Relevant bibliographies by topics / Flute sonatas

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  2. Dissertations / Theses
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  4. Book chapters

Academic literature on the topic 'Flute sonatas'

Author: Grafiati
Published: 4 June 2021
Last updated: 3 February 2022

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Journal articles on the topic "Flute sonatas"

1

Swack, Jeanne. "John Walsh's Publications of Telemann's Sonatas and the Authenticity of ‘Op. 2’." Journal of the Royal Musical Association 118, no. 2 (1993): 223–45. http://dx.doi.org/10.1093/jrma/118.2.223.

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In the past decade the eighteenth-century London music publisher John Walsh has been subject to a new evaluation with regard to his pirated editions and deliberate misattributions, especially of the music of George Frideric Handel. That Walsh's attributions were anything but trustworthy had already been recognized in the eighteenth century: a surviving copy (London, British Library, BM g.74.d) of his first edition of the Sonates pour un traversiere un violon ou hautbois con basso continuo composées par G. F. Handel (c.1730), which, as Donald Burrows and Terence Best have shown, was provided with a title-page designed to simulate that of Jeanne Roger, bears the manuscript inscription ‘NB This is not Mr. Handel's’ in an eighteenth-century hand at the beginning of the tenth and twelfth sonatas, precisely those that Walsh removed in his second edition of this collection (c. 1731–2), advertised on the title-page as being ‘more Corect [sic] than the former Edition’. In the second edition Walsh substituted two equally questionable works in their place, each of which bears the handwritten inscription ‘Not Mr. Handel's Solo’ in a copy in the British Library (BM g.74.h). Two of the sonatas attributed to Handel in Walsh's Six Solos, Four for a German Flute and a Bass and Two for a Violin with a Thorough Bass … Composed by Mr Handel, Sigr Geminiani, Sigr Somis, Sigr Brivio (1730; in A minor and B minor) are also possibly spurious, while three of the four movements of the remaining sonata attributed to Handel in this collection (in E minor) are movements arranged from his other instrumental works. And in 1734 Johann Joachim Quantz, to whom Walsh devoted four volumes of solo sonatas (1730–44), complained of the publication of spurious and corrupted works:There has been printed in London and in Amsterdam under the name of the [present] author, but without his knowledge, 12 sonatas for the transverse flute and bass divided into two books. I am obliged to advertise to the public that only the first, second, fourth, fifth and sixth [sonatas] from the first book, and the first three from the second book, are his [Quantz's] compositions; and that he furthermore wrote them years ago, and besides they have, due to the negligence of the copyist or the printer, gross errors including the omission of entire bars, and that he does not sanction the printing of a collection that has no relationship with the present publication that he sets before the public.
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2

Miller, Leta E. "C. P. E. Bach's Sonatas for Solo Flute." Journal of Musicology 11, no. 2 (1993): 203–49. http://dx.doi.org/10.2307/764030.

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Leedy, Douglas, Joseph Bodin de Boismortier, Clifford Bartlett, Carl Heinrich Graun, Herbert Kolbel, Johann Philipp Kirnberger, Rudolph Rasch, Francois Philidor, and Gwilym Beechey. "Six Sonatas, Op. 19; For Flute and Continuo." Notes 45, no. 1 (September 1988): 156. http://dx.doi.org/10.2307/941411.

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Miller, Leta E. "C. P. E. Bach's Sonatas for Solo Flute." Journal of Musicology 11, no. 2 (April 1993): 203–49. http://dx.doi.org/10.1525/jm.1993.11.2.03a00030.

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5

Ford, Robert, Carl Friedrich Abel, Thomas Augustine Arne, Charles Avison, William Boyce, Thomas Erskine, and Giuseppe Sammartini. "Six Sonatas for 2 Violins or Flute and Violin and Continuo, Op. 3." Notes 45, no. 2 (December 1988): 377. http://dx.doi.org/10.2307/941366.

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6

Talbot, Michael. "Seven Trio Sonatas, and: Six Quartets for Flute, Violin, Viola, and Basso Continuo (review)." Notes 62, no. 3 (2006): 806–9. http://dx.doi.org/10.1353/not.2006.0036.

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7

Oleskiewicz, Mary. "6 Kammersonaten fur 2 Floten und Basso continuo, and: Sonata I in D-Dur fur zwei Floten und Basso continuo, and: Sonata II in D-Dur fur zwei Floten und Basso continuo, and: Sonata III in a-Moll fur zwei Floten und Basso continuo, and: Complete Sonatas for Flute and Basso Continuo, and: Complete Sonatas for Flute and Obbligato Keyboard (review)." Notes 59, no. 1 (2002): 169–76. http://dx.doi.org/10.1353/not.2002.0139.

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8

Rickards, Guy. "Icarus Soaring: the music of John Pickard." Tempo, no. 201 (July 1997): 2–5. http://dx.doi.org/10.1017/s0040298200005763.

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Although John Pickard's music has received a good many performances and radio broadcasts over the past decade, it was the relay of his dazzling orchestral tone poem The Flight of Icarus (1990) during the 1996 Proms1 which brought him to the notice of the wider concert–going and –listening public. There is some justice in that piece attracting such attention, as it is one of his most immediate in impact, while completely representative of his output at large. That output to date encompasses three symphonies (1983–4, 1985–7, 1995–6) and five other orchestral works, three string quartets (1991, 1993, 1994; a fourth in progress), a piano trio (1990), sonatas for piano (1987) and cello and piano (1994–5), vocal and choral works, pieces for orchestral brass (Vortex, 1984–5) and brass band – the exhilarating Wildfire (1991), which crackles, hisses and spits in ferocious near–onomatopoeia, and suite Men of Stone (1995), celebrating four of the most impressive megalithic sites in Britain, one to each season of the year. There are other works for a variety of solo instruments and chamber ensembles, such as the intriguing grouping of flute, clarinet, harpsichord and piano trio in Nocturne in Black and Gold (1983) and the large–scale Serenata Concertante for flute and six instruments of a year later. Still in his mid-thirties – he was born in Burnley in 1963 – Pickard has already made almost all the principal musical forms of the Western Classical tradition his own, with only opera, ballet and the concerto as yet untackled.
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Fick, Kimary. "Feeling the Feminine, Forming the Masculine: Amateur Male Musicians and the Flute Sonatas of Anna Bon di Venezia (1738–?)." Women and Music: A Journal of Gender and Culture 24, no. 1 (2020): 130–53. http://dx.doi.org/10.1353/wam.2020.0002.

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10

Burrows, D. "George Frideric Handel, The Chamber Music: Vol I, The Flute Sonatas; Vol. II, The Violin Sonatas; The OBOE Sontas, Vol. III, The Trio Sonatas OP 2, Vol. IV, The Trio Sonatas OP 5; Vol V, Trio Sonatas for Two Violins and Basso Continuo; Vol VI, The Recorder Sonatas, L' Ecole d'Orphee CRD 3373-78 (six CDs, issued 1992) Trio Sonatas OP.2 London Baroque Harmoma Mundi HMC 901379 (rec 1991) Trio Sonatas OP.5, London Baroque Harmoma Mundi HMC 901389 (rec 1991); Trio Sonatas OP.5, La Stravaganza Salzburg, directed by Siegbert Rampe, Saphir INT 830.882 (rec 1990)." Early Music XXI, no. 1 (February 1, 1993): 153–55. http://dx.doi.org/10.1093/em/xxi.1.153.

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Dissertations / Theses on the topic "Flute sonatas"

1

Gallagher, Daniel Ryan. "Flute Repertoire from Japan: An Analysis of Twentieth-Century Flute Sonatas by Ikuma Dan, Hikaru Hayashi, and Akira Tamba." The Ohio State University, 2019. http://rave.ohiolink.edu/etdc/view?acc_num=osu1555601776064413.

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Ti, Yu-ju. "Duo Sonatas and Sonatinas for Two Clarinets, or Clarinet and Another Woodwind Instrument: An Annotated Catalog." The Ohio State University, 2009. http://rave.ohiolink.edu/etdc/view?acc_num=osu1243880660.

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Potts, Elizabeth (Elizabeth Ann). "The Mozart Flute: Old and New Transcriptions of KV. 10-15." Thesis, University of North Texas, 2017. https://digital.library.unt.edu/ark:/67531/metadc984277/.

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My lecture serves as a critical examination of the Six Sonatas Op. 3, KV. 10-15 by W.A. Mozart. I will engage the variances between the first edition of Op. 3 and those by Joseph Bopp and Louis Moyse edited specifically for the flute in hopes of providing another perspective for students, performers, and pedagogues alike. This study will (1) provide background information regarding the creation of KV. 10-15, (2) include a brief analysis of each sonata, (3) compare adaptions between the first edition, according to NMA, and two modern flute transcriptions, and (4) produce two new transcriptions. My new transcriptions of Sonatas KV. 10 and 13 represent a closer interpretation to the first edition and alerts students and teachers to the differences between the editions by Joseph Bopp and Louis Moyse to that of the first and NMA editions. The goal is to stimulate performers to reappraise their approach to this particular repertoire and to encourage more authentic performances of these engaging sonatas.
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Ti, Yu-Ju. "Duo sonatas and sonatinas for two clarinets, or clarinet and another woodwind instrument an annotated catalog /." Columbus, Ohio : Ohio State University, 2009. http://rave.ohiolink.edu/etdc/view.cgi?acc%5Fnum=osu1243880660.

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Hobbs, James A. (James Alton). "Six sonates pour une flute et basse ou hautbois et basse by Ernst Eichner: a performing edition with critical commentary, a lecture recital, together with three other recitals." Thesis, University of North Texas, 1991. https://digital.library.unt.edu/ark:/67531/metadc332477/.

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From the sources published by R. Wornum and Mme. Bérault a performing edition of the Six Sonates pour une Flute et Basse où hautbois et Basse was produced. The music was adopted to twentieth-century notation and supplied with suggestions for articulations and the performance of ornamental figures.
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Cunningham, Jennifer Ann Reinert. "A critical edition of Johann Christoph Schultze’s Six sonatas for two flutes without basso and a chaconne for two equal voices in canon." Diss., University of Iowa, 2015. https://ir.uiowa.edu/etd/1578.

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By the eighteenth century, the business of music publishing in Europe had exploded. Europe had become more culturally international, and interest in purchasing and performing music written by foreign composers was in vogue. Unfortunately laws governing copyright and editing of music were either difficult to enforce or non-existent, and most were not applicable on an international level. Around 1750 music publishers Leclerc and Boivin published an edition of flute sonatas in Paris. This edition was attributed to Georg Friderich Handel, whose work, at the time, was the most sought after in Western Europe. This particular collection is identical to an earlier edition published in 1729 in Hamburg, Germany by an unknown German composer, Johann Christoph Schultze. This paper is the first modern critical edition of Schultze’s Six Sonate â Doi Flauti Traversi Senza Basso Con una Ciacconna tra mischiata di doi Canoni nella medesima nascosti (Six Sonatas for Two Flute without Basso and A Chaconne for Two Equal Voices in Canon) and marks the first time the Chaconne has appeared in modern notation. The edition aims to be as true as possible to the 1729 publication, notes standard performance practices, and answers the question as to why the 1750 edition may have been falsely attributed to Handel.
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Kwag, Munjung. "A Performance Guide on Selected Sonatas for Flute and Piano by:Darius Milhaud (1892-1974), Louis Durey (1888-1979), Francis Poulenc (1899-1963)." University of Cincinnati / OhioLINK, 2021. http://rave.ohiolink.edu/etdc/view?acc_num=ucin1627665101419925.

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McNulty, Sarah. "C.P.E. Bach's flute and continuo sonatas (Wq.125-129, 134) : rhetorical processes used to convey a religious understanding and implications for performance." Thesis, University of York, 2010. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.542822.

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Hutchinson, Paula C. "Structure and Style in Three Flute Works of John La Montaine : With Three Recitals of Selected Works by Bach, Prokofiev, Messiaen, Reinecke, and Others." Thesis, University of North Texas, 1994. https://digital.library.unt.edu/ark:/67531/metadc277868/.

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This comprehensive study specifically includes: a brief biography of La Montaine, background surrounding the composition of the three works, a thorough analysis of each work, and a style comparison of the three pieces. Materials in the appendixes are: an annotated list of La Montaine's flute compositions; the text of the song cycle Fragments; an interview with John La Montaine; and an interview with Doriot Anthony Dwyer, to whom Come into My Garden and My Beloved, Let Us Go Forth are dedicated.
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Gimenes, Marilia Gabriela do Nascimento. "Osvaldo Lacerda’s Sonata for Flute and Piano (1959): A Performance Guide with Historical Background of Brazilian Genres Embolada, Serestra, and Baião." Thesis, University of North Texas, 2012. https://digital.library.unt.edu/ark:/67531/metadc177200/.

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Osvaldo da Costa Lacerda (March 23, 1927-July 18, 2011), one of the most significant Brazilian composers of the twentieth century, wrote more than 250 compositions. The purpose of this dissertation is to provide a history and analysis of the Brazilian genres characterized in Osvaldo Lacerda’s, Sonata for Flute and Piano. Written in 1959, the sonata represents traditional Brazilian rhythms within a classical structure and modern harmony. The work provides a basis for the exploration of the embolada, the serestas, and the baião, examples of Brazilian typical song forms and rhythms. Analysis of the historical roots of these nationalistic elements will provide appropriate performance practice considerations when playing Brazilian rhythms; and because this sonata only exists in manuscript form, the historical analysis and performance guide will be of service to disseminate this important Brazilian work. As a basis for a critical edition of the Sonata for Flute and Piano, this initial effort will provide performers with a context for Brazilian flute music. Chapters include the Lacerda’s biography, a background of the nationalistic movement in Brazil and the composers who have influenced Osvaldo Lacerda. Definitions of embolada, serestas, and baião is also provided.
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Books on the topic "Flute sonatas"

1

Quantz, Johann Joachim. Four flute sonatas. Belgium: Alamire, 1996.

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2

Holliger, Heinz. Sonate (in)solit(air)e: Pour flûte seule = for flute solo = für Flöte solo : (1995/96). Mainz: Schott, 1998.

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Bédard, Denis. Sonate, flûte et piano =: Flute and piano = Flöte und Klavier. Saint-Nicolas, Qué., Canada: Doberman-Yppan, 1988.

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Baksa, Robert F. Flute sonata. New York: Composers Library Editions, 1993.

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Françaix, Jean. Sonate pour flûte et piano =: Für Flöte und Klavier = for flute and piano (1996). Mainz: Schott, 1997.

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Liebermann, Lowell. Sonata for flute and piano. Bryn Mawr, PA: T. Presser, 1988.

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7

Brings, Allen. Sonatina for flute & guitar. Wilton, Conn. (199 Mountain Rd., Wilton, Conn. 06897): Mira Music Associates, 1989.

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8

Poulenc, Francis. Sonata, 1922, for flute and guitar. London: Chester Music, 1985.

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9

Telemann, Georg Philipp. Duet in G for flute and violin. Miami Lakes, Fla: Masters Music Publications, 1989.

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Hulse, Camil Van. Duet sonata: For flute and B♭ clarinet. Delaware Water Gap, Pa: Shawnee Press, 1987.

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Book chapters on the topic "Flute sonatas"

1

"Vivaldi’s Sonatas for Recorder and Flute." In Vivaldi’s Music for Flute and Recorder, 57–89. Routledge, 2017. http://dx.doi.org/10.4324/9781315084169-7.

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Schulenberg, David. "Bach the Capellmeister." In Bach, 149–93. Oxford University Press, 2020. http://dx.doi.org/10.1093/oso/9780190936303.003.0009.

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As Capellmeister, Bach was in charge of all musical matters at the court of Cöthen. Although the prince’s Reformed religious faith ruled out the performance of church cantatas, Bach did compose occasional vocal works for special occasions. His chief works of this period, however, were suites, sonatas, and concertos for the court instrumental ensemble, as well as keyboard music for his family and pupils. Among the famous compositions composed or completed at Cöthen and discussed in this chapter are the inventions, Well-Tempered Clavier, organ sonatas, cello suites, sonatas and partitas for violin and flute, and Brandenburg Concertos.
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Nichols, Roger. "Joy, Suffering and Farewell 1957–1963." In Poulenc, 249–91. Yale University Press, 2020. http://dx.doi.org/10.12987/yale/9780300226508.003.0009.

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This chapter talks about Francis Poulenc's return to Paris, where he spent some weeks putting final corrections to the score of Carmélites and continuing his project on the Flute Sonata. It mentions Poulenc's relationship with former soldier Louis Gautier, which followed the pattern of metamorphosing from lover to friend and remained close until his death. It also explores the Paris press' symphony of admiration for Poulenc, stating how he has invented a new kind of opera with intimate, psychological drama that has no reference but itself. The chapter provides a summary of Poulenc's harmonic and melodic preferences all throughout the years. It also talks about Marguerite de Saint-Marceaux's diary in which she had written that Poulenc sang his Chansons gaillardes and played his Napoli well and that he didn't lack talent, but he wasn't a genius.
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