Relevant bibliographies by topics / Trios (Harpsichord, flute, cello)

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  1. Journal articles
  2. Dissertations / Theses
  3. Books
  4. Book chapters

Academic literature on the topic 'Trios (Harpsichord, flute, cello)'

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

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Journal articles on the topic "Trios (Harpsichord, flute, cello)"

1

Rickards, Guy. "MARGARET BROUWER, CHEN YI, SADIE HARRISON, MISATO MOCHIZUKI, ONUTE NARBUTAITE, APPARENZE." Tempo 58, no. 229 (2004): 60–66. http://dx.doi.org/10.1017/s0040298204360225.

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MARGARET BROUWER: Lament for violin, clarinet, bassoon and percussion12,4,6,10; Light for soprano, harpsichord, flute, clarinet, violin, cello and percussion1,7,2,5,13,14,11; Under the Summertree for piano8; Skyriding for flute, violin, cello & piano3,13,14,9; Demeter Prelude for string quartet15. 1Sandra Simon (sop), 2Sean Gabriel (fl), 3Alice Kogan Weinreb (fl), 4Jean Kopperud (cl), 5Amitai Vardi (cl), 6Donald McGeen (bsn), 7Jeanette Sorrell (hpschd), 8Kathryn Brown (pno), 9Mitsuko Morikawa (pno), 10Dominic Donato (perc), 11Scott Christian (perc), 12Laura Frautschi (vln), 13Gabriel Bolko
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2

Mikolon, Anna. "Piano and chamber works by Jerzy Gablenz (1888-1937)." Notes Muzyczny 2, no. 10 (2018): 123–43. http://dx.doi.org/10.5604/01.3001.0012.9815.

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The article is aimed at presenting piano and chamber music written by the forgotten composer of the period of the Young Poland. Born in Cracow to a family with rich music traditions, Jerzy Gablenz learned to play the piano, flute, cello and organ. But his main interest was to write music himself. As early as in his youthful years, he wrote songs and piano miniatures mainly dedicated to Małgorzaa Schoen, his future wife. He graduated from law school, but he also studied composition and theory of music with Władysław Żeleński, Feliks Nowowiejski and Zdzisław Jachimecki. His main occupation was m
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3

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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4

YEARSLEY, DAVID. "GEORG PHILIPP TELEMANN (1681–1767) SIX MORAL CANTATAS, TVWV 20:29–34 Julianne Baird (soprano) / Steven Zohn (baroque flute) / Eve Miller (baroque cello) / Leon Schelhase (harpsichord) Centaur 3591, 2017; one disc, 65 minutes." Eighteenth Century Music 17, no. 1 (2020): 130–32. http://dx.doi.org/10.1017/s1478570619000423.

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5

SUTCLIFFE, W. DEAN. "MUZIO CLEMENTI, OPERA OMNIA VOLUME 1: SIX SONATAS FOR HARPSICHORD OR PIANO, OP. 1 ED. ANDREA COEN Bologna: Ut Orpheus Edizioni, 2000 pp. xii + 55, ISMN M 2153 0537 3 VOLUME 10: DUO FOR TWO PIANOS OR TWO HARPSICHORDS, OP. 1A, AND DUO FOR TWO PIANOS, OP. 12 ED. ROBERTO ILLIANO Bologna: Ut Orpheus Edizioni, 2001 pp. ix + 28, ISMN M 2153 0655 4 VOLUME 12: THREE SONATAS FOR HARPSICHORD OR PIANO, OP. 7 ED. COSTANTINO MASTROPRIMIANO Bologna: Ut Orpheus Edizioni, 2002 pp. x + 36, ISMN M 2153 0656 1 VOLUME 21: THREE SONATAS FOR PIANO AND VIOLIN, OP. 15 ED. LUCA SALA Bologna: Ut Orpheus Edizioni, 2000 pp. ix + 71, ISMN M 2153 0571 7 VOLUME 30: THREE SONATAS FOR PIANO OR HARPSICHORD, VIOLIN AND CELLO, OP. 27 ED. MASSIMILIANO SALA Bologna: Ut Orpheus Edizioni, 2001 pp. xi + 70, ISMN M 2153 0576 2 VOLUME 35: THREE SONATAS FOR PIANO WITH FLUTE AND CELLO AD LIBITUM, OP. 32 ED. ROBERTO ILLIANO Bologna: Ut Orpheus Edizioni, 2003 pp. ix + 43, ISMN M 2153 0859 6 VOLUME 37: TWO SONATAS AND TWO CAPRICCIOS FOR PIANO, OP. 34 ED. ANDREA COEN Bologna: Ut Orpheus Edizioni, 2002 pp. x + 81, ISMN M 2153 0782 7." Eighteenth Century Music 2, no. 2 (2005): 351–59. http://dx.doi.org/10.1017/s1478570605280417.

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Dissertations / Theses on the topic "Trios (Harpsichord, flute, cello)"

1

"Three compositions." Chinese University of Hong Kong, 1994. http://library.cuhk.edu.hk/record=b5895456.

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by Lee Chui Ling.<br>Thesis (M.Mus.)--Chinese University of Hong Kong, 1994.<br>Preface --- p.1<br>Chapter I. --- Twinkling --- p.3<br>Chapter i) --- Analysis-----Introduction --- p.4<br>Chapter ----- --- Formal structure<br>Chapter ----- --- Musical elements<br>Chapter ii) --- Score (with performance notes) --- p.8<br>Chapter II. --- Emancipation --- p.14<br>Chapter i) --- Analysis 226}0ؤ Introduction --- p.15<br>Chapter ----- --- First movement ~ Formal structure<br>Chapter ~ --- Orchestration<br>Chapter ----- --- Second movement ~Formal structure<br>Chapter ~ --- Harmony<br>Chapter --
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2

"A portfolio of four original music compositions." 1998. http://library.cuhk.edu.hk/record=b5889514.

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Trombone concerto (first movement) -- Post-Zero -- Trio for flute, violin and cello, no. 2.<br>submitted by Tang Pan-hang Benny.<br>Thesis submitted in: December 1997.<br>Thesis (M.Mus.)--Chinese University of Hong Kong, 1998.<br>Abstract also in Chinese.<br>Abstract --- p.i<br>摘要 --- p.ii<br>Acknowledgment --- p.iii<br>Declaration --- p.iv<br>Introduction --- p.1<br>Trombone Concerto (first movement) --- p.2<br>Programme notes --- p.3<br>Remarks --- p.5<br>Instrumentation --- p.6<br>Seating Plan --- p.7<br>Scores --- p.8<br>Post-Zero 零後 --- p.56<br>Introduction --- p.57<br>Progra
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3

"A portfolio of music compositions." 2006. http://library.cuhk.edu.hk/record=b5896515.

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The giving tree : for soprano, tenor, violin, cello and piano / text by Shel Silverstein -- Duo 《琴笙曲》 : for 2 harmonicas -- Clarinet duet : for clarinet and live electronics -- Playing game : for orchestra -- Sculpture II 《浮塑二》 : for pipa and Chinese orchestra -- Volcanicity 《原・始》 : for sheng and Chinese orchestra.<br>The giving tree : for soprano, tenor, violin, cello and piano / text by Shel Silverstein -- Duo "Qin sheng qu" : for 2 harmonicas -- Clarinet duet : for clarinet and live electronics -- Playing game : for orchestra -- Sculpture II "Fu su er" : for pipa and Chinese orchestra -- Vo
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Books on the topic "Trios (Harpsichord, flute, cello)"

1

Willoughby, Robert. French flute favorites. Gasparo, 1985.

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2

Wreede, Katrina. Flute trio #1 for flute, viola, and cello. Vlazville Music, 1998.

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3

Joseph, Haydn. 6 Trios für Flöte, Violine und Violoncello. Güntersberg, 2009.

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4

Schickele, Peter. Dream dances: For flute, oboe, and cello. Elkan-Vogel, 1993.

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5

Riley, Dennis. Fantasia after Orlando Gibbons: Oboe (flute), clarinet in A, and violoncello. C.F. Peters Corp., 1988.

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6

Kikuchi, Kenji. Air mail edition: For flute, clarinet, and bassoon or cello. Falls House Press, 1999.

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7

Joseph, Haydn. Sechs Trios für Violine oder Oboe (Flöte), Viola und Violoncello =: Six trios for violin or oboe (flute), viola, and violoncello. Amadeus, 1999.

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8

Devienne, François. A favourite trio concertante (1787) for the pianoforte, flute, & bassoon or violoncello. Medici Music Press, 1989.

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9

Ferrero, Lorenzo. Fantasy suite: Per flauto, violoncello e pianoforte, 2007. Ricordi, 2008.

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10

Pleyel, Ignaz. Sonata in G major, op. 16, no. 2, for flute and piano with violoncello obbligato (1788). McGinnis & Marx, 1990.

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Book chapters on the topic "Trios (Harpsichord, flute, cello)"

1

Careri, Enrico. "The Sonatas." In Francesco Genminiani (1687–1762). Oxford University PressOxford, 1993. http://dx.doi.org/10.1093/oso/9780198163008.003.0006.

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Abstract THE three main sets of sonatas composed by Francesco Geminiani suffered the same fate as his concertos: they were elaborated, transcribed for different instruments, and ‘nuovamente ristampate econ diligenza corrette’. Op. I alone was published in five different versions: the original version for violin (1716), the trio sonatas (performable as concertos by adding the ripieno parts provided), the edition of 1739, the harpsichord transcriptions, and the transcriptions for flute. The second set of violin sonatas, Op. IV (1739), of which a version for concerto grosso also exists, were tran
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2

Smallan, Basil. "Introduction." In The Piano Trio. Oxford University PressNew York, NY, 1990. http://dx.doi.org/10.1093/oso/9780193183070.003.0001.

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Abstract It seldom happens that the ongms of an artistic form can be assigned with confidence to a particular date or identified with a specific creative artist; usually such beginnings are obscured by the number and variety of the factors that contribute to them, or by the inconsistencies which appear inseparable from the evolutionary process. In the case of the piano trio, however, the criteria applicable to its fully fledged form are sufficiently precise to make the pin-pointing of a date, or at least a narrow period of origin, more than usually feasible. The genre represents, as we shall s
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