Literatura académica sobre el tema "Arranged Bassoon with orchestra"
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Artículos de revistas sobre el tema "Arranged Bassoon with orchestra"
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Carnovale, Norbert y Gunther Schuller. "Three Concertos: Concerto no. 1 for Horn and Orchestra. Concerto for Piano and Orchestra. Concerto for Bassoon and Orchestra". American Music 15, n.º 3 (1997): 413. http://dx.doi.org/10.2307/3052333.
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Jepsen, Jørgen R. "Posterior Interosseous Neuropathy in the Distal Radial Tunnel in a Contrabassoon Musician". Medical Problems of Performing Artists 29, n.º 1 (1 de marzo de 2014): 23–26. http://dx.doi.org/10.21091/mppa.2014.1006.
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OBJECTIVE: Bassoonists seem to have a high recorded prevalence of performance-related upper limb symptoms. Yet, the background for their symptoms has not been established. This study aimed to diagnose and treat the pathology that caused severe upper limb symptoms in a bassoon/contrabassoon musician in order to allow him to continue his professional career in a symphony orchestra. METHODS: A detailed neurological bedside examination was undertaken and targeted physiotherapy offered. RESULTS: The physical examination demonstrated weakness, atrophy, and nerve trunk soreness, indicating an affliction of the posterior interosseous nerve (radial tunnel syndrome) or its muscular branches. The risk factors during bassoon playing are comparable to those reported from industrial exposures. The patient was able to resume playing after treatment by nerve mobilisation.
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Weait, Christopher, Andrzej Panufnik y Daniel Dorff. "Concerto for Bassoon and Small Orchestra [Flute, 2 Clarinets in B-Flat, Strings]". Notes 51, n.º 3 (marzo de 1995): 1141. http://dx.doi.org/10.2307/899346.
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Pastukhov, Oleksandr. "Bassoon in the 16–17 centuries: the issues of the bassoon practice development". Aspects of Historical Musicology 19, n.º 19 (7 de febrero de 2020): 139–50. http://dx.doi.org/10.34064/khnum2-19.08.
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Background. The article deals with the interaction of the constructive evolution of the instrument and the development of bassoon performing of the 16–17 centuries. The aesthetics of that time was associated with the search for new expressive means, realization of which could be ensured by new instruments with rich and expressive sound. One of such instruments is bassoon; it was during the Baroque era when the bassoon took its shape and the sound image we know today. Thanks to technical evolution, the instrument acquired new artistic capabilities and new sound quality. A new repertoire was formed; bassoon became the part of such instrumental genres as sonata and concerto, it was firmly fixed in the score of the symphony orchestra. In music science, there are a number of studies devoted to wind instruments, the most significant of which are researches by G. Abadzhyan, V. Apatskiy L. Belenov, V. Berezin, V. Bohdanov, N. Volkov, V. Gromchenko, Yu. Dolzhikov, V. Kachmarchyk, V. Lebedev, V. Popov, I. Pushechnikov, Yu. Usov, and A. Kiziliayev. There are works, which focus on the bassoon, its history, expressive and technical capabilities (G. Abadzhyan, V. Apatskiy, V. Bubnovich, N. Karaulovsky, S. Levin, V. Leonov, V. Popov, V. Starko, Anthony Baines). It is worth noting the rather important and comprehensive work by V. Apatskiy “Bassoon from A to Z”. There are numerous scientific publications of international woodwind performers associations, such as the International Double Reed Society, the Australian double reed community, the British double reed community, the Japan bassoon society, the Finnish double reed community. The purpose of the article is to reveal the specifics of the relationship between the structural improvements of the bassoon and the performance on the bassoon in the period of 16–17 centuries. Achieving this goal will help to perform tasks such as a historical overview of the development of the bassoon in the Baroque era and identify the relationship between constructive changes, artistic possibilities, repertoire potential (including the genre palette of the instrument) and composer work for the bassoon of this period. The presented article is a material used in the candidate’s dissertation, which is devoted to a wide range of issues of performance on the bassoon from the origins to the present. Methodology. The main research methods are historical, organological and performing. The historical method is associated with the characterization of the historical conditions of origin and development of the bassoon; the organological method is necessary to establish the connection between the constructive changes of the instrument with the new quality of its sound; the performing method helps to reveal new tendencies in bassoon performance of the 16–17 centuries from the new repertoire to the functional purpose of the instrument. Research results. Around the middle of the 17th century, fundamental changes occurred in the construction of the bassoon. They were caused by the need to regulate the overall tuning system of the instrument in such a way that it could participate in joint music-making with other instruments, as well as by the desire to make the instrument more portable. At the turn of the 16–17 centuries, in the process of bassoon chromatization as the result of complication of composer creativity, fundamental changes were made in the design of the instrument: new “chromatic” holes and valves, as well as fork fingering appeared. It was all connected with the formation of certain musical and aesthetic needs and developed along with them. So, the evolution of the bassoon 16–17 centuries led to such qualitative changes in the sound of the instrument as: softness of the tone, pitch control, expansion of the working range, great power of sound, ease of playing the instrument. The above-mentioned factors entailed fundamental changes in the composers’ attitude towards the instrument. The bassoon enters a more complex functional level in the works of various music genres (interlude to the comedy “La Pellegrina” by Girolamo Bargalia, “Sacrae symphoniae” by Giovanni Gabrieli, “Messa a 4 voci et Salmi” by C. Monteverdi, “Fantasy for basso continuo” by Bartolome deSelma-i-Salaverde, sonata “Lamonica” by PhilipFriedrich Bodekher, nine sonatas for solo bassoon and basso continuo by Giovanni Antonio Bertoli, sonata for two bassoons by Philipp Friedrich Buchner, opera “Il pomo d’oro” by Antonio Cesti, singspiel “Seelewig” by Sigmund Theophil Staden). The role of Antonio Vivaldi in the formation of the concerto, including concerto for bassoon, is difficult to overestimate, and thirty-nine Vivaldi’s concertos for bassoon are evidence of that. The creative work of Antonio Vivaldi affected Johann Sebastian Bach, who wrote bassoon parts in his works of different genres. George Philippe Telemann, Bach’s contemporary, is known for a large number of pieces with bassoon parts. Conclusions. Constructive changes resulted in the arrival of the bassoon to a new timbre, figurative-intonational, genre, and performance level. Meanwhile, there is a linear rather than reciprocal relationship between the above-mentioned levels. On the one hand, there is a direct dependence in the evolution of bassoon performance: new constructive features – technical capabilities of the instrument – more individual timbre character – new expressive possibilities – solo parts – solo pieces. On the other hand, all this creates new requirements both for the performer and for the instrument, which brings the situation back to the need for further search. The results of this research can be used in further studies devoted to the history and theory of bassoon performance in the historical, organological and genre-stylistic directions.
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Chystiakova, Katerina. "Dramaturgical function of the orchestra in song cycle by Hector Berlioz – Théophile Gautier “Summer Nights”". Aspects of Historical Musicology 16, n.º 16 (15 de septiembre de 2019): 190–206. http://dx.doi.org/10.34064/khnum2-16.11.
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Background. In recent scholar resources musicologists actively study the problem of typology of chamber song cycle. The article cites analytical observations of M. Kolotylenko on works in this genre by R. Strauss (2014), of I. Leopa – on G. Mahler’s (2017), of N. Vlasova – on A. Schoenberg’s (2007). It is stated, that unlike Austro-German phenomena of this kind have been studied to a certain degree, song cycle “Summer Nights” by H. Berlioz hasn’t received adequate research yet, although it is mentioned by N. Vlasova as on of the foremost experiences of this kind. It allows to regard the French author as a pioneer in tradition of chamber song cycle. The aim of given research is to reveal the essence of orchestration as a part of songs cycle’s artistic whole. In order to achieve it, semantical, compositionally-dramaturgical and intonational methods of research are used. Originally, “Summer Nights” were meant to be performed by a duo of voice and piano (1834). It was not until 1856 that composer orchestrated this cycle, similarly to the way G. Mahler and in several cases R. Strauss done it later. The foundation of cycle by H. Berlioz are six poems from a set by T. Gautier «La Comédie de la mort», published in 1838. In spite of having epic traits, this set is still an example of lyrical poesy, where subjective is being generalised, while chosen motive of death, according to L.Ginzburg, corresponds to existential essence of lyric (L. Ginzburg). French poet, prose writer, critic, author ow the poems set to music in “Summer Nights” by H. Berlioz – Théophile Gautier (1811–1872) – is one of the most enigmatic and singular figures in history of XIX century art. He was eclipsed by his contemporaries, although his creativity paved the way for upcoming symbolism, that incarnated in poetry of C. Baudelaire, and set “Émaux et Camées” became an aesthetic ideal for Parnassian School. A work by H. Berlioz on lyrics by T. Gautier consists of four songs: “Villanelle”, “Le Spectre de la Rose”, “Sur le lagunes”, “Absence”, “Au cimetiere. Clair de Lune” and “L`ile Inconnue”. It is founded on a plot of lyrical type, that is built according to the principle of appearing associations. Lyrical “I”, whose inner world is revealed during the cycle, provides logical congruity of the work. Each mélodie has its own spectrum of images, united by general lyrical plot. The first and last songs, grounding on a theme of nature, create thematic arch. The denouement of the plat falls on “L`ile Inconnue”, where hero’s conclusion about impossibility of everlasting love is proclaimed. The orchestra part is equal significance with the voice and intonated verbal text, simultaneously playing an important role in illuminating underlying meaning of the lyrics. H. Berlioz doesn’t tend to use supplementary woodwind instruments. Although, each instrument reveals its unique sonic and expressive possibilities, demonstrating its singular characteristics. Due to that an orchestra becomes differentiated, turning into a flexible living organism. Composer doesn’t use exceedingly large orchestra, moreover, each song has its unique set of performers. However, there are stable players: strings (including double basses), two flutes, 2 clarinets (in A and in B). Besides of that, H. Berlioz occasionally uses the timbre of solo oboe, bassoons, natural French horns in different keys, and in the second song he employs coloristic potential of the harp. From a standpoint of the semantics, the score is built according to the principle of the opposition between two spheres. The former one is attached to the motives of the nature and has pastoral mod. At the same time, it reveals idealistic expanse of dreams and vision, thus being above the existing realm. This sphere is represented by woodwinds and brass. The latter, on the contrary, places the hero in real time. It is a sphere of sensuality, of truly human, it also touches themes of fate and inevitable death. It is characteristic that this sphere is incarnated through string instruments. Although, the harp cannot be bracketed with either of the groups. This elusive timbre in instrumental palette is saved for “Le Spectre de la Rose” and creates unsubstantial image of a soul ascending to Heaven. H. Berlioz evades usage of mixed timbers in joining of different groups of the orchestra. Even when he does it, it has sporadic nature and provides emphasis on a particular motive. Orchestral tutti are almost non-existent. Composer uses concerto principle quite regularly as well. Additional attention must be drawn to psychologising of role of clarinet and semantisation of flute and bassoon. Clarinet becomes a doppelganger of lyrical “I” and, quite like a personality of a human, acquires ambivalent characteristics. Because of that, it interacts not only with its light group, but with low strings as well, thus demonstrating an ability to transformation of the image. Bassoon reflects the image of the death. This explains its rare usage as well as specific way of interaction with other instruments and groups. Flute is attached to the image of the nature, symbolises a white dove, that in a poetry of T. Gautier represents an image of beautiful maiden. Consequently, this allows to state that timbre of flute incarnates the image of lyrical hero’s love interest. The most significant instruments of string group are the low ones, accenting either the aura of dark colours or sensuality and passion. Neglecting the tradition requiring lyrical hero to be paired with a certain voice type, H. Berlioz in each mélodie uses different timbres, that suit coloristic incarnation of the miniature the most in the terms of tessiture and colour. A conclusion is made, that composer become a forefather of chamber song cycle of new type, with its special trait being equivalence of the voice and the orchestra, that allows them to create united multi-layered integrity
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Bekenova, A. "N.Karimov's viola transcriptions in the pedagogical repertoire (on the example of the transcription of «Kuy» by M.Sagatov)". Pedagogy and Psychology 47, n.º 2 (30 de junio de 2021): 256–64. http://dx.doi.org/10.51889/2021-2.2077-6861.30.
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In the Kazakh educational process today, in addition to the generally recognized arrangements and treatments of world music classics and original works for viola, national music adapted for viola is actively involved. There are several collections of works for viola edited, arranged and processed by such authors as A.Nurbayeva, E.Liberchuk, Ya.Fudimana, N.Sagimbayeva, D.Makhmud. The musical literature presented in these collections is widely used at different levels of education – by students of music schools, colleges and even universities of the republic, which is mainly due to the limited repertoire. The article deals with the transcription of N.Karimov's «Kuy» for violin and chamber orchestra by M. Sagatov as one of the first experiments in interpreting the sound of dombra kuy in viola music.
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Devyataikina, Nina Ivanovna y Svetlana Aleksandrovna Lyashova. "“Partisan requiem” by H. Sommerro: the peculiarities of interaction between liturgical and author’s verses in the context of the musical drama". PHILHARMONICA. International Music Journal, n.º 6 (junio de 2020): 45–60. http://dx.doi.org/10.7256/2453-613x.2020.6.33160.
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The research object is the sacred music of a well-known Norwegian composer Henning Sommerro (born 1952), one of the bright components of his multifaceted creative work. The present article is the first work within the Russian scientific literature analyzing this aspect through the prism of one of the key works of the composer. The authors are also the first to introduce the complete musical score of the composition into the scientific discourse. Along with the recordings, it helps to understand how the composer manages to successfully combine the liturgical and secular components, the poetical and musical texts, and how they outline the modern musical directions. The research subject is the musical drama and expressive means of the “Partisan Requiem” (2000) by Sommerro performed by the combined Russian-Norwegian choir (Murmansk, 2019). The research shows that the composer keeps the graphic structure of the historically formed model of the genre. Owing to the musical expressive means and “citation”, demonstrating the postmodernist practices of the composer, the genre becomes recognizable, denoting the important “memory spaces”. At the same time, in terms of drama, Latin and Norwegian texts are “arranged” according to the internal connection, the monologue inclusions of the narrator are often accompanied with a reduced orchestra, whose timbre and color, on the one hand, thematically unite the Norwegian texts with the graphic and musical sphere of the composition, and on the other hand, deepen the understanding of the ideas underlying them. The briefness of poetic verses strengthens the importance of each of them; they are rhythmically linked to liturgical texts thus helping to create a single lexical and musical fabric of the composition by means of a complex interaction of the choir, the orchestra, the soloists and the actor-narrator.
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Asaulyuk, I. O. y A. A. Diachenko. "Особенности физической подготовленности студентов учебных заведений в процессе физического воспитания". Health, sport, rehabilitation 5, n.º 1 (30 de marzo de 2019): 9. http://dx.doi.org/10.34142/hsr.2019.05.01.01.
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<p><em>The main goal of the work</em> is to study the level of physical fitness of students of music specialties. The objectives of the study reflect the gradual achievement of the goal. It also gives the analysis of the static strength endurance of the muscles of the body <em>Methods of research</em>: analysis and generalization of data in literature, pedagogical methods of research (experiment, testing), methods of mathematical statistics. 154 students of the first and second year of the Vinnitsa School of Culture and Arts named after M. D. Leontovich participated in the pedagogical experiment. Such as students of the specialty “Music Art”, the specializations “piano, orchestra, string instruments” (violin, viola, cello, double bass); “Orchestral wind instruments and percussion instruments” (flute, oboe, clarinet, bassoon, saxophone, horn, trumpet, trombone, tubo, percussion instruments), “folk instruments” (accordion, accordion, domra, bandura, guitar); “Vocal, choral conducting”. <em>Results</em><em>.</em><strong> </strong> It is noted that the level of work capacity, health status and occupations depends on the effectiveness of their physical education. It is possible to increase the effectiveness of the process of physical education of students through optimization and development of professionally important physical qualities. Student’s educational and further activity of the specialty "Musical art" provides an unpleasant work pose and peculiarities of the manifestation of physical qualities, which level of development depends on the effectiveness of professional activity. <em>Findings.</em> The estimation of indicators of the physical readiness of students with the use of battery tests, which characterize the static strength endurance of the muscles of the torso is evaluated. Evaluation of the students' physical fitness made it possible to determine the general tendency of significant deterioration of the indicators for the period of study. </p>
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WILSON KIMBER, MARIAN. "Women Composers at the White House: The National League of American Pen Women and Phyllis Fergus's Advocacy for Women in American Music". Journal of the Society for American Music 12, n.º 4 (noviembre de 2018): 477–507. http://dx.doi.org/10.1017/s1752196318000378.
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AbstractWomen composers' concerts, arranged by Phyllis Fergus, were held for Eleanor Roosevelt at the White House in 1934 and 1936. They featured music by members of the National League of American Pen Women—an organization for writers, artists, and composers—and were part of a substantial agenda proposed by Fergus, its music director and later president, to achieve national recognition for its composer members. Drawing on Fergus's scrapbooks and documentation in the FDR Library and Pen Women's archives, this article explores the events that Fergus helped to organize, including concerts in Miami, Chautauqua, and Chicago, the latter played by members of the Women's Symphony Orchestra. White House appearances by Amy Beach helped emphasize the League's professional status, and the nationalistic tone of its publicity, urging audiences to “Buy American” during the Depression, worked to distract from age-old assertions of women's lack of creativity. However, the musicales for Roosevelt, who received the composers socially rather than as paid professionals, reinforced women's domestic position, and financial restraints limited most League programming to the genres typically associated with female composers. Despite its separation from a male mainstream, the NLAPW was nonetheless a significant force in promoting women's music in the 1930s.
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Almási, István. "Transylvanian Folk Music in Zoltán Kodály's Compositions". Studia Musicologica 59, n.º 1-2 (junio de 2018): 55–60. http://dx.doi.org/10.1556/6.2018.59.1-2.4.
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Zoltán Kodály became seriously interested in Transylvanian folk music when he had learnt about the results of Béla Bartók's collecting fieldworks in Székelyföld. The wealth of old-style tunes and classical ballads, and – above all – the recognition of the importance of pentatony inspired Kodály to take part personally in the exploration of Székely folk music. Székely musical folklore obviously intrigued him both as an ethnographer and as a composer. He collected nearly 600 tunes in 15 Székely localities in the Gyergyó Basin, the valley of the Kászon stream, and Bukovina. He arranged 66 of these melodies within such compositions as e.g. the Dances of Marosszék, the musical play The Spinning Room, Hungarian Folk Music (57 ballads and folk songs for voice and piano), Székely Lament for mixed voices, Bicinia Hungarica, Kádár Kata and Molnár Anna (both with chamber orchestra accompaniment), and Pentatonic Music. Apart from his own collection, he also used those of some of his contemporaries. The paper discusses the specificities of Kodály's techniques of arrangement. His inspiring advice for younger folklorists had an essential role in triggering the in-depth investigation of Central Transylvanian folk music.
Tesis sobre el tema "Arranged Bassoon with orchestra"
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Weikel, Anthony L. III. "Brahms’s Four Serious Songs: Arranged for Trombone and String Orchestra". The Ohio State University, 2015. http://rave.ohiolink.edu/etdc/view?acc_num=osu1437755386.
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Widstrand, Alex Christopher. "Lev Konstantinovich Knipper's concerto for bassoon and string orchestra: introduction and critical performing edition". Diss., University of Iowa, 2018. https://ir.uiowa.edu/etd/6338.
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Recent studies of bassoon music in twentieth-century Russia have unearthed a rich trove of previously little-known repertoire. Despite the abundance of original Russian bassoon music, little of it approaches the sophistication of the bassoon writing within the late nineteenth- and early twentieth-century Russian symphonic tradition. One work which does come close to equaling those aesthetic standards is Lev Knipper’s Concerto for Bassoon and String Orchestra (1970), which confronts the bassoonist with far greater expressive and technical demands than previous Russian solo bassoon works. In order to facilitate this concerto’s incorporation into the standard bassoon repertoire, the present study has produced the first-available critical edition of the score, piano reduction and solo bassoon part to this concerto. The edition is framed by a concise biography of the composer, including an overview of his various compositional style periods, historical background on the concerto itself and an assessment of its musical contents.
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Patronik, Emily. "Concerto for Bassoon and Orchestra by Ellen Taaffe Zwilich:Background, Analysis, and Performance Application". The Ohio State University, 2013. http://rave.ohiolink.edu/etdc/view?acc_num=osu1373995878.
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Bedont, Robert James. "The Creation of a Performance Edition and Piano Reduction of Justus Johann Friedrich Dotzauer's VIII Variations for Bassoon and Orchestra, Op. 40". Diss., The University of Arizona, 2013. http://hdl.handle.net/10150/311590.
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A review of the published music for solo bassoon suggests that there is relatively little solo literature for the instrument that dates from the late eighteenth and early nineteenth centuries. This document focuses on the creation of a modern performance edition and piano reduction of a recently uncovered work for solo bassoon and orchestra by Johann Dotzauer, VIII Variations for Bassoon and Orchestra, Op. 40 (originally published by Freiderich Hoffmeister Musikverlag in 1817).A comparison of Dotzauer's work with a comparable published work by Anton Reicha, reveals that the two works are similar in their treatment of phrase structure, form, harmonic and melodic language, range, and solo passagework. This comparison has shown that Dotzauer's piece is representative of the type of writing for solo bassoon that skilled composers employed in the early nineteenth century. Through the editing process, errors and inconsistencies found in the newly-uncovered Hoffmeister Edition of VIII Variations such as corrections to pitches and notation, articulation markings, dynamic markings, and other changes have been corrected in a manner that both reflects the integrity of the Hoffmeister Edition and adds clarification for those who will perform the work. VIII Variations for Bassoon and Orchestra, Op. 40 by Johann Dotzauer, is a well-crafted composition for solo bassoon that will help fill a void in the literature for bassoon now that it is more accessible through the creation of a new performance edition and piano arrangement.
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Smith, Andrew Martin. "Remnants". Bowling Green, Ohio : Bowling Green State University, 2009. http://rave.ohiolink.edu/etdc/view?acc%5Fnum=bgsu1237661688.
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Thesis (M.M.)--Bowling Green State University, 2009.Document formatted into pages; contains 1 score (vi, 29 p.) For clarinet, bassoon, and chamber orchestra (two trumpets, two horns, tenor trombone, bass trombone, percussion, piano, harp, and strings (six first violins, six second violins, four violas, four cellos, and two basses) Includes bibliographical references.
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Dodd, Raymond H. "Four musical compositions (with accompanying notes) : Prezzo Concertante for symphony orchestra; Concerto for bassoon and chamber orchestra; Sea Gods for 8-part chorus; Improvisation for wind quintet". Thesis, University of Aberdeen, 1995. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.262477.
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The grouping of these four compositions is intended to create a balanced portfolio, illustrating the management of a variety of forms, media and compositional problems. The submission divides into two parts: Part I - The Compositions: (i) Pezzo Concertante A single-movement orchestral piece for double woodwind; 4 horns; 3 trumpets; 3 trombones; tuba; timpani; 4 percussionists; harp; strings. Duration c 11' This piece is a single-movement structure, compact and complete in itself, with some display elements for each section of the orchestra. It aims to provide both an interesting challenge for professional orchestral players and a strong and direct audience appeal. (ii) Concerto for Bassoon and Chamber Orchestra. In addition to the solo part it is scored for flute; clarinet; oboe; 2 horns; trumpet; trombone; strings. Duration c 15' This work plays continuously but is subdivisible into five sections of which the first three are virtually separate movements. It is designed to have an almost chamber-musical intimacy, while at the same time giving the soloist an opportunity to display many of the possibilities of the instrument. (iii) Sea Gods This is a setting for 8-part choir of a poem by H.D. (Hilda Doolittle). Duration c 7'30'' The setting was planned for a professional choir of not fewer than 16 singers, but could be very effective sung by a large chorus. It attempts to match the vivid imagery and intense feeling of H.D.'s powerful poem. (iv) Improvisation for Wind Quintet A single-movement work. Duration c 5' This short piece was written in 1991 for the Albany Wind Quintet who gave its first performance. Part II - The Notes: These explain some of the motivations and aims which inspired each piece. A short description of each work is given, together with a brief account of some of the underlying compositional techniques and considerations.
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Graun, Johann Gottlieb (?), Jan Antonín Reichenauer y Franz (Jakob) Horneck. "Fünf Fagottkonzerte". Saechsische Landesbibliothek- Staats- und Universitaetsbibliothek Dresden, 2014. http://nbn-resolving.de/urn:nbn:de:bsz:14-qucosa-149767.
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Der vorliegende Band vereint fünf Fagottkonzerte, die in der Sächsischen Landesbibliothek – Staats- und Universitätsbibliothek Dresden überliefert sind und die hier erstmals, nahezu drei Jahrhunderte nach ihrer Entstehung, der musikalischen Öffentlichkeit in einer neuen Ausgabe vorgelegt werden. Bei vier der insgesamt sieben Quellen – darunter auch zwei Autographe – handelt es sich um Abschriften Dresdner Hofnotisten. Sie wurden im sog. »Schranck No: II.« in der Katholischen Hofkirche aufbewahrt, was sie als Repertoire der Kammermusik der Dresdner Hofkapelle der ersten Hälfte des 18. Jahrhunderts ausweist.
Die außerordentliche Beliebtheit von Solo- und Gruppenkonzerten innerhalb der Dresdner Hofmusik im Augusteischen Zeitalter wird heute durch einen viele hunderte Kompositionen zählenden Werkbestand verdeutlicht.
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Graun, Johann Gottlieb (?), Jan Antonín Reichenauer y Franz (Jakob) Horneck. "Fünf Fagottkonzerte". Saechsische Landesbibliothek- Staats- und Universitaetsbibliothek Dresden, 2011. http://nbn-resolving.de/urn:nbn:de:bsz:14-qucosa-71833.
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Der vorliegende Band vereint fünf Fagottkonzerte, die in der Sächsischen Landesbibliothek – Staats- und Universitätsbibliothek Dresden überliefert sind und die hier erstmals, nahezu drei Jahrhunderte nach ihrer Entstehung, der musikalischen Öffentlichkeit in einer neuen Ausgabe vorgelegt werden. Bei vier der insgesamt sieben Quellen – darunter auch zwei Autographe – handelt es sich um Abschriften Dresdner Hofnotisten. Sie wurden im sog. »Schranck No: II.« in der Katholischen Hofkirche aufbewahrt, was sie als Repertoire der Kammermusik der Dresdner Hofkapelle der ersten Hälfte des 18. Jahrhunderts ausweist.
Die außerordentliche Beliebtheit von Solo- und Gruppenkonzerten innerhalb der Dresdner Hofmusik im Augusteischen Zeitalter wird heute durch einen viele hunderte Kompositionen zählenden Werkbestand verdeutlicht.
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Ott, Janelle (Bassoonist). "The Concerto for Bassoon by Andrzej Panufnik: Religion, Liberation, and Postmodernism". Thesis, University of North Texas, 2016. https://digital.library.unt.edu/ark:/67531/metadc849689/.
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The Concerto for Bassoon by Andrzej Panufnik is a valuable addition to bassoon literature. It provides a rare opportunity for the bassoon soloist to perform a piece which is strongly programmatic. The purpose of this document is to examine the historical and theoretical context of the Concerto for Bassoon with special emphasis drawn to Panufnik's understanding of religion in connection with Polish national identity and the national struggle for democratic independence galvanized by the murder of Father Jerzy Popieluszko in 1984. Panufnik's relationship with the Polish communist regime, both prior to and after his 1954 defection to England, is explored at length. Each of these aspects informed Panufnik's compositional approach and the expressive qualities inherent in the Concerto for Bassoon.
The Concerto for Bassoon was commissioned by the Polanki Society of Milwaukee, Wisconsin and was premiered by the Milwaukee Chamber Players, with Robert Thompson as the soloist. While Panufnik intended the piece to serve as a protest against the repression of the Soviet government in Poland, the U. S. context of the commission and premiere is also examined. Additionally, the original manuscript and subsequent piano reduction are compared.
Although the Concerto for Bassoon has been subject to formal analysis by several scholars, discussion of the piece is generally contained within a larger discussion of several other compositions, and a comprehensive analysis of the piece has not yet been presented. This document contains a thorough formal analysis of all movements, as well as analysis of Panufnik's compositional style within the context of serialism, postmodernism, and the new Polish school of composition. The Concerto fro Bassoon features several devices common to Panufnik's larger opus, including the se of a common three-note cell, strong contrasts between section and movements, and symmetrical patterns of transposition, metric alteration, dynamic alteration, and registral expansion.
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Porter, Amanda H. "Remnants". Connect to this title online, 2007. http://rave.ohiolink.edu/etdc/view?acc%5Fnum=bgsu1166400966.
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Thesis (M.M.)--Bowling Green State University, 2007.Document formatted into pages; contains 1 score (36 p.) For soprano and chamber orchestra (flute, bassoon, viola, piano, harp and percussion) Includes bibliographical references.
Libros sobre el tema "Arranged Bassoon with orchestra"
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Bach, Johann Sebastian. Konzert Es-Dur, für Viola, Streicher und Basso continuo: Rekonstruktion nach BWV 169, 49, 1053 = Concerto in E-flat major for viola, strings, and basso continuo : reconstructed from BWV 169, 49, 1053. Kassel: Bärenreiter, 1996.
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Scarlatti, Domenico. 3 sonatas for 2 flutes and viola/cello/bassoon. New York: G. Schirmer, 1990.
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Copland, Aaron. Two pieces for string orchestra. [New York]: Boosey & Hawkes, 1994.
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Scriabin, Aleksandr Nikolayevich. Scriabin settings: For chamber orchestra. Newton Centre, MA (167 Dudley Rd., Newton Centre 02159): GunMar Music, 1992.
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Perotti, Sandro. Johannes Brahms, Variazioni e fuga su un tema di Händel per pianoforte, op. 24: Analisi e orchestrazione. Treviso: Ass. mus. "Ensemble '900,", 1998.
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Bach, Johann Sebastian. Four preludes and fugues from The well-tempered clavier, book I: For flute (or oboe), clarinet, and bassoon. [Boca Raton, Fla.]: Ludwig Masters Publications, 2008.
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Grainger, Percy. Molly on the shore: For bassoon and piano. Boca Raton, Fla: Masters Music Publications, 1997.
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Ravel, Maurice. Le tombeau de Couperin. Boca Raton, Fla: E.F. Kalmus, 1995.
Buscar texto completoCapítulos de libros sobre el tema "Arranged Bassoon with orchestra"
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Heyman, Barbara B. "Recognition". En Samuel Barber, 182–212. Oxford University Press, 2020. http://dx.doi.org/10.1093/oso/9780190863739.003.0008.
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This chapter describes Barber’s close relationship with Italian conductor Arturo Toscanini. Barber would frequently visit the conductor in his home, most days ending with music. This friendship resulted in Toscanini requesting that Barber write a work for the newly formed NBC Symphony Orchestra. This was a rare privilege, as Toscanini in the past had ignored American composers. His broadcasts were received with much enthusiasm from audiences. Toscanini further advanced Barber’s career by bringing his music to Latin America, with Barber being the first American composer whose work reached those shores. For Toscanini, Barber composed Essay for Orchestra and arranged the second movement of his earlier string quartet as the Adagio for Strings, which brought him international fame and became, as it were, the national funeral music of the United States, associated with the deaths of such famous names as Albert Einstein, Franklin Roosevelt, and Grace Kelly and with the tragedy of September 11, 2001. The chapter also covers Barber’s unaccompanied choral works.
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van Delden, Ate. "The California Ramblers Taking Off". En Adrian Rollini, 48–66. University Press of Mississippi, 2019. http://dx.doi.org/10.14325/mississippi/9781496825155.003.0005.
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Arthur Hand had an orchestra of his own which was incorporated into Kirkeby's California Ramblers and which he would co-lead with Ed Kirkeby. In April 1922, Kirkeby arranged for the first of countless record dates for almost any label. The band did not have a bass player and Adrian Rollini decided to fill the gap and quickly learned to play the bass saxophone. In just a few months, he developed a new style of playing, both for the bass line and for solo work. His sound would identify the California Ramblers for years to come. The band was fully employed from its start and one of their engagements was as a replacement for Paul Whiteman's band at the Palais Royal. However, Kirkeby and Hand preferred to have their own place where their band would perform regularly. They found it North of the City of New York and called it the California Ramblers Inn.