Relevant bibliographies by topics / Piano with orchestra

Contents

  1. Journal articles
  2. Dissertations / Theses
  3. Books
  4. Book chapters
  5. Conference papers
  6. Reports

Academic literature on the topic 'Piano with orchestra'

Author: Grafiati
Published: 4 June 2021
Last updated: 1 August 2024

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Journal articles on the topic "Piano with orchestra"

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Palmer, Peter. "Swiss Music." Tempo 57, no. 226 (October 2003): 54–56. http://dx.doi.org/10.1017/s0040298203290355.

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NORBERT MORET: TriptyquepourlesFêtes1; Gastlosen2; Mendiant du Ciel bleu3. 1The Tallis Scholars; 2Fritz Muggler organ); 3Béatrice Haldas (sop), Philippe Huttenlocher (bar), Nederlandse Omroep Stichting of Hilversum, Maitrise de St-Pierre aux Liens of Bulle, Düdingen Women's Choir; Heiner Kühner, Catherine Moret, Claudia Schneuwly (organs), Basle Radio Symphony Orchestra c. Armin Jordan. Musiques Suisses MGB CD 6199.ROLF LIEBERMANN: Furioso for orchestra1; Geigy Festival Concerto2; Medea-Monolog3; Les Echanges4; Concerto for Jazz Band and Symphony Orchestra5. 3Rachael Tovey (sop), 3Darmstadt Concert Choir; 2Alfons Grieder (perc); 1,2,5Simon Nabatov (pno); 5NDR Big Band, 1–5Bremen Philharmonic Orchestra c. Günter Neuhold. Naxos 8.555884.BETTINA SKRZYPCZAK: Scène1; Miroirs2; Fantasie for oboe3; SN 1993 J4; Toccata sospesa5; Concerto for Piano and Orchestra6. 1Noemi Schindler (vln), Christophe Roy (vlc); 2Mireille Capelle mezzo-sop), Ensemble Contrechamps of Geneva; 3Matthias Arter (oboe); 4Bohuslav Martinu Philharmonia of Zlin c. Monica Buckland Hofstetter; 5Verena Bosshart (fl), Riccardo Bologna, Eduardo Leandro (perc); 6Massimiliano Damerini (pno), Philharmonische Werkstatt Schweiz c. Mario Venzago. Musikszene Schweiz Grammont Portrait MGB CTS-M 78.RICHARD DUBUGNON: Piano Quartet1; Incantatio for cello and piano2; Trois Evocations finlandaises3; Cinq Masques for oboe4; Canonic Verses for Oboe, Cor Anglais and Oboe d'Amore5; Frenglish Suite for Wind Quintet6. 4,5Nicholas Daniel (ob), 5Emma Fielding (cor ang), 5Sai Kai (ob d'amore), 1Viv McLean (pno), 2Dominic Harlan (pno), 1Illka Lehtonen (vln), 1Julia Knight (vla), 1,2Matthew Sharp (vlc), 3Richard Dubugnon (db), 6Royal Academy Wind Soloists. Naxos 8.555778.
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Lawless, Patrick, and Amnon Wolman. "Concerto for Piano, Pianos and Orchestra." Computer Music Journal 15, no. 2 (1991): 72. http://dx.doi.org/10.2307/3680918.

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Martynenko, N. N. "PECULIARITIES OFORCHESTRA FACTURE IN CONCERT FOR PIANO WITH ORCESTRA F.POULENC (CIS-MOLL)." National Association of Scientists 3, no. 27(54) (May 14, 2020): 9–14. http://dx.doi.org/10.31618/nas.2413-5291.2020.3.54.201.

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The article considers a concert for piano and orchestra by F. Poulenc in the context of the musical aesthetics of thecomposer and features of the orchestra texture as key components of the author s creative method. The basic principles of orchestral writing are analyzed. Using specific examples from individual parts of the concerts, interesting distinctive properties inherent in the orchestration jf the composer are examined.
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Xia, Ming. "Evolution of the Genre of the Piano Concerto." ARTISTIC CULTURE. TOPICAL ISSUES, no. 18(2) (November 29, 2022): 22–29. http://dx.doi.org/10.31500/1992-5514.18(2).2022.269772.

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The paper outlines the features of emergence and development of the piano concerto on its way towards drama from a historical perspective, analyses specific features of its genre nature, and reveals the types of the concerto’s dramaturgy differing from one another in form and style of the interaction between the soloist and the orchestra. The paper demonstrates that the piano concerto followed the path of development of an individual performer principle, and afterward that of a dialogical balance between the orchestra and the piano part, which was determined by the degree of composers’ innovative achievements and the dominant aesthetic paradigm. In terms of highlighting the genre of the piano concerto and genre specificity of piano and orchestral music, the compositional-analytical approach proved to be productive. The analysis revealed that the movement towards drama in the historical perspective of the piano concerto was uneven with occasional drifts towards the so-called “style brilliant.” Depending on the type of drama, the correlation between the solo and the orchestra changed. In the 20th century, due to the radical transformation of the cultural paradigm, the genre of the concerto was restructured; composers abandoned traditional forms and tried to create an individual project form for each work. The study indicates the parameters of change in the genre, form, and style of the piano concerto under the influence of the newest paradigm of the time: repudiation of the traditional genre forms, creation of hybrid forms such as“anti-genre,” “hypergenre,” or a complete negation of the genre and creation of an individual genre project.
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Stronko, Boryslav. "Orchestration of Proper Piano Pieces as a Self-Interpretation." Studia Universitatis Babeş-Bolyai Musica 68, no. 2 (December 30, 2023): 115–28. http://dx.doi.org/10.24193/subbmusica.2023.2.08.

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"The study is focused on the problem of composers’ self-interpretation in the orchestrations of their own piano pieces. This specific case of a creative re-thinking contains not only adaptation of a piano score to orchestral instruments, but also adding new semantic meaning, sound atmosphere and texture principles as well as further development of initial music idea. For the analysis two pieces of Maurice Ravel and Borys Lyatoshinsky – two prominent masters of orchestration and piano miniature of 20th century, were chosen. Their approaches are distinguishably different: (a) the detailed reordering of the initial idea from an “instrument Piano” to an “instrument Orchestra” (Ravel); (b) throughout development with essential changes firstly within piano means, than by orchestral means in the genre of Symphony (Lyatoshinsky). Keywords: creative re-thinking, self-interpretation, self-orchestration"
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Rakochi, Vadim. "Orchestration as a Means of the Synthesis of Classical and Romantic Approaches in Brahms’ Second Piano Concerto." Musicological Annual 57, no. 1 (July 5, 2021): 25–63. http://dx.doi.org/10.4312/mz.57.1.25-63.

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The synthesis of ‘Classical’ and ‘Romantic’ concepts in the orchestration of Brahms’ Second Piano Concerto is discussed. The composer rethinks ways of presenting musical material in the orchestra by conceptualising both the ‘Classical’ orchestral structure (the size, the approach to the brass section) and the Romantic-like treatment of solos, alternations, etc. as unified domains.
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Svard, Lois, and Joseph Schwantner. "Concerto for Piano and Orchestra." Notes 48, no. 4 (June 1992): 1452. http://dx.doi.org/10.2307/942167.

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Hassen, Marjorie, and Milton Babbitt. "Concerto for Piano and Orchestra." American Music 6, no. 4 (1988): 478. http://dx.doi.org/10.2307/3051712.

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Burk, James M., Elliott Carter, Ursula Oppens, Michael Gielen, and David Schiff. "Piano Concerto; Variations for Orchestra." American Music 6, no. 1 (1988): 114. http://dx.doi.org/10.2307/3448359.

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XANKIŞIYEVA, İlhame. "A LOOK AT AZER DADASHOV’S PIANO WORK." IEDSR Association 6, no. 15 (September 20, 2021): 1–10. http://dx.doi.org/10.46872/pj.302.

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The article we presented is devoted to the analysis of A.Dadashov's piano music. Although some of the composer's piano works have been examined in various studies, this heritage has not been examined in its entirety. The images created by A.Dadashov include the relationship between man and the universe, the desire for the creation of the individual world, as well as aspects related to the inner world of man. Piano music, which is an important part of A.Dadashov's work, is represented by various genres, large and small. Here you can find all kinds of genres, from piano and orchestral concerts to small preludes. Thus, the composer's piano music offers a wide choice for pianists of different ages. Azer Dadashov's piano works include three concerts written for piano and camera orchestra, as well as a series of small miniatures and independent plays. The composer composed three concerts for piano and orchestra. The first concert took place in 2004, the second in 2009 and the third in 2010. Miniature genres dominate Azer Dadashov's piano music. The series for young pianists is particularly noteworthy here. A.Dadashov’s “Six Preludes”, “Six Miniatures”, “For the Flower” consisting of seven dances, as well as four sonatinas, pastoral, etc. There are piano works. Taking into account the technical abilities of the young pianist, who has mastered the art of performance, the composer tried to portray the children's colorful dance power, the world of bright images and create interesting musical panels. The composer's piano series “Six Preludes” (1966), “Six miniatures” (1968), “Six melancholy miniatures” (1985), “For Flowers” (1986), and “Atmacalar” (2001) are included in the children's music teaching repertoire. These miniatures are widely included in the concert program of school and young pianists. As the name suggests, most of these sequences are programmed. In sequences of a particular genre, each instance has its own image-emotional content and is ordered within the sequence according to a certain linking principle. Azer Dadashov's piano music is also characteristic of independent plays of different volume and content. These include “Poema” (2012), “Space song” (2015), “Bagatel” (2010), “Praise”, “Funny dance” (2009), four sonatas, “Three almonds and a walnut” for piano and chamber orchestra. ”, “Sacrifice of God”, “My Flag”, “Trial”, “Grace” and others. Although the use of modern means of expression and the writing techniques of the composer are observed in A.Dadashov's piano music, the composer prefers classical traditions to embody the form. In the composer's music, each motif serves to embody the main idea down to the smallest detail, depending on its general content.
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Dissertations / Theses on the topic "Piano with orchestra"

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Prall, Mark M. "Fantasy for piano and orchestra /." Online access, 2010. http://content.wwu.edu/cdm4/item_viewer.php?CISOROOT=/theses&CISOPTR=363&CISOBOX=1&REC=4.

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McGinn, John. "Rolodex : for piano and orchestra /." May be available electronically:, 1999. http://proquest.umi.com/login?COPT=REJTPTU1MTUmSU5UPTAmVkVSPTI=&clientId=12498.

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D.M.A. Final project--Department of Music, Stanford University, 1999.
"The solo pianist must perform on a concert grand Yamaha Disklavier. The piano part is executed normally until m. 308, at which point the performer calls up a MIDI sequence ... to be executed by the instrument. The pianist re-enters in m. 408 and plays normally until the end. A floppy disk containing the MIDI sequence is available from the composer"--P. [1].
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Plylar, David. "Reliquary : for piano and orchestra /." Digitized version, 2008. http://hdl.handle.net/1802/7671.

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Thesis (Ph. D.)--University of Rochester, 2008.
Duration: ca. 45:00. Includes program and performance notes. Accompanied by: The dynamic contextual nexus and the composition of self : Franz Liszt's Trois odes funèbres : a case study in intertextuality / by David Henning Plylar (viii, 196 leaves : music). Digitized version available online via the Sibley Music Library, Eastman School of Music http://hdl.handle.net/1802/7671
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Stark, Bradley. "Seraph for piano and string orchestra." Thesis, University of British Columbia, 2013. http://hdl.handle.net/2429/44148.

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Seraph is a fifteen minute composition for piano and string orchestra. In addition to traditional musical techniques such as variation and passacaglia, the work employs a distinctive approach to phrase structure, form, harmony, and compositional technique. An ascending natural minor scale serves as the main theme while other melodies, textures, harmonies, and motives interact in counterpoint with the theme. In addition, the theme undergoes its own developmental transformations and modifications, and it influences a distinctive harmonic language featuring extended, non-traditional chords and progressions that rarely repeat. Musical phrases and secondary melodies are unusual in length and mostly avoid expectations of cadence, while metric instability occurs through frequent meter changes. In addition to variation technique, the musical structure features episodes that contrast in compositional design through the development of less prominent motives and differences in approach to harmony. The piano part was partly composed through the use of transcribed improvisation, which serves as a basis for the harmonic and motivic structures heard throughout the composition. The piano part also features complex rhythmic divisions and technical demands for the performer while interacting with the orchestra in a variety of textures. As a whole, the work possesses several features which contribute to an original style and aesthetic.
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Gorby, Roderick. "A concerto for piano and orchestra." Thesis, The Florida State University, 2015. http://pqdtopen.proquest.com/#viewpdf?dispub=3705818.

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A Concerto for Piano and Orchestra is a work of absolute music, which draws on the traditional three-movement concerto form of the classical and romantic tradition and includes a solo piano cadenza toward the end of the last movement. Harmonically, I make free use of the major, minor and augmented triads, and draw from diatonic, hexatonic, octatonic and other altered modes. My orchestration is influenced by Debussy, Ravel and Stravinsky, and my piano writing is influenced by J.S. Bach, Chopin, Liszt, Grieg, Prokofiev, Bartok as well as stylistic elements characteristic of Chick Corea especially as found in his Concerto No. 1.

The first movement is monothematic. The theme's first appearance utilizes the full orchestra and is then taken up by the soloist. The orchestra then spins out a "satirical" variation of the original theme. This section builds to a climax and is followed by a "chaotic" reaction from the orchestra, after which follows a tranquil section in the Dorian mode, where the theme is transformed into a slow, lyrical character. This modal variation yields to a more bitonal harmonic language, ushering in the development section. A recapitulation and coda close the first movement.

The second movement opens with solo piano performing an ornamented scale melody. The rhythmic motives and shapes of this melody are then taken up into selected colors of the orchestra and varied. The piano returns with the original material leading to a more substantial appearance of the orchestra, after which there is a "quasi-cadenza" section for the piano. The calm end of this movement features the piano, low strings, low brass, and a bassoon solo.

The third movement is a rondo, AA1ABACA with an extensive cadenza for the piano between the C and A sections followed by a coda. It opens with percussive rhythmic figures in the piano, which are then passed to the strings in pizzicato. Over the string pizzicato, a transformation of the first movement's theme appears in polyphony across the orchestra while the piano and xylophone provide sparse commentary. The B section features the percussion instruments followed by the jazz-influenced piano passages. In the C section, the piano, strings and high woodwinds, reveal nostalgic hints of Grieg and Rachmaninoff. An orchestral tutti builds to a climax just before the cadenza, after which a short A section and coda complete the work.

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Ahn-Kim, Yong Hee. "Rhapsody for piano and small orchestra." Thesis, connect to online resource, 2001. http://www.library.unt.edu/theses/open/20013/ahn-kim%5Fyong%5Fhee/index.htm.

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Thesis (M.M.)--University of North Texas, 2001.
For piano and chamber orchestra (flute, oboe, clarinet, bassoon, trumpet, timpani and strings). Duration: ca. 9:00. Includes bibliographical references (p. xxxviii).
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Cohen, Marcos Jacob Costa. "Suite for piano and chamber orchestra /." free to MU campus, to others for purchase, 2004. http://wwwlib.umi.com/cr/mo/fullcit?p1422346.

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Gregorio, Joseph. "Concerto for Piano and Orchestra - Gregorio." Diss., Temple University Libraries, 2018. http://cdm16002.contentdm.oclc.org/cdm/ref/collection/p245801coll10/id/540484.

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Music Composition
D.M.A.
This dissertation comprises two parts: an original composition, Concerto for Piano and Orchestra; and an essay that analyzes the form of Prokofiev’s Piano Concerto No. 1 in D-flat Major, op. 10. Concerto for Piano and Orchestra is cast in three movements and scored in two versions: In “Version A,” members of the orchestra are at times called on to use their voices to sustain the phonemes [m], [ŋ], and [v] on pitch and to create an intense whisper on the vowel [æ]. “Version B” is an alternative realization that uses instruments only. The first movement, unable to produce a recapitulation and continually interrupted at decreasing intervals of time by increasingly intense outbursts from percussion, brass, and wind instruments, is an extreme deformation of a sonata-concerto form. It proceeds attacca to the second movement, which is built in a large ternary form. The third movement is a concerto adaptation of James Hepokoski and Warren Darcy’s “expanded Type 1” sonata form. The concerto’s total duration is approximately 30 minutes. The essay considers the form of Prokofiev’s Piano Concerto No. 1 from the perspective of Hepokoski and Darcy’s Sonata Theory, as laid out in their seminal 2006 treatise. It finds that Prokofiev’s Piano Concerto No. 1 is a highly individualized instance of Hepokoski and Darcy’s “Type 3” sonata form with introduction-coda frame. The essay’s analysis is preceded by a glimpse at Prokofiev’s experiences with sonata form during his youth, as well as brief reviews of the conceptual backdrop of concerto form as Prokofiev would have received it and of the basics of Sonata Theory.
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Picton, Michael. "Curio shop, concerto for piano and chamber orchestra." Thesis, National Library of Canada = Bibliothèque nationale du Canada, 1997. http://www.collectionscanada.ca/obj/s4/f2/dsk2/ftp01/MQ29856.pdf.

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Lington, Victoria DiMaggio. "The piano as an orchestra, the accompanist and the twentieth-century orchestral reduction." Thesis, view full-text document. Access restricted to the University of North Texas campus, 2002. http://www.library.unt.edu/theses/open/20022/lington%5Fvictoria%5Fdimaggio/index.htm.

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Thesis (D.M.A.)--University of North Texas, 2002.
Accompanied by 4 recitals, recorded Apr. 26, 1999, Apr. 17, 2000, Mar. 19, 2001, and Apr. 17, 2002. Includes bibliographical references (p. 83-86).
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Books on the topic "Piano with orchestra"

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Bax, Arnold. Winter legends: For piano and orchestra ; Saga fragment : for piano and orchestra. London, England: Chandos, 1987.

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Schwantner, Joseph. Concerto for piano and orchestra. [U.S.]: Helicon Music, 1990.

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Bazelon, Irwin. Trajectories: For piano with orchestra. Bryn Mawr, Pa: T. Presser, 1992.

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Schumann, Clara. Concerto for piano and orchestra. Edited by Smith Kile arranger. Bryn Mawr, PA (Box 332, Bryn Mawr, PA 19010): Hildegard Pub. Co., 1993.

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Zwilich, Ellen Taaffe. Concerto for piano and orchestra. Bryn Mawr, Pa: Merion Music, 1989.

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Zwilich, Ellen Taaffe. Peanuts gallery: For piano and orchestra. Bryn Mawr, Pa: Merion Music, 1997.

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Kolb, Barbara. Voyants: For piano and chamber orchestra. [New York]: Boosey & Hawkes, 1995.

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Ježek, Jaroslav. Fantasia per piano e orchestra: (1930). Prague: Panton, 1986.

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

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Perle, George. Concerto no. 2 for piano and orchestra. Boston, Mass: ECS Pub., 1996.

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Book chapters on the topic "Piano with orchestra"

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Kostelanetz, Richard, and Steve Silverstein. "Concerto for Piano and Orchestra." In Aaron Copland, 234. New York: Routledge, 2021. http://dx.doi.org/10.4324/9781003061724-48.

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King, Richard. "Recording Solo Piano." In Recording Orchestra and Other Classical Music Ensembles, 162–69. 2nd ed. New York: Focal Press, 2024. http://dx.doi.org/10.4324/9781003319429-26.

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King, Richard. "Recording Piano with Other Instruments." In Recording Orchestra and Other Classical Music Ensembles, 155–61. 2nd ed. New York: Focal Press, 2024. http://dx.doi.org/10.4324/9781003319429-25.

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King, Richard. "Recording Harp, Piano, Celeste and Organ." In Recording Orchestra and Other Classical Music Ensembles, 81–86. 2nd ed. New York: Focal Press, 2024. http://dx.doi.org/10.4324/9781003319429-11.

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Rivest, Johanne. "John Cage's Concert for Piano and Orchestra 1." In Perspectives on American Music since 1950, 81–93. New York: Routledge, 2024. http://dx.doi.org/10.4324/9781315050270-4.

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Kostelanetz, Richard, and Steve Silverstein. "Concerto for Clarinet and String Orchestra with Harp and Piano." In Aaron Copland, 262. New York: Routledge, 2021. http://dx.doi.org/10.4324/9781003061724-62.

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"Piano and Orchestra." In The Pianist's Bookshelf, Second Edition, 102–15. Indiana University Press, 2023. http://dx.doi.org/10.2307/jj.6605405.17.

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"For Piano and Orchestra." In A Performer’s Guide to the Piano Music of Samuel Adler, 111–42. Boydell & Brewer Ltd, 2022. http://dx.doi.org/10.2307/j.ctv2j04t2d.13.

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"Morton Feldman : »Piano and Orchestra«." In Das zeitgenössische Klavierkonzert, 19–46. Wien: Böhlau Verlag, 2014. http://dx.doi.org/10.7767/boehlau.9783205792963.19.

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"5. For Piano and Orchestra." In A Performer’s Guide to the Piano Music of Samuel Adler, 111–42. Boydell and Brewer, 2022. http://dx.doi.org/10.1515/9781800107984-011.

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Conference papers on the topic "Piano with orchestra"

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Synofzik, Thomas. "„Würde Sie’s zu sehr ermüden zu begleiten?“ – Clara Schumann als Lied- und Kammermusikpartnerin." In Jahrestagung der Gesellschaft für Musikforschung 2019. Paderborn und Detmold. Musikwissenschaftliches Seminar der Universität Paderborn und der Hochschule für Musik Detmold, 2020. http://dx.doi.org/10.25366/2020.82.

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80 percent of Clara Schumann‘s playbills in her complete collection of concert programmes (Robert-Schumann-Haus Zwickau) include vocal participation of solo singers, choirs or actors. The question is to which extent Clara Schumann used to accompany these vocal contributions herself on the piano. Only rarely are other accompanists named on the concert playbills, but evidence from concert reviews suggests that these vocal contributions normally served as rests for the solo pianist. Sometimes separate accompanists are named in the concert reviews. In orchestral concerts it was usually the conductor who accompanied solo songs on the piano, not the solo pianist. The Popular Concerts in St. James’s Hall in London were chamber concerts, which had a regular accompanist who was labelled as „conductor“ though there was no orchestra participating. These accompanists sometimes also performed with instrumentalists, e. g. basso continuo music from the 18th century or piano reductions of orchestral concerts.
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Stiuca, Petru. "Konzertstück op.79 for piano and orchestra by C.M. Weber in transcription for accordion: performing peculiarities." In Valorificarea și conservarea prin digitizare a colecțiilor de muzică academică și tradițională din Republica Moldova. Academy of Music, Theatre and Fine Arts, Republic of Moldova, 2023. http://dx.doi.org/10.55383/digimuz2023.17.

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Konzertstück op.79, J.282 for piano and orchestra by C.M. Weber is one of the most widely interpreted concert works in the world, also known in transposition for various instruments. The author intends to analyze the particularities of his own accordion transcript after the original piano scores, proposing several solutions to overcome some interpretative difficulties in this creation. At the same time, the specificity of the musical and stylistic language of the composer, the historical context of the creation, and so on, are taken into account. The analyzed creation has a complex character, which requires from the performer, first of all, a very good technical preparation, but also a good knowledge of the musical-stylistic language in which the composer created.
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Coroiu, Petruta Maria. "Aurel Stroe — outstanding personality of modern Romanian music." In Valorificarea și conservarea prin digitizare a colecțiilor de muzică academică și tradițională din Republica Moldova. Academy of Music, Theatre and Fine Arts, Republic of Moldova, 2023. http://dx.doi.org/10.55383/digimuz2023.08.

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Being one of the most important Romanian composers, thinkers and teachers of the second half of the 20th century, illustrious representative of modern European and Romanian thought with spiritual amplitude, Aurel Stroe has reached — although passed to the eternal ones in 2008 — the anniversary moment when he would have completed 90 years since his birth (May 5, 2022). Member of the academic staff at the Bucharest National University of Music until he left for Germany, Aurel Stroe taught orchestration and composition, but also he held courses in the USA (1985–1986), France (1972), Germany (1986–1994) and in Romania (the famous training courses from Bușteni, from 1992). Awarded the Prize of the Romanian Academy (1974) and the Herder Prize (Vienna, 2002), Aurel Stroe is distinguished by an impressive creation, in all the fields and genres: from opera (The Closed Citadel Trilogy, 1973–1988) to a libretto after Aeschylus: Agamemnon/Orestia I — 1973, Choephorele/Orestia II — 1983, Eumenides/Orestia III — 1988), to symphonic dance and vocal music (the poem for choir and orchestra Monumentum I (1961) — to the lyrics of Nichita Stănescu), from symphonic music (Arcade, Laude I and II, Canto I and II, Ciaccona con alcune licenze, Lyrical Preludes, Mandala with a polyphony by Antonio Lotti) to concert music (Concerto for clarinet and orchestra, Concerto for violin and ensemble of soloists "Capriccios and Ragas", Concerto for saxophone and orchestra "Prairie, Priere", Concerto for accordion and orchestra), from chamber music (piano sonatas) to choral music.
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Trocinel, Daniela. "Sketches on the creative portrait of the composer A. B. Mulear." In Patrimoniul cultural: cercetare, valorificare, promovare. Institute of Cultural Heritage, Republic of Moldova, 2021. http://dx.doi.org/10.52603/9789975351379.15.

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This article attempts to present sketches of the compositional creativity of Alexandr Boris Mulear (1922–1994), who is one of the most important figures of the music culture in the Republic of Moldova and belongs to the older generation of composers, as his glory years were between 1950 and 1980. The composer’s record contains a valuable artistic heritage that is appreciated by performers but the study of his works is not in the center of interest of musicologists yet. However, the article will present some examples of the Mulearian creativity. Analyzing the composition portfolio of A. Mulear, the author shows that chamber works predominate for the most part in his creativity, including suites, quartets, sonatas, miniatures and musical pieces, with a wide range of instrumental groups: from the duo (violin and piano, piano and voice) to the symphony orchestra. In conclusion, it is noted that the composer manifested himself in an original way in chamber music, which is more innovative and bright and reveals diverse forms of classical music in terms of style and genre.
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Rick, Jochen. "Pianos, not orchestras." In the Conference. Morristown, NJ, USA: Association for Computational Linguistics, 2002. http://dx.doi.org/10.3115/1658616.1658760.

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Cosciug, Svetlana, and Victoria Melnic. "Excentric dances by Vitaly Verhola: a young composer in search of his own style." In International scientific conference "Valorization and preservation by digitization of the collections of academic and traditional music from the Republic of Moldova". Academy of Music, Theatre and Fine Arts, Republic of Moldova, 2023. http://dx.doi.org/10.55383/ca.06.

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The Eccentric Dances No.1 and No.2 by Vitaly Verhola present a piano cycle for four hands. Original in their own way, contrasting in tempo, character, and artistic content, both miniatures show the influence of Igor Stravinsky's music (the ballets The Rite of Spring and Petrushka, intonations of the Concerto for piano and wind instruments). At the same time, thanks to the use of techniques such as ostinato, dissonant multiphonic chords, rhythm overlays, timbre harmonies, combination of heterogeneous stylistic elements, etc., the music of the two dances is infused with a personal spirit and eloquently illustrates the self-expression searches of a young composer at the beginning of his career. The piano writing for four hands gives both Eccentric Dances an orchestral sound.
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Li, You, Christoph M. Wilk, Takeshi Hori, and Shigeki Sagayama. "Automatic Piano Reduction of Orchestral Music Based on Musical Entropy." In 2019 53rd Annual Conference on Information Sciences and Systems (CISS). IEEE, 2019. http://dx.doi.org/10.1109/ciss.2019.8693036.

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Reports on the topic "Piano with orchestra"

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Pedersen, Gjertrud. Symphonies Reframed. Norges Musikkhøgskole, August 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 the original score. The ensemble setup may take two forms: nonet with piano, wind quartet and string quartet (with double bass) or septet with piano, wind trio and string trio. As a group, these instruments have a rich tonal range with continuous and partly overlapping registers. This paper will illuminate three core questions: What artistic features emerge when changing from large orchestral structures to mid-sized chamber groups? How do the performers reflect on their musical roles in the chamber ensemble? What educational value might the reframing unfold? Since its inception in 2014, the project has evolved to include works with vocal, choral and soloistic parts, as well as sonata literature. Ensembles of students and professors have rehearsed, interpreted and performed our transcriptions of works by Brahms, Schumann and Mozart. We have also carried out interviews and critical discussions with the students, on their experiences of the concrete projects and on their reflections on own learning processes in general. Chamber ensembles and orchestras are exponents of different original repertoire. The difference in artistic output thus hinges upon both ensemble structure and the composition at hand. Symphonies Reframed seeks to enable an assessment of the qualities that are specific to the performing corpus and not beholden to any particular piece of music. Our transcriptions have enabled comparisons and reflections, using original compositions as a reference point. Some of our ensemble musicians have had first-hand experience with performing the original works as well. Others have encountered the works for the first time through our productions. This has enabled a multi-angled approach to the three central themes of our research. This text is produced in 2018.
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