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Bibliografías temáticas / Piano with orchestra

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Artículos de revistas

Literatura académica sobre el tema "Piano with orchestra"

Autor: Grafiati

Publicado: 4 de junio de 2021

Última modificación: 1 de agosto de 2024

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Artículos de revistas sobre el tema "Piano with orchestra"

1

Palmer, Peter. "Swiss Music." Tempo 57, no. 226 (2003): 54–56. http://dx.doi.org/10.1017/s0040298203290355.

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NORBERT MORET: TriptyquepourlesFêtes1; Gastlosen2; Mendiant du Ciel bleu3. 1The Tallis Scholars; 2Fritz Muggler organ); 3Béatrice Haldas (sop), Philippe Huttenlocher (bar), Nederlandse Omroep Stichting of Hilversum, Maitrise de St-Pierre aux Liens of Bulle, Düdingen Women's Choir; Heiner Kühner, Catherine Moret, Claudia Schneuwly (organs), Basle Radio Symphony Orchestra c. Armin Jordan. Musiques Suisses MGB CD 6199.ROLF LIEBERMANN: Furioso for orchestra1; Geigy Festival Concerto2; Medea-Monolog3; Les Echanges4; Concerto for Jazz Band and Symphony Orchestra5. 3Rachael Tovey (sop), 3Darmstadt Co

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2

Lawless, Patrick, and Amnon Wolman. "Concerto for Piano, Pianos and Orchestra." Computer Music Journal 15, no. 2 (1991): 72. http://dx.doi.org/10.2307/3680918.

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3

Martynenko, N. N. "PECULIARITIES OFORCHESTRA FACTURE IN CONCERT FOR PIANO WITH ORCESTRA F.POULENC (CIS-MOLL)." National Association of Scientists 3, no. 27(54) (2020): 9–14. http://dx.doi.org/10.31618/nas.2413-5291.2020.3.54.201.

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The article considers a concert for piano and orchestra by F. Poulenc in the context of the musical aesthetics of thecomposer and features of the orchestra texture as key components of the author s creative method. The basic principles of orchestral writing are analyzed. Using specific examples from individual parts of the concerts, interesting distinctive properties inherent in the orchestration jf the composer are examined.

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4

Xia, Ming. "Evolution of the Genre of the Piano Concerto." ARTISTIC CULTURE. TOPICAL ISSUES, no. 18(2) (November 29, 2022): 22–29. http://dx.doi.org/10.31500/1992-5514.18(2).2022.269772.

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The paper outlines the features of emergence and development of the piano concerto on its way towards drama from a historical perspective, analyses specific features of its genre nature, and reveals the types of the concerto’s dramaturgy differing from one another in form and style of the interaction between the soloist and the orchestra. The paper demonstrates that the piano concerto followed the path of development of an individual performer principle, and afterward that of a dialogical balance between the orchestra and the piano part, which was determined by the degree of composers’ innovat

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5

Stronko, Boryslav. "Orchestration of Proper Piano Pieces as a Self-Interpretation." Studia Universitatis Babeş-Bolyai Musica 68, no. 2 (2023): 115–28. http://dx.doi.org/10.24193/subbmusica.2023.2.08.

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"The study is focused on the problem of composers’ self-interpretation in the orchestrations of their own piano pieces. This specific case of a creative re-thinking contains not only adaptation of a piano score to orchestral instruments, but also adding new semantic meaning, sound atmosphere and texture principles as well as further development of initial music idea. For the analysis two pieces of Maurice Ravel and Borys Lyatoshinsky – two prominent masters of orchestration and piano miniature of 20th century, were chosen. Their approaches are distinguishably different: (a) the detailed reorde

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6

Rakochi, Vadim. "Orchestration as a Means of the Synthesis of Classical and Romantic Approaches in Brahms’ Second Piano Concerto." Musicological Annual 57, no. 1 (2021): 25–63. http://dx.doi.org/10.4312/mz.57.1.25-63.

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The synthesis of ‘Classical’ and ‘Romantic’ concepts in the orchestration of Brahms’ Second Piano Concerto is discussed. The composer rethinks ways of presenting musical material in the orchestra by conceptualising both the ‘Classical’ orchestral structure (the size, the approach to the brass section) and the Romantic-like treatment of solos, alternations, etc. as unified domains.

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7

Svard, Lois, and Joseph Schwantner. "Concerto for Piano and Orchestra." Notes 48, no. 4 (1992): 1452. http://dx.doi.org/10.2307/942167.

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8

Hassen, Marjorie, and Milton Babbitt. "Concerto for Piano and Orchestra." American Music 6, no. 4 (1988): 478. http://dx.doi.org/10.2307/3051712.

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9

Burk, James M., Elliott Carter, Ursula Oppens, Michael Gielen, and David Schiff. "Piano Concerto; Variations for Orchestra." American Music 6, no. 1 (1988): 114. http://dx.doi.org/10.2307/3448359.

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10

XANKIŞIYEVA, İlhame. "A LOOK AT AZER DADASHOV’S PIANO WORK." IEDSR Association 6, no. 15 (2021): 1–10. http://dx.doi.org/10.46872/pj.302.

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The article we presented is devoted to the analysis of A.Dadashov's piano music. Although some of the composer's piano works have been examined in various studies, this heritage has not been examined in its entirety. The images created by A.Dadashov include the relationship between man and the universe, the desire for the creation of the individual world, as well as aspects related to the inner world of man. Piano music, which is an important part of A.Dadashov's work, is represented by various genres, large and small. Here you can find all kinds of genres, from piano and orchestral concerts t

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