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Journal articles on the topic 'Orchestra/chamber music'

Author: Grafiati

Published: 3 June 2025

Last updated: 31 July 2025

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1

Gillespie, Robert. "A New ASTA Product: Videotapes." American String Teacher 36, no. 1 (1986): 48–49. http://dx.doi.org/10.1177/000313138603600122.

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Robert Gillespie is director of string education and assistant professor of music at The Ohio State University, where he is responsible for the undergraduate and graduate curriculum in string pedagogy and orchestral teaching. He received his Ph.D. from The University of Michigan. A violinist, adjudicator, researcher, and clinician, Dr. Gillespie is currently principal second violin of the PRO MUSICA Chamber Orchestra of Columbus. The founder and director of The Ohio State University-Columbus Symphony Orchestra Junior Strings Youth Orchestra, and of The Ohio String Teachers Middle School Summer

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2

Palmer, Peter. "Swiss Cello Concertos." Tempo 60, no. 235 (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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Conway, Paul. "John McCabe's Psalm-Cantata St John's, Smith Square." Tempo 68, no. 267 (2014): 66–67. http://dx.doi.org/10.1017/s004029821300140x.

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John McCabe is most closely associated with large-scale orchestral statements, notably in concertante and symphonic forms and in ballet scores, yet chamber and instrumental music has recently played an increasingly significant role within his oeuvre. Of his vocal music, unaccompanied choral works such as the carols have attracted most attention, whilst his major contributions to the choral-orchestral repertoire, such as the large-scale cantata, Voyage (1972) and the extended song cycle for soloists, choir and large orchestra, Songs of the Garden (both Three Choirs Festival commissions, for 197

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Golovashych, E., V. Skakun, and Y. Kyrychenko. "«ORCHESTRA CLASS» IN THE EDUCATIONAL COMPONENTS SYSTEM OF THE PROFESSIONAL TRAINING OF SECOND-LEVEL HIGHER EDUCATION APPLICANTS MAJORING IN «MUSIC ART»." Aesthetics and Ethics of Pedagogical Action, no. 26 (December 25, 2022): 173–83. http://dx.doi.org/10.33989/2226-4051.2022.26.273175.

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The article deals with the peculiarities of ensemble playing in groups of orchestral instruments as part of an orchestra. The authors of the article show that there are a number of specialized educational institutions in Europe, where performers are divided into orchestral instrumentalists, chamber performers, and soloists. According to these rather specific specializations, there is a considerable list of highly specialized occupations, because not every orchestra player will be able to become a teacher or a performing soloist. Future artists of the orchestra in separate groups of instruments

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Tulyantsev, Andrey. "Harry Logwin as a symbol of the violin Dnepropetrovsk region." Музикознавча думка Дніпропетровщини, no. 19 (December 30, 2020): 16–24. http://dx.doi.org/10.33287/222030.

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The purpose of the article is to study the creative person of Harry Logvin. He is the only Peopleʼs Artist of Ukraine, as a violinist, who lived and worked in our region. Garry Logvin was concertmaster of the Dnepropetrovsk Opera and Ballet Theater, teacher, co-founder of the private new chamber orchestra «Seasons». The scientific novelty of this article has the following vectors: approved the concept „accompanist of the orchestra of the Dnepropetrovsk Opera and Ballet Theater”, a study is being made of the relationship between internal and external form and how the master performed works for

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Manalu, Yohanes Tanaka Pangihutan, and Jayanti Mandasari Sagala. "Komposisi Programma-Representatif dengan Konversi Idiom Musik Batak Toba dan Chromatic Mediant." INVENSI 9, no. 2 (2024): 137–51. https://doi.org/10.24821/invensi.v9i2.9477.

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Pernikahan merupakan peristiwa penting dalam kehidupan manusia karena menyatukan dua karakter dengan latar belakang yang berbeda. Pria, wanita, dan penyatuan pria dan wanita adalah tiga bagian dari pernikahan. Ketiga bagian ini menjadi representasi tiap bagian dalam penciptaan komposisi musik. Sifat atau karakter dari pria, wanita dan penyatuan pria dan wanita menjadi ekstra-musikal dalam pengolahan komposisi musik programma. Metode penciptaan pada komposisi musik ini menggunakan beberapa tahapan, yaitu eksplorasi, eksperimentasi, pengaplikasian dan penyajian karya. Komposisi ini merupakan mus

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Petroudi, Georgia. "The Cypriotization of Beethoven or Beethoven’s Cypriotization: The Composer’s Traces Throughout the Foundation of the “Westernized” Cypriot Music Scene." Studia Musicologica 61, no. 1-2 (2021): 149–59. http://dx.doi.org/10.1556/6.2020.00011.

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The focus of this paper is the reception of Ludwig van Beethoven’s works at the turn of the twentieth and twenty-first centuries, from the establishment of symphony orchestras and other cultural institutions. These works include symphonic and chamber music, performed in the framework of symphonic concerts as presented by the Cyprus Symphony Orchestra and chamber music as presented by chamber music festivals. This paper will shine a light onto the preserved concert programs of the orchestras, as well as other concerts that can be traced in newspapers and other printed magazines, in order to dem

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Byron Adams. "Sinfonietta pro maly´ orchestr = for chamber orchestra (review)." Notes 65, no. 3 (2009): 575–77. http://dx.doi.org/10.1353/not.0.0107.

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Vernia Carrasco, Ana Mercedes. "INTERVIEW ROIT FELDENKREIS." ARTSEDUCA 29, no. 29 (2021): 107–10. http://dx.doi.org/10.6035/artseduca.2021.29.8.

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    Roit Feldenkreis started in the arena of classical music in the “classical” way. As a young girl she trained in Israel and the USA to become a soprano singer with everything that entails, practice, discipline and hard work in the face of challenge. This seemingly predictable beginning has converted into a road of exploration for Roit in which she has been constantly investigating and pushing the boundaries of the classical tra- ditions as well as cultural and geographical boundaries as an international orchestra conductor. Prizewinner at the London Classical S

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Troglauer, April, and Anna Morrison. "Using Chamber Music and Reflection to Foster Student Engagement in Orchestra." Music Educators Journal 111, no. 1 (2024): 50–57. http://dx.doi.org/10.1177/00274321241275616.

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How can orchestra teachers diversify curricula to engage young musicians in project-based learning experiences that build their musicianship and confidence? This action research study explores how the author fostered project-based learning experiences that incorporated student reflection and assessment within chamber music ensembles. By incorporating opportunities for students to build skills through chamber music ensembles, music teachers can foster students’ engagement, develop students’ confidence, and improve large-ensemble performances. Included as well are recommendations for implementin

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Andriyanto, R. M. Aditya. "PROSES PRODUKSI AUDIO PADA KONSER VIRTUAL "COLORCHESTRA" BATAVIA CHAMBER ORCHESTRA MENGGUNAKAN SOFTWARE DIGITAL AUDIO WORKSTATION LOGIC PRO." Imaji 19, no. 2 (2021): 143–61. http://dx.doi.org/10.21831/imaji.v19i2.44854.

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Pandemi Covid-19 menyebabkan munculnya konsep pertunjukan konser musik secara virtual sebagai alternatif penyajian karya seni musik. Penelitian ini bertujuan untuk mengetahui proses produksi audio hasil rekam karya pada Konser Virtual "Colorchestra" Batavia Chamber Orchestra menggunakan software Digital Audio Workstation Logic Pro. Selain itu, penelitian ini diharapkan dapat menambah wawasan pendidik dan peserta didik (mahasiswa) mengenai penciptaan karya mengunakan software DAW sebagai kecakapan digital literasi pendidikan musik abad-21. Metode penelitian ini menggunakan metode kualitatif des

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Rovner, Anton A. "A Successful Blend of Diverse Styles, Genres and Techniques in Andrew Thomas’ Orchestral Works from the End of the 20th Century." Russian Musicology, no. 4 (2024): 87–100. https://doi.org/10.56620/rm.2024.4.087-100.

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Andrew Thomas is a distinguished American composer of considerable renown. He has written numerous compositions for solo piano, various chamber ensembles, solo voices, chorus, and orchestra. He is also a pianist, a conductor and a composition teacher, who taught for over fifty years at the Pre-College Division of the Juilliard School in New York City. He has instructed composition already to several generations of composers, many of whom have since become prominent members of the American contemporary music scene. Among the most significant compositions Andrew Thomas has written are his works

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Frank, Andrew, Toru Takemitsu, Ellen Taaffe Zwilich, Elliott Carter, and Robert Lowell. "Rain Coming; For Chamber Orchestra." Notes 43, no. 2 (1986): 408. http://dx.doi.org/10.2307/897401.

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Gün, Elvan. "The opinions of the preservice music teachers regarding the teaching of orchestra and chamber music courses during distance education process." Cypriot Journal of Educational Sciences 16, no. 3 (2021): 1088–96. http://dx.doi.org/10.18844/cjes.v16i3.5827.

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This study was carried out to determine the opinions of preservice music teachers on the processing and efficiency of Orchestra and Chamber Music courses which are based on collective playing and singing, among the online music teaching undergraduate courses conducted in the distance education process that started in Turkey in March 2020 due to the COVID-19 pandemic. The study group of the study consisted of 40 students studying at the 3rd and 4th grades in Mehmet Akif Ersoy University, Fine Arts Education Department, Music Education Department. In this study, the case study method which is on

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Roland-Silverstein, Kathleen. "Music Reviews." Journal of Singing 80, no. 2 (2023): 237–40. http://dx.doi.org/10.53830/vckz2369.

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Review of vocal music by two American composers: Scott Wheeler, “Dreams, Lies & Love Songs” and Juliana Hall, “Setting Sails,” twelve song settings of Emily Dickinson poems for soprano, mezzo, or tenor. British composer Jacques Cohen’s “Love Journey,” seven song settings for voice and piano, and for string orchestra, on poems from James Joyce’s “Chamber Music.”

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Talbot, John. "York Bowen's Viola Concerto." Tempo 60, no. 238 (2006): 42–43. http://dx.doi.org/10.1017/s0040298206260315.

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YORK BOWEN: Viola Concerto in C minor, op.25. CECIL FORSYTH: Viola Concerto in G minor. Lawrence Power (vla), BBC Scottish Symphony Orchestra c. Martyn Brabbins. Hyperion CDA67546.BOWEN: Viola Concerto; Viola Sonata No.2 in F major; Melody for the C string, op.51 no.2. Doris Lederer (vla), with Czech Philharmonic Chamber Orchestra c. Paul Polivnick, Bruce Murray (pno). Centaur CRC 2786.BOWEN: Viola Concerto. WALTON: Viola Concerto in A minor. HOWELLS: Elegy for viola, string quartet and string orchestra. VAUGHAN WILLIAMS: Suite for viola and orchestra (Group I). Helen Callus (vla), New Zealand

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Tigse Diaz, Edison Fabian, Paulo David Herrera Latorre, Lenin Miguel Garces Viteri, and Liliana Elizabeth Laica Tasinchana. "Impact of a chamber orchestra in the university environment: analysis of the development of artistic and cultural skills." Sapienza: International Journal of Interdisciplinary Studies 5, no. 2 (2024): e24028. http://dx.doi.org/10.51798/sijis.v5i2.755.

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The objective of this research was to explain the importance of the creation of the chamber orchestra established in the Faculty of Human Education Sciences and Technologies, the career of Pedagogy in Arts and Humanities of the National University of Chimborazo in the year 2023, through the review of scientific data and theoretical foundation, in order to demonstrate the musical and cultural artistic development. The research had a qualitative approach by virtue of the fact that a more personal interaction was required, and the level of research was analytical-synthetic, inductive - deductive,

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McBurney, Gerard. "Brian Elias's recent music." Tempo, no. 174 (September 1990): 12–18. http://dx.doi.org/10.1017/s0040298200019392.

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In the past ten years a remarkable change has come over Brian Elias. He has turned from being a miniaturist to being a composer on a symphonic scale and with symphonic aspirations. Not that he has written any work with so self-conscious a title as ‘symphony’ – at least, not yet. But in these few years he has given us two extended cycles for voice and symphony orchestra, a large-scale single-movement orchestral work that must certainly be called symphonic, a set of 49 Variations for piano inspired by Beethoven's set of 32 in C minor, and now an orchestral ballet in progress for Kenneth Macmilla

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Stuani, Ricardo. "Percussion solo parts in Rogerio Duprat’s Antinomies I." Per Musi 24 (December 11, 2023): 1–21. http://dx.doi.org/10.35699/2317-6377.2023.48632.

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This article aims to analyse the solo percussion parts in Antinomies I, written for chamber orchestra by Brazilian composer Rogério Duprat (1932–2006) in 1962. Characterised by its graphic notation, the composer uses indeterminacy to lead the orchestra into an unconventional paradigm of sound creation. The analysis focuses on the percussionist's range of choices in order to understand how they affect the macro and microstructural elements of the work. There is considerable scope for choices in the percussion part of Antinomies I, which requires the use of "multi-percussion". Eight of the thirt

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Riabova, O. "Collective Music Making as an Effective Means of Teenage Music and Style Notions Shaping." Zhytomyr Ivan Franko state university journal. Рedagogical sciences, no. 4(86) (December 21, 2016): 140–43. http://dx.doi.org/10.35433/pedagogy.4(86).2016.140-143.

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The article deals with the collective music making as an effective means of teenage music style notions shaping. The author emphasizes the importance of teen age for music and style notions shaping of a person that is effectively implemented exactly under conditions of collective music making. The article states that the joint efforts of each team member achieve much better common results than individual attempts to implement their own musical style in performing activities of a teenager. The author stresses the importance of collective music for learning musical-historical, musical and

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Quinn, Peter. "Pēteris Vasks's Violin Concerto." Tempo 59, no. 233 (2005): 82–83. http://dx.doi.org/10.1017/s0040298205280257.

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Carnovale, Norbert, Gunther Schuller, and Robert Waddell. "Concerto for Trumpet and Chamber Orchestra." Notes 43, no. 3 (1987): 679. http://dx.doi.org/10.2307/898222.

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Conway, Paul. "Thea Musgrave round-up." Tempo 57, no. 226 (2003): 50–51. http://dx.doi.org/10.1017/s004029820325035x.

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‘Pierrot Dreaming’. MUSGRAVE: Canta! Canta!; Ring Out Wild Bells; Threnody; Pierrot; Chamber Concerto No. 2. Victoria Soames Samek (cl), Gabrielle Byam-Grounds (fl), David Le Page (vn/va), Matthew Sharp (vc), Mark Troop (pno). Clarinet Classics CC0038.‘The Fall of Narcissus’. MUSGRAVE: Serenade; Narcissus; Impromptu for flute and cello; Wind Quintet; Impromptu No. 2 for flute, oboe and clarinet; Four Portraits for baritone, clarinet and piano. Victoria Soames Samek (cl), Members of English Serenata, David Le Page (va), Matthew Sharp (vc), Stephen Varcoe (bar), Rachel Masters (hp). Clarinet Cla

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Решетілов Б. Ю. "КОМПОЗИЦІЙНИЙ ВПЛИВ КАМЕРНІЗАЦІЇ ЯК ОДИН З ФАКТОРІВ СТАНОВЛЕННЯ ДРАМАТУРГІЧНОГО ПРОЦЕСУ У КОНЦЕРТНИХ ТВОРАХ ДЛЯ ФОРТЕПІАНО З ОРКЕСТРОМ ХХ СТОРІЧЧЯ". World Science 2, № 12(40) (2018): 56–59. http://dx.doi.org/10.31435/rsglobal_ws/30122018/6277.

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   The subject of this research is to consider the compositional properties of the chamber tendency in relation to drama in compositions for solo instruments within a chamber orchestra. As twentieth century composers' raised interest in chamber-orchestral concert genres, this caused a number of consequences affecting the formation of dramatic specifics. Some of these include those trends of chamber tendency, which relate to timbre, form, genre, neoclassical manifestations, aesthetics, character directivity, etc. Revision of the semantic component of the chamber orchestra tool

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Hedgecoth, David M. "Collaborations: Partnerships Create Success for Charter School Students." Music Educators Journal 105, no. 2 (2018): 51–56. http://dx.doi.org/10.1177/0027432118804868.

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A unique partnership between public charter schools, a civic chamber orchestra, and university school of music has brought music instruction to middle school students in central Ohio. This collaborative endeavor can serve as a model for charter schools administrators wishing to expand their curricular offerings to include music and other arts instruction.

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Haefliger, Kathleen. "The Orpheus Chamber Orchestra Presents: Music Meets Business (review)." Notes 62, no. 3 (2006): 788. http://dx.doi.org/10.1353/not.2006.0018.

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Miller, Malcolm. "From Liszt to Adams (II): ‘The Black Gondola’." Tempo, no. 179 (December 1991): 17–20. http://dx.doi.org/10.1017/s0040298200061349.

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The Black Gondola, John Adams's transcription for chamber orchestra of Liszt's La Lugubre Gondola II, composed in 1989 for the St. Paul Chamber Orchestra, Minnesota, shows how – as in the case of Wiegenlied (discussed in an earlier article, Tempo 175) – the composer has been attracted to those aspects of Liszt's late style which inter–connect with minimalism: regular, and fluid, rhythmic textures; economy of thematic material which undergoes ‘minimal’ transformation; extensive phrase repetition in a ‘sequencing’ structure; harmonic ambiguity and elusiveness. In addition, in this case, a strong

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Lindsey, Roberta L., and Aaron Copland. "Grohg-Ballet in One Act. Prelude for Chamber Orchestra." American Music 16, no. 1 (1998): 114. http://dx.doi.org/10.2307/3052686.

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Akyurek, Riza. "Training Organizations Music Educator Orchestra/Chamber Music Education Problems and Solution Proposals." Procedia - Social and Behavioral Sciences 47 (2012): 185–89. http://dx.doi.org/10.1016/j.sbspro.2012.06.636.

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Elfrida Yuliana Simamora. "Pertumbuhan Musik Klasik Barat di Kota Medan." Jurnal Riset Rumpun Seni, Desain dan Media 3, no. 1 (2024): 14–22. http://dx.doi.org/10.55606/jurrsendem.v3i1.2282.

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Edward Van Ness is a violinist, conductor, writer and teacher who has lived and worked in Indonesia cumulatively for more than forty years. Composition and world music studies were completed at Wesleyan University, conducted at the Eastman School of Music, with further graduate studies also at Boston University. He undertook research on South Indian Classical Music, was a concert player in the Carnatic Vina, and founded the Madras Chamber Orchestra. He founded the music department in 1986 at the Medan International School and became head of the music and technology department at the Indonesian

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Chiforisin, Galina. "Fantasy on a theme by G. Enescu for clarinet and orchestra by Oleg Negruţa." Arta 32, no. 2(AAV) (2023): 36–40. http://dx.doi.org/10.52603/arta.2023.32-2.05.

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In the present study, we propose to identify the structural elements of sound discourse, as well as their manifestation in the concept of the work Fantasy on a theme by G. Enescu for clarinet and orchestra by Oleg Negruţa. The author’s compositional records include vocal, instrumental chamber, concert and symphonic music. Most of his creations are attributed to concert and chamber music. The work that we are going to analyze serves as proof of the novelty of the genre, form and elements of writing. Fantasy as a genre represents an instrumental or orchestral work with a fairly free architecture

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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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Diebes, Joseph. "Notes on presence: A Music Installation for Phantom Chamber Orchestra." PAJ: A Journal of Performance and Art 24, no. 2 (2002): 34–41. http://dx.doi.org/10.1162/152028102760049300.

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Martinka, Pavel. "Univerzitný komorný orchester Mladosť a 15 rokov jeho pôsobenia." Studia Scientifica Facultatis Paedagogicae Universitas Catholica Ružomberok 23, no. 4 (2024): 115–21. http://dx.doi.org/10.54937/ssf.2024.23.4.115-121.

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The contribution brings a view in existence of University chamber orchestra Mladosť by Faculty of Education of Matej Bel University in Banská Bystrica in the period of last 15 years also earlier instrumental music production in academic area of Banská Bystrica.

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Maxile, Horace J. "Ulysses Kay: Works for Chamber Orchestra. Metropolitan Philharmonic Orchestra, Kevin Scott, conductor. Albany Records, TROY 961, 2007." Journal of the Society for American Music 3, no. 3 (2009): 388–90. http://dx.doi.org/10.1017/s1752196309990022.

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McAdams, Stephen, Sandrine Vieillard, Olivier Houix, and Roger Reynolds. "Perception of Musical Similarity Among Contemporary Thematic Materials in Two Instrumentations." Music Perception 22, no. 2 (2004): 207–37. http://dx.doi.org/10.1525/mp.2004.22.2.207.

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Free classification was used to explore similarity relations in contemporary musical materials. Thirty-four subsections from the five themes of The Angel of Death by Roger Reynolds were composed identically for piano (Expt. 1) and chamber orchestra (Expt. 2) in terms of pitch, rhythm, and dynamics. Listeners were asked to group together those judged to be musically similar and to describe the similarities between the subsections in each group. Listeners based their classifications on surface similarities related to tempo, rhythmic and melodic texture, pitch register, melodic contour, and artic

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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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Telford, James. "RECONCILING OPPOSING FORCES: THE YOUNG JAMES MACMILLAN – A PERFORMANCE HISTORY." Tempo 65, no. 257 (2011): 40–51. http://dx.doi.org/10.1017/s0040298211000258.

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James MacMillan was 50 years old on 16 July 2009 and his birthday was celebrated by musical institutions not just in Britain, but internationally. As a composer and conductor in residence for the BBC Philharmonic he led performances of his Symphony No.3: Silence and The World's Ransoming. The Royal Northern College of Music staged a three-day celebration of his work while The Sixteen toured his music under conductor Harry Christophers. His recent St John Passion was performed in Berlin and Amsterdam by the London Symphony Orchestra and in Rotterdam concerts of his music were given by the Rotte

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Kirke, Alexis. "Application of Musical Computing to Creating a Dynamic Reconfigurable Multilayered Chamber Orchestra Composition." Leonardo Music Journal 29 (December 2019): 55–61. http://dx.doi.org/10.1162/lmj_a_01064.

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With increasing virtualization and the recognition that today’s virtual computers are faster than hardware computers of 10 years ago, modes of computation are now limited only by the imagination. Pulsed Melodic Affective Processing (PMAP) is an unconventional computation protocol that makes affective computation more human-friendly by making it audible. Data sounds like the emotion it carries. PMAP has been demonstrated in nonmusical applications, e.g. quantum computer entanglement and stock market trading. This article presents a musical application and demonstration of PMAP: a dynamic reconf

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Rutherford-Johnson, Tim. "‘CONTACT!’: New York Philharmonic Orchestra, Milton Court Concert Hall, London." Tempo 69, no. 274 (2015): 64–65. http://dx.doi.org/10.1017/s0040298215000388.

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The New York Philharmonic Orchestra, under its Music Director Alan Gilbert, spent a week in residence at the Barbican Centre in April, giving four concerts and various other events. Among them was ‘CONTACT!’, a concert of chamber music performed by members of the NYPO in the Guildhall's Milton Court Concert Hall on 18 April 2015. There were five pieces for various small groups. Three were new to the UK, and I will focus on these.

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Hayes, Deborah, and Peggy Glanville-Hicks. "Etruscan Concerto [For] Piano and Chamber Orchestra (1954)." Notes 47, no. 2 (1990): 558. http://dx.doi.org/10.2307/942013.

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Tudor, Brînduşa. "The Piano, A Perfect Musical Instrument – Beginnings and Evolution (18th – 19th Centuries)." Review of Artistic Education 17, no. 1 (2019): 100–105. http://dx.doi.org/10.2478/rae-2019-0010.

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Abstract The 18th century and the beginning of the 19th century mark the emergence, development and affirmation of the piano as a complex instrument that shall take, in turns, the role of soloist instrument, claiming and being able to reach the sound variety of the orchestra, that of partner in chamber music assemblies or that of orchestra member. The emergence, improvement and qualitative performance acquisition adventure of the piano represents a fascinating history about human creativity and ingenuity serving art, beauty, sound expressivity refinement and improvement.

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Kachmarchyk, Volodymyr, and Oleksandr Ovchar. "Musical and educational activities of Franz Kučera in Eastern Ukraine from 1890–1911." Musicologica Brunensia, no. 2 (2024): 75–95. https://doi.org/10.5817/mb2024-2-5.

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František Wojciechowicz Kučera is one of the most conspicuous representatives of the Czech music community in Kharkiv in the late 19th and early 20th centuries. He played an important role in the professionalization of music education and the formation of chamber-instrumental and orchestral culture of Eastern Ukraine. As a teacher at Kharkiv Music College and a multi-instrumentalist, he confidently presented the bassoon at the city's concert venues. At the same time, his performances as a violist in the string quartet contributed to the intensification of musical and educational activities of

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Miller, Malcolm. "Recent Cello Music by Graham Whettam." Tempo, no. 216 (April 2001): 31–36. http://dx.doi.org/10.1017/s0040298200008470.

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The recent spate of world premières, concerts and several newly-released and imminent CD recordings have indicated a renewed interest in the music of the British composer Graham Whettam, who celebrated his 70th birthday with a concert in 1998 (see review in Tempo 206) and is still busy producing new works. As recently as February he completed his Fifth Symphony, for chamber orchestra (a Sixth is in progress) and his String Quartet No.4 is scheduled for a première later this year.

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Lister, Rodney. "Bolcom, Gann and other Americans." Tempo 60, no. 235 (2006): 37–39. http://dx.doi.org/10.1017/s0040298206260042.

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WILLIAM BOLCOM: Songs of Innocence and of Experience. Christine Brewer, Measha Brueggergosman, Hana Davidson, Linda Hohenfeld, Carmen Pelton (sops), Joan Morris (mezzo-sop), Marietta Simpson (con), Thomas Young (ten), Nmon Ford (bar), Nathan Lee Graham (speaker/vocals), Tommy Morgan (harmonica), Peter ‘Madcat’ Ruth (harmonica and vocals), Jeremy Kittel (fiddle), The University of Michigan Musical Society Choral Union, Chamber Choir, University Choir, Orpheus Singers, Michigan State University Children’s Choir, Contemporary Directions Ensemble, University Symphony Orchestra c. Leonard Slatkin.

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Petri-Preis, Axel. "EMILY HOWARD'S LOVELACE TRILOGY: A MUSICAL HOMAGE TO A MATHEMATICAL PIONEER." Tempo 67, no. 265 (2013): 28–36. http://dx.doi.org/10.1017/s0040298213000442.

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AbstractWithAda Sketches, for mezzo-soprano, flute, clarinet and percussion,Mesmerism, for solo piano and chamber orchestra, andCalculus of the Nervous System, for large orchestra, in 2011 the young British composer Emily Howard completed a triptych of works in which she drew decisively on the life and thoughts of Ada Lovelace for inspiration. Today, Lovelace is recognized as a pioneer of 19th-Century mathematics, who in her lifetime attempted to bring together art and mathematics in Charles Babbage's Analytical Engine. She was convinced of the power of mesmerism and believed that there was a

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Ryan, Pamela, and Heidi Castleman. "Advanced Intermediate Chamber Music for Double Bass and Unusual Combinations." American String Teacher 44, no. 2 (1994): 79–80. http://dx.doi.org/10.1177/000313139404400229.

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Pamela Ryan is an associate professor of viola at Florida State University in Tallahassee and in May becomes president of ASTA's Florida state unit. Previously, she taught at Bowling Green State University, Cincinnati College-Conservatory, Brooklyn College, and Aspen Music School. A graduate of the North Carolina School of the Arts, she received her B.M. from the University of Maryland, an M.A. in performance from the Conservatory of Music of Brooklyn College, and a D.M.A. from the Cincinnati College-Conservatory. She was a winning soloist of the Aspen Concerto Competition and has performed wi

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Harkness, Edward L. "Needs of musicians during performance, without electronic amplification, in Concert Halls and Opera Houses." Journal of the Acoustical Society of America 154, no. 4_supplement (2023): A344. http://dx.doi.org/10.1121/10.0023746.

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Drawing on experience of having listened to music in 60 concert halls and opera houses around the World, conducted experimental stage and orchestra pit modifications for live performance with audiences, analyzed the onset characteristics of musical instruments and their attack sequences; manipulated the distribution of acoustic energy using stage furniture with performer responses; and taught acoustics for 40 years, the author offers insights into the design of stages and orchestra pits for the performance of music without electronic amplification, in the context of his experience as a musicia

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Domagała, Jarosław. "Teaching qualities in piano works by Henryk Pachulski in the context of the development of piano technique in children and youth. Part 1." Notes Muzyczny 2, no. 16 (2021): 59–86. http://dx.doi.org/10.5604/01.3001.0015.5488.

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Henryk Pachulski (1852-1921) – a Polish composer, pianist, and teacher. He graduated from the Warsaw Institute of Music, having studied piano with Rudolf Strobl. His harmony and counterpoint teachers were Stanisław Moniuszko and Władysław Żeleński. After that, he studied piano at the Moscow Conservatory with Nicolai Rubinstein and then Pawel Pabst. He learnt harmony from E. L. Langer, then Anton Arensky with whom he also had a special course in counterpoint. In 1886 he started his teaching career at the Moscow Conservatory, which lasted over 30 years. He also performed as a pianist in Moscow,

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Mokrohuz, Inna. "Modern instrumental and orchestral art of the Bukovyna region." Aspects of Historical Musicology 31, no. 31 (2023): 49–64. http://dx.doi.org/10.34064/khnum2-31.03.

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Statement of the problem. The modern instrumental and orchestral art of Bukovyna, which has deep historical roots dating back to Proto-Slavic times, stands out for its bright originality. The creation of a musical-instrumental collective involves the search for a creative personality with the appropriate professional level, musical and organizational and communication skills, and the ability to communicate tolerantly with all members of the ensemble. That is why there is a need to highlight the artistic activities of both the instrumental groups themselves and their leaders. Because it is than

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