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Journal articles on the topic 'Violoncelle Violoncelle'

Author: Grafiati

Published: 4 June 2021

Last updated: 1 February 2022

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1

Farrell, Peter, Joan Guinjoan, Alan Ridout, Charles Camilleri, Ton-That Tiet, Elizabeth Vercoe, Aribert Reimann, Reiner Bredemeyer, and Friedrich Goldmann. "Cadenza; Pour Violoncelle." Notes 43, no. 1 (September 1986): 184. http://dx.doi.org/10.2307/897869.

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2

Faucon, Térésa. "Hors chant. Arrangements godardiens pour violoncelle et cordes élargies." Revue musicale OICRM 5, no. 1 (April 9, 2018): 33–45. http://dx.doi.org/10.7202/1044442ar.

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Dans les compositions musicales de ses films, Jean-Luc Godard nous fait entendre son écoute d’oeuvres musicales, invente des arrangements avec les moyens du cinéma qui pourraient porter une double signature, Beethoven-Godard, Dvořák-Godard, comme les arrangements des musiciens Beethoven-Liszt ou Bach-Webern. Pour cette étude, nous avons choisi de nous concentrer sur les oeuvres pour violoncelle, instrument pour lequel Godard semble avoir une prédilection comme pour les cordes frottées en général pour la plasticité de la matière sonore. Nous analysons l’arrangement du Concerto pour violoncelle et orchestre en si mineur, op. 104 d’Antonin Dvořák(1895) dans Je vous salue, Marie (1983) puis la conversation entre deux compositeurs et interprètes, Godard au banc montage et David Darling, avec son violoncelle à huit cordes et les oeuvres originales créés pour le cinéaste.

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3

Bonifaci, Gabrielle. "Dallaire, Michel. Violoncelle pour lune d’automne." Voix Plurielles 12, no. 1 (May 6, 2015): 439–40. http://dx.doi.org/10.26522/vp.v12i1.1214.

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4

Smith, Mark M. "Joh. Seb. Bachs Violoncello piccolo." Bach-Jahrbuch 84 (March 8, 2018): 63–81. http://dx.doi.org/10.13141/bjb.v19981655.

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Der Artikel widmet sich umfassend dem bratschengroßen, fünfsaitigen Violoncello piccolo. Zunächst wird Problem des fünfsaitigen Violoncellos und seines Repertoires unter Berücksichtigung der verschiedenen Benennungen und der Geschichte des Instruments und seiner Spielweise erörtert. Es schließt sich die Frage an, ob sich ein Violoncello in Bratschengröße vor 1724 in Bachs Besitz befand und wie sich die Kenntnis zu Bachs Instrumentenbesitz verschiedener Celli gestaltet. Mögliche Besetzungsalternativen für Celli in Bachs Continuopartien werden im Folgenden diskutiert, weiters die hohen Violoncello-Obligati in BWV 71 und BWV 199 und das Violoncello piccolo des Erfurter Instrumentenbauers J. H. Ruppert. Danach steht Bach als Spieler des Violoncello piccolo im Mittelpunkt, auch in seiner Praxis als Ensembleleiter und hinsichtlich der Frage, ob Bach selbst in seinen Kantaten Violoncello piccolo gespielt hat. Ein nächster Abschnitt behandelt die sechste Suite für Violoncello solo D-Dur BWV 1012, die für Violoncello piccolo geschrieben sein könnte, was Fragen zu deren Datierung nach sich zieht. Zum Ende des Artikels wird eine Übersicht der im Breitkopf-Katalog von 1762 verzeichneten Kompositionen für Violoncello piccolo gegeben und die noch vorhandenen Violoncelli piccoli, deren Hersteller und die möglichen Spielweisen und der Klang beschrieben. Erwähnte Artikel: Rudolf Bunge: Johann Sebastian Bachs Kapelle zu Cöthen und deren nachgelassene Instrumente. BJ 1905, S. 14-47 Ulrich Prinz: Zur Bezeichnung "Bassono" und "Fagotto" bei J. S. Bach. BJ 1981, S. 107-122 Ulrich Drüner: Violoncello piccolo und Viola pomposa bei Johann Sebastian Bach. Zu Fragen von Identität und Spielweise dieser Instrumente. BJ 1987, S. 85-112 Hans-Joachim Schulze: Zur Frage des Doppelaccompagnements (Orgel und Cembalo) in Kirchenmusikaufführungen der Bach-Zeit. BJ 1987, S. 173-174 Russell Stinson: "Ein Sammelband aus Johann Peter Kellners Besitz": Neue Forschungen zur Berliner Bach-Handschrift P 804. BJ 1992, S. 45-64 Klaus Hofmann: Neue Überlegungen zu Bachs Weimarer Kantaten-Kalender. BJ 1993, S. 9-29

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5

Syssau, Émilie. "Rendre l’ironie d’un violoncelle facétieux." Traduire, no. 232 (June 15, 2015): 106–14. http://dx.doi.org/10.4000/traduire.704.

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6

Féron, François-Xavier. "Enjeux et évolution du système de notation dans Pression pour un(e) violoncelliste de Helmut Lachenmann." Circuit 25, no. 1 (April 16, 2015): 55–66. http://dx.doi.org/10.7202/1029476ar.

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Cet article présente, dans les grandes lignes, le système de notation utilisé par Helmut Lachenmann dans Pression pour spécifier les actions que doit accomplir l’interprète sur les différentes parties du violoncelle (cordes, table d’harmonie, chevalet, cordier) mais aussi sur l’archet. Après avoir décrit succinctement les principales différences entre les deux éditions de l’oeuvre (1972 vs 2012), nous en expliquons cinq passages en montrant systématiquement les deux versions de la partition et en indiquant les minutages correspondant aux enregistrements vidéo de Lauren Radnofsky et David Stromberg. Ainsi le lecteur pourra apprécier la précision et l’évolution du système de notation, visualiser les gestes que réalisent les interprètes tout en suivant la partition et entrer ainsi pleinement dans l’univers sonore profondément inouï de cette oeuvre devenue un « classique » du répertoire pour violoncelle seul.

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7

Bersin, Michael. "Jean Barrière's “Sonates Pour Le Violoncelle”." American String Teacher 39, no. 2 (May 1989): 61–65. http://dx.doi.org/10.1177/000313138903900221.

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8

Leonard, Kendra Preston. "Memoire pour violoncelle et piano (1979-1989) d'apres Shinanim shaananim, and: Sonate pour violoncelle seul [1994], and: Suite no. 1 "Preludio e Metamorfosi", opus 31 no. 1, pour violoncelle seul [1987-94], and: Sonate pour violoncelle et piano [1996], and: Yiddish Suite pour violoncelle et piano, opus 17 [1995], and: Nocturne pour violoncelle et piano (1997), and: Trois bagatelles pour violoncelle seul (1997), opus 49, and: Seven Sketches pour violoncelle seul [1989], and: Chainmail pour violonce." Notes 58, no. 4 (2002): 933–39. http://dx.doi.org/10.1353/not.2002.0080.

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9

Zlotkin, Frederick, Georg Goltermann, Michel Tournus, August Franchomme, and Olivier Greif. "Suite, op. 49; pour violoncelle et piano." Notes 42, no. 1 (September 1985): 155. http://dx.doi.org/10.2307/898268.

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10

Cabaret, Marine, Louise Chambon, Pauline Ferrara, and Marie Salvador. "Groupe, portage et violoncelle : un espace pour exister." Enfances & Psy N° 88, no. 4 (April 9, 2021): 142–52. http://dx.doi.org/10.3917/ep.088.0142.

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11

Pousseur, Henri. "Une expérience de musique microtonale: 19√8/4 pour violoncelle solo." Interface 14, no. 1-2 (January 1985): 11–44. http://dx.doi.org/10.1080/09298218508570459.

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12

Briscoe, James R., and Charles Koechlin. "Quintette, Op. 80; pour 2 Violons, Alto, Violoncelle et Piano (oeuvre posthume)." Notes 45, no. 1 (September 1988): 150. http://dx.doi.org/10.2307/941408.

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13

Brietzke, Marta Macedo. "Cirandinhas nº 9 de Heitor Villa-Lobos." Literartes 1, no. 10 (June 12, 2019): 139–56. http://dx.doi.org/10.11606/issn.2316-9826.literartes.2019.158047.

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Este trabalho descreve uma experiência pedagógica/musical realizada em Porto Alegre/RS (Brasil), no ano de 2016, que consistiu na adaptação das Cirandinhas nº 9 de Heitor Villa-Lobos, original para piano, para orquestra formativa de violoncelos. Estruturou-se tendo como base as considerações de Quinteiro (2002), Shimabuco (2012), Pilger (2013) e Machado (2015). Levou em consideração elementos idiomáticos do violoncelo, abordagens relativas às texturas musicais utilizadas pelo compositor, tecendo uma relação com a arte e com o “estado de infância”.

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14

THORMÄHLEN, WIEBKE. "FRANCESCO GEMINIANI (1687–1762) SONATES POUR VIOLONCELLE AVEC LA BASSE CONTINUE OPUS V Bruno Cocset (violoncello), Luca Pianca (theorbo)/Les Basses Réunies Alpha ALPHA 123, 2008; one disc, 67 minutes." Eighteenth Century Music 6, no. 2 (August 3, 2009): 287–89. http://dx.doi.org/10.1017/s1478570609990170.

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15

Girard-Charest, Émilie. "Une approche ergonomique des langages microtonaux au violoncelle : perspective d’interprète-compositrice, exemples du répertoire et pistes d’analyse." Circuit: Musiques contemporaines 29, no. 2 (2019): 49. http://dx.doi.org/10.7202/1062567ar.

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16

Rae, Caroline. "In Dark and Blue: Concerto pour violoncelle et orchestra, and: 3e quatuor (Sorgin-ngo) pour quatuor a cordes (review)." Notes 57, no. 2 (2000): 464–68. http://dx.doi.org/10.1353/not.2000.0097.

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17

Shegolev, Aleksey. "Le langage musical d’Auguste Descarries (1896-1958) : le point de vue d’un compositeur chargé de l’achèvement de son Quatuor pour violon, alto, violoncelle et piano1." Les Cahiers de la Société québécoise de recherche en musique 16, no. 1-2 (April 25, 2017): 147–61. http://dx.doi.org/10.7202/1039620ar.

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Peu d’études ont été jusqu’à présent consacrées à la vie et à l’oeuvre d’Auguste Descarries. Depuis quelques années, on assiste à une renaissance de la musique de ce compositeur canadien, malheureusement tombé dans l’oubli depuis sa mort, en 1958. Les efforts de sa famille ainsi que de l’Association pour la diffusion de la musique d’Auguste Descarries (ADMAD) favorisent aujourd’hui sa réhabilitation. C’est grâce à l’ADMAD que j’ai découvert une oeuvre pleine de charme et d’expressivité néoromantique : il s’agit du Quatuor pour violon, alto, violoncelle et piano, une pièce inachevée que l’Association m’a demandé de terminer, et qui est au coeur de mon propos dans cet article. Dans un premier temps, est dressé un bref portrait du contexte socioculturel complexe dans lequel Descarries a reçu sa formation musicale à Montréal, puis à Paris auprès de musiciens d’origine russe ; sont évoquées aussi les difficultés associées à son retour d’Europe dans une société québécoise en crise. Dans un deuxième temps, est analysé le manuscrit de son Quatuor pour en relever les différents thèmes et établir des analogies entre son écriture et celle des compositeurs qui l’ont influencé. Enfin, sont énumérées les étapes principales de la démarche qui m’a permis de terminer l’oeuvre. Ce travail met en évidence la nécessité de valoriser la contribution d’Auguste Descarries au patrimoine musical canadien et de rendre ses oeuvres disponibles aux interprètes et aux chercheurs.

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18

Gétreau, Florence, and Nicolas Sarre. "Les Trois mélodies pour le violoncelle avec accompagnement d'orgue expressif dédiées au Marquis de Corberon par Alexandre-Pierre-François Boëly." Musurgia XX, no. 2 (2013): 79. http://dx.doi.org/10.3917/musur.132.0079.

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19

Silbiger, Alexander. "Gabriel Fauré, Quatuor pour violon, alto e violoncelle en ut mineur, op.15, piano score and parts, edited by Denis Herlin (Kassel: Bärenreiter, 2010), xvi+83pp. - Gabriel Fauré, Quatuor pour violon, alto e violoncelle en sol mineur, op.45, piano score and parts, edited by Denis Herlin (Kassel: Bärenreiter, 2010), xiii+89pp." Nineteenth-Century Music Review 10, no. 2 (December 2013): 394–97. http://dx.doi.org/10.1017/s1479409813000475.

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20

Cury, Maria Zilda Ferreira, and Guilherme Augusto Lopes de Souza. "Entre modulações musicais e literárias: O inverno e depois, de Luiz Antonio de Assis Brasil." Navegações 11, no. 1 (December 30, 2018): 3. http://dx.doi.org/10.15448/1983-4276.2018.1.33012.

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O inverno e depois, romance de Luiz Antonio de Assis Brasil, exibe uma articulada reflexão acerca da música clássica e da vida de artista, assim como os desafios dos musicistas de traduzir, por meio de sua arte, os sentimentos que as palavras não expressam. À vista disso, pretende-se fazer uma leitura do romance a partir das teorias dos estudos músico-literários, evidenciando as influências do Concerto para violoncelo e orquestra, de Antonín Dvořák – peça chave do romance – na narrativa de Assis Brasil, tanto no plano estrutural, como no plano de seu conteúdo. *** Between literary and musical modulations: O inverno e depois, by Luiz Antonio de Assis Brasil ***O inverno e depois, a novel written by Luiz Antonio de Assis Brasil, exposes an articulated reflection on classical music and the artist’s life, as well as the challenges of the musicians to translate, through their art, the feelings that words do not express itself. In this way, we intend to make a reading of the novel from the theoretical aspects of word and music studies, revealing the influences of the Concerto for violoncello and Orchestra, by Antonín Dvořák – key factor for the novel –, in the Assis Brasil’s narrative, both in the structural plane and in the plane of its content.Keywords: Contemporary brazilian literature; Luiz Antonio de Assis Brasil; Literature and music; Intermidiality; Musico-literary studies.

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21

Leonard, Kendra Preston. "Trio pour piano, violon et violoncelle, op. 120, and: Quatuor à cordes, op. 121, and: La bonne chanson, op. 61 (review)." Notes 68, no. 2 (2011): 444–46. http://dx.doi.org/10.1353/not.2011.0156.

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22

Drüner, Ulrich. "Violoncello piccolo und Viola pomposa bei Johann Sebastian Bach." Bach-Jahrbuch 73 (May 9, 2018): 85–112. http://dx.doi.org/10.13141/bjb.v19872562.

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Überkommene Dokumente aus dem 18. Jahrhundert lassen viele Fragen zum Bau des Violoncello piccolo und der Viola pomposa und zur Spieltechnik dieser Instrumente offen. Eine sorgfältige Untersuchung aller relevanten verfügbaren Instrumente, Musik und Literaturhinweise zeigt, dass es notwendig ist, nicht zwei verschiedene Arten von Instrumenten zu unterscheiden, wie es bisher üblich war, sondern drei. Was man heute als "Bachs Violoncello piccolo" bezeichnen könnte - ein Instrument von relativ kleinen Abmessungen, das beim Spielen am Arm gehalten wird -, verdient besondere Aufmerksamkeit. (Übertragung des englischen Resümees am Ende des Bandes) Vergleiche auch: Heinrich Husmann: Die Viola pomposa. BJ 1936, S. 90-100.

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23

Friesenhagen, Andreas. "Haydns Sinfonien: Besetzungsprobleme und Aufführungstraditionen." Studia Musicologica 51, no. 1-2 (March 1, 2010): 127–40. http://dx.doi.org/10.1556/smus.51.2010.1-2.9.

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To this day, Joseph Haydn’s symphonies are often performed and recorded in a way that does not meet the composer’s intentions. This concerns certain variants of instrumentation, e.g. the rendering of violoncello obbligato with a single instrument, the use of trumpets and timpani or of horns in high C, respectively. Using the violoncello part of the slow movement of symphony Hob. I:102 as example, it is argued that Haydn in spite of the “solo” mark at the beginning of the movement did not intend the part to be played by one instrument alone. The same applies to most of the passages for violoncello “solo” in his late symphonies. Additionally, it can be established from the sources that before 1768 Haydn did not write for horns in high C and that the parts for trumpets and timpani in some of the early symphonies do not originate with the composer. That these alternatives of instrumentation, though not authentic, have found widespread acceptance in today’s performances is demonstrated by selected recordings from the 1950s to date. A short survey of the history of Haydn’s symphonies on record serves as an introduction to this essay.

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24

Husmann, Heinrich. "Die Viola pomposa." Bach-Jahrbuch 33 (May 3, 2018): 90–100. http://dx.doi.org/10.13141/bjb.v19362356.

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25

Paulinyi, Zoltan. "Sobre o desuso e o ressurgimento da viola pomposa." Per Musi, no. 25 (June 2012): 91–99. http://dx.doi.org/10.1590/s1517-75992012000100009.

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A viola pomposa, instrumento pentacorde de origem barroca semelhante à viola de orquestra com uma corda Mi aguda acrescentada, recebeu denominações divergentes desde o final do século XVIII causando confusão com os termos "violino pomposo", "violino tenor", "violoncello da spalla" e "violoncello piccolo". Entrou em desuso provavelmente pela dispendiosa manutenção das cordas e maior esforço de manuseio, motivos que não mais justificam sua ausência das salas de concerto. Descreve-se detalhadamente uma viola pomposa de construção brasileira feita pelo luthier Carlos Martins del Picchia em Belo Horizonte em 2006 seguindo as informações sobre "La Parmigiana" de Guadagnini feita em 1765. Apresenta uma lista de repertório para o instrumento, na qual a produção brasileira desponta na publicação de partituras e gravações de áudio e vídeo.

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26

Mills, Sean Paul, and Helga U. Winold. "Robert Schumann's Violoncello Concerto." American String Teacher 43, no. 3 (August 1993): 67–69. http://dx.doi.org/10.1177/000313139304300324.

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27

Sichardt, Martina. "Narrativität in der Musik?" Die Musikforschung 58, no. 4 (September 22, 2021): 361–75. http://dx.doi.org/10.52412/mf.2005.h4.640.

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In der Schlussfuge in Ludwig van Beethovens Sonate für Violoncello und Klavier op. 102/2 wird in Takt 143 ein neues Kontrasubjekt eingeführt. Da hier erstmals die vorher fast durchgängige Achtelbewegung aufgegeben wird, lässt sich diese Episode im Sinne der Narrativitätstheorie als eine Art Rückblick beschreiben. bms online (Schöner, Oliver)

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28

Moore, David W., Henry Cowell, Ernst Bacon, Arthur Berger, Ben Weber, and Seymour Shifrin. "Sonata for Violoncello and Piano." Notes 49, no. 3 (March 1993): 1273. http://dx.doi.org/10.2307/899019.

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29

Barreto, Homero De Sá. "Ondulações para violoncelo (ou violino) e piano (1916)." Revista Brasileira de Música 32, no. 2 (July 5, 2020): 401–4. http://dx.doi.org/10.47146/rbm.v32i2.36084.

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30

OCAK, Derya, and Duygu SÖKEZOĞLU ATILGAN. "Analysıs Of Carl Schröder Dıe Ersten Übungen Für Vıoloncello Opus 31 Etudes Book." Akademik Müzik Araştırmaları Dergisi 1, no. 1 (January 10, 2015): 1–21. http://dx.doi.org/10.5578/amrj.8590.

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31

Draheim, Joachim. "Schumann-Erstdrucke." Die Musikforschung 46, no. 1 (September 22, 2021): 53–60. http://dx.doi.org/10.52412/mf.1993.h1.1143.

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Diese Bibliographie verzeichnet Erstdrucke von Kompositionen Robert Schumanns (neben vollständigen Werken auch längere Skizzen, Früh- und Alternativfassungen), die nicht in den Arbeiten von Kurt Hofmann und Siegmar Keil erfaßt sind. Die wichtigsten sind: "Der Korsar" , die Klavierbegleitung zur Suite III C-Dur für Violoncello solo von Bach , die Violinfassung des Cellokonzerts a-moll op. 129 und der Konzertsatz d-moll für Klavier und Orchester. (Autor)

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32

McKenzie, Don, and David Leisner. "Three Moons for Violoncello and Guitar." Notes 46, no. 4 (June 1990): 1075. http://dx.doi.org/10.2307/941289.

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33

Cope, David, and George Rochberg. "Trio for Piano, Violin, and Violoncello." Notes 44, no. 3 (March 1988): 589. http://dx.doi.org/10.2307/941557.

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34

Nott, Michael, Paul Hindemith, Magda Marx-Weber, and Hans Joachim Marx. "Konzert fur Violoncello und Orchester (1940)." Notes 43, no. 2 (December 1986): 406. http://dx.doi.org/10.2307/897400.

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35

Schüler, Nico. "Analytical observations of 'Duality in Time' by James (Jim) C. Scully." New Sound, no. 50-2 (2017): 189–96. http://dx.doi.org/10.5937/newso1750189s.

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This paper offers an analysis of Duality in Time for flute and violoncello by Californian composer James (Jim) C. Scully (b. 1972), which was composed for a composition competition in 2009, for the which the composer had 60 minutes to write the piece and the performers 60 minutes to rehearse it. The analytical observations focus primarily on melody/motives, pitch collections, vertical sonorities/harmony, rhythm, form, texture, and instrumentation. The paper includes an analytical score of the composition.

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36

Nailiyah, Wildany Mafazatin. "Analisis Interpretasi Musik Jaman Barok Pada Prelude From Suite No.1 For Violoncello Solo Karya J.S. Bach." Virtuoso: Jurnal Pengkajian dan Penciptaan Musik 1, no. 2 (September 27, 2020): 1. http://dx.doi.org/10.26740/vt.v1n2.p1-12.

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Peneliti menganalisis interpretasi musik Jaman Barok pada lagu Prelude from Suite No.1 for Violoncello dilatar belakangi oleh kurangnya pemahaman banyak orang terutama para pemain dan mahasiswa musik tentang bagaimana penginterpretasian musik Jaman Barok yang tepat. Metode yang digunakan dalam penelitian ini adalah metode penelitian kualitatif karena tidak menggunakan angka-angka sebagai sumber datanya. Objek penelitian difokuskan pada interpretasi dari lagu tersebut dengan menerapkan beberapa teori diantaranya bentuk musik, struktur musik, aturan-aturan interpretasi musik Jaman Barok, dan ekspresi musik dari Jaman Barok. Hasil penelitiannya diperoleh dengan cara observasi, wawancara, dan dokumentasi. Prelude from Suite No.1 for Violoncello Solo karya J.S. Bach ini memiliki bentuk dual yang terdiri dari bagian satu dan bagian dua. Analisis dari interpretasinya dianalisis melalui aturan-aturan interpretasi musik Jaman Barok yang terdiri dari metrik, slur, detached notes, unequal notes, dan dinamika. Dengan metrik C atau 4/4 maka Prelude dimainkan dengan tempo yang lambat mulai dari adagio hingga allegro. Terdapat slur yang beragam yang akhirnya memengaruhi interpretasi dari lagu ini yang menonjolkan pedal pointnya. Detached notes juga banyak muncul seperti ciri khas dari lagu Jaman Barok. Unequal notes dan diamika juga saling memengaruhi bagaimana seseorang memainkan lagu tersebut. Melalui beberapa aspek tersebut akhirnya dihasilkan bagaimana cara memainkan lagu Prelude dengan interpretasi musik Jaman Barok yang tepat.Kata Kunci: Musik Jaman Barok, Interpretasi, Prelude.

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37

Laporta, Mark S., and George Rochberg. "Quartet; For Piano, Violin, Viola and Violoncello." Notes 44, no. 4 (June 1988): 830. http://dx.doi.org/10.2307/941060.

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38

Atwood, Jody. "Contemporary Etudes and Solos for the Violoncello." American String Teacher 43, no. 3 (August 1993): 31. http://dx.doi.org/10.1177/000313139304300314.

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39

Almeida, Thadeu De Moraes. "Notas introdutórias a Ondulações para violoncelo (ou violino) e piano de Homero de Sá Barreto." Revista Brasileira de Música 32, no. 2 (July 5, 2020): 393–400. http://dx.doi.org/10.47146/rbm.v32i2.36083.

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Descrição de contexto histórico, estrutura formal, e documentação e metodologia utilizadas para a preparação da edição de Ondulações, para violoncelo (ou violino) e piano, do compositor Homero de Sá Barreto (1884-1924), com informações sobre audições de época e recepção póstuma.

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40

Irion, Millard, Giovanni Battista Bononcini, Nona Pyron, Warren Stewart, and Patrick Rogers. "Six Solos for Two Violoncellos." Notes 45, no. 1 (September 1988): 160. http://dx.doi.org/10.2307/941415.

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41

Popović, Branka. "Svetlana Savić: Soneti "La Douce Nuit", "Looking on Darkness", "La vita fugge"." New Sound, no. 43-1 (2014): 157–72. http://dx.doi.org/10.5937/newso1443157p.

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Soneti [Sonnets] by Svetlana Savić were composed between 2008 and 2012. The cycle comprises three pieces: "La Douce Nuit" for violoncello, piano, and electronics, as well as "Looking on Darkness" and "La vita fugge" for a female voice, violoncello, piano, and electronics. Here, the work is analysed from the perspective of the author's modernist orientation towards sound as a specific tool of music as a medium, which defined multiple poetic aspects in creating this work and had repercussions on the treatment of the text, the ensemble - both its acoustic and electronic layers - the forming and relationship between individual layers of texture, as well as the choice of music material. Dealing with sound, searching for a specific acoustic quality is revealed already in the title, Soneti, because the term sonnet, which refers to a 13th-century Italian poetic form, comes from the Italian word sonetto, derived from the Latin word sonus, meaning sound. However, although Savić looks for particular acoustic qualities and sound is her main material, the resulting work is full of associations, musical and extramusical alike, and reaches out to other kinds of artistic expression. The composer never loses sight of her extramusical content and thus her composition generates a peculiar sort of interference between the acoustic and the verbal - the music absorbs the verbal, turning words into sounds and sound into words. At certain moments, this is joined by the visual component.

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42

Ferrari, Ângela Maria, and Felipe Avellar de Aquino. "Suíte Nº 1 para violoncelo solo de Max Reger e a escrita de J.S. Bach: relações de dependência e identidade de linguagem." Per Musi, no. 31 (June 2015): 149–66. http://dx.doi.org/10.1590/permusi2015a3109.

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O presente trabalho busca demonstrar como Max Reger emprega modelos de J.S. Bach na construção de sua Suíte Nº 1, Op. 131c. Dessa forma, em sua escrita, Reger combina elementos da harmonia do final do século XIX com técnicas contrapontísticas de J.S. Bach. A influência do mestre barroco é visualizada desde a escolha das tonalidades até a utilização de motivos que são, de fato, transformações e expansões de motivos “bachianos”. Portanto, este trabalho discute as técnicas de composição empregadas por Reger na Suíte Op. 131c nº 1, como também traça um paralelo entre essa obra, em particular, com movimentos das suítes para violoncelo solo de J.S. Bach. Respaldado pela linguagem baseada no cromatismo, Reger resgata, ao mesmo tempo, o gênero Suíte na literatura solo do violoncelo, e sob a égide da estética do romantismo tardio, cria uma obra com características e estilo próprios. A partir dessas premissas, o trabalho propõe subsidiar o intérprete em suas decisões interpretativas.

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43

Wood, Jeffrey. "The Great War and the challenge of memory." New Sound, no. 44-2 (2014): 109–20. http://dx.doi.org/10.5937/newso1444109w.

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An assessment of the responses of "classical" composers to World War I. A discussion of the responsibilities of the composer as they respond to war will be followed by a presentation of four different "modes" of artistic response: "heroic," "elegiac," "denunciation," and "reconciliation." These responses represent different modes of expression by which composers are able to respond to events such as World War I. Specific works representing these responses - Arthur Bliss' Morning Heroes, Alban Berg's Wozzeck, Edward Elgar's Violoncello Concerto, John Foulds' A World Requiem and Benjamin Britten's War Requiem - will also be discussed.

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44

Farrell, Peter, Ralph Shapey, Heinz Holliger, and Robert Ward. "Evocation No. 2; For Violoncello, Piano, and Percussion." Notes 44, no. 4 (June 1988): 831. http://dx.doi.org/10.2307/941061.

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45

Arnold, Ben, and Ernst Linko. "Trio; per pianoforte, violino e violoncello, Op. 9." Notes 41, no. 3 (March 1985): 594. http://dx.doi.org/10.2307/941196.

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46

Rolf, Marie, Claude Debussy, Ellwood Derr, and Daniel Blumenthal. "Klaviertrio in G fur Klavier, Violine und Violoncello." Notes 44, no. 2 (December 1987): 362. http://dx.doi.org/10.2307/941596.

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47

Sannemüller, Gerd. "Sonate für Violine und Violoncello von Maurice Ravel." Die Musikforschung 28, no. 4 (September 21, 2021): 408–19. http://dx.doi.org/10.52412/mf.1975.h4.1948.

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48

Davies, Benjamin K. "Joan Guinjoan concertos." Tempo 59, no. 234 (September 21, 2005): 56–57. http://dx.doi.org/10.1017/s0040298205220326.

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JOAN GUINJOAN: Concerto for clarinet and orchestra; Concerto for piano and orchestra; Música per a violoncel i orquestra. Joan Enric Lluna (cl), David Abramovitz (pno), Lluís Claret (vlc). Orquestra Simfònica de Barcelona i Nacional de Catalunya, c. Ernest Martínez Izquierdo. Harmonia Mundi HMI 987056.

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Cromar, Mark. "STOCKHAUSEN: Michael's Farewell; plus works by ANDREW POWELL, TIM SOUSTER and ROGER SMALLEY. John Wallace (tpt), Andew Powell, (live electronics). Deux-Elles DXL 1039 JONATHAN HARVEY: Oeuvres pour violoncelle: Curve with Plateaux; Ricercare una melodia; Three Sketches; Chant; Advaya. Benjamin Carat, (vlc). Assai 222242-MU750." Tempo 57, no. 224 (April 2003): 69–71. http://dx.doi.org/10.1017/s0040298203220179.

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50

YILDIZ, Eren Can, and Şebnem ORHAN. "GRADUATE THESES IN THE FIELD OF VIOLONCELLO IN TURKEY." International Journal of Family, Child and Education, no. 17 (2019): 0. http://dx.doi.org/10.17359/aced.2019.17.5.

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