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Academic literature on the topic 'Piano quartets – Scores and parts'

Author: Grafiati

Published: 29 July 2024

Last updated: 31 July 2025

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Journal articles on the topic "Piano quartets – Scores and parts"

Abdokov, Yuri B. "Boris Tchaikovsky: Youth Quartets. The Experience of Discovering the Unknown Scores." ТЕАТР. ЖИВОПИСЬ. КИНО. МУЗЫКА 3 (September 2024): 206–22. http://dx.doi.org/10.35852/2588-0144-2024-3-206-222.

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This article is the first to examine the scores for two violins, viola, and cello composed in his youth by one of the greatest Russian composers of the twentieth century, Boris Alexandrovich Tchaikovsky (1925–1996). These ensemble scores, discovered after Tchaikovsky’s death, have never been published or included in reference or encyclo- pedic directories, including the authorized list of works. They are not sketches or drafts of unfinished pieces, but rather complete works written between 1940 and 1945. The Lento (1940) and the Scherzo (1941) have survived as manuscript scores; the single-par

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Kutluieva, Dar’ia. "PIANO QUARTETS OF L. BEETHOVEN: MOZART’S PROTOTYPES AND AUTHOR’S INITIO." Problems of Interaction Between Arts, Pedagogy and the Theory and Practice of Education 58, no. 58 (2021): 9–22. http://dx.doi.org/10.34064/khnum1-58.01.

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Background. The article provides an analysis of L. Beethoven’s piano quartets through the prism of the ensemble writing and composition experience by W. A. Mozart. The disclosure of the successive ties between the two great Viennese classics in the field of chamber instrumental music contributes to the scientific understanding of the history of this genre, which is not sufficiently covered in musicology. The analysis revealed that the four piano quartets of L. Beethoven are focused on Mozart’s prototypes, or rather, on sonatas for violin and piano. It was found that the formative principles of

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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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Niemöller, Klaus. "Sonate und Sonatina für Violoncello und Klavier von Kodály im gattungsgeschichtlichen Zusammenhang." Studia Musicologica 50, no. 1-2 (2009): 49–74. http://dx.doi.org/10.1556/smus.50.2009.1-2.3.

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The history of the genre of the sonata written for violoncello and pianoforte begins in 1796 with the five sonatas by Beethoven opp. 5, 69 and 102. The sonata op. 69 is a model for its special role until the 20th century: the lyrical character of the opening theme with a fantasy-like closing solo-cadenza and a fermata. Since the 1st Sonata of Brahms (1865), it was mostly young composers like Strauss (op. 6), Pfitzner (op. 1), Reger (op. 5) and Dohnányi (op. 8) who followed this tradition. As also the Sonata op. 4 by the young composer Kodály (1909) whose opening Adagio as “Fantasia” has the sa

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Turea, Elena. "The correlation of the voice and the piano parts in the vocal music of Schubert’s predecessors." Studiul artelor şi culturologie: istorie, teorie, practică, no. 2(43) (April 2023): 54–60. http://dx.doi.org/10.55383/amtap.2022.2.09.

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This article analyzes the historical and cultural background of F. Schubert’s achievements in the field of chamber vocal music, in particular, in correlation with the vocal and piano parts. We are talking about the fact that the basis of Schubert’s Lied are the traditions of German and Austrian folk songs, the work of minnesingers, meistersingers, predecessor composers. Reliance on folklore determines the intonation, the rhythmic and structural patterns of Schubert’s songs. The influence of the masters of minnesang and meistersang is felt in the harmony and composition logic of the Austrian ge

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Kutluieva, D. V. "Under the sign of playing: C. M. Weber’s Piano Quartet." Problems of Interaction Between Arts, Pedagogy and the Theory and Practice of Education 56, no. 56 (2020): 106–20. http://dx.doi.org/10.34064/khnum1-56.07.

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Background. A play principle is one of the essential properties of the artistic worldview and creative thinking of C. M. Weber. Declaring itself in works of different genres, it takes on many different shades, speaking in the form of comic, ironic, characteristic and carnival. In the instrumental opuses by the composer, the play aspect appears in complex of texture, articulation, intonation and thematic, dynamic and formative techniques that lead to immediate visual and theatrical associations. Expression of play principles in this genre sphere can be considered, on the one hand, as various ty

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Yu, Hecheng, and Xiaoming Luo. "The Healing Effects of Piano Practice-Induced Hand Muscle Injury." Computational and Mathematical Methods in Medicine 2022 (July 18, 2022): 1–6. http://dx.doi.org/10.1155/2022/1020504.

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Background. The muscles related to piano practice are mainly concentrated in the fingers and upper limbs, and the muscles related to other parts of the body are weak. Compared with other sports injuries, the injuries caused by piano practice are mainly chronic injuries caused by long-term strain of the upper limbs, and acute injuries rarely occur. The purpose of this study was to analyze the therapeutic effect of hand muscle injury caused by piano practice. Method. A total of 60 patients with hand muscle injury caused by piano practice admitted to our hospital from January 2019 to June 2020 we

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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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Palić-Jelavić, Rozina. "Mise Ferde Wiesnera Livadića - O 220. obljetnici rođenja i 140. obljetnici skladateljeve smrti." Nova prisutnost XVII, no. 2 (2019): 285. http://dx.doi.org/10.31192/np.17.2.3.

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Through his compositional contributions, Ferdo Wiesner Livadić enriched the Croatian (sacral) musical creativity of the age of Romanticism, realizing – alongside thirty church/sacral »small form« pieces – also one mass in Latin (Missa in C), and one in Croatian, with the title (Missa croatica pastoralis) as well as the titles of its parts/movements in Latin. By observing the autographical scores of the two Livadić’s masses, certain reflections regarding their similarities and differences had resulted; first of all, in terms of textual and language base, composition structure, performers’ ensam

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Kostyuk, Aleksei A., and Galina V. Alekseeva. "Emotions as a Phenomenon of Vocal and Opera Music." Problemy muzykal'noi nauki / Music Scholarship, no. 1 (2023): 168–77. http://dx.doi.org/10.56620/2782-3598.2023.1.168-177.

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The article examines the phenomenon of emotions as one of the leading patterns of creation of the vocal score of the singer-actor, the communicative intermediary between the composer, the librettist, the singer-actor and the listener-viewer. Opera as a synthetic art unites together music, poetry, production, scenography, the art of face-paint and costumes. By means of melody, its rhythmical and intonational texture builds up and ciphers those emotions which the singer must arouse from the listener-viewer. Frequently composers in the piano-vocal scores of their operas have provided descriptions

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Dissertations / Theses on the topic "Piano quartets – Scores and parts"

Moran, David W. (David Wayne). "Chaos, Cosmos, and Communion: Three Movements for String Quartet." Thesis, University of North Texas, 1994. https://digital.library.unt.edu/ark:/67531/metadc278804/.

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The three movements of this piece are related proportionally in that movements one and two represent three-fifths of the length of the whole. Movement three represents two-fifths of the length of the whole. Another proportional relationship exists between movements one and two. Movement one represents two-fifths of the length of the first two movements, while movement two represents three-fifths of the length of the two. An additional link between the three movements is pitch content. Movements one and two have little in common in this regard, but movement three combines elements of the first

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Wang, Jing. "Cultural and technical perspectives on Winter landscape." Thesis, connect to online resource, 2009. http://digital.library.unt.edu/ark:/67531/metadc12212.

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For flute, piano, erhu, and Max/ISP interactive computer music system. Duration: ca. 15:00. System requirements: Adobe Acrobat Reader. Includes notes for performance. Includes bibliographical references (p. 94-96).

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Young, Kar-fai Samson, and 楊嘉輝. "Internationalism, individualism and Chinese national style: the hybrid-identity composer and the in-between space." Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 2006. http://hub.hku.hk/bib/B37095110.

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陳錦標 and Kam Biu Joshua Chan. "Portfolio of original compositions." Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 1994. http://hub.hku.hk/bib/B31234094.

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"A portfolio of music compositions." 2006. http://library.cuhk.edu.hk/record=b5896515.

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The giving tree : for soprano, tenor, violin, cello and piano / text by Shel Silverstein -- Duo 《琴笙曲》 : for 2 harmonicas -- Clarinet duet : for clarinet and live electronics -- Playing game : for orchestra -- Sculpture II 《浮塑二》 : for pipa and Chinese orchestra -- Volcanicity 《原・始》 : for sheng and Chinese orchestra. The giving tree : for soprano, tenor, violin, cello and piano / text by Shel Silverstein -- Duo "Qin sheng qu" : for 2 harmonicas -- Clarinet duet : for clarinet and live electronics -- Playing game : for orchestra -- Sculpture II "Fu su er" : for pipa and Chinese orchestra -- Vo

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"A portfolio of three musical compositions." 1997. http://library.cuhk.edu.hk/record=b5896235.

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by Hui Cheung Wai. Thesis (M.Mus.)--Chinese University of Hong Kong, 1997. Chapter 1. --- String Quartet No2 Chapter a) --- programme notes --- p.I. i -ii Chapter b) --- music score Chapter ´Ø --- 1st movement --- p.1-15 Chapter ´Ø --- 2nd movement --- p.16 -25 Chapter ´Ø --- 3rd movement --- p.26-51 Chapter 2. --- """Disappearance"" for orchestra" Chapter a) --- programme notes --- p.II. i -iv Chapter b) --- music score --- p.1-46 Chapter 3. --- """Wu Wu"" (Sorcery Dance) for piano" Chapter a) --- programme notes --- p.III. i -ii Chapter b) --

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"Portfolio of music compositions." 2002. http://library.cuhk.edu.hk/record=b5895999.

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Quartet -- Bagatelle-Kyrie eleison -- Déploration. Wu Ming-yiu. Thesis (M.Mus.)--Chinese University of Hong Kong, 2002. Abstracts in English and Chinese. Abstract --- p.i Table of Contents --- p.ii Acknowledgements --- p.iii Compositions Chapter 1. --- Quartet --- p.1 Chapter 2. --- Bagatelle - Kyrie eleison --- p.34 Chapter 3. --- Deploration --- p.47

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"Composition portfolio of Li Kit-yiu, Emily." Chinese University of Hong Kong, 1995. http://library.cuhk.edu.hk/record=b5888413.

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"A portfolio of music compositions." 2003. http://library.cuhk.edu.hk/record=b5891434.

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Quintet for winds and piano -- Preludes and fugues for piano solo -- Variation for string quartet. Wong Kong Yu. Thesis submitted in: December 2002. Thesis (M.Mus.)--Chinese University of Hong Kong, 2003. Includes bibliographical references (leaves ). Abstracts in English and Chinese. Abstract --- p.1 Page Scores with Notes: Chapter 1. --- Quintet for Winds and Piano Note --- p.2 Pages Score --- p.30 Pages Chapter 2. --- Preludes and Fugues for Piano Solo Note --- p.2 Pages Score --- p.31 Pages Chapter 3. --- Variations for String Quartet Note

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Grant, Quentin Stuart David. "Portfolio of original compositions." Thesis, 2008. http://hdl.handle.net/2440/51095.

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This submission comprises a portfolio of fifteen original musical works and an exegesis that comments on five of these works. Recordings of twelve of the fifteen compositions are included. These pieces demonstrate an ongoing investigation into structure, and the discussion will provide an insight into the constant process of experimentation and consolidation involved in developing such a body of work. In the exegesis I open with a general conversation on the compositional process and then focus on the formal problems inherent in this process. I then discuss the five scores included in the ma

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Books on the topic "Piano quartets – Scores and parts"

Héritte-Viardot, Louise. Piano quartet, opus 9: "Im Sommer". Edited by Pickett Susan Eileen. Hildegard Pub. Co., 1995.

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Amram, David. Portraits: Violin, viola, violoncello, and piano. C.F. Peters, 1987.

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Biscardi, Chester. They had ceased to talk: Violin, viola, horn, and piano. C.F. Peters, 1991.

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Bourland, Roger. Stone quartet: For soprano saxophone, viola, cello, and piano. E.C. Schirmer, 1989.

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Wolpe, Stefan. From here on farther: For violin, B-flat clarinet, bass clarinet, and piano. Southern Music, 1993.

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Karg-Elert, Sigfrid. Jugend: Musik in B major, op. 139a for flute, clarinet in A, horn & piano. Falls House Press, 1993.

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Caldara, Antonio. Sonata a quattro no. 6, two violins, viola and organ (piano) (violoncello ad libitum). C.F. Peters, 1993.

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Harrison, Lou. Songs in the forest. Peer International Corp., 1993.

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Vivier, Claude. Paramirabo. Doberman-Yppan, 1988.

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Amadeus, Mozart Wolfgang. Streichquartett, F-dur, KV 168 =: String quartet, F-major, K. 168. G. Henle, 1991.

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Book chapters on the topic "Piano quartets – Scores and parts"

Eisen, Cliff. "The Mozarts’ Salzburg Music Library." In Mozart Studies 2. Oxford University PressOxford, 1997. http://dx.doi.org/10.1093/oso/9780198163435.003.0003.

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Abstract The reconstruction and description of music libraries, whether institutional, commercial, or private, has traditionally been a respected musicological endeavour, and for good reason: libraries apparently open otherwise closed doors onto the aesthetic and performance predispositions of different times, places, and societies. In the case of individual composers, they seem to offer unequivocal evidence for the musical taste, acquaintance, and education of their owners, or to establish putative influence. Mozart figured prominently in nineteenth-century libraries, for both musical and ant

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Reports on the topic "Piano quartets – Scores and parts"

Pedersen, Gjertrud. Symphonies Reframed. Norges Musikkhøgskole, 2018. http://dx.doi.org/10.22501/nmh-ar.481294.

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Symphonies Reframed recreates symphonies as chamber music. The project aims to capture the features that are unique for chamber music, at the juncture between the “soloistic small” and the “orchestral large”. A new ensemble model, the “triharmonic ensemble” with 7-9 musicians, has been created to serve this purpose. By choosing this size range, we are looking to facilitate group interplay without the need of a conductor. We also want to facilitate a richness of sound colours by involving piano, strings and winds. The exact combination of instruments is chosen in accordance with the features of

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