Relevant bibliographies by topics / Sonata for violin and piano

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  2. Dissertations / Theses
  3. Books
  4. Book chapters
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Academic literature on the topic 'Sonata for violin and piano'

Author: Grafiati
Published: 4 June 2021
Last updated: 25 April 2022

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Journal articles on the topic "Sonata for violin and piano"

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Renat, Maryla. "The synthesis of tradition and avant-garde techniques in selected polish violin sonatas from the second half of the 20th century." Notes Muzyczny 2, no. 12 (December 13, 2019): 199–216. http://dx.doi.org/10.5604/01.3001.0013.7175.

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The article presents four chamber violin sonatas for an instrument duo written in the 1970s and 1980s, which in their concept of form and shape combine the elements of the widely understood tradition with innovative means of composition technique. The subject for a closer analysis are the following works: • Witold Rudziński, Sonata pastorale per violino e piano forte, 1978 (PWM, Cracow 1983) • Sławomir Czarnecki, Sonate tragique für Violine und Klavier, 1982 (Tonos, Darmstadt 1988) • Jan Krenz, Sonatina for two violins, 1986 (Brevis, Poznań 1994) • Zbigniew Bargielski, Sonate für Violine und Klavier „The sonata of oblivion”,1987, autograph. Each sonata listed above renders an individual concept for combining paradigms adopted from the tradition (e.g. forms, use of quotation, expression idiom) with selected avant-garde means in sound technique, which mainly derives from the sonoristic trend. What Witold Rudziński’s Sonata pastorale per violino e piano forte draws from music tradition is the thematic character of musical thoughts, and in its sound sphere it introduces the means of mild sonoristic, maintaining a balance between them. Sławomir Czarnecki’s Sonate tragique für Violine und Klavier using the quotation from the sequence of Dies irae refers to the Late-Romantic expression to which it adds unusual methods of sound production and sonoristic middle episode. The function of these innovative means is to contrast it against dramatic expression of the piece’s outermost elements. The third discussed work, Sonatina for two violins by Jan Krenz corresponds with the neoclassical trend from the 20th century and brings out diverse elements of violin technique. It refers to the B-A-C-H sound symbol known from the past and to the variation form and combines them with more recent sound structures. The fourth composition, Sonate für Violine und Klavier by Zbigniew Bargielski, is the most innovative one in terms of its sound layer and formal concept. Its connection to the past is maintained thanks to a quotation from Chopin’s music transformed in an interesting way. The analysis of the sonatas leads to the following final conclusion: the tradition and the avant-garde in the discussed works from the postmodern period are not in opposition one against another in terms of style and aesthetics but they create complementary phenomena, in which the message drawn from tradition is given a new face.
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Brooks, Davis, Ruth Crawford, Lee Hoiby, and Friedrich Zehm. "Sonata; For Violin and Piano." Notes 43, no. 1 (September 1986): 186. http://dx.doi.org/10.2307/897870.

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MacAdam, Laurel A., and Charles Wuorinen. "Sonata for Violin and Piano." American Music 12, no. 4 (1994): 472. http://dx.doi.org/10.2307/3052347.

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Schneider, Wayne, and Ruth Crawford. "Sonata for Violin and Piano." American Music 17, no. 1 (1999): 118. http://dx.doi.org/10.2307/3052377.

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Pickard, John. "Bernard Stevens." Tempo 58, no. 229 (July 2004): 57–58. http://dx.doi.org/10.1017/s0040298204340222.

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BERNARD STEVENS: Piano Trio op.3; Sonata for violin and piano op.1; Trio for horn, violin and piano op.38; Fantasia on a theme of Dowland for violin and piano op.23; Improvisation for solo violin op.48a. The Academy of St. Martin-in-the-Fields Chamber Ensemble – Kenneth Sillito (vln), Stephen Orton (vlc), Hamish Milne (pno), Timothy Brown (hn). Albany Records TROY 572.
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Florea, Augustina. "7. Echoes of Romanticism in Violin and Piano Sonata No. 2, Op. 45 by Marcel Mihalovici - Analytical Landmarks for an Upscale Interpretation." Review of Artistic Education 19, no. 1 (April 1, 2020): 46–57. http://dx.doi.org/10.2478/rae-2020-0007.

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AbstractThe evolution of the genre of violin and piano sonata in the Romanian composition creation in the first half of the 20th century, marked by the tendency towards getting close to the European musical phenomenon by assimilating stylistic influences of Romanticism, especially, of Enescian Romanticism, distinctly manifesting in Violin and Piano Sonata no. 2, op. 45, by Marcel Mihalovici, one of the most renowned Romanian composers settled in Paris, appreciated by the famous contemporaries, such as M.Ravel, V.d’Indy, F. Poulenc etc. Sonata (1941), preceded by a motto in the sonnet of Romantic poet Gérard de Nerval Myrtho: „Je sais pourquoi lá bas lé volcan s’est rouvert…”, impresses through the high emotional tension, metaphorically expressed by the image of the “woken” volcano, figurative suggestiveness of the musical language, architectonic innovativeness, spectacular capitalization of the violin technique in the formula of a violin-piano choir.
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Sills, David L., H. H. A. Beach, Roger Hannay, Volker David Kirchner, and Franco Mannino. "Sonata (Originally for Violin and Piano)." Notes 42, no. 4 (June 1986): 860. http://dx.doi.org/10.2307/897816.

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Rickards, Guy. "Music by women composers." Tempo 59, no. 234 (September 21, 2005): 66–72. http://dx.doi.org/10.1017/s0040298205300325.

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HOWELL: Violin Sonata in F minor; Rosalind for violin & piano; Piano Sonata in E minor; Humoresque for piano; 5 Studies for piano. Lorraine McAslan (vln), Sophia Rahman (pno). Dutton Epoch CDLX 7144.BACEWICZ: Violin Sonatas Nos. 4–5; Oberek No. 1; Sonata No. 2 for violin solo; Partita; Capriccio; Polish Capriccio. Joanna Kurkowicz (v;n), Gloria Chien (pno). Chandos CHAN 10250.MARIC: Byzantine Concerto1; Cantata: Threshold of Dream2,3,6; Ostinato Super Thema Octoïcha4–6; Cantata: Song of Space7. 1Olga Jovanovic (pno), Belgrade PO c. Oskar Danon, 2Dragoslava Nikolic (sop, alto), 3Jovan Milicevic (narr), 4Ljubica Maric (pno), 5Josip Pikelj (hp), 6Radio-TV Belgrade CO c. Oskar Danon, 7Radio-TV Belgrade Mixed Choir & SO c. Mladen Jagušt. Chandos Historical 10267H.MUSGRAVE: For the Time Being: Advent1; Black Tambourine2–3; John Cook; On the Underground Sets1–3. 1Michael York (narr), 2Walter Hirse (pno), 3Richard Fitz, Rex Benincasa (perc),New York Virtuoso Singers c. Harold Rosenbaum. Bridge 9161.KUI DONG: Earth, Water, Wood, Metal, Fire1; Pangu's Song2; Blue Melody3; Crossing (electronic/computer tape music); Three Voices4. 1Sarah Cahill (pno), 2Tod Brody (fl), Daniel Kennedy (perc), 3San Francisco Contemporary Music Players c. Olly Wilson, 4Hong Wang (Chinese fiddle), Ann Yao (Chinese zither), Chen Tao (bamboo fl). New World 80620-2.FIRSOVA: The Mandelstam Cantatas: Forest Walks, op. 36; Earthly Life, op. 31; Before the Thunderstorm, op. 70. Ekaterina Kichigina (sop), Studio for New Music Moscow c. Igor Dronov. Megadisc MDC 7816.KATS-CHERNIN: Ragtime & Blues. Sarah Nicholls (pno). Nicola Sweeney (vln). Signum SIGCD058.CHAMBERS: A Mass for Mass Trombones. Thomas Hutchinson (trb), Ensemble of 76 trombones c. David Gilbert. Centaur CRC 2263.
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MacDonald, Calum. "Spinner's Violin Sonata – Why op. 1?" Tempo, no. 161-162 (September 1987): 68–73. http://dx.doi.org/10.1017/s0040298200023354.

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Leopold Spinner composed his Sonata for Violin and Piano at the age of 30, in Vienna, in late 1936, while Studying with Webern. It was performed in Vienna on 22 November of that year under the auspices of the Austrian Section of the ISCM. In 1940—having in the meantime been forced to emigrate to this country—he made a slightly revised version of the work, which seems to have remained unheard until this year.
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Катунян, М. И. "Sonata for Violin and Piano by Vladimir Martynov." Музыкальная академия, no. 4(768) (December 20, 2019): 6–21. http://dx.doi.org/10.34690/18.

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Скрипичная соната Владимира Мартынова (1973) парадоксальна во многих отношениях. Сам композитор характеризует ее как парадокс: «Это додекафония плюс минимализм. Еще в музыкальном училище я был очарован гокетом Машо, его минимализмом. Я имею в виду, что там что-то происходит и в то же время ничего не происходит». Симптоматично, что к названным направлениям ХХ века прибавился гокет XIV века. Парадоксальна серийная техника: Мартынов трактует ее настолько индивидуально, что она то вызывает ассоциацию со средневековым контрапунктом на cantus firmus, то сближается с 12-тоновыми техниками Хауэра и Рославца. И при этом остается строжайшей додекафонией: «В ней ни одной свободной ноты». В работе с серийной техникой сформировались особенности композиторского облика Мартынова, сложилась его творческая позиция, отразился круг музыкальных приоритетов, познаний, интеллектуальных и гуманитарных интересов. The Violin sonata of Vladimir Martynov (1973) is paradoxical in many ways. The composer himself characterizes it as a paradox: This is dodecaphony plus minimalism. When I was still in musical college, I was fascinated by the Machauts hoquet, its minimalism, I mean that something happens there and nothing happens at the same time. It is symptomatic that the 14th century hoquet was added to the named directions of the 20th century. The serial technique is paradoxical: Martynov interprets it so individually that it either associates with the medieval counterpoint to the Cantus firmus, or approaches the 12-tone techniques of Hauer and Roslavets. And at the same time it remains the strictest dodecaphony: There is not a single free note in it. On the serial technique, the features of Martynovs composer image were formed, his creative position developed, the circle of his musical priorities, knowledge, intellectual, and humanitarian interests was reflected.
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Dissertations / Theses on the topic "Sonata for violin and piano"

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Kim, Seong Ae. "Sonata for Violin and Piano." Thesis, State University of New York at Stony Brook, 2013. http://pqdtopen.proquest.com/#viewpdf?dispub=3589708.

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My dissertation piece is a three-movement work of 20 minute duration for violin and piano that draws significantly from elements of traditional Korean culture, especially folk dance and folk music, and secondarily from Korean folk theater and visual arts using rhythmic patterns and gestures from folk dance and melodies from folk music and extended instrumental techniques that mimic the sounds of Korean traditional music and the music that typically accompanies Korean traditional dances.

The formal shape and material intentions of the piece— the fast-slow-fast tempo profile of the three movements, typical of so much Western music, is anchored conceptually in Korean ideas of "Heung" (communal joy-exploding energy) and "Han" (suffering-repressed energy). Each movement will make reference to a different folk music genre, the first movement alluding to "Sanjo," the second to "Gut," and the third from "Pungmul" (see chart). In addition, each movement will contain gestures from the Korean folk dances "Taepyongmu," "Sal puri," and "Sangmo Dolighi," all of which have different ceremonial functions in traditional Korean society. Each movement will also have its own characteristic folk rhythm pattern. The first movement will be based on an explicit Korean folk tune, while the overarching emphasis thematically in the three movements respectively will be "Garak" (melody), "Puri" (loosening), and "Nori" (fun).

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Ritchie, Anthony Damian. "The influence of folk music in Three Works by Béla Bartόk: Sonata No. 1 for violin and piano, Sonata (1926) for piano, and 'Contrasts' for violin, clarinet and piano." Thesis, University of Canterbury. Music, 1986. http://hdl.handle.net/10092/4608.

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It is well known that the compositions of Béla Bartόk are influenced by folk music. Until recently, however, musicologists in the West have treated this aspect of Bartόk's music superficially. By avoiding the folk music influence, their analyses are based on a partial knowledge only of Bartόk and consequently, the conclusions they make are severely limited. The purpose of this study is to delve deeply into the folk music influence on Bartόk's compositional style and to take full account of his ethnomusicological knowledge when analysing his music. In order to do this, I have limited my study to three of Bartόk's works, Sonata No.1 for Violin and Piano (1921), Sonata (1926) for piano and Contrasts for violin, clarinet and piano (1938). These compositions were chosen for three main reasons: first, there is only a relatively small amount written about them to date; second, they represent three different periods in Bartόk's creative life; third, they exhibit a rich variety of folk music sources, not only in terms of genre or nationality, but also in terms of the degree or level of influence. The study is in two parts, together with an introductory section. Part One is concerned with the direct influence of folk music on Bartόk's compositions and includes the imitation of folk genres, vocal and instrumental, and a variety of regions or nationalities. In the works under study, Hungarian folk song is the most prominent resource; this also reflects its foremost position in Bartόk's total output. Although of secondary importance, the instrumental repertoire and idiom has a significant role in all three finales from the Violin Sonata, Piano Sonata and Contrasts. A separate chapter is devoted to the verbunkos idiom in Contrasts, a type of Hungarian art music with roots in folk music. A chapter on the possible influence of the peasants 'sound-world' on Bartόk's style concludes Part One. This term describes the peculiar tonal qualities which Bartόk experienced in folk music. In addition, a section looks at 'mistakes' in the performance of folk music, and Bartόk's imitations of these in his compositions. In Part Two, the indirect influence of folk music is discussed. This concerns general features of Bartόk's style - melody, harmony, tonality, rhythm and form – features that derive from his knowledge of folk music but which do not imitate specific genres or idioms. From intensive analysis of the works under study, it can be concluded that Bartόk's mature compositional language is pervaded with aspects of folk music. This mature language is well displayed in the Piano Sonata and Contrasts (although there are stylistic differences between these two), but in the Sonata No.1 for Violin and Piano (the earliest of the three), a dichotomy still exists between the elements of folk music and art music. In reaching this conclusion, it has been necessary to take into account non-folk influences in Bartόk's music. It has also been essential to examine other theoretical approaches, especially as they pertain to the works under study. Although some concepts and terminology have been adopted from other analysts, I have chosen to work mainly from the music itself rather than follow a particular method of interpretation.
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Baldwin, Richard Philip. "An analysis of three violin sonatas by William Bolcom." The Ohio State University, 1996. http://rave.ohiolink.edu/etdc/view?acc_num=osu1094823557.

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Prevost, Roxane. "A transformational analysis of Ruth Crawford Seeger's Sonata for Violin and Piano (1926)." Thesis, National Library of Canada = Bibliothèque nationale du Canada, 1999. http://www.collectionscanada.ca/obj/s4/f2/dsk1/tape9/PQDD_0020/MQ58007.pdf.

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Chung, Eui Young. "Bartók's sonata no. 2 for violin and piano : structural functions of polymodal combination /." Full text (PDF) from UMI/Dissertation Abstracts International, 2000. http://wwwlib.umi.com/cr/utexas/fullcit?p9983122.

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Harper, Nelson Owen. "John Ireland's first Sonata for violin and piano : an introduction to its study /." The Ohio State University, 1992. http://rave.ohiolink.edu/etdc/view?acc_num=osu148776035782379.

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Fuchs, Sampson Sarah E. "Recasting the eighteenth-century sonata-form narrative : compositional strategies in Robert Schumann's Opp. 105 and 121 violin sonatas." CardinalScholar 1.0, 2010. http://liblink.bsu.edu/uhtbin/catkey/1567411.

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Although Robert Schumann’s late style has been the subject of several probing studies in recent years, few scholars have concentrated their attention on the chamber works composed in the autumn of 1851. Perhaps most intriguing are the opp. 105 and 121 violin sonatas, whose first movements suggest a dialogue with the eighteenth-century sonata form by preserving many of the same rhetorical and structural elements. Throughout both movements, however, Schumann uses an intricate web of tonal ambiguities, metrical dissonances, and unusual key relationships to recast the internal workings of these outwardly conventional sonata forms. As he uses these techniques to undermine important structural moments of each movement, Schumann significantly changes the overall plot of the eighteenth-century sonata form, while also demonstrating his sensitivity to the dramatic possibilities of this historical form in the middle of the nineteenth century. By discussing Schumann’s dialogue with the eighteenth-century sonata form throughout the opp. 105 and 121 violin sonatas, this study attempts to situate these works within both their historical and contemporary musical contexts, and thus considers a previously unexplored avenue toward rehabilitating the reception of Schumann’s late chamber works.
School of Music
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Kubik, Cécile. "Penser l’interprétation des sonates françaises pour piano et violon au XIXe siècle (1800-1870) : des sources au concert." Thesis, Paris 4, 2016. http://www.theses.fr/2016PA040145.

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La thèse considère la double inconnue d’un répertoire et d’un jeu violonistique encore inexplorés. Elle dévoile les sonates françaises pour piano et violon de la période 1800-1870, mais questionne aussi leur interprétation. Une étude historique est menée sur le jeu des violonistes français : la base de données Mélos, deux inventaires inédits, l’analyse de maintes sources et témoignages, notamment un imposant corpus de traités pédagogiques de violon publiés en France au XIXe siècle et les partitions annotées du fonds Baillot de la Bibliothèque nationale de France (BnF), apportent des éclairages originaux sur ce sujet. L’ambition est de construire aujourd’hui, violon en main, une interprétation de ces sonates méconnues et, avec la création d’outils destinés aux interprètes et aux scientifiques, d’œuvrer à leur diffusion
This dissertation addresses the twofold issue of a violin repertoire and a performance practice, both of which had yet to be explored. French sonatas for piano and violin ranging from the 1800s to the 1870s are unveiled. Their interpretation is also discussed. The performance practices of French violinists are studied from a historical perspective. The Melos database, two previously unpublished inventories, the analysis of numerous sources and testimonies, including an extensive corpus of 19th-century French violin methods and the annotated scores from the French National Library’s Baillot collection are used to tackle this question in the light of multiple criteria. The final purpose of this thesis is to combine theory and practice to bring about an interpretation of these little-known sonatas and to foster new tools for interpreters and scientists with a view to promulgate these works
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Moraly, Stéphanie. "La sonate française pour violon et piano (1868-1943). Identité d’un genre musical." Thesis, Paris 4, 2014. http://www.theses.fr/2014PA040020.

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La période de la IIIe République en France voit éclore un nombre considérable de sonates pour violon et piano, dont nous connaissons bien les chefs-d'œuvre – sonates de Franck, Fauré, Debussy ou Ravel. Prenant appui sur un catalogue inédit de quatre cent vingt-et-une sonates de deux cent quatre-vingt-onze compositeurs différents (français ou belges), la présente thèse vise à l’étude et à la définition de ce genre musical.La première partie interroge le contexte historique et socioculturel qui permit à la sonate française de connaître un tel apogée, à la fin d’un XIXe siècle qui ne laissait a priori rien présager de tel. L’auteur revient aux sources du répertoire et met à jour l’établissement d’une conjoncture particulièrement propice où se croisent élan nationaliste, renouveau de la musique instrumentale, salons artistiques, sociétés de concerts, compositeurs chefs de file et interprètes de l’école franco-belge de violon. La deuxième partie entreprend de définir le répertoire au moyen d’un traitement typologique et statistique du catalogue référençant toutes les œuvres rencontrées. La troisième partie questionne l’identité de ces sonates comme genre musical, en s’appuyant sur les éléments d’écriture et de langage qui les caractérisent autant qu’ils en font la diversité. Enfin, la quatrième partie apporte un éclairage inédit sur la Sonate de Vinteuil de Proust, au regard d’un corpus d’étude de cinquante sonates analysées en détails. Les annexes comprennent de nombreux documents, dont le catalogue référencé des sonates, un catalogue des compositeurs, les fiches analytiques de cinquante sonates ainsi qu’un CD enregistré par l’auteur au violon
A great number of sonatas for violin and piano were composed during the French Third Republic, among which are some well-known masterpieces, such as the Franck, Fauré, Debussy or Ravel sonatas. This thesis draws on an unpublished catalogue of four hundreds and twenty-one sonatas by two hundred and nighty-one composers (French or Belgian), and seeks to study and define this musical genre.The first part examines the historical and socio-cultural context that enabled the French violin sonata to reach its acme at the end of the 19th century. The author goes to the sources of the repertoire to establish the favorable juncture at which particular currents met; from nationalism, the reinvigoration of instrumental music, artistic salons, concert societies and leading composers, to the Franco-Belgian school of violin playing. The second part seeks to better characterize the repertoire by applying typological and statistical methods to the referenced catalogue of the encountered works. The third part endeavors to define the identity of these sonatas as a musical genre, based on elements of their musical language. Finally, the fourth part sheds new light on Proust’s Sonate de Vinteuil, through a detailed analysis of fifty sonatas. The appendices gather numerous documents, including the referenced catalogue of the sonatas, a catalogue of composers, analytical tables for fifty sonatas, and a CD recorded by the author playing the violin
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Bolshakova, Natalia. "Georgy L'vovich Catoire his life and music for piano, with special emphasis on Poem, second sonata for violin and piano, op. 20 /." Thesis, connect to online resource, 2008. http://digital.library.unt.edu/permalink/meta-dc-9127.

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Books on the topic "Sonata for violin and piano"

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Rouse, Steve. Violin sonata: Violin and piano. [New York?]: Henmar Press, 1995.

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Auric, Georges. Sonata for violin and piano. Boca Raton, Fla: Masters Music Publications, 1997.

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Wuorinen, Charles. Sonata for violin and piano. New York: C.F Peters, 1990.

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Sr, John Corigliano, and John Atkins, eds. Sonata for Violin and Piano. New York: G. Schirmer, Inc., 2015.

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Polin, Claire C. J. Freltic sonata: For violin and piano. Washington D.C: Sisra Publications, 1991.

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Ward, Robert. Second sonata for violin and piano. Boston: Vireo Press, 1992.

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Dvorak, Antonin. Sonata, op. 57, for violin and piano. Boca Raton, Fla: Masters Music, 1989.

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Korngold, Erich Wolfgang. Sonata for violin and piano, op. 6. Boca Raton, Fla: Masters Music Publications, 2001.

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Eccles, Henry. Sonata in G minor for violin and piano. New York City: International Music Co., 1989.

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Walker, George. Sonata in one movement: For violin and piano. St. Louis: MMB Music, 1988.

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Book chapters on the topic "Sonata for violin and piano"

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Schilder, Manfred. "It wouldn’t have worked without piano or violin." In Land schaf[f]t Wissen / Research[in]g the Region, 254–57. Vienna: Springer Vienna, 2013. http://dx.doi.org/10.1007/978-3-7091-1249-6_62.

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"Sonata for Piano and Violin in G major, op. 78." In The Piano, 146–49. Yale University Press, 2021. http://dx.doi.org/10.2307/j.ctv1t1kfj8.46.

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"Sonata for Piano and Violin in B flat major, K454." In The Piano, 45–48. Yale University Press, 2021. http://dx.doi.org/10.2307/j.ctv1t1kfj8.15.

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"Sonata for Violin and Harpsichord in E major, BWV 1016." In The Piano, 20–23. Yale University Press, 2021. http://dx.doi.org/10.2307/j.ctv1t1kfj8.7.

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VAN BEETHOVEN, LUDWIG. "Sonata for Piano and Violin in F major, op. 24, ‘Spring’." In The Piano, 59–62. Yale University Press, 2021. http://dx.doi.org/10.2307/j.ctv1t1kfj8.19.

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Lester, Joel. "Brahms and the Violin." In Brahms's Violin Sonatas, 329–62. Oxford University Press, 2020. http://dx.doi.org/10.1093/oso/9780190087036.003.0006.

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How it is that Brahms, a consummate pianist, also wrote so imaginatively and extensively for violin? Chapter 6 explores various events that took place in 1853, the year that Brahms turned 20, when he left Hamburg to concertize with a violinist-colleague, met Joseph Joachim and began his lifelong friendship with him, and met Robert and Clara Schumann. Studying the sole movement for violin and piano that still exists from Brahms’s early works—the Scherzo that he contributed to the “F.A.E. Sonata”—we can assess the degree to which his mature compositional vision was already in place at such an early age.
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Schachter, Carl. "Mozart, Sonata for Violin and Piano, K. 481, Adagio." In The Art of Tonal Analysis, 126–53. Oxford University Press, 2016. http://dx.doi.org/10.1093/acprof:oso/9780190227395.003.0007.

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Schmelz, Peter J. "The Soviet Culture of Collage." In Sonic Overload, 29–46. Oxford University Press, 2021. http://dx.doi.org/10.1093/oso/9780197541258.003.0002.

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Chapter 1 discusses the precursors for polystylism in the film, visual arts, and musicking of the Soviet 1920s and 1930s. It begins by considering two compositions that encapsulate the initial motivations and method for polystylism: Schnittke’s Violin Sonata no. 2, “Quasi una Sonata,” from 1968, and Silvestrov’s Drama for violin, cello, and piano, composed between 1970 and 1971. Both works juxtapose different techniques and approaches, shifting, often quite radically, from extremely dissonant, sonoristic gestures to quotations or pastiche. This chapter also presents a genealogy of polystylism, looking first at polystylistic antecedents in the music of Dmitriy Shostakovich, Gavriil Popov, Boris Asafyev, and other composers, as well as the general trend toward collage and montage in the Russian visual arts and film from the teens to the 1930s. It concludes by exploring the collage works that took hold in the 1960s in the USSR, starting with Arvo Pärt’s Collage on the Theme B-A-C-H, before spreading more widely, ultimately providing the fuel for Schnittke’s early polystylistic compositions and his theorizing of polystylism by the end of the decade.
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Schmelz, Peter J. "Ghosts and Shadow Sounds." In Sonic Overload, 254–92. Oxford University Press, 2021. http://dx.doi.org/10.1093/oso/9780197541258.003.0009.

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Chapter 9 begins studying Alfred Schnittke’s lengthy retreat from polystylism by looking at several of his key compositions from the 1980s, among them his Piano Sonata no. 2, Violin Concerto no. 4, String Trio, and Viola Concerto. In these works, polystylism began to fade as Schnittke emphasized the grotesque, artificial nature of his quotations. He also began speaking more about what he called “shadow sounds,” which soon took precedence in his aesthetic schema, largely replacing polystylism. Yet by the end of the 1980s, as polystylism dissipated, it remained a central category for critics and listeners. Schnittke himself became more unrooted; he emigrated from the USSR to Germany but continued to express a deep ambivalence about his true home.
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Nichols, Roger. "Dreaming of Maturity 1924–1928." In Poulenc, 62–84. Yale University Press, 2020. http://dx.doi.org/10.12987/yale/9780300226508.003.0003.

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This chapter looks at the triumph of Francis Poulenc's Les Biches, in which he took some time to fully absorb it and what it meant for him as a composer. It clarifies the significance of triumphs for composers and how they pose the problem of acting as markers against which anything a composer writes thereafter will be judged. The chapter looks into Poulenc's two new works in the whole of 1924 that was given the title of a piano concerto: Trio for oboe in May and Poèmes de Ronsard in December. It mentions Poulenc's work on the third movement of Napoli and revision of the Impromptus. It also describes the Violin Sonata for Jelly d'Aranyi that ultimately met the familiar fate of most of Poulenc's works for strings.
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Conference papers on the topic "Sonata for violin and piano"

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Trocinel, Daniela. "Sketches on the creative portrait of the composer A. B. Mulear." In Patrimoniul cultural: cercetare, valorificare, promovare. Institute of Cultural Heritage, Republic of Moldova, 2021. http://dx.doi.org/10.52603/9789975351379.15.

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This article attempts to present sketches of the compositional creativity of Alexandr Boris Mulear (1922–1994), who is one of the most important figures of the music culture in the Republic of Moldova and belongs to the older generation of composers, as his glory years were between 1950 and 1980. The composer’s record contains a valuable artistic heritage that is appreciated by performers but the study of his works is not in the center of interest of musicologists yet. However, the article will present some examples of the Mulearian creativity. Analyzing the composition portfolio of A. Mulear, the author shows that chamber works predominate for the most part in his creativity, including suites, quartets, sonatas, miniatures and musical pieces, with a wide range of instrumental groups: from the duo (violin and piano, piano and voice) to the symphony orchestra. In conclusion, it is noted that the composer manifested himself in an original way in chamber music, which is more innovative and bright and reveals diverse forms of classical music in terms of style and genre.
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Waldige Mendes Nogueira, Lenita, and Samuel Campos De Pontes. "A Sonata para Violino e Piano de Cláudio Santoro: nacionalismo e as diferentes concepções sobre a música brasileira em sua obra." In XXIII Congresso de Iniciação Científica da Unicamp. Campinas - SP, Brazil: Galoá, 2015. http://dx.doi.org/10.19146/pibic-2015-37814.

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Cheng, Yingjie. "The Music Analysis of Beethoven 's Piano Sonata qFarewellq." In 2017 3rd International Conference on Economics, Social Science, Arts, Education and Management Engineering (ESSAEME 2017). Paris, France: Atlantis Press, 2017. http://dx.doi.org/10.2991/essaeme-17.2017.75.

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Ruchkina, Natalia. "qNaturalq Music of Ivan G. Sokolov: Sonata for Cello and Piano." In 2016 3rd International Conference on Education, Language, Art and Inter-cultural Communication (ICELAIC 2016). Paris, France: Atlantis Press, 2017. http://dx.doi.org/10.2991/icelaic-16.2017.101.

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Tiemeyer, Daniel. "Johann Nepomuk Hummels Sonate in fis-Moll Op. 81 – Studien zu Entstehungshintergrund, Rezeption und formaler Struktur." In Jahrestagung der Gesellschaft für Musikforschung 2019. Paderborn und Detmold. Musikwissenschaftliches Seminar der Universität Paderborn und der Hochschule für Musik Detmold, 2020. http://dx.doi.org/10.25366/2020.74.

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The article examines the significance of one of Johann Nepomuk Hummel’s masterpieces. First, it highlights the circumstances of its production and the contemporary critical acclaim in the AmZ. In a second step, Robert Schumann’s involvement with this work is shown. In his journal, the sonata of Hummel is mentioned several times which indicates the engagement of the young piano discipline. In a short article, published in the NZfM in the year 1839, Schumann links this sonata with the compositional “way of Mozart” and thus gives an important hint to the formal design of the piece itself. Aspects of formal organization and structure of this sonata are analyzed and presented in the third part of the essay. In opposition to Beethoven’s motivic development, Hummel pursues another strategy of formal structure by stringing together each of the segments and themes. Thus, the focus shifts from a dynamic design of sonata-form to a more epic layout of the piece. Additionally, technical development and innovations concerning piano techniques and virtuosity are examined.
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"Analysis of the Third Movement of Beethoven Piano Sonata Op.13, Pathetique." In 2017 4th International Conference on Literature, Linguistics and Arts. Francis Academic Press, 2017. http://dx.doi.org/10.25236/iclla.2017.52.

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Takamatsu, Yusuke. "Synthese als Modus der Prozessualität bei Schubert: Sein spezifisches Wiederholungsprinzip im langsamen Satz." In Jahrestagung der Gesellschaft für Musikforschung 2019. Paderborn und Detmold. Musikwissenschaftliches Seminar der Universität Paderborn und der Hochschule für Musik Detmold, 2020. http://dx.doi.org/10.25366/2020.73.

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In contrast to Beethoven’s music, Schubert’s music has been described through the concept of “a-finality” (Fischer 1983), employing the same elements repeatedly. In this sense, Schubert’s music seems incompatible with the kind of “processual” thinking which is typical for Beethoven’s music. This paper addresses such incompatibility through a comparison of the slow movements of Schubert’s piano sonata D 840 with those of Beethoven’s piano sonata No. 8 (op. 13) which is one of the possible precursors for D 840. The second movement of D 840 features an ABABA structure in which the themes of the first part A and the first part B become integrated into the second part A. This kind of integration differs fundamentally from the design of Beethoven’s op. 13, insofar as the two themes are combined while they also maintain their initial form. This mode of combination suggests Schubert’s own type of synthetic or “processual” thinking.
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Chiu, Ching-Yu, Wen-Yi Hsiao, Yin-Cheng Yeh, Yi-Hsuan Yang, and Alvin Wen-Yu Su. "Mixing-Specific Data Augmentation Techniques for Improved Blind Violin/Piano Source Separation." In 2020 IEEE 22nd International Workshop on Multimedia Signal Processing (MMSP). IEEE, 2020. http://dx.doi.org/10.1109/mmsp48831.2020.9287146.

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Fratila, Mariana. "ANALYTICAL STUDY FROM THE PERSPECTIVE OF MOTIVIC UNITY IN MOZART PIANO SONATA K. 545." In 6th SWS International Scientific Conference on Arts and Humanities ISCAH 2019. STEF92 Technology, 2019. http://dx.doi.org/10.5593/sws.iscah.2019.1/s25.028.

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Shuqing, Liu. "Academic Influence Analysis of Highly Cited Paper on Research on “Beethoven Piano Sonata” Based on Citespace." In proceedings of the 2nd International Conference on Literature, Art and Human Development (ICLAHD 2020). Paris, France: Atlantis Press, 2020. http://dx.doi.org/10.2991/assehr.k.201215.521.

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Reports on the topic "Sonata for violin and piano"

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

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Symphonies Reframed recreates symphonies as chamber music. The project aims to capture the features that are unique for chamber music, at the juncture between the “soloistic small” and the “orchestral large”. A new ensemble model, the “triharmonic ensemble” with 7-9 musicians, has been created to serve this purpose. By choosing this size range, we are looking to facilitate group interplay without the need of a conductor. We also want to facilitate a richness of sound colours by involving piano, strings and winds. The exact combination of instruments is chosen in accordance with the features of the original score. The ensemble setup may take two forms: nonet with piano, wind quartet and string quartet (with double bass) or septet with piano, wind trio and string trio. As a group, these instruments have a rich tonal range with continuous and partly overlapping registers. This paper will illuminate three core questions: What artistic features emerge when changing from large orchestral structures to mid-sized chamber groups? How do the performers reflect on their musical roles in the chamber ensemble? What educational value might the reframing unfold? Since its inception in 2014, the project has evolved to include works with vocal, choral and soloistic parts, as well as sonata literature. Ensembles of students and professors have rehearsed, interpreted and performed our transcriptions of works by Brahms, Schumann and Mozart. We have also carried out interviews and critical discussions with the students, on their experiences of the concrete projects and on their reflections on own learning processes in general. Chamber ensembles and orchestras are exponents of different original repertoire. The difference in artistic output thus hinges upon both ensemble structure and the composition at hand. Symphonies Reframed seeks to enable an assessment of the qualities that are specific to the performing corpus and not beholden to any particular piece of music. Our transcriptions have enabled comparisons and reflections, using original compositions as a reference point. Some of our ensemble musicians have had first-hand experience with performing the original works as well. Others have encountered the works for the first time through our productions. This has enabled a multi-angled approach to the three central themes of our research. This text is produced in 2018.
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Cox, Jeremy. The unheard voice and the unseen shadow. Norges Musikkhøgskole, August 2018. http://dx.doi.org/10.22501/nmh-ar.621671.

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The French composer Francis Poulenc had a profound admiration and empathy for the writings of the Spanish poet Federico García Lorca. That empathy was rooted in shared aspects of the artistic temperament of the two figures but was also undoubtedly reinforced by Poulenc’s fellow-feeling on a human level. As someone who wrestled with his own homosexuality and who kept his orientation and his relationships apart from his public persona, Poulenc would have felt an instinctive affinity for a figure who endured similar internal conflicts but who, especially in his later life and poetry, was more open about his sexuality. Lorca paid a heavy price for this refusal to dissimulate; his arrest in August 1936 and his assassination the following day, probably by Nationalist militia, was accompanied by taunts from his killers about his sexuality. Everything about the Spanish poet’s life, his artistic affinities, his personal predilections and even the relationship between these and his death made him someone to whom Poulenc would be naturally drawn and whose untimely demise he would feel keenly and might wish to commemorate musically. Starting with the death of both his parents while he was still in his teens, reinforced by the sudden loss in 1930 of an especially close friend, confidante and kindred spirit, and continuing throughout the remainder of his life with the periodic loss of close friends, companions and fellow-artists, Poulenc’s life was marked by a succession of bereavements. Significantly, many of the dedications that head up his compositions are ‘to the memory of’ the individual named. As Poulenc grew older, and the list of those whom he had outlived lengthened inexorably, his natural tendency towards the nostalgic and the elegiac fused with a growing sense of what might be termed a ‘survivor’s anguish’, part of which he sublimated into his musical works. It should therefore come as no surprise that, during the 1940s, and in fulfilment of a desire that he had felt since the poet’s death, he should turn to Lorca for inspiration and, in the process, attempt his own act of homage in two separate works: the Violin Sonata and the ‘Trois Chansons de Federico García Lorca’. This exposition attempts to unfold aspects of the two men’s aesthetic pre-occupations and to show how the parallels uncovered cast reciprocal light upon their respective approaches to the creative process. It also examines the network of enfolded associations, musical and autobiographical, which link Poulenc’s two compositions commemorating Lorca, not only to one another but also to a wider circle of the composer’s works, especially his cycle setting poems of Guillaume Apollinaire: ‘Calligrammes’. Composed a year after the ‘Trois Chansons de Federico García Lorca’, this intricately wrought collection of seven mélodies, which Poulenc saw as the culmination of an intensive phase in his activity in this genre, revisits some of ‘unheard voices’ and ‘unseen shadows’ enfolded in its predecessor. It may be viewed, in part, as an attempt to bring to fuller resolution the veiled but keenly-felt anguish invoked by these paradoxical properties.
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