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1
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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Johnson, Bret. "American Music." Tempo 57, no. 226 (October 2003): 56–57. http://dx.doi.org/10.1017/s004029820330035x.
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LEES: Symphonies Nos. 2, 3 and 51; Etudes for piano and orchestra2. 1Staatsphilharmonie Rheinland-Pfalz c. Stephen Gunzenhauser, 2James Dick (pno), Texas Festival Orchestra c. Robert Spano. Albany TROY 564/565 (2-CDset).LEES: Passacaglia. PERSICHETTI: Symphony No 4. DAUGHERTY: Philadelphia Stories; Hell's Angels. Oregon Symphony c. James De Preist. Delos DE 3291.FLAGELLO: Symphony No. 1; Theme, Variations and Fugue; Sea Cliffs; Intermezzo. Slovak Radio Symphony Orchestra c. David Amos. Naxos 8.559148.HOVHANESS: Symphony No 22, City of Light1; Cello Concerto2. 2Janos Starker (vlc), Seattle Symphony c. 1Alan Hovhaness, 2Dennis Russell Davies. Naxos 8.559158.HOVHANESS: Symphonies: No 2, Mysterious Mountain; No 50, Mount St Helens; No 66, Hymn to Glacier Peak; Storm on Mt Wildcat, op.2 no.2. Royal Liverpool Philharmonic Orchestra c. Gerard Schwarz. Telarc CD-80604.
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Johnson, Bret. "Benjamin Lees: Quo Vadis?" Tempo, no. 175 (December 1990): 11–17. http://dx.doi.org/10.1017/s0040298200012560.
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Fifteen years ago, Nicolas Slonimsky wrote of Benjamin Lees in Tempo: ‘At a time when so many otherwise valiant composers are star-crossed and complain of malign neglect, Benjamin Lees rises “in excelsis” in the musical firmament’. And so he has continued since, with many commissions and numerous major works to his credit, matched by frequent performances in the United States. It is a time that has seen the creation of his Fourth and Fifth Symphonies, a set of Variations for Piano and Orchestra, a Concerto for Brass Choir and Orchestra, a Double Concerto for Piano, Cello and Orchestra, at least four other orchestral compositions of substantial scale, and the Third and Fourth String Quartets. All of these have contributed to his continuing high profile in the American musical scene. When one surveys Lees's entire corpus of music over the last four decades, one sees an impressive range of works, achievements and awards. Such pieces as the Violin Concerto (1958), Third Symphony (1969) and Concerto for String Quartet and Orchestra (1965), all commercially recorded, stand out as landmarks not only of his own music but of postwar American music generally. His style has continued to evolve in recent years and whilst his hallmark is still his adherence to form and structure, he has become more concerned with orchestral sonority and, without becoming explicitly programmatic, practises his art within an ever-widening sound spectrum and colouristic palette. He has always possessed a strongly individual personality, and the ‘Lees Sound’ is unquestionably unique, even through his exposition and development of musical ideas-and the technique of continual evolution which he favours at present-derive, at source, from his most important early musical teacher: George Antheil.
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Broad, Leah. "Harrison Birtwistle Responses: Sweet disorder and the carefully careless for piano and orchestra, Royal Festival Hall, London." Tempo 69, no. 272 (April 2015): 61–62. http://dx.doi.org/10.1017/s0040298214001041.
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2014, Sir Harrison Birtwistle's 80th birthday year, witnessed a plethora of events celebrating his music, from the Barbican's ‘Birtwistle at 80’ series to the ‘In Broken Images’ concerts at the Southbank Centre. Included in the latter was the UK premiere of his new concerto for piano and orchestra, Responses: Sweet disorder and the carefully careless, performed on 6 December 2014 by Pierre-Laurent Aimard and the London Philharmonic Orchestra under the direction of Vladimir Jurowski. Birtwistle describes the concerto as addressing the problem of ‘the relationship between the piano and the orchestra’, with the subtitle (taken from essays by architect Robert Maxwell) expressing the ‘essence’ of his composition.
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Zhang, Zhen. "Comparative Analysis of The First Movements in Beethoven's and Mozart's C Minor Piano Concertos." International Journal of Arts, Humanities & Social Science 05, no. 04 (April 13, 2024): 129–41. http://dx.doi.org/10.56734/ijahss.v5n4a10.
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This paper compares the first movements of Beethoven's and Mozart's piano concertos in C minor, exploring the similarities and differences between these two seminal works. By examining various aspects, including the key, composition background, form, motifs, harmony, orchestral arrangements, dialogue between instruments, and piano writing, the study reveals Mozart's profound influence on Beethoven while highlighting the latter's unique innovations. The analysis delves into the significance of the C minor key for both composers, their use of the double exposition form, and the structural design of the movements. The study also investigates the composers' employment of similar motifs and materials, demonstrating how they maintained unity throughout their respective works by deriving most elements from the first exposition. Furthermore, the paper examines the intricate dialogue between the piano and the orchestra, showcasing how both composers utilized the orchestra for harmonic support, melodic enhancement, and imitative counterpoint. Particular attention is given to the way Beethoven paid homage to Mozart through his treatment of the cadenza and the coda. The comparison of piano writing reveals similarities in texture and general structure, with both composers employing arpeggios, scales, and trills as central themes, contrasted with lyrical sub-themes. However, the study also highlights Beethoven's more dramatic and extended treatment of the contrasting sections. Through this comprehensive analysis, the paper illuminates the profound influence of Mozart on Beethoven's compositional style while also showcasing the latter's innovative approach, which helped usher in a new era of musical expression at the dawn of the Romantic period.
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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 (March 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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Anderson, Martin. "Norwegian Orchestral Music." Tempo 58, no. 229 (July 2004): 49–50. http://dx.doi.org/10.1017/s0040298204250227.
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KLEIBERG: Lamento: Cissi Klein in memoriam1; Symphony No. 1, The Bell Reef2; Kammersymfoni (Symphony No. 2).3 Trondheim Symphony Orchestra c. 1Eivind Aadland, 2Rolf Gupta, 3Christian Eggen. Aurora ACD 5032FLEM: Piano Concerto; Solar Wind; Ultima Thule per Orchestra.1 Sergei Ouryvaev (pno), St Petersburg State Symphony Orchestra c. Alexander Kantorov; 1Bergen Philharmonic Orchestra c. Terje Boye Hansen. Aurora ACDPERSEN: Over Kors og Krone. Oslo Philharmonic Orchestra c. Christian Eggen. Aurora ACD 5029NYSTEDT: Apocalypsis Joannis, op. 115. Mona Julsrud (soprano), James Gilchrist (tenor), Oslo Philharmonic Orchestra and Choir c. Aril Remmereit. Simax PSC 1241 (2-CD set).
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Kashuba, Denis. "Chamberness in genre-stylistic field of Piano concertos by Johannes Brahms." Aspects of Historical Musicology 16, no. 16 (September 15, 2019): 207–24. http://dx.doi.org/10.34064/khnum2-16.12.
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Introduction. In recent years, there has been indefatigable interest of scholars in the concerto genre, and that can be proven by constantly appearing research article and dissertation, devoted to it. For example, in 2017 and 2019 candidate dissertation [Ph. D] have been published, that illuminated previously obscure pages of, respectively, French tradition of this genre, embodied in concertos for various instruments with orchestra by C. Saint-Saëns, and AustroGerman of the first decades of XIX century (including those by J. N. Hummel, I. Moscheles, F. Ris). Expansion of the knowledge about this genre in historical aspect is accompanied by refinements and changes of viewpoints on its essence, that allows, in particular, to comprehend the phenomenon of intersection of different traits of a symphony, a concerto and an ensemble in composers’ activity of XX – beginning of XXI century. A presumption is made, that between these stated genres there is some kind of interlocutor, that is dialogism. At the same time, it is noted, that various types of a dialogue in given work do not lead inevitably to some “mix” or ambivalence, but can contribute to realisation of the potential of the concerto genre. The last one can be applied to the Piano concertos by J. Brahms. Objectives. The goal of the given article is to reveal signs of chamberness in genre-stylistic field of Piano concertos by Johannes Brahms. Results and discussion. In spite of widely disseminated opinion that they belong to predominately orchestral type or even are “symphonies with piano obligato” (Kuznetsov, 1980; Beyer, 1897), they reveal influence of another essential characteristics of the genre, including chamberness. This can be explained either by classicism of J. Brahms’s composer style, who has always orientated towards tradition of his times or by integrativity, that is an iconic trait of late-Romantic music. The examples are given of grand-scale symphonic conceptions deriving from primal ensemble ideas. It is noted, that while the understanding of the genre’s nature remains stable, in each Concerto the proportion of symphonism, concertoness and chamberness is singular due to a significant time interval passing between them and noticeable difference in level of composer’s maturity. Both Concertos reveal the following attributes of chamberness: frequent usage of separate orchestra groups, eventual appearance of “ensemble of soloists” on the background of certain groups or without any accompaniment, significant dramaturgic role played by solos of the piano either slightly supported by sparse instruments while their parts are rather scattered or absolutely unaccompanied. It is stressed that regarding playing piano one should not equate one performer with one part as there are parts of right and left hands and dialogues appearing between them (Polskaya, 2001). On the other side, mono-pianistic expression doesn’t necessarily coincide with a monologue, as self-comprehension of a personality can be marked by a significant dialogism and even conflict (Misitova, 2004). The Piano concertos by J. Brahms can serve as an example for the last observation as appearances of the soloist (chiefly, solo) create additional thread of dramaturgy, sometimes governing the development of music and its images. In the First concerto, given its allusions to the Baroque era, one can discern frequent usage of chamber, sometimes exclusively string orchestra. It is pointed out that initial image of Maestoso, that is supposed to be portrayed by sonority of the accentuated brass group as it has tremendous and formidable mood, is in fact embodied by strings with occasional illuminations of another groups. In Adagio the archi section also plays the leading role, being in dialogue with two bassoons in the first orchestral episode, later entering compassionate dialogue with the piano. In both movements the full orchestra is used only in the climactic moments, often with the soloist involved. And the Finale is the only movement where the semantics of the competition and festivities of the masses urges the composer to use entire orchestra. The logic of changes of emotional states in the solo part is quite clear. It is a personification of a “lyrical hero”, who is in a state of an inner dialogue, and that engenders a conflict situation, largely contributing to the dramatism of further events in the music. Employments of the ensemble are sporadic and are usually illuminated by a background of the orchestra. In Second concerto, while the strategy of chamberness of orchestra and raising the significance of the soloist remains stable, on the contrary, different means of ensemble communication are developed, including those involving “satellite” instruments. Their activity is revealed in the very first bars of Allegro non troppo, where French horn and piano resemble quiet and leisurely conversation. This duet in its further appearances marks the borders of large chapters of the structure, therefore acquiring compositional significance. Ensemble qualities are intrinsic for Andante from this Concerto, where another soloist appears, singled out from the group of cellos, and later oboe, clarinets make their entrance, and the score turns into sheer dialogue of soloists. Conclusions. Comparison of two Piano concertos by J. Brahms allows to state that composer simultaneously has firm understanding of this genre and favours different traits of chamberness in each of them. In the latter one “satellite” timbres are used, ensemble structures are more significant. And this paves the way for ensemble differentiation of the orchestra, that can be regarded as one of the first portents of modern understanding of concerto genre and abovementioned processes of “mixing”.
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Jaatinen, Jussi, and Jukka Pätynen. "Effect of inharmonicity on pitch perception and subjective tuning of piano tones." Journal of the Acoustical Society of America 152, no. 2 (August 2022): 1146–57. http://dx.doi.org/10.1121/10.0013572.
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The consensus in piano tuning philosophy explains the stretched tuning scale by the inharmonicity of piano strings. This study aimed to examine how variable inharmonicity influences the result of the piano tuning process, compare the tuning curves of aurally tuned pianos with the curves derived from subjective octave enlargement experiments, and evaluate whether the pitches of inharmonic or harmonic versions of the same tone are perceived differently. In addition, the influence of strings of other piano keys on the measured inharmonicity of a single piano string was investigated. The inharmonicity of all individual strings was measured on a Steinway D grand piano. Variable inharmonicity was implemented by additive synthesis with frequency-adjusted sinusoidal partials. Fifteen piano tuners and 18 orchestra musicians participated in the experiments. The results indicate that the inharmonic piano tones produced a keyboard tuning curve similar to the Railsback curve and differed significantly from the harmonic counterpart. The inharmonic tuning curve was reminiscent of the subjective octave enlargement curve. Inharmonic tone pitches were perceived to be higher than harmonic tones up to [Formula: see text]. The covibrating strings of the other keys did not exhibit any meaningful effect on the measured inharmonicity of a single string of the played key.
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Davies, Benjamin K. "Joan Guinjoan concertos." Tempo 59, no. 234 (September 21, 2005): 56–57. http://dx.doi.org/10.1017/s0040298205220326.
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JOAN GUINJOAN: Concerto for clarinet and orchestra; Concerto for piano and orchestra; Música per a violoncel i orquestra. Joan Enric Lluna (cl), David Abramovitz (pno), Lluís Claret (vlc). Orquestra Simfònica de Barcelona i Nacional de Catalunya, c. Ernest Martínez Izquierdo. Harmonia Mundi HMI 987056.
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Conway, Paul. "London, BBC Maida Vale Studios: Justin Connolly's Piano Concerto." Tempo 58, no. 228 (April 2004): 66–67. http://dx.doi.org/10.1017/s0040298204280159.
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Many of Justin Connolly's works have been premièred and recorded by Nicholas Hodges, whose musicianship provided the inspiration for Connolly's Piano Concerto (2001–2003). The form and character of the piece are influenced by the ancient idea of the labyrinth, the forces of soloist and orchestra being well suited to the roles of Theseus and the Minotaur, where one protagonist signifies the existence of the other and the distinction between hero and villain is not always apparent. The orchestral forces employed are unexceptional. Brass and percussion are divided into two separate groups to the left and right of the conductor, whilst the first horn player sits apart from his colleagues and is mirrored by a fourth, offstage, horn player.
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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 Macmillan and the Royal Ballet. All these, and some impressive chamber works too, have come from a composer whose earlier reputation was based on a tiny scattering of compositions including a rarified solo soprano piece (based on a particularly obscure bit of Browning), a piece for solo violin, and the microscopic Five Piano Pieces for right hand alone.
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Andrievska-Bodenchuk, Tetyana. "Karmella Tsepkolenko’s Concert-Drama for Piano with the Orchestra: Performance and Interpretation Aspect." Часопис Національної музичної академії України ім.П.І.Чайковського, no. 3-4(56-57) (December 26, 2022): 113–26. http://dx.doi.org/10.31318/2414-052x.3-4(56-57).2022.278209.
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The author of the study considered the performance and interpretation aspects of the Concerto-drama for piano and orchestra (1987) by the Ukrainian composer Karmella Tsepkolenko. After analyzing the musical form of the given work, it became possible to describe the correspondence of the logic involved in the development of the musical material applied in the Concerto-drama for piano with orchestra to the literary program and scenario designed by the author. The main performance and interpretation means of reflecting the author's idea are singled out, namely: piano texture; techniques of sound production; dynamic construction of musical form; spatio-temporal organization of melodic and intonation lines, etc. The peculiarities of the piano texture, which are characterized by romantically rich complex chordal structures and virtuosic passages, were also determined. It is noted that the lyrical parts of Karmella Tsepkolenko's Concerto-drama for piano and orchestra require subtle linear polyphonic thinking from the pianist, creating a special sound color. The role of interpretative and expressive means for creating a convincing performance and artistic image is clarified. The specificity of the interpretation of five solo piano cadenzas is substantiated. The role of cadences for the manifestation of the unique individual thinking of the pianist in the process of concert and stage interpretation of the specified piano piece by Karmella Tsepkolenko is highlighted. The relationship and influence of the author's scenario development on the emotional creative space of the performer and on the formation of a convincing artistic and performing version have been established. The special role of the piano in the work of Karmella Tsepkolenko as a tool for new compositional searches and innovations is emphasized. It has been proven that the performance style of Karmella Tsepkolenko's piano music requires creativity, artistry, creative imagination, flexibility of thinking, and an emotional response to the script-plot layers of the work. Emphasis is placed on the expediency of establishing empathetic connections between the composer and the performer in the process of live implementation of the author's idea.
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Meckna, Michael, and Ned Rorem. "Piano Concerto for Left Hand and Orchestra." American Music 16, no. 3 (1998): 365. http://dx.doi.org/10.2307/3052649.
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Asaulyuk, I. "Formation of professionally significant qualities of future specialists of music specialties." Scientific Journal of National Pedagogical Dragomanov University. Series 15. Scientific and pedagogical problems of physical culture (physical culture and sports), no. 9(140) (September 30, 2021): 13–17. http://dx.doi.org/10.31392/npu-nc.series15.2021.9(140).03.
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The article presents a general analysis of professionally significant qualities of future specialists of music specialties, specializations "piano", "orchestra string instruments (violin)".
Materials and methods. The paper includes the analysis of professional scientific and methodological literature and sociological research methods, the method of expert evaluation and methods of mathematical statistics.
Results of work. It is determined that the most significant professional physical quality for students majoring in "piano" is strength endurance (R = 1.42), less significant - hand motility (R = 2.17), coordination of movements of the shoulders and forearms (R = 2.67) and muscle strength of the shoulder girdle, arms (R = 4.00).
For students majoring in "orchestra string instruments" (violin), physical qualities such as "strength of the muscles of the neck, shoulder girdle" are especially important. So, holding a musical instrument and playing it allows them to properly transfer a long load on the upper extremities and shoulder girdle.
Conclusions. As a result of the research, the role and the place of professionally significant qualities of future specialists in music specialties, specializations "piano", "orchestra string instruments (violin)" necessary for further professional activity and the level of professionalism were analysed.
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Burel, O. V. "About compositions for piano and orchestra by Ch.-M. Widor. Background." Aspects of Historical Musicology 13, no. 13 (September 15, 2018): 45–60. http://dx.doi.org/10.34064/khnum2-13.04.
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Ch.-M. Widor (1844–1937) inscribed his name in the history of French music primarily as an author of organ works (10 Organ Symphonies, 1872–1900, in particular). But other genre branches of his creativity (symphonic, chamber-instrumental, chamber-vocal, operatic, choral) remains less famous for wide public. This quite vast layer is mostly not studied in musical science. However, at the recent time the interest is somewhat growing both among musicologists (A. Thomson, E. Krivitskaya, M. R. Bundy), and among the performers, which confi rms the relevance of this article. The objectives of this study are to consider compositions by Ch.-M. Widor (Piano Concerto No.1, Fantasy, Piano Concerto No.2) both in terms of features of individual creator style and context of concert branch history in France. Information about works is supplemented by the analysis of the basic musical text parameters. Ch.-M. Widor graduated the Brussels Conservatory, where he was studied from 1859 to 1863 – in classes of organ (J.-N. Lemmens) and composition (F.-J. Fetis). At 1860s, the young man was visiting Paris. Soon he was acquainted with C. Saint-Saens, which infl uenced Ch.-M. Widor not only in terms of his executive career turn, but also was etalon of instrumental writing. It seems that the writing of instrumental Concertos for violin (ор. 26, 1877), cello (ор. 41, 1877), and piano (ор. 39, 1876) in many ways is owed by C.Saint-Saens and the impulse to French music of the 1870s given by him. Piano Concerto No.1 f-moll by Ch.-M.Widor was well appreciated by the contemporaries of the composer. In fi rst movement (Allegro con fuoco) the active narrative is combining with predominantly lyrical mood. It passes in constant pulsation without any whimsical tempo deviations, as well as without cadenza using. Contemplative and philosophical meditations are concentrated at the second movement (Andante religioso). The exposition of ideas is embodied in oppositions of characters, concentrated and depth in front of light and joyous. By the way, a little similar can be found in Andante sostenuto quasi adagio of Piano Concerto No.1 (published in 1875) by C. Saint-Saens. The cycle is crowned with a lively scherzo fi nal with elegant dotted rhythm using. On the whole we can say that the Piano Сoncerto No.1 by Ch.-M. Widor purposefully continues the traditions of C. Saint-Saens. This is noticeable in the clarity of the structure, emphatic melody, and also in some specifi c features – the avoidance of long-term solo cadenzas and the absence of expanded orchestra tutti’s, as well as the laconicism of development section at the fi rst movement. Echoes of F. Liszt and C. Franck can be heard in Fantasy As-dur op. 62 for piano and orchestra (1889, dedicated to I. Philipp). Ch.-M. Widor shows interest in this genre type as many other French authors at 1880–1890s. In work there are many counterpoint and variation elements, which is due to author’s mastery of organ-polifonic writing. In our opinion, eclectic combinations of the main subject in the spirit of F. Liszt – R. Wagner with oriental saucy theme at the end of composition are quite in the style of C. Saint-Saens. Piano Concerto No.2 c-moll (1905) is standing out with its clear attachment to the late-romantic line. It is somewhat out of the general context of genre existence in France, especially when comparing with signifi cantly more traditional Piano Concertos by B. Godard (No.2, 1894), C. Saint-Saens (No.5, 1896), T. Dubois (No.2, 1897), A. Gedalge (1899), J. Massenet (1902). This manifests itself in appeal to fateful gloomy spirit, abundance of dark paints in the sound, the complication of the tonal-harmonic language, increased expressivity, psychologization. Here are found more fi ne-tooth application of timbre orchestral potential (in comparison with the Piano Concerto No.1), as well as increasing of orchestra importance upon the whole. This is paradoxical, but its performing tradition has developed not in the best way, so that nowadays this remarkable work is very rarely heard at concert halls. In our time, the author’s creativity is a real terra incognita that encompasses a lot of hidden masterpieces. Results of the research bring to light that examined works by composer are outstanding illustrations of French romantic music. Ch.-M. Widor is an example of original talent that continues the late Romanticism line in France at the end of 19th and fi rst third of the 20th century, together with other authors – L. Vierne, V. d’Indy, A. Magnard, F. Schmitt. His works for piano and orchestra quite deserve to become on a par with recognized masterpieces, included in the concert repertoire of pianists and orchestras by different countries of the world. The perspectives of the further research are defi ned in more detailed analytical labors, including the extension of analysis over Violin Concerto op. 26 and Cello Concerto op. 41 by author. The learning of these works will allow to complement the history of the concert genre of French Romanticism with new details, that will enable to see the evidence of succession and the vitality of traditions.
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Rusin, Anna. "Reprezentacje karnawału w fantazjach na fortepian z orkiestrą Dariusa Milhauda i Heitora Villi-Lobosa." Kwartalnik Młodych Muzykologów UJ, no. 54 (3) (December 7, 2022): 43–70. http://dx.doi.org/10.4467/23537094kmmuj.22.013.16813.
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The Representations of Carnival in Fantasias for Piano and Orchestra by Darius Milhaud and Heitor Villa-Lobos In the 1920s, Frenchman Darius Milhaud (1892–1974) and Brazilian Heitor Villa-Lobos (1887–1959), inspired by the carnival, created works that resemble each other in genre and scoring. These are the fantasias for piano and orchestra: Mômoprecóce by Villa-Lobos and Le Carnaval d'Aix, Op. 83b by Milhaud. The article presents an attempt to analyse the pieces in the context of carnivalesque aesthetics as well as musical representation (as described by Peter Kivy and Lawrence Kramer) and seeks to deeply comprehend the phenomenon’s resonance in the composers’ music.
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Rajabova, Mashhura. "Harmonic and Fret Features of "Tanovar" Processing by A. F. Kozlovsky and A. Nabiev." Eurasian music science journal, no. 1 (June 18, 2021): 95–105. http://dx.doi.org/10.52847/eamsj/vol_2021_issue_1/55.
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In the modern musicology of our country, the issues of the modal structure of national music in its folk and classical branches are the most relevant. And they require a detailed study of the historical and theoretical aspects of fret thinking both in traditional classical and folk Uzbek music, and in the works of composers of our country. The article deals with some theoretical and historical aspects in the use of the means of musical expression of two composers of Uzbekistan: A. F. Kozlovsky and A. Nabiev. A brief comparative analysis of the stylistic features of orchestral and piano processing, its fret and harmonic organization, the sound representation of Uzbek folk instruments by means of a symphony orchestra and vocals, as well as in the piano texture – in two historical periods of the development of the composer's creativity of Uzbekistan is given.
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Revenko, Natalia. "Ukrainian piano concert in the repertoire of the future teacher of music art." Scientific Visnyk V.O. Sukhomlynskyi Mykolaiv National University. Pedagogical Sciences 66, no. 3 (2019): 191–95. http://dx.doi.org/10.33310/2518-7813-2019-66-3-191-195.
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The article highlights the methods of working on a Ukrainian piano concert with students-pianists in the lessons on "Instrumental Performance (Piano)" in higher education institutions. The stages of the formation and development of the Ukrainian piano concert are presented: the end of the 20s-30s of the XX century – the origin and formation, the 40-60s – the development period, the 80-90s – the heyday of the concert genre. The best examples of this genre in the works of domestic composers of the past and the present are analyzed, namely, piano concerts by L. Revutsky, M. Skorik, V. Ptushkin. It has been proved that the positive qualities of the piano concerto No. 2 of L. Revutsky consist in the organic development of Ukrainian classical traditions, in the deep embodiment of elevated, cheerful moods, lyrical-excited pathetics, and strong-willed images. The piano concerto No. 1 by M. Skorik is characterized by an artistic-figurative emotionality combined with brilliant virtuosity and is designed for vivid external effects. Marked by neoclassical style, M. Skorik’s concert is built on the free competition of a virtuoso pianist with an orchestra and refers to the type of concerts with relatively equal parts of solo and orchestra. When performing the interpretation of the first part of the piano concert of V. Ptushkin, the main attention is paid to the nature of the performance of the main themes, namely the contrast and dialogue between them. It was found out that acquaintance of students-pianists in the instrumental performance classes with the genre of the Ukrainian piano concerto expands the knowledge of future music art teachers in developing this genre in our country. Processing the best examples of piano concerts by composers of the past and the present develops a sense of ensemble playing among students, influences timbre hearing, introduces composers' innovations in the fields of style, musical language, means of shaping, as well as a wide emotional palette of musical images. The concerts focused on the functions of a soloist and orchestra, the artistic content of works, shaping, composer innovations in the field of musical language.
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Service, Tom. "London, Barbican: Knussen's Symphony in One Movement." Tempo 57, no. 223 (January 2003): 85. http://dx.doi.org/10.1017/s0040298203250087.
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Oliver Knussen's Symphony in One Movement is his latest symphony. It is also his earliest – originally composed as the Concerto for Orchestra in 1969, and premièred by the 17-year old Knussen and the London Symphony Orchestra, with André Previn playing the flamboyant piano part. 33 years later, the piece has finally reached its definitive form, and Knussen conducted the BBC Symphony Orchestra in its world première as part of an all-Knussen programme in celebration of his 50th birthday, at the Barbican Hall on 1 November.
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MacDonald, Calum. "British Piano Music." Tempo 60, no. 235 (January 2006): 44–49. http://dx.doi.org/10.1017/s0040298206310042.
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KENNETH LEIGHTON: Sonatinas Nos. 1 and 2, op.1; Sonata No.1 op.2; Sonata No.2 op.17; Five Studies op.22; Fantasia Contrappuntistica (Homage to Bach) op.24; Variations op.30; Nine Variations op.36; Pieces for Angela op.47; Conflicts (Fantasy on Two Themes) op.51; Six Studies (Study-Variations) op.56; Sonata (1972) op.64; Household Pets op.86; Four Romantic Pieces op.95; Jack-in-the-Box; Study; Lazy-bones. Angela Brownridge (pno). Delphian DCD 34301-3 (3-CD set).PATRICK PIGGOTT: Fantasia quasi una Sonata; 8 Preludes and a Postlude (Third Set). Second Piano Sonata. Malcolm Binns (pno). British Music Society BMS 430CD.SORABJI: Fantasia ispanica. Jonathan Powell (pno). Altarus AIR-CD-9084.ROWLEY: Concerto for piano, strings and percussion, op.49. DARNTON: Concertino for piano and string orchestra. GERHARD: Concerto for piano and strings. FERGUSON: Concerto for piano and string orchestra, op.12. Peter Donohoe (pno and c.), Northern Sinfonia. Naxos 8.557290.Severnside Composers’ Alliance Inaugural Piano Recital. GEOFFREY SELF: Sonatina 1. IVOR GURNEY:Preludes, Sets 1, 2 and 3. JOLYON LAYCOCK: L’Abri Pataud. RICHARD BERNARD: On Erin Shore. STEVEN KINGS: Fingers Pointing to the Moon. SUSAN COPPARD: Round and Around. JOHN PITTS: Aire 1; Fantasies 1, 5. JAMES PATTEN: Nocturnes 3, 4. SULYEN CARADON: Dorian Dirge. RAYMOND WARREN: Monody; Chaconne. Peter Jacobs (pno). Live recording, 23 February 2005. Dunelm DRD0238.Severnside Composers’ Alliance – A Recital by two pianists. MARTINŮ: Three Czech Dances. BEDFORD: Hoquetus David. JOHN PITTS: Changes. HOLLOWAY: Gilded Goldbergs Suite. JOLYON LAYCOCK: Die! A1 Sparrow. POULENC: Élégie. LUTOSLAWSKI: Paganini Variations. Steven Kings, Christopher Northam (pnos). Live recording, 14 May 2005. Dunelm DRD0243.‘Transcendent Journey’. FOULDS: Gandharva-Music, op.49; April-England, op.48 no.1. CORIGLIANO: Fantasia on an Ostinato. PROKOFIEV: Toccata, op.11. With works by BACH-CHUQUISENGO, HANDEL, BEETHOVENLISZT, BACH-BUSONI, SCHUMANN. Juan José Chuquisengo (pno). Sony SK 93829.
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Zakharbekova, Irina S. "Ravel the arranger: transcriptions of piano and orchestra music." Contemporary Musicology, no. 3 (2019): 44–72. http://dx.doi.org/10.56620/2587-9731-2019-3-044-072.
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It is common practice for composers to make arrangements and transcriptions of their own or other composers’ music. However, Maurice Ravel stands out by his piano and orchestral transcriptions which constitute a prominent part of his works and reveal certain creative purposes and techniques. This shapes the subject of the article which, inter alia, also focuses on terminology not typical for Russian musicology. The study is novel as it examines Ravel’s transcriptions that have been virtually out of research or performance scope in Russia, namely, Debussy’s “Danse” and “Sarabande”, Chabrier’s “Menuet pompeux”, and others. The paper describes Ravel’s transcriptions from three perspectives: time of creation, the original author’s material developed by Ravel, and timbre interpretation. The orchestral versions of his own piano compositions (“Pavana of the Sleeping Infante,” “Tomb of Couperin”, “Alborada”, etc.), as well as compositions by other authors (Debussy, Chabrier, Mussorgsky) form the biggest part of Ravel’s heritage. The article compares compositions written in different timbres as well as different approaches Ravel uses to make piano arrangements, hence, the comparative method is central to the study. Ravel’s piano transcriptions show him as an attentive arranger sensitive to the subtleties of the score as well as a diligent student who has “digested” and mastered the original sound material, which, subsequently, influenced his own work. Creating orchestral versions of his own and his colleagues’ works, the composer remakes and interprets originals in a new way. Ravel’s orchestral instinct, his brilliant timbre ear, attention to structural detail, sense of proportion as well as his impeccable taste make him a genuine master of arrangement.
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Hayes, Deborah, and Peggy Glanville-Hicks. "Etruscan Concerto [For] Piano and Chamber Orchestra (1954)." Notes 47, no. 2 (December 1990): 558. http://dx.doi.org/10.2307/942013.
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Service, Tom. "London, Queen Elizabeth Hall: Carter's ‘Dialogues’." Tempo 58, no. 229 (July 2004): 74. http://dx.doi.org/10.1017/s0040298204230248.
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It's been more than 40 years since Elliott Carter wrote a concertante work for piano and orchestra: the 1963 Piano Concerto was one of the high watermarks of the complexity and richness of his early maturity. His latest piece is Dialogues for piano and large ensemble, and at its dazzlingly expressive world premiere performance on 23 January, by its commissioners and dedicatees, pianist Nicolas Hodges and the London Sinfonietta, conducted by Oliver Knussen, the work was revealed as one of the most significant of Carter's recent catalogue.
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Grigorev, Konstantin A. "THE ROLE OF ANDRÉ JOLIVET'S TRUMPET COMPOSITIONS IN THE FORMATION OF ORIGINAL CONCERT REPERTOIRE." Arts education and science 3, no. 36 (2023): 25–30. http://dx.doi.org/10.36871/hon.202303025.
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The article deals with the Concertino for Trumpet, Piano and String Orchestra and the Concerto for Trumpet and Orchestra by André Jolivet. Their importance in the development of the original repertoire for this instrument in the XXth century is noted. The author describes the main trends in the development of the trumpet repertoire in the first half of the XXth century in the context of new tendencies in European musical culture. Using a comparative analysis of historical research and the repertoire of that time, the author notes the gradual overcoming of the most acute repertoire deficit, caused by the composers' desire to master new means of musical expression. Based on the results of a holistic musical-theoretical analysis of the Concertino for Trumpet, Piano and String Orchestra, as well as the Concerto for Trumpet and Orchestra by André Jolivet, the author consistently proves their decisive importance both in terms of enriching the repertoire stylistically and expanding the expressive range of the trumpet, and in terms of changing psycho-emotional possibilities of concert performance on this instrument. Solo concert performance on trumpet as a means of communication between the musician and the audience becomes more varied in its emotional content, including through feelings and experiences that were previously taboo in academic performance.
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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 (December 30, 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, Petersburg, and Warsaw. Pachulski was acknowledged for his technical aptitude, but he gained the greatest recognition as a teacher and a composer. He created over a hundred piano works, including three sonatas, two cycles of variations, two polonaises, two mazurkas, three waltzes, preludes, studies, impromptus, and more. He also wrote chamber, vocal and orchestra compositions, as well as piano transcriptions for orchestra and chamber pieces. This article presents the composer’s music and teaching activity, it also touches on teaching qualities of his piano works. It pays special attention to technical aspects, and the analysis also covers the formal side of these compositions. While preparing the text, the author used information included in the Polish music press from the turn of the 20th century, music collection of the National Library in Warsaw, archive documents, and foreign sources.
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Giardina, Adriano. "Vers le style d’exécution « mainstream » des concertos pour piano de Mozart: l’enregistrement Columbia du Concerto en Sol majeur, K. 453, par Ernst von Dohnányi." Studia Musicologica 58, no. 2 (June 2017): 197–224. http://dx.doi.org/10.1556/6.2017.58.2.4.
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The gramophone recording of Mozart’s Piano Concerto in G major, K. 453, featuring Ernst von Dohnányi as soloist and conductor of the Budapest Philharmonic Orchestra, made in 1928 for the Columbia Company, is important in many respects. The Hungarian pianist and composer made little more than a handful of gramophone recordings until the late 1940s. This performance is also the first audio recording ever to be published that contained a Mozart piano concerto (some piano rolls with concertos or extracts did exist beforehand). From the beginning of his career, Dohnányi had been one of the keenest promoters of the Austrian composer’s piano pieces. In the Columbia recording, the performing style of Dohnányi and his orchestra is characteristic of its time, notably because it chooses to use a flexible tempo. In addition, the soloist makes use of rubato and chord dislocation. Nonetheless, the performers are also playing in an intimate conversational tone and they emphasize Mozart’s structural clarity. The execution of themes by the pianist is both poetic and restrained. These traits will define the “mainstream” performing style of Mozart’s piano concertos over most of the twentieth century. An implicit aesthetic standard comes into force in the critical reviews of the Columbia records: Mozart’s piano concertos require lightness and gentleness from the soloist. The elements given prominence to the recording and in the reviews also appear in contemporary musicological literature and in texts on music. Recordings of two additional Mozart piano concertos (K. 271 and K. 503), played live by Dohnányi in the 1950s, display a broadly similar performing style. Over the ten years that followed the Columbia recording, the majority of Mozart’s “great” piano concertos were published on records. This newly found popular interest is connected with a positive re-evaluation of this group of Mozart’s works.
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Burel, Oleksandr. "On Gabriel Pierné and his compositions for piano and orchestra." Aspects of Historical Musicology 16, no. 16 (September 15, 2019): 170–89. http://dx.doi.org/10.34064/khnum2-16.10.
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Background. The French composers’ creativity of the late XIX – first third of XX centuries is the admirable treasury of the world musical art. It is worth mentioning such remarkable and original artists as C. Debussy and M. Emmanuel, P. Dukas and E. Satie, A.Roussel and M.Ravel. The name of G. Pierné (1863–1937) can surely be added to this series of authors. But his oeuvre is still terra incognita for us. The thorough considerable researches about the author are not numerous. The monograph “Gabriel Pierné: musicien lorrain” by G. Masson was created in 1987, and the publication of the composer’s letters named as “Correspondance romaine” was published in 2005. In the 2000s, a lot of audio recordings of his best works were published, which testifies to the relevance of the author’s heritage and confirms the urgency of present topic of article. Objectives of this study is to focus researchers on G. Pierné’s personality and art, to consider his works for piano and symphonic orchestra – Fantasy-Ballet, Piano Concerto, Scherzo-Caprice, Symphonic Poem. Methods. The research is based on the historical biographical, the intonational, the comparative research methods. Results. C. Debussy, M. Ravel and composers of “Les Six” at their time outshined Pierné’s work. But years have passed and interest in the personality of this author has appeared. During his training in Paris Conservatory (1871–1882), G. Pierné achieved excellent results, having won in many student competitions. He studied composition in the class of J. Massenet (together with E. Chausson, G. Charpentier, G. Ropartz). Having won the competition for the Prix de Rome (1882), the young author was given the opportunity to live at Villa Medici (1883–1885). Spent time in Rome was one of the best episodes of his life. The first concert work by G. Pierné – Fantasy-Ballet (1885) for piano and orchestra was written there. The composition is based on the sequence of contrasting dancing episodes in the character of march, gallop, waltz, tarantella. It is significant that the ballet genre took pride of place in the work of G. Pierné later. The composer’s staying in Italy caused visibility, colorfulness, cheerfulness, feed activity, energy of images, using of genre motifs in FantasyBallet. The series of various episodes conveys a whimsical change of mood and resembles a sketches of impression. Returning to Paris in 1885, G. Pierné sought to strengthen his reputation as a soloist by entering the salon circles. At this time, he created many piano works, including the three-movement Piano Concerto c-moll (1886). This composition contains many dramatic moments which concentrated in the first and third movements of the cycle. However, as is often the case with French Romantic composers, such using of dramatic elements has a somewhat superficial, rhetorical character. The first movement is written in sonata form. The theme of the main subject (in c-moll), expounded by the piano octaves, is active and boisterous. And the secondary Es-dur subject is peaceful and lucid. There is the same entrancing serenity as in the lyrical theme of the E. Grieg’s Piano Concerto finale. In the first movement, the development is very short, and the recapitulation is abridged. It should be noted that G. Pierné refused to use the cadence of the soloist. The second movement is written in a three-part form with elements of variation and rondo. This light scherzo takes the listener away from the anxieties of previous movement. Every bar of this music, in which everything is made with elegant French taste, caresses the ear. The main theme, including the dotted rhythm, serves as a refrain that permeates the entire movement. The finale is distinguished by its developmental forcefulness and truly symphonic reach. So, the continuation of C. Saint-Saëns’s covenants is in the concentration of thematic material, the observableness of form, the rhetorical syllable, and rhythmic activity at the Pierné’s Piano Concerto. Scherzo-Caprice (1890) enriched the French miniature line. The image sphere of this opus is lucid lyrics, good-gentle jocosity, and solemnity. The melodic talent of the composer proved itself very convincing here. The theme of the waltz echoes the waltz episode from the Fantasy-Ballet in some details. Being written also in A-dur, it contains the upward melody moves with a passing VI# (fisis), and also diversions into the minor (cis-moll in Scherzo-Caprice, fis-moll in Fantasy-Ballet). At the turn of the century, the influence of C. Franck’s music was produced on the G. Pierné’s style. This is reflected in such works as the Symphonic Poem “L’An Mil” (1897), Violin Sonata (1900), oratorio “Saint François d’Assise” (1912), and Cello Sonata (1919). An appeal to the Symphonic Poem for piano and orchestra (1903) is also a clear sign of rapprochement with the late romantic branch (C. Franck, E. Сhausson). Here we see a departure of G. Pierné from the C. Saint-Saëns’s concert traditions, which he held before. In the Poem, such qualities as virtuosity, concert brilliance, and representativeness are somewhat leveled, which is caused with the narrative character of this work. Conclusions. During the “Renovation period” of French music, the piano and orchestra compositions experienced a real upsurge in its development. Composers began to turn more often not only to the Piano Concerto genre, but also to non-cyclic works – Fantasies, Poems, Rhapsodies, etc. G. Pierné contributed much to this branch along with C. Saint-Saëns, B. Godard, Ch.-M. Widor. In his Fantasy-Ballet, Piano Concerto, Scherzo-Caprice, we find the continuation of C. Saint-Saëns’s instrumental traditions. This is manifested in the moderation of the musical language, the normative character of harmonious thinking, the absolute clarity of discourse, concern for the relief of the melodic line. In the Symphonic Poem, contiguity with the musical aesthetics of С. Franck is revealed, which is reflected in harmony modulation shifts, appeal to polyphonic technique, differentiated and more powerful orchestration.
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Carnovale, Norbert, and Gunther Schuller. "Three Concertos: Concerto no. 1 for Horn and Orchestra. Concerto for Piano and Orchestra. Concerto for Bassoon and Orchestra." American Music 15, no. 3 (1997): 413. http://dx.doi.org/10.2307/3052333.
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Hughes, Edward Dudley, Grete Sultan, and Eberhard Blum. "John Cage: Concert for Piano and Orchestra; Atlas Eclipticalis." Musical Times 134, no. 1804 (June 1993): 347. http://dx.doi.org/10.2307/1003073.
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Starr, Larry. "George Gershwin, Complete Music for Piano & Orchestra. Anne-Marie McDermott, piano; Dallas Symphony Orchestra; Justin Brown, conductor. Bridge CD 9252. 2008." Journal of the Society for American Music 6, no. 1 (February 2012): 135–37. http://dx.doi.org/10.1017/s1752196311000484.
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Knysh, P. О. "Piano concertos by F. Chopin: “composing center” means." Problems of Interaction Between Arts, Pedagogy and the Theory and Practice of Education 57, no. 57 (March 10, 2020): 270–84. http://dx.doi.org/10.34064/khnum1-57.17.
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The article focuses on characterizing compositional and structural peculiarities of piano concertos by F. Chopin. The research emphasis is laid on the revealed fact that the corresponding “composing center” means (V. Kholopova) function as fundamental issues in terms of creating their interpretational versions, thus, joining analytical procedures performers of the above pieces have to follow. With a view to objectivize data concerning the composing component of the Concertos e-moll and f-moll by F.Chopin, the article presents an actual comparative analysis of various perspectives as for the functional means, represented in the socalled note “schemes” of the both Concertos. It is highlighted that on the basis of the aesthetics and poetics of the style brilliant (J. N. Hummel, F. Kalkbrenner), in his Concertos F. Chopin demonstrates an individual innovative exceeding (M. Tomashevsky) of those existing standards of representing the concerto form, turning to the national character genre topicality, reconstructing that peculiar texture configuration type that makes the piano a musical instrument of a selfsufficient status. In accordance with the objective of the present research being to reveal the nature of the “composing center” means in Concertos by F. Chopin, first, the article concentrates on those life and creativity circumstances which served as determinants that had brought those musical pieces to life. It is highlighted that, on the one hand, his Concertos close the initial period of F. Chopin’s creative activities, where piano and orchestra music was dominant. On the other hand, for F. Chopin the early 1830s were the time of saying farewell to Poland, which was reflected in the deeply personal nature of the content of the both Concertos which appeared under the influence of the author’s feeling for K. Gladkovska and D. Pototska (it is the latter that the Concerto f-moll was dedicated to). It is found out that it is F. Kalkbrenner that the Concerto e-moll by F. Chopin is dedicated to, which, therefore, demonstrates his link to the epoch, to which Chopin was actually saying farewell, as well. In the present article, the subject-matter of the research is points of view of famous musicians and scholars-chopinists concerning the content and the form of the above-mentioned Concertos by Chopin. In this connection, the object of the work is our extrapolation of these data onto interpreting the composing center means as an ingredient of the corresponding performance analysis of the above pieces. Applying elements of general scientific (historic-genetic, deductive, comparative) and specific musicological (genre, style, texture, theme) gnoseological methods, we arrive at the conclusion that stylistically the composing means of the both Concertos by F. Chopin demonstrate a dual quality. On the one hand, they more than meet the requirements of the model of the modern at that time concerto virtuoso style of the epoch of transferring from Classicism to Romantism, and, on the other hand, they serve as the development of the traditions shaped up for the many-century existence of piano-concerto forms, starting with J. S. Bach, F. Couperin and W. A. Mozart with subsequently working their way to the future reconstruction of the concerto-piano style in the world practice of modern times. In terms of their composition structure the both Concertos are built according to the model of the three-part cycle of the classicist pattern with the corresponding inter-part tempo correlative ratio “fast – slow – fast”. However, F. Chopin’s content of this form is exclusively individual, integrating “a sole performance” and “deep poetic expressiveness”, “virtuosity” and “romanticism” (M. Tomashevskiy). It is emphasized that the existing points of view concerning the Concertos by F. Chopin are quite diverse in many respects. Some authors, in particular Yu. Kremlyov, point out to a certain composing style “immaturity” F. Chopin demonstrates there, admitting, at the same time, the fact of genius godsends being present in “details”. This author lays a special emphasis on the nationally peculiar sources of the music language of the Concertos, where Polish musical lexis prove to be dominant, which is especially typical of the genre final components (cracovienne). At present the above perspective concerning the both Concertos seems to be rather one-sided, which is in the focus of the monograph by M. Tomashevskiy). The Polish author regards the Concertos by F. Chopin as masterpieces of world concerto-piano literature, especially highlighting their slow parts Larghetto. It is there that Chopin’s piano expressive semantic and technique innovations are concentrated, being unique in terms of their self-sufficiency, though corresponding with orchestra accompaniment. It is no coincidence that the Concertos were the last piano-orchestra music pieces by F. Chopin, after which he composed only solo piano music. The means of the “composing center”, discovered in the Concertos, become fundamental for creating the texture-polyphonic complex based on a polygenre ontology and the technique of overlapping (S. Shkolyarenko), which implies modelling orchestra voices and colors on the piano, using solely the resources of this instrument. The both Concertos being dominant-piano oriented is also proved by the fact that F. Chopin himself considered it to be reasonable to perform them when accompanied by a string quartet, thus emphasizing the self-sufficiency of the piano constituent. Nevertheless, it did not mean any decrease of the significance of orchestra means that in the both Concertos are represented expertly, which proves wrong the quite popular idea as for F. Chopin’s not being proficient enough in the field of composing for orchestras. It is in the orchestra in the both Concertos that the theme development processes which set off the piano constituent according to the principle of double expositions as an attribute of a classical concert “contest” take place. The conducted analysis of the composition dramaturge peculiarities of the both Concertos is aimed at revealing their performance potential. It has been concluded that such qualities of the theme material of these masterpieces as their polygenre modality, polytexture, a peculiar correlative ratio of the background and the relief generate diverse versions of approaches to performing the corresponding textual content, which is determined by the dialectical correlation of the following two origins – the Chopin author’s and the interpretational performer’s ones. It has been emphasized that for performing pianists the expressive-content and the composition-technique versatility of the both Concertos by F. Chopin creates a way to individually reconstructing and reviving composition means complemented with various author’s and editors’ directions and comments. The latter form an integrative unity in terms of creating a cluster of “composing center” means, constituting still another component of the interpretational reflection and performers’ realization of the content and form of the piano Concertos by F. Chopin, building up the perspective of our further research as for the subject of the present article.
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Сидір, Наталія. "Ballade for Piano and Orchestra in the First Half of the 20th Century: Stylistic and Form-building elements." Edukacja Muzyczna 16 (2021): 149–60. http://dx.doi.org/10.16926/em.2021.16.09.
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This article presents a comparative analysis of creative solutions within the genre of ballades for piano and orchestra in works created by local and foreign composers in the first half of the 20th century, such as L. Różycki, G. Tailleferre, B. Britten, N. Medtner, and I. Shamo. It has been determined that most works are characterised by purposeful inspiration which influenced their style. The basis of the genre lies in the synthesis of various features of the folk ballad and the poetic piano concerto. The first component combines epic song features, parts of folk songs or their arrangements, and declamatory melodies. The second one can be noticed in the different types of cooperation between the soloist (or soloists) and the orchestra, in the combination of features characteristic for single-part and cyclic forms (suite, rhapsody or different types of cyclic sonatas), and in the logic behind juxtaposing contrasting genre features or the figurative transformation of monothematic variants.
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Ming, Xia. "«Scenarity» as the Basis for the Formation of the Drama Genre in K. Tsepkolenko First Piano Concerto." CONTEMPORARY ART, no. 18 (November 29, 2022): 243–54. http://dx.doi.org/10.31500/2309-8813.18.2022.269739.
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The article reveals the peculiarities of creating the dramatic form of the Concerto-Drama for Piano and Orchestra. The paper substantiates the principles of dramatization of the composer’s piano concerto from the position of her creative method — her own genre concept, namely “scenario development” of musical material and general stylistic foundations of her creative work. The internal dramatic effect of the concerto is achieved thanks to the through development of musical images in the concerto-drama thanks to thematic bridges that unite all three parts into a single performance, in which the relief and convex script-fabula layers of the work are literally perceptible, revealing to the listener a world of emotions and vivid feelings. The article shows that the composer, developing the concerto genre in a dramatic turn, uses playful methods of form-making to enhance the dramatization of his works. In the orchestra part she widely uses the competitiveness of the individual instruments and orchestra groups, in the climactic moments the texture is saturated by poly-linear multi-layered semantic structures. The composer makes innovative use of piano cadenzas that appear on the crest of the hero’s emotions, appearing in various structural sections of the concerto and serving as unifying material that binds together the dramatic plot of the concerto. The individual project of the work based on the script featured development of the drama is decisive in the composer’s concerto-symphonic works. Here the composer acts as another function that emerged in connection with the application of the script development method, namely that of the director of the musical process, who shapes the musical material taking into account its texture, temporal and spatial forms.
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Patrikov, Georgi. "PEDAGOGICAL PROBLEMS OF WORKING ON RHAPSODIC FANTASY BY DIMITAR NENOV IN THE CURRICULUM IN ORCHESTRA CONDUCTING BY PIANO." Knowledge International Journal 28, no. 3 (December 10, 2018): 1051–56. http://dx.doi.org/10.35120/kij28031051g.
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There are at least two reasons why Rhapsodic fantasy by Dimitar Nenov should be included in the curriculum for students in the Orchestra conducting field of study.The first of them is the high artistic value of the composition (the same applies to the Piano concert – one of the two great pinnacles of Nenov’s work), which assigns it a well-deserved honorary place not only amongst the Bulgarian musical culture, but also amongst the most valuable models of European symphonism.Unfortunately the work is not well-known even for the Bulgarian public – a problem that could be solved by it being studied and performed. That is why the inclusion of the composition as part of the curriculum in “Orchestra conducting” plays an important part in the meeting with one of the much less known masterpieces of the Bulgarian musical culture, such as Rhapsodic fantasy by Dimitar Nenov.Another key reason as to why piano work in the Orchestra conducting classes, dedicated to Rhapsodic fantasy is particularly appropriate, is the importance of the conductor’s abilities, which students can acquire, such as:- quick orientation in big orchestra full score,- convincing building of the shape through aesthetic and structural analisis of the logic of its procedure development,- gradation of the dynamical increases with good manual technics,- fine expressiveness of the tempo correlations and- exactly measured rubato,- cultivating of the timbre thinking.The inclusion of Rhapsodic fantasy in the curriculum is likewise a good opportunity for the students to acquire abilities, related to complex rationalization of the orchestra score from the point of view of the specific conductor’s questions which they have to solve as well as from the point of view of creating a personal concept of the composition.
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Roberge, Marc-Andre. "From Orchestra to Piano: Major Composers as Authors of Piano Reductions of Other Composers' Works." Notes 49, no. 3 (March 1993): 925. http://dx.doi.org/10.2307/898925.
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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 articulation. They were to some extent also based on similarity of the mood evoked by the excerpts. This latter factor was more prominent in the verbalizations for the orchestral version. Instrumentation, timbre, and type of timbral change (smooth, disjunctive) also affected classifications in the orchestral version. Perceptual relations among thematic materials within the piece and the interaction of form-bearing dimensions in musical similarity perception are discussed.
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Ho, Allan B., Franz Liszt, Jay Rosenblatt, Imre Mezo, Imre Sulyok, and Geza Gemesi. "Concerto for Piano and Orchestra in E-Flat Major, Op. Posth.; Reduction for 2 Pianos." Notes 48, no. 4 (June 1992): 1447. http://dx.doi.org/10.2307/942165.
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Patrikov, Gueorgui. "PEDAGOGICAL PROBLEMS OF WORKING ON FOUR SKETCHES FOR A SYMPHONIC ORCHESTRA BY DIMITAR NENOV IN THE CURRICULUM IN ORCHESTRA CONDUCTING BY PIANO." KNOWLEDGE INTERNATIONAL JOURNAL 30, no. 2 (March 20, 2019): 447–52. http://dx.doi.org/10.35120/kij3002447p.
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A simple reason to make Dimitar Nenov’s Four sketches for a symphonic orchestra part of the curriculum is their high artistic value. Even though they are a comparatively early opus, the Sketches were written with respectful professionalism and impress listeners with the impact they make. Another significant consideration that makes working on Four sketches for a symphonic orchestra scores in the orchestra-conducting classes especially valuable and useful, is the opportunity for the trainees to get to know the work better and acquire important conducting skills. The process of analyzing and perceiving a work of music from the viewpoint of its interpretation, in this case – from the point of view of preparing oneself for interpreting it in academic work with the help of a pedagogue and an accompanist, is radically different comparing it to the process of listening to it recorded or in a live performance. A conductor’s approach to this process enables him to delve into making the work from the point of view of the following: - deep consideration of the structure of the cycle; - understanding the inner links between separate parts; - building a unique set of the images in a single sketch. At the same time, the manual work on the composition helps one to develop important conducting skills like a - sense for processional dynamics; - good initial selection of tempos; - clear conveying of even the minutest changes of tempo; - simultaneous manual presentation of contrastive dynamics in various orchestral layers; - clearly differentiated strokes; - sense for artistic measure in order to portion various musical tools of expression in compliance with the inner logics of using them. Solving the overall performer’s and particular manual issues with the help of the teacher contributes for the comprehensive professional development of the students.
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Quinn, Peter. "Kancheli and Knaifel." Tempo 60, no. 235 (January 2006): 34–35. http://dx.doi.org/10.1017/s0040298206230043.
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GIYA KANCHELI: Time…and again; V & V; Piano Quartet. Gidon Kremer (vln), Oleg Maisenberg (pno), Kremerata Baltica, The Bridge Ensemble. ECM New Series 461 8182.ALEXANDER KNAIFEL: Psalm 51 (50); Amicta Sole. Mstislav Rostropovich (vlc), Tatiana Melentieva (sop), Glinka Choral College, State Hermitage Orchestra c. Arkady Shteinlukht. ECM New Series 472 0832.
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Dashak, Yevhen. "“Romantic Concert” for Piano and Orchestra by Joseph Marx in the Aspect of Aesthetics of Late Romanticism." Scientific herald of Tchaikovsky National Music Academy of Ukraine, no. 130 (May 17, 2021): 69–88. http://dx.doi.org/10.31318/2522-4190.2021.130.231198.
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There is considered the “Romantic Concert” for piano and orchestra in E major (1919) by the Austrian composer, pianist, teacher, theoretician and public figure Joseph Marx (1882–1964). The “Romantic Concert” was included in the repertoire of such pianists as W. Gieseking, J. Bolet, M.-A. Hamelin and D. Lively.
The relevance of the study consists not only in the absence in Ukraine publications devoted to the study of the “Romantic Concert”, but also in the need to introduce this work into the creative practice of native performers.
The main objective of this study is to explore how the realization of the traditions of the piano concerto genre in the opus of J. Marx is combined with the composer’s thinking as a late romantic and his individual creative style.
Scientific novelty lies in an attempt to spread the scientific understanding of the existence of late romanticism in the musical art of the early twentieth century and to determine features of its embodiment in the genre of a concert for piano and orchestra on the example of the “Romantic Concert” by J. Marx.
The research methodology is based on the methods of holistic and stylistic analysis described in the works by M. Mikhaylov and Ye. Ruch’yevskaya. Also this article is based on the concept of late romanticism by L. Nebolyubova, which is supplemented by the theses set forth in the works of Russian musicologist O. Sheludyakova.All three parts of the “Romantic Concert” were analyzed in detail, which made it possible to produce the findings set out in article. In his work, J. Marx reproduces in detail the type of piano concerto of the Romantic era, using almost all possible genre-compositional and style parameters. “Romantic Concert” is an example of an instrumental concert of a symphonic type, where the soloist and orchestra act as a comprehensive whole, and the cycle itself is based on the dramatic basis of the symphonic work. The musical fabric of the concert is based on a huge number of style allusions to the work of composers of different eras and styles, which is a vivid manifestation of the synthetic, conclusive character of the late stage of musical romanticism. Piano concert of J. Marx played a part in the formation of “romantic-centric” trends in the musical art of the twentieth century.