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Relevant bibliographies by topics / Violin sonata by C. Franck

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Academic literature on the topic 'Violin sonata by C. Franck'

Author: Grafiati

Published: 5 June 2025

Last updated: 2 August 2025

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Journal articles on the topic "Violin sonata by C. Franck"

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Obolenska, Mariia. "Emotional Intelligence of a Pianist-Accompanist (on the Example of C. Franck's Violin Sonata Performed by Martha Argerich)." Bulletin of Kyiv National University of Culture and Arts. Series in Musical Art 5, no. 2 (2022): 127–40. https://doi.org/10.31866/2616-7581.5.2.2022.269639.

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The purpose of the research is to identify the regularities of emotional intelligence in the process of concert activity of a pianist-accompanist. Emotional intelligence is a powerful means of communication between a pianist-accompanist and a soloist. Understanding the mechanisms of such psychological activity and their implementation in the creative process is an essential condition for the professional literacy of the accompanist. The research methodology. The main tool in the research is the method of analytical observation, which is based on the comparison of stationary and

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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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Obolenska, Mariia. "Emotional Intelligence of a Pianist-Accompanist (on the Example of C. Franck's Violin Sonata Performed by Martha Argerich)." Bulletin of Kyiv National University of Culture and Arts. Series in Musical Art 5, no. 2 (2022): 127–40. http://dx.doi.org/10.31866/2616-7581.5.2.2022.269639.

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The purpose of the research is to identify the regularities of emotional intelligence in the process of concert activity of a pianist-accompanist. Emotional intelligence is a powerful means of communication between a pianist-accompanist and a soloist. Understanding the mechanisms of such psychological activity and their implementation in the creative process is an essential condition for the professional literacy of the accompanist. The research methodology. The main tool in the research is the method of analytical observation, which is based on the comparison of stationary and variable data.

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Burel, Oleksandr. "On Gabriel Pierné and his compositions for piano and orchestra." Aspects of Historical Musicology 16, no. 16 (2019): 170–89. http://dx.doi.org/10.34064/khnum2-16.10.

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Background. The French composers’ creativity of the late XIX – first third of XX centuries is the admirable treasury of the world musical art. It is worth mentioning such remarkable and original artists as C. Debussy and M. Emmanuel, P. Dukas and E. Satie, A.Roussel and M.Ravel. The name of G. Piern&#233; (1863–1937) can surely be added to this series of authors. But his oeuvre is still terra incognita for us. The thorough considerable researches about the author are not numerous. The monograph “Gabriel Piern&#233;: musicien lorrain” by G. Masson was created in 1987, and the publicatio

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Goins, Angela Morgan, and Peter Marsh. "A New Look at the Henle Edition of the Franck Violin Sonata." American String Teacher 39, no. 1 (1989): 74–77. http://dx.doi.org/10.1177/000313138903900126.

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

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Rickards, Guy. "Music by women composers." Tempo 59, no. 234 (2005): 66–72. http://dx.doi.org/10.1017/s0040298205300325.

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HOWELL: Violin Sonata in F minor; Rosalind for violin & piano; Piano Sonata in E minor; Humoresque for piano; 5 Studies for piano. Lorraine McAslan (vln), Sophia Rahman (pno). Dutton Epoch CDLX 7144.BACEWICZ: Violin Sonatas Nos. 4–5; Oberek No. 1; Sonata No. 2 for violin solo; Partita; Capriccio; Polish Capriccio. Joanna Kurkowicz (v;n), Gloria Chien (pno). Chandos CHAN 10250.MARIC: Byzantine Concerto1; Cantata: Threshold of Dream2,3,6; Ostinato Super Thema Octoïcha4–6; Cantata: Song of Space7. 1Olga Jovanovic (pno), Belgrade PO c. Oskar Danon, 2Dragoslava Nikolic (sop, alto), 3Jovan Milic

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Palmer, Peter. "Roberts, Sackman, Ingoldsby et al." Tempo 60, no. 238 (2006): 40–41. http://dx.doi.org/10.1017/s0040298206240312.

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JEREMY DALE ROBERTS: Winter Music; Croquis (selection); Oggetti – Omaggio à Morandi; Wieglied; Layers; Hamadryad. Hiroaki Takenouchi (pno), Dimitri Murrath (vla), Lontano c. Odaline de la Martinez. Lorelt LNT118.NICHOLAS SACKMAN: Scorpio; Time-piece (revised 2002); Cross hands; Koi; Sonata for trombone and piano (revised 1999), Sextet for wind. Fine Arts Brass Quintet and various artists. Metier MSV CD92049.TOM INGOLDSBY: Dialogues; Piano Sonata; Trio (Sonata for Violin, Viola and Piano); After the Eulogy. Adam Summerhayes (vln), Bridget Carey (vla), Alan Brown (pno), Catherine Summerhayes (pn

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McClelland, Ryan. "Tonal and Rhythmic-Metric Process in Brahms's Early C-Minor Scherzos." Articles 26, no. 1 (2012): 123–47. http://dx.doi.org/10.7202/1013246ar.

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The scherzos Brahms composed for his Piano Quintet in F Minor, Op. 34 (1862; rev. 1864) and for the Dietrich-Schumann-Brahms F-A-E violin sonata (1853) are dramatic, C-minor pieces that allude to works of Beethoven's middle period. Both scherzos open with tonal and rhythmic-metric dissonance and end with tonal and rhythmic-metric consonance, yet there are significant refinements in Brahms's handling of these global progressions in the piano quintet scherzo. The piano quintet scherzo engages a smaller network of interrelated dissonances, intensifies these dissonances throughout the movement, an

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Lasocki, David, Giovanni Platti, Gregory Hayes, et al. "Sonata in C Minor; For Oboe (Violin, Flute) and Basso Continuo (Harpsichord, Piano)." Notes 45, no. 3 (1989): 622. http://dx.doi.org/10.2307/940829.

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Dissertations / Theses on the topic "Violin sonata by C. Franck"

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Kreutzfeldt, Hannah L. "Interpreting Bach: Sonata No. 3 in C Major For Solo Violin." University of Akron / OhioLINK, 2014. http://rave.ohiolink.edu/etdc/view?acc_num=akron1405364000.

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Oh, Hyun Sun. "A Similar Approach with Different Results: the Use of Baroque Elements in Stravinsky’s Suite Italienne (1933), Shostakovich’s Violin Sonata in G Major, Op 134 (1968) and Schnittke’s Suite in the Old Style (1972)." Thesis, University of North Texas, 2013. https://digital.library.unt.edu/ark:/67531/metadc500108/.

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Igor Stravinsky (1882-1971), Dmitri Shostakovich (1906-1975) and Alfred Schnittke (1934-1998) were three of the most important avant-garde Russian composers of the twentieth century. Even though their music shares a number of important traits, their work also reflects very individualized and distinct compositional styles. This study illustrates the similarities in their approach and the contrasting elements present in three selected pieces: Stravinsky´s Suite Italienne for Violin and Piano (1933), Shostakovich’s Violin Sonata in G Major, Op. 134 (1968), and Schnittke’s Suite in the Old Style f

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Wu, Shih-Ya, and 吳詩雅. "An Analysis and Interpretation of Cesar Franck Sonata for Violin and Piano." Thesis, 2015. http://ndltd.ncl.edu.tw/handle/7q9jw4.

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ya-ju, Yang, and 楊雅茹. "An Analysis and Interpretation of Cesar Franck Violin Sonata in A major." Thesis, 2010. http://ndltd.ncl.edu.tw/handle/27135722731706647805.

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Liu, Chih-Ting, and 劉芷廷. "An Analysis and Interpretation of Cesar Franck Violin Sonata in A Major." Thesis, 2015. http://ndltd.ncl.edu.tw/handle/82944898102388978012.

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碩士<br>國立臺灣藝術大學<br>音樂學系<br>104<br>César Franck（1822-1890）was an organist, composer and music educator of the nineteenth century. He devoted his lifetime to combine Baroque techniques in composition and the harmonic improvements which effected by Wagner to developed his own charaters. This violin sonata is one of his representatives which combines classical style and new harmonic style in the late nineteen century. Each movements in this violin sonata has their own character and connection. Franck shows his excellent skills in composition of this violin sonata. The main focus of this thesis

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Le, Guen DR. "The development of the French violin sonata (1860-1910)." Thesis, 2007. https://eprints.utas.edu.au/7868/20/LeGuen_whole_thesis.pdf.

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This doctoral research was conducted primarily to develop my expertise in performance and interpretation through the contextual study and performance of the violin sonatas written by French composers between 1860 and 1910. The outcomes of this research are a series of recorded recitals and an accompanying exegesis that examines the stylistic characteristics of the violin sonatas written in France during that period. The primary research culminated in the performances of sonatas by Fauré, Saint-Saëns and Franck, that are considered to be the cornerstone of the French violin repertoire, as we

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Yu, Wan-Ting, and 游婉婷. "An Analysis and Interpretation of Cesar Franck Violin Sonata,Transcribed for the Double Bass." Thesis, 2017. http://ndltd.ncl.edu.tw/handle/e6y4ky.

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LEE, CHI-MEI, and 李季鎂. "Explore How to use of cyclic form for Violin in Performed- Using Examples of "Violin Sonata in A Major" by Cesar Franck." Thesis, 2019. http://ndltd.ncl.edu.tw/handle/bdm87h.

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碩士<br>東吳大學<br>音樂學系<br>107<br>In 1870, French Army was defeated in the battle of Sedan in France-Prussian War. Napolen III surrendered. Part of Center-left republican activists staged political coup and intruded Paris. In August, 1871, Paris Commune was established; Second French Empire was, therefore , overthrown. The internal of France was turbulent. The established Paris Commune by the center-left party was suppressed by the center-right Royalisty. The future of France seemed to cast a shadow over groomy and shed no light ahead.And thus Societe Nationale de Musique of France, which was found

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Jian, Cih-Huei, and 簡慈慧. "The Interpretation of Grieg's Violin Sonata in C Minor, Op.45." Thesis, 2009. http://ndltd.ncl.edu.tw/handle/15787379683426540959.

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碩士<br>國立臺灣藝術大學<br>音樂學系碩士班<br>97<br>The Norwegian musician Grieg wrote three violin sonatas in total, the last one, the c minor violin sonata, op.45 was one of Grieg’s mature works. In comparison to the other two violin sonatas finished in earlier period, the maturity and richness of the composing techniques and sound quality of the c minor violin sonata is evident and among the paramount. That is the reason why it has become the research topic for this thesis. The main focus of this thesis includes the composer’s life, the analysis on the composition as well as the interpretation for the

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Caley, Margaret Anne. "Re-contextualizing the early French solo violin sonata (c.1692-1723)." Thesis, 2005. https://researchonline.jcu.edu.au/14981/1/01front.pdf.

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The genre of the earliest French violin sonatas (c.1692 – 1723) has been subjected to deficiency analyses, resulting in its neglect both in the written literature and in recordings. This research challenges the received evaluation of the genre as deficient, and argues that the sources of this neglect can be traced back to early 20th century studies of the genre, which inappropriately analysed the works according to predominantly Italian and German models. In order to situate and investigate the genre within its cultural context, an alternative analytical approach is developed based on Drybo

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Books on the topic "Violin sonata by C. Franck"

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Sariti, David Joseph. The Austro-German violin sonata, c. 1650: Its style and origins. University of Hartford, 2005.

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Bach, Johann Sebastian. Triosonate C-Dur für Flöte, Violine und Basso continuo nach der Sonate A-Dur BWV 1032 =: Trio sonata in C major for flute, violin, and basso continuo according to the Sonata in A major BWV 1032. Bärenreiter, 1988.

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1702-1793, Besozzi Alessandro. Sonata no. 6 in C major: From six solos for flute, oboe or violin and continuo (ca. 1760). Classical Winds Press, 2003.

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Grattoni, Maurizio, and Antonio Vivaldi. Sonata in C Minor for Violin and Basso Continuo RV7A: Critical Edition Score and Parts. Ricordi & Company, G., 1995.

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Trio, Rameau. Music Minus One Flute or Violin: Quantz Trio Sonata in C minor; Bach Gigue; Abel Sonata No. 2 in F major (Book & CD). Music Minus One, 1997.

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Book chapters on the topic "Violin sonata by C. Franck"

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Reiter, Walter S. "Johann Heinrich Schmelzer (c. 1620–1680)." In The Baroque Violin & Viola, vol. II. Oxford University Press, 2020. http://dx.doi.org/10.1093/oso/9780197525111.003.0010.

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Heinrich Schmelzer was the first non-Italian Imperial Kapellmeister at the Habsburg court in Vienna and the most important Austrian composer before Heinrich Ignaz Franz von Biber, who was possibly his pupil. Much of this sonata is in the form of a Passacaglia, although not named as such. Suggestions are made as to the pacing of such movements: respecting their broader architecture will maintain interest but may necessitate some initial restraint. The bulk of this lesson is its “Observations” section, with detailed remarks about almost every bar. There is information on the etymology of the wor

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Radcliffe, Philip. "Chamber music." In Mendelssohn. Oxford University PressOxford, 2001. http://dx.doi.org/10.1093/oso/9780198164937.003.0009.

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Abstract Mendelssohn’s early experiments with chamber music during the years 1820-2 included a Violin Sonata in F major, a Trio for violin, viola and piano in C minor, and a Piano Quartet in D minor. For his first published work in 1823 he chose another Piano Quartet, in C minor, which dates from the autumn of 1822. Compared with the still earlier Piano Sonata in G minor, it shows less of the influence of Haydn and more of that of Mozart and Weber. The opening of the first movement suggests Mozart’s Piano Sonata in the same key, and there is a strong flavour of Weber in the gaily operatic seco

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Boyden, David D. "The Technique of the Violin, 1700-61 ( IV): Multiple Stops. The ‘Bach’ Bow. Special Effects. Instrumentation and c onducting. 1½e Sound of the Violin." In The History of Violin Playing from its Origins to 1761 and its Relationship to the Violin and Violin Music. Oxford University PressOxford, 1990. http://dx.doi.org/10.1093/oso/9780198161837.003.0027.

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Abstract Apolyphonic style of playing the violin was developed to a high point by the Germans at the end of the seventeenth century.1 In the early eighteenth century this style continued in Germany and it flourished in Italy and France as well. The Bach unaccompanied violin sonatas are the zenith of this genre, and even for the most gifted musicians these works present great musical and technical difficulties in performance. However, the problems attendant on playing the multiple stops in the Bach sonatas and elsewhere have been compounded, if not exaggerated, by a misunderstanding of the nota

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Lewis, Nora Anderson. "Antonio Vivaldi, Oboe Sonata in C Minor, RV 53 (c. 1720)." In Notes for Oboists. Oxford University PressNew York, NY, 2025. https://doi.org/10.1093/9780197546581.003.0003.

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Abstract This chapter offers historical context and musical analysis of Antonio Vivaldi’s Oboe Sonata in C Minor, RV 53. As the foremost Italian composer of his generation, Vivaldi’s innovative style and orchestration laid the foundation for the mature Baroque concerto. Born in Venice in 1678, Vivaldi’s journey began as a virtuoso violinist, later expanding into composition. The sonata reflects his time at the Pio Ospedale della Pietà, an orphanage where he served as a violin teacher and house priest. Composed for the highly skilled figlie di coro, female musicians in the orphanage, this work

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Schmelz, Peter J. "The Soviet Culture of Collage." In Sonic Overload. Oxford University Press, 2021. http://dx.doi.org/10.1093/oso/9780197541258.003.0002.

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Chapter 1 discusses the precursors for polystylism in the film, visual arts, and musicking of the Soviet 1920s and 1930s. It begins by considering two compositions that encapsulate the initial motivations and method for polystylism: Schnittke’s Violin Sonata no. 2, “Quasi una Sonata,” from 1968, and Silvestrov’s Drama for violin, cello, and piano, composed between 1970 and 1971. Both works juxtapose different techniques and approaches, shifting, often quite radically, from extremely dissonant, sonoristic gestures to quotations or pastiche. This chapter also presents a genealogy of polystylism,

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Morowitz, Harold J. "Koobi Fora." In Entropy and the Magic Flute. Oxford University PressNew York, NY, 1993. http://dx.doi.org/10.1093/oso/9780195081992.003.0026.

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Abstract Most Of us like to be present at “firsts” or to visit sites where the original something or other took place. These firsts come with varying degrees of emotional impact. Thus, for example, a few weeks ago in Nairobi I was present at what was billed as the first performance on the African continent of Sonata No. 15 by Niccolo Paganini. Doubtless for Paganini devotees in the audience this was a magical moment, but to me it was merely an interesting footnote to a fine concert by Fernando Antonelli on the violin and Francesco Beroglio on the guitar. I was frankly more taken by the oft-per

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Todd, R. Larry. "From Apprentice to Journeyman (1823—1824)." In Mendelssohn. Oxford University PressNew York, NY, 2003. http://dx.doi.org/10.1093/oso/9780195110432.003.0005.

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Abstract “He is growing beneath my eyes” —so Zelter described Felix’s unbridled development as a composer in 1823, when he created a spate of string sym- phonies, two concerti, another piano quartet, string quartet, violin sonata, Kyrie, Lieder, piano and organ works, and completed his fourth opera, Die beiden Neffen. Capping this startling productivity was the publication late that year of the C-minor Piano Quartet, Felix’s professional debut. Released by A. M. Schlesinger, the work was actually engraved in Paris by Schlesinger’s son Maurice, himself a music publisher, who also brought out in

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Davies, Stephen. "Musical Understanding and Musical Kinds1." In Themes in the Philosophy of Music. Oxford University PressOxford, 2003. http://dx.doi.org/10.1093/oso/9780199241576.003.0014.

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Abstract Suppose someone, call her Cecilia, is keen to understand the music composed by Mozart after 1778. She listens carefully and repeatedly to the first movements of the Sinfonia Concertante for Violin and Viola in E flat major (K. 364 of 1779 or later), Symphony No. 36 in C major (the ‘Linz’, K. 425 of 1783), the last of the piano concertos in C major (K. 503 of 1786), Symphony No. 41 in C major (the ‘Jupiter’, K. 551 of 1788), and the Clarinet Concerto in A major (K. 622 of 1791; the first movement was written in G for basset-horn in 1789). She reads (from the record notes) that each of

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Stauffer, George B. "Free Works: Prelude-and-Fugue Pairs." In J. S. Bach. Oxford University Press, 2024. http://dx.doi.org/10.1093/oso/9780195108026.003.0021.

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Abstract In the late 1720s Bach also returned to the composition of free organ works, the topic of chapter 20. He seems to have started with the Prelude and Fugue in D Minor (“Fiddle”), BWV 539, whose fugue is an unorthodox transcription of the Fuga from Sonata 1 for Unaccompanied Violin. After this, he went on to write four large “symphonic” pieces: the Prelude and Fugue in B Minor, BWV 544; the Prelude and Fugue in E Minor (“Wedge”), BWV 548; the Prelude and Fugue in C Minor, BWV 546; and the Prelude and Fugue in Eb Major (“St. Anne”), BWV 552. The preludes of these works are characterized b

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