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Books on the topic 'Monologues with music (Piano with chamber orchestra)'

Author: Grafiati

Published: 4 June 2021

Last updated: 4 February 2022

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1

Foss, Lukas. Elegy for Anne Frank: For orchestra (or chamber orchestra) and piano solo. New York: Pembroke Music Co., 1989.

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2

Perera, Ronald. The outermost house: For chorus of mixed voices with narrator, soprano solo, and chamber orchestra accompaniment. Chester, NY: Music Associates of New York, 1993.

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3

Zwilich, Ellen Taaffe. Romance for violin and chamber orchestra (1993). Bryn Mawr, Pa: Merion Music, 1998.

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4

Barab, Seymour. Bigger and better: From Tales of rhyme and reason. [United States]: Boosey & Hawkes, 1988.

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5

Prokofiev, Sergey. Peadar agus an Mac Tíre. Baile Átha Cliath [Dublin]: Coiscéim, 1998.

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6

Prokofiev, Sergey. Peter and the wolf. Natick, MA: Picture Book Studio, 1987.

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7

Nazīh, Jirjis, and Toth Madeleine, eds. Bītar wa-al-dhiʼb: Riwāyh mūsīqīyah klāsīkīyah ūrkistrālīyah lil-aṭfāl. [Oxford, NJ, USA]: Majlis al-Sharq al-Awsaṭ lil-Funūn al-Istiʻrāḍīyah, 1995.

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8

Prokofiev, Sergey. Peter und der Wolf. Wien: Annette Betz, 2003.

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9

ill, Cooney Barbara 1917, ed. Peter and the wolf: A mechanical book. New York, N.Y: Viking Kestrel, 1985.

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10

ill, Raschka Chris, ed. Peter and the wolf. New York: Atheneum Books for Young Readers, 2008.

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11

Peter and the wolf. New York: Puffin Books, 1986.

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12

Harper, Edward. Fantasia IV, for Violin, Piano, and Chamber Orchestra (Oxford Contemporary Music). Oxford University Press, 1987.

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13

Amadeus, Mozart Wolfgang. Sinfonia Concertante: Score and Parts. G. Schirmer, Inc., 1987.

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14

Berlioz, Hector. Lelio (Kalmus Edition). Alfred Publishing Company, 1985.

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15

Prokofiev, Sergey. Peter and the Wolf: Piano Solo. G. Schirmer, Inc., 1999.

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16

Vesperae Solennes de Confessore. Faber & Faber, 2001.

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17

Amadeus, Mozart Wolfgang. Vesperae Solennes de Confessore. Faber & Faber, 2001.

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18

Lott, Marie Sumner. String Chamber Music and Its Audiences in the Nineteenth Century. University of Illinois Press, 2017. http://dx.doi.org/10.5406/illinois/9780252039225.003.0008.

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This introductory chapter discusses string chamber music, which fostered a variety of social interactions that helped build communities within communities in the nineteenth century. Chamber music for strings resists easy incorporation into the dominant narrative of musical developments centered on technological progress and compositional innovation. This is because chamber music's association with musical conservativism and orthodoxy has colored its reception since at least the 1840s. One reason for string music's apparent orthodoxy lies in the fact that stringed instruments themselves experienced only subtle organological changes in the nineteenth century in comparison to the piano or to wind instruments, which radically changed the timbre of the orchestra in symphonic and operatic works. Moreover, observations that string chamber music remained essentially conservative in its treatment of genre, form, harmony, and the like betray modern historiography's obsession with innovation.

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19

Monteverdi, Claudio. Vespro Della Beata Vergine =: Vespers (1610) (Oxford Tutors for Horn). Oxford University Press, 1999.

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20

Monteverdi, Claudio. Vespro Della Beata Vergine =: Vespers (1610) (Oxford Choral Works). Oxford University Press, 1999.

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21

Peter & the Wolf. Us-Mid-East Performing Arts Council, 1995.

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22

Chappell, Warren, and Serge Prokofieff. Peter And The Wolf (Chappell). Schocken, 1987.

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23

Miller, Leta E. Introduction. University of Illinois Press, 2017. http://dx.doi.org/10.5406/illinois/9780252038532.003.0001.

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This introductory chapter provides an overview of Aaron Jay Kernis's achievements. His current Schirmer catalog lists more than one hundred compositions: a dozen orchestral works; another dozen concerti with large orchestra or wind ensemble; a group of works for soloist with chamber orchestra; nearly two dozen compositions for two to six players and the same number of pieces for chorus; fourteen pieces for solo voice accompanied by piano or chamber groups; and a dozen compositions for keyboard. Quantity, however, is but one measure of achievement. In Kernis's case, quality has been repeatedly affirmed by a steady stream of awards and commissions, by the enthusiastic reception from renowned performers, and by the strong response his music elicits from audiences. Indeed, he has already won three major prizes coveted by contemporary composers: the Pulitzer Prize (1998), the Grawemeyer Award (2002), and the Nemmers Prize (2012).

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24

Mirchandani, Sharon. Expansion. University of Illinois Press, 2017. http://dx.doi.org/10.5406/illinois/9780252037313.003.0005.

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This chapter focuses on Marga Richter's compositions during the 1980s. Hoping to build on her 1970s success, Richter wrote primarily symphonic and chamber music but also returned to writing vocal and choral music. In 1980 she completed her Spectral Chimes/Enshrouded Hills for three orchestral quintets and orchestra. The initial working title was “Music for Three Quintets and Orchestra,” but was expanded to Music for Three Orchestral Quintets and Orchestra. This chapter begins with a discussion of English and Irish influences on Richter's works before turning to some of her compositions of the period, including Exequy and Lament for Art O'Leary. It also examines Richter's Arizona-inspired pieces and her all-Richter concert in New York City; her visit to Germany and her works while in Düsselfdorf; her visit to China and Tibet that led her to write Qhanri (snow mountain): Tibetan Variations for cello and piano; and her 1985 piece Out of Shadows and Solitude for full orchestra. The chapter concludes with an overview of Richter's activities after the death of her husband Alan Skelly.

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25

Beal, Amy C. Introduction. University of Illinois Press, 2017. http://dx.doi.org/10.5406/illinois/9780252039157.003.0012.

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This introductory chapter recounts Johanna Beyer's arrival in New York City. Beyer first lived in New York from April 1911 until June 1914. She then sang for three years in the Leipziger Singakademie and graduated from a German music conservatory in September 1923. She returned to New York on November 14, 1923. In the years following her arrival in New York, Beyer earned two degrees from the Mannes School of Music, and she took additional classes at Mannes through 1929. During her life after 1927 and until her passing in 1944, she composed all of the music available today: works for piano, percussion ensemble, chamber groups, choir, band, and orchestra. Indeed, Beyer's fifty-six known compositions can be divided into several broad categories: piano music, percussion music, music with text, and mixed instrumental music.

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26

Miller, Leta E. Triumphs and Tribulations. University of Illinois Press, 2017. http://dx.doi.org/10.5406/illinois/9780252038532.003.0006.

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This chapter focuses on Kernis's music in the years 1995–2001. In 1995, the American Academy of Arts and Letters honored Kernis with a $7,500 prize to facilitate a recording. During the following five years, Kernis would continue down the “road of excess,” churning out new works at a prodigious rate. In the summer of 1995, Kernis appeared for the first time as one of the featured composers at the Cabrillo Music Festival in Santa Cruz, California—a two-week contemporary music extravaganza held annually since 1963. Commissions also added to Kernis's increasing renown—he received one in August 1995 from the St. Paul Chamber Orchestra for an arrangement of piano music, another in September from the Birmingham Bach Choir for a short choral work, and a third in October from the Chicago Symphony for a choral symphony. Meanwhile, Kernis was frantically working on the Double Concerto for Violin and Guitar, which continued to give him trouble.

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27

Mirchandani, Sharon. Culmination. University of Illinois Press, 2017. http://dx.doi.org/10.5406/illinois/9780252037313.003.0006.

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This chapter focuses on Marga Richter's compositions during the 1990s. In the 1990s, the compositional world was still fragmented as composers focused on serial and electronic music, performance art, and numerous other styles. Richter continued to created choral music as well as music for opera, which she combined with vocal and orchestral works. Her compositions were fewer in number during this decade, but large in scale for the most part. This chapter first considers Richter's works after the death of her husband Alan Skelly, beginning with the seven-poem cycle, Into My Heart, which she dedicated to him. It then examines Richter's Quantum Quirks of a Quick Quaint Quar, along with two large-scale works from the 1990s that mark the apex of her output to date: the triple concerto, Variations and Interludes on Themes from Monteverdi and Bach for violin, cello, piano, and orchestra (1992); and the chamber opera, Riders to the Sea. It also discusses Sarah do not mourn me dead, which has hints of transcendentalism and love.

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