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Journal articles on the topic 'Variations (Piano)'

Author: Grafiati

Published: 4 June 2021

Last updated: 29 July 2024

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1

Hannigan, Barry, and John McCabe. "Haydn Variations for Piano (1983)." Notes 46, no. 2 (1989): 510. http://dx.doi.org/10.2307/941100.

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Burk, James M., Elliott Carter, Ursula Oppens, Michael Gielen, and David Schiff. "Piano Concerto; Variations for Orchestra." American Music 6, no. 1 (1988): 114. http://dx.doi.org/10.2307/3448359.

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3

Deng, Liang. "Piano Performance Technical Analysis of The People United Will Never Be Defeated by Rzewski." European Journal of Social Science Education and Research 5, no. 3 (2018): 161–71. http://dx.doi.org/10.2478/ejser-2018-0067.

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Abstract The piano variations The People United will Never be Defeated by Rzewski contains many modern piano performance techniques and skills. The difficulties of these techniques and skills in these enormous variations are far beyond the boundaries of traditional piano performance techniques and skills. This analysis will give a specific classification for these modern piano performance techniques and skills in order to provide a more comprehensive guide for the piano performers.

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4

Купіна, Д. Д., and Г. О. Гребенюк. "Genre of variations for piano in the context of stylish plurality of F. Mendelssohn-Bartholdy's creativity." Музикознавча думка Дніпропетровщини, no. 16 (December 19, 2019): 73–85. http://dx.doi.org/10.33287/221924.

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The purpose of the article is to determine the genre and stylefeatures of the piano cycle „Serious Variations” by F. Mendelssohn-Bartholdy. The round of specific methods is due to the use of empiricalscientific approaches of observation and generalization. The methodsidentified form a pronounced practical component of the proposedscientific intelligence. The structural and analytical approach allows you toform a sequence of presentation of scientific material, and draw theappropriate conclusions on the features of „Serious Variations”. Using thehistorical-typological approach, the sequence of

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5

Hatipova, Inna. "The Compositional and Dramaturgical Logic and Musical Expressive Means in the Performance Interpretation of Marian Stârcea’s Variations in G Major for Piano." Culture and Arts in the Modern World, no. 24 (September 22, 2023): 144–54. http://dx.doi.org/10.31866/2410-1915.24.2023.287671.

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The aim of the article is to reveal the compositional and dramaturgical logic, as well as the features of the expressive musical means used in the Variations for Piano by Moldovan composer Marian Stârcea in relation to their performance interpretation. The research results are based on the presentation of Stârcea's Variations as a composition that exemplifies the Moldovan compositional tradition, created at the beginning of the author’s creative work and reflecting the characteristic features of his individual style. M. Stârcea turned to the genre of piano variations along with other young com

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6

MacDonald, Calum. "British Piano Music." Tempo 60, no. 235 (2006): 44–49. http://dx.doi.org/10.1017/s0040298206310042.

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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 Mu

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7

Hannigan, Barry, and Ralph Shapey. "Variations on a Cantus for Piano." Notes 46, no. 2 (1989): 509. http://dx.doi.org/10.2307/941099.

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8

Rickards, Guy. "Skalkottas." Tempo 58, no. 229 (2004): 55–56. http://dx.doi.org/10.1017/s004029820432022x.

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SKALKOTTAS: Piano Trio; Eight Variations on a Greek Folk Tune for piano trio. Works for cello and piano – Largo; Bolero; Serenata; Sonatina; Tender Melody. Maria Kitsopoulos (vlc), Maria Asteriadou (pno), Georgios Demertzis (vln). BIS CD-1224.

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9

Guminiuk, Stanislav. "Sergei Rachmaninoff’ Variations on a Theme of Chopin: Genre and Style Interactions." Scientific herald of Tchaikovsky National Music Academy of Ukraine, no. 131 (June 30, 2021): 80–93. http://dx.doi.org/10.31318/2522-4190.2021.131.243220.

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The article highlights various aspects of the stylistic interaction process within the variation genre in Rachmaninoff’ piano works on the example of Variations on the Theme of Chopin. The relevance of the study is in the emphasis on interpretation aspects in the process of creating a performance version of a musical work. The mutual influences of the artist’s performing and compositional creativity are considered. The range of stylistic appeals to different layers of the musical context of the work is determined. The ways of interrelations with tradition are presented in combination with the

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10

Indyana, Luth. "TWINKLE-TWINKLE VARIATION 6 TO 12 KARYA W. A. MOZART DALAM TINJAUAN VARIASI MELODI DAN TEKNIK PERMAINAN INSTRUMEN PIANO." Repertoar Journal 1, no. 2 (2021): 333–46. http://dx.doi.org/10.26740/rj.v1n2.p333-346.

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Twinkle-Twinkle in 12 Variations karya W. A. Mozart memiliki 12 variasi melodi dengan karakteristik satu dengan lainnya. Penelitian dilakukan pada variasi 6-12 karena pada variasi tersebut terdapat banyak kompleksitas mulai dari variasi melodi hingga teknik permainan piano. Peneliti menggunakan dua pendekatan yaitu pendekatan kualitatif dan pendekatan musikologi. Hasil analisis didapat, Mozart menggunakan 4 bentuk variasi melodi yaitu Variation Rhythmic and Fake Rhythmic, Melodic Variation and Fake, variasi harmoni, dan variasi polifon. Selain itu, Mozart menggunakan 6 macam teknik permainan p

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11

Pearsall, Edward. "George Crumb piano music." Tempo 58, no. 230 (2004): 78–79. http://dx.doi.org/10.1017/s0040298204240335.

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GEORGE CRUMB: The Complete Piano Music. Makrokosmos 1; Makrokosmos 2; Five Pieces for Piano; Gnomic Variations; Processional; A Little Suite for Christmas Philip Mead (pno). Metier MSV CD92067 (2-CD Set).

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Franklin, Peter, Viktor Ullmann, Konrad Richter, Staatsphilharmonie Bruun, and Israel Yinon. "Piano Concerto, Variations Op.5, Second Symphony." Musical Times 134, no. 1806 (1993): 468. http://dx.doi.org/10.2307/1003039.

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13

Woody, Robert H. "The Relationship between Explicit Planning and Expressive Performance of Dynamic Variations in an Aural Modeling Task." Journal of Research in Music Education 47, no. 4 (1999): 331–42. http://dx.doi.org/10.2307/3345488.

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The present study is an examination of the performance of expressive dynamic variations by advanced pianists in an aural modeling (imitative) performance task. Twenty-four university musicians listened to expressive performances of short piano excerpts played for them via MIDI on a Yamaha Disklavier acoustic piano. These expressive models contained idiomatic features (musically appropriate) and nonidiomatic features (musically inappropriate). After hearing each model, subjects reported their thoughts regarding dynamic variations they had heard and then attempted to imitate the model in their o

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14

Cook, Nicholas. "Inventing Tradition: Webern's Piano Variations in Early Recordings." Music Analysis 36, no. 2 (2017): 163–215. http://dx.doi.org/10.1111/musa.12094.

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15

Greer, Amy. "Wrestling the Goldbergs: Piano Variations as a Spiritual Practice." Spiritus: A Journal of Christian Spirituality 18, no. 2 (2018): 176–89. http://dx.doi.org/10.1353/scs.2018.0023.

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Șoitu, Cristina-Nicoleta. "The Variational Principle in Dinu Lipatti’s Sonatina for Violin and Piano." Artes. Journal of Musicology 19, no. 1 (2019): 62–78. http://dx.doi.org/10.2478/ajm-2019-0003.

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Abstract This study aims to analyze the variational principle, as it is applied in Dinu Lipatti’s Sonatina for Violin and Piano, from a theoretical-analytical perspective, but also from the standpoint of the interpretative implications. The variational processes, in close connection with the specificity of the neoclassical language of the work, determine an atypical classification of the form of variations in the gender structure, which implies a resizing of the interpretative means by which the musical dramaturgy of the piece can be achieved. The comparison with the classic model of variation

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Conway, Paul. "John McCabe CD round-up." Tempo 58, no. 229 (2004): 53–54. http://dx.doi.org/10.1017/s0040298204290222.

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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

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18

Hétu, Jacques, and Réjean Beaucage. "Variations et variantes." Circuit 15, no. 1 (2010): 19–26. http://dx.doi.org/10.7202/902338ar.

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Le compositeur Jacques Hétu revient sur l’expérience qualifiée de « choc » violent qu’a représenté pour lui l’enregistrement de ses Variations pour piano par Glenn Gould en 1967. Il rappelle, dans un premier temps, que ce musicien qui s’est exprimé essentiellement à travers l’interprétation rêvait aussi d’être compositeur. Il s’interroge sur la façon dont il « s’emparait parfois de la musique des autres et la transformait, parfois en la défigurant, parfois en la transfigurant ». Il cible, à travers des exemples tirés de chacune des variations, les écarts de tempi, d’articulations, de dynamique

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19

Cui, W. Q., Y. Y. Won, M. H. Baek, K. K. Kim, and J. H. Cho. "Variations of the ‘grand-piano sign’ during total knee replacement." Journal of Bone and Joint Surgery. British volume 88-B, no. 11 (2006): 1441–47. http://dx.doi.org/10.1302/0301-620x.88b11.17648.

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Gotlieb, Heidi, and Vladimir J. Konečni. "The Effects of Instrumentation, Playing Style, and Structure in the Goldberg Variations by Johann Sebastian Bach." Music Perception 3, no. 1 (1985): 87–101. http://dx.doi.org/10.2307/40285323.

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Different recordings and arrangements of the Goldberg Variations by Johann Sebastian Bach were evaluated on cognitive, emotional, and perceptual dimensions. In Study 1, eight different renditions of the piece were classified as Classical or Romantic interpretations. Both harpsichord and piano versions of each style were included. Only minimal differences were found in subjects' appreciation for the harpsichord versus the piano recordings. Comparisons between the Classical and Romantic styles also revealed only slight differences in subjects' ratings. In addition, no differences were found in s

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21

Maksimov, Evgenii Ivanovich. "FRANZ SCHUBERT’S PIANO VARIATIONS THROUGH THE LENSES OF THE GENRE DEVELOPMENT." Manuscript, no. 11 (November 2019): 282–88. http://dx.doi.org/10.30853/manuscript.2019.11.53.

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22

Domagała, Jarosław. "Teaching qualities in piano works by Henryk Pachulski in the context of the development of piano technique in children and youth. Part 1." Notes Muzyczny 2, no. 16 (2021): 59–86. http://dx.doi.org/10.5604/01.3001.0015.5488.

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Henryk Pachulski (1852-1921) – a Polish composer, pianist, and teacher. He graduated from the Warsaw Institute of Music, having studied piano with Rudolf Strobl. His harmony and counterpoint teachers were Stanisław Moniuszko and Władysław Żeleński. After that, he studied piano at the Moscow Conservatory with Nicolai Rubinstein and then Pawel Pabst. He learnt harmony from E. L. Langer, then Anton Arensky with whom he also had a special course in counterpoint. In 1886 he started his teaching career at the Moscow Conservatory, which lasted over 30 years. He also performed as a pianist in Moscow,

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23

Karapetyan, Gohar. "Eduard Hayrapetyan Piano quartet (1981 – 1998)." JOURNAL FOR ARMENIAN STUDIES 1, no. 60 (2023): 166–79. http://dx.doi.org/10.24234/journalforarmenianstudies.v1i60.40.

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As a result of the study of the theme, our conclusions are as follows: In the present article we deal with the piano quartet of the composer Eduard Hayrapetyan. This musical work has its incomparable place both in the creative activity of the composer and in the Armenian chamber instrumental music. Eduard Hayrapetyan is one of the prominent representatives of the Armenian composer school. He created European classic music derived from Armenian professional musical traditions, synthesized contemporary melodic elements with folk and folk - professional elements. He also responded with great inte

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Heneghan, Áine. "The Theme of Webern's Variationen für Klavier, Op. 27, Third Movement." Music Theory and Analysis (MTA) 6, no. 1 (2019): 129–38. http://dx.doi.org/10.11116/mta.6.1.4.

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Webern's lectures on form (1934) offer insights into the composer's thinking on musical organization, yet they are rarely invoked to illuminate his own music. Inspired by his analyses of Beethoven, the author provides a reading of the theme from the final movement of Webern's Variations for Piano, Op. 27.

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Misitova, Adilya, Ihor Sediuk, Oleh Kopeliuk, Olga Cherednychenko, and Kateryna Pidporinova. "The four-hand ensembles by Ludwig van Beethoven: search and gain." Revista Amazonia Investiga 12, no. 67 (2023): 337–51. http://dx.doi.org/10.34069/ai/2023.67.07.30.

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The original four-hand ensembles by L. Beethoven have not received the proper attention of scientists. The aim of the study is to evaluate the composer’s gain from the standpoint of the searches for new sonority and timbre variety. This approach reveals the process of the mutual influence of the two-hand and four-hand compositions in his piano heritage. The main method was musical analysis, using which Beethoven's notes and scores were examined, and their structure was investigated on the basis of analysis and synthesis. The principles of abstraction, specification and generalization are also

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Kim, Ji-Young. "A Melody and Its Afterlives in Piano Music by the Schumanns and Brahms." 19th-Century Music 46, no. 3 (2023): 217–43. http://dx.doi.org/10.1525/ncm.2023.46.3.217.

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In the 1830s, Robert Schumann wrote Impromptus on a Romance by Clara Wieck (op. 5), a set of variations on the theme from Wieck’s Romance variée (op. 3). In the 1850s, Clara Schumann wrote variations (op. 20) on an “Albumblatt” from Robert Schumann’s Bunte Blätter (op. 99), which stimulated Brahms to write his own variations (op. 9) on the same theme. Clara and Brahms linked the two temporal nodes together by quoting the melody shared by Clara and Robert’s youthful ops. 3 and 5 in their later ops. 20 and 9. These borrowings have stimulated interpretations that revolve around representations of

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27

Perry, Jeffrey. "The Wanderer's Many Returns: Schubert's Variations Reconsidered." Journal of Musicology 19, no. 2 (2002): 374–416. http://dx.doi.org/10.1525/jm.2002.19.2.374.

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Franz Schubert composed four instrumental movements that form a distinct repertoire: the "Trout" Quintet D. 667/iv; the Octet D. 803/ iv; Piano Sonata in A minor, D. 845/ii; and the Impromptu in B-flat, D. 935/iii. Each of them comprises a set of variations on a major-key theme. Each includes (not unexpectedly) one variation in the parallel minor and (more remarkably) a variation in VI followed by a retransition leading to a dominant interruption that prepares the final tonickey variation. Examination of these movements reveals the intimate relationship and common derivation of variation set,

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Skurko, Evgeniya R. "Sergei Rachmaninoff’s Variations for Piano: Concerning the Question of Interpreting the Genre." Music Scholarship / Problemy Muzykal'noj Nauki, no. 2 (June 2016): 50–56. http://dx.doi.org/10.17674/1997-0854.2016.2.050-056.

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29

Bishop, Michaël. "Finck, Michèle. Sur un piano de paille. Variations Goldberg avec cri (2020)." Book Reviews, no. 118 (September 10, 2021): 234–36. http://dx.doi.org/10.7202/1081109ar.

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Kovács, Ilona. "A hybrid form: The second movement of ernst von Dohnányi’s String Quartet in A major (Op. 7)." Studia Musicologica 50, no. 1-2 (2009): 75–86. http://dx.doi.org/10.1556/smus.50.2009.1-2.4.

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The form of the second movement of the String Quartet in A major, Op. 7 is original not only in Dohnányi’s oeuvre but in music history in general, as well. This new musical idea is a fusion of two traditional forms: a variation and a ternary form. The theme of the movement is followed by four variations, but at the end of the second one there is an unexpected break: a contrasting Trio-like section comes in between and the flow of variations continues only after it finishes. This unique structure is analysed in detail for the first time in present study. Relying on analyses of Dohnányi’s compos

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31

Rickards, Guy. "Berlin: Hindemith's ‘Klaviermusik mit orchester’." Tempo 59, no. 233 (2005): 55–56. http://dx.doi.org/10.1017/s0040298205260230.

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Paul Wittgenstein's commissioning of concertos for piano left-hand is as enviable a legacy as any performer could wish to have, centred as it is on concertos by Korngold, Franz Schmidt (who also penned for Wittgenstein a set of Concertante Variations on a theme of Beethoven with orchestra and three piano quintets), Richard Strauss, Prokofiev, Britten (his op. 21 Diversions) and Ravel. Yet the maimed pianist's quixotic attitude to the works he received is almost as remarkable. Ravel he offended by the liberties he took with the solo part, while Prokofiev's Concerto No. 4 languished unplayed for

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32

Terefenko, Dariusz. "Valentine: For Piano = Für Klavier, and: Three Character Studies: For Piano Solo, and: Saloon Songs: For Solo Piano, and: 24 Variations on a Bach Chorale: Piano Solo (review)." Notes 68, no. 3 (2012): 670–73. http://dx.doi.org/10.1353/not.2012.0026.

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Bozanic, Mina. "Musical space organisation exemplified by variations for piano op. 27 by Anton Webern." Zbornik Akademije umetnosti, no. 4 (2016): 110–21. http://dx.doi.org/10.5937/zbakum1604110b.

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34

Crisp, Deborah. "Liszt’s monument to Bach: The variations onWeinen, Klagen, Sorgen, Zagen, for Solo Piano." Musicology Australia 21, no. 1 (1998): 37–49. http://dx.doi.org/10.1080/08145857.1998.10415952.

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Busse, Walter Gerard. "Toward Objective Measurement and Evaluation of Jazz Piano Performance Via MIDI-Based Groove Quantize Templates." Music Perception 19, no. 3 (2002): 443–61. http://dx.doi.org/10.1525/mp.2002.19.3.443.

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The purpose of this study was to (a) objectively measure and analyze performance deviations from mechanical regularity for three jazz pianists via MIDI-based "groove quantize" procedures and (b) measure how experts rate musical examples incorporating these deviations as being representative of the swing style. The "groove quantize" software procedure was used to measure performance deviations from mechanical regularity for (a) note placements (timings), (b) note durations (articulations), and (c) note velocities (dynamics) contained in 281 measures from 33 performances by three professional ja

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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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Spiller, William T. "Piano Sonata no. 1, op. 1 (1977), and: Concerto no. 1 for Piano and Orchestra, op. 12, and: Four Apparitions for Piano, op. 17, and: Nocturne No. 2 for Piano, op. 31 (1991), and: Nocturne No. 5 for Piano, op. 55 (1996), and: Nocturne No. 6 for Piano, op. 62, and: Nocturne No. 7 for Piano, op. 65, and: Three Impromptus for Piano, op. 68, and: Variations on a Theme by Mozart for Two Pianos, op. 42 (review)." Notes 60, no. 4 (2004): 1034–49. http://dx.doi.org/10.1353/not.2004.0075.

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Stetsenko, Nikita. "Performance Features of Variations on a Theme by Paganini, op. 35 (first book) by I. Brahms." Eurasian music science journal, no. 2 (September 29, 2021): 13–20. http://dx.doi.org/10.52847/eamsj/vol_2021_issue_2/64.

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The article examines the unambiguous of the iconic works of romantic music Variations on the theme of Paganini by I. Brahms from the point of view of performance characteristics. This is one of the most difficult pieces in all piano literature. "Variations on a Theme of Paganini" is also called the "encyclopedia" of Brahms' pianism. It is a powerful cycle of diverse content, in which dynamic and frantic pieces alternate with elegiac, scherzo and waltz-like episodes. In the well-known theme of Paganini, Brahms discovered new sides and discovered unexpected subtexts. This cycle presents the most

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Oláh, Boglárka Eszter. "Transcription, Paraphrase, Creed in Franz Liszt’s Variations on „Weinen, Klagen, Sorgen, Zagen”." Studia Universitatis Babeş-Bolyai Musica 68, no. 2 (2023): 341–52. http://dx.doi.org/10.24193/subbmusica.2023.2.25.

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"Franz Liszt created a new tradition by playing transcriptions and paraphrasing the most well-known operas and works of his time on his fabulous concerts. This habit created new genres like Transcriptions (Reminiscences de Norma S. 394, Grandes études de Paganini S. 141) and Paraphrases (The Rigoletto Paraphrase S.434, The Ernani Paraphrase S. 432). The Variations on „Weinen Klagen Sorgen Zagen” fits into both categories: On the one hand Liszt paraphrases J.S.Bach’s Crucifixus and the 12th Cantata. On the other hand, he transcribes with a great craftsmanship his piano work for organ. The histo

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Bassa, Oksana. "Arrangements of the folk songs for voice and piano by Antin Rudnytsky as an example of vocal piano variations on a folk theme." UKRAINE. EUROPE. WORLD. HISTORY AND NAMES IN CULTURAL AND ARTISTIC REFLECTIONS, no. 6 (June 30, 2023): 32–37. http://dx.doi.org/10.31318/2786-8877.6.2023.291299.

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LingCao Wu. "Hierarchically Gated Recurrent Neural Network optimized with Tasmanian Devil Optimization for Piano Playing Based on Virtual Reality Technology." Journal of Electrical Systems 20, no. 3s (2024): 2574–87. http://dx.doi.org/10.52783/jes.3155.

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Playing the piano is a beautiful and extremely technical art form in addition to an elegant performance art. The player's ability to execute with elegance and technicality which requires years of practice will be crucial. The success of a piano concert ultimately rests not only on the performing abilities of the pianist but also on the pianist's mental and psychological makeup. This manuscript presents a Hierarchically Gated Recurrent Neural Network (HGRNN) optimized with the Tasmanian Devil Optimization (TDO) for predicting the real time instruction for playing piano based on virtual reality

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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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Rudovský, Martin. "Zdeněk Fibich's Variations in B Flat Major for Piano - the Discovery of an Autograph." Musicologica Olomucensia 12, no. 1 (2010): 129–40. http://dx.doi.org/10.5507/mo.2010.017.

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Thomson, Andrew, Janet Hilton, Raphael Wallfisch, and Peter Wallfisch. "Kenneth Leighton: Fantasy on an American Hymn Tune; Alleluia Pascha nostrum; Piano Sonata; Variations." Musical Times 134, no. 1804 (1993): 350. http://dx.doi.org/10.2307/1003077.

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Carruthers, Glen. "Scriabin: The Complete Piano Sonatas. Marc-André Hamelin, piano. Hyperion CDA 67131/2 [DDD], produced by Andrew Keener Beethoven: Diabelli Variations. William Kinderman, piano. Hyperion CDA 66763 [DDD], produced by Marc Seiffge." Canadian University Music Review 17, no. 2 (1997): 129. http://dx.doi.org/10.7202/1014798ar.

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Fonte, Vera, Luís Pipa, Aaron Williamon, and Tania Lisboa. "Memorising Contemporary Piano Music as Described by Professional Pianists." Music & Science 5 (January 2022): 205920432211329. http://dx.doi.org/10.1177/20592043221132932.

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The convention of performing from memory is a well-established practice among pianists, but an exception is often made for contemporary piano repertoire. Even so, a number of renowned pianists continue performing highly demanding compositions of this genre from memory, and this practice is commended by contemporary composers. No research to date has systematically investigated musicians’ views on this matter and explored detailed accounts of how to prepare and memorise such repertoire. In this study six renowned professional pianists with experience in performing contemporary piano repertoire

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LAZAR, Zsombor, and Ignac-Csaba FILIP. "Georg Ruzitska: Introduction et Variations brillantes sur un thème hongrois, op. 14." BULLETIN OF THE TRANSYLVANIA UNIVERSITY OF BRASOV SERIES VIII - PERFORMING ARTS 13 (62), SI (2021): 167–74. http://dx.doi.org/10.31926/but.pa.2020.13.62.3.18.

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In 2019 we celebrated the 150th anniversary of the death of Transylvanian composer, Georg Ruzitska. Living a long 83 years, he experienced the transition from the Classial to Romantic eras. This period’s myriad historic and artistic developments influenced Ruzitska’s music, inspiring the migrant composer’s composition of the Introduction et variations brillantes sur un tême hongrois op. 14. The work is one of Ruzitska's four unedited, unpublished cello pieces that lay in the form manuscript on the shelves of the Széchenyi Library in Budapest. This interesting musical piece is written for cello

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MacDonald, Claudia. "Schumann's Piano Practice: Technical Mastery and Artistic Ideal." Journal of Musicology 19, no. 4 (2002): 527–63. http://dx.doi.org/10.1525/jm.2002.19.4.527.

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From the summer of 1830 through the fall of 1831, Schumann worked diligently at the piano with the intention of becoming a professional performer. Beginning in May 1831 he regularly recorded his progress in his diary, describing his repertory, hand position, his aesthetic and technical goals, his frustrations and triumphs. Repeatedly he wrote of the clash between a cherished ideal, nurtured in him as an amateur, of music as an expression from the heart, and what he deemed the routine music making of professionalism——a clash played out in his piano practice until it reached an impasse he was un

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Polska, I. І. "«Exegi monumentum»: the reflection of Schumann’s images in the Variations by J. Brahms on the theme by R. Schumann op. 23." Aspects of Historical Musicology 17, no. 17 (2019): 249–61. http://dx.doi.org/10.34064/khnum2-17.16.

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Background. The problematics associated with the personal and creative relationships between Johannes Brahms and Robert Schumann, as well as the nature of their reflection in art, have been worrying the minds of researchers for more than a century and a half. One of significant, but little-studied aspects is the embodiment of Schumann’s images and associations in the four-handed piano works by J. Brahms. The article objective is revealing of the semantic specifics of the reflection of Robert Schumann creativity in the Variations by Johannes Brahms on the Theme by R. Schumann, op. 23. The study

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Matthews, David. "Deal Festival: Pavel Novák." Tempo 58, no. 227 (2004): 59–60. http://dx.doi.org/10.1017/s0040298204250057.

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In describing the performance of three extraordinary pieces by the Czech composer Pavel Novák, I have to begin by declaring an interest in my capacity as Artistic Director of the Deal Summer Music Festival, at which he was a featured composer. Novák was born in Brno in 1957, and has achieved a high reputation in Moravia, where he is now acknowledged to be the leading composer of his generation. He is not yet well known outside the Czech Republic, although the Schubert Ensemble have commissioned three pieces from him – Lord, We Seek the Song of the Chosen for piano trio (1991); Royal Funeral Pr

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