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Relevant bibliographies by topics / Violin sonatas

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Academic literature on the topic 'Violin sonatas'

Author: Grafiati

Published: 4 June 2021

Last updated: 20 February 2023

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Journal articles on the topic "Violin sonatas"

1

Renat, Maryla. "The synthesis of tradition and avant-garde techniques in selected polish violin sonatas from the second half of the 20th century." Notes Muzyczny 2, no. 12 (2019): 199–216. http://dx.doi.org/10.5604/01.3001.0013.7175.

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The article presents four chamber violin sonatas for an instrument duo written in the 1970s and 1980s, which in their concept of form and shape combine the elements of the widely understood tradition with innovative means of composition technique. The subject for a closer analysis are the following works: • Witold Rudziński, Sonata pastorale per violino e piano forte, 1978 (PWM, Cracow 1983) • Sławomir Czarnecki, Sonate tragique für Violine und Klavier, 1982 (Tonos, Darmstadt 1988) • Jan Krenz, Sonatina for two violins, 1986 (Brevis, Poznań 1994) • Zbigniew Bargielski, Sonate für Violine und K

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Smith, Richard Langham, Biber, Romanesca, Matteis, and The Arcadian Academy. "Violin Sonatas." Musical Times 136, no. 1825 (1995): 162. http://dx.doi.org/10.2307/1004013.

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Каrachevtseva, Inna. "Stylistic phenomenon of Violin sonatas by Franz Schubert." Aspects of Historical Musicology 16, no. 16 (2019): 106–25. http://dx.doi.org/10.34064/khnum2-16.06.

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Background. In recent years musicologists revealed an increasing interest in the problem of historical typology of F. Schubert’s composer style. In fact, scholars question possibility to characterize it as romantic, in their turn suggesting another interpretations and characteristics. For instance, M. Brown avoids usage of the term “Romantic” referring to F. Schubert, insisting on him being a part of a Classical tradition. In order to substantiate his viewpoint, the scholar appeals to harmony of the composer, where novelties, according to M. Brown, are not in fact innovations but incredibly sk

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Allenby, David, Reger, and Ulrike-Anima Mathe. "Three Sonatas for Unaccompanied Violin." Musical Times 134, no. 1806 (1993): 468. http://dx.doi.org/10.2307/1003040.

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Talbot, Michael. "A Thematic Catalogue of the Instrumental Music of Martino Bitti (1655/6–1743)." Royal Musical Association Research Chronicle 46 (2015): 46–94. http://dx.doi.org/10.1080/14723808.2014.986256.

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Martino Bitti (1655/6–1743) was the leading violinist-composer working in Florence during a long period stretching from Corelli's first published works to the mature years of Vivaldi. Ironically, his nine sonatas for wind instruments are better known today than the 27 solo sonatas for his own instrument, the violin, which constitute a corpus of great technical accomplishment and musical expressiveness. Since the publication of a critical edition of Bitti's violin sonatas is currently in progress, the moment is right to present a thematic catalogue of his instrumental music, which forms the sec

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Tatian, Carol, George Frideric Handel, and David Burrows. "Sonatas for violin and basso continuo." Notes 45, no. 2 (1988): 384. http://dx.doi.org/10.2307/941372.

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Walls, Peter. "Performing Corelli's Violin Sonatas, op.5." Early Music XXIV, no. 1 (1996): 133–43. http://dx.doi.org/10.1093/earlyj/xxiv.1.133.

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Swack, Jeanne. "John Walsh's Publications of Telemann's Sonatas and the Authenticity of ‘Op. 2’." Journal of the Royal Musical Association 118, no. 2 (1993): 223–45. http://dx.doi.org/10.1093/jrma/118.2.223.

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In the past decade the eighteenth-century London music publisher John Walsh has been subject to a new evaluation with regard to his pirated editions and deliberate misattributions, especially of the music of George Frideric Handel. That Walsh's attributions were anything but trustworthy had already been recognized in the eighteenth century: a surviving copy (London, British Library, BM g.74.d) of his first edition of the Sonates pour un traversiere un violon ou hautbois con basso continuo composées par G. F. Handel (c.1730), which, as Donald Burrows and Terence Best have shown, was provided wi

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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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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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Dissertations / Theses on the topic "Violin sonatas"

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Hsieh, Shih-Yun. "Neoclassic violin sonatas, 1922-1977." College Park, Md. : University of Maryland, 2005. http://hdl.handle.net/1903/3176.

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Cho, Jung Yoon. "Re-interpreting Brahms' violin sonatas : understanding the composer's expectations." Thesis, University of Leeds, 2017. http://etheses.whiterose.ac.uk/17924/.

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This practice-led research investigates late nineteenth-century Romantic performing practice with special reference to the Brahms violin sonatas. It is conducted with the aim of understanding the composer’s expectations, which lie behind the notation on the score. In the nineteenth century, performers used to approach notation in a much more liberal and musically inspired way, whereas our current approach tends to be constrained by a reliance on literal accuracy (i.e. keeping note values, articulations, dynamics, and other performing instructions on the score very strictly) as representing ‘th

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Baldwin, Richard Philip. "An analysis of three violin sonatas by William Bolcom." The Ohio State University, 1996. http://rave.ohiolink.edu/etdc/view?acc_num=osu1094823557.

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Baldwin, Philip Richard. "An analysis of three violin sonatas by William Bolcom /." The Ohio State University, 1996. http://rave.ohiolink.edu/etdc/view?acc_num=osu1487933245537883.

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Lee, Young-Joo. "An examination of 19th century Austro-German violin sonatas." College Park, Md. : University of Maryland, 2006. http://hdl.handle.net/1903/9768.

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Thesis (D.M.A.) -- University of Maryland, College Park, 2006.<br>Thesis research directed by: Music. Title from t.p. of PDF. Marylandia and Rare Books Dept., University of Maryland, College Park, Md. Audio available on compact disc;

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Hung, Yu-Hsien Judy. "The Violin Sonata of Amy Beach /." [Baton Rouge, La. : Louisiana State University, 2005. http://etd.lsu.edu/docs/available/etd-04142005-224115/.

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KIM, EUN-HO. "FORMAL COHERENCE IN J.S. BACH'S THREE SONATAS FOR SOLO VIOLIN, BWV 1001, 1003, AND 1005." University of Cincinnati / OhioLINK, 2005. http://rave.ohiolink.edu/etdc/view?acc_num=ucin1122323822.

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Lin, Shi-Ling. "The three violin sonatas of British composer Wilfred Josephs (1927-1997) /." The Ohio State University, 2000. http://rave.ohiolink.edu/etdc/view?acc_num=osu1488196781733282.

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Joo, Hyun-Jung. "The ten sonatas for piano and violin by Ludwig van Beethoven." College Park, Md. : University of Maryland, 2006. http://hdl.handle.net/1903/9712.

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Thesis (D.M.A.) -- University of Maryland, College Park, 2006.<br>Thesis research directed by: Music. Title from t.p. of PDF. Marylandia and Rare Books Dept., University of Maryland, College Park, Md. Audio available on compact disc;

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Fuchs, Sampson Sarah E. "Recasting the eighteenth-century sonata-form narrative : compositional strategies in Robert Schumann's Opp. 105 and 121 violin sonatas." CardinalScholar 1.0, 2010. http://liblink.bsu.edu/uhtbin/catkey/1567411.

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Although Robert Schumann’s late style has been the subject of several probing studies in recent years, few scholars have concentrated their attention on the chamber works composed in the autumn of 1851. Perhaps most intriguing are the opp. 105 and 121 violin sonatas, whose first movements suggest a dialogue with the eighteenth-century sonata form by preserving many of the same rhetorical and structural elements. Throughout both movements, however, Schumann uses an intricate web of tonal ambiguities, metrical dissonances, and unusual key relationships to recast the internal workings of these ou

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Books on the topic "Violin sonatas"

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Milhaud, Darius. Violin & clavecin. Gallo, 1985.

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Rouse, Steve. Violin sonata: Violin and piano. Henmar Press, 1995.

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Erb, Donald. Sonata for solo violin. Merion Music, 1996.

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Castelnuovo-Tedesco, Mario. Sonata per violino e violoncello =: Sonata for violin and cello. Edizioni Curci, 2017.

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5

Henze, Hans Werner. Sonata per violino solo: Tirsi, Mopso, Aristeo : revidiert = revised 1992. Schott, 1994.

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David, Avram. Sonata no. 1 for violin solo opus 58. Margun Music, 1986.

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Leisner, David. Sonata for violin and guitar. Merion Music, 1988.

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8

International encyclopedia of violin-keyboard sonatas and composer biographies. 2nd ed. Arriaga Publications, 1995.

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9

Auric, Georges. Sonata for violin and piano. Masters Music Publications, 1997.

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Wuorinen, Charles. Sonata for violin and piano. C.F Peters, 1990.

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Book chapters on the topic "Violin sonatas"

1

Teichner, Christoph. "Werkgruppe IV.A: Sonaten für Klavier und Violine." In Musik in Baden-Württemberg | Quellen und Studien. Springer Berlin Heidelberg, 2020. http://dx.doi.org/10.1007/978-3-662-62579-8_6.

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Elste, Martin. "Die Sonaten für Violine und Cembalo BWV 1014–1019." In Meilensteine der Bach-Interpretation 1750–2000. J.B. Metzler, 2000. http://dx.doi.org/10.1007/978-3-476-03792-3_30.

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Elste, Martin. "Die Sonaten und Partiten für Violine solo BWV 1001–1006." In Meilensteine der Bach-Interpretation 1750–2000. J.B. Metzler, 2000. http://dx.doi.org/10.1007/978-3-476-03792-3_28.

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Lester, Joel. "The Middle Movements." In Brahms's Violin Sonatas. Oxford University Press, 2020. http://dx.doi.org/10.1093/oso/9780190087036.003.0004.

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Chapter 4 explores the different ways that Brahms organized each of his violin sonatas’ middle movement(s) so as to contribute to the overall narrative of that sonata as a whole. The G-major Sonata has a single middle movement. A letter that Brahms sent to Clara Schumann concerning that slow movement provides an opportunity to explore in more detail the relationship between this sonata and the death of Brahms’s godson at age 24. The A-major Sonata’s single middle movement combines a slow movement with a scherzo. The D-minor Sonata is the only one of Brahms’s violin sonatas to have two middle movements—a slow movement and an intermezzo.

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Lester, Joel. "First-Movement Sonata Forms." In Brahms's Violin Sonatas. Oxford University Press, 2020. http://dx.doi.org/10.1093/oso/9780190087036.003.0003.

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Chapter 3 studies in detail the first movements of Brahms’s three violin sonatas. Each first movement is cast in sonata form—the most exalted structure of the Classical Era. But Brahms did not fill a “sonata-form mold” with formulaic music. Just like his great predecessors whose music he so dearly loved and esteemed, Brahms adapted the outer aspects of the form and the contents of each section to express that movement’s unique musical narrative. The discussions of each movement explore the traits they all share as well as their individual Romantic features. The A-major Sonata’s first movement also provides an opportunity to explore musical allusions to other pieces and how that might affect our interpretations—both as performers and analysts.

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Lester, Joel. "The Finales." In Brahms's Violin Sonatas. Oxford University Press, 2020. http://dx.doi.org/10.1093/oso/9780190087036.003.0005.

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Chapter 5 is a detailed study of the final movements of Brahms’s three violin sonatas. How do the finales function as separate movements? How do the finales complete the musical narratives of each entire sonata? Concerning the G-major Sonata, the chapter explores how the finale wraps up the sonata-long narratives, and how the sonata as a whole relates to the death of Brahms’s godson Felix Schumann. Concerning the A-major Sonata, the analysis looks at the ways the last movement wraps up the sonata-long narratives of how the personas of the violinist and pianist interact. In the case of the D-minor Sonata, attention is on the ways that the final movement differs dramatically yet relates to the earlier movements in the sonata.

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Lester, Joel. "It Sounds like Brahms." In Brahms's Violin Sonatas. Oxford University Press, 2020. http://dx.doi.org/10.1093/oso/9780190087036.003.0001.

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Chapter 1 discusses the balance of classicism and romanticism as artistic and expressive underpinnings of Brahms’s style. Brahms was in many ways a composer for whom the past—even the distant past—was still very much alive. Yet he was remarkably innovative. He often used Classical-Era forms, but he adapted them to his expressive ends. He used harmonic progressions identical to those used in similar circumstances by composers of the Classical Era, but also used harmonies as adventurously as Wagner or Liszt. In terms of texture and of rhythm and meter, he was, if anything, more adventurous than many of his contemporaries. The chapter offers a detailed analysis of harmony, dissonance, melody, melodic evolution, texture, rhythm and meter, counterpoint, and developing variation in a single Brahms phrase (from the second theme of the first movement of the A-major Violin Sonata, op. 100). Brahms’s phrase is compared to and differentiated from a similar phrase opening the second theme in Beethoven’s Violin Sonata in A, op. 30, no. 2.

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Lester, Joel. "Shaping Brahmsian Themes." In Brahms's Violin Sonatas. Oxford University Press, 2020. http://dx.doi.org/10.1093/oso/9780190087036.003.0002.

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This chapter studies six themes from Brahms’s violin sonatas, exploring many different ways that he crafts musical expression. Each theme demonstrates different aspects of Brahmsian compositional techniques, illustrating the infinitely varied ways he used harmony, texture, motivic evolution, and continuity in what has been described as “developing variation.” These discussions repeatedly show how a musical event that seems to be new (such as a surprising turn of harmony) quite frequently develops from something already heard, imparting the sensation that Brahms’s music is simultaneously drawing upon what has been heard and becoming something new. Awareness of these techniques prepares us for the later chapters, which focus on musical narratives that span entire movements or entire sonatas.

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Lester, Joel. "Brahms and the Violin." In Brahms's Violin Sonatas. Oxford University Press, 2020. http://dx.doi.org/10.1093/oso/9780190087036.003.0006.

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How it is that Brahms, a consummate pianist, also wrote so imaginatively and extensively for violin? Chapter 6 explores various events that took place in 1853, the year that Brahms turned 20, when he left Hamburg to concertize with a violinist-colleague, met Joseph Joachim and began his lifelong friendship with him, and met Robert and Clara Schumann. Studying the sole movement for violin and piano that still exists from Brahms’s early works—the Scherzo that he contributed to the “F.A.E. Sonata”—we can assess the degree to which his mature compositional vision was already in place at such an early age.

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Reiter, Walter S. "Heinrich Ignaz Franz von Biber: The Mystery Sonatas." In The Baroque Violin & Viola, vol. II. Oxford University Press, 2020. http://dx.doi.org/10.1093/oso/9780197525111.003.0011.

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The lesson begins with information on Heinrich Ignaz Franz von Biber and the background to the Rosary sonatas. The author’s meditational approach is explained: musicians, like actors, must convince the audience by their simulation of faith. The engraving at the head of the sonata is fully discussed and there are thoughts on instrumentation and structure. The full biblical texts for the two Rosary sonatas discussed in the book are reproduced in Appendix IV. In the two lessons on Biber, the biblical and musical texts are constantly interwoven to suggest programmatic content, as if the narrative is recounted by the notes themselves, the rhetoric of the Gospel and Biber’s music fully aligned. Much in this approach is speculation, but the author believes that the clearer the performer’s vision, the more intense and meaningful will be the result. As usual, the “Observations” section is packed with suggestions and information based on many years of performing these unique works.

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Conference papers on the topic "Violin sonatas"

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Trocinel, Daniela. "Sketches on the creative portrait of the composer A. B. Mulear." In Patrimoniul cultural: cercetare, valorificare, promovare. Institute of Cultural Heritage, Republic of Moldova, 2021. http://dx.doi.org/10.52603/9789975351379.15.

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This article attempts to present sketches of the compositional creativity of Alexandr Boris Mulear (1922–1994), who is one of the most important figures of the music culture in the Republic of Moldova and belongs to the older generation of composers, as his glory years were between 1950 and 1980. The composer’s record contains a valuable artistic heritage that is appreciated by performers but the study of his works is not in the center of interest of musicologists yet. However, the article will present some examples of the Mulearian creativity. Analyzing the composition portfolio of A. Mulear,

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Waldige Mendes Nogueira, Lenita, and Samuel Campos De Pontes. "A Sonata para Violino e Piano de Cláudio Santoro: nacionalismo e as diferentes concepções sobre a música brasileira em sua obra." In XXIII Congresso de Iniciação Científica da Unicamp. Galoá, 2015. http://dx.doi.org/10.19146/pibic-2015-37814.

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Reports on the topic "Violin sonatas"

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Brewer, Charles E. Sonata á Violino Solo by Johann Heinrich Schmelzer. Society for Seventeenth-Century Music, 2022. http://dx.doi.org/10.53610/tkcn2435.

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This edition presents a sonata for solo scordatura violin by Johann Heinrich Schmelzer comprised of 99 varied repetitions of an ostinato. Included here is a detailed examination of the source, problems with the continuo, and a possible performance solution. A complete score and continuo part are included in the appendices along with a detailed formal analysis of the work.

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Cox, Jeremy. The unheard voice and the unseen shadow. Norges Musikkhøgskole, 2018. http://dx.doi.org/10.22501/nmh-ar.621671.

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The French composer Francis Poulenc had a profound admiration and empathy for the writings of the Spanish poet Federico García Lorca. That empathy was rooted in shared aspects of the artistic temperament of the two figures but was also undoubtedly reinforced by Poulenc’s fellow-feeling on a human level. As someone who wrestled with his own homosexuality and who kept his orientation and his relationships apart from his public persona, Poulenc would have felt an instinctive affinity for a figure who endured similar internal conflicts but who, especially in his later life and poetry, was more ope

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