Relevant bibliographies by topics / Symphonies (Violin and piano)

Contents

  1. Journal articles
  2. Dissertations / Theses
  3. Books
  4. Book chapters
  5. Conference papers
  6. Reports

Academic literature on the topic 'Symphonies (Violin and piano)'

Author: Grafiati
Published: 4 June 2021
Last updated: 27 July 2025

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Journal articles on the topic "Symphonies (Violin and piano)"

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Matthew-Walker, Robert. "Hoddinott's Programmatic Structuralization." Tempo, no. 209 (July 1999): 22–26. http://dx.doi.org/10.1017/s0040298200014650.

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Alun Hoddinott has written music steadily for 50 years and, as a constantly prolific composer, has amassed an impressively wide-ranging body of work: six operas, ten symphonies, 20 concertos, a dozen piano sonatas, five violin sonatas, with vocal, choral, orchestral and instrumental works of equal abundance – in all, an output of about 300 works with which even his most ardent admirer will have found it difficult to keep up.
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Bandy, Dorian. "Beethoven's Rhetoric of Embellishment." 19th-Century Music 46, no. 2 (2022): 125–62. http://dx.doi.org/10.1525/ncm.2022.46.2.125.

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This article examines the communicative and interpretive significance of melodic embellishment in Beethoven's oeuvre, with a particular focus on multi-movement instrumental works from the period 1795–1824. Embellishment has received comparatively little attention in Beethoven studies; yet it formed a crucial part of his musicianship as both a performer and a composer. The article begins with a broad overview of Beethoven's embellishment practices, drawing examples primarily from his early piano trios and piano sonatas. It then goes on to examine a series of issues in more detail: first, the ro
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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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Mayr, Desirée. "Leopoldo Miguéz's Nocturnes Opp.10 and 20/1: Political Context and Stylistic Analysis in the "City of Pianos"." Music Theory and Analysis (MTA) 10, no. 1 (2023): 1–36. http://dx.doi.org/10.11116/mta.10.1.1.

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As in Europe, the piano reached the height of its popularity in the mid- to late nineteenth century in Brazil. Its presence in cultural life increased significantly, with performances in concert halls, theatres, and even cafés. Nocturnes— particularly Chopin's— were fre quently played at home and in public venues. Leopoldo Miguéz (1852–1902), considered at the time to be influenced by Wagner, Liszt, and the so-called Zukunftsmusik, was the first Brazilian composer to write a symphony, a violin sonata, and a symphonic poem. This ar ticle provides an overview of Miguéz's piano Nocturnes Opp.10 a
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McBurney, Gerard. "Brian Elias's recent music." Tempo, no. 174 (September 1990): 12–18. http://dx.doi.org/10.1017/s0040298200019392.

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In the past ten years a remarkable change has come over Brian Elias. He has turned from being a miniaturist to being a composer on a symphonic scale and with symphonic aspirations. Not that he has written any work with so self-conscious a title as ‘symphony’ – at least, not yet. But in these few years he has given us two extended cycles for voice and symphony orchestra, a large-scale single-movement orchestral work that must certainly be called symphonic, a set of 49 Variations for piano inspired by Beethoven's set of 32 in C minor, and now an orchestral ballet in progress for Kenneth Macmilla
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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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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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Shwan, Sebastian, and Stela Drăgulin. ""Significant Personalities as Turning Points in the Life and Music of Johannes Brahms "." Studia Universitatis Babeş-Bolyai Musica 67, no. 1 (2022): 57–70. http://dx.doi.org/10.24193/subbmusica.2022.1.05.

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"This paper aims to reveal the turning points in the life and work of German composer Johannes Brahms. These main events were influenced by certain figures of the epoch, whose encounters marked the artistic activity of Brahms. In explaining the reasons that lay behind the composition of a work, emotion is one of the most specific criteria. Personal experience becomes the indispensable condition of artistic creation and lays at the core of the creative impulse. The paper is structured according to the following four aspects: the first friends (together with Albert Dietrich and their mentor, Rob
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Zagidullina, Dilbar Renatovna, and Ekaterina Evgenyevna Nikiforova. "Timbre-orchestra aspect of symphonic works by Boris Tchaikovsky." PHILHARMONICA. International Music Journal, no. 1 (January 2021): 52–66. http://dx.doi.org/10.7256/2453-613x.2021.1.34175.

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Boris Tchaikovsky is the author of bright and original symphonic compositions. A timbre-orchestra palette is, undoubtedly, one of the key components of the music language of his works. The authors of this research analyze Tchaikovsky’s  Violin concerto and Piano concerto, the symphonic poems “The Juvenile” and “The Winds of Siberia”, the Symphony No 3 “Sevastopol”, and the Symphony with Harp, in order to consider particular aspects connected with the timbre-orchestra language of his symphonic compositions, such as:
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Malyi, Dmytro. "“Four words about kolomyika”: author’s experience of orchestration." Aspects of Historical Musicology 34, no. 34 (2024): 157–81. http://dx.doi.org/10.34064/khnum2-34.07.

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Statement of the problem. Orchestration is one of the spheres of a composer’s professional activity, and its ways and principles are a special subject of scientific research. There are a sufficient number of examples, when the composer turns to the orchestration of self-own piano works (F. Liszt, C. Saint-Saëns, M. Ravel, H. Villa-Lobos, M. Skoryk and others), but the orchestration of violin works is not widespread phenomenon. The proposed work reveals the ways of orchestrating the four parts of the cycle “Seven words about the kolomyika” for solo violin, written by the author of the
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Dissertations / Theses on the topic "Symphonies (Violin and piano)"

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Kim, Seong Ae. "Sonata for Violin and Piano." Thesis, State University of New York at Stony Brook, 2013. http://pqdtopen.proquest.com/#viewpdf?dispub=3589708.

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<p> My dissertation piece is a three-movement work of 20 minute duration for violin and piano that draws significantly from elements of traditional Korean culture, especially folk dance and folk music, and secondarily from Korean folk theater and visual arts using rhythmic patterns and gestures from folk dance and melodies from folk music and extended instrumental techniques that mimic the sounds of Korean traditional music and the music that typically accompanies Korean traditional dances. </p><p> The formal shape and material intentions of the piece&mdash; the fast-slow-fast tempo profi
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Liu, Hongye. "Interpréter les symphonies de Beethoven dans les transcriptions de Franz Liszt." Electronic Thesis or Diss., Strasbourg, 2024. http://www.theses.fr/2024STRAC022.

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Les transcriptions des symphonies de Beethoven pour piano seul par Liszt sont considérées comme les transcriptions les plus proches de l'original. Liszt a nommé ces transcriptions « partition de piano », signifiant spécifiquement reproduire ainsi la résonance orchestrale au piano. Liszt a également encouragé les jeunes pianistes du conservatoire à apprendre ces transcriptions. Cependant, les recherches existantes se limitent à l'étude des sources historiques et à l'analyse sur les partitions, ignorant la description de Liszt quant aux effets sonores résultant de l'interprétation orchestrale su
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Collins, Susan May. "The violin and piano music of Raymond Hansen /." Access electronically, 2005. http://www.library.uow.edu.au/adt-NWU/public/adt-NWU20051110.160444/index.html.

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HÖHMANN, REIKO CHRISTINE. "FOUR TWENTIETH-CENTURY SONATINAS FOR VIOLIN AND PIANO." University of Cincinnati / OhioLINK, 2007. http://rave.ohiolink.edu/etdc/view?acc_num=ucin1171310483.

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Chi, Ju-Yang. "Musical Instrument Ergonomics in Violin and Piano Performance." Thesis, The University of Sydney, 2022. https://hdl.handle.net/2123/30064.

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The compatibility of the instrument with human physical abilities and characteristics is one of the principles in ergonomics. Inadequate instrument set-ups and sizes that mismatch the player’s physical attributes is frequently cited as one of the risk factors contributing to the development of playing-related musculoskeletal disorders (PRMDs) in violin and piano performers. For violinists, playing in a sustained asymmetric posture is inevitable and it has been observed that the left upper limb, which is the side that supports the instrument, is predominantly symptomatic in upper string players
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Flesher, Eric. "Wandering rocks : for flute, clarinet, violin, cello and piano /." Thesis, Connect to this title online; UW restricted, 2002. http://hdl.handle.net/1773/11331.

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Ritchie, Anthony Damian. "The influence of folk music in Three Works by Béla Bartόk: Sonata No. 1 for violin and piano, Sonata (1926) for piano, and 'Contrasts' for violin, clarinet and piano". Thesis, University of Canterbury. Music, 1986. http://hdl.handle.net/10092/4608.

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It is well known that the compositions of Béla Bartόk are influenced by folk music. Until recently, however, musicologists in the West have treated this aspect of Bartόk's music superficially. By avoiding the folk music influence, their analyses are based on a partial knowledge only of Bartόk and consequently, the conclusions they make are severely limited. The purpose of this study is to delve deeply into the folk music influence on Bartόk's compositional style and to take full account of his ethnomusicological knowledge when analysing his music. In order to do this, I have limited my study t
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MacAdam-Somer, Batya. "Program notes Masters recital, October 3, 2009 /." Diss., [La Jolla, Calif.] : University of California, San Diego, 2009. http://wwwlib.umi.com/cr/fullcit?p1470608.

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Thesis (M.A.)--University of California, San Diego, 2009.<br>Available via ProQuest Digital Dissertations. With accompanying disc containing sound files of the thesis recital in 44K stereo. and 96K formats.
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Facchini, Fiammetta. "Psycho-physio dynamics in violin-piano duo: a pianist's perspective." Doctoral thesis, Universidade de Aveiro, 2014. http://hdl.handle.net/10773/13820.

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Doutoramento em Música<br>The case study looked at psychological and physiological responses to stress in musicians, comparing a newly formed and a consolidated violin-piano duo. The common element between these duos was the pianist. Using the psychological tests (STAI Y1 and Y2, K-MPAI, MMPI-2, ICAC), the immunoassay saliva test to measure cortisol (stress hormone) and non- invasive device VitalJacket® developed at the University of Aveiro, Portugal, participants were monitored under various performance conditions. Others quantitative and qualitative dataset were collected including a pianist
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O'Neill, Alice Ann M. "Parent as home teacher of Suzuki cello, violin, and piano students observation and analysis of Suzuki method practice cessions /." Connect to this title online, 2003. http://rave.ohiolink.edu/etdc/view?acc%5Fnum=osu1070376603.

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Thesis (D.M.A.)--Ohio State University, 2003.<br>Title from first page of PDF file. Document formatted into pages; contains x, 99 p.; also includes graphics (some col.) Includes bibliographical references (p. 96-99). Available online via OhioLINK's ETD Center
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Books on the topic "Symphonies (Violin and piano)"

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Beethoven, Ludwig van. Masters of classical music: Vol. 3 : Ludwig van Beethoven. LaserLight, 1988.

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1952-, Jando? Jeno?, Verhey Emmy, Dechenne Danielle, et al., eds. Masters of classical music: Vol. 9 : Franz Schubert. LaserLight, 1988.

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Jost, Peter, and Kurt Guntner, eds. Symphonie Espagnole, Opus 21: Für Violine und Orchester : Klavierauszug = for violin and orchestra : piano reduction. G. Henle Verlag, 2001.

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Beethoven, Ludwig van. My first Beethoven album. Naxos, 2011.

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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. Symphony no. 5 opus 67. Edition Peters, 1992.

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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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Penderecki, Krzysztof. Sixtieth birthday gala concert. Sony Classical, 1995.

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Beethoven, Ludwig van. Symphonies. Kalmus, 1991.

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Book chapters on the topic "Symphonies (Violin and piano)"

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Schilder, Manfred. "It wouldn’t have worked without piano or violin." In Land schaf[f]t Wissen / Research[in]g the Region. Springer Vienna, 2013. http://dx.doi.org/10.1007/978-3-7091-1249-6_62.

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Li, Yiran. "Bach’s Organ and Violin Works Reception on the Modern Piano." In Advances in Social Science, Education and Humanities Research. Atlantis Press SARL, 2025. https://doi.org/10.2991/978-2-38476-384-9_102.

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Mehl, Margaret. "8. Playing Modern." In Music and the Making of Modern Japan. Open Book Publishers, 2024. http://dx.doi.org/10.11647/obp.0374.08.

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Chapter 8, ‘Playing Modern: Blending Japanese and Western Music’, examines the widespread, albeit short-lived, fashion for performing Japanese music (chiefly koto and shamisen genres) on Western instruments, particularly the piano or organ and the violin; a practice known as wayō setchû (mixing Japanese and Western elements), wayō chōwa gaku (music harmonizing Japanese and Western elements), or wayō gassō (Japanese-Western ensemble playing). The propagators of the practice can be categorized loosely as ‘reformers’ and entrepreneurs.’ The former group consisted largely of graduates from the Tok
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Bräuninger, Renate. "Anne Teresa De Keersmaeker's Choreographies to Steve Reich's Music, the Re-creation of Musical Principles through Dance." In Musik und Klangkultur. transcript Verlag, 2023. http://dx.doi.org/10.14361/9783839458914-007.

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The Belgian choreographer Anne Teresa de Keersmaeker has numerous times used the music by Steve Reich as a source for her choreographies. In her dance pieces she has transmitted the compositional principles of Reich's music into movement. She is not simply visualising or translating different musical parameters into motion, rather she is re-creating compositional principals in a different medium. De Keersmaeker used less complex pieces by Reich at the beginning of her career, for example, in her choreography Fase, Four Movements to the Music of Steve Reich (1982), she uses the following compos
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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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Steinberg, Michael. "Martin." In The Concerto. Oxford University PressNew York, NY, 1998. http://dx.doi.org/10.1093/oso/9780195103304.003.0023.

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Abstract It is possible to imagine this Concerto as the outcome of a liaison of Stravinsky with Ravel. “I set out to display the musical qualities of the various soloists in the wind and brass groups as well as their virtuosity,” Martin wrote, “and so I made the music brilliant and technically difficult. But I also tried to make the most of the characters of sonority and expression of the seven instruments, which differ so greatly in the manner of producing sound and in their mechanism.” Both the virtuosic element and the conversational manner lead to an engagingly playful, sportive music. Thi
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Clark, Walter Aaron. "Veni, Vidi, Vici(1889-1893)." In Isaac Albéniz. Oxford University PressOxford, 1999. http://dx.doi.org/10.1093/oso/9780198163695.003.0004.

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Abstract Albeniz appeared in a concert on 7 March 1889 at the Teatro de la Comedia in Madrid with the orchestra of the Sociedad de Conciertos conducted by Tomas Breton. The programme included his Suite caracteristica for orchestra, made up of arrangements of three piano works: the Scherzo from his Sonata No. 1, ‘En la Alhambra’ (‘inspired by Arab legends’), and ‘Rapsodia cubana’ (‘an exact transcription of the rhythm and melodic design of Cuban songs’).1 Albeniz also performed his Piano Concerto No. 1, or Concierto fantastico. Despite its title, the work is conservative and straight forward in
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"piano-violin, n." In Oxford English Dictionary, 3rd ed. Oxford University Press, 2023. http://dx.doi.org/10.1093/oed/8724884137.

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"Violin and Piano/Violin and Orchestra." In The Compleat Busoni, Volume 2. ANU Press, 2023. http://dx.doi.org/10.22459/cb02.2023.03.

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"Duos for Piano and Violin." In The Piano in Chamber Ensemble, Third Edition. Indiana University Press, 2021. http://dx.doi.org/10.2307/j.ctv21hrj5p.8.

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Conference papers on the topic "Symphonies (Violin and piano)"

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Roman, Iulia. "Interpretive vision on the work habanera for violin and piano by the romanian composer Dumitru Capoianu." In Conferința științifică internațională "Învăţământul artistic – dimensiuni culturale". Academy of Music, Theatre and Fine Arts, Republic of Moldova, 2022. http://dx.doi.org/10.55383/iadc2022.06.

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The composer Dumitru Capoianu is part of the romanian composers who have given valuable works to contemporary music. His creation includes theater music, film music, symphonic music, vocal-symphonic music, choral music, chamber music. Habanera for violin and piano is the work that belongs to the genre of instrumental miniature, a composition in which the elements of jazz café concert blend harmoniously with passages of virtuosity.
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Coroiu, Petruta Maria. "Aurel Stroe — outstanding personality of modern Romanian music." In Valorificarea și conservarea prin digitizare a colecțiilor de muzică academică și tradițională din Republica Moldova. Academy of Music, Theatre and Fine Arts, Republic of Moldova, 2023. http://dx.doi.org/10.55383/digimuz2023.08.

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Being one of the most important Romanian composers, thinkers and teachers of the second half of the 20th century, illustrious representative of modern European and Romanian thought with spiritual amplitude, Aurel Stroe has reached — although passed to the eternal ones in 2008 — the anniversary moment when he would have completed 90 years since his birth (May 5, 2022). Member of the academic staff at the Bucharest National University of Music until he left for Germany, Aurel Stroe taught orchestration and composition, but also he held courses in the USA (1985–1986), France (1972), Germany (1986
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Saulova, Inessa. "Peculiarities of the performing interpretation of the Sonata for violin and piano by Leonid Gurov." In International scientific conference "Valorization and preservation by digitization of the collections of academic and traditional music from the Republic of Moldova". Academy of Music, Theatre and Fine Arts, Republic of Moldova, 2023. http://dx.doi.org/10.55383/ca.15.

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The article analyzes L. Gurov's Sonata for violin and piano from the point of view of its performing interpretation. The author aims to reveal the original features of this work, which are manifested in particular, in the use of folklore material. The intonation-thematic structure of the composition, the ratio between the parts of the violin and piano are analyzed in detail, methodical recommendations are given. It is concluded that the Sonata for violin and piano by L. Gurov is a typical example of the genre, and its innovation lies in the synthesis of the deep philosophical content, original
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Sedih, Inessa. "Mixed genres in the chamber-instrumental works by Boris Dubosarschi: setting the problem." In Cultura și arta: cercetare, valorificare, promovare. Academy of Music, Theatre and Fine Arts, Republic of Moldova, 2024. https://doi.org/10.55383/ca2024.07.

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The article is devoted to the mixed genre interpretation in the chamber-instrumental works written by B. Dubosarschi. The composer’s opuses –Aquarelles for violin and piano, Sonata-ballad for viola and piano, Capriccio a la rustique for violin and piano – demonstrate different kinds of the mixed genre such as genre diffusion, genre reconceptualization and creation of new genre names.
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Vlaicu, Olga. "Moldavian fantasy by D. Ghershfeld – a bright example of violin miniature of Moldova in the 40s of the 20th century." In Probleme metodico-didactice și de asigurare a calității în învăţământul artistic superior. Academy of Music, Theatre and Fine Arts, Republic of Moldova, 2024. https://doi.org/10.55383/pacias2023.09.

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In this article, the author describes the history of creation of the first miniatures for violin and piano composed on the territory of the current Republic of Moldova in the 20s-40s of the 20th century. She speaks about the rich creative heritage by the composer D. Ghershfeld, analyzes in detail his miniature for violin and piano – Moldavian Fantasy. This work is one of the first violin compositions in the genre of small forms created by composers from the Republic of Moldova in the first half of the 20th century. The miniature has obvious national features, as it is based on the rhythms and
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Chiu, Ching-Yu, Wen-Yi Hsiao, Yin-Cheng Yeh, Yi-Hsuan Yang, and Alvin Wen-Yu Su. "Mixing-Specific Data Augmentation Techniques for Improved Blind Violin/Piano Source Separation." In 2020 IEEE 22nd International Workshop on Multimedia Signal Processing (MMSP). IEEE, 2020. http://dx.doi.org/10.1109/mmsp48831.2020.9287146.

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Cazac, Radu. "Trio for violin, clarinet and piano by Oleg Negruța: characteristic aspects of language." In Cultura și arta: cercetare, valorificare, promovare. Academy of Music, Theatre and Fine Arts, Republic of Moldova, 2024. https://doi.org/10.55383/ca2024.08.

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The author’s aim is to study some structural and language elements applied in the work Trio for violin, clarinet and baritone by Oleg Negruța. Following the detailed analysis of the creation Trio for violin, clarinet and piano by O. Negruța, we point out that the given work consists of three contrasting parts according to the tempo Allegro con fuoco-Andante cantabile-Allegro vivace, in which the author is based on the tradition of classical and romantic music harmoniously combined with elements of the folkloric musical language. We can say that in part I, the direction of classical music preva
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Plescan, Irina. "Compositional peculiarities of The trio for clarinet, French horn and piano by Oleg Negruta." In Valorificarea și conservarea prin digitizare a colecțiilor de muzică academică și tradițională din Republica Moldova. Academy of Music, Theatre and Fine Arts, Republic of Moldova, 2023. http://dx.doi.org/10.55383/digimuz2023.11.

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Oleg Negruta is a Moldovan composer, the author of a large number of chamber- instrumental compositions. Among them there are two piano trios: the first is the Trio for clarinet, French horn and piano, reflecting the tendency towards non-traditional ensembles, that prevailed in Moldovan music in the 1980-90s, and in 2004 the composer created a trio for the classical composition — violin, cello, piano.This article is dedicated to the Trio for clarinet, French horn and piano written in 1993. The author’s purpose was to identify the interpretation peculiarities of this work’s composition. Within
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Trocinel, Daniela. "The echo of the forests cycle for violin and piano by Alexandr Mulear: composition peculiarities." In Cultura și arta: cercetare, valorificare, promovare. Academy of Music, Theatre and Fine Arts, Republic of Moldova, 2024. https://doi.org/10.55383/ca2024.05.

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The cycle Echo of the Forests, composed for the violin-piano instrumental duo, is one of the distinguished works in the compositional record of Master A. Mulear. According to the edited score, the work contains four parts: Echo of the Forests (Moderato assai), Hora (Tempo di hora), Ballad (Moderato assai), and Gagauz Dance (Allegro con brio). These parts are deeply rooted in the native folklore, being linked to the rural realm and captivated by the national identity of the music. The composition is notable for its original artistic approach, expressed through a subtle dialogue between the two
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Saulova, Inessa. "SONATA FOR VIOLIN AND PIANO BY ZLATA TKACI COMPOSITION AND MUSICAL LANGUAGE, QUESTIONS OF PERFORMANCE INTERPRETATION." In Conferinţa ştiinţifică internaţională „Învăţământul artistic – dimensiuni culturale“ 2023. Academy of Music, Theater and Fine Arts, 2024. http://dx.doi.org/10.55383/iadc2023.13.

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The article characterizes the recent achievements of the work of Zlata Tkaci, The Sonata for violin and piano, written by the author in 2005, is analyzed in detail. The author gives methodological recommendations for solving technical and artistic tasks when performing this work. The conclusion is made about the importance of the Sonata both in the educational process and in the concert repertoire of violinists and pianists.
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Reports on the topic "Symphonies (Violin and piano)"

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Pedersen, Gjertrud. Symphonies Reframed. Norges Musikkhøgskole, 2018. http://dx.doi.org/10.22501/nmh-ar.481294.

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Symphonies Reframed recreates symphonies as chamber music. The project aims to capture the features that are unique for chamber music, at the juncture between the “soloistic small” and the “orchestral large”. A new ensemble model, the “triharmonic ensemble” with 7-9 musicians, has been created to serve this purpose. By choosing this size range, we are looking to facilitate group interplay without the need of a conductor. We also want to facilitate a richness of sound colours by involving piano, strings and winds. The exact combination of instruments is chosen in accordance with the features of
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