To see the other types of publications on this topic, follow the link: Sonatas (Violin and piano).
Journal articles on the topic 'Sonatas (Violin and piano)'
Create a spot-on reference in APA, MLA, Chicago, Harvard, and other styles
Consult the top 50 journal articles for your research on the topic 'Sonatas (Violin and piano).'
Next to every source in the list of references, there is an 'Add to bibliography' button. Press on it, and we will generate automatically the bibliographic reference to the chosen work in the citation style you need: APA, MLA, Harvard, Chicago, Vancouver, etc.
You can also download the full text of the academic publication as pdf and read online its abstract whenever available in the metadata.
Browse journal articles on a wide variety of disciplines and organise your bibliography correctly.
1
Renat, Maryla. "The synthesis of tradition and avant-garde techniques in selected polish violin sonatas from the second half of the 20th century." Notes Muzyczny 2, no. 12 (December 13, 2019): 199–216. http://dx.doi.org/10.5604/01.3001.0013.7175.
Full textAbstract:
The article presents four chamber violin sonatas for an instrument duo written in the 1970s and 1980s, which in their concept of form and shape combine the elements of the widely understood tradition with innovative means of composition technique. The subject for a closer analysis are the following works: • Witold Rudziński, Sonata pastorale per violino e piano forte, 1978 (PWM, Cracow 1983) • Sławomir Czarnecki, Sonate tragique für Violine und Klavier, 1982 (Tonos, Darmstadt 1988) • Jan Krenz, Sonatina for two violins, 1986 (Brevis, Poznań 1994) • Zbigniew Bargielski, Sonate für Violine und Klavier „The sonata of oblivion”,1987, autograph. Each sonata listed above renders an individual concept for combining paradigms adopted from the tradition (e.g. forms, use of quotation, expression idiom) with selected avant-garde means in sound technique, which mainly derives from the sonoristic trend. What Witold Rudziński’s Sonata pastorale per violino e piano forte draws from music tradition is the thematic character of musical thoughts, and in its sound sphere it introduces the means of mild sonoristic, maintaining a balance between them. Sławomir Czarnecki’s Sonate tragique für Violine und Klavier using the quotation from the sequence of Dies irae refers to the Late-Romantic expression to which it adds unusual methods of sound production and sonoristic middle episode. The function of these innovative means is to contrast it against dramatic expression of the piece’s outermost elements. The third discussed work, Sonatina for two violins by Jan Krenz corresponds with the neoclassical trend from the 20th century and brings out diverse elements of violin technique. It refers to the B-A-C-H sound symbol known from the past and to the variation form and combines them with more recent sound structures. The fourth composition, Sonate für Violine und Klavier by Zbigniew Bargielski, is the most innovative one in terms of its sound layer and formal concept. Its connection to the past is maintained thanks to a quotation from Chopin’s music transformed in an interesting way. The analysis of the sonatas leads to the following final conclusion: the tradition and the avant-garde in the discussed works from the postmodern period are not in opposition one against another in terms of style and aesthetics but they create complementary phenomena, in which the message drawn from tradition is given a new face.
2
Fiona, Fong Fong, and Tao Li. "A Brief Analysis of Mozart Violin Sonata No.17 K.329." Arts Studies and Criticism 5, no. 2 (June 21, 2024): 49. http://dx.doi.org/10.32629/asc.v5i2.2197.
Full textAbstract:
Mozart and Beethoven have achieved an important milestone in the history of western music; the two masters' works by later generations are defined as the model of classical music period; most of their works are celebrated by future generations; Mozart's opera, symphony, piano, ensemble are a contemporary palace concert hits. Mozart's violin concerto is a series of works that must be mastered by today's violinists in the process of learning, and it is also a set of pieces that must be played in today's major international music competitions. As a professional violinist, it is very important to show Mozart's ingenious music route completely in the performance. Mozart's violin sonatas are not as well known as his violin concertos. Many of his violin sonatas were composed at different ages. Mastering the style of Mozart's works is crucial. Each of these works has a true and moving story behind it, just like the twenty-first violin sonata.
3
Rickards, Guy. "Music by women composers." Tempo 59, no. 234 (September 21, 2005): 66–72. http://dx.doi.org/10.1017/s0040298205300325.
Full textAbstract:
HOWELL: Violin Sonata in F minor; Rosalind for violin & piano; Piano Sonata in E minor; Humoresque for piano; 5 Studies for piano. Lorraine McAslan (vln), Sophia Rahman (pno). Dutton Epoch CDLX 7144.BACEWICZ: Violin Sonatas Nos. 4–5; Oberek No. 1; Sonata No. 2 for violin solo; Partita; Capriccio; Polish Capriccio. Joanna Kurkowicz (v;n), Gloria Chien (pno). Chandos CHAN 10250.MARIC: Byzantine Concerto1; Cantata: Threshold of Dream2,3,6; Ostinato Super Thema Octoïcha4–6; Cantata: Song of Space7. 1Olga Jovanovic (pno), Belgrade PO c. Oskar Danon, 2Dragoslava Nikolic (sop, alto), 3Jovan Milicevic (narr), 4Ljubica Maric (pno), 5Josip Pikelj (hp), 6Radio-TV Belgrade CO c. Oskar Danon, 7Radio-TV Belgrade Mixed Choir & SO c. Mladen Jagušt. Chandos Historical 10267H.MUSGRAVE: For the Time Being: Advent1; Black Tambourine2–3; John Cook; On the Underground Sets1–3. 1Michael York (narr), 2Walter Hirse (pno), 3Richard Fitz, Rex Benincasa (perc),New York Virtuoso Singers c. Harold Rosenbaum. Bridge 9161.KUI DONG: Earth, Water, Wood, Metal, Fire1; Pangu's Song2; Blue Melody3; Crossing (electronic/computer tape music); Three Voices4. 1Sarah Cahill (pno), 2Tod Brody (fl), Daniel Kennedy (perc), 3San Francisco Contemporary Music Players c. Olly Wilson, 4Hong Wang (Chinese fiddle), Ann Yao (Chinese zither), Chen Tao (bamboo fl). New World 80620-2.FIRSOVA: The Mandelstam Cantatas: Forest Walks, op. 36; Earthly Life, op. 31; Before the Thunderstorm, op. 70. Ekaterina Kichigina (sop), Studio for New Music Moscow c. Igor Dronov. Megadisc MDC 7816.KATS-CHERNIN: Ragtime & Blues. Sarah Nicholls (pno). Nicola Sweeney (vln). Signum SIGCD058.CHAMBERS: A Mass for Mass Trombones. Thomas Hutchinson (trb), Ensemble of 76 trombones c. David Gilbert. Centaur CRC 2263.
4
Matthew-Walker, Robert. "Hoddinott's Programmatic Structuralization." Tempo, no. 209 (July 1999): 22–26. http://dx.doi.org/10.1017/s0040298200014650.
Full textAbstract:
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.
5
Каrachevtseva, Inna. "Stylistic phenomenon of Violin sonatas by Franz Schubert." Aspects of Historical Musicology 16, no. 16 (September 15, 2019): 106–25. http://dx.doi.org/10.34064/khnum2-16.06.
Full textAbstract:
Background. In recent years musicologists revealed an increasing interest in the problem of historical typology of F. Schubert’s composer style. In fact, scholars question possibility to characterize it as romantic, in their turn suggesting another interpretations and characteristics. For instance, M. Brown avoids usage of the term “Romantic” referring to F. Schubert, insisting on him being a part of a Classical tradition. In order to substantiate his viewpoint, the scholar appeals to harmony of the composer, where novelties, according to M. Brown, are not in fact innovations but incredibly skilful incarnation of Classical ideas. More moderate opinion on the discussed problem is stated by Ch. Rosen (2003). While acknowledging “revolutionary” nature of F. Schubert’s harmony, the scholar simultaneously points out a “special status” of the composer in musical art, a status not allowing to apply neither Classical, nor Romantic standards to the works of master. Consequently, as Ch. Rosen says, F. Schubert ended up being “in-between” Classical tradition and Romantic innovations. In his earlier study (1997) abovementioned author uses term “Postclassicism” referring to F. Schubert and other artists of his generation. A collision “F. Schubert – L. van Beethoven” is regarded both by Е.Badura-Skoda (2004) and J. Daverio (2002). The latter one tries to solve it while regarding it through prism of R. Schumann’s observation on this problem. Thus, it is obvious that reception of F. Schubert’s style as typologically ambiguous has a long-lasting history dating back to Romantic era. This intrigue can be found in researches of XX century as well. For example, phenomenon of style of F. Schubert’s chamber works has become a topic of P. Wolfius’ rumination, who defined it as “intermediate” (1974). Mentioned above works of the last third of XX century and beginning of XXI century prove relevance of the problem of historical typology of F. Schubert’s composer style for modern musicology. This calls for its further development through analytical studying of musical material while using historically-typological method of research. In the given aspect, special attention should be drawn to early works by composer, including four Violin sonatas. Objectives. The goal of this paper is to comprehend stylistic phenomenon of these works as a result of mixture of Classical experience gained by F. Schubert and first signs of his oncoming individual view on the essence of music and sound. Methods. In order to achieve this goal, the author of current work uses a periodization of F. Schubert’s chamber legacy, created by H. Gleason and W. Becker (1988) as well as models of “biography scenario”, revealed by N. Savytska (2010). According to the former one, Violin sonatas, written in 1816–1817, don’t belong to the “mature” works; at the same time according to the latter ones, due to F. Schubert’s style evolution being smooth and gradual its starting and finishing points have no radical discrepancies, that would be caused by the change of orientation of composer’s creative method, and as a result, in the early works one can discern some key features of the mature ones. It is relevant, among others, for the sonata genre, where composers first achievements, incidentally, were made in its violin type, preceding highly individual accomplishments of piano sonatas. This situation in the given article is explained as a result of a composer becoming more and more mature as a musician through his life, undoubtedly influenced by special features of this process. Results and discussion. Given that F. Schubert’s Violin sonatas are named differently by performers, publishers and scholars (op. 137 consists of three Sonatas or Sonatinas, op. 162 is also known as “Duo”), it was necessary to conduct a research basing on various sources (Holl, 1973; Vetter, 1953; Deutsch, 1978), in order to ensure righteousness of definition of all the pieces regarded as “sonata”. On the foreground of observation on F. Schubert’s understanding of the cycle it was possible to reveal composer’s loyalty to rules of his time. Sonata ор. 137 № 1 is composed as a classical three-movement model; subsequent ones, including op. 162, embody four-movement model, and that can be a reason to draw parallels between F. Schubert and L. van Beethoven. Individual steps of the journey of author’s self-identification as a composer are traced. Sonata ор. 137 № 1 is marked by frequent employment of variative development in the principal theme of the first movement, that causes its turning into digressive episode; inclusion of contrasting episode in the middle sections of Andante in Sonatas ор. 137 № 2–3 (that is not prescribed by chosen musical form) foreshadows tonal device, favoured by F. Schubert in his mature works – preference to Subdominant sphere over Dominant in four-movement cycle with tonal and dramaturgical highlighting of pair “lyricism – game” in middle movements (slow ones and Minuets); binarity of tonal centres in expositions and even recapitulations of sonata form being substituted by ternarity, that causes a whole section to be a principal unit of structure etc. Sonata op. 162 acquires significance of climax in F. Schubert’s ascent to self-identity in sonata genre. Its expanded structure, including gigantic development of the Finale, Minuet being substituted by Scherzo, parts of performers being completely equal in every respect allow to regard this work as first “Grand Sonata” in F. Schubert’s legacy. Moreover – experience gained by composer while creating it will be applied in cyclic composition for piano in mature period of creativity. Conclusions. In Conclusions analytical observations are summarized and generalized as well as levels of artistic structure of Violin sonatas, incarnating specifics of F. Schubert’s understanding of music as a composer of his historical time, are revealed.
6
Bandy, Dorian. "Beethoven's Rhetoric of Embellishment." 19th-Century Music 46, no. 2 (2022): 125–62. http://dx.doi.org/10.1525/ncm.2022.46.2.125.
Full textAbstract:
This article examines the communicative and interpretive significance of melodic embellishment in Beethoven's oeuvre, with a particular focus on multi-movement instrumental works from the period 1795–1824. Embellishment has received comparatively little attention in Beethoven studies; yet it formed a crucial part of his musicianship as both a performer and a composer. The article begins with a broad overview of Beethoven's embellishment practices, drawing examples primarily from his early piano trios and piano sonatas. It then goes on to examine a series of issues in more detail: first, the role of embellishments in the composition and performance of concertos (with a focus on the Piano Concertos Nos. 3–5); second, the role of embellishments in evoking musical character and expressive personae (with a focus on the Piano Sonata op. 31, no. 3, the Violin Sonata op. 30, no. 1, and the Cello Sonata op. 5, no. 1); and finally, the possibility of understanding embellishment as a musical topic in symphonic writing (with a focus on the slow movements of the Symphonies Nos. 4, 8, and 9). The article closes with reflections on the expressive function of embellishments in Beethoven's late style, arguing that melodic decorations, along with other rhetorical devices, provided a vehicle for the evocation of nostalgia and memory.
7
Pickard, John. "Bernard Stevens." Tempo 58, no. 229 (July 2004): 57–58. http://dx.doi.org/10.1017/s0040298204340222.
Full textAbstract:
BERNARD STEVENS: Piano Trio op.3; Sonata for violin and piano op.1; Trio for horn, violin and piano op.38; Fantasia on a theme of Dowland for violin and piano op.23; Improvisation for solo violin op.48a. The Academy of St. Martin-in-the-Fields Chamber Ensemble – Kenneth Sillito (vln), Stephen Orton (vlc), Hamish Milne (pno), Timothy Brown (hn). Albany Records TROY 572.
8
Serdiuk, Ya O. "Chamber music works by Amanda Maier in the context of European Romanticism." Problems of Interaction Between Arts, Pedagogy and the Theory and Practice of Education 56, no. 56 (July 10, 2020): 121–35. http://dx.doi.org/10.34064/khnum1-56.08.
Full textAbstract:
Background. The name of Amanda Maier (married – Röntgen-Maier), the Swedish violinist, composer, pianist, organist, representative of the Leipzig school of composition, contemporary and good friend of С. Schumann, J. Brahms, E. Grieg, is virtually unknown in the post-Soviet space and little mentioned in the works of musicologists from other countries. The composer’s creativity has long been almost completely forgotten, possibly due to both her untimely death (at the age of 41) and thanks to lack of the research interest in the work of women composers over the past century. The latter, at least in domestic musicology, has significantly intensified in recent decades, which is due in part to the advancement in the second half of the XX and early XXI centuries of a constellation of the talanted women-composers in Ukraine – L. Dychko, H. Havrylets, A. Zagaikevych, I. Aleksiichuk, formerly – G. Ustvolska, S. Gubaydulina in Russia, etc. Today, it is obvious that the development of the world art is associated not only with the activities of male artists, but also with the creative achievements of women: writers, artists, musicians. During her life, A. Maier was the well-known artist in Europe and in the world and the same participant in the musical-historical process as more famous today the musicians of the Romantic era. Objectives and methodology. The proposed study should complement the idea of the work of women-composers of the 19th century and fill in one of the gap on the music map of Europe at that time. The purpose of this article is to characterize the genre-stylistic and compositional-dramaturgical features of selected chamber music works by A. Röntgen-Maier. In this research are used historical-stylistic, structural and functional, analytical, comparative, genre methods. Research results. Carolina Amanda Erika Maier-Röntgen was born in Landskrona, Sweden, where she received her first music lessons from her father. Then she studied at the Royal College of Music in Stockholm, where she mastered playing on the several instruments at once – violin, cello, piano, organ, as well as studied the music theory. She became the first woman received the title of “Musik Direktor” after successfully graduating from college. She continued her studies at the Leipzig Conservatory – in the composition under Carl Reineke and Ernst Friedrich Richter direction, in the violin – with Engelbert Röntgen (concertmaster of the Gewandhaus Orchestra, the father of her future husband J. Röntgen). She toured Europe a lot, firstly as a violinist, performing her own works and her husband’s works, alongside with world classics. After the birth of her two sons, she withdrew from active concert activities due to the deterioration of her health, but often participated in music salons, which she and her husband organized at home, and whose guests were J. Brahms, C. Schumann, E. Grieg with his wife, and A. Rubinstein. It is known that Amanda Maier performed violin sonatas by J. Brahms together with Clara Schumann. The main part of the composer’s creative work consists of chamber and instrumental works. She wrote the Sonata in B minor (1878); Six Pieces for violin and piano (1879); “Dialogues” – 10 small pieces for piano, some of which were created by Julius Röntgen (1883); Swedish songs and dances for violin and piano; Quartet for piano, violin, viola and cello E minor (1891), Romance for violin and piano; Trio for violin, cello and piano (1874); Concert for violin and orchestra (1875); Quartet for piano, violin, viola and clarinet E minor; “Nordiska Tonbilder” for violin and piano (1876); Intermezzo for piano; Two string quartets; March for piano, violin, viola and cello; Romances on the texts of David Wiersen; Trio for piano and two violins; 25 Preludes for piano. Sizable part of the works from this list is still unpublished. Some manuscripts are stored in the archives of the Stockholm State Library, scanned copies of some manuscripts and printed publications are freely available on the Petrucci music library website, but the location of the other musical scores by A. Maier is currently unknown to the author of this material; this is the question that requires a separate study. Due to the limited volume of the article, we will focus in detail on two opuses, which were published during the life of the composer, and which today have gained some popularity among performers around the world. These are the Sonata in B minor for Violin and Piano and the Six Pieces for Violin and Piano. Sonata in B minor is a classical three-part cycle. The first movement – lyricaldramatic sonata allegro (B minor), the second – Andantino – Allegretto, un poco vivace – Tempo I (G major) – combines lyrical and playful semantic functions, the third – Allegro molto vivace (B minor) is an active finale with a classical rondosonata structure. The Six Pieces for Violin and Piano rightly cannot be called the cycle, in the Schumann sense of this word, because there is no common literary program for all plays, intonation-thematic connections between this musical numbers, end-to-end thematic development that would permeate the entire opus. But this opus has the certain signs of cyclization and the common features to all plays, contributing to its unification: tonal plan, construction of the whole on the principle of contrast, genre, song and dance intonation, the leading role of the violin in the presentation of thematic material. Conclusions and research perspectives. Amanda Maier’s chamber work freely synthesizes the classical (Beethoven) and the romantic (Schubert, Mendelssohn, Schumann) traditions, which the composer, undoubtedly, learned through the Leipzig school. From there come the classical harmony, the orderliness of her thinking, clarity, conciseness, harmony of form, skill in ensemble writing, polyphonic ingenuity. There are also parallels with the music of J. Brahms. With the latter, A. Maier’s creativity correlates trough the ability to embody freely and effortlessly the subtle lyrical psychological content, being within the traditional forms, to feel natural within the tradition, without denying it and without trying to break it. The melodic outlines and rhythmic structures of some themes and certain techniques of textured presentation in the piano part also refer us to the works of the German composer. However, this is hardly a conscious reliance on the achievements of J. Brahms, because the creative process of the two musicians took place in parallel, and A. Maier’s Violin Sonata appeared even a little earlier than similar works by J. Brahms in this genre. Prospects for further research in this direction relate to the search for new information about A. Maier’s life and creativity and the detailed examination of her other works.
9
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.
Full text
10
Saulova, Inessa. "Innovative features in ”Sonata for violin and piano” by Boris Dubosarschi." Akademos, no. 4(67) (March 2023): 122–28. http://dx.doi.org/10.52673/18570461.22.4-67.16.
Full textAbstract:
The article examines the Sonata for violin and piano by B. Dubosarsky in terms of content, form and interpretative treatment. The author aims to reveal the innovative features of this work, which are manifested primarily in the interpretation of the form, combining the features of a three-part cycle and a large one-part composition. The intonation-thematic structure of the sonata, the ratio of the violin and piano parts are analyzed in detail, performing recommendations are offered for developing a creative version of the interpretation. As a result, it is concluded that the Sonata for Violin and Piano by B. Dubosarsky is an original example of an individual solution of a genre form, the innovation of which lies in the synthesis of a deep philosophical content, an original composition and a convincing ensemble interpretation of the violin and piano.
11
Kutluieva, Dar’ia. "PIANO QUARTETS OF L. BEETHOVEN: MOZART’S PROTOTYPES AND AUTHOR’S INITIO." Problems of Interaction Between Arts, Pedagogy and the Theory and Practice of Education 58, no. 58 (March 10, 2021): 9–22. http://dx.doi.org/10.34064/khnum1-58.01.
Full textAbstract:
Background. The article provides an analysis of L. Beethoven’s piano quartets through the prism of the ensemble writing and composition experience by W. A. Mozart. The disclosure of the successive ties between the two great Viennese classics in the field of chamber instrumental music contributes to the scientific understanding of the history of this genre, which is not sufficiently covered in musicology. The analysis revealed that the four piano quartets of L. Beethoven are focused on Mozart’s prototypes, or rather, on sonatas for violin and piano. It was found that the formative principles of Beethoven’s piano quartets grow from the above-mentioned compositions by W. A. Mozart, but the content and the ensemble-dramatic solution reflect the independence and originality of the young composer’s thinking, revealing the sprouts of a future mature style. The purpose of this article is to disclose the ways of rethinking the prototypes of Mozart in the piano quartets of L. Beethoven. The piano quartets of the latter serve as the musical material of the article: No. 1 Es-dur, No. 2 D-dur, No. 3 C-dur WoO 36, and No. 4 Es-dur op. 16. Results. L. Beethoven changes the algorithm of ensemble events contained in Mozart’s opuses, where the theme is presented in turn by piano, violin, followed by the conversation of the two. The composer immediately includes all members of the quartet in the presentation of the leading material, which specifies this genre, revealing its “intermediateness” between the intimacy of the trio and the “representativeness” of the concerto. Since the genetic origins of the genre of the piano quartet are the trio sonata, the string quartet and the clavier concerto with the accompaniment of a string ensemble, these genres influenced the type of Beethoven’s piano quartets. Thus, Beethoven’s Bonn quartets resemble in their writing a string quartet; and the piano quartet Es-dur op. 16 resembles a clavier concerto with orchestra. These compositions are related to the first of the above mentioned prototypes by the consistent application of the trio principle, which is expressed in various combinations of ensemble voices. In the timbre refraction, the trio-principle underlies the pairing of stringed instruments, where the bowed instruments form a strictly homophonic vertical with the traditional functional relationship according to the “upper voice ‒ bass ‒ middle” model. Another dimension of the trio principle arises when one of the string parts of the piano is displaced, as a result of which a multi-timbre sound field is formed. There is an obvious desire of the composer for the equality of four voices in the piano quartet. At the same time, the timbre uniqueness of the piano and the virtuosity of its part make it possible to recognize in it the leader of the ensemble union. Conclusion. The leading role of the piano in L. Beethoven’s piano quartets brings this genre closer to a piano concerto. At the same time, the piano has a variety of role functions: it can act as an equal partner, being one of the voices of the quartet score; as a concert instrument demonstrating its virtuoso capabilities; as a leader of an ensemble, a kind of conductor, giving impetus to performance, initiative in ensemble play. Similar functions can be observed in W. A. Mozart’s sonatas for violin and piano, which L. Beethoven was guided by.
12
Michki, Kevin. "French Sonatas for Violin & Pianoby Lin He (violin) and Gregory Sioles (piano)." Music Reference Services Quarterly 14, no. 1-2 (January 2011): 78–80. http://dx.doi.org/10.1080/10588167.2011.570224.
Full text
13
Florea, Augustina. "7. Echoes of Romanticism in Violin and Piano Sonata No. 2, Op. 45 by Marcel Mihalovici - Analytical Landmarks for an Upscale Interpretation." Review of Artistic Education 19, no. 1 (April 1, 2020): 46–57. http://dx.doi.org/10.2478/rae-2020-0007.
Full textAbstract:
AbstractThe evolution of the genre of violin and piano sonata in the Romanian composition creation in the first half of the 20th century, marked by the tendency towards getting close to the European musical phenomenon by assimilating stylistic influences of Romanticism, especially, of Enescian Romanticism, distinctly manifesting in Violin and Piano Sonata no. 2, op. 45, by Marcel Mihalovici, one of the most renowned Romanian composers settled in Paris, appreciated by the famous contemporaries, such as M.Ravel, V.d’Indy, F. Poulenc etc. Sonata (1941), preceded by a motto in the sonnet of Romantic poet Gérard de Nerval Myrtho: „Je sais pourquoi lá bas lé volcan s’est rouvert…”, impresses through the high emotional tension, metaphorically expressed by the image of the “woken” volcano, figurative suggestiveness of the musical language, architectonic innovativeness, spectacular capitalization of the violin technique in the formula of a violin-piano choir.
14
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.
Full textAbstract:
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.
15
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.
Full text
16
Ioniță, Raluca Dobre. "18. Technical and Interpretive Considerations in the Third Sonata for Violin and Piano, OP. 45 by Edvard Grieg." Review of Artistic Education 19, no. 1 (April 1, 2020): 149–54. http://dx.doi.org/10.2478/rae-2020-0018.
Full textAbstract:
AbstractConsidered one of the founders of the Norwegian national music culture, Grieg sought to transpose into his music the grandeur of nature, the simplicity of people and their lives, the richness of fantasy and mythological stories. Edvard Grieg retains in his music essential elements of Norwegian folklore, which he uses in his own language. The third Sonata for violin and piano, op. 45 differs from the other two sonatas created previously, both by the dramatic character of the thematic material, as well as by the massive dimensions and the structure of the form that approaches the classical pattern. Starting with this Sonata, Grieg definitely crystallizes his style in the field of chamber music, revealing a mature language of dramatic essence, in which we find rich and inventive rhythmic and melodic structures, plastic harmonies and bold dissonances, picturesque timbre effects that capture the atmosphere and the specific Norwegian color.
17
Różański, Piotr. "PERFORMANCE CHALLENGES IN MIECZYSŁAW WAJNBERG’S SONATAS FOR VIOLIN AND PIANO – A PIANIST’S PERSPECTIVE." Notes Muzyczny 2, no. 18 (December 31, 2022): 79–96. http://dx.doi.org/10.5604/01.3001.0016.1107.
Full textAbstract:
The article Performance Challenges in Mieczysław Wajnberg’s Sonatas for Violin and Piano – a Pianist’s Perspective was written to sum up the author’s experiences connected with his work on the interpretation of the compositions mentioned in the title. The text points to the most significant style-related and instrumental issues a pianist is confronted with while reaching for Wajnberg’s pieces. They include (among others): frequent and long solo fragments, specific texture conditions, necessity to render a complicated metrorhythmic layer in a precise way, or the necessity to undertake – along with the performer of the violin part – creative and well-thought artistic decisions (referring to such elements as dynamics or articulation) in the context of the composer’s reticence related to interpretation tips. The author of the article based his reflections on monographic publications devoted to Wajnberg (which were written by Verena Mogl, Daniel Elphick and David Fanning) and his own analytical and performance work.
18
Maytesian, T. D. "SOME STYLE FEATURES OF VIOLIN WORKS BY N. K. MEDTNER." Arts education and science 1, no. 4 (2020): 111–16. http://dx.doi.org/10.36871/hon.202004014.
Full textAbstract:
The article examines violin works by Nikolay Karlovich Medtner in the context of creative collaboration with his wife A. N. Medtner and his elder brother, violinist and conductor A. K. Medtner, who repeatedly made orchestral arrangements of piano works by Nikolay Karlovich. General and specific features of each of the five opuses are characterized: Three Nocturnes op. 16, Two Canzones op. 43 and Sonatas op. 21, 44 and 57. The leading role of the theme, the originality of rhythm, combining the static nature of ostinato episodes with improvisation are emphasized. The scale of the concept and the philosophical depth of violin works also determined new conceptual possibilities, which were revealed in the interpretation of forms, genre orientation and figurative content. The study of Medtner's creativity allows to expand the knowledge about the Silver Age violin art through a new search for eternal cultural values.
19
Brooks, Davis, Ruth Crawford, Lee Hoiby, and Friedrich Zehm. "Sonata; For Violin and Piano." Notes 43, no. 1 (September 1986): 186. http://dx.doi.org/10.2307/897870.
Full text
20
MacAdam, Laurel A., and Charles Wuorinen. "Sonata for Violin and Piano." American Music 12, no. 4 (1994): 472. http://dx.doi.org/10.2307/3052347.
Full text
21
Schneider, Wayne, and Ruth Crawford. "Sonata for Violin and Piano." American Music 17, no. 1 (1999): 118. http://dx.doi.org/10.2307/3052377.
Full text
22
Sills, David L., H. H. A. Beach, Roger Hannay, Volker David Kirchner, and Franco Mannino. "Sonata (Originally for Violin and Piano)." Notes 42, no. 4 (June 1986): 860. http://dx.doi.org/10.2307/897816.
Full text
23
Andrianto, Ayubputri Siaoni. "TEKNIK DAN INTERPRETASI PERMAINAN BIOLA PADA SONATA FOR PIANO AND VIOLIN NO.21 IN E MINOR KV.304 2ND MOVEMENT KARYA WOLFGANG AMADEUS MOZART." Repertoar Journal 2, no. 1 (July 26, 2021): 126–36. http://dx.doi.org/10.26740/rj.v2n1.p126-136.
Full textAbstract:
Sonata for Piano and Violin No. 21 in E Minor KV. 304 2nd Movement karya Mozart dibuat pada tahun 1778, dimana pada saat itu instrumen Biola dalam format duet dengan instrumen Piano lebih difungsikan sebagai pemanis dengan penjarian tidak melebihi posisi satu. Sehingga secara notasi komposisi ini tidak terlalu sulit untuk dimainkan, namun sulit dalam penginterpretasiannya. Penelitian ini bertujuan untuk mendeskripsikan teknik dan interpretasi permainan Biola dengan acuan full score Sonata for Piano and Violin No. 21 in E Minor KV. 304 2nd Movement. Penelitian ini menggunakan metode penelitian kualitatif yang dijabarkan secara deskriptif dan selanjutnya dianalisis dan uji validitas dengan menggunakan metode triangulasi teknik. Hasil penelitian ini menunjukkan bahwa teknik permainan dalam komposisi ini adalah vibrato, trill, double stop, legato, staccato, legato staccato dan penginterpretasian komposisi dapat dilakukan dengan mengaplikasikan teknik permainan sesuai dengan tanda musik dan dinamikanya.Kata Kunci: Teknik, Interpretasi, Permainan Biola
24
Król, Tomasz. "Violin sonatas by Polish composers of the turn of the 20th century as an example of shaping emotions in music." Notes Muzyczny 1, no. 11 (June 28, 2019): 87–108. http://dx.doi.org/10.5604/01.3001.0013.3523.
Full textAbstract:
In the article, the author analyses the influence of expressive elements on the listener’s experience based on sonatas for violin and piano composed by Polish composers at the turn of the 20th century. Music in the physical sense is an acoustic phenomenon where a listener is the recipient of the sound and emotions evoked by the music listened to. Musical awareness is also reflected in the progression of sounds that are interrelated in a special and original way. Functional concepts such the dynamics of the produced sound and sequences of sounds as well as their pace create a characteristic feature of the work. The author presents arguments in favour of the emotional reception of works by Polish composers.
25
Shcherbakova, Olga. "Sonata for violin and piano as a Serafim Orfeyev’s creative views." Collection of scientific works “Notes on Art Criticism”, no. 39 (September 1, 2021): 149–53. http://dx.doi.org/10.32461/2226-2180.39.2021.238711.
Full textAbstract:
The purpose of the article is to identify the intonation-content complex of the Sonata for Violin and Piano by the representative of the Odesa School of Composers Serafym Orfeyev in the area of the performer's interpretation of the symbolism of the sonata, comparison of similar works of Ukrainian composers in a specific historic period and identifying the original artistic concept of Orfeyev's work in accordance with his mindset. The scientific novelty is based on the fact that for the first time the work of Orfeyev, which has not yet been the subject of scientific research, is considered, and the significance of the composer's contribution to the development of the instrumental sonata of the XX century is revealed. Methodology. The personal features of the artist's creative preferences are determined through a complex of musical symbolism and reflection of the multiple meaning of the Orthodox church tradition of choral art, mythological information of folk-historical archaism in combination with professional achievements in the development of the chamber sonata genre. Conclusions. Sonata's analysis points to the signs of S. Orfeyev's stylistic search, which was expressed in the spread of the specifics of choral writing, to the comprehension of which (on the example of the works of Mykola Leontovych and Anatolii Lyadov) the composer paid great attention; in instrumental thinking, which was reflected in the saturation of the fabric of the ensemble work with a polyphonic plexus of voices, and especially hidden polyphony. The connection with folk art influences the reproduction of an expressive dynamic picture of a folk holiday. A rather complex synthesis of the dramatic and the lyrical creates a unique, deeply emotional concept of a musical work, which vividly complements the genre of the instrumental sonata with new features in the traditional romantic color.
26
Smirnov, Dmitri. "Marginalia quasi una Fantasia: on the Second Violin Sonata by Alfred Schnittke." Tempo, no. 220 (April 2002): 2–10. http://dx.doi.org/10.1017/s0040298200008998.
Full textAbstract:
The Second Violin Sonata for violin and piano (1968), subtided Quasi una Sonata, is one of Alfred Schnittke's most popular works, and it is one of my personal favourites among his pieces (alongside his First Symphony, First String Quartet, First Hymn, Second and Third Violin Concerti, Three Madrigals, etc). I discovered Schnittke's music in April 1969 at an underground concert given in the Gnessin Institute in Moscow by Alexei Lyubimov (piano), Boris Berman (piano), Lev Mikhailov (clarinet) and a few string players. This half-forbidden concert, organized by Alexander Ivashkin, was all that remained of a whole festival, which had been cancelled at the last moment by the authorities. The concert was split into three parts, the first two of them dedicated to the music of the Soviet avant-garde, with compositions by the likes of Edison Denisov, Tigran Mansurian, Valentin Silvestrov, Viktor Ekimovsky and Kuldar Sink etc. At the end of the second part there was a perfonnance of Schnittke's Serenade for five musicians. This very cheerful and fanny piece, entangled with hundreds of short quotations, sounded very different from the rest of the program. The final part of the concert contained works of Schoenberg, Berg and Webern, played for the first time in Brezhnev's Soviet Union.
27
Melnic, Victoria, and Augustina Florea. "3. Genuistico - Evolving Aspects of Sonata II for Violin and Piano, OP. 19, No. 3, by Constantin Silvestri." Review of Artistic Education 1, no. 23 (April 1, 2022): 18–33. http://dx.doi.org/10.2478/rae-2022-0003.
Full textAbstract:
Abstract The article addresses the problem of investigating the evolutionary paradigm of the sonata for violin and piano in the Romanian compositional creation of the first half of the twentieth century, analyzing the work of the famous representative of the pleiad of Romanian composers of the Postenescu generation, European personality - Constantin Silvestri. His creation - Sonata II for violin and piano (1939), composed at the end of the interwar period, at the confluence of the ‘30s and’ 40s, revealing a complex emotional and imagistic spectrum, contrasting, generated by the striking antagonism between aspirations to the ideal and ruin of illusions, allegorically transfigures the incandescent atmosphere around World War II. The language of the work presents a stylistic symbiosis distinct from heterogeneous elements: romantic, expressionist, as well as folk resonance.
28
Palmer, Peter. "Frédéric Rapin, Musik in Luzern, Rhapsodische Kammermusik aus der Schweiz’. ERNST LEVY, HERMANN SUTER." Tempo 58, no. 229 (July 2004): 58–60. http://dx.doi.org/10.1017/s0040298204350229.
Full textAbstract:
‘Frédéric Rapin: Concertos suisses pour clarinettes’. Works by HERBERT FRIES, ARMIN SCHIBLER, JEAN BINET, JEAN BALISSAT, ANDOR KOVACH and ALEXIS CHALIER. Frédéric Rapin (cl), Kammerorchester Arpeggione Hohenems c. Jean-François Antonioli. Musiques Suisses Grammont Portrait MGB CTS-M 80.‘Musik in Luzern: Kammermusik Duo Lang’. FRITZ BRUN: Sonata No. 1 for Violin and Piano. THÜRING BRÄM: Album ‘Goodbye Seventies’. With works by MENDELSSOHN and RACHMANINOV. Brigitte Lang (vln), Yvonne Lang (pno). GALLO CD-1084.‘Rhapsodische Kammermusik aus der Schweiz’. ERNST LEVY: Quintet in C minor for 2 violins, viola, cello and double bass1. HERMANN SUTER: Sextet in C major for 2 violins, viola, 2 cellos and double bass2. FRANK MARTIN: Rhapsodie for 2 violins, 2 violas and double bass3. Florian Kellerhals, Stefan Häussler (vlns), 2,3Nicolas Corti, 1,3Bodo Friedrich (vlas), Imke Frank, 2Matthias Kuhn (vcs), Andreas Cincera (db). Musiques Suisses MGB CD 6201.HERMANN SUTER: Symphony in D minor. HANS JELMOLI: Three Pieces for Orchestra from the comic opera Sein Vermächtnis. Moscow Symphony Orchestra c. Adriano. Sterling CDS-1052-2.
29
Palmer, Peter. "Roberts, Sackman, Ingoldsby et al." Tempo 60, no. 238 (October 2006): 40–41. http://dx.doi.org/10.1017/s0040298206240312.
Full textAbstract:
JEREMY DALE ROBERTS: Winter Music; Croquis (selection); Oggetti – Omaggio à Morandi; Wieglied; Layers; Hamadryad. Hiroaki Takenouchi (pno), Dimitri Murrath (vla), Lontano c. Odaline de la Martinez. Lorelt LNT118.NICHOLAS SACKMAN: Scorpio; Time-piece (revised 2002); Cross hands; Koi; Sonata for trombone and piano (revised 1999), Sextet for wind. Fine Arts Brass Quintet and various artists. Metier MSV CD92049.TOM INGOLDSBY: Dialogues; Piano Sonata; Trio (Sonata for Violin, Viola and Piano); After the Eulogy. Adam Summerhayes (vln), Bridget Carey (vla), Alan Brown (pno), Catherine Summerhayes (pno), Clive Williamson (pno). Meridian CDE 84534.‘North Star’. Works by HUW WATKINS, DIANA BURRELL, JAMES MACMILLAN, RHIAN SAMUEL, RUTH BYRCHMORE, JOHN HAWKINS, ROBIN HOLLOWAY. Deborah Calland (tpt), William Whitehead (organ). Deux-Elles DXL 1097 (www.deuxelles.com).
30
Serdiuk, Ya O. "Amanda Maier: a violinist, a pianist, a composer – the representative of Leipzig Romanticism." Aspects of Historical Musicology 17, no. 17 (September 15, 2019): 232–48. http://dx.doi.org/10.34064/khnum2-17.15.
Full textAbstract:
Background. The performance practice of recent decades demonstrates an obvious tendency to expand and update the repertoire due to the use of the works of those composers whose pieces had “lost” over time against to the pieces of their more famous contemporaries. At the same time, in sociology, psychology, culturology, gender issues are largely relevant. Musicology does not stand aside, applying the achievements of gender psychology in the study of composer creativity and musical performing (Tsurkanenko, I., 2011; Gigolaeva-Yurchenko, V., 2012, 2015; Fan, Liu, 2017). In general, the issue of gender equality is quite acute in contemporary public discourse. The indicated tendencies determine the interest of many musicians and listeners in the work of women-composers (for example, recently, the creativity by Clara Schumann attracts the attention of performers all over the world, in particular, in Ukraine the International Music Festival “Kharkiv Assemblies” – 2018 was dedicated to her works). The theme of the proposed work is also a response to the noted trends in performing practice and musicology discourse. For the first time in domestic musicology an attempt is made to give a brief overview of the life and career of another talented woman, whose name is little known in the post-Soviet space. This is a Swedish violinist, composer and pianist Amanda Röntgen-Maier (1853–1894), a graduate of the Stockholm Royal College of Music and the Leipzig Conservatory, a contemporary of Clara Schumann, J. Brahms, E. Grieg, with whom she and her husband – composer, pianist, conductor Julius Röntgen – were associated for enough long time by creative and friendly relationships. In the post-Soviet space, not a single work has been published that would be dedicated to the works of A. Maier. In European and American musicology, the composer’s personality and creative heritage is also not widely studied. Her name is only occasionally mentioned in works examining the musical culture and, in particular, the performing arts of Sweden at that time (Jönsson, Å., 1995, 151–156; Karlsson, Å., 1994, 38–43; Lundholm, L., 1992, 14–15; Löndahl, T., 1994; Öhrström, E., 1987, 1995). The aim of the proposed study is to characterize Amanda Meier’s creative heritage in the context of European romanticism. Research results. Based on the available sources, we summarized the basic information about the life and career of A. Maier. Carolina Amanda Erica Maier (married Röntgen-Maier ) was born on February 20, 1853 in Landskrona. She received the first music lessons from his father, Karl Edward Mayer, a native of Germany (from Württemberg), who worked as a confectioner in Landskrona, but also studied music, in particular, in 1852 he received a diploma of “music director” in Stockholm and had regular contracts. In 1869, Amanda entered to the Kungliga Musikaliska akademien (Royal College of Music) in Stockholm. There she learns to play several instruments at once: the violin, cello, piano, organ, and also studies history, music theory and musical aesthetics. A. Maier graduated from Royal College successfully and became the first woman who received the title of “Musik Direktor”. The final concert, which took place in April 1873, included the performance of the program on the violin and on the organ and also A. Maier’s own work – the Romance for Violin. In the spring of 1874, Amanda received the grant from the Royal College for further studies at the Leipzig Conservatory. Here, Engelbert Röntgen, the accompanist of the glorious orchestra Gewandhaus, becomes her teacher on the violin, and she studies harmony and composition under the guidance of Karl Heinrich Karsten Reinecke and Ernst Friedrich Richter. Education in Leipzig lasts from 1874 to 1876. In the summer and autumn of 1875, A. Maier returns to Landskron, where she writes the first major work – the Concerto for violin and orchestra in one-movement, D minor, which was performed twice: in December 1875 in Halle and in February 1876 with the Gewandhaus Orchestra under the direction of K. Reinecke. The further career of A. Maier, both performing and composing, developed very successfully. She made several major concert trips between 1876 and 1880: to Sweden and Norway, to Finland and St. Petersburg; she also played to the Swedish king Oscar II (1876); concerts were held with constant success. While studying in Leipzig, A. Maier met her future husband (the son of her violin teacher) Julius Röntgen, composer and conductor. They married 1880 in Landskrona. Their personal relationships included active creative communication, both playing music together, and exchanging musical ideas, getting to know each other’s works. Part of his chamber opuses, for example, the cycle of Swedish folk dances, A. Maier created in collaboration with her husband. An analogy with life of Robert and Clara Schumann may take place here, although the Röntgen spouses did not have to endure such dramatic collisions that fell to the lot of the first. After the wedding, Röntgen family moved to Amsterdam, where Julius Röntgen soon occupies senior positions in several music organizations. On the contrary, the concert and composing activities of A. Maier go to the decline. This was due both, to the birth of two sons, and to a significant deterioration in her health. Nevertheless, she maintains her violin skills at the proper level and actively participates in performances in music salons, which the family arranges at home. The guests of these meetings were, in particular, J. Brahms, K. Schumann, E. Grieg with his wife and A. Rubinstein. The last years of A. Maier’s life were connected with Nice, Davos and Norway. In the fall of 1888 she was in Nice with the goal of treating the lungs, communicating there with her friends Heinrich and Elizabeth Herzogenberg. With the latter, they played Brahms violin sonatas, and the next (1889) year A. Maier played the same pieces with Clara Schumann. Amanda Maier spent the autumn of 1889 under the supervision of doctors in Davos, and the winter – in Nice. In 1890, she returned to Amsterdam. His last major work dates back to 1891 – the Piano Quartet in D minor. During the last three years of her life, she visited Denmark, Sweden and Norway, where she performed, among other, her husband’s works, for example, the suite “From Jotunheim”. In the summer of 1889, A. Maier took part in concerts at the Nirgaard Castle in Denmark. In 1894, she returned to Amsterdam again. Her health seems stable, a few hours before her death she was conducting classes with her sons. A. Maier died July 15, 1894. The works of A. Maier, published during the life of the composer, include the following: Sonata in H minor (1878); 6 Pieces for violin and piano (1879); “Dialogues” – 10 small pieces for piano, some of which were created by Julius Röntgen (1883); Swedish songs and dances for violin and piano; Quartet for piano, violin, viola and cello E minor (1891). Still unprinted are the following works: Romance for violin and piano; Trio for violin, cello and piano (1874); Concert for violin and orchestra (1875); Quartet for piano, violin, viola and clarinet E minor; “Nordiska Tonbilder” for violin and piano (1876); Intermezzo for piano; Two string quartets; March for piano, violin, viola and cello; Romances on the texts of David Wiersen; Trio for piano and two violins; 25 Preludes for piano. The composer style of A. Mayer incorporates the characteristic features of the Romantic era, in particular, the Leipzig school. Lyric elements prevail in her works, although the composer is not alien to dramatic, heroic, epic images (the Piano Quartet E minor, some pieces from the Six Songs for Violin and Piano series). In the embodiment of such a circle of images, parallels with the musical style of the works of J. Brahms are quite clearly traced. In constructing thematic structures, A. Maier relies on the melody of the Schubert-Mendelssohn type. The compositional solutions are defined mainly by the classical principles of forming, which resembles the works of F. Mendelssohn, the late chamber compositions of R. Schumann, where the lyrical expression gets a clear, complete form. The harmonic language of the works of A. Maier gravitates toward classical functionality rather than the uncertainty, instability and colorfulness inherent in the harmony of F. Liszt, R. Wagner and their followers. The main instrument, for which most of the opuses by A. Maier was created, the violin, is interpreted in various ways: it appears both, in the lyrical and the virtuoso roles. The piano texture of chamber compositions by A. Maier is quite developed and rich; the composer clearly gravitates towards the equality of all parties in an ensemble. At the same time, piano techniques are reminiscent of texture formulas by F. Mendelssohn and J. Brahms. Finally, in A. Mayer’s works manifest themself such characteristic of European romanticism, as attraction to folklore, a reliance on folk song sources. Conclusions. Periods in the history of music seemed already well studied, hide many more composer names and works, which are worthy of the attention of performers, musicologists and listeners. A. Mayer’s creativity, despite the lack of pronounced innovation, has an independent artistic value and, at the same time, is one of such musical phenomena that help to compile a more complete picture of the development of musical art in the XIX century and gain a deeper understanding of the musical culture of this period. The prospect of further development of the topic of this essay should be a more detailed study of the creative heritage of A. Maier in the context of European musical Romanticism.
31
Го, Шаоин. "Violin sonata fis-moll by Paul Natorp in the context of genre development." Вестник Адыгейского государственного университета, серия «Филология и искусствоведение», no. 2(277) (October 6, 2021): 189–94. http://dx.doi.org/10.53598/2410-3489-2021-2-277-189-194.
Full textAbstract:
Исследуется творчество композитора-философа Пауля Наторпа, фигура которого в русскоязычном музыкознании практически не представлена. Отдавая себе отчет в том, что его творчество может вызывать интерес с самых разных точек зрения, мы фокусируем свой научный интерес на Сонате fis-moll для скрипки и фортепиано, созданной в период активного формирования новых художественных течений в музыке начала ХХ века. На примере произведений так называемого «второго ряда» Соната fis-moll может служить довольно ярким примером процессов обновления музыкального языка, в том числе на основе переосмысления классического наследия. Музыковедческий анализ Сонаты для скрипки и фортепиано fis-moll осуществляется в опоре на историко-стилевой метод и интертекстуальность. Доказано, что, будучи созданной в русле традиций Бетховена, Шумана и Брамса, Соната fis-moll для скрипки и фортепиано отмечена самобытностью и оригинальностью. Теоретическая значимость работы определяется заполнением лакуны в истории становления жанра скрипичной сонаты в немецкой композиторской школе. Практическая значимость связана с возможностью обогатить скрипичный репертуар за счет знакомства с камерным жанром, представленным в творчестве немецкого музыканта-философа. This work is dedicated to the work of the composer-philosopher Paul Natorp, whose figure is in practice not represented in Russian-language musicology. Realizing that P. Natorp's work can arouse interest from a variety of points of view, we focus our scientific interest on the fis-moll Sonata for violin and piano, created during the active formation of new artistic trends in music at the beginning of the twentieth century. Using the works of the so-called “ second row” as an example, the fis-moll Sonata can serve as a vivid example of the processes of updating the musical language, including on the basis of rethinking the classical heritage. The musicological analysis of the fis-moll Sonata for violin and piano is based on the historical-stylistic method and intertextuality. It is proved that, being created in line with the traditions of Beethoven, Schumann and Brahms, the fis-moll Sonata for violin and piano by P. Natorp is noted for its musical identity and originality. The theoretical significance of the work lies in filling a gap in the history of the formation of the violin sonata genre in the German school of composition. Practical significance is associated with the opportunity to enrich the violin repertoire through acquaintance with the chamber genre presented in the works of the German musician-philosopher.
32
MacDonald, Calum. "Spinner's Violin Sonata – Why op. 1?" Tempo, no. 161-162 (September 1987): 68–73. http://dx.doi.org/10.1017/s0040298200023354.
Full textAbstract:
Leopold Spinner composed his Sonata for Violin and Piano at the age of 30, in Vienna, in late 1936, while Studying with Webern. It was performed in Vienna on 22 November of that year under the auspices of the Austrian Section of the ISCM. In 1940—having in the meantime been forced to emigrate to this country—he made a slightly revised version of the work, which seems to have remained unheard until this year.
33
Garibaldi, Pipin, and Brian Farant. "Penciptaan Konserto Etude Tangganada Pentatonik untuk Pembelajaran Violin dan Orkestra." Resital: Jurnal Seni Pertunjukan 22, no. 3 (February 28, 2022): 187–97. http://dx.doi.org/10.24821/resital.v22i3.6736.
Full textAbstract:
The Creation of Pentatonic Scale Etude Concerto for Violin and Orchestral Learning. This research aims to explain creating a musical work in the form of a violin etude in the form of a concerto. The concerto is arranged in a free pentatonic scale from traditional Javanese idioms: the lancaran and gangsaran rhythm. The concerto consists of one movement that contains etude material, namely learning the technique of playing the violin in a beautiful and exciting melody. The problem highlighted is students' difficulty learning etude for the violin, which is often considered complicated. In the learning process, students tend to be oriented towards violin music such as concertos, sonatas, or musical pieces (short works) compared to etude works. Therefore, it is important for creating the concerto etude to bridge the students' violin learning process, both for educative and performative dimensions. Creating the etude concerto in this traditional idiom is expected to foster student interest in learning to practice etude. The research was organized in several stages: document collection, observation, artistic, trial, and dissemination. The research/design method was taken from Reginald Smith Brindle (1986), i.e., Musical Composition and King Palmer Teach Yourself to Composed Music (1952). The method is as follows: listening to different music that is close to the research topic to find ideas, using the violin and piano to make melodic pieces, including double, triple, four-stop techniques, connecting, combining, developing synchronized melody pieces, rhythmic variations, rhythms, articulation variations, syncopations, rhythm figures, melodic decorations, harmonies, dynamic variations, and so on. The conclusion of the research on creating a concerto with one movement is more freedom to express ideas. The use of lancaran and gangsaran rhythms in a pentatonic scale to give the nuances of the Central Java region, turns out to be more nuanced with a Mandarin concerto. After being implemented, it turns out that this concerto is still quite difficult for learning violin 3.
34
McClelland, Ryan. "Tonal and Rhythmic-Metric Process in Brahms's Early C-Minor Scherzos." Articles 26, no. 1 (December 7, 2012): 123–47. http://dx.doi.org/10.7202/1013246ar.
Full textAbstract:
The scherzos Brahms composed for his Piano Quintet in F Minor, Op. 34 (1862; rev. 1864) and for the Dietrich-Schumann-Brahms F-A-E violin sonata (1853) are dramatic, C-minor pieces that allude to works of Beethoven's middle period. Both scherzos open with tonal and rhythmic-metric dissonance and end with tonal and rhythmic-metric consonance, yet there are significant refinements in Brahms's handling of these global progressions in the piano quintet scherzo. The piano quintet scherzo engages a smaller network of interrelated dissonances, intensifies these dissonances throughout the movement, and resolves them convincingly near the end of the scherzo.
35
Катунян, М. И. "Sonata for Violin and Piano by Vladimir Martynov." Музыкальная академия, no. 4(768) (December 20, 2019): 6–21. http://dx.doi.org/10.34690/18.
Full textAbstract:
Скрипичная соната Владимира Мартынова (1973) парадоксальна во многих отношениях. Сам композитор характеризует ее как парадокс: «Это додекафония плюс минимализм. Еще в музыкальном училище я был очарован гокетом Машо, его минимализмом. Я имею в виду, что там что-то происходит и в то же время ничего не происходит». Симптоматично, что к названным направлениям ХХ века прибавился гокет XIV века. Парадоксальна серийная техника: Мартынов трактует ее настолько индивидуально, что она то вызывает ассоциацию со средневековым контрапунктом на cantus firmus, то сближается с 12-тоновыми техниками Хауэра и Рославца. И при этом остается строжайшей додекафонией: «В ней ни одной свободной ноты». В работе с серийной техникой сформировались особенности композиторского облика Мартынова, сложилась его творческая позиция, отразился круг музыкальных приоритетов, познаний, интеллектуальных и гуманитарных интересов. The Violin sonata of Vladimir Martynov (1973) is paradoxical in many ways. The composer himself characterizes it as a paradox: This is dodecaphony plus minimalism. When I was still in musical college, I was fascinated by the Machauts hoquet, its minimalism, I mean that something happens there and nothing happens at the same time. It is symptomatic that the 14th century hoquet was added to the named directions of the 20th century. The serial technique is paradoxical: Martynov interprets it so individually that it either associates with the medieval counterpoint to the Cantus firmus, or approaches the 12-tone techniques of Hauer and Roslavets. And at the same time it remains the strictest dodecaphony: There is not a single free note in it. On the serial technique, the features of Martynovs composer image were formed, his creative position developed, the circle of his musical priorities, knowledge, intellectual, and humanitarian interests was reflected.
36
Mayr, Desirée. "Leopoldo Miguéz's Nocturnes Opp.10 and 20/1: Political Context and Stylistic Analysis in the "City of Pianos"." Music Theory and Analysis (MTA) 10, no. 1 (May 30, 2023): 1–36. http://dx.doi.org/10.11116/mta.10.1.1.
Full textAbstract:
As in Europe, the piano reached the height of its popularity in the mid- to late nineteenth century in Brazil. Its presence in cultural life increased significantly, with performances in concert halls, theatres, and even cafés. Nocturnes— particularly Chopin's— were fre quently played at home and in public venues. Leopoldo Miguéz (1852–1902), considered at the time to be influenced by Wagner, Liszt, and the so-called Zukunftsmusik, was the first Brazilian composer to write a symphony, a violin sonata, and a symphonic poem. This ar ticle provides an overview of Miguéz's piano Nocturnes Opp.10 and 20/1 in the context of their relationship to contemporaneous Brazilian politics and his compositional practice. An in-depth analysis of the two nocturnes aims to map out his style, taking as parame ters his implementation of nineteenth-century constructive procedures previously established in analyses of his Violin Sonata Op.14 and his Allegro Appassionato Op.11 for piano. These include: the use of proto-themes, mediant regions, smooth voice-leading, complex tonal plans, motivic economy, and roving harmonies. These procedures are shown to be significant elements in Miguéz's palette of compositional traits and stylistic character istics; notably, they may have been common in Europe at the time but were unknown in Brazil. [...]
37
Wallace, Helen, Roger Sessions, Curtis Macomber, Joel Krosnick, and Barry David Salwen. "Duo for Violin and Cello; Six Pieces for Cello; Duo for Violin and Piano; Sonata for Violin." Musical Times 136, no. 1824 (February 1995): 107. http://dx.doi.org/10.2307/1193644.
Full text
38
Inna, Uspenskaya. "Typology of genres of concert music for violin: classification criteria." Problems of Interaction Between Arts, Pedagogy and the Theory and Practice of Education 57, no. 57 (March 10, 2020): 150–62. http://dx.doi.org/10.34064/khnum1-57.09.
Full textAbstract:
The article is devoted to the systematization of the criteria of the classification of concert music for violin, in which, along with the traditional genre criteria, stylistic and textured ones are highlighted It is noted that such a comprehensive consideration allows solving a number of tasks of both research and performance profile. Based on the modern approach to the genre system, the article extrapolates it to concert violin music, which covers the range from solo miniature pieces to concerts for violin and symphony orchestra. It is emphasized that the least researched is the question of the stylistics of concert violin genres, constituted according to the same parameters as the musical texture – horizontal, vertical and depth (E. Nazaikinsky). The article proposes an original classification of the genre-stylistic complex of concert violin music, that is based on the following factors: the style of the highest levels (epoch-making, national, specific), genre (the complex of existing genres of violin music), texture in the aspect of stylistics (the main “identification mark” of the genre) and the style of concretized levels (author’s individual level and separate work). Considering the first classification criterion – the genre one, its universal nature it should be noted, covering two levels of the concert violin music system: functional – performers, the way of performance – and semantic-compositional – genre content and style (I. Tukova). The style criterion acts as a parallel to the genre criterion and means the differentiation of the genre system according to the signs of introversion (style as an introvert category, according to V. Kholopova). Here the phenomena and concepts are formed that cover all levels of the style hierarchy in its distribution to concert music for violin – from the historical to the author’s individual and even the style of a separate piece. It is emphasized that the least explored area of violin concert is its stylistics, which is closely related to its texture – the “external form” of the genre manifestation (L. Shapovalova). The stylistic aspect in violin music-making is reviewed in the article according to the same parameters as the texture aspect, since they largely coincide (E. Nazaikinsky). We are talking about the factors of horizontal (the types of texture that form the stylistic relief of the text of the work), vertical (the combination of textures in their different stylistic meanings), depth (based on the author’s handwriting of his connections with the texture and style sources – historical, national ones, characteristic of certain violin schools and directions). It is noted that this refers to both sides of the genre-stylistic system of concert music for violin (with the participation of a violin) – functional and semanticcompositional – and is realized in the following variants of textured style: solo orchestra (violin or several violins with an orchestra); solo ensemble (the same accompanied by a chamber ensemble); solo piano (violin and piano duet); solo violin (violin without accompaniment). It is proved that all these textured and stylistic varieties of concert violin music are combined on the basis of the idea of a concert style – “competition-agreement” (B. Asafiev) of the participants in the act of playing music. The measure of the correlation of performing forces in a concert dialogue ultimately determines the choice of criteria for classifying its varieties in their extrapolation to a concert violin. The article reveals the features of all four above-named options for this dialogue, taking into account their possible combination. It is noted that this combination is most fully reflected in a violin concert with an orchestra, where other forms of concert appear occasionally – solo without accompaniment (solo cadenzas), ensemble (microdialogues of the violin and other orchestral instruments). The classification criteria highlighted in the article, first of all texture-stylistic ones, together form the following system of genres of concert music for violin (with the participation of a violin), considered from the standpoint of: 1) concert dialogue in its textured manifestations (gradation in the dominance of the soloist instrument over accompaniment or, conversely, accompaniment over a solo part); 2) the principle of intimacy, bordering on concertness, but meaning the parity of the performing parts (a distinctive feature of chamber ensembles, in which it stands out as the leading violin part); 3) the self-sufficiency of the violin as a universal instrument suitable for the implementation of concert dialogue in the solo form of music-making (a wide range of genre forms of violin music – from miniatures and their cycles to suites, partitas and solo sonatas). It is noted that, in the future, the classification patterns identified in this article can be considered using the example of specific samples belonging to a particular genre group. The author of this article plans to do this on the basis of concert genres of violin music created by the composers of the Kharkiv school. Focusing on classical and modern samples, as well as the traditions of the Kharkiv stringbow performing school represented by A. Leshchinsky, A. Yuriev, S. Kocharyan, G. Averyanov, E. Shchelkanovtseva, L. Kholodenko, E. Kupriyanenko and other string players, Kharkiv authors interpret the concert-violin style in various ways, revealing in it both the general (the “image” of the violin in the system of specific instrumental styles), and the special (the styles of the national and regional schools), as well as the unique, individual (the representations of the latter are their best works).
39
Obolenska, Mariia. "Controlled anticipation as a psychological attitude of the pianist-concertmaster (on the example of M. Ravel’s Sonata № 2 for Violin and Piano)." Problems of Interaction Between Arts, Pedagogy and the Theory and Practice of Education 66, no. 66 (April 9, 2023): 61–78. http://dx.doi.org/10.34064/khnum1-66.04.
Full textAbstract:
Statement of the problem. Controlled anticipation is a conscious process of fore sighting an upcoming event, preparing for its fulfillment, and taking full control over its course. Extrapolation of this universal model to the professional activity of a pianistconcertmaster allows to schematize the psychological foundations of the performance process. The distinctive feature of Ravel’s Sonata for Violin and Piano in G Major is demonstrating the incompatibility of violin and piano declared by the composer. The main task of the concertmaster is to create an ensemble integrity, within which he should cover the musical material of all the parts of the ensemble. In the context of this Sonata, the pianist resolves a paradoxical contradiction – to combine into a single integrity what is deliberately polarized at the compositional level. This study was based on scientific works in the field of psychology, in particular, the researches of Ukrainian scientists (Batrachenko, 2010; Nikolenko, 2014) and the studies revealing the problems of performing Ravel’s Violin Sonata (Baer, 1992; Kaminsky, 2004; Beavers, 2010, 2016, 2020; Lefèvre, 2013). Objectives, methods, and novelty of the research. The purpose of the study is to highlight the general principle of controlled anticipation and to argue their importance in the work of a pianist-concertmaster. For the first time a theoretical substantiation of anticipation as a controlled psychological process in the field of music is proposed and the research attention is focused on the performance problems of the concertmaster, who is responsible for the unifying function in the ensemble in Ravel’s Sonata in G Major for Violin and Piano. The research methods are determined by attracting the psychological theory, which considered the concept of anticipation; an activity approach aimed at applying theoretical knowledge from the field of psychology in the preparatory work of a pianist-concertmaster, as well as the methods of deduction and induction in their direct interaction were used. Research results and conclusion. Controlled anticipation allows to solve effectively a wide variety of tasks and it is a universal model for working on any kind of music. The specificity of the concertmaster’s activity lies in the fact that he is obliged to embrace the soloist’s part with his consciousness in addition to his own material. It needs to correlate each structural element of the text with the partner’s capabilities. Controlled anticipation as a psychological instruction is aimed at helping both in the rehearsal and concert practice of a pianist-concertmaster. Moreover, in the course of a stage performance, the use of controlled anticipation reduces the problem of excitement to nothing.
40
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.
Full text
41
Șuteu, Cristina. "Enescu’s Musical Language in Suite Impresii din copilărie [Impressions of Childhood]." Artes. Journal of Musicology 21, no. 1 (March 1, 2020): 74–95. http://dx.doi.org/10.2478/ajm-2020-0005.
Full textAbstract:
AbstractThe musical language of George Enescu (1881-1955) is sprinkled with symbolic valences that carry the imprint of the Romanian musical culture. For more than half of a century (57 years), Enescu wrote musical works inspired by the folkloric tradition. Between the Romanian Poem, written when he was 16 (in 1897) and the Chamber Symphony, when he was 73 (in 1954), Enescu also composed: Romanian Rhapsody No. 1 (A major), op. 11 (in 1901), Romanian Rhapsody No. 2 (D major), op. 11 (in 1902), Sonata for piano and violin No. 3, A minor (in 1926), Caprice Roumain, for violin and orchestra (in 1928), Orchestral Suite No. 3 (From the country), op. 27, D major (in 1938) and the programmatic suite Impresii din copilărie [Impressions of Childhood for violin and piano], op. 28 in D major (composed in 1940). The paper presents the temporal-spatial structure of the musical masterpiece which reveals a cyclical thinking based on a presentation of the exterior images, followed by the interior images and a return to the exterior. And by an extrapolation of meanings, I created an analogy with the stages of life: childhood, maturity and old age. This article also deals with elements of the musical language used by George Enescu in a manner that reveals a re-created Romanian folklore in a way which bears the imprint of personality and originality of the composer.
42
Cherednychenko, Olha. "S. Bortkiewicz’s piano style." Aspects of Historical Musicology 32, no. 32 (November 15, 2023): 7–21. http://dx.doi.org/10.34064/khnum2-32.01.
Full textAbstract:
Statement of the problem. The genre-style richness of S. Bortkiewicz’s legacy does not except the dominance of piano music in it, which is explained by the composer’s piano education, the experience of his public performances and teaching activities. The 21st century became a time of revival of the composer’s name in the modern culture, but the specifics of his piano style remain outside the scope of special studies. Recent research and publications shows the great interest in the artist’s figure. Scientists focus on the performance of S. Bortkiewicz himself (Levkulych, 2021), highlight his violin compositions (Yakubov, 2021), develop the theme of dance and dance quality in his music (Kościelak-Nadolska, 2016), examine the composer’s life and creative legacy (Ishioka, 2016), stylistic influences on his thinking (Johnson, 2016). Objectives, methods and novelty of the research. The purpose of the study is to reveal the features of S. Bortkiewicz’s piano style based on observations of leading solo genres (sonatas, preludes, etudes). The scientific novelty of the article is determined by the original thesis about participation in the realization of the artistic idea of a complex of certain pianistic techniques, which are perceived as carriers of emotional content. The presented study is based on the principle of historicism and a comprehensive scientific approach involving various methods of analysis. Research results. In S. Bortkiewicz’s legacy, the piano sonata is represented by two compositions: op. 9, B major, and op. 60, C sharp minor. The purely piano techniques, the totality of which indicates virtuosity as a means of realizing the art design, have the great importance in these works (large-scale technique, bright jumps, rapid octave passages on f, a wide dynamic palette from pp to fff). The combined technique, the use of rubato play become the typical features of his piano style. Preludes op. 13, op. 33, op. 40, and op. 66 are distinguished by the dominance of a single image, embodied by the laconic pianistic means. The image and genre spectrum of prelude cycles is diverse and reflects almost the entire experience of a romantic miniature. The composer finds his own ways to reveal individuality and to manifest the modern thinking, the essence of which is in the use of combinatorial methods in the field of both language means of expression and purely pianistic techniques. The etude genre can be classified as one of the most popular in S. Bortkiewicz’s creativity. Ten Etudes op. 15 and Twelve Etudes-novels op. 29 are a true anthology of the concert etude, which combines the effectiveness of style brilliant and al fresco with spiritual imagery, playing allusions, ironic approach to typical formulas, nostalgia for lost ideals. Conclusion. S. Bortkiewicz demonstrates his own attitude to the classical-romantic tradition, which reveals an individual author position. Relying on typical pianistic techniques, the composer combines a concert virtuoso style with inspired confessional expression, prefers lyrical and scherzo imagery realized often through widely uses polyrhythmic layering, closely connects each of the playing techniques with a certain artistic idea, due to which the author’s own “word” is always felt.
43
Conway, Paul. "John McCabe CD round-up." Tempo 58, no. 229 (July 2004): 53–54. http://dx.doi.org/10.1017/s0040298204290222.
Full textAbstract:
JOHN McCABE: Concerto for Piano and Wind Quintet; Musica Notturna; Fauvel's Rondeaux; Postcards for wind quintet. The Fibonacci Sequence. Dutton CDLX 7125.‘Old City New Image’. McCABE: String Trio; String Quartet No. 2. DAVID ELLIS: Trio for violin, viola and cello; String Quartet No. 1. Camerata Ensemble. Campion Cameo 2027.McCABE: Piano Concerto No. 2; Concertante Variations on a theme of Nicholas Maw; Six-Minute Symphony; Sonata on a Motet. Tamami Honma (pno), St Christopher Chamber Orchestra c. Donatas Katkus. Dutton CDLX 7133.‘Tenebrae’. McCABE: Variations; Intermezzi; Sostenuto (Study No. 2); Capriccio (Study No. 1); Aubade (Study No. 4); Tenebrae; Scrunch (Study No. 8); Evening Harmonies (Study No. 7). Tamami Honma (pno). Metier MSV CD92071.
44
Ganioglu, Ceyla. "Form in Beethoven’s Sonata for Violin and Piano, Op. 24." Saudi Journal of Humanities and Social Sciences 6, no. 2 (February 11, 2021): 48–52. http://dx.doi.org/10.36348/sjhss.2021.v06i02.003.
Full text
45
Fang, Fang. "A Brief Analysis of Brahms Violin Concerto in D Major, Op.77." Arts Studies and Criticism 4, no. 2 (December 22, 2023): 42. http://dx.doi.org/10.32629/asc.v4i2.1459.
Full textAbstract:
Brahms is a giant in the era of romantic music, his works contain complex and delicate ideological changes in the hearts of the characters. His creative inspiration is deeply influenced by Schumann and other musicians, and the musical language expression in his works is sometimes tactful and sometimes obscure. Brahms has composed a large number of musical works throughout his life, including a large number of orchestral works, piano ensemble works, string ensemble works, solo piano songs, piano four-hand joint play, vocal duets, chorus, and solo works. Brahms's violin concerto consists of three movements, including the moderate Allegro in the first movement, the flexibility in the second movement, and the lively Allegro in the third movement. The first movement uses a 3/4 beat rhythm, a sonata style, the second movement uses a 2/4 rhythm, three paragraphs, and the third movement is also called the game-style Allegro, as the name suggests, is very fun, like a game. It uses a 2/4 beat rhythm, with an irregular rondo style. This article aims to helping learners to under its writing background and writing connotation of the Brahms Violin Concerto in depth, and to truly helping them restore a series of problems such as the deep promotion of the composer’s creation process and the origin of inspiration.
46
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.
Full text
47
Sodonis, Chloë. "Johannes Brahms’s Horn Trio and Its Unique Place in the Chamber Music Repertoire." Musical Offerings 12, no. 1 (2021): 25–37. http://dx.doi.org/10.15385/jmo.2021.12.1.3.
Full textAbstract:
The purpose of this research is to explore the elements in Brahms’s Trio for Piano, Violin, and Horn in E-flat Major, op. 40, that contribute to its unique position in the vast and revered library of chamber music. These include Brahms's use of folksong, five-measure phrases, a variation on sonata form, developing variation, emotional elements, and unique instrumentation. The German folk song, Es soll sich ja keiner mit der Liebe abgeben is almost identical to the opening fourth movement theme of the horn trio. Brahms incorporates portions of this melody throughout all four movements of his horn trio which demonstrates an internal unity and cohesive use of folksong that contribute to his work’s individuality. This is one of many examples of Brahms’s attention to detail and use of surprising elements that allow his horn trio to stand out among thousands of other works. Through studying portions of Brahms’s Trio for Piano, Violin, and Horn in E-flat Major, op. 40., analyzing distinctive qualities of this work, and comparing these elements to those of other chamber works of the time, one can conclude that this piece has a unique place in the chamber music repertoire.
48
Șoitu, Cristina-Nicoleta. "The Variational Principle in Dinu Lipatti’s Sonatina for Violin and Piano." Artes. Journal of Musicology 19, no. 1 (March 1, 2019): 62–78. http://dx.doi.org/10.2478/ajm-2019-0003.
Full textAbstract:
Abstract This study aims to analyze the variational principle, as it is applied in Dinu Lipatti’s Sonatina for Violin and Piano, from a theoretical-analytical perspective, but also from the standpoint of the interpretative implications. The variational processes, in close connection with the specificity of the neoclassical language of the work, determine an atypical classification of the form of variations in the gender structure, which implies a resizing of the interpretative means by which the musical dramaturgy of the piece can be achieved. The comparison with the classic model of variations as a component of the sonata genre dedicated to the violin-piano duo, as it appears in the works of composers such as Mozart or Beethoven, as a method of analytical research, highlights the language aspects that condition the performer’s vision in the case of Lipatti’s Sonatina, such as character, tempo, metrics, the type of writing, elements of virtuosity or timbre, whose valences are distinct from those determined by a music discourse from the classical era. Understanding the correlation between the succession of movements and the composition of the variational plan constitutes a priority in approaching this work and shaping the desired artistic message; this is why the study attempts to highlight the necessary connection between the structural elements of the composition and those implicitly generated by them, namely the technical and expressive elements required by the interpretative act.
49
Ioniță, Raluca Dobre. "The Second Sonata for Piano and Violin, Ópus 6 by George Enescu." Review of Artistic Education 21, no. 1 (June 1, 2021): 149–56. http://dx.doi.org/10.2478/rae-2021-0018.
Full textAbstract:
Abstract The second Sonata for Piano and Violin, op. 6 by George Enescu marks the beginning of a long road of assimilation and synthesis of the Romanian folklore elements and of the way of expression“in Romanian popular character”, transposed on the characteristics of the universal language. Without knowing the authentic folk art from a scientific point of view, Enescu was deeply influenced, shaping his entire artistic personality. He consciously assimilated popular music by generalizing some essential folkloric principles, which he later organized in a personal vision. The innovative elements of the Enescian musical language are transposed in the free rhythm, the heterophonic construction, the complexity and subtleties of dynamics and agogics, the timbre color, as well as in the synthesis between freedom and rigor in the creative and interpretive act.
50
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.
Full textAbstract:
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).