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Journal articles on the topic 'Concertos'

Author: Grafiati

Published: 4 June 2021

Last updated: 29 July 2024

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1

Rochester, Marc. "Concertos." Musical Times 126, no. 1707 (May 1985): 291. http://dx.doi.org/10.2307/961323.

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2

O'Loughlin, Niall. "Multiple Concertos." Musical Times 127, no. 1723 (October 1986): 567. http://dx.doi.org/10.2307/964403.

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3

Stowell, Robin. "Bach Concertos." Musical Times 126, no. 1711 (September 1985): 539. http://dx.doi.org/10.2307/964467.

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4

Lamb, Andrew. "Offenbach Concertos." Musical Times 128, no. 1734 (August 1987): 421. http://dx.doi.org/10.2307/965001.

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5

O'Loughlin, Niall. "Flute Concertos." Musical Times 126, no. 1713 (November 1985): 677. http://dx.doi.org/10.2307/965056.

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6

O'Loughlin, Niall. "Clarinet Concertos." Musical Times 131, no. 1767 (May 1990): 273. http://dx.doi.org/10.2307/966166.

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7

Smith, Richard Langham, Heinichen, Musica Antiqua Koln, Goebel, and George J. Buelow. "Dresden Concertos." Musical Times 134, no. 1805 (July 1993): 410. http://dx.doi.org/10.2307/1003112.

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8

Smith, Richard Langham, Bach, New London Consort, and Pickett. "Brandenburg Concertos." Musical Times 136, no. 1823 (January 1995): 42. http://dx.doi.org/10.2307/1003289.

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9

Humphreys, David. "Bach concertos." Early Music XXIII, no. 1 (February 1995): 171–72. http://dx.doi.org/10.1093/earlyj/xxiii.1.171.

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10

Elcombe, Keith. "Baroque concertos." Early Music XXV, no. 2 (May 1997): 329–30. http://dx.doi.org/10.1093/earlyj/xxv.2.329.

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11

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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12

Rickards, Guy. "Petrassi's Concertos." Tempo 59, no. 233 (June 21, 2005): 74–76. http://dx.doi.org/10.1017/s0040298205220259.

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13

Maunder, Richard. "Cataloguing concertos." Early Music 34, no. 1 (February 1, 2006): 148–49. http://dx.doi.org/10.1093/em/cah208.

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14

Rakochi, Vadym. "The instrumental concerto: classification ISSUES." Problems of Interaction Between Arts, Pedagogy and the Theory and Practice of Education 60, no. 60 (October 3, 2021): 7–35. http://dx.doi.org/10.34064/khnum1-60.01.

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Statement of the problem. The question of classification of instrumental concertos is considered in the paper. It is emphasized that the problem still remains one of the most controversial in musicology. It was noted that there were many attempts to classify the concertos but they are incomplete due to some factors. The main obstacle is a particular flexibility of the concerto resulting in many forms, structures, and forms of performance. In case when a researcher focuses on the analysis of certain characteristics of concertos (cadence, musical form, interpretation of the soloist’s part, conce

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15

Hill, George R., Eugene K. Wolf, Douglass M. Green, and Gordana Lazarevich. "Antecedents of the Symphony. The Ripieno Concerto: Five Concertos." Notes 42, no. 2 (December 1985): 389. http://dx.doi.org/10.2307/897447.

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16

Ma, Rong, and Professor Advisor. "Performer’s Guide for Luigi Boccherini’s Cello Concerto No. 9 in B-flat Major from a Pedagogical Point of View." Learning & Education 10, no. 5 (March 13, 2022): 193. http://dx.doi.org/10.18282/l-e.v10i5.2734.

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Cello Concerto No. 9 in B-flat Major by Luigi Boccherini, edited by German cellist and composer Friedrich Grützmacher,  is the bridge to lead amateur cellists to become professional, and it is essential for cellists in building a solid foundation before  exploring other standard concertos. Similar to the major concertos, including the Elgar Concerto in E Minor, the Schumann Cello  Concerto in A minor, or the Dvorak Cello Concerto in B minor, Boccherini’s Cello Concerto No. 9 contains virtuosic techniques,  such as various bow strokes, vibrato, thumb position, shifting,

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17

Pavlo, Knysh. "Romantic interpretative model of F. Chopin’s Piano Concertos in A. Rubinstein’s (First Concerto) and H. Czerny-Stefańska’s (Second Concerto) versions." Problems of Interaction Between Arts, Pedagogy and the Theory and Practice of Education 63, no. 63 (January 23, 2023): 108–23. http://dx.doi.org/10.34064/khnum1-63.06.

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The Romantic model of interpretation is characterized by significant influence of an interpreter on the composer’s text in those part, which is the field of performer’s responsibility, and it is an alternative to the Classical as well as the Impressionistic models proposed by some scholars. The purpose of the present research is to reveal the features of Romantic interpretational model of F. Chopin’s Piano Concertos based on examples of various performers’ versions. The article analyses the performances of F. Chopin’s Piano Concertos by two outstanding pianists of the XX century, A. Rubinstein

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18

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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19

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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20

Özer, Yigitcan, Simon Schwär, Vlora Arifi-Müller, Jeremy Lawrence, Emre Sen, and Meinard Müller. "Piano Concerto Dataset (PCD): A Multitrack Dataset of Piano Concertos." Transactions of the International Society for Music Information Retrieval 6, no. 1 (2023): 75–88. http://dx.doi.org/10.5334/tismir.160.

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21

O'Loughlin, Niall. "18th-Century Concertos." Musical Times 128, no. 1728 (February 1987): 92. http://dx.doi.org/10.2307/964790.

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22

Cammarota, Robert M., Matthias Weckmann, and Alexander Silbiger. "Four Sacred Concertos." Notes 43, no. 1 (September 1986): 177. http://dx.doi.org/10.2307/897860.

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23

Forsberg, Suzanne, Maddalena Laura Lombardini Sirmen, and Jane L. Berdes. "Three Violin Concertos." Notes 50, no. 3 (March 1994): 1173. http://dx.doi.org/10.2307/898605.

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24

Tyniec, Andréa. "Three Violin Concertos." Circuit: Musiques contemporaines 28, no. 2 (2018): 112. http://dx.doi.org/10.7202/1051300ar.

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25

Sweeney-Turner, Steve, Bach, Malcolm Boyd, Mozart, Elaine Sisman, Mendelssohn, and R. Larry Todd. "The Brandenburg Concertos." Musical Times 135, no. 1813 (March 1994): 156. http://dx.doi.org/10.2307/1002903.

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26

Anderson, Robert, Mariaclara Monetti, ECO, Brigitte Haudebourg, Frederick Marvin, Dana Protopopescu, Slovak Radio New PO, and Alexander Rahbari. "Paisiello: Piano Concertos." Musical Times 135, no. 1819 (September 1994): 578. http://dx.doi.org/10.2307/1003315.

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27

Boyd, Malcolm. "18th-Century Concertos." Musical Times 126, no. 1704 (February 1985): 101. http://dx.doi.org/10.2307/963482.

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28

Davies, Benjamin K. "Joan Guinjoan concertos." Tempo 59, no. 234 (September 21, 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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29

Palmer, Peter. "Swiss Cello Concertos." Tempo 60, no. 235 (January 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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30

Cooper, Barry. "Keyboard concertos galore." Early Music 44, no. 1 (February 2016): 161–64. http://dx.doi.org/10.1093/em/caw008.

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31

Dibble, Jeremy. "Context, Form and Style in Sterndale Bennett’s Piano Concertos." Nineteenth-Century Music Review 13, no. 2 (December 2016): 195–219. http://dx.doi.org/10.1017/s1479409816000616.

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A concert pianist in his own right and a prodigious youth, Sterndale Bennett composed his five complete piano concertos at the beginning of his career. Although Mozart is often cited as a major influence on Bennett’s musical style, and Bennett was a keen executant of Mozart’s piano concertos throughout his career as a virtuoso (at a time when a performing tradition of Mozart’s concertos was still establishing itself), of equal or even greater impact on Bennett’s style of concerto was the ‘London School’ of pianists, among them Field, Hummel, Potter (Bennett’s teacher), Cramer and Moscheles who

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32

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 (March 10, 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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33

Plotnikova, N. Yu. "FOUR-PART CHORAL CONCERTOS BY NIKOLAY DILETSKY: ON THE WAY TO PUBLICATION." Arts education and science 1, no. 4 (2020): 63–72. http://dx.doi.org/10.36871/hon.202004008.

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The author's discovery of 2012 four-part choral concertos by Nikolay Diletsky, an outstanding composer of the Baroque period, completed in 36, broadened the understanding of Russian Baroque music and the partes concerto genre. This was the starting point for preparing the works for publication (32 concertos are currently composed in full four-part scores). The article reveals the main stages of this path. Special attention is paid to source studies: searching in various archives in Russia and abroad for manuscripts containing Diletsky's concertos, attribution, dating and description of manuscr

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34

LaRue, Jan, David Cannata, Kathryn Shanks, Johann Christian Bach, and Richard Maunder. "Keyboard Concertos, I-IV." Notes 46, no. 3 (March 1990): 797. http://dx.doi.org/10.2307/941446.

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35

Jones, Tim. "Mozart's keyboard concertos reconsidered." Early Music XXV, no. 3 (August 1997): 479–84. http://dx.doi.org/10.1093/earlyj/xxv.3.479.

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36

Grayson, David. "Review: Mozart's Piano Concertos." Music and Letters 85, no. 2 (May 1, 2004): 281–85. http://dx.doi.org/10.1093/ml/85.2.281.

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37

Klett, R., and D. Langworthy. "Ivo Dimchev's Body Concertos." Theater 42, no. 3 (January 1, 2012): 88–92. http://dx.doi.org/10.1215/01610775-1597647.

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38

Holman, P. "Bach concertos and cantatas." Early Music 34, no. 3 (August 1, 2006): 517–20. http://dx.doi.org/10.1093/em/cal047.

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39

Kitchen, J. "Bach concertos and suites." Early Music 36, no. 2 (May 1, 2008): 336–38. http://dx.doi.org/10.1093/em/can010.

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40

Mangsen, S. "Bolognese sonatas and concertos." Early Music 37, no. 3 (August 1, 2009): 470–73. http://dx.doi.org/10.1093/em/cap047.

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41

Cross, E. "Handel sonatas and concertos." Early Music 37, no. 4 (November 1, 2009): 683–85. http://dx.doi.org/10.1093/em/cap087.

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42

Roche, E. "Telemann concertos and suites." Early Music 37, no. 4 (November 1, 2009): 694–97. http://dx.doi.org/10.1093/em/cap094.

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43

Irving, J. "Mozart: complete fortepiano concertos." Early Music 40, no. 4 (November 1, 2012): 721–22. http://dx.doi.org/10.1093/em/cas118.

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44

Lehman, B. "Two dozen Bach concertos." Early Music 43, no. 1 (January 7, 2015): 175–79. http://dx.doi.org/10.1093/em/cau144.

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45

Jacobs, Arthur, Sterndale Bennett, Philharmonia, LPO, and Braithwaite. "Piano Concertos nos. 1 & 3. Piano Concertos nos. 2 & 5." Musical Times 132, no. 1782 (August 1991): 399. http://dx.doi.org/10.2307/965901.

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46

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 (June 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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47

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 (December 10, 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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48

Пастушкова, Анна Сергеевна. "Opera-Based Instrumental Parodies in Antonio Vivaldi's Concertos." Музыкальная академия, no. 4(772) (December 21, 2020): 46–67. http://dx.doi.org/10.34690/112.

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В статье рассмотрена проблема композиционных параллелизмов между инструментальными концертами и оперными ариями Антонио Вивальди. Введены термины для описания типов «театрализованной» ритурнельной формы и композиционного устройства концертов. Показано влияние признаков оперной арии на форму и жанровую специфику частей инструментального концерта. Предложена новая классификация примеров протяженного цитирования оперных арий в инструментальных концертах, среди которых - неизвестные ранее цитаты, обнаруженные автором статьи в концертах RV 139, RV 159 и RV 189. The article deals with thematic conco

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49

Wright, David, Cristina Ortiz, Royal Philharmonic Orchestra, and Gomez-Martinez. "Villa-Lobos: Five Piano Concertos." Musical Times 133, no. 1797 (November 1992): 588. http://dx.doi.org/10.2307/1002598.

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50

Freeman, Daniel E. "The Earliest Italian Keyboard Concertos." Journal of Musicology 4, no. 2 (1986): 121–45. http://dx.doi.org/10.2307/763792.

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