Journal articles: 'Sonatas (Guitar and harpsichord)'

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Mortensen, Lars Ulrik. "‘Unerringly tasteful’?: harpsichord continuo in Corelli's op.5 sonatas." Early Music XXIV, no. 4 (November 1996): 665–80. http://dx.doi.org/10.1093/earlyj/xxiv.4.665.

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Mortensen, L. "'Unerringly tasteful'?: harpsichord continuo in Corelli's op.5 sonatas." Early Music 24, no. 4 (November 1, 1996): 665–80. http://dx.doi.org/10.1093/em/24.4.665.

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Garlińska, Paulina, and Magdalena Bąk. "Works by the 20th/21st century composers from Łódź for a guitar – harpsichord duo." Notes Muzyczny 2, no. 12 (December 13, 2019): 61–98. http://dx.doi.org/10.5604/01.3001.0013.7168.

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The combination of the guitar and harpsichord has inspired composers all over the world for years. Łódź is the place where the greatest number of such pieces in Poland has been written by Jerzy Bauer, Bronisław Kazimierz Przybylski, Sławomir Kaczorowski, Stanisław Mroński, Andrzej Cwojdziński, and others. The creative output of the composers listed above for instruments such as the harpsichord, which is mainly associated with early music, and the guitar, which had its rebirth after WWII, is worth discussing. Composers from Łódź have made a great contribution to the development of literature for such an unusual line-up. Almost all compositions have been written for the Stefańska – Oberbek duo who were active in Cracow in the second half of the 1980s. The present article is mainly based on the materials shared by the guitarist Jan Oberbek and the Elżbieta Chojnacka Center for Contemporary Harpsichord Music. The materials have been discussed in terms of their content, which may be of value for new performers of this music. In each of these works an instrument player faces different problems and unusual solutions for a given instrument, which gives an artist the freedom of interpretation but at the same time creates a challenge related to analysing the piece and searching for a solution for a problem. The sound idiom of the guitar and the harpsichord was the inspiration for the aforementioned composers to create the literature valuable both for artists and for audiences. Unfortunately, this repertoire is hardly ever performed.

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WALLS, PETER. "GIUSEPPE TARTINI (1692–1770) SONATE A VIOLINO SOLO; ARIA DEL TASSO Chiara Banchini (violin), Patrizia Bovi (soprano) Zig-Zag Territoires, ZZT080502, 2006/2007; one disc, 69 minutes - GIUSEPPE TARTINI (1692–1770), FRANCESCO MARIA VERACINI (1690–1768) THE DEVIL'S TRILL: SONATAS BY GIUSEPPE TARTINI [AND FRANCESCO MARIA VERACINI] Rodolfo Richter (violin), Susanne Heinrich (viola da gamba), Silas Standage (harpsichord), William Carter (archlute, baroque guitar) / Palladians Linn, CKD 292, 2008; one disc, 61 minutes." Eighteenth Century Music 7, no. 2 (July 30, 2010): 314–16. http://dx.doi.org/10.1017/s1478570610000230.

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Harrison, B. "Gudrun Dengler, Joseph Haydn; Jacques Ogg, Harpsichord Sonatas from Before 1770." Early Music XXI, no. 2 (May 1, 1993): 323–24. http://dx.doi.org/10.1093/em/xxi.2.323.

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Sandford, Gordon, Johann Sebastian Bach, Lucy Robinson, and John Butt. "Sonatas, BWV 1027-1029; For viola da gamba (Violoncello) and Obbligato Harpsichord." Notes 45, no. 2 (December 1988): 383. http://dx.doi.org/10.2307/941371.

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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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Brassine, H. "Review: Six Sonatas for Harpsichord or Piano Forte with an Accompaniment for a Violin, op. 3 and Six Sonatas for Violoncello (with Keyboard Accompaniment)." Music and Letters 84, no. 2 (May 1, 2003): 344–45. http://dx.doi.org/10.1093/ml/84.2.344.

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Kroll, Mark. "Chamber Music: Six Sonatas for Harpsichord or Piano Forte with an Accompaniment for a Violin, op. 2; Six Sonatas for Violoncello (with Keyboard Accompaniment) (review)." Notes 61, no. 4 (2005): 1101–3. http://dx.doi.org/10.1353/not.2005.0068.

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Price, Curtis. "Newly Discovered Autograph Keyboard Music of Purcell and Draghi." Journal of the Royal Musical Association 120, no. 1 (1995): 77–111. http://dx.doi.org/10.1080/02690403.1995.11828225.

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A manuscript of late seventeenth-century English harpsichord music was sold to an anonymous private collector at Sotheby's in London on 26 May 1994 for £276,500, a record price paid for any British music manuscript. The 85-page oblong quarto, in its original covers, includes 21 pieces in the hand of Henry Purcell (1659–95), five of which were previously unknown, and a further 17 works by Giovanni Battista Draghi (c.1640–1708), also probably autograph, four of which were previously unknown. The manuscript is important because of the rarity of Purcell autographs: this is the first to be sold at public auction since the great collection of fantazias and sonatas (now British Library, Add. MS 30,930) was offered in 1826, and the only major source to surface this century.

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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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POWELL, LINTON. "ANTONIO SOLER (1729–1783) SONATAS FOR HARPSICHORD, VOLUME 10 Gilbert Rowland Naxos 8.557137, 2003, one disc, 1′13′′." Eighteenth Century Music 2, no. 1 (March 2005): 172–73. http://dx.doi.org/10.1017/s1478570605360295.

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HOWARD, ALAN. "pieter hellendaal (1721–1799)‘CAMBRIDGE’ SONATAS Johannes Pramsohler (violin) / Gulrim Choï (cello) / Philippe Grisvard (harpsichord) Audax adx13720, 2020: one disc, 69 minutes." Eighteenth Century Music 18, no. 2 (August 17, 2021): 317–19. http://dx.doi.org/10.1017/s1478570621000166.

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HOWARD, ALAN. "ATTILIO ARIOSTI (1666–?1729) THE STOCKHOLM SONATAS I: LESSONS AND SONATAS FOR VIOLA D’AMORE Thomas Georgi (viola d’amore), Lucas Harris (theorbo/archlute/guitar), Joëlle Morton (viola da gamba/great bass viol) BIS CD 1535, 2006." Eighteenth Century Music 4, no. 1 (March 2007): 164–65. http://dx.doi.org/10.1017/s1478570607000851.

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BABINGTON, AMANDA. "DANIEL PURCELL (c1670–1717) THE UNKNOWN PURCELL: SONATAS BY DANIEL PURCELL Hazel Brooks (violin), David Pollock (harpsichord) Chandos CHAN 0795, 2013; one disc, 76 minutes." Eighteenth Century Music 13, no. 1 (February 11, 2016): 144–45. http://dx.doi.org/10.1017/s1478570615000597.

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Rickards, Guy. "Icarus Soaring: the music of John Pickard." Tempo, no. 201 (July 1997): 2–5. http://dx.doi.org/10.1017/s0040298200005763.

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Although John Pickard's music has received a good many performances and radio broadcasts over the past decade, it was the relay of his dazzling orchestral tone poem The Flight of Icarus (1990) during the 1996 Proms1 which brought him to the notice of the wider concert–going and –listening public. There is some justice in that piece attracting such attention, as it is one of his most immediate in impact, while completely representative of his output at large. That output to date encompasses three symphonies (1983–4, 1985–7, 1995–6) and five other orchestral works, three string quartets (1991, 1993, 1994; a fourth in progress), a piano trio (1990), sonatas for piano (1987) and cello and piano (1994–5), vocal and choral works, pieces for orchestral brass (Vortex, 1984–5) and brass band – the exhilarating Wildfire (1991), which crackles, hisses and spits in ferocious near–onomatopoeia, and suite Men of Stone (1995), celebrating four of the most impressive megalithic sites in Britain, one to each season of the year. There are other works for a variety of solo instruments and chamber ensembles, such as the intriguing grouping of flute, clarinet, harpsichord and piano trio in Nocturne in Black and Gold (1983) and the large–scale Serenata Concertante for flute and six instruments of a year later. Still in his mid-thirties – he was born in Burnley in 1963 – Pickard has already made almost all the principal musical forms of the Western Classical tradition his own, with only opera, ballet and the concerto as yet untackled.

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CLARK, KATELYN. "‘OF THE TEMPERAMENT OF THOSE MUSICAL INSTRUMENTS’: CONSIDERING TIBERIUS CAVALLO AND THE SCIENTIFIC OBSERVATION OF MUSICAL SOUNDS IN LATE EIGHTEENTH-CENTURY LONDON." Eighteenth Century Music 15, no. 1 (March 2018): 47–51. http://dx.doi.org/10.1017/s1478570617000392.

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The connection of music to scientific exploration in late Enlightenment London can be considered from various perspectives, perhaps most evidently through the binary of amateur–professional. These two realms intersected within natural philosophical observation, a practice that often served concurrently as entertainment and as study. The development of scientific instruments for the observation of various phenomena appeared in both professional and amateur contexts, contributing to technological growth and research. Natural philosopher Tiberius Cavallo (1749–1809) and his 1788 article on musical temperament (‘Of the Temperament of Those Musical Instruments, in Which the Tones, Keys, or Frets, are Fixed, as in the Harpsichord, Organ, Guitar, &c’) provide a captivating example of amateur interest overlapping effectively with the professional domain; as an amateur musician and professional scientist, Cavallo observed equal temperament in both mathematical and aesthetic terms. Consideration of his work promotes a more nuanced view of London as a place where scientific and musical ideas could meet and be ‘instrumentalized’, emphasizing the city's status as a vibrant arena for the interaction of scientific exploration, artistic endeavour and professional identities. In this sense, Cavallo's work on temperament was not merely a scientific activity; it reflected technological change during a stimulating period of scientific and musical progress in late eighteenth-century London. For example, instrument builders were actively developing ways to improve pitch control and tuning stability, as witnessed by numerous British patents for harp mechanisms, the addition of flute keys and keyboard construction.

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Owczarek-Ciszewska, Joanna. "Hammer mechanism instruments and their role in shaping the composition style of pieces written for keyboard instruments in the period of 1730-1780, part 3 – Keyboard instruments in concert halls and in the high society." Notes Muzyczny 1, no. 11 (June 28, 2019): 43–64. http://dx.doi.org/10.5604/01.3001.0013.3521.

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The present text is the third and last part of the cycle of articles devoted to keyboard instruments with hammer mechanism in the 18th century published in subsequent issues of the magazine “Notes Muzyczny”. The first two parts primarily touched on the history of keyboard instrument making in the 18th century: first pianos and other original inventions. The third part is in turn devoted to the changing position of the piano in the musical life of that period, namely – concerts, publications and compositions. The crowning of this part is the chronological and topic-related list (in a form of a reference chart) of the most significant phenomena and events discussed in the whole cycle of articles. The first mentions of a wider presence of keyboard instruments with hammer mechanism on the music market and concert life date back to the 1760s. In the 1770s there was a fast growth in the popularity of these instruments in the life of the high society, first of all in England and France (table instruments), as well as in Germany, even though there it took slightly more time because of the domination of the traditional clavichord. Due to the imprecise nomenclature used as long as until the 1780s and 1790s, it is often hard to decide which keyboard instrument was meant in a given case, hence it is impossible to assess how popular a specific instrument was. Some academics suggest that the presence of instruments with hammer mechanism in the musical life of that period was much greater than in might seem. Probably both hammer and tangent pianos and their other variants were not opposed to harpsichords but were treated as a special type within the same group of instruments. In the 1780s musical pieces written for both keyboard instruments, i.e., “for harpsichord or piano”, became the norm. Despite the increase in popularity of pianos (as compared to harpsichords) in the 1790s, such designation would remain on title pages of compositions until the end of that century. The period between the 1780s and 1790s was also the time when the first piano playing textbooks appeared. Expanding expressive capacities of keyboard instruments was the response to the changing needs of the galant and Empfindsamkeit styles. On the other hand, the presence of pianos had a significant influence on the styles of specific compositions. In order to illustrate these processes, the annex presents the analyses of two representative cycles of works from the 1760s written for the new instrument: Sonatas op. 1 by Johann Gottfried Eckard and Sonatas op. 5 by Johann Christian Bach.

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WILLIS, CHRISTOPHER. "DOMENICO SCARLATTI (1685–1757) COMPLETE KEYBOARD SONATAS; SIX CONTINUO SONATAS (K78, K81, K88, K89, K90, K91) Richard Lester (harpsichord, fortepiano and organ), Mark Baigence (oboe), Warwick Cole (violoncello), Elizabeth Lester (recorder), Jonathan Morgan (flute), Ben Sansom (violin) and Taro Takeuchi (mandolin) Privilege Accord 68001 – 68020, 2001–2005; 38 discs." Eighteenth Century Music 3, no. 2 (September 2006): 352–55. http://dx.doi.org/10.1017/s1478570606320635.

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Rickards, Guy. "MARGARET BROUWER, CHEN YI, SADIE HARRISON, MISATO MOCHIZUKI, ONUTE NARBUTAITE, APPARENZE." Tempo 58, no. 229 (July 2004): 60–66. http://dx.doi.org/10.1017/s0040298204360225.

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MARGARET BROUWER: Lament for violin, clarinet, bassoon and percussion12,4,6,10; Light for soprano, harpsichord, flute, clarinet, violin, cello and percussion1,7,2,5,13,14,11; Under the Summertree for piano8; Skyriding for flute, violin, cello & piano3,13,14,9; Demeter Prelude for string quartet15. 1Sandra Simon (sop), 2Sean Gabriel (fl), 3Alice Kogan Weinreb (fl), 4Jean Kopperud (cl), 5Amitai Vardi (cl), 6Donald McGeen (bsn), 7Jeanette Sorrell (hpschd), 8Kathryn Brown (pno), 9Mitsuko Morikawa (pno), 10Dominic Donato (perc), 11Scott Christian (perc), 12Laura Frautschi (vln), 13Gabriel Bolkosky (vln), 14Ida Mercer (vlc), 15Cavani String Quartet. New World 80606-2.CHEN YI: Momentum; Chinese Folk Dance Suite for violin and orchestra1; Dunhuang Fantasy for organ and chamber wind ensemble3; Romance and Dance for 2 violins and string orchestra1,2; Tu. 1Cho-Liang Lin (vln), 2Yi-Jia Susanne Hou (vln), 3Kimberley Marshall (org), Singapore SO c. Lan Shui. BIS-CD-1352.SADIE HARRISON: The Light Garden for mixed quintet1; The Fourteenth Terrace for clarinet and ensemble2; Bavad Khair Baqi! for solo violin3. Traditional Afghan Music4. 1Tate Ensemble, 2Andrew Spalding (cl), Lontano c. Odaline de la Martinez, 3Peter Sheppard Skærved (vln), 4Ensemble Bakhtar. Metier MSV CD92084.MISATO MOCHIZUKI: Si bleu, si calme1; All that is including me for bass flute, clarinet and violin1,2,3; Chimera; Intermezzi I for flute & piano1,4; La chamber claire. 1Eva Furrer (fl, bass fl), 2Bernhard Zachhuber (cl), 3Sophie Schafleitner (vln), 4Marino Formenti (pno), Klangforum Wien c. Johannes Kalitzke. Kairos 0012402KAIONUTE NARBUTAITE: Symphony No. 2; Liberatio for 12 winds, cymbals & 4 strings; Metabole for chamber orchestra. Lithuanian National SO c.Robertas Fervenikas. Finlandia 0927-49597-2.ALLA PAVLOVA: Symphony No. 1, Farewell Russia1,3,4; Symphony No.32,3,5. 1Leonid Lebedev (fl), Nikolay Lotakov (picc), Mikhail Shestakov (vln), Valery Brill (vlc), Mikhail Adamovich (pno); 2Olga Verdernikova (vln), 3Russian PO c. 4Konstantin D. Krimets, 5Alexander Vedernikov. Naxos 8.557157.‘APPARENZE: Collana di Nuove Musiche 1997’. Works by SILVIA DELITALA, RITA PORTERA, CATERINA DE CARLO, BEATRICE CAMPODONICO, PAOLA CIAR-LANTINI, JANET MAGUIRE, MARCO SANTAM BROGIO, PAOLO MINETTI, FEDERICO MONTAGNER, RINALDO BELLUCCI and BIAGIO PUTIGNANO. Maria Vittoria Vallese (sop), Pia Zanca, Fiametta Facchini, Rinaldo Bellucci (pnos), Duo Soncini-Flückiger, Italian Guitar Quartet, Ensemble Paul Klee, Fabrizio Fantini, Gianluca Calonghi (cls), Giuseppe Giannotti (ob). Radio Onda d'Urto E.F.B 001.

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Tyshchyk, V. "The system formation of professional accordionist’s skills on the example of V. Vlasov «Album for children and youth»." Problems of Interaction Between Arts, Pedagogy and the Theory and Practice of Education 49, no. 49 (September 15, 2018): 172–87. http://dx.doi.org/10.34064/khnum2-49.12.

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Viktor Vlasov is one of the brightest representatives of Ukrainian button accordion school, and his work is a special page in the musical culture of Ukraine and a significant component of the button accordion art for children. By his work V. Vlasov implements, new ideas and techniques of performing skills that rely on bright artistic images in the native children’s music, and also applies the means of composition techniques that appear in contemporary button accordion art and he pays attention to the latest unconventional methods of sound making. Due to this variety, V. Vlasov’s works have no only their main task – the education of children, but also it is a guideline for other composers. Music scholars, who study the work of Ukrainian composer-accordionist V. Vlasov, have the important task to give a proper assessment of work in general, and summarize the basic criteria of his approach to the formation of the system of young accordionist’s professional skills. Children’s music of button accordion of Ukrainian authors is a significant amount of works for young performers. Although the history of button accordion performance and pedagogy in comparison with other musical instruments is very short, it can be confirmed of the formation of certain schools of button accordion craftsmanship, including the author’s schools, one of which includes the original work of V. Vlasov. In Ukraine, the period of children’s music of button accordion development was synchronized with the formation of a professional button accordion music in general. Beginning from the second half of the twentieth century composers-accordionists made a huge contribution to the musical heritage, including for children. At the same time, information about this stage of musical culture is still poorly explored, the potential of the Ukrainian children’s music of button accordion is not sufficiently defined, the information about collections of plays for children and young people of Ukrainian composers is not generalized or systematized. Ukrainian music for children encompasses a multitude of individual composer styles (from V. Kosenko, M. Lysenko, I. Shamo to contemporary authors such as A. Gaidenko, V. Vlasov, P. Gubanov, O. Shmykov, B. Myronchuk and many others. V. Vlasov definitely can be considered composers with a brightly individually creative writing. All composer’s musical creativity is original and is closely connected with Ukrainian and world classics using authentic folklore, with an appeal to modern pop and jazz genres. He is the author of many works for button accordion which are as complicated, oriented on high level masters as works for beginners. V. Vlasov’s «Album for Children and Youth» has become an important achievement in the field of button accordion art. The cycle of V. Vlasov includes 45 different-colored music pieces; they are not connected with a plot-thematic line, because each music piece has its musical and artistic content. In addition, the music pieces are grouped into five notebooks in accordance with the general plan and a clear pedagogical task. In the first two notebooks of the album («Album of the first-graders», « At a visit to a fairy tale «), the world of a modern child is developed very clearly in the tradition of children’s album from such composers as R. Schumann and P. Chaikovsky to S. Prokofiev and B. Bartok. In the notebook «Folk tunes» which includes folk treats, V. Vlasov managed to cover folk leaks of different regions of Ukraine. The music pieces of the last notebook («Variety-jazz plays») are based on modern jazz language. Researchers more often pay attention to the listed notebooks. This article focuses on the central book of the album – «Chamber Plays». Three sonatas at the beginning of this notebook are perceived as a microcycle where the specificity of sonat thinking is consistently revealed and the artistic and technical tasks for the artist are gradually becoming more complex. The first music piece is a miniature «Sonatyna» of F-dur of early classical type, but even in the summary presentation the thematic contrast is already presented and the functional and logical side of the sonata form is implemented. The second «Sonatyna» D-dur meets the examples of Vienna classics – the thematic is based on the original contrast, there is already a motive comparison in a small development. The third «Sonatyna» C-dur is the most difficult task for performance; it relies on a complex of expressive means corresponding to the music of the 20th century – the toccata-basis of the themes, a complex harmonious language. Thus, three sonatas are a short «summary» of the genre for button accordionists at beginner level. The study of these sonatas is important for assimilating the most complex musical structure. The following music plieces are devoted to other genres, where the author focuses on the transformation of stylistic features. The romantic type of «Serenade» focused on J. Field’s nocturnes has such features as intricacy, expressiveness, sensuality and refinement and corresponds to the general lyrical character of the music piece. The greatest artistic complexity for button accordion performers in «Serenade» is precisely the embodiment of the character of a work that requires a certain level of student’s artistic development, an open emotionality. «Harpsichord» is a work that helps to restore the picture of the aristocratic salon of the times of Rococo, but at the same time it gives certain tasks for the young performer. V. Vlasov somewhat unusually interprets the distribution of textural functions in this musical piece: the part in the left hand imitates the sound of a harpsichord, creating a harmonic accompaniment, while the soloing art of the right hand reflects the timbre of flute or oboe; here the coordination of the hands of the button accordionist and the differentiation of the strokes are important. The last music piece of the book «Watercolour» seems more complicated in content, and more complex in texture development and performance tasks. In this musical creation of this genre of painting, the composer redefines the established notions about the art technique of watercolors and combines the traditions of musical Impressionism with the elements of the «plot», which is represented as a picture. The Viktor Vlasov work, one of the most prominent representatives of the Ukrainian Button accordion School, is a special page of the musical culture of Ukraine and an important component of children’s button accordion music. The most important achievement of the composer in the “Album for Children and Youth” is the systematic, consistent, professional justification of the whole set of musical and auditory ideas and professional skills that make this cycle can be a real school of button accordion craftsmanship.

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Harrison, B. "Eighteenth-century music for two keyboard instruments, Bernard Brauchli (harpsichord, clavichord), Esteban Elizondo (organ, clavichord), Titanic Records T1-185 (rec 1989); Joseph Haydn, Harpsichord Sonatas In C Minor (XVI 20), F Major (XVI:23), A Major (XVI 26), E Flat Major (XVI 28), B Minor (XVI 32), Shirley Mathews (harpsichord), Gasparo GSCD-284 (issued 1991); Wolfgang Amadeus Mozart, Concertos KV107 (After J. C. Bach's Keyboard Sonatas Op.5 Nos 2, 3 & 4); Leopold Mozart, Sonata Da Camera A Tre No.4; Johann Christian Bach, Sonata In D Major, Op.20 No 2, Keyboard Concerto In E Flat Major, Op.7 No 5, London Baroque, Harmonia Mundi HMC 901395 (rec 1990); Wolfgang Amadeus Mozart, Piano Sonatas K545 & K57O, Fantasie K475, Rondos K486 & K511, Andras Schiff (fortepiano), L'Oiseau-Lyre 433 328-2 (rec 1991)." Early Music XXI, no. 1 (February 1, 1993): 161–63. http://dx.doi.org/10.1093/em/xxi.1.161.

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SUTCLIFFE, W. DEAN. "MUZIO CLEMENTI, OPERA OMNIA VOLUME 1: SIX SONATAS FOR HARPSICHORD OR PIANO, OP. 1 ED. ANDREA COEN Bologna: Ut Orpheus Edizioni, 2000 pp. xii + 55, ISMN M 2153 0537 3 VOLUME 10: DUO FOR TWO PIANOS OR TWO HARPSICHORDS, OP. 1A, AND DUO FOR TWO PIANOS, OP. 12 ED. ROBERTO ILLIANO Bologna: Ut Orpheus Edizioni, 2001 pp. ix + 28, ISMN M 2153 0655 4 VOLUME 12: THREE SONATAS FOR HARPSICHORD OR PIANO, OP. 7 ED. COSTANTINO MASTROPRIMIANO Bologna: Ut Orpheus Edizioni, 2002 pp. x + 36, ISMN M 2153 0656 1 VOLUME 21: THREE SONATAS FOR PIANO AND VIOLIN, OP. 15 ED. LUCA SALA Bologna: Ut Orpheus Edizioni, 2000 pp. ix + 71, ISMN M 2153 0571 7 VOLUME 30: THREE SONATAS FOR PIANO OR HARPSICHORD, VIOLIN AND CELLO, OP. 27 ED. MASSIMILIANO SALA Bologna: Ut Orpheus Edizioni, 2001 pp. xi + 70, ISMN M 2153 0576 2 VOLUME 35: THREE SONATAS FOR PIANO WITH FLUTE AND CELLO AD LIBITUM, OP. 32 ED. ROBERTO ILLIANO Bologna: Ut Orpheus Edizioni, 2003 pp. ix + 43, ISMN M 2153 0859 6 VOLUME 37: TWO SONATAS AND TWO CAPRICCIOS FOR PIANO, OP. 34 ED. ANDREA COEN Bologna: Ut Orpheus Edizioni, 2002 pp. x + 81, ISMN M 2153 0782 7." Eighteenth Century Music 2, no. 2 (September 2005): 351–59. http://dx.doi.org/10.1017/s1478570605280417.

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Ivanova, Yuliia. "Children’s choir in MarkKarminskyi’s creativity." Aspects of Historical Musicology 19, no. 19 (February 7, 2020): 29–43. http://dx.doi.org/10.34064/khnum2-19.02.

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Background. The article deals with the choral creativity by the famous Ukrainian composer Mark Karminskyi. The weight of M. Karminskyi’s choral works in the legacy of the composer and in choral art in general stimulates research interest in this area of his activity. However, there are relatively few scientific studies that examine the composer’s choral work; most of them are aimed at reconstructing his general creative portrait or at examining other pages of his heritage. The scientific novelty of this research is determined by the comprehensive coverage of children’s choral creativity by M. Karminskyi and the consideration of his unpublished choral works. The research methodology, synthesizing analytical and generalizing approaches, is based on the traditions of national musicology and is determined by the specifics of vocal and choral genres, first of all, by the inextricable link between musical drama and text. The purpose of the article is to recreate the most complete picture of M. Karminsky’s choral work for children and to determine its role in contemporary choral performing. The results of the research. The composer’s early works were distinguished by meaningfulness, optimism, brightness of musical images, which was embodied in easy, convenient and accessible tunes. Many Soviet-era songs created for children of different school age were included in the “Songs for Students” collections as a new program material for choral singing of Ukrainian secondary schools students in music lessons. Several works of the author became known throughout the country and published in the leading music publishers in Kiev and Moscow: “What Boys Are Made Of” (lyrics by R. Burns translated by S. Marshak), “Quicker to the Gathering” (by L. Galkin), “Balloons” (lyrics by Ya. Akim). The songs about Victory in the Second World War are popular: “Victory is celebrated by the people” (S. Orlova), “The soldier has forgotten nothing” (E. Berstein), “Red Poppies” (poems by G. Pozhenyan). The composer combines his songs into vocal-symphonic suites. One of the main genre of choral creativity of the author has become a miniature that is able to absorb a variety of musical expressive means to expand and deepen the content of the work in a small area of the form. The works by M. Karminskyi revealed such features of choral miniature as philosophicity, attentive attitude to the word, its emotional and semantic meaning, which is reflected in the detailed development of the thematic material. Most of the composer’s choral works are written for a cappella choir. The collections of “Choral Notebooks” (1988) and “Road to the Temple” (1995) have reflected the artist’s thoughts for several decades. The figurative content of “Choir Notebooks” includes the lyrical states caused by contemplation of pictures of nature; the collection “Road to the Temple” represents philosophical reflections not only of a personal nature, but also thoughts about the universal problems of today. The cycles reveal the principles of the composer’s thinking and are one of the pinnacles of his creative heritage. The article looks at one of the best works of the cycle “Road to the Temple”, the choir “Remembering Drobitsky Yar” (lyrics by E. Yevtushenko) for children’s choir, soloist (tenor) and piano. Also, the article deals with unpublished choral works by M. Karminskyi “Paraphrases on the Sonata of Mozart” and “Guitar” on F. G. Lorka’s poems. In the work “Guitar” on Lorca’s poem (translated by M. Tsvetayeva), the composer uses signs of Spanish color: imitation of techniques of playing the guitar, rhythmic copyism of the castanets playing and other. The poetic text “decorated” by flexible, broad, expressive melody that gives words greater emotion. The piece is full of sharp changes of genre signs of melodic structures (vocal without text, dance, austinous repetitions) revealing the semantic implication of the poem. The basis of the “Paraphrase on the theme of Mozart’s Sonatine” was the fourth part (Allegro) of Sonatina No. 1 in C Major from the Six Vienna Sonatas by W. A. Mozart. M. Karminskyi noticed the vocal nature of many parts of this cycle and skillfully made a “translation” of one of them for the children’s choir. Unlike many of his contemporaries, he wrote music that does not fundamentally claim to be innovative. As a true professional, he pays attention to the integrity of the compositions elaborating the smallest details. He strives for the laconism of expression and, at the same time, is able to saturate the choral texture with modern expressive means, if the artistic image of the work requires it. Natural expressive intonation, intonation as emotional content of vocal language distinguishes choral music by M. Karminskyi. A special role in intonation is played by breathing, it is inextricably linked with melodic movement and energy. The breath of the melodies of the author is enriched by the lively intonations of the language, which reveal her “soul”, give a feeling of warmth, strength, caress, greatness, truthfulness. Musical form of the composer’s works is determined by the intonation of the music. Based on linguistic-vocal intonations, most of the author’s works have strophic forms that follow from the semantic aspect of the literary text. Karminskyi is a master of choral unison. This mean of expressiveness, which is not often used by composers, in Karminsky’s works is a carrier of expressive melodism and suppose the performance with a great inner feeling. Features of declamation always find a place in his choirs, they reproduce the living human language, the spiritual experiences of a man. Conclusion. The works for the children’s choir have a special purity and cordiality that is so subtly perceived by children. Mark Karminsky’s music is capable of drawing children’s attention to musical values that purify the soul and nurture personality. His music makes you think and feel! M. Karminsky’s creativity has forever entered the concert practice of children’s choirs of Ukraine.

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Kitchen, J. "Johann Sebastian Bach, Italian Concerto, French Overture; 4 Duetti, Chromatic Fantasy & Fugue Christophe Rousset (harpsichord), L'Oiseau-Lyre 433 054-2 (rec 1990); Italian Concerto, French Overture; 4 Duetti Kenneth Gilbert (harpsichord), Harmoma Mundi HMA 1901278 (rec 1988); Trio Sonatas, BWV525-30 John Butt (organ) Harmoma Mundi HMU 907055 (rec 1991); Antonio Vivaldi Concerto for 3 Violins; Johann Sebastian Bach; Concertos for 3 & 4 Harpsichords, Christopher Hirons, John Holloway, Monica Huggett, Catherine Mackintosh, Elizabeth Wilcock (violins), Christopher Hogwood, Davitt Moroney, Christophe Rousset, Colin Tilney (harpsichords), The Academy of Ancient Music, directed by Christopher Hogwood L'Oiseau-Lyre 433 053-2 (rec 1980, 1989, 1990)." Early Music XXI, no. 1 (February 1, 1993): 155–57. http://dx.doi.org/10.1093/em/xxi.1.155.

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Grebneva, I. "”The image” of the violin in the creative work of A. Corelli (on the example of the concerto grosso genre)." Problems of Interaction Between Arts, Pedagogy and the Theory and Practice of Education 49, no. 49 (September 15, 2018): 115–27. http://dx.doi.org/10.34064/khnum2-49.08.

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Statement of the problem. The violin style of A. Corelli, a composer-violinist who laid the foundation for the development of the violin art in Europe, represents a special “image of the instrument” that entered the professional-academic arena during the Baroque era. The research of A. Corelli’s violin style belongs to the field of organology, which is dedicated to the integrated study of instruments as the “organs” of musicians’ thinking. The close relationship, connection of the individual who is playing music with his/her instrument is not only one of the little developed theoretical problems, but also the basis of the practice for performing music, as well as learning this art. Analysis of recent publications on the topic. The available sources on the creative work of A. Corelli (written by K. Kuznetsov, I. Yampolsky, L. Ginzburg, N. Harnoncourt) contain either general information or individual observations on the image of the violin in the Baroque era. It is necessary to point out the significance of the general theory of the violin style (E. Nazaikinsky, V. Medushevsky, V. Kholopova, Y. Bentya) for the development of scientific ideas about the "image of the violin". The purpose of the article is to identify the special features of the “image” of the violin in the style of A. Corelli on the material of Concerti grossi op.6. The presentation of the main material. At the time of the creation of Concerts op.6 by A. Corelli, in Italy there was a violin school, which was distinguished by an exceptional variety of playing techniques. It was here that the historical process of replacing the viol with the violin was finally completed. The violin becomes the leading instrument in the instrumental genres of the 17th century music – suite, trio-sonata, solo sonata, and by the end of the century – concerto grosso. The path of movement to A. Corelli’s universal, generalized-reduced violin style ran along the line “ensemble feature – concert feature – solo feature”. The creation of the academic style of the violin playing logic is the merit of the Bologna school. The main thrust of the violin style of Bologna masters (Torelli, Antonia, Bassani, Vitali, and later Corelli and Vivaldi) is the combination of “church” and “chamber” models of the violin playing. For instrumental sound in an ensemble or orchestra, a “canon” and certain limitations in the technique of the playing are necessary, allowing establishing the balance of the parts of instruments and instrumental groups. The “invention” (inventio) in the violin playing, characteristic of the Italian school of the first half of the 17th century, was aimed at identifying the whole complex of the possible techniques of playing this instrument. The violin plating logic in Concertі grossi by A. Corelli is subordinated to the combination of two artistic and aesthetic tasks arising from two styles of concert making – the “church” one and the “chamber” one. Hence the choice of the appropriate techniques for playing. The “church” style, despite its democratization inherent in the Italian violin school, acquired the functions of a public concert for a mass audience and was distinguished by greater severity and regulation of the complex of the violin playing techniques. This stemmed from the genre style (“concert in the church”), where polyphonic presentation prevailed in the fast parts, the “tempo” names of the parts were used, and the organ in the numbered bass part was used. The “chamber” style opened up wider possibilities for the violin and the creation of an expressive technical complex associated with the genre (“dance” parts), replacing the organ in basso continuo with the harpsichord (cembalo), other stringed and plucked instruments (lute, theorbo), low string-and-bow instruments (gamba, cello, double bass), which gave a mono-articulate character to the general sounding. Playing shades of "lively speech" on the violin is a characteristic feature of A. Corelli’s violin style, reflected in the instrumental-playing complex through phrasing, attention to details and to micro-intonation. Conclusions. In describing the historical and artistic situation, in the context of which the style of the “great citizen of Bologna” was formed, its innovations have been outlined. The signs of the turning epoch have been indicated – they are the transition from the Renaissance polyphony and the “church” style to the secular homophony, with the instruments of the violin family singled out as the main ones. The particular attention has been paid to the principles of the violin intonation in the form of a speech playing (sprechendes Spiel) and dance motor skills, which together formed the semantics of A. Corelli’s violin style in the genres of concerto grosso, trio sonatas, solo sonata with bass. The main features of A. Corelli’s violin style, which became determinant for compositional decisions in the field of thematic, texture, and harmony, have been revealed.

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Wagstaff, John. "VII. suonate a doi, violino & violadagamba, con cembalo, opera prima, and: VII. suonate a due, violino et violadagamba con cembalo, opera secunda, and: Pieces en trio pour les flutes, violon, & dessus de viole, and: Clavier Uebung bestehend im Praeludio, Fuga, Allemande, Courante, Sarabande und Gigue, and: Harmonice Musices Odhecaton A, and: Six Solos for a Violoncello with a Thorough Bass for the Harpsichord, Opera IX, and: Six Sonatas for Violoncello and Keyboard, Opp. 9 (review)." Notes 60, no. 4 (2004): 1024–28. http://dx.doi.org/10.1353/not.2004.0080.

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Rickards, Guy. "Rodolfo Halffter et al. - RODOLFO HALFFTER: Chamber Music, Volume 2. Giga, op. 31; Tres piezas breves, op. 13a2; Dos sonatas de El Escorial, op. 23; Homenaje a Antonio Machado, op. 133; Divertimento, op. 7a4-13; Laberinto, op. 343; Capricho, op. 409; Epinicio, op. 423,4; Secuencia, op. 393. 1Miguel Ángel Jimenez (gtr), 2Beatriz Millán (hp), 3Francisco José Segonia (pno), 4Cinta Vrea (fl), 5Vicente Fernández (ob), 6Nerea Meyer (cl), 7Francisco Mas (bn), 8César Asensi (tpt), 9Victor Arriola (vln), 10Paulo Vieira (vln), 11Alexander Trotchinsky (vla), 12Rafael Domínguez (vlc), c. 13Manuel Coves. Naxos 8.572419 - RODOLFO HALFFTER: Chamber Music, Volume 3. String Quartet, op. 241; Cello Sonata, op. 262. Tres Movimientos, op. 281; Ochos tientos, op. 351. 1Bretón String Quartet, 2John Stokes (vlc), Francisco José Segonia (pno). Naxos 8.572420 - NORDIN: Undercurrents1,2; Surfaces Scintillantes2; Cri du Berger1; The Aisle2; Pendants I-III2. 1Benjamin Carat (vlc). 2Gageego!/Pierre-Andre Valade. Phono Suecia PSCD 192 - SUNLEIF RASMUSSEN: Dancing Raindrops; Suite for guitar and effect processor; Andalag #2; Like the Golden Sun; Mozaik/Miniature. Aldubarán. Dacapo 8.226567. - WEINBERG: Sonatas for violin and piano Nos. 1, op. 12; 4, op. 39; Sonata for violin solo No. 1, op. 82. Sonatina for violin and piano, op. 46. Yuri Kalnits (vln), Michael Csányi-Wills (pno). Toccata Classics TOCC 0007. - ‘Dedicated to Trio’. SVEN-DAVID SANDSTRÖM: 5 Pieces. ÖSTERLING: Lundi1. MONNAKGOTLA: 5 Pieces. HEDELIN: Akt. TALLY: Winter Island. 1Dan Laurin (rec), Trio Zilliacusperssonraitinen (ZPR). Phono Suecia PSCD 189. - HENZE: ‘Hommages’. Sonata for 6 players; Margareten-Walzer; Ländler; La mano sinistra; Epitaph; Toccata mistica; String Trio; Ode al dodicesimo apostolo; An Brenton; Klavierstück für Reinhold; Serenade; Adagio, adagio. Ensemble Recherche. Wergo WER 6727 2. - ‘Silver Tunes’. VON KOCH: Silver Tunes. LANGLAIS: 5 Pieces. AUGUSTA READ THOMAS: Angel Tears and Earth Prayers. DEBUSSY: Syrinx. LIEBERMANN: Air, op. 106. LÖFBERG Sonata-I Choral (plus works by ROMAN, GLUCK, HILDEGARD VON BINGEN). Elivi Varga (fl), Ole Långström (org). Sterling CDA 1676-2." Tempo 67, no. 265 (July 2013): 112–17. http://dx.doi.org/10.1017/s0040298213000739.

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"Book Review: Sonatas for 2 Violins with Violoncello Obbligato and Violone, Harpsichord, or Organ." American String Teacher 54, no. 3 (August 2004): 102–3. http://dx.doi.org/10.1177/000313130405400350.

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Journal articles on the topic 'Sonatas (Guitar and harpsichord)'

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