Bibliografías temáticas / Haydn, Joseph, Concertos

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Literatura académica sobre el tema "Haydn, Joseph, Concertos"

Autor: Grafiati
Publicado: 4 de junio de 2021
Última modificación: 1 de febrero de 2022

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Artículos de revistas sobre el tema "Haydn, Joseph, Concertos"

1

Гужва, О. П., and А. Р. Скрипник. "Cadence into the cello concerts by J. Haydn (history, analysis and principle of improvisation)." Музикознавча думка Дніпропетровщини, no. 16 (December 19, 2019): 64–73. http://dx.doi.org/10.33287/221923.

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The purpose of this article is to identify the peculiarities of theinterpretation of cadences in cello concerts precisely C-dur and D-dur bycelebrated Joseph Haydn. In accordance with this goal, the following tasksof scientific research are defined, namely to identify the characteristicfeatures of cadence in a classical concert, to compare the features ofperformance by different performers. Discussion on the practice ofimprovising cadences in the 19th and 20th centuries. Methods of the studyare to apply comparative analysis of different approaches to improvisationin the 19th and 20th centuries
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2

Schirlbauer, Anna. "Nicolaus Zmeskall und die Initialen „NZ“ auf einigen Abschriften von Werken J. Haydns und A. Zimmermanns." Studia Musicologica 49, no. 1-2 (2008): 49–71. http://dx.doi.org/10.1556/smus.49.2008.1-2.3.

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Several copies of works by Joseph Haydn and Anton Zimmermann, located mainly at the Gesellschaft der Musikfreunde in Vienna, have some striking features in common: almost identical calligraphic initials “NZ,” dates ranging from 1776 to 1778 on the cover pages, and great similarity in the handwriting of text and music. This handwriting was analysed by the author and compared to the surviving contemporary manuscript copies (paper, watermarks, script) of string quartets by Nicolaus Zmeskall (1759–1833), Beethoven’s friend in Vienna. Using previously unknown samples of Zmeskall’s handwriting from
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3

Cowgill, Rachel. "The London Apollonicon Recitals, 1817–32: A Case-Study in Bach, Mozart and Haydn Reception." Journal of the Royal Musical Association 123, no. 2 (1998): 190–228. http://dx.doi.org/10.1093/jrma/123.2.190.

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In July 1817 Benjamin Flight and Joseph Robson, two of London's most celebrated organ-builders, unveiled their latest concept in organ design — the Apollonicon. This mammoth finger-and-barrel chamber organ, predecessor to the giant orchestrions of the Victorian era, had been five years in the making. And when it opened for performances at the firm's fashionable West End premises, 101 St Martin's Lane, it heralded a new era of evolution for the organ in British concert life.
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4

Friesenhagen, Andreas. "Haydns Sinfonien: Besetzungsprobleme und Aufführungstraditionen." Studia Musicologica 51, no. 1-2 (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 violonce
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Winter, Robert S. "The Bifocal Close and the Evolution of the Viennese Classical Style." Journal of the American Musicological Society 42, no. 2 (1989): 275–337. http://dx.doi.org/10.2307/831658.

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The classical half cadence on the dominant in the exposition that becomes tonicized after a decisive articulation has been noted only in passing by twentieth-century writers. Even fewer have noted the parallel usage of this device in the recapitulation, where the same half cadence serves as a local dominant. To this neglect can be added the general disdain with which earlier theorists like Czerny, Reicha, A. B. Marx, and Riemann viewed what can be called "the bifocal close." Contrary to the collective ignorance about, or disapproval of, the bifocal close, it turns out to have played an importa
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Harrison, B. "Eighteenth-century music for two keyboard instruments, Bernard Brauchli (harpsichord, clavichord), Esteban Elizondo (organ, clavichord), Titanic Records T1-185 (rec 1989); Joseph Haydn, Harpsichord Sonatas In C Minor (XVI 20), F Major (XVI:23), A Major (XVI 26), E Flat Major (XVI 28), B Minor (XVI 32), Shirley Mathews (harpsichord), Gasparo GSCD-284 (issued 1991); Wolfgang Amadeus Mozart, Concertos KV107 (After J. C. Bach's Keyboard Sonatas Op.5 Nos 2, 3 & 4); Leopold Mozart, Sonata Da Camera A Tre No.4; Johann Christian Bach, Sonata In D Major, Op.20 No 2, Keyboard Concerto In E Flat Major, Op.7 No 5, London Baroque, Harmonia Mundi HMC 901395 (rec 1990); Wolfgang Amadeus Mozart, Piano Sonatas K545 & K57O, Fantasie K475, Rondos K486 & K511, Andras Schiff (fortepiano), L'Oiseau-Lyre 433 328-2 (rec 1991)." Early Music XXI, no. 1 (1993): 161–63. http://dx.doi.org/10.1093/em/xxi.1.161.

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Mikula, Adolf, and Herbert Ipser. "Preface." Pure and Applied Chemistry 79, no. 10 (2007): iv. http://dx.doi.org/10.1351/pac20077910iv.

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The 12th International Conference on High Temperature Materials Chemistry (HTMC-XII) took place at the Vienna University of Technology, Austria, 17-22 September 2006. Previous conferences were held in 2000 in Juelich (Germany), and in 2003 in Tokyo (Japan).The conference was sponsored by IUPAC and organized by the Department of Inorganic Chemistry/Materials Chemistry of the University of Vienna together with the Austrian Chemical Society (GÖCH) and the Department of Materials Chemistry of the Vienna University of Technology. The local organizing committee was chaired by Profs. Adolf Mikula and
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8

Sexton, Jeremy W. "Anton Weidinger and the Emergence of His Voice: The Keyed Trumpet." Nota Bene: Canadian Undergraduate Journal of Musicology 8, no. 1 (2015). http://dx.doi.org/10.5206/notabene.v8i1.6600.

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This paper examines Anton Weidinger, the 18th- and early 19th-century keyed trumpet player for whom Joseph Haydn and Johann Nepomuk Hummel composed their trumpet concerti. As the most successful of many attempts to chromaticize the trumpet in the late 18th century, during which the Baroque clarino style of trumpet-playing was waning, Weidinger’s keyed trumpet enjoyed a short-lived period of prominence from about 1800 to 1804, the period during which Weidinger premiered these two concerti. Subsequently, the keyed trumpet declined in popularity, and eventually it was replaced by the valve trumpe
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9

Schlotterbeck, Jesse. "Non-Urban Noirs: Rural Space in Moonrise, On Dangerous Ground, Thieves’ Highway, and They Live by Night." M/C Journal 11, no. 5 (2008). http://dx.doi.org/10.5204/mcj.69.

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Despite the now-traditional tendency of noir scholarship to call attention to the retrospective and constructed nature of this genre— James Naremore argues that film noir is best regarded as a “mythology”— one feature that has rarely come under question is its association with the city (2). Despite the existence of numerous rural noirs, the depiction of urban space is associated with this genre more consistently than any other element. Even in critical accounts that attempt to deconstruct the solidity of the noir genre, the city is left as an implicit inclusion, and the country, an implict exc
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Tesis sobre el tema "Haydn, Joseph, Concertos"

1

Odenkirchen, Andreas. "Die Konzerte Joseph Haydns : Untersuchungen zur Gattungstransformation in der zweiten Hälfte des 18. Jahrhunderts /." Frankfurt am Main ; Bern ; Paris : P. Lang, 1993. http://catalogue.bnf.fr/ark:/12148/cb35680110b.

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Adamson, Daniel. "A Comparative Analysis of Haydn's Horn Concerto and Trumpet Concerto." Thesis, University of North Texas, 2016. https://digital.library.unt.edu/ark:/67531/metadc862771/.

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Among the existing solo instrumental concertos of Joseph Haydn's oeuvre are two concertos for brass instruments. These are the Horn Concerto in D Major (Hob. VIId: 3) and Trumpet Concerto in E-flat Major (Hob. VIIe: 1). In addition to their standing as the only two concertos for solo brass instruments written by Haydn in existence, the two concertos provide a unique opportunity for insight into the history of the concerto genre and Haydn's change in compositional style. This is because of their chronological position within Haydn's oeuvre; the Horn Concerto was composed in 1762 during the earl
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3

Gillingham, Amy E. "Cultivating Perception: Bridging Schematic Patterns and Audience in Franz Joseph Haydn's Violoncello Concertos." University of Cincinnati / OhioLINK, 2010. http://rave.ohiolink.edu/etdc/view?acc_num=ucin1275919165.

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Harris, Kristine Lynn. "A collection of cadenzas for the trumpet concertos of Franz Joseph Haydn and Johann Nepomuk Hummel." Virtual Press, 1999. http://liblink.bsu.edu/uhtbin/catkey/1137621.

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The Haydn Trumpet Concerto and the Hummel Trumpet Concerto are two of the most important concertos in the solo trumpet repertoire and the cadenza reflects the performer's personality and technical abilities. There have been numerous recordings of the two concertos and they are consistently used in performance and as a pedagogical tool. This document contains both published cadenzas and transcriptions of recorded cadenzas from the first and last movements of the Haydn Trumpet Concerto and the Hummel Trumpet Concerto.This study begins with an investigation of the concepts and historical informat
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5

Leverenz, Anna. "The Debated Authenticity of Franz Joseph Haydn’s Concertos for Horn: An Historical and Theoretical Approach to Attribution." University of Cincinnati / OhioLINK, 2011. http://rave.ohiolink.edu/etdc/view?acc_num=ucin1319487744.

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6

Mueller, Paul Martin. "An examination of George Frideric Handel’s “Let the bright seraphim” from Samson, Franz Joseph Haydn’s Concerto for trumpet in E flat major, Karl Jenkins’ Salm o Dewi Sant, and Erik Morales’ Concerto for trumpet in C and piano." Kansas State University, 2009. http://hdl.handle.net/2097/1416.

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Master of Music<br>Department of Music<br>Gary C. Mortenson<br>This Master’s report contains biographical, historical, and theoretical analysis as well as stylistic and technical considerations for the four works performed for the author’s Master’s recital on April 29th, 2009. The works are Handel’s aria “Let the Bright Seraphim” from Samson, Franz Joseph Haydn’s Concerto for Trumpet in E Flat Major, Karl Jenkins’ Salm o Dewi Sant, and Erik Morales’ Concerto for Trumpet in C and Piano.
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7

Parish, Tracy M. "A performance interpretation of the concerto in E-flat major by Joseph Haydn based on contemporaneous writings and period performance practice /." 2008. http://proquest.umi.com/pqdweb?index=0&did=1686371681&SrchMode=2&sid=1&Fmt=2&VInst=PROD&VType=PQD&RQT=309&VName=PQD&TS=1271698041&clientId=36305.

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Thesis (D.M.A.)--University of Illinois at Urbana-Champaign, 2008.<br>Includes abstract. Vita. Adviser: John Hill. Includes bibliographical references. Available from Pro Quest Information and Learning.
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Chun, Liu Yu, and 劉郁君. "A Performance Interpretation Of The Trumpet Concerto By Joseph Haydn." Thesis, 2013. http://ndltd.ncl.edu.tw/handle/12479360511262587593.

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CHEN, YEN-WEI, and 陳彥維. "The Analysis and Interpretation of Joseph Haydn Concerto for Trumpet and Orchestra." Thesis, 2019. http://ndltd.ncl.edu.tw/handle/7g4hse.

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碩士<br>國立臺灣藝術大學<br>音樂學系<br>108<br>Joseph Haydn’s (1732-1809) “Trumpet Concerto in E flat” was written in 1796, a work in his later years, the last work in his life as well. It was written for his friend Anton Weidinger(1766-1852), an Austrian trumpet virtuoso.Weidinger improved a nature trumpet by adding holes and five keys, which made it able to play harmonic or chromatic notes, other than those only in A or D scales.This improvement had been touching discussions among musicians. The concerto had been disappeared from sight until discovered and published 100 years later, when people realized “
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LAI, TING-HUNG, and 賴定宏. "The Analysis and Interpretation of Cello Concerto in D major by Joseph Haydn." Thesis, 2019. http://ndltd.ncl.edu.tw/handle/k7q4y9.

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碩士<br>實踐大學<br>音樂學系碩士班<br>107<br>Joseph Haydn’s (1732-1809) concertos for various instruments nowadays become not only works representing the genre in the Viennese classical period, but also a standard repertoire for the instrument, just like the two concertos for cello. Two decades since his previous work for cello, Haydn composed the Cello Concerto in D major in 1783. Through this piece, one can observe Haydn’s evolution of musical language combining the baroque heritage and the style of his time for developing his own style. This thesis focuses on the study of the Haydn Cello
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Libros sobre el tema "Haydn, Joseph, Concertos"

1

Junker, Hildegard. Joseph Haydn, Trompetenkonzert in Es-Dur. H. Junker, 2001.

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2

Die Konzerte Joseph Haydns: Untersuchungen zur Gattungstransformation in der zweiten Hälfte des 18. Jahrhunderts. Lang, 1993.

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3

Joseph Haydn's keyboard music: Sources and style. Indiana University Press, 1986.

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4

Anthony, Ryan, and Canadian Brass. Franz Joseph Haydn - Trumpet Concerto: Canadian Brass Solo Performing Edition. Hal Leonard Corporation, 2003.

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5

Lakos, Agnès. Partition - Premières pièces de concert II - Joseph Haydn - Ludwig van Beethoven - pour piano. PDV KMB, 2013.

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