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Journal articles on the topic 'Violin concertos'

Author: Grafiati

Published: 4 June 2021

Last updated: 9 February 2022

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1

Tyniec, Andréa. "Three Violin Concertos." Circuit: Musiques contemporaines 28, no. 2 (2018): 112. http://dx.doi.org/10.7202/1051300ar.

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2

Forsberg, Suzanne, Maddalena Laura Lombardini Sirmen, and Jane L. Berdes. "Three Violin Concertos." Notes 50, no. 3 (1994): 1173. http://dx.doi.org/10.2307/898605.

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3

Abramson, Michael. "Some Intermediate-Level Violin Concertos." American String Teacher 47, no. 2 (1997): 53–55. http://dx.doi.org/10.1177/000313139704700210.

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4

Druce, D. "Violin concertos, arias and sextets." Early Music 42, no. 1 (2014): 136–38. http://dx.doi.org/10.1093/em/cau004.

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5

Driver, Paul. "Gruber's Concertos." Tempo, no. 178 (September 1991): 22–27. http://dx.doi.org/10.1017/s004029820001398x.

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The concerto evidently appeals to HK Gruber, as symphonies do not. He has so far written four works that are unambiguously in this form: ‘…aus schatten duft gewebt…’, a concerto for violin and orchestra of 1977–8; the concerto for percussion and orchestra Rough Music (Rauhetöne) of 1982–3; Nebelsteinmusik, for solo violin and string orchestra, of 1988; and the Concerto for Cello and Chamber Orchestra of 1989. Ambiguous examples of the form are his early Concerto for Orchestra (1960–64) – concertos for orchestra are by definition ambiguous – and Frankenstein!!, his ‘pan–demonium’ (rather than ‘

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6

Whitmore, Philip. "Towards an Understanding of the Capriccio." Journal of the Royal Musical Association 113, no. 1 (1988): 47–56. http://dx.doi.org/10.1093/jrma/113.1.47.

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An extended, unaccompanied violin passage labelled ‘Capriccio’ occurs towards the end of the first and last movements of each of the 12 solo violin concertos, op. 3, by Pietro Antonio Locatelli (1695–1764). These concertos, all of which observe the three-movement fast-slow-fast layout, were published in 1733 by Le Cène in Amsterdam under the title L'arte del violino, but were probably written in the late 1720s. The capriccios may last up to a few pages, and some are longer than the whole of the rest of the movement to which they belong.

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7

Dudley, Sherwood, and Jehoash Hirshberg. "Ten Italian Violin Concertos from Fonds Blancheton." Notes 43, no. 3 (1987): 672. http://dx.doi.org/10.2307/898216.

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8

Rushton, Julian, Mozart, and Monica Huggett. "Violin Concertos Nos.1, 2 & 5." Musical Times 135, no. 1816 (1994): 387. http://dx.doi.org/10.2307/1003230.

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9

Ebin, Zachary. "Period Style Cadenzas for Mozart's Violin Concertos." American String Teacher 62, no. 1 (2012): 38–43. http://dx.doi.org/10.1177/000313131206200107.

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10

Ревуцький, А. Я., and О. П. Гужва. "Melody of S. Prokofiev as the main feature of his style (on the examples of Concerts No. 1 and No. 2 for violin and orchestra)." Музикознавча думка Дніпропетровщини, no. 15 (November 1, 2019): 61–75. http://dx.doi.org/10.33287/22195.

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The purpose of the article is to analyze the violin concertos No. 1and No. 2, to find and explore the characteristic signs of S. Prokofievʼsmelody, lyrics, cantilenas, and ways of its construction. One of the taskswill be to discover their differences, using the example of concerts to showthe evolution of melody development by S. Prokofiev. Find thecharacteristics of his melody with works that were created in the same timeinterval along with the violin concertos. The methods are based on a comprehensive analysis of violin concertos; the historical and structurallyanalytical methods are used to

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11

CAMPBELL, CAREY. "SOLOIST PARTICIPATION DURING THE TUTTIS OF EIGHTEENTH-CENTURY WOODWIND CONCERTOS." Eighteenth Century Music 7, no. 1 (2010): 63–79. http://dx.doi.org/10.1017/s1478570609990455.

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ABSTRACTAlthough the common way to perform late eighteenth-century flute or oboe concertos today is for the soloist to rest during tutti passages, this is probably not what most composers had in mind. Recent research has shown that keyboard and violin soloists played an important role as orchestral members during the ritornellos of their concertos, the former providing a continuo part and the latter doubling the orchestral first violins. But what about concertos for flute or oboe? Were these soloists also to play during the tuttis, and if so, what? Primary source evidence (supported by stateme

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12

Zhang, Chengye, and Tyrone Greive. "An Oriental Flower in the Garden of Violin Concertos Introducing the Butterfly Lovers Concerto." American String Teacher 51, no. 2 (2001): 62–67. http://dx.doi.org/10.1177/000313130105100210.

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13

Uspenska, I. O. "Violin concerto principles as a way of musical thinking: semantic discourse." Problems of Interaction Between Arts, Pedagogy and the Theory and Practice of Education 56, no. 56 (2020): 169–88. http://dx.doi.org/10.34064/khnum1-56.11.

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Background. The history of concert music, separated from ritual and other non-musical functions, is closely connected with the art of violin. The violin was the leading instrument of the Baroque concert style, the examples of which are still unsurpassed. Despite the large amount of research on the formation and varieties of violin style, the concept of “concert” in combination with the concept of “violin” has not yet been considered separately, which determines the relevance of the topic of this article. The object of the research is a concerto principle of musical thinking in violin music; th

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14

Hammill, Nicole. "The Other Eight Violin Concertos of Charles-Auguste de Bériot." American String Teacher 46, no. 2 (1996): 51–54. http://dx.doi.org/10.1177/000313139604600214.

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15

Kawabata, Maiko. "Virtuoso Codes of Violin Performance: Power, Military Heroism, and Gender (1789-1830)." 19th-Century Music 28, no. 2 (2004): 089–107. http://dx.doi.org/10.1525/ncm.2004.28.2.089.

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Beyond its glossy surface of virtuosity and lyricism, a violin concerto is replete with a vocabulary of hidden and (on second glance) not so hidden gestures. From Beethoven's timpani strokes to Paganini's marches and fanfares, the genre employs a host of "heroic" elements and gestures borrowed from military band music. In the period 1789-1830 these borrowings were hardly restricted to a purely musical level. Rather, I argue, military themes and ideas permeated virtually every aspect of a violin concerto's composition, performance, and reception. In the famous concertos as with countless now-fo

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16

Guasteví, Sara, Jaume Ayats, and Enric Giné. "Joan Manén's Pioneer Recordings: Violin Concertos by Beethoven, Bruch, and Mendelssohn." Fontes Artis Musicae 68, no. 1 (2021): 1–17. http://dx.doi.org/10.1353/fam.2021.0000.

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17

Palmer, Peter. "Frédéric Rapin, Musik in Luzern, Rhapsodische Kammermusik aus der Schweiz’. ERNST LEVY, HERMANN SUTER." Tempo 58, no. 229 (2004): 58–60. http://dx.doi.org/10.1017/s0040298204350229.

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‘Frédéric Rapin: Concertos suisses pour clarinettes’. Works by HERBERT FRIES, ARMIN SCHIBLER, JEAN BINET, JEAN BALISSAT, ANDOR KOVACH and ALEXIS CHALIER. Frédéric Rapin (cl), Kammerorchester Arpeggione Hohenems c. Jean-François Antonioli. Musiques Suisses Grammont Portrait MGB CTS-M 80.‘Musik in Luzern: Kammermusik Duo Lang’. FRITZ BRUN: Sonata No. 1 for Violin and Piano. THÜRING BRÄM: Album ‘Goodbye Seventies’. With works by MENDELSSOHN and RACHMANINOV. Brigitte Lang (vln), Yvonne Lang (pno). GALLO CD-1084.‘Rhapsodische Kammermusik aus der Schweiz’. ERNST LEVY: Quintet in C minor for 2 violin

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18

Chamczyk, Ewa. "Duels in Sound: Pietro Antonio Locatelli vs Jean-Marie Leclair." Kwartalnik Młodych Muzykologów UJ, no. 47 (4) (2020): 69–102. http://dx.doi.org/10.4467/23537094kmmuj.20.043.13916.

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The tradition of musical duels harkens back to the days of ancient Greece. One of the earliest examples of musical rivalry is the myth of Marsyas and Apollo, which ends tragically for the satyr. Without doubt, the tournaments of the ancients served as an inspiration for later generations of musicians. In each epoch they took a different form, tailored to the current norms and customs. In the sixteenth century the singing contests of the Meistersingers became extremely popular. With the development of instrumental music in the seventeenth century, duels, in which the main subject of the dispute

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19

Mottershead, Tim. "Manchester, Bridgewater Hall: Concertos by Hakola and Broström." Tempo 67, no. 265 (2013): 75–77. http://dx.doi.org/10.1017/s0040298213000508.

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Given that the BBC Philharmonic had taken the courageous step to perform not one but two substantial premières on 1 February, one might have expected enticing potboilers to make up the rest of the menu. However, the remainder of the programme was devoted to Stravinsky's Petrushka (admittedly his most colourful ballet) along with his austere Symphonies of Wind Instruments. The concert was given a novel twist in that the first half (Symphonies of Wind Instruments and Hakola Violin Concerto) was directed by visiting guest conductor Håkan Hardenberger with John Storgårds as soloist; whilst in the

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20

Kennaway, George. "Haydn's (?) Cello Concertos, 1860-1930: Editions, Performances, Reception." Nineteenth-Century Music Review 9, no. 2 (2012): 177–211. http://dx.doi.org/10.1017/s1479409812000274.

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While there exist numerous nineteenth- and early twentieth-century annotated editions of repertoire such as the violin sonatas of Beethoven, the repertoire for the cello was in general edited significantly less frequently. The cello concertos by or attributed to Haydn constitute an exception, both in the number of versions and the degree of editorial intervention. Three cello concertos were associated with Haydn's name: the well-known concerto in D Hob.VIIb:2, another concerto in D Hob.VIIb:4, and a concerto in C Hob.VIIb:5. The first is now known to be a genuine work of Haydn's although this

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21

Agócs, Kati. "TWO RECENT CONCERTOS BY GEORGE TSONTAKIS." Tempo 62, no. 246 (2008): 11–21. http://dx.doi.org/10.1017/s0040298208000247.

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Music's ability to animate a range of expressive nuances between the tangible and the intangible, and to play many different roles in spiritual life, are but two reasons why artists with mystical inclinations often choose it over other media. The composer George Tsontakis (born 1951 in Astoria, New York, of Cretan origins) writes music that frequently explores mystical themes both directly and more obliquely. The goal of this – the first major journal article on his work – is to touch upon important attributes of that language and its development by comparing two recent works, both of which ha

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22

LOCKEY, NICHOLAS. "ANTONIO VIVALDI AND THE SUBLIME SEASONS: SONORITY AND TEXTURE AS EXPRESSIVE DEVICES IN EARLY EIGHTEENTH-CENTURY ITALIAN MUSIC." Eighteenth Century Music 14, no. 2 (2017): 265–83. http://dx.doi.org/10.1017/s1478570617000070.

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ABSTRACTAntonio Vivaldi's cycle of violin concertos dramatizing the four seasons marked a substantial shift in the way that the seasons were depicted in the arts. Moving away from religious and mythological allegory, they exemplify a growing interest in descriptive representation of nature's power and in humanity's complex physical and emotional relationship with elements beyond its control. Positing new connections to Arcadian reform ideals of verisimilitude, this article addresses important questions concerning Vivaldi's pairing of sonnets with concertos and the aesthetic factors behind his

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23

Soloviova, Oksana. "Concerts for Clavier and Orchestra by Wolfgang Amadeus Mozart: Trends in the Development of the Genre in the Context of His Composer Method." Ukrainian musicology 46 (October 27, 2020): 127–39. http://dx.doi.org/10.31318/0130-5298.2020.46.234610.

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In recent years, research opportunities in the field of Mozart studies have expanded. As a result, new scientific paradigms are emerging that differ from the generally accepted ones. Even the well-known facts of the composer's biography and work can be viewed in a new way today. The interdependence of Mozart's instrumental and theatrical music has long been studied, but still remains an inexhaustible source for new research – this determines the relevance of the study. Main objective of the study – to determine the interaction of the two sides of Mozart's work: instrumental and theatrical and

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24

Polzonetti, Pierpaolo. "Tartini and the Tongue of Saint Anthony." Journal of the American Musicological Society 67, no. 2 (2014): 429–86. http://dx.doi.org/10.1525/jams.2014.67.2.429.

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This article explores the nexus between Giuseppe Tartini's concertos for violin and orchestra, written for the Franciscan Basilica of Saint Anthony in Padua, and the devotion to this Saint's tongue, still preserved as a relic. Anthony's tongue, hagiographers write, was the instrument of a rhetoric that transcended verbal signification, able to move people of different languages and even animals. Soon, the tongue of Saint Anthony became a powerful symbol of universal language. In the eighteenth century, the Catholic Church, and especially the followers of Saint Anthony, revitalized their global

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25

Izergina, A. R. "IN THE MIRROR OF A MASTERPIECE: "FIVE REFLECTIONS ON THE THEME OF THE 24TH CAPRICE OF PAGANINI" BY KUZMA BODROV." Arts education and science 1, no. 1 (2021): 131–40. http://dx.doi.org/10.36871/hon.202101015.

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Since the second half of the XXth century intertextuality has become a key feature of musical culture, bringing together compositions of different epochs, traditions, styles and authors. In this regard, the text of a masterpiece acquires special significance. Being an open and mobile system, it enters into various dialogues with the whole set of stylistic and genre forms of modern music. The article considers the work "Five Reflections on the Theme of the 2018th Caprice of Paganini" (61) for viola, five solo violins and chamber orchestra by the Russian composer Kuzma Bodrov. The concept of the

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26

Akshentseva, Veronika M. "About the Role of the Violin and the Clavier in Joseph Haydn’s Instrumental Concertos." Music Scholarship / Problemy Muzykal'noj Nauki, no. 4 (December 2019): 192–204. http://dx.doi.org/10.17674/1997-0854.2019.4.192-204.

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27

Hill, A. Kori. "Florence B. Price, Florence Price: Violin Concertos. Er-Gene Kahng, violin; Ryan Cockerham, conductor; The Janáček Philharmonic Orchestra. Albany Records TROY1706, 2018." Journal of the Society for American Music 13, no. 4 (2019): 549–51. http://dx.doi.org/10.1017/s1752196319000452.

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28

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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29

Green, Edward. "Interview with Composer George Tsontakis." ICONI, no. 2 (2020): 38–49. http://dx.doi.org/10.33779/2658-4824.2020.2.038-049.

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This interview for the journal ICONI, taken by Dr. Edward Green, Professor at the Manhattan School of Music, is with one of the leading composers of the United States, George Tsontakis. A professor at Bard Conservatory of Music, he is the recipient of numerous awards for his work, including the prestigious Grawmeyer Award for his Second Violin Concerto. Professor Tsontakis’ work — nearly all of it commissioned — is wide-ranging in terms of genre, imaginative in its orchestrations, and always strongly emotional. Included in this interview are discussions of some of the biographical background t

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30

Nidecka, Ewa. "Piano concerto no. 1 by Andrzej Nikodemowicz – a hidden desire for freedom." Notes Muzyczny 1, no. 9 (2018): 123–59. http://dx.doi.org/10.5604/01.3001.0012.9902.

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Piano concerto no. 1 (1994) by Andrzej Nikodemowicz (1925-2017) is among seven piano concertos written by the composer. Its first version is the Violin concerto created in 1973. Because of the difficult violin part, the composer remade the composition for the piano. The first performance of the Piano concerto no. 1 took place in 1998 in Lviv. While writing the piece, Andrzej Nikodemowicz was persecuted by the Soviet authorities in Lviv for his religious views, that is why the piece expresses his hidden desire for creative freedom. It remains close to expressionist tradition influenced by Scria

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31

TAYLOR, NICHOLAS E. "GEORG PHILIPP TELEMANN (1681–1767) Complete Violin Concertos, Volume 4 Elizabeth Wallfisch (violin, director) / L'Orfeo Barockorchester cpo 777 242–2, 2012; one disc, 62 minutes." Eighteenth Century Music 11, no. 1 (2014): 139–41. http://dx.doi.org/10.1017/s1478570613000547.

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32

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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33

Josephson, Nors S. "Unifying stylistic syntheses in the late compositions (1939–1945) of Béla Bartók." Studia Musicologica 58, no. 2 (2017): 147–73. http://dx.doi.org/10.1556/6.2017.58.2.2.

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Bartók’s later works from the years 1939–1945 present an impressive synthesis of his musical innovations. Beginning with the Divertimento and Sixth String Quartet (both composed in 1939), the Hungarian composer starts with a freely tonal, neo-Classical foundation. Above this initial compositional level he then superimposes Beethovenian formal structures gleaned from the latter’s opp. 53 and 135, in addition to a prominent Stravinsky quotation from The Rite of Spring, part two. In both works Bartók achieves an impressive large-scale cyclical unity, frequently through wholetone scalar integratio

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34

Broman, Per F. "In Beethoven's and Wagner's footsteps: Phrase structures and Satzketten in the instrumental music of Béla Bartók." Studia Musicologica 48, no. 1-2 (2007): 113–31. http://dx.doi.org/10.1556/smus.48.2007.1-2.7.

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Abstract Recent studies of formal structure in themes in the Classical repertoire (William Caplin) as well as the music of Wagner (Matthew BaileyShea) point towards the enormous importance and potential of the Sentence phrase structure with its hybrid forms for analyzing tonal music. Initially described by Schoenberg, a Sentence is phrase consisting two main events of equal length, a presentation phrase (consisting of one repeated basic idea) and a continuation phrase. In this paper I will demonstrate Bartók's dependence upon Classical and Romantic phrase structures, including the Sentence, an

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35

Ossi, Massimo. "Musical Representation and Vivaldi's Concerto Il Proteo, ò Il mondo al rovverscio, RV 544/572." Journal of the American Musicological Society 69, no. 1 (2016): 111–77. http://dx.doi.org/10.1525/jams.2016.69.1.111.

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Vivaldi's concerto titles draw ambivalent reactions from historians, who see them as commercial hooks, rarely reflecting musical substance. But titles condition a work's reception, connecting it to a cultural context by which to steer a listener's reactions, both intellectual and affective. Eighteenth-century writers on aesthetics recognized the role of textual “ideas” in the reception of music. Vivaldi's Il Proteo, ò Il mondo al rovverscio is regarded as a “trick piece” in which the solo violin and cello parts are “reversed,” each being written in the other's clef. The concerto, however, invo

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36

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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GABLE, TONY. "JOSEPH BOULOGNE, CHEVALIER DE SAINT-GEORGES (c1745–1799) VIOLIN CONCERTOS. CONCERTO IN D, OP. POST. NO. 2, CONCERTO NO.10 IN G, CONCERTO IN D, OP. 3 NO. 1 Qian Zhou, Toronto Camerata, conductor Kevin Mallon Naxos, 2004, 8.557322; one disc, 65 minutes." Eighteenth Century Music 5, no. 1 (2008): 130–32. http://dx.doi.org/10.1017/s1478570608001292.

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Schwartz-Kates, Deborah. "Alberto Ginastera, Cello Concertos. Mark Kosower, cello; Bamberg Symphony Orchestra, Lothar Zagrosek, conductor. Naxos CD 8.572372, 2011./Astor Piazzolla, Tangos for Violin, Brass Quintet, and Percussion, arr. Donato De Sena. Quintetto d'Ottoni e Percussioni della Toscana; Andrea Tacchi, violin. Naxos CD 8.572611, 2010." Journal of the Society for American Music 6, no. 4 (2012): 497–500. http://dx.doi.org/10.1017/s1752196312000429.

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39

Cleman, Tom, and Henri Lazarof. "Violin Concerto." Notes 46, no. 3 (1990): 815. http://dx.doi.org/10.2307/941454.

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40

Jensen, Byron, William Schuman, Philip Quint, Charles Ives, Jose Serebrier, and Bournemouth Symphony Orchestra. "Violin Concerto." American Music 21, no. 4 (2003): 530. http://dx.doi.org/10.2307/3250580.

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41

Adlington, Robert, Holloway, Kovacic, et al. "Violin Concerto; Horn Concerto." Musical Times 136, no. 1825 (1995): 163. http://dx.doi.org/10.2307/1004015.

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42

Morgan, Robert P., and Elliott Carter. "Violin Concerto (1990)." Notes 50, no. 3 (1994): 1181. http://dx.doi.org/10.2307/898608.

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43

Palmer, Peter. "Holliger's Violin Concerto." Tempo 59, no. 231 (2005): 70. http://dx.doi.org/10.1017/s0040298205220077.

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44

Whittall, Arnold. "Carter’s Violin Concerto." Tempo 60, no. 236 (2006): 75. http://dx.doi.org/10.1017/s0040298206220151.

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45

Morgan, Robert P., and Anthony Pople. "Berg: Violin Concerto." Music Analysis 12, no. 3 (1993): 400. http://dx.doi.org/10.2307/854152.

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46

Cope, David, and Toshi Ichiyanagi. "Violin Concerto: Circulating Scenery." Notes 44, no. 3 (1988): 593. http://dx.doi.org/10.2307/941561.

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47

Quinn, Peter. "Pēteris Vasks's Violin Concerto." Tempo 59, no. 233 (2005): 82–83. http://dx.doi.org/10.1017/s0040298205280257.

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48

Grebneva, I. "”The image” of the violin in the creative work of A. Corelli (on the example of the concerto grosso genre)." Problems of Interaction Between Arts, Pedagogy and the Theory and Practice of Education 49, no. 49 (2018): 115–27. http://dx.doi.org/10.34064/khnum2-49.08.

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Statement of the problem. The violin style of A. Corelli, a composer-violinist who laid the foundation for the development of the violin art in Europe, represents a special “image of the instrument” that entered the professional-academic arena during the Baroque era. The research of A. Corelli’s violin style belongs to the field of organology, which is dedicated to the integrated study of instruments as the “organs” of musicians’ thinking. The close relationship, connection of the individual who is playing music with his/her instrument is not only one of the little developed theoretical proble

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KAPSA, VÁCLAV. "JOSEF ANTONÍN GURETZKY (1709–1769), BOHUSLAV MATĚJ ČERNOHORSKÝ (1684–1742) CONCERTOS OF JOSEF GURETZKY Rodolfo Richter (violin), Kinga Gáborjáni (violoncello) / The Harmonious Society of Tickle-Fiddle Gentlemen / Robert Rawson Chandos 0813, 2017; one disc, 73 minutes." Eighteenth Century Music 15, no. 2 (2018): 253–55. http://dx.doi.org/10.1017/s1478570618000143.

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Rickards, Guy. "LEE HYLA." Tempo 58, no. 230 (2004): 86–87. http://dx.doi.org/10.1017/s0040298204290337.

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