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Journal articles on the topic 'Mendelssohn concerto'

Author: Grafiati

Published: 2 June 2025

Last updated: 31 July 2025

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1

Kimber, Marian Wilson. "Mendelssohn's Second Piano Concerto, Op. 40, and the Origins of his Serenade and Allegro Giojoso, Op. 43." Journal of Musicology 20, no. 3 (2003): 358–87. http://dx.doi.org/10.1525/jm.2003.20.3.358.

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Felix Mendelssohn's Serenade and Allegro giojoso, op. 43, was composed rapidly for his performance in a concert in Leipzig on 2 April 1838. Originally entitled Adagio and Rondo, the concert piece underwent substantial revision before its publication in late February the following year. The autograph sources reveal that Mendelssohn's Piano Concerto No. 2 in D minor, op. 40, composed less than a year before in 1837, influenced the Serenade and Allegro giojoso's musical content. Not only do the two works for piano and orchestra share a key and thematic material, but an extended sketch found in th

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2

Dibble, Jeremy. "Context, Form and Style in Sterndale Bennett’s Piano Concertos." Nineteenth-Century Music Review 13, no. 2 (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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3

Antonova, Olena. "Edward Macdowell’s Piano Concerto No. 2 in the Context of the Establishment of the American Branch of the Genre." Studia Universitatis Babeş-Bolyai Musica 68, Sp.Iss. 2 (2023): 303–14. http://dx.doi.org/10.24193/subbmusica.2023.spiss2.19.

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"Research attention in the article is directed to the initial stage of the formation of the American piano concerto, which is represented by two works of Edward MacDowell. Written during the young composer’s stay in Germany, they are firmly based on the traditions of European music and demonstrate mastery of genre models that had formed in the works by Mendelssohn, Schumann, Liszt, Grieg, Saint-Saëns, as well as MacDowell’s teacher – Joachim Raff. The article analyzes the compositional and thematic organization of Piano Concerto No. 2, traces the figurative and stylistic origins of this music,

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4

Tomashevsky, Igor V., and Vladimir P. Konnov. "The Concerto for Piano and Orchestra in the Works of Scandinavian Composers (1890–1900s)." Университетский научный журнал, no. 78 (February 16, 2024): 34–53. http://dx.doi.org/10.25807/22225064_2024_78_34.

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t. The article is devoted to the historical fate of Austro-German musical Romanticism in the musical cultures of the Scandinavian region of Denmark and Norway, where Romantic traditions found their viability in the piano concerto genre. The research material was the works of the Dane Emil Hartmann and the Norwegian master Halfdan Cleve, highly valued by the authors’ contemporaries. The article traces in detail the concertos’ belonging to the traditions, in the fi rst case, of early (Mendelssohn, Schumann, Chopin), and in the second case, late Romanticism (which was indicated by reminiscences a

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5

Lindeman, S. D. "Mendelssohn and Moscheles: Two Composers, Two Pianos, Two Scores, One Concerto." Musical Quarterly 83, no. 1 (1999): 51–74. http://dx.doi.org/10.1093/mq/83.1.51.

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6

Kutluieva, Daria. "Piano quartets by F. Mendelssohn as a phenomenon of the Romantic era." Aspects of Historical Musicology 16, no. 16 (2019): 143–57. http://dx.doi.org/10.34064/khnum2-16.08.

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Background. Nowadays, the typology of the piano quartet is actively studied by the modern scientists. The genesis of this genre is becoming more contentious. As pointed out by L. Tsaregorodtseva (2005), and earlier I. Byaly (1989), a connection of concerts for clavier solo accompanied by a string ensembles and a string quartet form a foundation for a genre of the piano quartet. N. Samoilova (2011) sees the origin of this genre in ensembles with clavier, L. Tsaregorodtseva (2005) &#8210; in the historical and cultural situation of the last third of the 18th century, including the genre (str

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7

Beheshti, Setareh, Iman Fakhr, and saeed Majidi. "A Unified Perspective on Musical Structure: Applying Agawu's Theory to Divergent Interpretations of Form in Mendelssohn's Violin Concerto." A Unified Perspective on Musical Structure: Applying Agawu's Theory to Divergent Interpretations of Form in Mendelssohn's Violin Concerto 30, no. 1 (2025): 71–80. https://doi.org/10.22059/jfadram.2024.382346.615940.

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Form is one of the most important and challenging concepts in music. Music scholars have long offered diverse interpretations and definitions of musical form, but the multiplicity of interpretations can sometimes lead to confusion and impede the attainment of a clear understanding of the structure of musical works. This is partly due to ‘reverse-engineering.’ When a compositional form is created, the composer may or may not be thinking primarily about structure.  The aesthetic message is at the forefront of the composer’s creative conscience followed by thematic phrases,

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8

Reshetilov, Bohdan. "Felix Mendelssohn. Piano Concerto with string orchestra in a minor: romantic principles for the renewal of the traditional genre." Часопис Національної музичної академії України ім.П.І.Чайковського, no. 4(45) (December 26, 2019): 32–44. http://dx.doi.org/10.31318/2414-052x.4(45).2019.189785.

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9

Высоцкая, Марианна Сергеевна. "The Composition Model in Music: To the Issue of Evolution of Concept." Музыкальная академия, no. 4(776) (November 29, 2021): 152–65. http://dx.doi.org/10.34690/208.

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Понятие композиционной модели как структурносемантического прототипа музыкальной формы развивалось и эволюционировало вместе с понятием композиции как эстетической категории и одной из основополагающих категорий художественного творчества. В роли композиционной модели выступает художественный канон или авторский текст; она задается извне или выстраивается по индивидуально разработанному алгоритму; способом ее представления может быть вербализованная система правил, графическая схема или объективированный в звуковой форме образец. С возрастанием значимости в творческом процессе абстрактно-логич

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10

LIANG, LANYU. "THE PIANO OPUS 33 BY FELIX MENDELSSOHN: A PIANIST’S CURRENT VIEW." Университетский научный журнал, no. 83 (December 29, 2024): 217–25. https://doi.org/10.25807/22225064_2024_83_217.

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The proposed article is addressed, first of all, to modern performers, striving for an original and convincing dialogue with rarely heard musical works. Multifacetedly characterising three piano capriccios by F. Mendelssohn (op. 33), created almost 200 years ago, the author of the article actualises and expands the horizons of multi-vector movement for the pianist: from the origins of the genre to modern improvisation. A bizarre interweaving of traditional and unexpected associations involves the performer in a bright free game, while the “enigmas” of Mendelssohn’s style multiply many times th

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11

Santos Rutschman, Kirsten. "Midsummer Dreams: Felix Mendelssohn’s Swedish Connections." Nineteenth-Century Music Review 17, no. 1 (2019): 3–33. http://dx.doi.org/10.1017/s1479409818000460.

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Two years after completing his overture to A Midsummer Night’s Dream (1826), Felix Mendelssohn-Bartholdy began to write of another vision: visiting his friend, the composer Adolf Fredrik Lindblad, in Sweden. Over the coming years, as Mendelssohn continually returned to this idea, additional reasons to make such a journey presented themselves: performances of his works in that city, including the Shakespearean overture, were well received; he became personally acquainted with Crown Prince Oscar, to whom he dedicated the op. 44 string quartets; he was elected to the Royal Swedish Academy of Musi

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12

Podmazova, Polina B. "“Le père-créateur” of modern school of violin playing: marking the anniversary of Giovanni B. Viotti." Contemporary Musicology, no. 2 (2020): 27–49. http://dx.doi.org/10.56620/2587-9731-2020-2-027-049.

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The article focuses on one of the key figures in the world of music at the turn of the 18th/19th centuries, an acknowledged leader of French school of violin playing—G.B. Viotti. The study is the first attempt of Russian musicology to highlight the role of Viotti as the founder of the modern school of violin playing. Viotti's performing art with its large-scale and expressive manner of playing that reveals all the possibilities of violin as an instrument as well as ample opportunity for its artistic presentation, is vividly reflected in the genre of the solo violin concerto. His vision of the

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13

Ward Jones, P. "Review of music. Mendelssohn, Felix, Concerto for Two Pianos and Orchestra in E Major (1823): Original Version of the First Movement. SD Lindeman [ed]." Music and Letters 82, no. 3 (2001): 493–95. http://dx.doi.org/10.1093/ml/82.3.493.

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14

Haney, Joel. "Navigating Sonata Space in Mendelssohn's Meeresstille und glüückliche Fahrt." 19th-Century Music 28, no. 2 (2004): 108–32. http://dx.doi.org/10.1525/ncm.2004.28.2.108.

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Felix Mendelssohn's establishment of the concert overture as a domain of lively compositional innovation represents one of the most important achievements of orchestral music from the period immediately following Beethoven's death. In their remarkable ability to evoke lofty extramusical subjects through a purely instrumental medium, Mendelssohn's overtures were christened as vessels of musical progress in a manner that anticipated significantly the claims of the midcentury Lisztian symphonic poem. To grasp more fully the overtures' progressivism, though, we must attend closely to the relations

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15

Reichwald, Siegwart. "Felix Mendelssohn Bartholdy, Concerto in E minor, op. 64, 1844/45, Urtext, edited by R. Larry Todd and Clive Brown (Kassel: Bärenreiter, 2005/2018). BA 9099. Full score xliv + 200 pp. € 60.00 - Felix Mendelssohn Bartholdy, Concerto in E minor, op. 64, Urtext, edited by R. Larry Todd and Clive Brown (Kassel: Bärenreiter, 2018). BA 9099-90. Piano reduction xviii + 45pp; violin solo part 16pp; violin solo performance part prepared by Clive Brown 16 pp. € 21.95 - Clive Brown, Mendelssohn Bartholdy: Performance Practices in the Violin Concerto op. 64 and Chamber Music for Strings (Kassel: Bärenreiter, 2018). BA 9060. 72 pp. € 15.50 - Felix Mendelssohn Bartholdy, Concerto in E minor, op. 64, 1844, Urtext, edited by R. Larry Todd (Kassel: Bärenreiter, 2005/2018). BA 9099-92. Piano reduction v + 45 pp; violin solo part 16 pp. € 24.95." Nineteenth-Century Music Review 17, no. 2 (2019): 325–28. http://dx.doi.org/10.1017/s147940981900003x.

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16

Spitzer, John. "The Entrepreneur-conductors and their Orchestras." Nineteenth-Century Music Review 5, no. 1 (2008): 3–24. http://dx.doi.org/10.1017/s1479409800002561.

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The story of the orchestra in the nineteenth century usually focuses on two types of orchestras: theatre orchestras – such as La Scala, the Queen's Theatre (London), and the Paris Opéra – and concert societies – such as the Vienna Philharmonic, the London Philharmonic, the Société des Concerts du Conservatoire (Paris), and the New York Philharmonic. It concentrates on the conductors who led these orchestras, many of whom were also famous composers, such as Weber, Spontini, Berlioz, Mendelssohn and Wagner, whose works form a large part of today's ‘classical’ music repertory. This story is not w

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17

Mühlenbeck, Bettina S. "On Musical Journeys: William Sterndale Bennett’s Diaries, 1836–1842." Nineteenth-Century Music Review 13, no. 2 (2016): 221–32. http://dx.doi.org/10.1017/s1479409816000653.

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The present article explores the travel diaries William Sterndale Bennett kept on his three extended journeys from London to Leipzig between 1836 and 1842. In the autumn of 1836 the young pianist and composer embarked on the first and longest of ultimately three residencies in Leipzig. Invited by Felix Mendelssohn Bartholdy, he came to the burgeoning centre for instrumental music in order to spend productive time in the artistic circle surrounding Mendelssohn. Bennett began keeping a diary, in which he recorded his experiences – from mundane to musical – and which de facto evolved into a silen

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18

Antonova, Olena. "Edward MacDowell's First piano concerto: at the origins of American genre history." Scientific herald of Tchaikovsky National Music Academy of Ukraine, no. 136 (March 28, 2023): 165–78. http://dx.doi.org/10.31318/2522-4190.2023.136.276573.

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The relevance of the study. It consists in considering the concerto in A minor op. 15 by Edward MacDowell not only in the context of the author's artistic evolution, but also as the beginning of the history of the American branch of the genre. Written in 1882, it became the composer's first large-scale work and, at the same time, the first piano concerto composed by an American. The main objective of the study is to identify the genre models by which MacDowell created his First Concerto, and to mark the composer's intended prospects for the further development of the American piano conce

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19

Mercer-Taylor, Peter. "Mendelssohn in Nineteenth-Century American Hymnody." 19th-Century Music 32, no. 3 (2009): 235–83. http://dx.doi.org/10.1525/ncm.2009.32.3.235.

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Abstract The nineteenth century witnessed the rapid rise and gentle decline of an unprecedented vogue, particularly in the English-speaking world, for crafting hymn tunes from the work of Europe's most revered composers. Indeed, through the widely circulated publications of Lowell Mason and several like-minded American editors, it was in the form of hymnody that the European classical tradition reached a substantial part of the American population for the first time. After setting forth broadly the historical underpinnings of such adaptations' dissemination, this study seeks to bring an unprec

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20

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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21

Serratore, Leonel. "Moses Mendelssohn y Gotthold Ephraim Lessing: Una polémica en torno a los límites del progreso de la ilustración." Revista Latinoamericana de Filosofía 50, no. 1 (2024): 135–54. http://dx.doi.org/10.36446/rlf2024418.

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En su escrito Acerca de la pregunta ¿qué significa ilustrar?, Mendelssohn afirma que el progreso de la ilustración encuentra sus límites cuando amenaza los fundamentos religiosos y morales de la sociedad. Estas suposiciones pueden ser leídas como parte de las críticas que desarrolla en Jerusalem, o acerca del poder religioso y judaísmo contra la filosofía de la historia de su amigo, Lessing. De ahí que este artículo intente mostrar cómo a partir de las diferencias entre las formas en que ambos autores definen el concepto de ilustración y de perfeccionamiento del ser humano, es posible entender

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Ramos Xavier Régis, Hugo. "SOBRE O SENTIDO DO TATO." PÓLEMOS – Revista de Estudantes de Filosofia da Universidade de Brasília 9, no. 18 (2020): 417–32. http://dx.doi.org/10.26512/pl.v9i18.29770.

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Sobre o sentido do tato é um esboço (Skizze) escrito por Herder em 1769, e reconstruído por Hans Dietrich Irmscher em 1960. Nele, o autor propõe-se investigar a importância epistemológica, estética e metafísica do tato. Assim, na medida em que desenvolve suas reflexões, acaba por se opor ao pensamento de autores como Winckelmann, Condillac, Mendelssohn e Leibniz. O esboço pode ser divido em quatro momentos: no primeiro, é tematizado o potencial cognitivo do tato de acessar as forças formadoras do corpo e do universo. No segundo, o autor discute a formação do universo a partir da conexão entre

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23

Molchanova, Tetiana. "A Stranger in the Musical Interior of Romanticism: Fanny Cecilia Mendelssohn-Hensel." Bulletin of Kyiv National University of Culture and Arts. Series in Arts, no. 46 (May 22, 2022): 108–18. https://doi.org/10.31866/2410-1176.46.2022.258623.

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The purpose of the article is an attempt to draw the attention of domestic researchers and performers to the life and work of the German composer, the older sister of Felix Mendelssohn-Bartholdy, a significant figure in the musical life of Germany in the first half of the 19th century — Fanny Cecilia Mendelssohn-Hensel, who belongs to the unexplored figures in Ukrainian musicology; to outline the principles of her work as a performer and composer; to determine the genre and stylistic direction of her creative work. The article demonstrates the relevance of the analysis of her heritage, t

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Wollenberg, Susan. "Introduction." Nineteenth-Century Music Review 4, no. 2 (2007): 3–6. http://dx.doi.org/10.1017/s1479409800000847.

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The eight articles published here represent the selected proceedings of the conference held at St Catherine's College, Oxford, 22–24 July 2005, under the auspices of the University of Oxford, Faculty of Music, to mark the bicentenary of the birth of Fanny Hensel (née Mendelssohn Bartholdy). As conference organizer I was deeply gratified by the list of speakers and papers we were able to assemble for the conference programme. The conference also featured two concerts given by Françoise Tillard (pianoforte) with Erika Klemperer (violin) and Robert Max (cello), performing piano and chamber works

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25

Guasteví, Sara, Jaume Ayats, and Enric Giné. "Joan Manén's Pioneer Recordings: Violin Concertos by Beethoven, Bruch, and Mendelssohn." Fontes Artis Musicae 68, no. 1 (2021): 1–17. http://dx.doi.org/10.1353/fam.2021.0000.

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Hlobil, Tomá. "TWO CONCEPTS OF LANGUAGE AND POETRY: EDMUND BURKE AND MOSES MENDELSSOHN." British Journal for the History of Philosophy 8, no. 3 (2000): 447–58. http://dx.doi.org/10.1080/096087800442138.

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Lindeman, Stephan D. "Felix Mendelssohn Bartholdy, Concerto in E minor for Violin and Orchestra, op. 64, 1844/1845, edited by R. Larry Todd (Kassel: Bärenreiter, 2005). 170 pages of score, prefaced with 6 pages of facsimiles from the sources, and 16 pages of editorial introduction, and concluded with 20 pages of critical commentary. &54." Nineteenth-Century Music Review 4, no. 1 (2007): 177–79. http://dx.doi.org/10.1017/s1479409800000252.

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28

Wilson Kimber, Marian. "Mendelssohn's Other Concerto: The Changing Reception of the Piano Concerto No. 2, Op. 40, in D minor." Journal of Musicological Research 29, no. 2-3 (2010): 119–47. http://dx.doi.org/10.1080/01411896.2010.482510.

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29

Royle, Jennifer. "Musical (Ad)venturers: Colonial Composers and Composition in Melbourne, 1870–1901." Nineteenth-Century Music Review 2, no. 2 (2005): 133–59. http://dx.doi.org/10.1017/s1479409800002238.

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In November 1874, the Melbourne Philharmonic Society (MPS) premiered a new sacred cantata, Adoration, as part of their subscription concert series at Melbourne's Town Hall. The composer, Austin T. Turner, lived in Ballarat, Victoria, and had come to Melbourne to conduct the premiere of his work, using the Melbourne Philharmonic's available force of three hundred performers. Turner was well qualified for the task, being known within the musical community as an organist, singing instructor and conductor of Ballarat's Philharmonic and Harmonic societies since 1864. Programmed for the second half

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30

Kimber, M. W. "Reading Shakespeare, Seeing Mendelssohn: Concert Readings of A Midsummer Night's Dream, ca. 1850-1920." Musical Quarterly 89, no. 2-3 (2007): 199–236. http://dx.doi.org/10.1093/musqtl/gdm002.

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Owen, Barbara. "The Maturation of The Secular Organ Recital In America's Gilded Age." Nineteenth-Century Music Review 12, no. 1 (2015): 95–117. http://dx.doi.org/10.1017/s1479409815000063.

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While organs had been built in the United States since the eighteenth century, until the middle of the nineteenth century what passed as an ‘organ concert’ consisted of a mélange of transcriptions from choral music and simple improvisations, interspersed with choral music and vocal solos. As larger organs began to appear by the middle of the nineteenth century, solo organ recitals by players such as George W. Morgan were occasionally performed. In the 1850s Americans such as Dudley Buck and John K. Paine travelled to Germany to study organ performance and composition, and others followed. The

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32

Senju, Mariko, and Kengo Ohgushi. "How Are the Player's Ideas Conveyed to the Audience?" Music Perception 4, no. 4 (1987): 311–23. http://dx.doi.org/10.2307/40285377.

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Psychological experiments and analyses have been done to investigate quantitatively how the ideas of a musician are conveyed to the audience. The musician performed 1 minute of the beginning of the first movement of Mendelssohn's Violin Concerto with 10 different nuances: weak, powerful, bright, sad, sophisticated, beautiful, dreamy, fashionable, simple, and deep. Sixteen listeners, including the violinist, were asked to give their impressions of each of the 10 performances by the semantic differential method. The data obtained were analyzed by Kruskal's multidimensional scaling technique. The

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Macenka, S. Р. "Literary Portrait of Fanny HenselMendelssohn (in Peter Härtling’s novel “Dearest Fenchel! The Life of Fanny Hensel‑Mendelssohn in Etudes and Intermezzi”)." Aspects of Historical Musicology 17, no. 17 (2019): 195–212. http://dx.doi.org/10.34064/khnum2-17.13.

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Background. Numerous research conferences and scholarly papers show increased interest in the creativity of German composer, pianist and singer of the 19th century Fanny Hensel-Mendelssohn. What is particularly noticeable is that her life and creativity are subject of non-scholarly discussion. Writers of biographical works are profoundly interested in the personality of this talented artist, as it gives them material for the discussion of a whole range of issues, in particular those pertaining to the phenomena of female creativity, new concepts of music and history of music with emphasis on it

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Cole, Hugo. "Jonathan Lloyd's Music." Tempo, no. 164 (March 1988): 2–11. http://dx.doi.org/10.1017/s0040298200023780.

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Jonathan Lloyd, born in 1948, received his first lesson in composition from Emile Spira, a former pupil of Anton Webern. After this Lioyd was a junior exhibitioner at the RCM, then went on to study composition with John Lambert and Edwin Roxburgh. While at College he worked with the Twentieth Century Music Ensemble, and in due course won the Mendelssohn scholarship, thereafter attending classes given by Pousseur, and street muisician before taking up a Composer-in-Residence appointment in the Dartington theatre department in 1978–79. Several of his early works were played while he was still at

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Preston, Katherine K. "Encouragement from an Unexpected Source: Louis Antoine Jullien, Mid-Century American Composers, and George Frederick Bristow's Jullien Symphony." Nineteenth-Century Music Review 6, no. 1 (2009): 65–88. http://dx.doi.org/10.1017/s1479409800002901.

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In the spring of 1856, the critic Émile Girac published a review of George Frederick Bristow's Symphony No. 2, the Jullien Symphony, in The Albion. What he wrote is revealing; it reads in part:But do you know how much is expressed by those two little words the Jullien Symphony? They mean simply that Jullien did more for Concert music in three months, than the Philharmonic Society has accomplished since Mr. U.C. Hill created it and brought it before the world. [Jullien] gave us Mozart, Beethoven, and Mendelssohn, as we have never heard them interpreted in New York. He taught us the art of shade

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Kryhin, Oleksandr. "Segovia’s concert heritage as the basis of forming the guitar performing traditions of the XX century." Problems of Interaction Between Arts, Pedagogy and the Theory and Practice of Education 50, no. 50 (2018): 17–28. http://dx.doi.org/10.34064/khnum1-50.02.

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Background. The academic guitar art, which announced itself at the beginning of the XXI century as one of the dominant and sought-after forms of the concert music making, in recent decades has become the subject of scientific reflection. However, due to a later start time of its evolvement, it turned out to be less explored than other concert genres. The birth of the academic guitar art in the early twentieth century associated with the name of A. Segovia, together with whose creativity it stepped beyond the limits of the Spanish national culture and came to the world level. Creativity of the

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Cole, Suzanne. "‘As Much by Force of Circumstances as by Ambition’: The Programming Practices of the Melbourne Liedertafel Societies, 1880–1905." Nineteenth-Century Music Review 2, no. 2 (2005): 107–32. http://dx.doi.org/10.1017/s1479409800002226.

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Two male-voice singing societies – the Metropolitan Liedertafel and the Melbourne Liedertafel – occupied prominent positions in the concert life of Melbourne during the prosperous 1880s. At this time the Metropolitan Liedertafel, formed in 1870, had between 80 and 100 performing members and regularly attracted audiences of over two thousand to its ‘Social Evenings for Ladies and Gentlemen’. A concert described as the ‘greatest gathering of its kind every [sic] seen in this city’, given at the recently completed Exhibition Buildings on 7 July 1881 and attended by the Princes Albert Victor and G

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Sottani, Willsterman. "Lógica Parcial de um Algoritmo da Dificuldade: Repertório a Cappella Soprano-Contralto-Tenor-Baixo Para Coros Adultos Amadores." Percepta - Revista de Cognição Musical 12, no. 1 (2024): 180–205. https://doi.org/10.34018/2318-891x.12(1)180-205.

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Este artigo busca explorar a natureza da dificuldade e representar, via pseudocódigo, a estrutura de dados de entrada de um algoritmo que capture como essa sensação se desenvolve na relação obra-coro. Em diálogo com áreas como programação, filosofia do valor, análise musical, técnica vocal e cognição musical, estabelecem-se conceitos de dificuldade instantânea, global e média, com formulações matemáticas para os dois últimos. Como critérios de viabilidade de uma obra para um coro, definem-se uma escala de 0 a 10 para a dificuldade média e um prazo máximo de preparação de 11 meses. Após análise

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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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Rodríguez Zamora, Kevin. "Salomón Maimón y la búsqueda infatigable de la verdad." Dialektika: Revista de Investigación Filosófica y Teoría Social 6, no. 16 (2024): 218–28. http://dx.doi.org/10.51528/dk.vol6.id130.

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Este trabajo introduce la vida y obra de Salomón Maimón, filósofo judío relevante. Se examina su contexto vital, su formación en estudios talmúdicos, la Cábala, y la filosofía de Christian Wolf y Moses Mendelssohn. Maimón se interesó en la obra de Immanuel Kant y escribió un comentario crítico sobre la "Crítica de la Razón Pura" titulado "Ensayo sobre la filosofía trascendental". En este ensayo, Maimón plantea la Doctrina de los diferenciales como alternativa al idealismo trascendental, sugiriendo que los diferenciales son la base del conocimiento, combinándose matemáticamente para formar conc

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Zhang, Lichuan. "Amateur symphonic performance in an educational environment: the student orchestra of Kharkiv University in the 1880s — 1890s." Culture of Ukraine, no. 82 (December 13, 2023): 86–93. http://dx.doi.org/10.31516/2410-5325.082.10.

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The purpose of the publication is to determine the specifics of the functioning of the student orchestra of Kharkiv University in the 1880s — 1890s in the context of amateur symphonic performance. The methodology. In the process of studying the activity of the orchestra of Kharkiv University, the approach of comparative analysis was applied, thanks to which the peculiarities of developing the repertoire and concert practice of the team were revealed. Determination of the specifics of work with the team of orchestra leaders was carried out within the framework of the application of the sy

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Ellsworth, Therese. "The British Isles and Beyond: The Performance of Instrumental Music by William Sterndale Bennett during the Long Nineteenth Century." Nineteenth-Century Music Review 13, no. 2 (2016): 233–55. http://dx.doi.org/10.1017/s1479409816000628.

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Bennett wrote in a variety of instrumental and vocal genres. Some of his most popular pieces during his lifetime comprise anthems, oratorios and cantatas. But his enduring legacy resides with his instrumental output, in particular works that include a pianist. This article begins with an examination of performances that occurred in Britain and in Germany, where Bennett’s close associations with the Mendelssohn circle provided him with substantial encouragement during his formative years. Advances in transportation and increasing globalization led touring artists to travel farther to cities wor

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Garratt, James. "Felix Mendelssohn Bartholdy, Die Hebriden. Konzert-Ouvertüre (The Hebrides. Concert Overture) op. 26, edited by Christopher Hogwood (Kassel: Bärenreiter, 2004). xxxi + 103pp. £28.50." Nineteenth-Century Music Review 3, no. 2 (2006): 210–12. http://dx.doi.org/10.1017/s147940980000077x.

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Beade, Ileana Paola. "Kant en la polémica del spinozismo: La racionalidad crítica como superación de la dicotomía entre razón y fe." Diánoia. Revista de Filosofía 61, no. 77 (2017): 109. http://dx.doi.org/10.21898/dia.v61i77.1477.

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<p><span>Este trabajo examina la posición que adopta Kant en la polémica del spinozismo, la cual involucró a importantes figuras de la Ilustración alemana en un debate acerca de los alcances y límites de la razón. Con la publicación del texto <em>Was heisst: Sich im Denken orientiren? </em>(1786), Kant rechaza tanto la posición de Jacobi —quien declara que la razón es incapaz de arribar a una demostración de la existencia de Dios y proclama la necesidad de un “salto a la fe”— como la posición de Mendelssohn, quien confía en las posibilidades de la razón para alcanzar ta

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Hernández Mateos, Alberto. "La critica como mediación cultural en la introducción del idealismo musical en España: Francisco de Asís Gil y la gira de Oscar de la Cinna (1855-1856)." Anuario Musical, no. 78 (January 5, 2024): 111–30. http://dx.doi.org/10.3989/anuariomusical.2023.78.06.

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Entre 1855 y 1856, el pianista húngaro Oscar de la Cinna (1830-1906) realizó una gira por la península ibérica en la que programó obras de autores «clásicos» como Beethoven, Mozart o Mendelssohn. Era la primera vez que un intérprete abordaba este tipo de repertorio en la esfera pública española, lo que llamó la atención de críticos como Francisco de Asís Gil (1829-1861). En sus escritos, publicados en la Gaceta musical de Madrid, Asís Gil partió de los conciertos de Cinna para reflexionar sobre cuestiones que cabe vincular al «idealismo musical», que hasta entonces había tenido una escasa repe

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Burhan, Iryna. "“Dialogue-concertizing” as a reflection of the growth of the communicative component in culture: on the example of concertos for two pianos and orchestra by Felix Mendelssohn-Bartholdy." Часопис Національної музичної академії України ім.П.І.Чайковського, no. 3(40) (October 4, 2018): 95–110. http://dx.doi.org/10.31318/2414-052x.3(40).2018.143811.

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Klendiy, O. M. "Interpretative aspect of C. Saint‑Saëns’s piano music." Problems of Interaction Between Arts, Pedagogy and the Theory and Practice of Education 56, no. 56 (2020): 136–53. http://dx.doi.org/10.34064/khnum1-56.09.

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Background, the objective of the research. From the perspective of interpretative discourse, C. Saint-Sa&#235;ns’s heritage widens the contemporary views of his performance career and explains the nature of his pianoforte mentality. Moreover, an interpretative approach is becoming an important part of its investigation methodology, which makes it possible to state the aim of the paper, which is to determine the priorities of C. Saint-Sa&#235;ns as being an outstanding virtuoso performer of his historical era (what is necessary to understand his artistic mentality). According to the aim

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Mykhailova, O. V. "Woman in art: a breath of beauty in the men’s world." Aspects of Historical Musicology 17, no. 17 (2019): 163–80. http://dx.doi.org/10.34064/khnum2-17.11.

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Background. А history of the development of the human community is at the same time a history of the relationship between men and women, their role in society, in formation of mindset, development of science, technology and art. A woman’s path to the recognition of her merits is a struggle for equality and inclusion in all sectors of public life. Originated with particular urgency in the twentieth century, this set of problems gave impetus to the study of the female phenomenon in the sociocultural space. In this context, the disclosure of the direct contribution of talented women to art and th

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Sandiuk, Sergey. "Paradoxes of L. Spohr." Aspects of Historical Musicology 16, no. 16 (2019): 77–89. http://dx.doi.org/10.34064/khnum2-16.04.

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Background. The creative life of Ludwig Spohr (1784–1859) coincides with at least three historically-cultural periods: Late-Classical, Romantic and LateRomantic, thus creating a straight line from Classical works of XVIII century to those of the middle of XIX century. First works by Spohr having opus number chronologically coincide with the beginning of Beethoven’s central period of life, and in this light, he is rather seen as heir of pre-Beethoven generation of composers. But, having outlived the last Viennese Classicist by 32 years, Spohr assimilated both his experience and innovations of t

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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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