Relevant bibliographies by topics / Symphonies (Cello with orchestra)

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  2. Dissertations / Theses
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Academic literature on the topic 'Symphonies (Cello with orchestra)'

Author: Grafiati
Published: 4 June 2021
Last updated: 28 July 2025

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Journal articles on the topic "Symphonies (Cello with orchestra)"

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Johnson, Bret. "American Music." Tempo 57, no. 226 (2003): 56–57. http://dx.doi.org/10.1017/s004029820330035x.

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LEES: Symphonies Nos. 2, 3 and 51; Etudes for piano and orchestra2. 1Staatsphilharmonie Rheinland-Pfalz c. Stephen Gunzenhauser, 2James Dick (pno), Texas Festival Orchestra c. Robert Spano. Albany TROY 564/565 (2-CDset).LEES: Passacaglia. PERSICHETTI: Symphony No 4. DAUGHERTY: Philadelphia Stories; Hell's Angels. Oregon Symphony c. James De Preist. Delos DE 3291.FLAGELLO: Symphony No. 1; Theme, Variations and Fugue; Sea Cliffs; Intermezzo. Slovak Radio Symphony Orchestra c. David Amos. Naxos 8.559148.HOVHANESS: Symphony No 22, City of Light1; Cello Concerto2. 2Janos Starker (vlc), Seattle Symp
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Johnson, Bret. "Benjamin Lees: Quo Vadis?" Tempo, no. 175 (December 1990): 11–17. http://dx.doi.org/10.1017/s0040298200012560.

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Fifteen years ago, Nicolas Slonimsky wrote of Benjamin Lees in Tempo: ‘At a time when so many otherwise valiant composers are star-crossed and complain of malign neglect, Benjamin Lees rises “in excelsis” in the musical firmament’. And so he has continued since, with many commissions and numerous major works to his credit, matched by frequent performances in the United States. It is a time that has seen the creation of his Fourth and Fifth Symphonies, a set of Variations for Piano and Orchestra, a Concerto for Brass Choir and Orchestra, a Double Concerto for Piano, Cello and Orchestra, at leas
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Driver, Paul. "Gruber's Concertos." Tempo, no. 178 (September 1991): 22–27. http://dx.doi.org/10.1017/s004029820001398x.

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The concerto evidently appeals to HK Gruber, as symphonies do not. He has so far written four works that are unambiguously in this form: ‘…aus schatten duft gewebt…’, a concerto for violin and orchestra of 1977–8; the concerto for percussion and orchestra Rough Music (Rauhetöne) of 1982–3; Nebelsteinmusik, for solo violin and string orchestra, of 1988; and the Concerto for Cello and Chamber Orchestra of 1989. Ambiguous examples of the form are his early Concerto for Orchestra (1960–64) – concertos for orchestra are by definition ambiguous – and Frankenstein!!, his ‘pan–demonium’ (rather than ‘
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Jurkowski, Edward. "The Symphonies of Joonas Kokkonen." Tempo, no. 208 (April 1999): 18–23. http://dx.doi.org/10.1017/s0040298200006987.

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With the death of Joonas Kokkonen in October of 1996, Finland lost one of its most important post-World War II composers. Almost certainly, Kokkonen is most widely known outside Finland for his 1975 opera Viimeiset kiusaukset (Tlie Last Temptations). Yet his orchestral compositions such as the Cello Concerto (1969), the song cycle Lintuijen Tuonela (The Hades of the Birds, 1958–59), the Requiem (1981), the chamberorchestra work …Durch einen Spiegel… 1977), or such chamber works as the Piano Quintet (1953) or the String Quartets Nos.l (1959) and 3 (1976) demonstrate that masterpieces may be fou
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Yaropud, Natalya. "Double concertos for violin and cello with orchestra by Johannes Brahms and Vitalyi Kyreiko: genrе and style dimentions". Scientific herald of Tchaikovsky National Music Academy of Ukraine, № 138 (22 грудня 2023): 161–74. http://dx.doi.org/10.31318/2522-4190.2023.138.294810.

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The relevance of the article. The Concertos for violin and cello with symphony orchestra by J. Brahms (a moll, op. 102) and V. Kyreikо (a moll, op. 65) are considered in terms of embodying the artistic pursuit of composers of different eras and national schools. Genre-stylistic features are outlined, their individual and common features are revealed, which testify to the preservation and development of the tradition of the concert genre, the reinterpretation of the Brahms concert model in a new cultural context. It is emphasized that works belong to the type of symphonized concert, in which th
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Zakhodyakin, Arsenty. "Premieres and their Promotions in Modern Art Life (on the Example of Concerto No. 2 for Cello with the Orchestra of M. Skoryk)." Часопис Національної музичної академії України ім.П.І.Чайковського, no. 3-4(56-57) (December 26, 2022): 57–70. http://dx.doi.org/10.31318/2414-052x.3-4(56-57).2022.278201.

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The article reveals the principle of creating a large-scale promotion on the example of the premiere of the Concerto No. 2 for cello with the orchestra by Myroslav Mykhailovych Skoryk, as well as on the basis of the activities of music producer and cellist Oleksandr Piriyev. A brief summary gives different types of promotion. New forms of information distribution have been determined thanks to the possibilities of social networks, which are used by the broad masses of consumers involved in innovative technologies, which increases the circle of influence of marketing communication in society. T
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Anderson, Martin. "A Conversation with Kalevi Aho." Tempo, no. 181 (June 1992): 16–18. http://dx.doi.org/10.1017/s0040298200015138.

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At the relatively young age of 43 (which his schoolboyish looks nonetheless belie), Kalevi Aho is one of the best-known of Finnish composers, with a substantial corpus of music to his credit – seven symphonies and other orchestral pieces, two operas and several smaller vocal works, three concertos (for violin, cello and for piano), and a healthy amount of chamber and instrumental music. I visited him in Helsinki last summer, in the offices of the Helsinki Festival, where he has a hand in the planning of the programmes, and remarked first on the richness and sheer vigour of Finnish musical life
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Burel, O. V. "About compositions for piano and orchestra by Ch.-M. Widor. Background." Aspects of Historical Musicology 13, no. 13 (2018): 45–60. http://dx.doi.org/10.34064/khnum2-13.04.

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Ch.-M. Widor (1844–1937) inscribed his name in the history of French music primarily as an author of organ works (10 Organ Symphonies, 1872–1900, in particular). But other genre branches of his creativity (symphonic, chamber-instrumental, chamber-vocal, operatic, choral) remains less famous for wide public. This quite vast layer is mostly not studied in musical science. However, at the recent time the interest is somewhat growing both among musicologists (A. Thomson, E. Krivitskaya, M. R. Bundy), and among the performers, which confi rms the relevance of this article. The objectives of this st
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Pluzhnikov, Victor. "«Forgotten name... Yakov A. Rosenstein»." Aspects of Historical Musicology 16, no. 16 (2019): 90–105. http://dx.doi.org/10.34064/khnum2-16.05.

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Problem statement. Conductor is considered to be one of the most prestigious occupation in musical field, so there has always been a certain interest to its history. But, despite a large amount of literature, there are no musicologist’s scientific works, with the systematized and generalized materials on training conducting staff in Ukraine in the 1920s – 1940s. This is partly due to a shortage of primary documents at a difficult historical period: most of them were destroyed by the employees of state institutions before being evacuated behind the lines during the Second World War; the other p
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Kashuba, Denis. "Chamberness in genre-stylistic field of Piano concertos by Johannes Brahms." Aspects of Historical Musicology 16, no. 16 (2019): 207–24. http://dx.doi.org/10.34064/khnum2-16.12.

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Introduction. In recent years, there has been indefatigable interest of scholars in the concerto genre, and that can be proven by constantly appearing research article and dissertation, devoted to it. For example, in 2017 and 2019 candidate dissertation [Ph. D] have been published, that illuminated previously obscure pages of, respectively, French tradition of this genre, embodied in concertos for various instruments with orchestra by C. Saint-Saëns, and AustroGerman of the first decades of XIX century (including those by J. N. Hummel, I. Moscheles, F. Ris). Expansion of the knowledge
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Dissertations / Theses on the topic "Symphonies (Cello with orchestra)"

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Lee, Mei-ling. "Symphony for orchestra /." view abstract or download file of text, 2007. http://proquest.umi.com/pqdweb?did=1404343171&sid=2&Fmt=2&clientId=11238&RQT=309&VName=PQD.

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Morell, Justin 1973. "Symphonies -- Scores and parts." Thesis, University of Oregon, 2010. http://hdl.handle.net/1794/11058.

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1 score (xvii, 233 p.)<br>Throughout history, wondrous discoveries of science, like great pieces of music, have often come about through extraordinary feats of creativity, informed by deep rational thought yet not limited by it. Like science, music composition requires a mastery of its own technical features (instrumentation, orchestration, harmony, counterpoint, etc.), but neither music nor science can flourish when too much emphasis is placed upon the mechanical and not enough on the imagination. Composers have sometimes turned to mathematics as a tool for generating art though the system
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Kimmel, Tyler T. "Hermes, a Concerto for Violoncello and Orchestra." FIU Digital Commons, 2014. http://digitalcommons.fiu.edu/etd/1542.

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This thesis consists of a large composition for violoncello and orchestra, together with an analytical paper in which I discuss my compositional techniques and some of their historical antecedents. The composition draws on the genres of imaginary musical theater, the symphonic poem, and the concerto. It was also inspired by the story of Hermes, the messenger god from Greek mythology. While the myth partially informs the compositional structure, the work is ultimately meant to showcase the versatility of the cello, the coloristic range of the orchestra (in some cases emulating the orchestral st
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Ring, Gordon L. (Gordon Lee). "Symphony No. 1 "Concertante"." Thesis, North Texas State University, 1985. https://digital.library.unt.edu/ark:/67531/metadc331555/.

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Symphony No. 1 "Concertante" is a work of approximately twenty-two minutes duration for chamber orchestra. The work is scored for flute (doubling piccolo), oboe (doubling English horn), B-flat clarinet, bassoon, trumpet, F horn, trombone, tuba, percussion, harp, piano (doubling celesta), solo violin, solo viola, solo cello, solo double bass, and strings.The percussion battery, which is to be played by one performer, includes three timpani, vibraphone, orchestra bells, xylophone, chimes, suspended cymbal, bass drum, snare drum, and two triangles. One group of instruments, including the eight wi
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Meilstrup, Sharon. "Concerto for Violoncello and Orchestra, Op. 27 by Paul Wranitzky: A Critical Edition." BYU ScholarsArchive, 2009. https://scholarsarchive.byu.edu/etd/2309.

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The Czech composer Paul Wranitzky (1756–1808) worked primarily in Vienna during the height of musical Classicism. He was well-respected among the higher artistic circles during his day as a composer, violinist, and conductor. His excellence in conducting was recognized by Haydn and Beethoven. His compositions were favored by Empress Marie Therese. Despite his contemporary fame and esteem, his works are relatively unknown today. His works are being revived today, bringing these once popular compositions back to the public. This thesis presents a critical edition of Wranitzky's cello concerto in
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Weaver, Jennifer L. "Structural Octatonicism in Cindy McTee's Symphony No.1: Ballet for Orchestra." Thesis, connect to online resource, 2007. http://digital.library.unt.edu/permalink/meta-dc-3905.

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Schropp, Jeremy. "Symbolist Symphony for Orchestra." Thesis, University of Oregon, 2011. http://hdl.handle.net/1794/12105.

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1 score (x, 113 p.)<br>The implementation of an informed cross-relationship between two independent art forms has often been a source of inspiration for artists throughout the millennia. However, in the late 19th century, both Russian and French thinkers and artists began to build upon this notion by creatively considering the intermingling of sensory experiences as well. The resulting artwork from this temporally specific era was described as being "Symbolist," referencing both the intermedial and multi-sensory processes involved and/or considered in creating the respective work. My person
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Lemieux, Glenn C. (Glenn Claude). "Sacred Symphony." Thesis, University of North Texas, 1989. https://digital.library.unt.edu/ark:/67531/metadc330973/.

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Sacred Symphony is a work for orchestra, chorus and 8 soloists. It is scored for three horns in F, three trumpets in B flat (1st doubling trumpet in C), tenor trombone, bass trombone, percussion, celesta, piano and strings. The percussion consists of suspended cymbal, glockenspiel, vibraphone, marimba, bass marimba, tenor drum, snare drum, bass drum, two slit drums (4 tom-toms if unavailable), small triangle, and finger cymbals. The work is in three movements: Sanctus, Beatitudes (Matt. 5: 3-12) and Gloria. The Sanctus primarily gives glory to God the Father while the Beatitudes are Christ's
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Hale, Jacquelyn. "Consonance, tertian structures and tonal coherence in Wladimir Vogel's dodecaphonic world." Thesis, connect to online resource, 2002. http://www.library.unt.edu/theses/open/20023/vogel%5Fwladimir/index.htm.

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Pidcock, Christopher. "An exploration of the compositional idiom of E. J. Moeran with specific focus on his cello concerto." Master's thesis, Sydney Conservatorium of Music, 2010. http://hdl.handle.net/2123/8800.

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Books on the topic "Symphonies (Cello with orchestra)"

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Zwilich, Ellen Taaffe. Symphony no. 2 for orchestra: 'Cello symphony. Merion Music, 1987.

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Wuorinen, Charles. Microsymphony: Orchestra. C.F. Peters, 1996.

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Paulus, Stephen. Manhattan sinfonietta: For orchestra. European American Music, 1995.

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Corner, Philip. Dick Higgins' 1000 symphonies.: For orchestra. Frog Peak Music, 2003.

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Borodin, Aleksandr Porfirevich. Symphonies nos. 1 & 3. Brilliant Classics, 2008.

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Johannes, Brahms. The symphonies. Decca, 2013.

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Charles, Ives. Symphony no. 2, for large orchestra. Peer International Corp., 1988.

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Yondani, Butt, and Philharmonia Orchestra (London England), eds. Symphonies nos. 1 & 2. Brilliant Classics, 2008.

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Bazelon, Irwin. Symphony no. 8 1/2 for orchestra. T. Presser, 1996.

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Schoenberg, Arnold. Concerto for violoncello and orchestra. G. Schirmer, 1989.

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Book chapters on the topic "Symphonies (Cello with orchestra)"

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Prausnitz, Frederik. "Harvest." In Roger Sessions. Oxford University PressNew York, NY, 2002. http://dx.doi.org/10.1093/oso/9780195108927.003.0020.

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Abstract The best was now to come. The creative flowering that had begun in Sessions’ Berkeley years ripened into a truly astonishing harvest during and after his second tenure at Princeton. The composer who had labored almost half his musical life to write one symphony, one piano sonata, a violin concerto, and a string quartet produced, in roughly the same number of years, seven more symphonies, the Rhapsody for Orchestra, two operas, a piano concerto, a double concerto for violin and cello, two more piano sonatas, a second quartet and a string quintet among other chamber works, the solo viol
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Gil-Curiel, Germán. "Liveness and Mediation in Chinese Art Music." In The Oxford Handbook of Music in China and the Chinese Diaspora. Oxford University Press, 2023. http://dx.doi.org/10.1093/oxfordhb/9780190661960.013.27.

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Abstract This chapter considers liveness and mediation in Chinese music from two different but related perspectives. First, it focuses on the role of technology mediating live music from the perspective of “total art” in the case of The Map: Concerto for Cello, Video and Orchestra by Tan Dun 譚盾. Second, it considers mediation as the passage of art from one medium (painting) into another (music), in the case of Along the River during the Qingming Festival, a scroll and a symphonic picture. Taken together, these case studies help to transcend the common conceptualization of liveness and mediatio
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Kildea, Paul. "Anthony Gishford: Grand Opera (1972)." In Britten on Music. Oxford University PressOxford, 2003. http://dx.doi.org/10.1093/oso/9780198167143.003.0106.

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Abstract I was most interested to learn that my friend Anthony Gishford was producing a book on opera, in the context of the great Opera Houses of the world.1 His knowledge of the subject is wide, for he has been a keen amateur of opera all his life, and for the last twenty years or so he has actively taken part in its administration, encouraging those who perform and create it.I am interested in the book because for thirty years writing operas has been my main musical occupation. Many complain about this, those who do not like the medium, who distrust it (‘impure!’), would rather I wrote more
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Zaslaw, Neal. "Vienna (I): Orchestra Land (1767–1768)." In Mozart’s Symphonies. Oxford University PressOxford, 1991. http://dx.doi.org/10.1093/oso/9780198162865.003.0005.

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Abstract As the testimony of a well-travelled professional, thoughtfully evaluating music and performances, Charles Burncy’s reports arc especially valuable. The two main theatres in Vienna alternated evenings of activity. Arriving in the Austrian capital on 30 August 1772, Burney learned that the curtain was about to go up at the ‘German’ Theatre (the Kärntnerthortheater), so he proceeded directly there. He reported:
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Allsop, Peter. "Ensemblemusic: in the chamber and the orchestra." In The Cambridge Companion to the Cello. Cambridge University Press, 1999. http://dx.doi.org/10.1017/ccol9780521621014.011.

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Zaslaw, Neal. "Salzburg (I): Origins (1756–1764)." In Mozart’s Symphonies. Oxford University PressOxford, 1991. http://dx.doi.org/10.1093/oso/9780198162865.003.0001.

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Abstract In the middle of the eighteenth century the symphony (in the modern sense of the word) was still a new idea, a few decades old. Large numbers of them were written and some published, yet people in many places in Europe, not being near a city, court, cathedral, or monastery, never heard any symphonies. Joseph and Michael Haydn’s humble birthplace, Rohrau, was such a place, and these musical youngsters probably had not heard a symphony before going to Vienna to apprentice at Saint Stephen’s Cathedral as choirboys. At the other extreme from Rohrau were places renowned for the creation an
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Taruskin, Richard. "What’s an Awful Song Like You Doing in a Nice Piece Like This?" In Russian Music at Home and Abroad. University of California Press, 2016. http://dx.doi.org/10.1525/california/9780520288089.003.0012.

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Zaslaw, Neal. "Vienna (II): Independence (1780–1791)." In Mozart’s Symphonies. Oxford University PressOxford, 1991. http://dx.doi.org/10.1093/oso/9780198162865.003.0011.

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Abstract Perhaps the most important turning-point m Mozart’s life came at the age of twenty-five, when he already had to his credit a corpus of music that many a lesser talent would gladly have accepted as the fruits of a lifetime. He decided to break with his father and Salzburg, and to remain in Vienna as a free-lance teacher, performer, and composer—a decision that had far-reaching effects on his music and, hence, on the evolution of the Viennese classical style as a whole. Evidence of his disaffection toward Salzburg is presented at the beginning of the previous chapter: the Archbishop was
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"Bloch Schelomo: Hebraic Rhapsody for Cello and Orchestra." In Orchestral Masterpieces under the Microscope. Boydell and Brewer, 2023. http://dx.doi.org/10.1515/9781800106611-005.

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"Recording Piano with Other Instruments: Violin, Cello, Voice, Etc." In Recording Orchestra and Other Classical Music Ensembles. Routledge, 2016. http://dx.doi.org/10.4324/9781315721040-29.

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