Academic literature on the topic 'Symphonies (Viola with orchestra)'
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Journal articles on the topic "Symphonies (Viola with orchestra)"
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Gable, Tony. "IGNAZ JOSEPH PLEYEL (1757–1831) SYMPHONIES CONCERTANTES, VIOLIN CONCERTO David Perry (violin), Isabella Lippi (violin), Victoria Chiang (viola), Baltimore Chamber Orchestra / Markand Thakar Naxos, 8.570320, 2009; one disc, 79 minutes." Eighteenth Century Music 8, no. 2 (2011): 341–44. http://dx.doi.org/10.1017/s1478570611000170.
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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 MSKP severe enough to affect their playing ability. Questions also covered alleviating and aggravating factors, upper-body areas involved, type of symptoms, and type of treatment sought. After the questionnaire was completed, all players underwent a neuromusculoskeletal upper-body examination. Of the 75 musicians participating, 81.3% reported having had an MSKP that affected their ability to play. Of these, 83.6% reported their MSKP was directly associated to playing. Females were more commonly affected, 87.5% vs. 79.7% for males. Lower-body strings (cello, bass) players and percussionists (93.3% and 100%, respectively) and younger (22-29 yrs) and older (50-61 yrs) populations (83.3% and 90.9%, respectively) reported more MSKPs. These age groups played more hours per week (28.7 and 32.0 hrs, respectively). In all groups, low back pain was the most common complaint, present in 75.4% of those with MSKPs. Upper-body strings (violin, viola) players also reported neck and left shoulder problems. Contributing factors include hours of exposure and technical expertise. Female gender, age, and instrument played were found to be risk factors for developing MSKPs in this population.
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Peppercorn, Lisa M. "Villa-Lobos in Israel." Tempo, no. 169 (June 1989): 42–45. http://dx.doi.org/10.1017/s0040298200025158.
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Heitor Villa-Lobos's sole visit to Israel, in 1952, was significant in several ways. During a stay of a few days, he presented himself as conductor of his own works, lectured on his pedagogical ideas by explaining and demonstrating his manosolfa system, and was inspired to compose a symphonic poem based on his impressions of Israel, which he dedicated to that country. Seven years later, in 1959, it was in Israel that Villa-Lobos's Concerto for Harmonica and Orchestra, a work commissioned by John Sebastian, the American virtuoso harmonica player, was first performed.
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Shchetynsky, Oleksandr. "Valentyn Bibik: reaching artistic maturity." Aspects of Historical Musicology 23, no. 23 (2021): 42–64. http://dx.doi.org/10.34064/khnum2-23.03.
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The object of research is the works of V. Bibik written at the beginning of his mature period. The aim of the research is to reveal the main features of Bibik’s style. Methods of research include technical analysis of the works in the context of the innovative tendencies in the Ukrainian music of 1960–70s, as well as comparative research. Research results. Outstanding Ukrainian composer Valentyn Bibik (1940–2003) wrote over 150 works. Mostly they are large-scale symphonic, choral, vocal, and chamber pieces. Among them are 11 symphonies, over 20 concerti for various instruments with orchestra, vocal and choral cycles, chamber compositions (the last group includes 5 string quartets, 3 piano trios, sonatas for string instruments both solo and with piano), 10 piano sonatas, piano solo works (two sets of preludes and fugues – 24 and 34 total, Dies Irae – 39 variations). The composer was born in Kharkiv. In 1966 he completed studies at Kharkiv Conservatory, where he attended the composition class of D. Klebanov. Since 1994, he had been living in St.-Petersburg, and since 1998, in Israel where he died in 2003. Bibik’s formative period coincided with a substantive modernization of Ukrainian culture in the 1960s. During those years, members of the “Kyiv avantgarde” group (L. Hrabovsky, V. Sylvestrov, V. Godziatsky, et al.) sought to utilize modernistic idioms and techniques, such as free atonality, dodecaphony, sonoristic and aleatoric textures, cluster harmony, etc. Unlike the others, Bibik started with a more conservative style, which bore the influences of Shostakovich, Prokofiev, and Bartók. Bibik’s mature period started several years later in the early 1970s with Piano Trio No. 1 (1972) and the composition Watercolors for soprano and piano (1973). Together with his next piano work 34 Preludes and Fugues, these compositions show extremely individual features of Bibik’s style, such as: 1. Special treatment of the sound, which is considered not just a material for building certain musical structures but a self-valuable substance (Bibik has an original manner of organizing sound). Hence, timbral and textural aspects draw special attention to the composer. 2. The pitch and rhythmic structure of the themes is quite simple. A combination of several simple motives becomes the starting point of long and sophisticated development. These motives are derived from folk music, however, due to rhythmic transformation, they have lost their direct connection with the folk source. 3. Rhythmic structures areal so very simple. They often include sequences of equal rhythmic values (usually crotchets or eights). However, the composer avoids monotony dueto due to variable time signatures and permanent rubato, as well as significant flexibility in phrasing. 4. The development relies mostly on melodic and polyphonic elaboration of initial simple motives. The composer utilizes various kinds of polyphony, such as canonic imitations, various combinations of the main and supportive voices, heterophony, hyper-polyphony. In fugues he employs both traditional and new methods of thematic and tonal distribution. 5. The harmony in Bibik’s works is mostly modal, as well as a combination of modality with free atonality and extended tonality. The structure of the dense chords is close to clusters, while more transparent chords include mostly seconds and fourths (as well as their inversions). He almost never used traditional tonal harmony and chords built up from thirds, and was interested in their color aspect rather than their tonal functionalism. 6. The sonoristic texture is very important. It does not diminish the importance of the melody but gets into special collaboration with it (“singing sonority”). A special “mist” around a clear melodic line is one of Bibik’s most typical devices. Due to special “pedal” orchestration, both the line and the “surrounding” sounds become equally important. 7. Elements of limited aleatoric music may be found in his rhythm and agogics, and sometimes inpitch structures (passages and figurations with free choice of the pitches). His favorite technique is a superposition of two rhythmically and temporally independent textural layers (for instance, a combination of the viola solo and the sonoristic orchestral background in the third movement of the Fourth Symphony). 8. Sonata for mand the fugue were significantly reinterpreted within free atonality and modal harmony. These provisions are the scientific novelty of the study.
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Talbot, John. "York Bowen's Viola Concerto." Tempo 60, no. 238 (2006): 42–43. http://dx.doi.org/10.1017/s0040298206260315.
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YORK BOWEN: Viola Concerto in C minor, op.25. CECIL FORSYTH: Viola Concerto in G minor. Lawrence Power (vla), BBC Scottish Symphony Orchestra c. Martyn Brabbins. Hyperion CDA67546.BOWEN: Viola Concerto; Viola Sonata No.2 in F major; Melody for the C string, op.51 no.2. Doris Lederer (vla), with Czech Philharmonic Chamber Orchestra c. Paul Polivnick, Bruce Murray (pno). Centaur CRC 2786.BOWEN: Viola Concerto. WALTON: Viola Concerto in A minor. HOWELLS: Elegy for viola, string quartet and string orchestra. VAUGHAN WILLIAMS: Suite for viola and orchestra (Group I). Helen Callus (vla), New Zealand Symphony Orchestra c. Marc Taddei. ASV CD DCA 1181.
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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 and formal control and substantial expressive power and depth.
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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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Palmer, Peter. "Brun and Bloch." Tempo 59, no. 233 (2005): 80–82. http://dx.doi.org/10.1017/s0040298205270250.
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BRUN: Symphony No. 3 in D minor. Moscow Symphony Orchestra c. Adriano. Sterling CDS-1059-2.BLOCH: Helvetia; Suite for viola and orchestra; Suite Hébraïque for viola and orchestra. Gérard Caussé, (vla), Orchestre de la Suisse Romande c. Lior Shambadal. Cascavelle RSR 6170.
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Sutherland, Roger. "Myaskovsky." Tempo 57, no. 226 (2003): 58–59. http://dx.doi.org/10.1017/s0040298203320352.
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Sills, David L., and Krzysztof Penderecki. "Concerto per viola ed orchestra, 1983." Notes 46, no. 1 (1989): 230. http://dx.doi.org/10.2307/940777.
Full textDissertations / Theses on the topic "Symphonies (Viola with orchestra)"
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Holmquist, Mats G. (Mats Göran). "Concertino for Jazz Clarinet, Electric Viola and Symphonic Orchestra." Thesis, University of North Texas, 1991. https://digital.library.unt.edu/ark:/67531/metadc500779/.
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Concertino for Jazz Clarinet. Electric viola and Symphonic Orchestra is a composition of approximately fifteen minutes' duration, and is scored for two flutes (second doubling piccolo), two oboes, two Bb clarinets, two bassoons, four F- horns, two Bb trumpets, three trombones (third bass), two percussionists, solo Bb clarinet, solo electric viola and strings. The piece is divided into two movements; Andante and Canon. Concepts derived from jazz music are employed in, for example, harmony and improvisation in the solo parts, whereas the orchestration is mainly traditional. The piece is written for two great Swedish instrumentalists; Putte Wickman, clarinet, and Henrik Frendin, viola. Stylistically this work is difficult in the orchestral parts, since it uses concepts from two different musical styles, jazz and classical. Influences originate from such wide-ranging composers as Mozart, Stravinsky, Shostakovich and Chick Corea.
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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 systematization of musical elements. However, music often suffers from the conscious attempt by composers to bring it closer to the world of science and math through the serialization of musical material. This does not mean that mathematics and science do not play an important part in music of great expression. To be sure, composers have used simple mathematical concepts to discuss, analyze, and create music at every stage, whether consciously or unconsciously, since the beginning of Western music.
These ideas are at the very heart of the great music of previous centuries, even if we celebrate those works more for their intrinsic beauty than their rational mechanics. It is the inventiveness and creativity that we find easy to value in music, but the science behind it also makes its creation possible.
My symphony pays tribute to the marriage of creativity, not process, in scientific and musical thought, using the words of scientists and mathematicians as poetic texts, which generate musical imagery. I have chosen a series of quotations by notable scientists and mathematicians throughout history, which serve as textual introductions for each movement of the six-movement, approximately forty-five minute orchestral symphony. Each quotation makes reference to a specific scientific or mathematical discovery of its writer, or displays an aspect of his philosophy. The ideas expressed in the quotations serve as abstract inspiration and suggest musical imagery for each respective movement.<br>Committee in Charge: Dr. Robert Kyr, Chair;
Dr. David Crumb;
Dr. Jack Boss;
Dr. Marilyn Linton
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Price-Brenner, Paul Alan. "Concerto for viola section and orchestra." Diss., University of Iowa, 2017. https://ir.uiowa.edu/etd/5605.
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Concerto for Viola Section and Orchestra is a two-movement work lasting nineteen minutes. Its first movement in entitled Frenetic, and the second, Song and Finale, is made up of a slow and fast section. The concerto is scored for piccolo, two flutes, two oboes, two clarinets in B-flat, bass clarinet, two bassoons, two horns in F, two trumpets in C, tenor trombone, bass trombone, four percussion, a section of seven violists, violins 1, violins 2, violoncellos, and double basses.
Balance can be one of the main problems with writing a work for solo viola and orchestra. While the viola’s timbre makes it an enticing instrument, there is a restriction that keeps it from easily projecting over an orchestra. Composers have devised several methods for solving the problem. For example, Paul Hindemith was careful not to over orchestrate in his concerto entitled Der Schwanendreher. By limiting the number of cellos and basses to four and three respectively, and by omitting violins and other violas altogether, Hindemith thinned out and removed timbres that might obstruct the viola.
In my concerto for a section of violas, I also consider orchestration as a solution to the problems of balance and projection. However, I focus on the soloists in contrast to the orchestra. By composing for seven violas, I utilize the thickness of sound achieved through chorusing. Using any combination of the violas, it becomes easier for the listener to perceive the viola timbre. Furthermore, this use of multiple violas allows for more complex counterpoint in solo passages, something a single instrument is not able to manage on its own. This piece is not a concerto grosso in any sense. The soloists do not perform as a smaller chamber ensemble extending from the larger orchestra. Instead, the soloists are treated as a single entity. They act as one unit, using seven performers to do the work of one soloist.
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Johnson, Crystal. "Abstracts for the mind : a work in three movements for viola and orchestra /." View online, 2008. http://repository.eiu.edu/theses/docs/32211131464908.pdf.
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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 winds, percussion, and the four solo strings, is treated primarily in a soloistic manner although it also functions as a part of the ensemble. The remaining group, piano, harp, and strings, functions primarily as an accompanying group although it does get some soloistic treatment. The work is in four movements, each of which uses the traditional symphonic form. Movement I is in sonata-allegro form, movement II a simple ternary "song" form, movement III a scherzo and trio, and the final movement is a theme and variations. These traditional forms apply only to thematic use and development, however, for the tonal scheme is developed in a broader design which unfolds throughout the course of the four movements. All important melodic ideas are based on the same pitch set that serves as the basis for the tonal scheme.
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Yang, Fan. "Reconsidering the Nineteenth-Century Potpourri:Johann Nepomuk Hummel’s Op. 94 for Viola and Orchestra." University of Cincinnati / OhioLINK, 2018. http://rave.ohiolink.edu/etdc/view?acc_num=ucin1522417588095517.
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Reiter, Erica Amelia 1968. "Krzysztof Penderecki's Cadenza for Viola Solo as a derivative of the Concerto for Viola and Orchestra: A numerical analysis and a performer's guide." Diss., The University of Arizona, 1997. http://hdl.handle.net/10150/289622.
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The intent of this study is to explore the musical, structural, and intervallic relationship between Krzysztof Penderecki's two works for viola, the Concerto for Viola and Orchestra and Cadenza for Viola Solo. The Concerto for Viola is a twenty-minute work accompanied by full orchestra; the Cadenza for Viola Solo is an eight-minute solo work. In these viola works, Penderecki has encapsulated the characteristics of the viola: the tone, technical capacity, and character. Both of Penderecki's viola works demand and reinforce the unique qualities of the viola. This document provides a performance guide to help a performer develop more insight and understanding of the viola's individual qualities that are represented in these pieces. The comparison between the Concerto for Viola and Cadenza for Viola Solo is discussed in three sections. First, the two works are divided into logical sections and compared to one another in a parametric structure chart. The musical and structural features discussed in the performance analysis include motivic elements, articulations, rhythmic ideas, dynamics. The highest tier consists of larger concepts, such as structure, phrasing, and sequential patterns. The lower tiers focus on detailed comparisons including dynamics, note patterns, and fingerings. These musical and structural analyses of the Concerto for Viola and Cadenza for Viola Solo are represented in flowcharts. These flowcharts evaluate, along an aerial view, similarities and dissimilarities between sections, the merging of one section with another, and the formal structure of the two works. The second analysis is a process based on applying to each pitch a specific numerical value. Each pitch is assigned a designated number, and the two pieces are compared solely on these numbers. The numbers indicate the intervallic relationships of motives, phrases, and sequences of each work. The numerical comparisons demonstrate consistent correlations between the two works that are not evident through other methods of analysis. Finally, the Cadenza for Viola Solo is analyzed from a performer's perspective. These performance issues focus on certain sections that require more detailed guidance, inclusive of bowing technique, shifting options, vibrato, and dynamic considerations.
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Lopes, José Nilson. "Cantoria, para viola sertaneja e orquestra de cordas: desenvolvimento de processos composicionais referenciados na cantoria de viola." Universidade Federal da Paraíba, 2011. http://tede.biblioteca.ufpb.br:8080/handle/tede/6594.
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Previous issue date: 2011-01-26<br>Coordenação de Aperfeiçoamento de Pessoal de Nível Superior - CAPES<br>This work deals with the principles and compositional techniques employed in Cantoria, for ten-string Viola Sertaneja and String Orchestra, composed of three movements, with approximate duration of 14 minutes. The work uses a compositional language developed from stylistic, melodic and rhythmic elements from Cantoria de Viola Nordestina. In the musical discourse of the first two movements, the viola sertaneja and the string orchestra are treated as distinct dramatis personae that interact with each other in several ways simulating certain acoustic effects through orchestration. In the third movement, they interplay according to the principle contained in the Desafio (kind of Cantoria de Viola).<br>Este trabalho se refere aos princípios e técnicas composicionais empregados na peça Cantoria, para Viola Sertaneja de 10 cordas e Orquestra de Cordas, composta de três movimentos, com duração total aproximada de 14min. A obra utiliza uma linguagem composicional desenvolvida a partir de elementos estilísticos, melódicos e rítmicos da Cantoria de Viola Nordestina. No discurso musical dos dois primeiros movimentos, a viola sertaneja e a orquestra de cordas são tratadas como dramatis personae distintas que interagem mutuamente de diversas formas simulando determinados efeitos acústicos através de recursos de orquestração. No terceiro movimento, elas se contrapõem baseadas no princípio da disputa contida no Desafio (modalidade da Cantoria de Viola).
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Betancourt, Cindy Alyce. "William Walton's viola concerto : a methodology of study." Virtual Press, 1997. http://liblink.bsu.edu/uhtbin/catkey/1063302.
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This study provides a resource for performers preparing Walton's Viola Concerto. It is intended to provide information regarding history, technical and musical obstacles, and common alterations to the viola part. The study begins with a historical overview of the work, including information about the composer and the composition. A review of the existing literature examines sources for parallel information and similar studies.The development of a methodology of study is based on the examination of nine excerpts from the Concerto. These excerpts represent technical and musical challenges found in the Concerto. Each example is accompanied by an excerpt from a study or etude that closely reflects the same technical musical challenges. These excerpts are provided as possible technical enhancement studies that, when practiced prior to or in conjunction with the study of the Concerto, provide the methodology of study with the means to actually address the technical demands of the Concerto.Included in the study are the opinions of professional violists, solicited for this study by means of a survey. The survey group is identified, and their opinions on the previously identified technical passages are presented. Compilations of survey responses, along with additional comments and suggestions, are provided in conjunction with the corresponding excerpts.The final portion of this study examines the alterations most frequently made to the viola part. These so-called "William Primrose alterations" are presented with the suggestions and recommendations of the survey respondents. Various aspects of performance practice are examined, and the study offers several conclusions on this subject.Survey participants agreed that performance of the Concerto is a task of considerable difficulty. Regardless of the performer or the performance venue, great technical, musical, and intellectual skill and energy is required. This study provides historical information that all performers should acquire, as well as a methodology of study. It includes performance and practice suggestions from several prominent violists. This methodology of study serves as a resource for violists who undertake to perform what is one of the most significant works in the viola repertoire.<br>School of Music
Books on the topic "Symphonies (Viola with orchestra)"
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Berlioz, Hector. Harold en Italie: Symphonie en 4 parties avec un alto principal = Symphony in four movements with viola solo = Symphonie in vier Sätzen mit Viola solo. Bärenreiter, 2001.
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Beethoven, Ludwig van. Symphonie Nr. 2 in D-dur: Op. 36 = symphony no. 2 in D major. Bärenreiter, 1998.
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Beethoven, Ludwig van. Symphonie Nr.2 in D-dur =: Symphony no.2 in D major : op.36. Bärenreiter, 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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Charles, Ives. Symphony no. 2, for large orchestra. Peer International Corp., 1988.
Find full textBook chapters on the topic "Symphonies (Viola with orchestra)"
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Tapray, Jean-François. "Four Symphonies concertantes for Harpsichord and Piano with Orchestra ad libitum." In Recent Researches in the Music of the Classical Era, 44. A-R Editions, 1995. http://dx.doi.org/10.31022/c044.
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