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

Author: Grafiati

Published: 4 June 2021

Last updated: 28 July 2025

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1

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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2

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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3

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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4

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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5

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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6

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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7

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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8

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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9

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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10

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-Sa&#235;ns, 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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11

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

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Although John Pickard's music has received a good many performances and radio broadcasts over the past decade, it was the relay of his dazzling orchestral tone poem The Flight of Icarus (1990) during the 1996 Proms1 which brought him to the notice of the wider concert–going and –listening public. There is some justice in that piece attracting such attention, as it is one of his most immediate in impact, while completely representative of his output at large. That output to date encompasses three symphonies (1983–4, 1985–7, 1995–6) and five other orchestral works, three string quartets (1991, 1

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Abréu-Ramos, Antonio M., and William F. Micheo. "Lifetime Prevalence of Upper-body Musculoskeletal Problems in a Professional-level Symphony Orchestra: Age, Gender, and Instrument-specific Results." Medical Problems of Performing Artists 22, no. 3 (2007): 97–104. http://dx.doi.org/10.21091/mppa.2007.3022.

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Instrumentalists are at risk to develop upper-body musculoskeletal problems (MSKPs). Identified risk factors include age, gender, instrument played, joint laxity, and poor technique or posture. In this study, we established the prevalence of MSKPs that affect the ability to play an instrument in the population of a professional-level symphonic orchestra and the relation of these problems to gender, age, and instrument. The members of the Puerto Rico Symphony Orchestra were recruited voluntarily. A questionnaire was used to obtain information on demographics, instrument played, and history of M

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13

Burel, Oleksandr. "On Gabriel Pierné and his compositions for piano and orchestra." Aspects of Historical Musicology 16, no. 16 (2019): 170–89. http://dx.doi.org/10.34064/khnum2-16.10.

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Background. The French composers’ creativity of the late XIX – first third of XX centuries is the admirable treasury of the world musical art. It is worth mentioning such remarkable and original artists as C. Debussy and M. Emmanuel, P. Dukas and E. Satie, A.Roussel and M.Ravel. The name of G. Piern&#233; (1863–1937) can surely be added to this series of authors. But his oeuvre is still terra incognita for us. The thorough considerable researches about the author are not numerous. The monograph “Gabriel Piern&#233;: musicien lorrain” by G. Masson was created in 1987, and the publicatio

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14

Yan, Yang. "The formation of the Chinese orchestra of traditional instruments of a new type in the 1920s-1930s." Problems of Interaction Between Arts, Pedagogy and the Theory and Practice of Education 50, no. 50 (2018): 165–80. http://dx.doi.org/10.34064/khnum1-50.12.

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Background. The history of the development of orchestral music for Chinese traditional instruments covers more than a thousand years. During this time, the traditional orchestra has undergone significant changes. In the article the modern stage of the development of the orchestra of a new type is considered starting from the 1920s, when its modification began and integration with the principles of the Western Symphony Orchestra. The modernization of the Chinese orchestra of traditional instruments began in the twentieth century after the overthrow of imperial rule and the emerging changes in C

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15

Drozd, Jarosław. "„Czystość nazwiska rodzinnego klejnotem najdroższym”. Jak Gabriel Wiktor Rożniecki zrehabilitował nazwisko zdrajcy." Studia Historica Gedanensia 15, no. 1 (2024): 224–39. https://doi.org/10.4467/23916001hg.24.011.19526.

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Gabriel Wiktor Rola‑Rożniecki (born November 12, 1816, in Warsaw) was one of the most versatile Polish composers of the second half of the nineteenth century. He created various musical works: operas, operettas, ballets, oratorios, songs, masses, psalms, cantatas, symphonies, and string quartets. In the literature, he is presented as the son of the president of the Warsaw Government Theatres, cavalry general Aleksander Antoni Rola‑Rożniecki. However, archival sources contradict this, indicating that the musician was the biological son of a veteran of the Napoleonic campaigns, Lieutenant Ludwik

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16

Palmer, Peter. "Swiss Cello Concertos." Tempo 60, no. 235 (2006): 39–40. http://dx.doi.org/10.1017/s0040298206270049.

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URS JOSEPH FLURY: Vineta; Concerto for Cello and Orchestra; Sinfonietta for Strings. Biel Symphony Orchestra; Pierre Fournier (vlc), Vienna Volksoper Orchestra; Vienna Chamber Orchestra c. Urs Joseph Flury. Musikszene Schweiz MGB CD 6184.SCHOECK: Concerto for Cello and String Orchestra, op. 61; Suite in A flat for Strings, op. 59. Julius Berger (vlc), South West German Chamber Orchestra of Pforzheim c. Vladislav Czarnecki. ebs 6145 (www.EBSMusikproduktion.de).

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17

Rapoport, Paul. "The Symphonies of Tālivaldis Ķeniņš." Tempo, no. 157 (June 1986): 13–20. http://dx.doi.org/10.1017/s0040298200022300.

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The economic and political issues which affect the composition, performance, and recording of new orchestral music (or, more precisely, which prevent these activities) operate as much in Canada as in any other western country. Even if works for orchestra do appear, they are more noticeable for their rarity than for their abundance. So it is surprising even to most people in Canada to learn that one Canadian composer has written 21 works for orchestra in the past 26 years, including eight symphonies. Like his other works, these symphonies contain a wide variety of music of impressive technical

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18

Johnson, Bret. "Ernst Toch’s symphonies." Tempo 60, no. 235 (2006): 43–44. http://dx.doi.org/10.1017/s0040298206300046.

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TOCH: Complete Symphonies. Rundfunk-Sinfonieorchester Berlin c. Alun Francis. Three CDs, available separately: Nos. 1 and 4: cpo 999 774-2; Nos. 2 and 3: cpo 999 705-2; Nos. 5, 6 and 7: cpo 999 389-2.TOCH: Piano Concerto No. 1, op. 38; Peter Pan, op. 76; Pinnochio Overture; ‘Big Ben’ Variations, op. 62. Todd Crow (pno), NDR Hamburg Symphony Orchestra c. Leon Botstein. New World Records 80609-2.

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19

Sutherland, Roger. "Myaskovsky." Tempo 57, no. 226 (2003): 58–59. http://dx.doi.org/10.1017/s0040298203320352.

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Sutherland, Roger. "Dutilleux." Tempo 57, no. 226 (2003): 45–47. http://dx.doi.org/10.1017/s0040298203220350.

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DUTILLEUX: Métaboles1; Cello Concerto2; The Shadows of Time3. 1Orchestra National de France c. Mstislav Rostropovitch; 2Arto Noras (vlc), Finnish Radio Symphony Orchestra c. Jukka-Pekka Saraste; 3Boston Symphony Orchestra c. Seiji Ozawa. Hlatus 0927-49830-2.

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21

Marsden, Hannah. "Symphonies, Status and Soft Power: The Symphony Orchestra of India." ASIAN-EUROPEAN MUSIC RESEARCH JOURNAL 7 (June 21, 2021): 19–36. http://dx.doi.org/10.30819/aemr.7-2.

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The Symphony Orchestra of India (SOI) is India's only professional symphony orchestra. In this paper, I explore the roles and meanings of the SOI. First, I situate it locally within its home city of Mumbai, positioning it within discourses of social class, status, and globally-minded aspiration. I argue that local values and ideologies surrounding professional musicianship compromise attempts to embed orchestral musicking in the city. I then move on to place the SOI within discourses of nation building, questioning the role of the orchestra as a marker of national development. I suggest that M

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22

Conde, Héctor Eulogio Santos. "Sources of Ignace Pleyel's Symphonies in Spanish Cathedrals Around 1800." Fontes Artis Musicae 72, no. 2 (2025): 151–72. https://doi.org/10.1353/fam.2025.a965425.

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English Abstract: The reception of European orchestral repertoires was a phenomenon that developed with a certain intensity in some Spanish cathedrals during the transition from the eighteenth to the nineteenth century. This is proved by the preserved music sources themselves, together with other administrative documents. Within this thematic area, the connection of Ignace Pleyel (1757–1831) and his music with Spain has received some attention, although to a lesser extent than that of his mentor Joseph Haydn (1732–1809). The dissemination of his symphonies in secular institutions has already b

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23

Dolan, Emily. "Haydn, Hoffmann, and the opera of instruments." Studia Musicologica 51, no. 3-4 (2010): 325–46. http://dx.doi.org/10.1556/smus.51.2010.3-4.7.

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In 1809, E. T. A. Hoffmann declared that the symphony, in the hands of Haydn and Mozart, had become the “opera of instruments.” This view of symphony, which was echoed by other writers of the period, reflected how composers engaged with instruments through orchestration. This essay explores the use of instrumental sonority in the slow movements of Haydn’s later symphonies, in particular looking at the ways in which Haydn’s approach to the orchestra helped cultivate the notion that symphonies unfolded as dramas. This conception of the orchestra and of orchestration informed the language of musi

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24

Arias, Enrique Alberto. "The Symphonies of Alexander Tcherepnin." Tempo, no. 158 (September 1986): 23–31. http://dx.doi.org/10.1017/s0040298200022531.

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When Alexander Tcherepnin Died in 1977, he left a rich legacy of symphonic composition written over a major portion of this century. Of these works, the most important are the four symphonies and the Divertimento for orchestra. They are worthy companions of the symphonies of Prokofiev and Shostakovitch. The changes of style found in these five pieces correspond to similar changes found in other major composers of the period.

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Frank, Andrew, and Richard Rodney Bennett. "Sonnets to Orpheus; For Cello and Orchestra." Notes 45, no. 2 (1988): 381. http://dx.doi.org/10.2307/941369.

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26

Kaszubska, Natalia. "Kategorie czasu i formy muzycznej w II Koncercie na wiolonczelę i orkiestrę symfoniczną Pawła Mykietyna." Kwartalnik Młodych Muzykologów UJ, no. 54 (3) (December 7, 2022): 19–41. http://dx.doi.org/10.4467/23537094kmmuj.22.012.16812.

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The Categories of Time and Musical Form in Paweł Mykietyn’s Concerto No. 2 for Cello and Symphony Orchestra The paper supplements the research on the latest Paweł Mykietyn's work. It broadens the spectrum of problems related to the technique of deconstruction in his works and allows for a better understanding of the structure of the Concerto No. 2 for cello and symphony orchestra. The main research method is descriptive analysis, bringing Paweł Mykietyn's musical language closer to the harmonic material, textural systems, agogic-metric structures, and the concept of form. The analysis is based

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Horváth, Pál. "Untying the “Musical Sphinx:” Beethoven’s Symphony No. 9 in Nineteenth-Century Pest-Buda." Studia Musicologica 61, no. 1-2 (2021): 33–50. http://dx.doi.org/10.1556/6.2020.00003.

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It is well known that Beethoven’s Ninth was followed by a temporary crisis in the genre of the symphony: the next generation found it difficult to get away from the shadow of this monumental piece. The Ninth was first performed in Hungary in 1865, more than 40 years after the world-premiere. We should add, however, that during the first half of the nineteenth century, no professional symphonic orchestra and choir existed in Pest-Buda that would have coped with the task. Although the Hungarian public was able to hear some of Beethoven’s symphonies already by the 1830s – mainly thanks to the Mus

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LISTER, WARWICK. "THE FIRST PERFORMANCE OF HAYDN’S ‘PARIS’ SYMPHONIES." Eighteenth Century Music 1, no. 2 (2004): 289–300. http://dx.doi.org/10.1017/s1478570604000168.

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Haydn composed his ‘Paris’ Symphonies, Nos 82–87, in 1785–1786 on commission from the Concert de la Société Olympique, whose orchestra gave the first performances, probably in 1787. This essay considers aspects of these first performances – the audience, the venue and the performers, about which there is all too little information and a certain amount of confusion.

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Whittall, Arnold. "Isang Yun." Tempo 57, no. 226 (2003): 48–49. http://dx.doi.org/10.1017/s0040298203240353.

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YUN: My Land, My People!; Exemplum in Memoriam Kwangju. Chorus and State Symphony Orchestra of the Democratic Peoples Republic of Korea, c. Byung-Hwa Kim. Symphonies Nos. 1–5. Filharmonia Pomorska Bydgoszcz, c. Takao Ukigaya. Richard Salter (bar). CPO 999 165-2 (4-CD set)

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Zolotareva, Natalia, and Maria Panchenko. "The features of the interpretation Concert e-moll for cello and orchestra by A. Khachaturyan." Музикознавча думка Дніпропетровщини, no. 19 (December 30, 2020): 170–81. http://dx.doi.org/10.33287/222044.

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The purpose of this scientific represented publication is to reveal the peculiarities of the interpretation of the concerto in e-moll for cello and orchestra by Aram Khachaturian into representatives of different cello schools. The research methods is based on general scientific principles of research, such as analysis, synthesis, deduction, induction and special, a namely historical approach, method of interpretative analysis, comparative way, performance analysis and many others scientific manners. The scientific novelty of this submitted research article is that for the first time in domest

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Miller, Malcolm. "Recent Cello Music by Graham Whettam." Tempo, no. 216 (April 2001): 31–36. http://dx.doi.org/10.1017/s0040298200008470.

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The recent spate of world premières, concerts and several newly-released and imminent CD recordings have indicated a renewed interest in the music of the British composer Graham Whettam, who celebrated his 70th birthday with a concert in 1998 (see review in Tempo 206) and is still busy producing new works. As recently as February he completed his Fifth Symphony, for chamber orchestra (a Sixth is in progress) and his String Quartet No.4 is scheduled for a première later this year.

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Johnson, Bret. "MORTON GOULD McKINLEY." Tempo 58, no. 230 (2004): 88–90. http://dx.doi.org/10.1017/s0040298204310338.

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MORTON GOULD: Symphony No. 2. HARBISON: Cello Concerto1. STUCKY: Son et Lumière. GABRIEL GOULD: Watercolors2. 1David Finckel (vlc), 2Robert Sheena (cor anglais), Albany Symphony Orchestra c. David Alan Miller. Albany TROY 605.McKINLEY: Violin Concerto1; Symphony of Winds; Sinfonie Concertante2. 1Janet Packer (vln), Warsaw National Philharmonic c. Jerzy Svoboda, 2Silesian Philarmonic Orchestra c. Joel Suben. MMC2119.McKINLEY: Wind, Fire, and Ice1; Mostly Mozart2; Silent Whispers3. 1Victoria Griswold (pno), London Symphony Orchestra c. Roger Briggs, 2Royal Liverpool Philharmonic c. Gerard Schwar

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Bailey, Bert. "Concertos for the End of the Milennium." Tempo 59, no. 234 (2005): 61–63. http://dx.doi.org/10.1017/s0040298205260321.

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‘Conciertos para el fin del milenio’. TOUSSAINT: Concierto No. 2 para violonchelo y orquesta (1999). MARQUEZ: Espejos en la arena (2000). SIERRA: Cuatro versos (Concerto for Cello & Orchestra) (1999). Carlos Prieto (vlc), Orquesta de las Americas c. Carlos Miguel Prieto, conductor. Urtext JBCC 047.

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Yalong, Yu. "DEVELOPMENT OF CELLO SCHOOL IN CHINA. CREATIVE AND PEDAGOGICAL ACTIVITIES OF WANG LIANSAN AND SITU ZHIWEN." Arts education and science 1, no. 2 (2021): 113–20. http://dx.doi.org/10.36871/hon.202102014.

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The article traces the development of Chinese cello tradition, the process of its formation in interaction with national European schools (Spanish, French, Russian, etc.) and the appearance of the first national musicians-performers who became founders of Chinese cello pedagogical system. The significance of the first major cello composition San Tung's Fantasia for Cello and Orchestra, was also emphasized. Presented are the portraits of outstanding instrumentalists — Wang Liansan and Situ Zhiwen, whose creative and pedagogical experience allowed not only to significantly renew the system for t

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Рябцева, І. М., and А. Ю. Мороз. "Genre modifications of concerts’ cello by S. Prokofiev as a display of commonwealth from composer and performers." Музикознавча думка Дніпропетровщини, no. 15 (November 1, 2019): 107–18. http://dx.doi.org/10.33287/22198.

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The purpose of the article is consist of identification andsummarization the disparate little-known facts of the creative communityof Sergei Prokofiev with Gregory Pyatigorsky and Mstislav Rostropovich,which preceded the creation of the „Concerto for Cello and Orchestra”op. 58 and „Symphony Concert for Cello and Orchestra”, op. 125. Theauthor is determining the reasons of the transformation from the soloconcert genre into a genre of a symphony-concert, taking into account thehistorical and biographical aspect. The research methods are based on theuse of various research approaches. The method

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Zhang, Xiaochen. "The Symphony of Bass in the Grand Narrative: On the Position and Function of Trombone in Beethoven's Symphonies." Journal of Education, Humanities and Social Sciences 42 (December 9, 2024): 263–70. https://doi.org/10.54097/d3mgyh44.

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Trombone is an important brass instrument and plays an important role in modern symphony orchestra. Trombone is different from other brass instruments. In the history of the development of western Musical Instruments, the shape and playing mode of trombone have hardly changed. However, the position of the trombone in Beethoven's previous symphonies was radically different. Beethoven is recognized as the first composer to bring the trombone from sacred to secular music. This article will list three symphonies composed by Beethoven that include the trombone. Through the research of the creation

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Hepokoski, James. "“Listen and Be Amazed!”: Odeon, Künneke, and the First Recordings of Complete Symphonies." Journal of the American Musicological Society 76, no. 1 (2023): 113–67. http://dx.doi.org/10.1525/jams.2023.76.1.113.

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Abstract Between 1911 and 1913, Odeon records, in Berlin, produced and made available for sale five complete, four-movement symphonies, the first complete symphonies ever recorded. They were Beethoven’s Fifth and Sixth Symphonies (August and November–December 1911), and then Haydn’s Symphony no. 94 (“Surprise”) and Mozart’s Symphonies nos. 40 and 39 (in that order, March and April 1913). Each was performed by members of the Odeon company’s orchestra, billed as the “Großes Odeon-Streich-Orchester.” While no conductor is identified on the labels, it was surely Eduard Künneke, Odeon’s house condu

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IOAN, Cristina Mioara. "Representative Music of the Ministry of National Defense – decisive presence in the Romanian cultural and musical evolution." Bulletin of the Transilvania University of Braşov. Series VIII:Performing Arts 14(63), Special Issue (2022): 77–84. http://dx.doi.org/10.31926/but.pa.2021.14.63.3.8.

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Symphony orchestra of blowers, Representative Music of the Ministry of National Defense is today the performance standard in terms of wind bands in our country. Through its activity carried out during seven decades, the band crowned the creative, interpretative, educational and cultural values of the military music bands from the Romanian garrisons and military units. Having a repertoire that exceeds two thousand works from almost all musical genres (hymns, marches, patriotic and military songs, fantasies, potpourri, overtures, processing of songs and folk games, symphonic poems, symphonies, j

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Manalu, Yohanes Tanaka Pangihutan, and Jayanti Mandasari Sagala. "Komposisi Programma-Representatif dengan Konversi Idiom Musik Batak Toba dan Chromatic Mediant." INVENSI 9, no. 2 (2024): 137–51. https://doi.org/10.24821/invensi.v9i2.9477.

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Pernikahan merupakan peristiwa penting dalam kehidupan manusia karena menyatukan dua karakter dengan latar belakang yang berbeda. Pria, wanita, dan penyatuan pria dan wanita adalah tiga bagian dari pernikahan. Ketiga bagian ini menjadi representasi tiap bagian dalam penciptaan komposisi musik. Sifat atau karakter dari pria, wanita dan penyatuan pria dan wanita menjadi ekstra-musikal dalam pengolahan komposisi musik programma. Metode penciptaan pada komposisi musik ini menggunakan beberapa tahapan, yaitu eksplorasi, eksperimentasi, pengaplikasian dan penyajian karya. Komposisi ini merupakan mus

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Finney, Ian. "Vagn Holmboe: Quartet Composer at Work." Tempo, no. 171 (December 1989): 12–17. http://dx.doi.org/10.1017/s0040298200019951.

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Vagn Homboe, born in Horsens on the Jutland peninsula in 1909, is the doyen of Danish composers. Although he celebrates his eightieth birthday on 20 December, he remains formidably productive: his new Twelfth Symphony was premièred by the BBC Welsh Symphony Orchestra in Cardiff on 21 October. A prolific composer in many genres, his reputation rests securely on the twin pillars of his symphonies and his even more numerous string quartets.

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MacLeod, Rebecca B. "A Comparison of Aural and Visual Instrument Preferences of Third and Fifth-Grade Students." Bulletin of the Council for Research in Music Education, no. 179 (January 1, 2009): 33–43. http://dx.doi.org/10.2307/40319328.

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Abstract Instrument preferences of third and fifth-grade students (N = 90) were investigated for eight instruments commonly found in orchestra and band: flute, clarinet, saxophone, violin, cello, trumpet, French horn, and trombone. Participants were divided into two groups and asked to identify their favorite and least favorite instrument from a list of the eight instruments. One class each of third and fifth-grade students, Group A, listened to aural examples of the instruments and rated preferences for each instrument. The other two classes, Group B, rated pictures of each instrument. Overal

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BOSTAN, Maria-Cristina. "Dmitri Shostakovich – Concerto no.2 for cello and orchestra op.126." " BULLETIN OF THE TRANSYLVANIA UNIVERSITY OF BRASOV, SERIES VIII - PERFORMING ARTS" 12(61), no. 2 Special (2020): 61–70. http://dx.doi.org/10.31926/but.pa.2019.12.61.29.

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Conway, Paul. "Thea Musgrave round-up." Tempo 57, no. 226 (2003): 50–51. http://dx.doi.org/10.1017/s004029820325035x.

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‘Pierrot Dreaming’. MUSGRAVE: Canta! Canta!; Ring Out Wild Bells; Threnody; Pierrot; Chamber Concerto No. 2. Victoria Soames Samek (cl), Gabrielle Byam-Grounds (fl), David Le Page (vn/va), Matthew Sharp (vc), Mark Troop (pno). Clarinet Classics CC0038.‘The Fall of Narcissus’. MUSGRAVE: Serenade; Narcissus; Impromptu for flute and cello; Wind Quintet; Impromptu No. 2 for flute, oboe and clarinet; Four Portraits for baritone, clarinet and piano. Victoria Soames Samek (cl), Members of English Serenata, David Le Page (va), Matthew Sharp (vc), Stephen Varcoe (bar), Rachel Masters (hp). Clarinet Cla

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Takač, Višnja Pavičić. "The Symphony of Writing Strategies: Exploration of Strategies Used in a Collaborative Academic Writing Task." Language Teaching Research Quarterly 41 (February 2024): 132–47. http://dx.doi.org/10.32038/ltrq.2024.41.10.

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Inspired by Rebecca Oxford's thought-provoking reflections on language learning strategies, and particularly her orchestra metaphor on how the strategies work together, I conducted a study that seeks to understand how non-native writers employ, configure, sequence and combine individual writing strategies when creating a text in the target language. Four dyads of undergraduate students of English were video-recorded while jointly writing an argumentative essay. The transcripts were analyzed using a general inductive approach to uncover writing strategies emerging in the writing process and to

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Horvath, Janet. "An Orchestra Musician’s Perspective on 20 Years of Performing Arts Medicine." Medical Problems of Performing Artists 16, no. 3 (2001): 102–8. http://dx.doi.org/10.21091/mppa.2001.3018.

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As the Associate Principal Cello of the Minnesota Orchestra since 1980 and the founder and director of the Playing (less) Hurt Conference and Lecture Series, I have seen the explosion of interest in and the establishment of the field of performing arts medicine from its very inception. Over the years, I have encountered countless musicians in various stages of denial or shame concerning their very real pain. Admitting to a problem ultimately means reckoning with it, making changes to playing technique or habits, and oftentimes taking a hiatus from playing altogether.

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Conway, Paul. "James MacMillan premieres in Edinburgh, Glasgow and London." Tempo 68, no. 269 (2014): 70–72. http://dx.doi.org/10.1017/s0040298214000114.

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The concerto form is well represented in James MacMillan's output. So far, he has written three for piano, two for percussion and one each for violin, viola, cello, trumpet, oboe and clarinet. There is also threaded through his output a series of concertante works, such as A Deep but Dazzling Darkness, for violin, ensemble and tape (2003), A Scotch Bestiary, for organ and orchestra (2004) and the concertino Seraph, for trumpet and strings (2010). All share a common concern to realise fully the soloist's expressive potential.

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Vastamäki, Martti, Heidi Vastamäki, Leena Ristolainen, Katrinas Laimi, and Mikhail Saltychev. "Violists and Violinists Report More Intense Hand Pain on NRS Than Other Orchestra Musicians." Medical Problems of Performing Artists 35, no. 3 (2020): 162–66. http://dx.doi.org/10.21091/mppa.2020.3024.

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AIMS: Among musicians, string players have the highest prevalence for musculoskeletal overuse. Playing a violin or viola requires rapid, repetitive, and complicated movements of the hands and fingers. This cross-sectional study aimed to examine whether violin/viola, violin/cello, and violin/French horn players experience more intense musculoskeletal pain than other instrumentalists. METHODS: The study sample consisted of 590 orchestra musicians (354 male, 236 female, mean age 36 yrs). Self-administered questionnaires were used to assess pain of the back, neck, shoulder, face, jaw, and upper ex

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Nagina, Dana A. "The genre of concert symphony in the works of Haydn and Mozart." Contemporary Musicology, no. 3 (2019): 2–23. http://dx.doi.org/10.56620/2587-9731-2019-3-002-023.

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The article focuses on the concert symphony (fr. symphonie concertante, it. sinfonia concertata) – a classical music form which remains little studied in Russian musicology – as is exemplified in the works of Joseph Haydn and Wolfgang Amadeus Mozart. The study raises three questions crucial for the history and theory of the genre. First, the article analyses the development of ideas about concertante as well as relevant terminology. Reference books and scientific works of the 18th-early 21st centuries provide different points of view on the genre. Some highlight its symphonic nature, while oth

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Serov, Iurii Eduardovich. "Symphonies by B. Tishchenko: in tune with the times, against the troubled times. Part 1." PHILHARMONICA. International Music Journal, no. 5 (May 2021): 11–22. http://dx.doi.org/10.7256/2453-613x.2021.5.36784.

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The research subject is the scope of symphonic works of an outstanding Russian composer of the late 20th century Boris Ivanovich Tishchenko (1939 - 2010). The article continues a brief analysis of all 17 symphonies of the composer, and considers his works of the 1980s - the 2000s: French Symphony, Pushkin Symphony, Dante Symphonies, and Symphonies No 7, 8, 9.&nbsp; The author considers in detail such aspects of the topic as Tishchenko&rsquo;s innovatory role in the renewal of Russian symphonism of the second half of the 20th century, the interrelation between and poetry in his large or

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Chao, Wu. "LI DELUN’S ROLE IN THE PRESERVATION OF CHINESE ORCHESTRAS." Arts education and science 2, no. 39 (2024): 77–85. http://dx.doi.org/10.36871/hon.202402077.

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Li Delun, an outstanding Chinese conductor, has made a huge contribution to the development and popularisation of Chinese symphonic music in Russia, Europe and the USA. Having received an excellent education at the Moscow Conservatory in the class of opera and symphony conducting, Li Delun has rightfully earned a place in the cohort of outstanding musicians of our time. In early 1956, Li Delun was commissioned by the Chinese political leadership to establish and lead the Central Orchestra. He formed the repertoire of the symphony orchestra, combining Western classics (symphonies by W. A. Mozar

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