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Relevant bibliographies by topics / Sonatas (Bassoon and clarinet)

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Academic literature on the topic 'Sonatas (Bassoon and clarinet)'

Author: Grafiati

Published: 4 June 2021

Last updated: 5 February 2022

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Journal articles on the topic "Sonatas (Bassoon and clarinet)"

1

Taran, Vladimir. "CREATIONS WITH THE PARTICIPATION OF THE BASSOON SIGNED BY VLADIMIR ROTARU." Akademos 60, no. 1 (June 2021): 134–36. http://dx.doi.org/10.52673/18570461.21.1-60.18.

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Vladimir Rotaru is one of the famous composers from the Republic of Moldova, whose compositions include both orchestral and chamber-instrumental works. In this article, the author made a brief analysis of the repertoire for bassoon that includes both solo and chamber compositions, such as Suite for flute, oboe, clarinet, and bassoon; Monothematic metamorphoses; Sonata-dialogue for bassoon and piano; Caprice for bassoon and piano. The aim of the article concerned is reviewing the creations for bassoon signed by Vladimir Rotaru, being in a succinct language features and architectonic creations componentistic concerned.

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2

Yakovchuk, N. "“Little Trio” for clarinet, bassoon and piano." Musical art in the educological discourse, no. 3 (2018): 75–79. http://dx.doi.org/10.28925/2518-766x.2018.3.7579.

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The chamber-instrumental ensemble music in the Ukrainian musical culture of the last third of the 20th and the beginning of the 21st centuries occupies one of the leading places and is characterized by powerful processes in its development. Such circumstances caused the Ukrainian musicologist interests to the problems of chamber-instrumental music creativity and performance. There are appeared researches in the field of theory, history and performance problems covering the most important questions like chamber music definitions, specific genre issues, the growing function of piano in the Ukrainian chamber music, the increasing questions of technique and timbre importance of modern instrumental ensembles. In the significant multifaceted creative work of contemporary Ukrainian composer, Oleksandr Yakovchuk, the genre of chamber instrumental ensemble music represents a complex and interesting phenomenon. Original and skillfully written compositions reflect artistic world of the composer of postmodern time and gained recognition in music life of Ukraine and beyond. These works are highly appreciated in performing practice of our days. The purpose of the article is to analyze the work — “Little Trio” for clarinet, bassoon and piano (1980), which has the signs of neoclassical tendency in the composer’s style. The methodological basis of this research is a comprehensive approach in theoretical understanding of the subject of research (the methods of textology, source study as well as the method of interviewing the author were used). The scientific novelty of this article is in the priority of its main provisions, since the “Little Trio” entered the scientific circulation for the first time. The three-movement “Little Trio” (1980) is notable for the light feeling of timbre colours and the shape clarity. The Ist movement — Allegretto giocoso — is written in a sonata form following all classical traditions. Quite interesting are the two monologues of clarinet and bassoon from the IInd movement, they represent very modern line in Ukrainian chamber music — the possibility of sincere confession which comes through the solo cadence. In the IIIrd movement, the composer took advantage from the folk Ukrainian dance “hopak” using the rhythm of it and creating dance character of the Final.

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3

Skei, Allen B., and John Heiss. "Eloquy; For Flute, Oboe, Clarinet and Bassoon." Notes 41, no. 4 (June 1985): 786. http://dx.doi.org/10.2307/940888.

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4

Mikhieieva, Nadiia. "The clarinet and the viola in Sonatas op. 120 by J. Brahms and a pianist’s performing strategy." Problems of Interaction Between Arts, Pedagogy and the Theory and Practice of Education 59, no. 59 (March 26, 2021): 145–57. http://dx.doi.org/10.34064/khnum1-59.10.

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Background. Johannes Brahms composed his two Clarinet Sonatas, op. 120, in 1894, and dedicated them to the outstanding clarinet player Richard Mühlfeld. These were the last chamber pieces he wrote before his death, when he became interested in the possibilities the clarinet offered. Nowadays they are considered to be masterpieces of the clarinet repertoire, legitimizing the combination of piano and clarinet in new composers’ works. Brahms lavished particular care and affection on these works, and he clearly wished them to have the widest possible circulation, for he adapted them – with a certain amount of recomposition in each case – in two parallel forms: as sonatas for viola and piano, and for violin and piano. The violin versions are rarely heard, but the viola sonatas have become cornerstones of this instrument’s repertoire, just as the original forms have for the repertoire of the clarinet. Brahms was effectively establishing a new genre, since before they appeared there were virtually no important duo sonatas for viola and piano. These sonatas embody his compositional technique in its ultimate taut, essentialized, yet marvelously flexible manner. The purpose of this article is to show the interaction of variable and invariant components of the musical text as a factor influencing performance decisions in the process of working on a piece of music. To achieve this goal, it is necessary to conduct a comparative analysis of the musical text of clarinet and viola parts in the Sonatas of J. Brahms op 120, which are the material of this study. The article relevance is in the importance of comprehension the performing differences for pianists (especially, for those specialized on the sphere of chamber music) working J. Brahms’ Sonatas op. 120 with clarinetists or violists. Every piece could offer its own unique complex of special “challenges”, thus the need of analyzing specifics of performance in every such a piece of music appears. This uniqueness is the basis for the innovativeness of the results of the study of the performance specifics of J. Brahms’ Sonata op. 120 in a selected aspect. Results of the research. Clarinet and viola versions Sonatas by J. Brahms op. 120 occupy a prominent place in the performing repertoire, including training. Because the article provides a comparative analysis of the musical text of clarinet and viola parts with the same piano part; provides a comparative overview of the specifics of the artistic expression of the clarinet and viola to determine the performing strategy of the pianist in the ensemble. The differences found in the viola and clarinet parts are divided into the groups – octave transfers, addition of double notes and melismatics, changes in melodic lines, difference in the strokes (staccato, non legato, tenuto, portamento etc.). There is also a detailed description of clarinet and viola timbres. Due to the different possibilities of the instruments, it is quite obvious that the pianist faces certain creative tasks and in general they can be formulated as follows: when playing the viola, the dynamic range of the piano should be smaller than when performing with the clarinet. In addition, you need to pay attention to other details, such as pedal, texture quality, articulation. Yes, the viola sounds much more confident against the background of a “thick” pedal, while the clarinet in this case loses the volume of its sound. With regard to phrasing, it should be borne in mind that the clarinetist needs to take a breath, and the violist’s ability to lead a bow for a long time does not depend on his physiological characteristics. The question arises: which is more important – tempo or phrasing? In this situation, the specificity is that phrasing should be given more attention. The tempo when performing with the clarinet varies significantly than with the viola, and it is also chosen and changed for practical reasons that follow from the physical data of the performer. The pianist should also pay special attention to the differentiation of voices and the quality of articulation. In terms of sound balance, it is obvious that the clarinet needs more piano support than the viola, because it is dynamically brighter. Nevertheless, this does not mean that piano shades “p” should be avoided, because the contrast of dynamics expands the acoustic range of Sonatas and their expressive potential. Conclusion. The comparative-analytical description contributes to the awareness of the differences in the dynamic balance due to the change of the obligatory instrument. Accurate knowledge of where and how such changes occur not only focuses the musicians’ attention on the relevant details in the performance process, but also encourages them to make more informed decisions about the dynamic balance of performance in general.

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5

Schreiner, Martin, Arthur Berger, Martin Boykan, and David Rakowski. "Quintet for Woodwinds (Flute, Oboe, Clarinet, Horn, and Bassoon)." Notes 56, no. 2 (December 1999): 503. http://dx.doi.org/10.2307/900054.

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6

Drakeford, Richard, and Ensemble Wien-Berlin. "Rossini: Six Quartets for Flute, Clarinet, Horn and Bassoon." Musical Times 134, no. 1804 (June 1993): 345. http://dx.doi.org/10.2307/1003069.

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7

Sachs, Joel, Henry Cowell, and Yvar Mikhashoff. "A Composition for Piano and Chamber Ensemble (Oboe, Clarinet, Bassoon, Violins, Viola, Cello)." Notes 46, no. 4 (June 1990): 1072. http://dx.doi.org/10.2307/941286.

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8

Dagostin, Andre, Christopher Kushmerick, and Henrique von Gersdorff. "Allegro giusto : piccolo, bassoon and clarinet set the tempo of vesicle pool replenishment." Journal of Physiology 596, no. 8 (March 25, 2018): 1315–16. http://dx.doi.org/10.1113/jp275704.

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9

Zaidel-Rudolph, Jeanne. "Lifecycle: Flute (piccolo), oboe, clarinet (bass clarinet), bassoon, horn, 2 percussionists, 2 violins and cello, Xhosa vocal ensemble and indigenous instruments." Journal of Musical Arts in Africa 3, no. 1 (January 2006): 80–81. http://dx.doi.org/10.2989/18121000609486710.

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10

Schwartz, Elliott, Earle Brown, and Morton Feldman. "Centering; For Solo Violin, Flute, Clarinet, Bassoon, Horn, Trumpet, Trombone, Piano, Violin, Viola, Cello." Notes 44, no. 3 (March 1988): 596. http://dx.doi.org/10.2307/941563.

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Dissertations / Theses on the topic "Sonatas (Bassoon and clarinet)"

1

Ti, Yu-ju. "Duo Sonatas and Sonatinas for Two Clarinets, or Clarinet and Another Woodwind Instrument: An Annotated Catalog." The Ohio State University, 2009. http://rave.ohiolink.edu/etdc/view?acc_num=osu1243880660.

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Ti, Yu-Ju. "Duo sonatas and sonatinas for two clarinets, or clarinet and another woodwind instrument an annotated catalog /." Columbus, Ohio : Ohio State University, 2009. http://rave.ohiolink.edu/etdc/view.cgi?acc%5Fnum=osu1243880660.

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3

Stomberg, Eric Wolf. "The Bassoon Sonatas of Victor Bruns: An Analytical and Performance Perspective (With an Annotated Bibliography of Works for Bassoon)." University of Cincinnati / OhioLINK, 2004. http://rave.ohiolink.edu/etdc/view?acc_num=ucin1085628883.

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4

Chiu, Yi-Chen. "An Examination of Stylistic Mixture in Four Bassoon Sonatas, 1720–1760." University of Cincinnati / OhioLINK, 2017. http://rave.ohiolink.edu/etdc/view?acc_num=ucin1505211031612502.

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Stomberg, Eric. "The bassoon sonatas of victor Bruns an analytical and performance perspective (with an annotated bibliography of works for bassoon) /." Cincinnati, Ohio : University of Cincinnati, 2004. http://rave.ohiolink.edu/etdc/view?acc%5Fnum=ucin1085628883.

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6

Seymour, John. "Syncretisms for wind quintet and percussion, a study in combining organizational principles from Southeast Asia with western stylistic elements /." connect to online resource, 2008. http://digital.library.unt.edu/permalink/meta-dc-6055.

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Thesis (M.M.)--University of North Texas, 2008.
For flute oboe, clarinet, horn, bassoon, and marimba, with an optional percussion part (glockenspiel, chimes). Duration: ca. 6:45. System requirements: Adobe Acrobat Reader. Includes bibliographical references (p. 61-64).

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7

Cruz, Rachel Yvonne. "An investigation and analysis of Shulamit Ran's Apprehensions for voice, clarinet, and piano /." Full text (PDF) from UMI/Dissertation Abstracts International, 2000. http://wwwlib.umi.com/cr/utexas/fullcit?p9983123.

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8

Lee, Kyungju. "An analysis and comparison of the clarinet and viola version of the two sonatas for clarinet (or viola) and piano OP. 120 by Johannes Brahms." Cincinnati, Ohio : University of Cincinnati, 2004. http://rave.ohiolink.edu/etdc/view?acc%5Fnum=ucin1100760484.

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9

LEE, KYUNGJU. "AN ANALYSIS AND COMPARISON OF THE CLARINET AND VIOLA VERSIONS OF THE TWO SONATAS FOR CLARINET (OR VIOLA) AND PIANO OP 120 BY JOHANNES BRAHMS." University of Cincinnati / OhioLINK, 2004. http://rave.ohiolink.edu/etdc/view?acc_num=ucin1100760484.

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10

Smith, Andrew Martin. "Remnants." Bowling Green, Ohio : Bowling Green State University, 2009. http://rave.ohiolink.edu/etdc/view?acc%5Fnum=bgsu1237661688.

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Thesis (M.M.)--Bowling Green State University, 2009.
Document formatted into pages; contains 1 score (vi, 29 p.) For clarinet, bassoon, and chamber orchestra (two trumpets, two horns, tenor trombone, bass trombone, percussion, piano, harp, and strings (six first violins, six second violins, four violas, four cellos, and two basses) Includes bibliographical references.

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Books on the topic "Sonatas (Bassoon and clarinet)"

1

Beethoven, Ludwig van. My first Beethoven album. Place of publication not identified]: Naxos, 2011.

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2

Hiatt, Kevin. Simurgh for oboe, clarinet and bassoon. Fort Lauderdale: Miami Music Editions, 1989.

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3

Amadeus, Mozart Wolfgang. Clarinet concerto: Oboe concerto ; Bassoon concerto. S.l.]: Deutsche Grammophon, 2012.

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4

Auric, Georges. Trio for oboe, clarinet, and bassoon. Boca Raton, Fla: Masters Music Publications, 1996.

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5

Walden, Stanley. Double sonata for B♭ clarinet and bass clarinet. Bryn Mawr, Pa: T. Presser Co., 1989.

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6

Glinka, M. I. Trio pathétique: For clarinet, bassoon, and piano. Boca Raton, Fla: Masters Music Publications, 1997.

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7

Poulenc, Francis. Sextet: Flute, oboe, clarinet, bassoon, horn & piano. St. Louis: Petrucci Music Press, 1989.

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8

Sierra, Roberto. Con tres: For clarinet, bassoon & piano (1990). Long Island City, N.Y: Subito Music, 1990.

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9

Bush, Geoffrey. Quintet for flute (piccolo), oboe, clarinet, horn, & bassoon. London: Stainer & Bell, 2014.

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10

Zaninelli, Luigi. Rome suite: For flute, B♭ clarinet, bassoon. Delaware Water Gap, Pa: Shawnee Press, 1988.

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Book chapters on the topic "Sonatas (Bassoon and clarinet)"

1

Bucur, Voichita. "Wood Species for Reed-Driven Instruments—Clarinet, Oboe, Bassoon and for Baroque Flute." In Handbook of Materials for Wind Musical Instruments, 127–66. Cham: Springer International Publishing, 2019. http://dx.doi.org/10.1007/978-3-030-19175-7_3.

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