Academic literature on the topic 'Sonatas for violoncello and piano'

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Dissertations / Theses on the topic "Sonatas for violoncello and piano"

1

Daniel, Ryan James. "The piano and violoncello sonatas of Ludwig Van Beethoven." Master's thesis, University of Cape Town, 1998. http://hdl.handle.net/11427/10390.

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Ludwig van Beethoven's Sonatas for Piano and Violoncello have been somewhat neglected in terms of published study. Drabkin (1991a, n.p.) considers that the early sonatas "have received far less attention than they deserve", a deficiency which Lockwood attributes, in the case of the cello sonatas in particular, to the portrayal of Beethoven's early compositions as "forerunners of later greatness [rather] than as significant products of their own time and circumstances" (1986, 17). Given the enormity of the composer's entire works, and the stature of his symphonies, concertos, piano sonatas, choral works and string quartets, it is perhaps not surprising that relatively little attention has been paid to the cello sonatas. Yet, according to Stevens, these works "are so well embedded in the repertory that they claim immediate discussion" (1957, 263). Musicologists such as Fortune consider the opus 5 sonatas to be "among the finest of Beethoven's early works" (1973, 210). In addition, the cello sonatas fall into the category of chamber music for piano and strings, a body of works which Marston feels contains "extraordinary stylistic development" (1991b, 228). Chapter one provides a background to the development of the cello, the origin's of Beethoven's piano and cello sonatas, and a general discussion of the composer's stylistic periods. Each of chapters two to six contains a study of one of the five sonatas, looking specifically at two areas: the combination of the piano and the cello, and the form and structure. In chapter seven, thematic unity is discussed. The conclusion contains general observations about the sonatas formed during the writing of this dissertation.
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2

Janssen, Tido. "William Bolcom's Sonata for violoncello and piano (1989)." Thesis, connect to online resource. Access restricted to the University of North Texas campus, 2003. http://www.library.unt.edu/theses/open/20032/janssen%5Ftido/index.htm.

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Thesis (D.M.A.)--University of North Texas, 2003.<br>Accompanied by 4 recitals, recorded Jan. 26, 1998, June 21, 1999, Apr. 15, 2002, and Apr. 23, 2003. Includes bibliographical references (p. 46-49).
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Kleinmann, Johannes. "Polystylistic Features of Schnittke's Cello Sonata (1978)." Thesis, University of North Texas, 2010. https://digital.library.unt.edu/ark:/67531/metadc30478/.

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Polystylism in Alfred Schnittke's music has been considered by scholars as a central aspect of his music. Although there are many published analyses of his choral music, symphonies, concerti and violin sonatas, there is no known published research for Schnittke's first cello sonata. Alfred Schnittke grew up in a culturally diverse environment influenced by many different composers and compositional styles under the restrictions of a communist Russian government. These aspects influenced the development of Schnittke's polystylism, characteristically represented by his Cello Sonata (1978). The detailed musical analysis of this sonata in this study serves the purpose to reveal Schnittke's polystylistic tendencies and his use of cyclic elements. These polystylistic elements in the sonata illustrate how Schnittke de-familiarizes listeners from rules commonly accepted as unavoidable and re-familiarizes listeners with the expressive qualities of tonal, twelve-tone and atonal music. Although Schnittke introduces polystylistic materials in de-familiarized contexts in this sonata, this study finds that Schnittke particularly re-familiarizes the audience's musical and stylistic perception through the reappearance of sections, textures and motifs. Abrupt polystylistic conflicts contrast with the repetition of previous materials, thereby forming a combination of traditional styles with features of discontinuity in 20th century music.
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Kim, Jungsun. "Voice and Genre in Beethoven's Deux Grandes Sonates pour le Clavecin ou Piano-Forte avec un Violoncelle obligé, Op. 5." Thesis, University of North Texas, 2004. https://digital.library.unt.edu/ark:/67531/metadc4504/.

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This paper examines the generic aspect of Beethoven's Opus 5 Cello Sonatas (1796) from structuralist and post-structuralist perspectives, and explores the works from these viewpoints in order to gain insights into how the sonatas function as autonomous musical texts rather than historiographic documents of Beethoven's biography or transitional contributions in the development of the genre of the solo sonata as it was later cultivated. The insights offered by these perspectives argue for a reconsideration of the conventional notions of "work" and "text," which underscore the doctrine of work-immanence. This perspective also offers insights that have proven elusive when the works are considered primarily in the context of the historical-biographical construct of Beethoven's three style-periods. By applying the aesthetic practice of expressive doubling prevalent at the turn of the nineteenth century to Beethoven's Opus 5 Sonatas, a deeper understanding of the constellation of the duo sonatas in accompanied keyboard literature will be attained. Also, by illuminating the relational nature of meaning realized within a textual framework, this study attempts to enlarge the restricted scope of interpretation conventionally imposed on the Opus 5 sonatas.
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Lee, Jeong-A. "Benjamin Britten's Sonata in C for Cello and Piano, Op. 65: A Practical Guide for Performance." Thesis, connect to online resource, 2009. http://digital.library.unt.edu/permalink/meta-dc-9841.

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6

Coker, Bradley Gene. "The employment of historically informed performance practices in present day tuba performances of two Italian baroque violoncello transcriptions." Thesis, Recital, recorded June 5, 2006, in digital collections. Access restricted to the University of North Texas campus. connect to online resource, 2008. http://digital.library.unt.edu/permalink/meta-dc-6122.

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Thesis (D.M.A.)--University of North Texas, 2008.<br>System requirements: Adobe Acrobat Reader. Accompanied by 4 recitals, recorded Nov. 7, 2005, Mar. 20, 2006, June 5, 2006, and Nov. 5, 2007. Includes bibliographical references (p. 80-83).
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Inman, Michael V. "An examination of Beethoven's Sonata for piano and violoncello, Op. 5 No. 1, Boccherini's Concerto in B-flat Major for cello, Bach's Suite no. 3 for unaccompanied Violoncello in C Major, and Inman's Suite for Unaccompanied Violoncello in C-sharp Minor." Manhattan, Kan. : Kansas State University, 2008. http://hdl.handle.net/2097/866.

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Clark, Antoine Terrell. "Five Late Baroque Works for String Instruments Transcribed for Clarinet and Piano: A Performance Edition with Commentary." The Ohio State University, 2009. http://rave.ohiolink.edu/etdc/view?acc_num=osu1243869380.

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9

Oliveira, Rafael Cesário. "A sonata para violoncelo e piano de Almeida Prado: análise técnico/intepretativo." Universidade de São Paulo, 2015. http://www.teses.usp.br/teses/disponiveis/27/27158/tde-13112015-101808/.

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A Sonata para Violoncelo e Piano de Almeida Prado merece ocupar um papel de destaque na produção recente para o Violoncelo. Esse trabalho servirá como ponto de apoio para violoncelistas interessados na performance da Sonata, bem como à instrumentistas de cordas que buscam melhor compreender as peculiaridades da interpretação das peças deste compositor. O procedimento metodológico constou de quatro etapas. Em primeiro lugar foi realizado um levantamento bibliográfico explorando os autores que discorreram sobre a vida e obra de Almeida Prado. Em um segundo momento, foram coletados dados através de entrevistas e aulas com o compositor e entrevistas com Sonia Rubinsky, pianista responsável pela estreia e encomenda da obra. Na terceira etapa, a peça foi apresentada em diferentes ocasiões, incluindo um recital com a pianista Rubinksy. Estas experiências, juntamente com os dados coletados, resultaram na edição da parte de Violoncelo e gravação em vídeo. Por fim, foi realizada uma análise técnico/interpretativa da obra, utilizando-se dos dados coletados nas entrevistas, pesquisa bibliográfica e recitais.<br>The Sonata for Cello and Piano de Almeida Prado deserves to occupy a prominent position in the recent production for Cello. This work will serve as support for cellists interested in the performance of the Sonata, as well as string instrumentalists seeking to better understand the peculiarities of interpretation of this composer\'s works. The methodological procedure consisted of four stages. First off a review of the literature was conducted exploring the authors who wrote about the life and work of Almeida Prado. Secondly, data was collected through interviews and lessons with the composer, as well as interviews with Sonia Rubinsky, pianist responsible for the premiere and commission of the sonata. In the third stage, the piece was presented on several occasions, including a recital with pianist Rubinksy. These experiences, together with the collected data, resulted in the edition of the Cello part and a video recording. Finally, a technical/interpretive analysis of the work was carried out, utilizing the data collected during the interviews, bibliographic research and recitals.
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Wegberg, Emil. "Sonate pour Violoncelle et Piano : musikanalys och interpretation av Debussys cellosonat." Thesis, Kungl. Musikhögskolan, Institutionen för klassisk musik, 2016. http://urn.kb.se/resolve?urn=urn:nbn:se:kmh:diva-2058.

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<p>Claude Debussy Cellosonat</p><p>Dimitrij Shostakowitch Cellosonat op.40</p><p>Felix Mendelssohn-Barthodly Pianotrio nr.1 D-moll op.49</p><p>Medeverkande musiker:</p><p>Emil Wegberg, Cello</p><p>Katarina Abbas, Violin</p><p>Leo Gavel, Piano</p><p>Gerog Öquist, Piano</p>
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