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Relevant bibliographies by topics / Sonatas (English horn and piano)

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Academic literature on the topic 'Sonatas (English horn and piano)'

Author: Grafiati

Published: 4 June 2021

Last updated: 8 February 2022

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Journal articles on the topic "Sonatas (English horn and piano)"

1

Maunder, Richard. "J. C. Bach and the Early Piano in London." Journal of the Royal Musical Association 116, no. 2 (1991): 201–10. http://dx.doi.org/10.1093/jrma/116.2.201.

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A study of Johann Christian Bach's keyboard music prompts the obvious and important question: which of his sonatas and concertos were composed for harpsichord, and which for the piano? (Indeed, did he think of them as two distinct instruments at all?) And what sort of pianos did he have available on the occasions when he played them in public? Did he really play his ‘Solo on the Piano Forte’ at the Thatched House on 2 June 1768 (in a concert that consisted mainly of orchestral music) on a little Zumpe square, or was he already using a prototype English grand? When were these various models of piano first made in London, and what musical use did other composers and performers, as well as J. C. Bach, make of them?

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Mansfield, Terry A. "Oscar Victor Sayer Heath. 26 July 1903—16 June 1997." Biographical Memoirs of Fellows of the Royal Society 44 (January 1998): 219–35. http://dx.doi.org/10.1098/rsbm.1998.0015.

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O.V.S. ‘Peter’ Heath was born in London on 26 July 1903. In childhood, he encountered many problems, for he was often ill and he found learning difficult. At the time he may well have been regarded as ‘backward’. Now, with hindsight, we would say that his was a case of remarkable late development. His biographical notes (over 130 pages in his precise handwriting, with a note of apology at the front: ‘The notes are intended to assist the unfortunate Fellow who has to write me up‘) describe his early schooling and the subsequent private tuition which became necessary because of undiagnosed illness. He learned to read at the age of seven, but his reading remained slow throughout his life because he frequently needed to re-read passages. However, he did then have accurate recall of much of the subject matter. His father (Sir Frank Heath, 1863–1946, Secretary of the Department of Scientific and Industrial Research (DSIR), 1916–27) had been a professor of English literature at Bedford College, and Peter had access to a vast collection of books, of which he took much advantage. He also took music lessons and learned to appreciate great music from his mother's piano playing, particularly the Beethoven piano sonatas.

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Green, Edward. "Interview with Composer George Tsontakis." ICONI, no. 2 (2020): 38–49. http://dx.doi.org/10.33779/2658-4824.2020.2.038-049.

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This interview for the journal ICONI, taken by Dr. Edward Green, Professor at the Manhattan School of Music, is with one of the leading composers of the United States, George Tsontakis. A professor at Bard Conservatory of Music, he is the recipient of numerous awards for his work, including the prestigious Grawmeyer Award for his Second Violin Concerto. Professor Tsontakis’ work — nearly all of it commissioned — is wide-ranging in terms of genre, imaginative in its orchestrations, and always strongly emotional. Included in this interview are discussions of some of the biographical background to a number of his major pieces, including The Past, The Passion. Among the subjects discussed is the meaning of “concerto.” Several of his concertos and concerto-like compositions are specifically discussed in this interview, including Man of Sorrows (piano), and Sonnets (English Horn). The interview also touches upon his relations with two important American composers of earlier generation: George Rochberg, and Roger Sessions — who had been Tsontakis’ teacher of composition at Julliard.

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4

Graubart, Michael. "Erwin Schulhoff, et al. - ‘Lost Generation’. ERWIN SCHULHOFF: Double Concerto for Flute, Piano and String Orchestra with Two Horns, WV 89, op. 63; Sonata for Flute and Piano, WV 86, op. 61; Three Pieces for String Orchestra, WV 5, op. 6. VIKTOR ULLMANN: Chamber Symphony, op. 46a (String Quartet No.3, op. 46) (arranged for string orchestra by Kenneth Woods). VILEM TAUSKY: Coventry – Meditation for String Orchestra. Ulrike Anton (fl), Russell Ryan (pno), English Chamber Orchestra c. David Parry. Exil.Arte Gramola 98964 – LC 20638." Tempo 67, no. 264 (April 2013): 105–7. http://dx.doi.org/10.1017/s0040298213000375.

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"Charles William Bunn, 15 January 1905 - 13 April 1990." Biographical Memoirs of Fellows of the Royal Society 37 (November 1991): 69–83. http://dx.doi.org/10.1098/rsbm.1991.0004.

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Charles William Bunn’s career was an unusual one. Trained as a chemist, he was largely self-taught in crystallography, a subject dominated during his scientific lifetime by the pupils of W. H. and W. L. Bragg. His own researches bore an individual stamp, coloured by an instinctive feel for the way in which molecules arrange themselves and pack. He was unusual, also, in the extent to which he made use of optical and other non-X-ray methods to solve structural problems. Bunn spent the majority of his working life in the research departments of ICI, at first in the Alkali Division at Winnington, Northwich, and later in the Plastics Division laboratories at Welwyn Garden City. Though working in industrial laboratories, his principal researches were basic and fundamental studies on polymers and on crystal growth. He was much loved and respected by his colleagues and collaborators but, because of his shyness and exceptional modesty he was a difficult man to get to know well, even under conditions where colleagues were often also neighbours. He was a private person who lived for his twin interests in science and in music. His musical tastes were for 19th- and 20th-century composers. Throughout his life his favourite composer was Vaughan Williams and in his younger days he had little liking for what he called ‘the complex and sophisticated music of the Germans, which tends to academic dullness in Bach and courtly formalism in Haydn and Mozart’. However, in his last decade his piano playing turned almost exclusively to the keyboard sonatas of Haydn and Mozart. He played the violin in several orchestras such as the Welwyn Garden City Music Society orchestra. He also composed a little, but none of his compositions appear to have survived. From boyhood he built his own radio receivers to listen to broadcast concerts; later, he built up an extensive collection of gramophone records. Bunn was an ardent reader; in fiction his taste was for long novels such as those of Galsworthy and Tolstoy; he read War and peace four times. He enjoyed biographies of composers and scientists and was widely read in mediaeval English history and in archaeology. Bunn had little time for formal religion, theology or philosophy. His views were that ‘theology is quack philosophy, and philosophy is quack science’. However, he had a strong belief in personal freedom and tolerance and suffered himself just from hearing of any strife. He was an ardent admirer of Gandhi and of the philosophy of non-violent passive dissent, and was disgusted by violent sports such as boxing. He was a vegetarian from conviction; although he was a keen gardener he refused any space to vegetables and concentrated entirely on flowers. He was much too reserved and diffident to take an active part in politics. Recognition came rather late to him. He left Oxford without working for a D.Phil. and took an Oxford D.Sc. only in 1953, largely because others felt that someone in his position and of his eminence must be a doctor. He was a Fellow of the Chemical Society and of the Institute of Physics, becoming a member of the first committee of the X-ray Analysis Group of the latter, and its chairman in 1959-62. He was elected to the Fellowship of the Royal Society in 1967, in recognition of his work on natural and synthetic regular polymers. In 1969 he was awarded the Ford Prize by the American Physical Society, for contributions to polymer science.

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Dissertations / Theses on the topic "Sonatas (English horn and piano)"

1

Su, I.-Shan. "John Ireland's Piano Sonata (1918-1920) and the Influence of Johannes Brahms." Thesis, University of North Texas, 2018. https://digital.library.unt.edu/ark:/67531/metadc1157523/.

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John Ireland is one of the most important British composers of the twentieth century. Many scholars believe the works of his early period were deeply influenced by Brahms. After graduating from the Royal College of Music, Ireland went on to develop a much more individual musical language, with influence from contemporary French composers. However, the young composer found himself confronted with the challenge of finding a new and personal style without turning wholly to impressionism or to chromaticism. In Ireland's Piano Sonata, Ireland adopted several of Brahms' compositional techniques. This piano sonata is an excellent example of one of Ireland's mature works that still demonstrates Brahms' influence.

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Bogard, Rick. "The Trumpet in Selected Solo and Chamber Works of Paul Hindemith : Elements of Trumpet Technique and Their Relationship to the Gebrauchsmusik Concept, a Lecture Recital, Together with Three Recitals of Selected Works of J.N. Hummel, A. Jolivet, C. Chaynes, and Others." Thesis, University of North Texas, 1994. https://digital.library.unt.edu/ark:/67531/metadc278128/.

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The trumpet was one of the wind instruments Hindemith used frequently in his chamber music, and he employed it prominently in five works from 1925 to 1954. These works are the Sonate fur Trompete (1939), the Konzert fur Trompete in B und Fagott mit Streichorchester (1954), Drei Stucke (19251 the Septett fur Blasinstrumente (1949), and "Morgenmusik," from the collection Plöner Musiktag (1932). This study examines and compares Hindemith's writing for the trumpet in these selected works, noting features in his use of the instrument which determine the applicability of the works to the Gebrauchsmusik concept.

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Chen, Shen-Wei, and 陳聖惟. "The Interpretation and Analysis of Hindemith sonata for English horn and Piano." Thesis, 2013. http://ndltd.ncl.edu.tw/handle/03000555023282385037.

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Chen, Yi-Tyng, and 陳儀庭. "The Interpretation and Analysis of Hindemith Sonata for English horn and Piano." Thesis, 2016. http://ndltd.ncl.edu.tw/handle/87070657137911209558.

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Kim, Yeong Su Ko Eunae. "20th century French oboe repertoire from two groups of composers "Le triton" and "Le jeune France"." 2006. http://hdl.handle.net/1903/9756.

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Stubbs, Kate. "Doctoral thesis recital (collaborative piano)." Thesis, 2014. http://hdl.handle.net/2152/24432.

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7

Hart, Hilary Brain Dennis Conlon Frank Sato Erika Rakers Michelle A. "Dedications for Dennis Brain a musical exploration of his additions to the repertoire of the French horn." 2007. http://hdl.handle.net/1903/9734.

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Kashiwagi, Tomoko. "Doctoral thesis recital (collaborative piano)." 2010. http://hdl.handle.net/2152/11492.

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Sonata for bassoon and piano, op.9 / Gustav Schreck -- Six songs from A Shropshire lad / George Butterworth -- Hungarian dance no.19 ; Waltz op.39, no.3 ; Hungarian dance no.8 / Johannes Brahms -- Sonata for cello and piano, op.19 / Sergei Rachmaninoff
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Hall, Philip Jeremy. "Portfolio of compositions and exegesis: Leitmotifs and their development." 2009. http://hdl.handle.net/2440/56830.

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This submission for the degree of Master of Music at the Elder Conservatorium of Music, University of Adelaide, consists of a portfolio of original compositions supported by an explanatory exegesis. The portfolio consists of six works: The Gingerbread Man, for a sinfonietta ensemble (woodwind quintet, two violins, viola, cello, double bass and percussion); a Jazz Quintet (alto saxophone, fluegel horn, vibraphone, tambourine and double bass); a Horn Quintet and String Quartet (violin, two violas and cello); Alone (for solo horn and 3 female voices – SSA); and Sonata for Horn (or Tuba) and Piano. The supporting exegesis explains the creative and investigative processes that have taken place, exploring the idea of the leitmotif and developing it through the six compositions within the portfolio.
http://proxy.library.adelaide.edu.au/login?url= http://library.adelaide.edu.au/cgi-bin/Pwebrecon.cgi?BBID=1457750
Thesis (M.Mus.) -- University of Adelaide, Elder Conservatorium of Music, 2009

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Ramirez, Richard Bowen Ramirez Richard Bowen Ramirez Richard Bowen Ramirez Richard Bowen Ramirez Richard Bowen. "Technology integration in music : Exploration, preparation, and realization /." 1998. http://www.quicktime.com.

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Books on the topic "Sonatas (English horn and piano)"

1

Baksa, Robert F. Horn sonata. [New York, N.Y.]: Composers Library Editions, 1996.

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2

Schuller, Gunther. Sonata for horn and piano (1988). Newton Centre, MA: Margun Music, 1989.

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3

Lalliet, Theodore. Fantasie originale: Op. 6 for English horn and piano [with alternate oboe part]. New York, N.Y: McGinnis & Marx, 1992.

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4

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

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5

Friedman, Gary D. Open spaces: For English horn and piano. 2017.

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6

Daugherty, Michael. Spaghetti Western: English Horn and Piano Reduction Archive Edition. Boosey & Hawkes, Incorporated, 2012.

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7

Stacy, Thomas. Solos for the English Horn Player with Piano Accompaniment. Schirmer Books, 1986.

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