the interwoven motives within the underlying structures of the movements. The analysis principally concentrates on two main motives: the motivic tritone and rising-third motives. Moreover, the analysis of Korngold's motivic writing further investigates the semantics that are evoked by the technical aspects. With his exceptional ability to interconnect music to narratives both in operas and films, Korngold never ceased to express the recurring themes of love
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Lewis, Lucy Karelyn. "A model for developing a holistic collegiate curriculum for string performance and pedagogy." Thesis, The University of Iowa, 2014. http://pqdtopen.proquest.com/#viewpdf?dispub=3638399.

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<p> This thesis is directed toward teachers who work primarily with music degree students on the collegiate level. Pedagogy is simply too often "hit or miss" in a student's degree curriculum, and yet the reality is that most musicians will have to teach at some point in their careers, whether they realize it as students or not. </p><p> This thesis provides a model for how to holistically integrate pedagogy into all aspects of the performance curriculum, so that string performance students are provided with the necessary tools to be both excellent performers and teachers, regardless of wheth
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Books on the topic "Concertos (Violin with string orchestra)"

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

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White, Chappell. From Vivaldi to Viotti: Ahistory of the early classical violin concerto. Philadelphia: Gordon and Breach, 1992.

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White, Chappell. From Vivaldi to Viotti: A history of the early classical violin concerto. Philadelphia: Gordon and Breach, 1992.

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1932-, Botvay Karoly, Guttler Ludwig, Sandau Kurt, Glaetzner Burkhard, Schornsheim Christine, Pank Siegfried, Pommer Max, et al., eds. Masters of classical music: Vol. 7 : Antonio Vivaldi. Los Angeles, Calif: LaserLight, 1988.

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Vivaldi, Antonio. Concerto. Saint-Romuald, QC: Productions d'Oz, 2004.

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Poland) Polskie Radio. Wielka Orkiestra Symfoniczna (Warsaw. A Polish concert. London: Olympia, 1993.

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Vivaldi, Antonio. Concerto in A major, F. I n. 51, for violin and piano. New York: International Music Co., 1996.

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Vivaldi, Antonio. Four concerti for violins and recorders. Ocean, N.J: Musicmasters, 1985.

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Vivaldi, Antonio. Concerto in A major, op. 9, no. 6, RV 348, for violin and piano. New York: International Music Co., 1998.

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Vivaldi, Antonio. Concerto in G major, opus 9, no. 10, RV 300: (from La cetra) : for violin and piano. New York: International Music Co., 2000.

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

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Prausnitz, Frederik. "Harvest." In Roger Sessions, 271–94. Oxford University PressNew York, NY, 2002. http://dx.doi.org/10.1093/oso/9780195108927.003.0020.

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Abstract The best was now to come. The creative flowering that had begun in Sessions’ Berkeley years ripened into a truly astonishing harvest during and after his second tenure at Princeton. The composer who had labored almost half his musical life to write one symphony, one piano sonata, a violin concerto, and a string quartet produced, in roughly the same number of years, seven more symphonies, the Rhapsody for Orchestra, two operas, a piano concerto, a double concerto for violin and cello, two more piano sonatas, a second quartet and a string quintet among other chamber works, the solo violin sonata, choruses, and three extraordinary cantatas: The Idyll ef Theocritus, Psalm 140, and the work he loved best: When Lilacs Last in the Dooryard Bloomed.
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Steinberg, Michael. "Martin." In The Concerto, 254–61. Oxford University PressNew York, NY, 1998. http://dx.doi.org/10.1093/oso/9780195103304.003.0023.

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Abstract It is possible to imagine this Concerto as the outcome of a liaison of Stravinsky with Ravel. “I set out to display the musical qualities of the various soloists in the wind and brass groups as well as their virtuosity,” Martin wrote, “and so I made the music brilliant and technically difficult. But I also tried to make the most of the characters of sonority and expression of the seven instruments, which differ so greatly in the manner of producing sound and in their mechanism.” Both the virtuosic element and the conversational manner lead to an engagingly playful, sportive music. This work comes from a time when the writing of concertos particularly interested Martin: the Petite Symphonie concertante for harp, harpsichord, piano, and two string orchestras dates from 1945, the Violin Concerto from 1951, and the Harpsichord Concerto from 1952.
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Radcliffe, Philip. "Works for a solo instrument with orchestra." In Mendelssohn, 99–103. Oxford University PressOxford, 2001. http://dx.doi.org/10.1093/oso/9780198164937.003.0011.

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Abstract Mendelssohn’s earliest experiment with the concerto is that in D minor for violin and string orchestra. It was composed in 1822, a year after the early Sonata in G minor for piano. The two works have points in common: in both of them the outer movements are influenced by Haydn and Mozart, and the slow movement is more individual than the rest; but the Concerto is the stronger and more interesting work. The first movement gives ample evidence of Mendelssohn’s love for Mozart’s Piano Concerto in D minor, which he often played with great success. Structurally the most original feature is the recapitulation; there is no pause for a cadenza, and the two main themes reappear in reverse order, the second going through some impessive modulations. The Finale is more Haydnesque, especially in the resourcefulness with which its single vivacious theme is treated.
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Spitzer, John, and Neal Zaslaw. "The Orchestra in Italy." In The Birth of the Orchestra, 137–79. Oxford University PressOxford, 2004. http://dx.doi.org/10.1093/oso/9780198164340.003.0005.

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Abstract By the time of Corelli’s death in 1713 many Italian instrumental ensembles had taken on attributes of an orchestra. They were based on violin-family instruments; they used several players on each part; they played as unified ensembles. A distinctive repertory of music was beginning to emerge for such ensembles-concertos, sinfonie, and concerted sacred music-and instrumental ensembles were beginning to assume their own identities, distinct from singers and other musical personnel. Corelli’s ensembles in Rome had been pioneers and leaders in these developments, but they were not alone. Ensembles with some or all of these characteristics could be found in Bologna, Turin, Venice, and several other Italian cities.
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Tilmouth, Michael, David Kimbell, and Roger Savage. "Giovanni Battista Viotti." In The Classics of Music, 233–34. Oxford University PressOxford, 2001. http://dx.doi.org/10.1093/oso/9780198162148.003.0030.

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Abstract Viotti (1755-1824) is one of the most elusive figures in the history of music. The article in Grove’s Dictionary describes him as ‘the founder of the modern school of violin playing’. Of his twenty-nine concertos for violin and orchestra the best known, in A minor, No. 3, is said to have been written at the age of 14. (There must be some mistake here.) It will be interesting to see if Dr Adolf Busch can bring this most aristocratic of violin composers into his rightful position.
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Ramnarine, Tina K. "Legacies." In Jean Sibelius's Violin Concerto, 109–21. 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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Tilmouth, Michael, David Kimbell, and Roger Savage. "Édouard Lalo Violoncello Concerto Ind Minor." In The Classics of Music, 126–28. Oxford University PressOxford, 2001. http://dx.doi.org/10.1093/oso/9780198162148.003.0016.

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Abstract There are very few violoncello concertos; and of those that exist the listener and the player will prefer the ones in which the violoncello can be heard. The violoncello is a sonorous instrument with twice the compass of the violin, whose top notes it can reach with as little effort as if it had no low notes to climb from. It has also a wide range of effects, many of which are ingenious; but the temptations of the ingenuity are towards the gruntulous and the grotesque, and the solo violoncello may easily be driven to develop these qualities in the effort to assert itself against an orchestra which is always normally above it in pitch.
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Kildea, Paul. "BBC Programming: Holst, Vaughan Williams and Poulenc (1936)." In Britten on Music, 20. Oxford University PressOxford, 2003. http://dx.doi.org/10.1093/oso/9780198167143.003.0005.

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Abstract For June-July the musical programme of the B.B.C. are not its brightest. There is the usual sprinkling of light orchestral and classical chamber music programmes, suitably interspersed with part-songs by the various teams of B.B.C. singers octets and choruses. But for the more adventurous listener there is not much excitement. The Canterbury Festival on when Dr. Boult is taking down section of the B.B.C. orchestra, contains Holst’s St. Pauls Suite as the sole representation of 20th Century music.1 [This charming work for strings alone will not be found particularly exhilarating for the admirers of Berg or Bartok.]2 Let the interested listener note the final passage, exacting both for the technique and nerves of the leading first violin-a tactless, and may we suggest, not particularly successful experiment on the part of the composer.Vaughan Williams’ piano concerto will be played by Harriet Cohen on Not one of the most popular works of this [illegible] laureate of English musicians, though its admirers rejoice in the Lisztian flavour of the piano writing, and in the Central European atmosphere of the harmony-Bartok being put in his place, no doubt.
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Kinderman, William. "The Heroic style II, 1806–1809." In Beethoven, 108–38. Oxford University PressOxford, 1995. http://dx.doi.org/10.1093/oso/9780198165217.003.0006.

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Abstract After he put Fidelio aside, Beethoven’s major artistic preoccupation became the set of three ‘Razumovsky’ string quartets in F major, E minor, and C major of op. 59, composed mainly between April and November 1806. This trilogy stands at the centre of a splendid series of masterpieces from that year, including the Fourth Piano Concerto op. 58, the Fourth Symphony op. 60, and the Violin Concerto op. 61. An orchestral ambition surfaces in the imaginative sonorities and enhanced scale of some movements of the ‘Razumovsky’ quartets, from the broad opening Allegro of the F major Qyartet to the nervously emphatic finale of the C major.
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Clark, Walter Aaron. "Veni, Vidi, Vici(1889-1893)." In Isaac Albéniz, 73–108. Oxford University PressOxford, 1999. http://dx.doi.org/10.1093/oso/9780198163695.003.0004.

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Abstract Albeniz appeared in a concert on 7 March 1889 at the Teatro de la Comedia in Madrid with the orchestra of the Sociedad de Conciertos conducted by Tomas Breton. The programme included his Suite caracteristica for orchestra, made up of arrangements of three piano works: the Scherzo from his Sonata No. 1, ‘En la Alhambra’ (‘inspired by Arab legends’), and ‘Rapsodia cubana’ (‘an exact transcription of the rhythm and melodic design of Cuban songs’).1 Albeniz also performed his Piano Concerto No. 1, or Concierto fantastico. Despite its title, the work is conservative and straight forward in nature. The lengthy Allegro first movement is in sonata form with a principal theme in A minor and a secondary theme in E major. Much of the melodic inspiration, in addition to the tonality, seems indebted to Schu mann. The second movement supposedly expresses ‘the vagueness of a dream’ (‘la vaguedad de un ensueiio’), and it is probably this ‘fantasy‘ element that inspired the concerto’s title. It is divided into two sections: the Andante‘s principal theme is clearly derived from the opening theme of the Allegro, while the second section, marked ‘presto’, is a scherzo in the style of Mendelssohn. The final movement, Allegro, is dominated by the piano and is once again based on themes related to those of the first move ment. Albeniz‘s Escenas sinfonicas catalanas (‘Symphonic Catalan scenes’) also appeared on the programme. This work depicts a country fiesta in the mountains of Catalonia and consists of four sections. The first is in sonata form and includes a third theme of a popular character that recurs as a leitmotif in the third and fourth sections of the work. The ‘Idilio’ (‘Idyll’) paints a picture of two lovers. The ‘Serenata‘ features a quartet of strings with violin solo. The final movement presents two separate themes of a popular character, and the work concludes with reminiscences of the leitmotif and the
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