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Relevant bibliographies by topics / Potpourris (Violin with orchestra)

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Academic literature on the topic 'Potpourris (Violin with orchestra)'

Author: Grafiati

Published: 4 June 2021

Last updated: 3 February 2022

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Journal articles on the topic "Potpourris (Violin with orchestra)"

1

Cleman, Tom, and Wallingford Riegger. "Variations for Violin and Orchestra." Notes 45, no. 3 (1989): 617. http://dx.doi.org/10.2307/940825.

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Berrett, Joshua, William Schuman, and Leonard Bernstein. "Concerto for Violin and Orchestra." American Music 9, no. 3 (1991): 335. http://dx.doi.org/10.2307/3051443.

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

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Stein, Robert. "CORIGLIANO ROUSE HIGDON." Tempo 58, no. 230 (2004): 87–88. http://dx.doi.org/10.1017/s0040298204300331.

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CORIGLIANO: Symphony No. 2; The Mannheim Rocket. Helsinki Philharmonic Orchestra c. John Storgårds. Ondine ODE10392ROUSE: Violin Concerto1; Rapture; Der gerettete Alberich2. 1Cho-Liang Lin (vln), 2Evelyn Glennie (perc), Helsinki Philharmonic Orchestra c. Leif Segerstam. Ondine ODE10162HIGDON: Concerto for Orchestra; City Scape. Atlanta Symphony Orchestra c. Robert Spano. Telarc. CD80620 (Super Audio version SACD60620)

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Driver, Paul. "Gruber's Concertos." Tempo, no. 178 (September 1991): 22–27. http://dx.doi.org/10.1017/s004029820001398x.

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The concerto evidently appeals to HK Gruber, as symphonies do not. He has so far written four works that are unambiguously in this form: ‘…aus schatten duft gewebt…’, a concerto for violin and orchestra of 1977–8; the concerto for percussion and orchestra Rough Music (Rauhetöne) of 1982–3; Nebelsteinmusik, for solo violin and string orchestra, of 1988; and the Concerto for Cello and Chamber Orchestra of 1989. Ambiguous examples of the form are his early Concerto for Orchestra (1960–64) – concertos for orchestra are by definition ambiguous – and Frankenstein!!, his ‘pan–demonium’ (rather than ‘

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Head, Raymond. "John Foulds." Tempo 59, no. 232 (2005): 52–53. http://dx.doi.org/10.1017/s0040298205230152.

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FOULDS: Three Mantras op. 61b3; Lyra Celtica, Concerto for voice and orchestra op. 501; Apotheosis (Elegy) for violin and orchestra op. 182; Mirage op. 20. 1Susan Bickley (mezzo), 2Daniel Hope (vln), 3City of Birmingham Youth Chorus, City of Birmingham Symphony Orchestra c. Sakari Oramo. Warner Classics 2564 61525-2.

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Vastamäki, Martti, Heidi Vastamäki, Leena Ristolainen, Katrinas Laimi, and Mikhail Saltychev. "Violists and Violinists Report More Intense Hand Pain on NRS Than Other Orchestra Musicians." Medical Problems of Performing Artists 35, no. 3 (2020): 162–66. http://dx.doi.org/10.21091/mppa.2020.3024.

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AIMS: Among musicians, string players have the highest prevalence for musculoskeletal overuse. Playing a violin or viola requires rapid, repetitive, and complicated movements of the hands and fingers. This cross-sectional study aimed to examine whether violin/viola, violin/cello, and violin/French horn players experience more intense musculoskeletal pain than other instrumentalists. METHODS: The study sample consisted of 590 orchestra musicians (354 male, 236 female, mean age 36 yrs). Self-administered questionnaires were used to assess pain of the back, neck, shoulder, face, jaw, and upper ex

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Dokuzova, Stanka. "Didaktična literatura za violino Dušana Vodiška / Didactic violin literature by Dušan Vodišek." Glasbenopedagoški zbornik Akademije za glasbo ◆ The Journal of Music Education of the Academy of Music in Ljubljana 17, no. 34 (2021): 115–45. http://dx.doi.org/10.26493/2712-3987.17(34)115-145.

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The article discusses didactic violin literature by violinist and pedagogue Dušan Vodišek. Covering the period between 1966 and 2016, his oeuvre represents a bridge between didactic violin literature of the previous century and contemporary didactic violin literature. Over these 50 years, he significantly enriched didactic violin literature in Slovenia with his works, which include a violin book for beginners, children’s compositions for violin and piano, youth compositions for violin and piano, compositions for chamber ensemble and string orchestra, and two textbooks on position changing. The

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Rickards, Guy. "LEE HYLA." Tempo 58, no. 230 (2004): 86–87. http://dx.doi.org/10.1017/s0040298204290337.

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Young, Toby. "BBC Proms 2014: Gabriel Prokofiev and Brett Dean." Tempo 69, no. 271 (2015): 74–75. http://dx.doi.org/10.1017/s0040298214000692.

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A traditional four-movement violin concerto might seem a departure from the grime-influenced crossover language of the composer of the infamous Concerto for Turntables (given its Proms premiere in 2011). However, in many ways Gabriel Prokofiev's first Violin Concerto, commissioned by the BBC for Daniel Hope and the Borusan Istanbul Philharmonic Orchestra, is a highly satisfactory step in the composer's artistic trajectory.

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Dissertations / Theses on the topic "Potpourris (Violin with orchestra)"

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Gorby, Roderick B. "An Appalachian Fantasy for Violin and Orchestra." Ohio University / OhioLINK, 2010. http://rave.ohiolink.edu/etdc/view?acc_num=ohiou1275451979.

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Tartini, Giuseppe Burden Michael. "Six concertos for violin and string orchestra, 1733 /." Title page, contents and summary only, 1986. http://web4.library.adelaide.edu.au/theses/09ARM/09armb949.pdf.

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Girling, Jonathan. "The Ice Palace for Violin Solo and Large Orchestra." Thesis, Birmingham City University, 2006. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.434261.

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Arriaga, Sophia L. "A Study of the Process: A Guide for Aspiring Orchestral Violinists." University of Cincinnati / OhioLINK, 2020. http://rave.ohiolink.edu/etdc/view?acc_num=ucin1583155006163813.

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Mavroudis, Anastasios Ruper Arthur. "Performing Sicilianos : selected chamber works and Concerto for Violin and Orchestra." Thesis, Goldsmiths College (University of London), 2015. http://research.gold.ac.uk/11857/.

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Yorgos Sicilianos (1920–2005) was educated in the tradition of Greece’s National School Movement, but managed to break away and to define his own musical personality. Over a 30-year period from 1954, he experimented with atonal neoclassical styles, the twelve-tone method and integral serialism, while searching for solutions to problems of form and structure. After 1980, Sicilianos concluded that the term ‘post-diatonic music’ best described his compositional style, which by then drew inspiration from literary works to give form and meaning to his music. This thesis analyses the compositional i

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Massoud, Raymond. "In defense of grey areas (2012) for violin and chamber orchestra." Thesis, Boston University, 2012. https://hdl.handle.net/2144/21214.

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Thesis (M.M.) PLEASE NOTE: Boston University Libraries did not receive an Authorization To Manage form for this thesis or dissertation. It is therefore not openly accessible, though it may be available by request. If you are the author or principal advisor of this work and would like to request open access for it, please contact us at open-help@bu.edu. Thank you.<br>The following piece is comprised of one long movement lasting approximately fifteen minutes and is scored for a violin soloist and a chamber orchestra. Initially conceived as a concerto, the work explores the interactivity between

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Nazor, Craig. "Concerto for solo violin, strings, and percussion /." Digital version accessible at:, 1999. http://wwwlib.umi.com/cr/utexas/main.

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Platt, Jessica K. "A methodolology of study for Samuel Barber's Concerto for violin and orchestra op. 14." Muncie, Ind. : Ball State University, 2009. http://cardinalscholar.bsu.edu/783.

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Kwak, Anna. "A performer's analysis of Allan Pettersson's Concerto No. 2 for Violin and Orchestra /." The Ohio State University, 1994. http://rave.ohiolink.edu/etdc/view?acc_num=osu1487849696966575.

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Platt, Jessica K. "A methodology of study for Samuel Barber's Concerto for violin and orchestra op. 14." CardinalScholar 1.0, 2009. http://liblink.bsu.edu/uhtbin/catkey/1467040.

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In this study the author develops a methodology for the study of the Samuel Barber Concerto for Violin and Orchestra, Opus 14 by analyzing the stylistic components of the work, presenting important pedagogical principles, and offering an array of performance practice techniques. The primary tool used to formulate the methodology was a survey of exceptional violinists and pedagogues. Twenty-six professional violinists responded to a survey that asked their suggestions for preparing and performing five specific excerpts from the Concerto. The compilation of the responses provides an invaluable g

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Books on the topic "Potpourris (Violin with orchestra)"

1

Amram, David. Concerto for violin and orchestra: Violin and piano. C.F. Peters, 1995.

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Carlo, Menotti Gian. Concerto for violin and orchestra. G. Schirmer, 1992.

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3

Riegger, Wallingford. Variations for violin and orchestra. Associated Music Publishers, 1985.

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Zwilich, Ellen Taaffe. Concerto for violin, violoncello, and orchestra. Merion Music, 1992.

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Casken, John. Concerto for violin and orchestra (1994-95). Schott, 1996.

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6

Fratila, Andra, ed. Nostalgic Suite: For flute, violin and orchestra. Editura Universitatii Nationale de Muzica Bucuresti, 2008.

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

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Lutosławski, Witold. Chain 2: Dialogue for violin and orchestra. Chester Music, 1988.

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9

Mailman, Martin. Concerto for violin & orchestra: (Variations) op. 68. Boosey & Hawkes, 1988.

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Herresthal, Harald. Haflidi Hallgrímsson, Poemi, for violin and [string] orchestra. F. Noetzel, "Heinrichshofen-Bücher,", 1997.

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Book chapters on the topic "Potpourris (Violin with orchestra)"

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Holman, Peter. "From Violin Band to Orchestra." In From Renaissance to Baroque. Routledge, 2017. http://dx.doi.org/10.4324/9781315093826-14.

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Tunley, David. "'Alfredo Campoli and his Salon Orchestra'." In The Bel Canto Violin. Routledge, 2018. http://dx.doi.org/10.4324/9780429425707-2.

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"Recording Piano with Other Instruments: Violin, Cello, Voice, Etc." In Recording Orchestra and Other Classical Music Ensembles. Routledge, 2016. http://dx.doi.org/10.4324/9781315721040-29.

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4

Ramnarine, Tina K. "Legacies." In Jean Sibelius's Violin Concerto. Oxford University Press, 2020. http://dx.doi.org/10.1093/oso/9780190611538.003.0007.

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This chapter reflects on the legacies of Sibelius’s Violin Concerto in D Minor (op. 47), noting the establishment of the Sibelius Violin Competition and listing violin concertos composed by Finnish composers after Sibelius. It discusses concerto writing as an exploration of the relationship between soloist and orchestra. By situating virtuosity as a trope in relational thought within philosophical discourses on human tendencies, this chapter argues that a politics of possibility emerges because the element of risk in a virtuoso’s performance is haunted by a moral drama played out on public stages with uncertain outcomes. This chapter, and the book as a whole, ends by moving away from a political view of the concerto to the question of how performing traditions are formed over time. The chapter concludes with a reading of the Sibelius violin concerto within the long ecological histories of musical transmission.

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Heyman, Barbara B. "Prelude to War." In Samuel Barber. Oxford University Press, 2020. http://dx.doi.org/10.1093/oso/9780190863739.003.0009.

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This chapter reveals the most accurate account of Barber’s first major commission, the Concerto for Violin and Orchestra. It was commissioned in 1939 by Samuel Fels of Fels-Naptha soap for his ward Iso Briselli, a young violinist prodigy. Barber’s work on the concerto in Switzerland was interrupted by the impending Nazi invasion in Poland and, on arriving home, the illness of his father. As the work could not be completed in time for Briselli’s debut, it was premiered instead by Albert Spalding and the Philadelphia Orchestra and received a generous response, newspapers reporting it to be an “exceptional popular success.” The chapter also features four songs on texts by Gerard Manley Hopkins, James Agee, W. B. Yeats, and Frederic Prokosch, a friend of Barber’s. It mentions the piano trio he wrote for the wedding of Barber’s sister Sara and his nomination to the National Institute of Arts and Letters as its youngest member.

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Heyman, Barbara B. "Composer as Conductor." In Samuel Barber. Oxford University Press, 2020. http://dx.doi.org/10.1093/oso/9780190863739.003.0012.

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With an offer from the London FFRR label to conduct and record his works, including the Medea Suite and the Cello Concerto with Zara Nelsova, Barber studied conducting with Nicolai Malko in Denmark. He bravely took the challenge and was well accepted. Rehearsals proceeded well, and eventually he was invited to Berlin to conduct his Violin Concerto with Charles Turner as soloist. After answering an invitation by Charles Munch to conduct his Second Symphony with the Boston Symphony Orchestra, Barber decided he was “tired of rehearsing his own music.” He believed that good composers did not make good conductors, and he decided to devote all his energy toward his primary creative passion: composing music.

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Heyman, Barbara B. "Discoveries." In Samuel Barber. Oxford University Press, 2020. http://dx.doi.org/10.1093/oso/9780190863739.003.0004.

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This chapter describes Barber’s first few trips to Europe, with a fellow student, cellist David Freed, where his romance for European culture began and greatly influenced his work. He sought the most brilliant European artists, musicians, and music professors during that time, immersing himself in their works and teachings. These trips left him with a greater passion for composition as he returned to the Curtis Institute, where he proceeded to write with an utmost intensity. But his writing at this time was not without the usual peaks and troughs, as is the case with any artist. There were compositions wherein Barber doubted his talent. However, his perseverance and determination earned him his first prize in music—the Joseph Bearns Prize for a violin sonata that was lost for many years. It was also at this time that the Serenade of 1928 was born, one of the earliest orchestra pieces that launched Barber’s career. The promotion of his work by Mary Curtis Bok, the founder of the Curtis Institute of Music, was substantial.

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Haroutounian, Joanne. "Talent as Giftedness." In Kindling the Spark. Oxford University Press, 2002. http://dx.doi.org/10.1093/oso/9780195129489.003.0012.

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Wolfgang Amadeus Mozart began composing at the age of four. He toured as a prodigy for three years before the age of ten, astounding audiences with his ability to perform on the harpsichord, voice, organ, and violin. He would compose on sight in different styles and on different instruments. He could “most accurately name from a distance any notes that may be sounded for him either singly or in chords, on the clavier or on every imaginable instrument, including bells, glasses, and clocks.” When his father was recovering from an illness, eight-year-old Wolfgang was not allowed to play the piano. He filled his time by composing his first symphony (K.16) for all instruments of the orchestra. When we hear the word “gifted” in connection with music, the musical prodigy immediately comes to mind. The arguments of recognizing talent through performance, creative endeavors, or music aptitude tests seem incidental in comparison to the possibilities and accomplishments of the musical prodigy. There is no question that these young musicians show incredible levels of musical talent, often exhibiting musical capabilities equal to those of a highly trained adult. Mozart remains the preeminent example of the prodigy, described by his father and teacher as a “God-given miracle,” knowing “in his eighth year what one would expect from a man of forty. Indeed, only he who sees him can believe it.” A prodigy is a child who displays extraordinary talent at an early age. Prodigies occur most often in the field of music, exceeding the total of all other fields combined. Musical prodigies show outstanding abilities at a younger age than other prodigies, with some as young as three or four years old. The field of chess is a distant second place in number, with prodigious achievement often seen at five or six years of age. Relatively few prodigies are identified in the natural sciences, philosophy, dance, or plastic arts. Even the field of mathematics, whose young calculating wonders gain media recognition, have few true prodigies capable of original mathematical reasoning prior to their teen years. The literature offers differing opinions concerning age and prodigious talent.

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Conference papers on the topic "Potpourris (Violin with orchestra)"

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Patynen, Jukka, Sakari Tervo, and Tapio Lokki. "Simulation of the violin section sound based on the analysis of orchestra performance." In 2011 IEEE Workshop on Applications of Signal Processing to Audio and Acoustics (WASPAA). IEEE, 2011. http://dx.doi.org/10.1109/aspaa.2011.6082305.

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