Academic literature on the topic 'Variations (Piano, 4 hands)'

Statement of the problem. Recent research and publications. Chinese composers, influenced by European musical norms since the late 19th century, face a critical challenge in navigating their national traditions within academic music. China piano music is a progressive sphere, which allows to identify and analyze the most relevant directions of creative searches of Chinese composers. The work of individual representatives of the piano composer school, including Luo Maishuo, is still incompletely studied. Luo Maishuo’s leadering positions in China piano music is determined by adept fusion of traditional and contemporary components in his work. Researching his programmatic compositions with the viewpoint of their semantics provides a perspective for understanding the intricate connections between Chinese musical heritage and national mentality and philosophy. The works dedicated to Luo Maishuo’s creativity are represented by Bian Jingjing’s (2016) and Wang Aiguo’s (2009) articles, as well as Huang Zhongjun’s (2020) and Zhuang Junjie’s (2021) studies, which reveal the composer’s contribution to the Chinese piano music. However, it is necessary to research such a phenomenon as the semantic component of various genre samples in his piano music in the aspect of preserving traditional culture. Obiectives, methods, and novelty of the research. The purpose of this article is to analyze the semantics of the names Luo Maishuo’s piano etudes in order to reveal the process of transformation of national musical traditions in his music and to determine the connections between the content of the works and the traditional cultural contexts. The innovative aspect of the research is the first analysis of Luo Maishuo’s piano etudes in view of the reflection of national cultural patterns in the program titles of his works; the study is designed to determine how the composer embodies the principle of preserving national musical traditions through the symbolic semantics of the names of his etudes. This new perspective allows not only to present Luo Maishuo’s work as a bright page of musical history, but also to reveal his role in the preservation and reinterpretation of national cultural concepts through program music. The historical and cultural approach made it possible to present the broad context of cultural, historical and social realities, the philosophical and cultural background of traditional values reflected in the titles of the composer’s works. Semantic and musicological types of analysis were used to consider the symbolism and imagery of etudes, and to select the illustrative musical fragments. In addition, we relied on the key propositions of Lu Jie’s dissertation (2017: 6–7), who believes that “the terms ‘concept’ and ‘conceptosphere’ are appropriate for revealing the way of thinking of Chinese musicians”. which is “different from European transcendental dimensions”. Research results. The article considers Luo Maishuo’s cycle of 12 Etudes, which consists of two equal parts. The first part (6 Etudes op. 19) was created in 2010–2011, the second (6 Etudes op. 3) – in 2013–2016. Their visual and semantic features are reflected in the program titles, which represent the original fusion of national and non-national elements. Op. 19: 1. “Music of the wind”, 2. “Flea”, 3. “Wind”, 4. “Running water”, 5. Basso ostinato, 6. Fugue; Op. 23: 1. “Circle"” 2. “Contrast”, 3. “Bamboo”, 4. “F 1”, 5. “Painting with ink”, 6. Variations. The titles of some works refer to certain genres of European music (Basso ostinato, Fugue, Variations); “F 1” – to extremely high speeds of ring races in “Formula-1”. The names of the rest of the etudes are related to the national theme expressed either as a comparison with specific iconic phenomena (“Wind Music”, “Bamboo”, “Painting with ink"), or more indirectly, through ideas-images of Chinese philosophy (“Circle”, “Contrast”). Our attention is focused on the names of the First book of Etudes (op. 19), indicative in the aspect of belonging to the Chinese national tradition. Some of them, according to Lu Jie’s classification (2017: 8), represent the conceptual sphere of nature (Etudes No. 1, 3, 4) and direct the imagination of the performer and listener to its eternal primordial forces, the images of which are deeply rooted in the folklore of various peoples of the world, in particular, in the Chinese national tradition. The latter interprets them in a very original way: the images of wind and running water, widespread in Chinese culture, are primarily associated with deep philosophical ideas about the essence of the world. The image of water is also likened to one of the highest moral values – kindness – and is combined with the Tao. An illustration of the multidimensionality of hidden subtexts can be considered the title of the first Etude op. 19 –“Wind Music”, which refers not only to the sphere of nature, but also to another conceptual sphere of the Chinese tradition – “ritual” (ceremonial). This name is related not only to the image of the wind as such, but also to the fairly common practice of installing small bells under the roofs of temples that ring when there is a current of air. The Etude’s piano texture, based on alternating hands in the upper register, almost reproduces their sound. Conclusion. Luo Maishuo’s cycle of Etudes occupies a special place in the modern piano culture of China. The composer, presenting a practical “artistic study” of the techniques of modern pianism, created one of the most ambitious projects in the instrumental etude genre. At the same time, the traditional national component is realized by an extremely multifaceted way: the names of the compositions appeal both to philosophical and generalized concepts and to the images-symbols characteristic of China culture. Such approach allows to consider the cycle as a kind of “catalogue” of signs characteristic of the national tradition.

KENNETH LEIGHTON: Sonatinas Nos. 1 and 2, op.1; Sonata No.1 op.2; Sonata No.2 op.17; Five Studies op.22; Fantasia Contrappuntistica (Homage to Bach) op.24; Variations op.30; Nine Variations op.36; Pieces for Angela op.47; Conflicts (Fantasy on Two Themes) op.51; Six Studies (Study-Variations) op.56; Sonata (1972) op.64; Household Pets op.86; Four Romantic Pieces op.95; Jack-in-the-Box; Study; Lazy-bones. Angela Brownridge (pno). Delphian DCD 34301-3 (3-CD set).PATRICK PIGGOTT: Fantasia quasi una Sonata; 8 Preludes and a Postlude (Third Set). Second Piano Sonata. Malcolm Binns (pno). British Music Society BMS 430CD.SORABJI: Fantasia ispanica. Jonathan Powell (pno). Altarus AIR-CD-9084.ROWLEY: Concerto for piano, strings and percussion, op.49. DARNTON: Concertino for piano and string orchestra. GERHARD: Concerto for piano and strings. FERGUSON: Concerto for piano and string orchestra, op.12. Peter Donohoe (pno and c.), Northern Sinfonia. Naxos 8.557290.Severnside Composers’ Alliance Inaugural Piano Recital. GEOFFREY SELF: Sonatina 1. IVOR GURNEY:Preludes, Sets 1, 2 and 3. JOLYON LAYCOCK: L’Abri Pataud. RICHARD BERNARD: On Erin Shore. STEVEN KINGS: Fingers Pointing to the Moon. SUSAN COPPARD: Round and Around. JOHN PITTS: Aire 1; Fantasies 1, 5. JAMES PATTEN: Nocturnes 3, 4. SULYEN CARADON: Dorian Dirge. RAYMOND WARREN: Monody; Chaconne. Peter Jacobs (pno). Live recording, 23 February 2005. Dunelm DRD0238.Severnside Composers’ Alliance – A Recital by two pianists. MARTINŮ: Three Czech Dances. BEDFORD: Hoquetus David. JOHN PITTS: Changes. HOLLOWAY: Gilded Goldbergs Suite. JOLYON LAYCOCK: Die! A1 Sparrow. POULENC: Élégie. LUTOSLAWSKI: Paganini Variations. Steven Kings, Christopher Northam (pnos). Live recording, 14 May 2005. Dunelm DRD0243.‘Transcendent Journey’. FOULDS: Gandharva-Music, op.49; April-England, op.48 no.1. CORIGLIANO: Fantasia on an Ostinato. PROKOFIEV: Toccata, op.11. With works by BACH-CHUQUISENGO, HANDEL, BEETHOVENLISZT, BACH-BUSONI, SCHUMANN. Juan José Chuquisengo (pno). Sony SK 93829.

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 managing the vinegar and mustard factory. Despite that, he found time for writing symphonic, opera, chamber, piano and vocal pieces. His piano works – due to their tunefulness, diversified texture, mysteriousness and ballroom elegance – are unquestionably worth promoting. They include: 4 Small Bagatelles op. 1 no. 1, 4 Improvisations op. 1 no. 3, 3 Improvisations op. 1 no. 4, Intermezzo a la mazurka op. 2, 2 Morceaux op. 3, Two Small Bagatelles op. 8, 2 Skizzen op. 24 Es war niemal…, or Suite op. 35. Gablenz’s chamber works cover: Canzona op. 1 no. 2 for flute and piano, Sonata op. 15 for cello and piano, 5 Waltzes op. 28 for piano 4 hands, Arabesque op. 28 no. 6 for oboe and piano, Trios for three female voices and piano to lyrics by Leopold Staff op. 4 and op. 19. Unfortunately, Gablenz’s tragic death on 11 November 1937 in a plane crash near Piaseczno made the further development of his great talent impossible. I believe that his creative output deserves promoting among music lovers not only in the Dominican Republic and Canada, but first of all in Poland, where some of his works still have not had their premiere performances, despite numerous efforts of Tomasz Gablenz, the composer’s son.

С фортепианными переложениями как неотъемлемой частью музыкальной культуры XIX века Чайковский был связан на протяжении всей жизни. Обширную часть наследия композитора составляют переложения для фортепиано в 2 и 4 руки его собственных сочинений и произведений других авторов. Но если последние перекладывались Чайковским преимущественно в силу различных внешних обстоятельств, то переложениям собственных сочинений композитор уделял всегда особое внимание. Круг музыкантов, пользовавшихся доверием композитора в этом отношении, был весьма невелик и с течением времени неуклонно сужался. Чайковский стремился перекладывать свои сочинения самостоятельно, несмотря на постоянные жалобы на несовершенство переложения как формы представления оркестрового произведения и различные трудности при его создании. Всего композитором переложены более сорока его собственных сочинений. Помимо определенного этапа в истории самих произведений, переложения становились также частью фортепианного наследия Чайковского. Композитор неизменно настаивал на творческом характере создания переложений. В качестве примеров работы Чайковского в предлагаемой статье подробно рассмотрены переложения трех оркестровых сюит для фортепиано в 4 руки. With piano arrangements as an integral part of the musical culture of the XIX century, Tchaikovsky was associated for all his life. A large part of the composer’s legacy consists of arrangements for piano in 2 and 4 hands of his own compositions and works by other authors. But if Tchaikovsky made the latter ones mainly due to various external circumstances, he always paid special attention to the arrangements of his own compositions. The circle of musicians who enjoyed the composer’s confidence in this respect was very small and with time steadily narrowed. Tchaikovsky tried to make piano arrangements himself, despite the constant complaints about the imperfection of the transposition as a form of representation of the orchestral work and various difficulties in creating it. In total more than 40 of his own compositions have been arranged for piano by the composer. In addition to a certain stage in the history of the works themselves, the arrangements also became part of Tchaikovsky’s pianistic heritage. The composer invariably insisted on the creative nature of piano arrangements. In the proposed paper the four hands piano arrangements of three orchestral suites are considered in detail as examples of Tchaikovsky’s approach.

Seventy cadaveric hands were dissected to study variations of the flexor digitorum superficialis tendon (FDS) to the little finger. Anatomical variations were present in 13% of hands and 10% of the hands showed an anatomical variation that would preclude independent FDS function in the little finger. The distance of the decussation from the metacarpophalangeal joint was measured. A ratio of this distance to proximal phalangeal length was calculated. The ratio indicated that decussation position was independent of phalangeal size.

JOHN McCABE: Concerto for Piano and Wind Quintet; Musica Notturna; Fauvel's Rondeaux; Postcards for wind quintet. The Fibonacci Sequence. Dutton CDLX 7125.‘Old City New Image’. McCABE: String Trio; String Quartet No. 2. DAVID ELLIS: Trio for violin, viola and cello; String Quartet No. 1. Camerata Ensemble. Campion Cameo 2027.McCABE: Piano Concerto No. 2; Concertante Variations on a theme of Nicholas Maw; Six-Minute Symphony; Sonata on a Motet. Tamami Honma (pno), St Christopher Chamber Orchestra c. Donatas Katkus. Dutton CDLX 7133.‘Tenebrae’. McCABE: Variations; Intermezzi; Sostenuto (Study No. 2); Capriccio (Study No. 1); Aubade (Study No. 4); Tenebrae; Scrunch (Study No. 8); Evening Harmonies (Study No. 7). Tamami Honma (pno). Metier MSV CD92071.

Variations of the extensor indicis muscle were examined in 164 hands from 86 Japanese cadavers. Anomalous cases exhibiting supernumerary muscles or tendons were found in 22 hands. These variations were classified into four types: type 1, an additional tendon slip from the extensor indicis tendon; type 2, an extensor indicis radialis or extensor pollicis et indicis accessorius; type 3, an extensor medii proprius with or without extensor medii brevis; and type 4, an extensor indicis radialis and extensor medii proprius. The extensor medii proprius was the most common variation, followed by extensor indicis radialis. There were no clear differences in incidence of variations between men and women or between right and left hands. When variations were bilateral, both sides were identical or similar in type.

Ancient Song Recovered: The Life and Music of Veljo Tormis, by Mimi S. Daitz. Pendragon Press, $54.00/£36.00.The Works of Eduard Tubin: Thematic-Bibliographical Catalogue of Works by Vardo Rumessen. International Eduard Tubin Society/Gehrmans Musikförlag, E.57.TORMIS: ‘Vision of Estonia’ II. The Ballad of Mary's Land; Reflections with Hando Runnel; Days of Outlawry; God Protect Us from War; Journey of the War Messenger; Let the Sun Shine!; Voices from Tammsaare's Herdboy Days; Forget-me-not; Mens' Songs. Estonian National Male Choir c. Ants Soots. Alba NCD 20.TORMIS: ‘Vision of Estonia’ III. The Singer; Songs of the Ancient Sea; Plague Memory; Bridge of Song; Going to War; Dialectical Aphorisms; Song about a Level Land; We Are Given; An Aboriginal Song; The Estonians' Political Parties Game; Song about Keeping Together; Martinmas Songs; Shrovetide Songs; Three I Had Those Words of Beauty. Estonian National Male Choir c. Ants Soots. Alba NCD 23.TAMBERG: Cyrano de Bergerac. Soloists, Orchestra and Chorus of Estonian National Opera c. Paul Mägi. CPO 999 832-2 (2-CD set).ROSENVALD: Violin Concerto Nos. 11 and 2, Quasi una fantasia2; Two Pastorales3; Sonata capricciosa4; Symphony No. 35; Nocturne6. 1,2Lemmo Erendi (vln), Tallinn CO c. Neeme Järvi, 2Estonian State SO c. Jüri Alperten; 3Estonian State SO c. Vello Pähn; 4Valentina Gontšarova (vln); 56Estonian State SO c. Neeme Järvi. Antes BM-CD 31.9197.DEAN: Winter Songs. TÜÜR: Architectonics I. VASKS: Music for a Deceased Friend. PÄRT: Quintettino. NIELSEN: Wind Quintet. Berlin Philharmonic Wind Quintet, with Daniel Norman (tenor), c. Hermann Bäumer. BIS-CD–1332.TULEV: Quella sera; Gare de l'Est; Adiós/Œri Ráma in memoriam; Isopo; Be Lost in the Call. NYYD Ensemble c. Olari Elts. Eesti Raadio ERCD047.ESTONIAN COMPOSERS I: MÄGI: Vesper.1 KANGRO: Display IX.2 SUMERA: Shakespeare's Sonnets Nos. 8 & 90.3TAMBERG: Desiderium Concordiae.4 TULEV: String Quartet No. 1.5 EESPERE: Glorificatio.6 TORMIS: Kevade: Suite.71Estonian National SO c. Aivo Välja; 24NYYD Ensemble c. Olari Elts; 3Pirjo Levadi (soprano), Mikk Mikiver (narrator), Estonian National Boys' Choir, Estonian National SO c. Paul Mägi; 5Tallinn String Quartet; 6Kaia Urb (sop), Academic Male Choir of Tallinn Technical University c. Arvo Volmer; 7Estonian National SO c. Paul Mägi Eesti Raadio ERCD 031.ESTONIAN COMPOSERS II: TULVE: Traces.1 TALLY: Swinburne.2 KÕRVITS: Stream.3 STEINER: Descendants of Cain.4 KAUMANN: Long Play.5 LILL: Le Rite de Passage.6 SIMMER: Water of Life.71,5,6NYYD Ensemble c. Olari Elts; 2Ardo-Ran Varres (narrator), Iris Oja (sop), Alar Pintsaar (bar), Vambola Krigul (perc), Külli Möls (accordion), Robert Jürjendal (elec guitar); 3Virgo Veldi (sax), Madis Metsamart (perc); 4The Bowed Piano Ensemble c. Timo Steiner; 7Teet Järvi (vlc), Monika Mattieson (fl). Eesti Raadio ERCD032.ESTONIAN COMPOSERS III: GRIGORJEVA: Con misterio;1On Leaving. SUMERA: Pantomime; The Child of Dracula and Zombie. 1Tui Hirv (sop), 1Iris Oja (mezzo), 1Joosep Vahermägi (ten), 1Jaan Arder (bar), Hortus Musicus c. Andres Mustonen. Eeesti Raadio ERCD 045ESTONIAN COMPOSERS IV: KRIGUL: Walls.1 JÜRGENS: Redblueyellow.2 KÕRVER: Pre.3 KOTTA: Variations.4 SIIMER: Two Pieces.5 KAUMANN: Ausgewählte Salonstücke.6 AINTS: Trope.7 STEINER: In memoriam.81,6New Tallinn Trio; 2Liis Jürgens (harp); 3,8Voces Musicales Ensemble c. Risto Joost; 4Mati Mikalai (pno); 5Mikk Murdvee (vln), Tarmo Johannes (fl), Toomas Vavilov (cl), Mart Siimer (organ); 7Tarmo Johannes (fl). Eeesti Raadio ERCD 046.BALTIC VOICES 2: SISASK: Five songs from Gloria Patri. TULEV: And then in silence there with me be only You. NØRGÅRD: Winter Hymn. GRIGORJEVA: On Leaving (1999). SCHNITTKE: Three Sacred Hymns. Estonian Philharmonic Chamber Choir c. Paul Hillier. Harmonia Mundi HMU 907331.SCHNITTKE: Concerto for Chorus; Voices of Nature. PÄRT: Dopo la vittoria; Bogoróditse Djévo; I am the True Vine. Swedish Radio Choir c. Tõnu Kaljuste. BIS-CD-1157.PÄRT: Es sang vor langen Jahren; Stabat Mater; Magnificat; Nunc Dimittis; My Heart's in the Highlands; Zwei Sonatinen; Spiegel im Spiegel. Chamber Domaine; Stephen de Pledge (pno), Stephen Wallace (counter-ten), Choir of St Mary's Cathedral, Edinburgh c. Matthew Owens. Black Box BBM1071.

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This research focus on the repertoire for four-hand piano in Brazil, presenting a musicograph research of pieces composed between 1890 and 2000. This paper also analyses five important moments of this repertoire, between 1950 and 1990, by choosing representative works by composers Edino Krieger, Cláudio Santoro, Ricardo Tacuchian, Henrique de Curitiba and Osvaldo Lacerda. This work concludes that the chosen repertoire, for its relevance and artistic qualitites, is representative of Brazilian musical creation.
A pesquisa investiga o repertório para piano a quatro mãos no Brasil, traçando um panorama por meio de peças compostas entre 1890 e 2000, apresentado em forma de Levantamento Musicográfico. Analisa cinco importantes momentos brasileiros para piano a quatro mãos das décadas entre 1950 e 1990 utilizando obras dos compositores Edino Krieger, Cláudio Santoro, Ricardo Tacuchian, Henrique de Curitiba e Osvaldo Lacerda. Conclui que o repertório investigado, por sua relevância e qualidade, é representativo da criação musical brasileira.

One of the difficulties of nineteenth-century form studies is ambiguity in ascertaining which formal types are at work and in what ways. This can be an especially difficult problem when multiple formal types seem to influence the construction of a single composition. Drawing on some recent innovations in form studies proposed by Steven Vande Moortele, Janet Schmalfeldt, and Caitlin Martinkus, I first develop a set of analytical tools specifically made for the analysis of sonata/variation formal hybrids. I then refine these tools by applying them to the analysis of two pieces. Chopin's Fourth Piano Ballade can be understood from this perspective as primarily following the broad outlines of a sonata form, but with important influences from the recursive structures of variation forms; Franck's Symphonic Variations, on the other hand, are better viewed as engaging most of all with multiple variation-form paradigms and overlaying them with some of the rhetorical and formal structures of sonata forms. I conclude with a brief speculation on some further, more general applications of my methodology.

In late 1803, Beethoven acquired a new piano from the French firm of Sébastien Erard. This piano differed from the one built by Anton Walter that he owned in the late 1790s, most notably in its heavier construction, English-style action rather than the lighter Viennese action, triple stringing, four pedal stops (lute, dampers, buff, una corda), and five-and-a-half octave range from FF to c⁴. The piano’s influence on Beethoven’s compositional process is apparent in his Thirty-Two Variations on an Original Theme, WoO 80 (1806), a quasi-systematic exploration of piano techniques, textures, and sonorities that exploits both the capacities and limitations of the Erard.

As Katherine Preston has argued, the impact of opera on American culture in the nineteenth century cannot be overestimated. Its imprint in the South can be detected early in Charleston and New Orleans, in both public performances and private collections.¹ In the 1820s and 1830s, southern women knew Italian arias as arrangements for piano that often included several variations on a principal theme or in simplified versions often adapted to English texts. In this regard, “Away with Melancholy,” Mozart’s “O dolce concento” from ...

We are in the process of constructing a vascular entoptoscope suitable for hands-on museum use. The entoptoscope will allow the user to view the smallest details of the retinal vasculature in the macular area and to measure the size of the foveal avascular zone. The device is user friendly and requires only that the user have a pupil size of at least 3 mm and be able to hold his or her head relatively still. Furthermore, because the vascular entoptoscope produces an entoptic view of the vessels, it is not sensitive to variations in refractive errors. Therefore, appropriate refractive corrections (i.e., spectacles or contact lenses) are not necessary for sharp visualization of the capillaries. The device uses the optical principles of Maxwellian view to image a uniformly illuminated blue test field on the retina. The exit pupil of the system is 0.75 mm in diameter and rotates at a rate of 3 4 Hz around a point approximately centered in the entrance pupil of the eye. Depending on the embellishments added, a museum-durable vascular entoptoscope can be built for $12,000 $16,000, or less if several units are constructed at one time.

BackgroundCare recipients in care and welfare are increasingly presenting themselves with complex needs (Huber et al., 2016). An answer to this is the integrated organization of care and welfare in a way that personalized care is the measure (Topol, 2016). The reality, however, is that care and welfare are still mainly offered in a standardized, specialized and fragmented way. This imbalance between the need for care and the supply of care not only leads to under-treatment and over-treatment and thus to less (experienced) quality, but also entails the risk of mis-treatment, which means that patient safety is at stake (Berwick, 2005). It also leads to a reduction in the functioning of citizens and unnecessary healthcare cost (Olsson et al, 2009).Integrated CareIntegrated care is the by fellow human beings experienced smooth process of effective help, care and service provided by various disciplines in the zero line, the first line, the second line and the third line in healthcare and welfare, as close as possible (Ettema et al, 2018; Goodwin et al, 2015). Integrated care starts with an extensive assessment with the care recipient. Then the required care and services in the zero line, the first line, the second line and / or the third line are coordinated between different care providers. The care is then delivered to the person (fellow human) at home or as close as possible (Bruce and Parry, 2015; Evers and Paulus, 2015; Lewis, 2015; Spicer, 2015; Cringles, 2002).AimSupport societal participation, quality of live and reduce care demand and costs in people with complex care demands, through integration of healthcare and welfare servicesMethods (overview)1. Create best healthcare and welfare practices in Slovenia, Poland, Austria, Norway, UK, Finland, The Netherlands: three integrated best care practices per involved country 2. Get insight in working mechanisms of favourable outcomes (by studying the contexts, mechanisms and outcomes) to enable personalised integrated care for meeting the complex care demand of people focussed on societal participation in all integrated care best practices.3. Disclose program design features and requirements regarding finance, governance, accountability and management for European policymakers, national policy makers, regional policymakers, national umbrella organisations for healthcare and welfare, funding organisations, and managers of healthcare and welfare organisations.4. Identify needs of healthcare and welfare deliverers for creating and supporting dynamic partnerships for integrating these care services for meeting complex care demands in a personalised way for the client.5. Studying desired behaviours of healthcare and welfare professionals, managers of healthcare and welfare organisations, members of involved funding organisations and national umbrella organisations for healthcare and welfare, regional policymakers, national policy makers and European policymakersInvolved partiesAlma Mater Europaea Maribor Slovenia, Jagiellonian University Krakow Poland, University Graz Austria, Kristiania University Oslo Norway, Salford University Manchester UK, University of Applied Sciences Turku Finland, University of Applied Sciences Utrecht The Netherlands (secretary), Rotterdam Stroke Service The Netherlands, Vilans National Centre of Expertise for Long-term Care The Netherlands, NIVEL Netherlands Institute for Health Services Research, International Foundation of Integrated Care IFIC.References1. Berwick DM. The John Eisenberg Lecture: Health Services Research as a Citizen in Improvement. Health Serv Res. 2005 Apr; 40(2): 317–336.2. Bruce D, Parry B. Integrated care: a Scottish perspective. London J Prim Care (Abingdon). 2015; 7(3): 44–48.3. Cringles MC. Developing an integrated care pathway to manage cancer pain across primary, secondary and tertiary care. International Journal of Palliative Nursing. 2002 May 8;247279.4. Ettema RGA, Eastwood JG, Schrijvers G. Towards Evidence Based Integrated Care. International journal of integrated care 2018;18(s2):293. DOI: 10.5334/ijic.s22935. Evers SM, Paulus AT. Health economics and integrated care: a growing and challenging relationship. Int J Integr Care. 2015 Jun 17;15:e024.6. Goodwin N, Dixon A, Anderson G, Wodchis W. Providing integrated care for older people with complex needs: lessons from seven international case studies. King’s Fund London; 2014.7. Huber M, van Vliet M, Giezenberg M, Winkens B, Heerkens Y, Dagnelie PC, Knottnerus JA. Towards a 'patient-centred' operationalisation of the new dynamic concept of health: a mixed methods study. BMJ Open. 2016 Jan 12;6(1):e010091. doi: 10.1136/bmjopen-2015-0100918. Lewis M. Integrated care in Wales: a summary position. London J Prim Care (Abingdon). 2015; 7(3): 49–54.9. Olsson EL, Hansson E, Ekman I, Karlsson J. A cost-effectiveness study of a patient-centred integrated care pathway. 2009 65;1626–1635.10. Spicer J. Integrated care in the UK: variations on a theme? London J Prim Care (Abingdon). 2015; 7(3): 41–43.11. Topol E. (2016) The Patient Will See You Now. The Future of Medicine Is in Your Hands. New York: Basic Books.