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Journal articles on the topic 'Sonatas (Bassoon and piano)'

Author: Grafiati

Published: 4 June 2021

Last updated: 10 February 2022

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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

ÇOLAKOĞLU, Çağrı. "Position Recommendations for Saint-Saens’ Op.168 Sol Major Bassoon and Piano Sonata." Conservatorium / Konservatoryum 5, no. 2 (December 26, 2018): 253–65. http://dx.doi.org/10.26650/cons2018-0010.

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4

Dubka, O. S. "Sonata for the trombone of the second half of the 16th – the beginning of the 19th centuries in the context of historical and national traditions of development of the genre." Problems of Interaction Between Arts, Pedagogy and the Theory and Practice of Education 54, no. 54 (December 10, 2019): 55–70. http://dx.doi.org/10.34064/khnum1-54.04.

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The present article is devoted to the general characteristics of the historical process of the formation of the sonata for the trombone (or with the participation of the trombone) in the European music of the Renaissance – Early Classicism era. A particular attention in the research has been paid to the study of the national stylistic, which was the main driving force in the evolution of the trombone at the level of the chamber instrumental and concert genres. It has been noted that since the time of A. Willaert and A. and J. Gabrieli brothers, the trombone and trombone consorts have been the permanent components of the concerts da chiesa, and later – da camera. Due to its construction and melodic-declamatory nature of the sounding, the trombone was in good agreement with both the voices of the choir and other instruments. Gradually, along with collective (concert) varieties of trombone sonatas, solo sonatas with bass began to appear, and they reflected the practice of the Baroque-era concert style. The article reviews a number of trombone sonatas of the Italian, Czech, Austro-German schools, which later became the model for composers of the Newest Time, who fully revealed the possibilities of the trombone semantics and techniques in the sonata genre. The article has noted that the formation of the instrumental sonata in Europe was associated with the practice of concerts in the church, which was for a long time practically the only place where academic music could be performed. The term “sonata” was understood then as the music intended for the instrumental performance, which, however, was closely connected with the vocal one. Therefore, the first samples of sonatas with the participation of the trombone were mixed vocal-instrumental compositions created by the representatives of the Venetian school of the second half of the 16th century – A. Willaert and A. and J. Gabrieli brothers. It has been noted that the key and largely “landmark” composition opening the chronicle of a concert sonata with the participation of trombones was the sonata called “Piano e forte” (1597), where the functions of trombone voices are already beginning to the counterpoint independence, rather than to duplicating the vocal ones. G. Gabrieli is the creator of one of the most large-scale, this time exclusively trombone compositions – “Canzon Quarti Toni” for 12 trombones, cornet and violin – one of the first trombone ensembles based on the genre of canzone as the progenitor of all the baroque instrumental-concert forms. It has been emphasized that among Italian masters of the subsequent period (the early Baroque), the trombone received a great attention from C. Monteverdi, who in his concert opuses used it as the substitute for viola da brazzo (three pieces from the collection called “Vespro della Beata Vergine”). It is noted that in the era of the instrumental versioning, when compositions were performed by virtually any instrumental compound, the trombone was already distinguished as an obligate instrument capable of competing with the cello. Sonata in D minor Op. 5 No. 8 by A. Corelli is considered a model of such a “double” purpose. It has been proved that the Italian schools of the 16th – 17th centuries, which played the leading role in the development of the sonata and concert instrumentalism, mainly the stringed and brass one and the brass one as well, were complemented by the German and Austrian ones. Among the masters of the latter one can distinguish the figure of G. Schütz, who created “Fili mi, Absalon” for the trombone quartet and basso-continuo, where trombones are interpreted as instruments of cantilena sounding, which for a long time determines their use in opera and symphonic music, not to mention the sonata genre (introductions and slow parts). Along with the chamber sonata, which was written in the Italian style, German and Austrian masters of the 17th century turn to “tower music” (Tower music), creating their own opuses with almost obligatory participation of one or several trombones. Among such compositions there are the collection by G. Reich called “Quatricinua” of 24 tower sonatas (1696) for the cornet and three trombones, where, modelled on A. Corelli’s string-and-bow sonatas, the plays of a homophonic and polyphonic content are combined. The article notes that the creation of a solo sonata with bass for the trombone was historically associated with the Czech composing school of the second half of the 17th century. The first sample of such composition is the Sonata for the trombone and the thorough-bass (1669), written by a certain monk from the monastery of St. Thomas in Bohemia, where the instrument is shown in a wide range of its expressive possibilities. A significant contribution to the development of a trombone sonata was made by the Czech composer of the late 17th century P. Y. Veyvanovsky, who created a number of sonatas, which, despite the typical for that time performing versioning (trombone or viola da brazzo), were a milestone in the development of the genre in question. The traditions of the trombone sonata-quality genre in its three main expressions – da chiesa, da camera, “tower music” – have been preserved for a certain time in the era of Classicism. This is evidenced, for example, by F. Schneider’s 12 “Tower sonatas” for 2 pipes and 3 trombones (1803–1804). In general, in the classic-romantic era in the evolution of the trombone sonata genre there is a “pause”, which refers to both its collective and solo varieties. The true flourishing of the trombone sonata appeared only in the Newest time (from the end of the 19th century), when the instrumental music of a concert-chamber type declared itself not only as the one demanded by the public, but also as the leading, “title” field of creativity of a number of the leading composers. Among the instruments involved in the framework of the “new chamber-ness” (B. Asafiev) was also the trombone, one of the recognized “soloists” and “ensemblers” of the music from the past eras. The conclusions of the article note that the path travelled by the sonata for the trombone (or with the participation of the trombone) shows, on the one hand, the movement of the instrument to the solo quality and autonomy within the framework of “little-ensemble” chamber-ness (the sonata duet or the solo sonata without any accompaniment), on the other hand, the sustainable preservation of the ensemble origins of this genre (the trombone ensemble, sometimes in combination with other representatives of the brass group).

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5

Keefe, Simon P. "Mozart's piano sonatas." Early Music XXVI, no. 2 (May 1998): 336–37. http://dx.doi.org/10.1093/earlyj/xxvi.2.336.

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6

Ehrlich, Cyril, and Schnabel. "Beethoven: Piano Sonatas." Musical Times 133, no. 1787 (January 1992): 30. http://dx.doi.org/10.2307/966242.

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7

MacDonald, Calum. "Samuil Feinberg's Piano Sonatas." Tempo 58, no. 230 (October 2004): 83–84. http://dx.doi.org/10.1017/s0040298204260338.

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FEINBERG: Piano Sonatas Nos. 1, op.1 (1915)1, 2, op.2 (1915–16)2, 3, op.3 (1916)2, 4, op.6 (1918)1, 5, op.10 (1920–21)1, 6, op.13 (1923)2. 1Nikolaos Samaltanos, 2Christophe Sirodeau (pnos). BIS-CD-1413.FEINBERG: Piano Sonatas Nos. 7, op.21 (1924–28)2, 8, op.21a (1933–34)2, 9, op.29 (1939)1, 10, op.30 (1940–44)1, 11, op.40 (1952)1, 12, op.48 (1962)2. 1Nikolaos Samaltanos, 2Christophe Sirodeau (pnos). BIS-CD-1414.

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8

Sediuk, I. O. "The originality of neoclassic principles reflection in the Sonata for two pianos by Paul Hindemith." Problems of Interaction Between Arts, Pedagogy and the Theory and Practice of Education 56, no. 56 (July 10, 2020): 154–68. http://dx.doi.org/10.34064/khnum1-56.10.

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Background. The neoclassicism of the first decades of the 20th century turned to be a kind of opposition to atonalism, which captured many radical composers. The supposed “bilingualism” of neoclassicism opened wide perspectives for individual concepts realization, broadening the boundaries of new knowledge of the Baroque and early classicism. Instrumental sonata, including the Sonata for Two Pianos naturally entered the neoclassical trend mainstream in a number of others, non-symphonic classical and romantic genres, compensating for the rejection of effective dramaturgy by enhancing the contrast between the cycle’s parts, thus tending to Baroque cyclic compositions. For Paul Hindemith, whose name is always associated with this art movement, “communication” with musical past was not an instant hobby but something that determined the focus of his creative thought. Objectives. The article’s purpose is to reveal the peculiarity of neoclassic principles embodiment in the Sonata for Two Pianos by P. Hindemith, to consider its composition, semantic and structural units. Methods. The study’s methodology is based on historicism principle, which involves the study of artistic phenomena being connected with the established musical art experience, and a comprehensive approach that allows involving of different methods of music analysis. Results. Sonata for Two Pianos (1942) consists of five movements; each one has its name. P. Hindemith’s individual approach to the sonata genre is usually evaluated in terms of the artist’s refusal of traditional composition, changes in sonata form, which often includes dramatic function changing. This is due to the desire to make equal all the forms involved in the cycle, in particular the most important polyphonic ones. The movements’ names “The Bells”, “Allegro”, “Canon”, “Recitative”, “Fugue” reveal the suite’s features. “The Bells” opening the cycle show a wide range of musical associations: from French harpsichordists gravitating to sound expression to representatives of different national cultures of the 20th century. The textured thematic drawing of the part reveals another modus of play with tradition expressing itself in improvisational principle domination and Baroque fantasy revival. The Old English verse text preceding “Recitative” reminds of 16–17th century program compositions and shows connection with opera art. “Recitative” combines concise musical phrases typical for Baroque culture vocal genres and typical rhythm formulas that embody the freedom of language intonation and bring in improvisation and allusion on basso continuo. The reference to Baroque era polyphony is evidenced by “Canon” and “Fugue”. In the “Canon”, polyphonic interaction is reached by two piano parties and not by individual voices of the four-voice ensemble texture. The slow tempo Lento, the static movement of musical thought, where “step” pulsation is felt in 4/8 metrics, unusual for classic and romantic culture, the predominance of quiet sound implies tragic pathetic element in “Recitative”. These two parts, “Canon” and “Recitative”, constitute a complementary semantic pair as play modes of tragic imagery embodiment through Baroque era high style, its objective and subjective beginnings. Actually, sonata genre is represented only by the second part “Allegro” with its fast tempo, clarity of form, volitional character of the main theme, scherzo grace of the subsidiary theme, large coda. The composer maintains contrast method choosing his complex of expressive means for each exposition sections. The Sonata is finished by a grand three-theme fugue with metro-rhythmic design associated with the corresponding polyphonic music structures, and more, the initial fifth step corresponds to J. S. Bach’s “Fugue Art”. The first theme’s imperative character establishes the dramatic imagery as fundamental in Sonata’s artistic concept. Its intonational content is characterized by fourth and fifth interval structures, some of them are creating the frame of the whole cycle. The second theme is more melodic and contrasting. The bass register of the third theme in rhythmic augmentation, the wave-like pattern of its melodic line covering the range of the diminished octave, is perceived as embodying of the modern thinking tension, the “echo” of Baroque era aesthetic ideas. The artistic idea of the Sonata for Two Pianos by P. Hindemith is built on drama concentration, overcoming suite separation of the parts and reflecting the full life realities and the inviolability of Universe laws. Conclusions. Sonata for Two Pianos by P. Hindemith returns to its origins thanks to the 20th century artists’ interest to the Baroque culture, demonstrating irregular genre boundaries and the ability to maintain high polyphony means, unregulated cycle and synthesis of several compositional principles within one work. The neoclassical principles did not deprive the Sonata of being presented in that time’s social and spiritual events, and allowed it to generalize modern world conflicts with the help of established semantic and compositional units. Thus, P. Hindemith’s Sonata for Two Pianos preserves its own approach to musical experience and possibilities of ensemble technique distinguished in almost full absence of performing competition idea, dialogism in its traditional reflection while retaining the parties’ equality.

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9

Fisk, Charles. "Beethoven's Piano Sonatas: A Short Companion, and: Playing the Beethoven Piano Sonatas (review)." Notes 59, no. 2 (2002): 344–46. http://dx.doi.org/10.1353/not.2002.0168.

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10

Del Real Barreto, Cristian Job. "Las sonatas woo 47 de beethoven. su importancia en el conjunto de las sonatas para piano." Ricercare 2017, no. 7 (September 19, 2017): 43–67. http://dx.doi.org/10.17230/ricercare.2017.7.3.

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El objeto de estudio de la presente investigación, en este caso, las sonatas tempranas para piano de Ludwig van Beethoven, como piezas esenciales en el repertorio pianístico de la historia de la música académica. El tema de investigación surge por la reciente publicación (2007) del conjunto completo de ellas, en una edición crítica, de las 35 sonatas para piano por el profesor Barry Cooper, reconocido especialista en Beethoven. Ésta es la única edición moderna que incluye, desde el principio, las tres sonatas WoO 47 y las siguientes 32 ya conocidas. Nuestra revisión está orientada a recopilar información de las tres Sonatas WoO 47 de Beethoven y la importancia de estas composiciones en el repertorio para piano del compositor. El presente artículo busca entonces mostrar como justificable la inclusión de estas obras en el catálogo de las sonatas completas para piano del compositor alemán, mediante la recopilación de fuentes a su respecto y la valoración de sus dificultades técnicas para el instrumento.

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11

Solomon, Larry J., and John Cage. "Sonatas and Interludes for prepared piano." American Music 16, no. 1 (1998): 130. http://dx.doi.org/10.2307/3052692.

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12

Fillion, Michelle, and John Irving. "Mozart's Piano Sonatas: Contexts, Sources, Style." Notes 56, no. 2 (December 1999): 406. http://dx.doi.org/10.2307/900019.

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Sweeney-Turner, Steve, and Robert Taub. "Scriabin: Piano Sonatas Nos. 1-10." Musical Times 135, no. 1821 (November 1994): 722. http://dx.doi.org/10.2307/1003210.

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Guillaumier, C. K. "Prokofiev's Piano Sonatas. By Boris Berman." Music and Letters 90, no. 4 (October 29, 2009): 717–19. http://dx.doi.org/10.1093/ml/gcp027.

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15

Huron, David. "Crescendo/Diminuendo Asymmetries in Beethoven's Piano Sonatas." Music Perception 7, no. 4 (1990): 395–402. http://dx.doi.org/10.2307/40285475.

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A study of 32 piano sonatas by Beethoven reveals a significant asymmetry between increasing and decreasing dynamics. Specifically: (1) crescendos are more frequent than diminuendos, (2) crescendos tend to last longer than diminuendos, (3) large changes of dynamics tend to involve reductions in loudness, and (4) crescendos will more commonly follow low dynamic levels than will diminuendos follow high dynamic levels. These results support a "ramp archetype" of musical dynamics in which the music tends to build in a gradual way, but tends to subside relatively quickly. The results parallel a previous study showing an identical textural asymmetry in the evolution of polyphonic sonorities.

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16

Cooper, B. "Review: Beethoven's Piano Sonatas: A Short Companion." Music and Letters 84, no. 2 (May 1, 2003): 297–300. http://dx.doi.org/10.1093/ml/84.2.297.

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Rushton, Julian G. "Understanding Mozart's Piano Sonatas - By John Irving." Journal for Eighteenth-Century Studies 35, no. 2 (May 24, 2012): 295–96. http://dx.doi.org/10.1111/j.1754-0208.2011.00435.x.

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18

Barraza-Jeraldo, Vladimir. "Integral de las tres sonatas para piano." Revista musical chilena 75, no. 235 (June 2021): 253. http://dx.doi.org/10.4067/s0716-27902021000100253.

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19

Cuervo Calvo, Laura. "El avance hacia la idiomatización del lenguaje pianístico a través de la edición de Clementi de las sonatas de D. Scarlatti (1791)." Anuario Musical, no. 72 (January 22, 2018): 123. http://dx.doi.org/10.3989/anuariomusical.2017.72.04.

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Muzio Clementi es el editor de la primera publicación hasta ahora conocida para piano de las sonatas de Domenico Scarlatti: Scarlatti’s Chefs d’Oeuvre, for the Harpsichord or Piano forte [1791]. Esta obra contiene diez sonatas impresas del músico napolitano escogidas por Clementi de manuscritos del siglo XVIII a los que tuvo acceso. También contiene una sonata de Antonio Soler y otra sonata anónima. La importancia de esta fuente radica en que posibilitó la difusión de una selección de sonatas de Scarlatti que antes solo eran accesibles a una minoría: Kk 378, 380, 490, 400, 475, 381, 206, 531, 462, 463; y además, que debido a numerosas revisiones editoriales específicas llevadas a cabo por Clementi para ser interpretadas al piano, presenta cambios significativos en el texto musical respecto a los manuscritos equivalentes. A través del estudio de estas revisiones editoriales, se pretende aportar información sobre la práctica interpretativa de los instrumentos de tecla de finales del siglo XVIII, sobre las características de los pianos ingleses para los que Clementi realizó dicha revisión y sobre el avance del lenguaje idiomático específico del piano en esa época.

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20

Khusainov, Ruslan T. "About Stylistic Interactions in Paul Hindemith’s Piano Sonatas." Music Scholarship / Problemy Muzykal'noj Nauki, no. 4 (2015): 75–82. http://dx.doi.org/10.17674/1997-0854.2015.4.075-082.

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Khodorovskyi, V. I., and I. M. Khodorovska. "L. Beethoven’s Piano Sonatas: Goldenweiser’s Principles of Editing." Musical art in the educological discourse, no. 1 (2016): 62–66. http://dx.doi.org/10.28925/2518-766x201616267.

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Drabkin, William. "Haydn's Piano Sonatas. Building a Music Library: 4." Musical Times 128, no. 1727 (January 1987): 8. http://dx.doi.org/10.2307/964623.

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23

Noorduin, Marten. "Is There Any Scope for Another Edition of Beethoven's Piano Sonatas?" Nineteenth-Century Music Review 17, no. 2 (June 4, 2019): 329–40. http://dx.doi.org/10.1017/s1479409819000053.

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Beethoven's piano sonatas have appeared in innumerable editions – most of them in more than one hundred, as the collection in the library of the Beethoven-Haus in Bonn reveals. The sources for these works have also never been as readily available as they are now, as most first editions can be viewed on the Beethoven-Haus website, which also hosts scans of many important manuscript sources, as well as links to images of source materials on the websites of other archives. Thus, the question must be asked: Is there any scope for another edition of Beethoven's Piano Sonatas?

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24

Lebedeva, N. S. "Sonatas № 2 end № 9 as Milestones in the Evolution of the Piano Style of A. Scriabin." Culture of Ukraine, no. 71 (April 2, 2021): 86–93. http://dx.doi.org/10.31516/2410-5325.071.11.

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The article is devoted to the consideration of two piano sonatas by A. Scriabin, representing in a complex the peculiarities of his piano style as an integral phenomenon. The two-part sonata No. 2, classified as a musical landscape, is considered in comparison with the performing versions proposed by S. Richter and V. Ashkenazy. The one-part Sonata No. 9, called “Black Mass”, is considered in comparison with the performing interpretations of V. Sofronitsky and V. Horowitz. It is noted that the Scriabin’s piano style is inherently mixed, compositional and performing, and its grandiose macrocycle of 10 sonatas appears as a compendium of the principles of piano thinking for the post-romantic era. The universalism of Scriabin’s writing is confirmed using the comparative method of analysis, for the first time proposed in this article in relation to the works under consideration. It was revealed that the style in music appears as “a system of stable features of musical phenomena, a way of their differentiation and integration at various levels” (S. Tyshko). The style is distinguished by a tendency to identify the individual, unique, “humanistic” in the broad sense of the word and has a hierarchical structure, within which there is a level characterized as “the style of any kind of music” (V. Kholopova), among which the piano style stands out. Scriabin’s piano sonatas combine the categories of “instrument style”, “author’s style” and “performer’s style” at the style level. It was revealed that the figurative and artistic duality of the Second sonata is reflected in the interpretations presented by S. Richter (the “classical” version, focused on the exact observance of the author’s text remarques, sounding in some places even like in Beethoven’s works), and V. Ashkenazy (the “romantic” version containing a whole complex of articulatory means added by the performer, most of all close to Chopin’s “sonic placers”). The main factor that determines the peculiarities of the performance of the Ninth sonata is the transfer of the playing of harmonic timbre-colors, in which the melodic horizontal turns out to be inert in itself and manifests itself only in harmonic lighting in combination with articulatory attributes. It is noted that A. Scriabin creates in the Ninth sonata actually a special type of texture, accentuating the parameter of depth, based on the stereophonic effect “further — closer”. In the conclusions on the article, it is noted that the stylistic “arch” of two Scriabin’s sonatas highlighted in it helps to comprehend the holistic character and contextual connections of the sonata-piano style of the great Russian composer-innovator, to find “keys” to actual interpretations of his other piano sonatas, an example of which is analyzed interpretation samples of such masters as V. Sofronitsky and V. Horowitz (Ninth sonata) and S. Richter and V. Ashkenazy (Second sonata).

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25

Lasocki, David, Giovanni Platti, Gregory Hayes, Thomas Vincent, George Pratt, Johann Christoph Pepusch, Himie Voxman, et al. "Sonata in C Minor; For Oboe (Violin, Flute) and Basso Continuo (Harpsichord, Piano)." Notes 45, no. 3 (March 1989): 622. http://dx.doi.org/10.2307/940829.

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26

Garcia, Susanna. "Scriabin's Symbolist Plot Archetype in the Late Piano Sonatas." 19th-Century Music 23, no. 3 (2000): 273–300. http://dx.doi.org/10.2307/746881.

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Stadlen, Peter, Robert Schumann, Fabio Biondi, Luigi Di Ilio, and Clara Schumann. "Sonatas for Violin and Piano Op. 105 and 121." Musical Times 134, no. 1808 (October 1993): 593. http://dx.doi.org/10.2307/1002885.

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28

Park, Yoomi. "Beethoven’s Fantasy : Performative Persona in the Late Piano Sonatas." Journal of the Science and Practice of Music 40 (October 31, 2018): 71–103. http://dx.doi.org/10.36944/jspm.2018.10.40.71.

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29

Putz, John F. "The Golden Section and the Piano Sonatas of Mozart." Mathematics Magazine 68, no. 4 (October 1, 1995): 275. http://dx.doi.org/10.2307/2690572.

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30

Putz, John F. "The Golden Section and the Piano Sonatas of Mozart." Mathematics Magazine 68, no. 4 (October 1995): 275–82. http://dx.doi.org/10.1080/0025570x.1995.11996333.

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31

Garcia, Susanna. "Scriabin's Symbolist Plot Archetype in the Late Piano Sonatas." 19th-Century Music 23, no. 3 (April 2000): 273–300. http://dx.doi.org/10.1525/ncm.2000.23.3.02a00050.

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Kemova, Kseniya S. "Unknown piano duet repertoire: The sonatas by Franz Seydelmann." South-Russian musical anthology, no. 1 (2021): 95–103. http://dx.doi.org/10.52469/20764766_2021_01_95.

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Matthew-Walker, Robert. "Hoddinott's Programmatic Structuralization." Tempo, no. 209 (July 1999): 22–26. http://dx.doi.org/10.1017/s0040298200014650.

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Alun Hoddinott has written music steadily for 50 years and, as a constantly prolific composer, has amassed an impressively wide-ranging body of work: six operas, ten symphonies, 20 concertos, a dozen piano sonatas, five violin sonatas, with vocal, choral, orchestral and instrumental works of equal abundance – in all, an output of about 300 works with which even his most ardent admirer will have found it difficult to keep up.

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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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MacDonald, Calum. "Further reviews." Tempo 60, no. 238 (October 2006): 49–50. http://dx.doi.org/10.1017/s0040298206330318.

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CYRIL SCOTT: Piano Concerto No.1; Symphony No.4; Early One Morning. Howard Shelley (pno), BBC Philharmonic c. Martyn Brabbins. Chandos CHAN 10376.SCOTT: Complete Piano Music Volume One – Suites and Miniatures. Leslie De'Ath, Cyril Scott (pnos). Dutton Epoch CDLX 7150 (2-CD set).SCOTT: Complete Piano Music Volume Two – Complete Piano Sonatas. Leslie De'Ath (pno). Dutton Epoch CDLX 7155.SCOTT: Complete Piano Music Volume Three – Concert Pieces, Ballet Scores, Unpublished Works, Two-piano Works. Leslie De'Ath, Anya Alexeyev (pnos). Dutton Epoch CDLX 7166 (2-CD set).SCOTT: Sonata op.66; Second Sonata; Sonata III; Sphinx op.63; Rainbow Trout; Rondeau de Concert; Ballad; Victorian Waltz. Michael Schäfer (pno). Genuin GEN 85049.

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Mead, Philip. "TIPPETT'S FOURTH PIANO SONATA." Tempo 71, no. 279 (December 20, 2016): 8–17. http://dx.doi.org/10.1017/s004029821600067x.

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AbstractOn 10 May 1989 pianist Philip Mead was engaged to play Tippett's Fourth Piano Sonata at Birmingham University on the occasion of the composer receiving his honorary doctorate there. This was preceded by an afternoon workshop on the piece with lively discussion between composer and pianist. Two days previously, on 8 May 1989, in preparation for the concert, Mead played the work privately to the composer. The information in this article, which is almost entirely drawn from those two meetings, begins with a brief description of working with Tippett. Then, after an overview of all four sonatas it makes general points about the structure and style of the Fourth Sonata. Finally, each movement is discussed in turn using ideas, many of which were initiated by the composer, developed by the pianist.

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Rowland, David. ""Beethoven's Piano Sonatas: a Handbook for Performers," by Stewart Gordon." Performance Practice Review 22, no. 1 (2017): 1–4. http://dx.doi.org/10.5642/perfpr.201722.01.01.

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Kramer, Lawrence. "Expressive Doubling: Beethoven's Two-Movement Piano Sonatas and Romantic Literature." Studies in Romanticism 27, no. 2 (1988): 175. http://dx.doi.org/10.2307/25600707.

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Rosenblum, Sandra P. "Two sets of unexplored metronome marks for Beethoven's piano sonatas." Early Music XVI, no. 1 (February 1988): 59–71. http://dx.doi.org/10.1093/earlyj/xvi.1.59.

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Marston, Nicholas. "The Creation of Beethoven’s 35 Piano Sonatas. By Barry Cooper." Music and Letters 99, no. 4 (November 1, 2018): 678–81. http://dx.doi.org/10.1093/ml/gcy109.

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Porębski, Adam. "Piano Sonatas by Ryszard Bukowski – a search of interpretative keys." Notes Muzyczny 2, no. 12 (December 13, 2019): 115–36. http://dx.doi.org/10.5604/01.3001.0013.7171.

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Performing a forgotten piece or work by a not-well-known composer is always a great challenge for an artist. The fact that there are no recordings, no performance traditions or at least an arranged and published score is not conductive to a decision to include such a piece in one’s repertoire. Which elements should a performer pay attention to while working on unknown contemporary pieces? Aside from the emotions and intuition, which influence the shape of a composition in a natural way, he or she should also refer to the intellectual side of interpretation. The issue to reflect on is the way how the knowledge and awareness of the form of a work, its texture, harmony, rhythm and other elements of a music piece may influence the final shape of its interpretation. Ryszard Bukowski – a composer, music theoretician, journalist and organiser of musical life became a permanent part of the musical cityscape of Wrocław of the afterwar period. His numerous compositions include works for diversified line-ups, from solo pieces to vocal-and-instrumental ones. As a skilful pianist, Bukowski eagerly wrote music featuring the piano, and the works he composed the most frequently were solo sonatas. Writing as many as ten piano sonatas took him only a little more than a decade. Was the title of a piece what made the composer refer to this very traditional form thanks to its genre significance? Or was it just the opposite, i.e., with the title being merely a provocation? Perhaps Bukowski’s characteristic creative feature was combining tradition with modernity and on the basis of traditional formal patterns he proposed original solutions in reference to harmony, rhythm or texture? The article analyses Bukowski’s Piano Sonatas no. 2, 5, 9 and 10 in terms of their performance.

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Babukhina, E. V. "On the Characterness in Piano Sonatas by C. M. Weber." Университетский научный журнал, no. 49 (2019): 54–61. http://dx.doi.org/10.25807/pbh.22225064.2019.49.54.61.

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Zhao, Z. "K. M. Weber. Sonatas for Violin and Piano Op. 10." Университетский научный журнал, no. 44 (2019): 141–54. http://dx.doi.org/10.25807/pbh.22225064.2019.44.141.154.

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Miucci, Leonardo. "Beethoven’s pianoforte damper pedalling: a case of double notational style." Early Music 47, no. 3 (July 23, 2019): 371–92. http://dx.doi.org/10.1093/em/caz045.

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Abstract This article challenges the so-called ‘Urtext’ approach whereby performers aim to play no more and no less than is notated in an authoritative edition. With reference to Beethoven’s pedalling, it shows that he provided no pedal markings in the authorised editions of his piano sonatas before op.26 (1801), which constitute nearly a third of his output in this genre. After this point, however, his notation evolved, and he began indicating pedal markings with increasing intensity. The article traces practices of piano pedalling as indicated in keyboard treatises around 1800 and also as revealed in Beethoven’s ‘Kafka sketchbook’. It argues that the authorised editions of his sonatas show a double notational style. Beethoven did not add pedal markings for passages where he expected his players to use the pedal according to convention. Instead his pedal markings indicate locations where usage of the pedal contravened conventions such as harmonic clarity.

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Pittenger, Elise. "Perspectives on Beethoven’s Middle and Late Periods: Developments in his Writing for Cello in the Op. 69 and Op. 102 Sonatas." Revista Música 20, no. 2 (December 20, 2020): 223–38. http://dx.doi.org/10.11606/rm.v20i2.176085.

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This article explores the developments in Beethoven’s writing for the cello in the Op. 69 and Op. 102 sonatas, with the premise that they reflect the overall shift in his style from his Middle to Late Periods. In order to place the cello sonatas in context, the traditional framing of Beethoven’s work into three phases is described and well as the current state of cello writing at the turn of the century. The cello part in the Op. 69 sonata is then discussed, with attention to the role of the cello as compared to the piano and to the interaction between the two instruments. The Op. 102 sonatas are presented, also with attention to the interaction between the instruments. The suggestion is made that these sonatas illustrate Beethoven’s increasingly radical treatment of form, a treatment that results in challenging instrumental writing that, while not as gratifying as that of his Middle Period, nonetheless allows him to attain a new kind of expressivity as well as formal complexity.

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Sánchez Rodríguez, Virginia. "Las Sonatas para piano de Beethoven a través de los trabajos de edición de Agnes Zimmermann." Cuadernos de investigación musical, no. 11 (December 15, 2020): 45. http://dx.doi.org/10.18239/invesmusic.2020.11.05.

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Las Sonatas para piano son, en su conjunto, una de las obras de Ludwig van Beethoven más interpretadas a lo largo de la historia, tanto en público como en el ámbito escolar, pero también una de las que han disfrutado de un elevado número de ediciones a cargo de pianistas y estudiosos de diferentes países. De acuerdo con esta circunstancia, en este trabajo presentamos la edición realizada por la pianista y compositora británica Agnes Zimmermann (1847-1925), una de las mujeres músicas más célebres de su época que, además, mantuvo un estrecho contacto con el legado beethoveniano a lo largo de su carrera. En concreto, a través de fuentes primarias y secundarias, proponemos un acercamiento a la figura de esta destacada fémina y un estudio sobre las particularidades de su edición de las Sonatas para piano de Beethoven, publicada por la editorial Novello, Ewer & Co. en 1873 y cuya reimpresión, revisada, vio la luz en el año 1880.

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STEWART-MACDONALD, ROHAN. "MUZIO CLEMENTI (1752–1832) THE COMPLETE PIANO SONATAS – 1 Howard Shelley (piano) Hyperion CDA67632, 2007; two discs, 152 minutes - MUZIO CLEMENTI (1752–1832) THE COMPLETE PIANO SONATAS – 2 Howard Shelley (piano) Hyperion CDA67717, 2008; two discs, 136 minutes - MUZIO CLEMENTI (1752–1832) THE COMPLETE PIANO SONATAS – 3 Howard Shelley (piano) Hyperion CDA67729, 2009; two discs, 122 minutes." Eighteenth Century Music 6, no. 2 (August 3, 2009): 283–87. http://dx.doi.org/10.1017/s1478570609990182.

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Spitzer, Michael. "Clementi: Piano Sonatas vol. 1 opp. 1, 2, 7, 8 and WO13; Piano Sonatas vol. 2 opp. 9, 10, 11 no. 1 and op. 12; Piano Sonatas vol. 3 opp. 13, 20, WO3, 23 and op. 24. Howard Shelley pf." Nineteenth-Century Music Review 8, no. 1 (June 27, 2011): 151–54. http://dx.doi.org/10.1017/s1479409811000164.

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Noorduin, Marten. "Re-examining Czerny’s and Moscheles’s Metronome Marks for Beethoven’s Piano Sonatas." Nineteenth-Century Music Review 15, no. 2 (February 7, 2017): 209–35. http://dx.doi.org/10.1017/s1479409817000027.

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Shortly after Beethoven’s death, several of his closest associates provided performance indications for editions of his works. Previous discussions of Carl Czerny’s and Ignaz Moscheles’s metronome marks for Beethoven’s piano sonatas have highlighted the importance of these indications for our understanding of the intended performance practice of these works. Nevertheless, the provenance and meaning of these metronome marks have remained unclear, which has led to some confusion in the literature.By presenting new evidence, including the discovery of what are most likely the metronome marks intended for the missing sonatas from the first ‘complete’ edition by Tobias Haslinger, the article presents a more complete overview of the indications in these editions, as well as their chronology. In addition, it also discusses to what degree the editors seem to have influenced each other, which indications are most likely representative of Beethoven’s intended speeds, as well as why the metronome fell out of favour later in the nineteenth century. Finally, it discusses the meaning of these metronome marks for modern performers, and how these editions give options to disentangle the author from the text.

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Kamien, Roger. "Non-Tonic Settings of the Primary Tone in Beethoven Piano Sonatas." Journal of Musicology 16, no. 3 (1998): 379–93. http://dx.doi.org/10.2307/763997.

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