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Artículos de revistas 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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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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11

Johnson, Bret. "American Music." Tempo 57, no. 226 (2003): 56–57. http://dx.doi.org/10.1017/s004029820330035x.

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LEES: Symphonies Nos. 2, 3 and 51; Etudes for piano and orchestra2. 1Staatsphilharmonie Rheinland-Pfalz c. Stephen Gunzenhauser, 2James Dick (pno), Texas Festival Orchestra c. Robert Spano. Albany TROY 564/565 (2-CDset).LEES: Passacaglia. PERSICHETTI: Symphony No 4. DAUGHERTY: Philadelphia Stories; Hell's Angels. Oregon Symphony c. James De Preist. Delos DE 3291.FLAGELLO: Symphony No. 1; Theme, Variations and Fugue; Sea Cliffs; Intermezzo. Slovak Radio Symphony Orchestra c. David Amos. Naxos 8.559148.HOVHANESS: Symphony No 22, City of Light1; Cello Concerto2. 2Janos Starker (vlc), Seattle Symp
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12

Johnson, Bret. "Benjamin Lees: Quo Vadis?" Tempo, no. 175 (December 1990): 11–17. http://dx.doi.org/10.1017/s0040298200012560.

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Fifteen years ago, Nicolas Slonimsky wrote of Benjamin Lees in Tempo: ‘At a time when so many otherwise valiant composers are star-crossed and complain of malign neglect, Benjamin Lees rises “in excelsis” in the musical firmament’. And so he has continued since, with many commissions and numerous major works to his credit, matched by frequent performances in the United States. It is a time that has seen the creation of his Fourth and Fifth Symphonies, a set of Variations for Piano and Orchestra, a Concerto for Brass Choir and Orchestra, a Double Concerto for Piano, Cello and Orchestra, at leas
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13

Broad, Leah. "Harrison Birtwistle Responses: Sweet disorder and the carefully careless for piano and orchestra, Royal Festival Hall, London." Tempo 69, no. 272 (2015): 61–62. http://dx.doi.org/10.1017/s0040298214001041.

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2014, Sir Harrison Birtwistle's 80th birthday year, witnessed a plethora of events celebrating his music, from the Barbican's ‘Birtwistle at 80’ series to the ‘In Broken Images’ concerts at the Southbank Centre. Included in the latter was the UK premiere of his new concerto for piano and orchestra, Responses: Sweet disorder and the carefully careless, performed on 6 December 2014 by Pierre-Laurent Aimard and the London Philharmonic Orchestra under the direction of Vladimir Jurowski. Birtwistle describes the concerto as addressing the problem of ‘the relationship between the piano and the orche
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14

Zhang, Zhen. "Comparative Analysis of The First Movements in Beethoven's and Mozart's C Minor Piano Concertos." International Journal of Arts, Humanities & Social Science 05, no. 04 (2024): 129–41. http://dx.doi.org/10.56734/ijahss.v5n4a10.

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This paper compares the first movements of Beethoven's and Mozart's piano concertos in C minor, exploring the similarities and differences between these two seminal works. By examining various aspects, including the key, composition background, form, motifs, harmony, orchestral arrangements, dialogue between instruments, and piano writing, the study reveals Mozart's profound influence on Beethoven while highlighting the latter's unique innovations. The analysis delves into the significance of the C minor key for both composers, their use of the double exposition form, and the structural design
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15

Tudor, Brînduşa. "The Piano, A Perfect Musical Instrument – Beginnings and Evolution (18th – 19th Centuries)." Review of Artistic Education 17, no. 1 (2019): 100–105. http://dx.doi.org/10.2478/rae-2019-0010.

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Abstract The 18th century and the beginning of the 19th century mark the emergence, development and affirmation of the piano as a complex instrument that shall take, in turns, the role of soloist instrument, claiming and being able to reach the sound variety of the orchestra, that of partner in chamber music assemblies or that of orchestra member. The emergence, improvement and qualitative performance acquisition adventure of the piano represents a fascinating history about human creativity and ingenuity serving art, beauty, sound expressivity refinement and improvement.
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16

Anderson, Martin. "Norwegian Orchestral Music." Tempo 58, no. 229 (2004): 49–50. http://dx.doi.org/10.1017/s0040298204250227.

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KLEIBERG: Lamento: Cissi Klein in memoriam1; Symphony No. 1, The Bell Reef2; Kammersymfoni (Symphony No. 2).3 Trondheim Symphony Orchestra c. 1Eivind Aadland, 2Rolf Gupta, 3Christian Eggen. Aurora ACD 5032FLEM: Piano Concerto; Solar Wind; Ultima Thule per Orchestra.1 Sergei Ouryvaev (pno), St Petersburg State Symphony Orchestra c. Alexander Kantorov; 1Bergen Philharmonic Orchestra c. Terje Boye Hansen. Aurora ACDPERSEN: Over Kors og Krone. Oslo Philharmonic Orchestra c. Christian Eggen. Aurora ACD 5029NYSTEDT: Apocalypsis Joannis, op. 115. Mona Julsrud (soprano), James Gilchrist (tenor), Oslo
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17

Kashuba, Denis. "Chamberness in genre-stylistic field of Piano concertos by Johannes Brahms." Aspects of Historical Musicology 16, no. 16 (2019): 207–24. http://dx.doi.org/10.34064/khnum2-16.12.

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Introduction. In recent years, there has been indefatigable interest of scholars in the concerto genre, and that can be proven by constantly appearing research article and dissertation, devoted to it. For example, in 2017 and 2019 candidate dissertation [Ph. D] have been published, that illuminated previously obscure pages of, respectively, French tradition of this genre, embodied in concertos for various instruments with orchestra by C. Saint-Saëns, and AustroGerman of the first decades of XIX century (including those by J. N. Hummel, I. Moscheles, F. Ris). Expansion of the knowledge
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18

Jaatinen, Jussi, and Jukka Pätynen. "Effect of inharmonicity on pitch perception and subjective tuning of piano tones." Journal of the Acoustical Society of America 152, no. 2 (2022): 1146–57. http://dx.doi.org/10.1121/10.0013572.

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The consensus in piano tuning philosophy explains the stretched tuning scale by the inharmonicity of piano strings. This study aimed to examine how variable inharmonicity influences the result of the piano tuning process, compare the tuning curves of aurally tuned pianos with the curves derived from subjective octave enlargement experiments, and evaluate whether the pitches of inharmonic or harmonic versions of the same tone are perceived differently. In addition, the influence of strings of other piano keys on the measured inharmonicity of a single piano string was investigated. The inharmoni
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19

Davies, Benjamin K. "Joan Guinjoan concertos." Tempo 59, no. 234 (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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20

Conway, Paul. "London, BBC Maida Vale Studios: Justin Connolly's Piano Concerto." Tempo 58, no. 228 (2004): 66–67. http://dx.doi.org/10.1017/s0040298204280159.

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Many of Justin Connolly's works have been premièred and recorded by Nicholas Hodges, whose musicianship provided the inspiration for Connolly's Piano Concerto (2001–2003). The form and character of the piece are influenced by the ancient idea of the labyrinth, the forces of soloist and orchestra being well suited to the roles of Theseus and the Minotaur, where one protagonist signifies the existence of the other and the distinction between hero and villain is not always apparent. The orchestral forces employed are unexceptional. Brass and percussion are divided into two separate groups to the
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21

McBurney, Gerard. "Brian Elias's recent music." Tempo, no. 174 (September 1990): 12–18. http://dx.doi.org/10.1017/s0040298200019392.

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In the past ten years a remarkable change has come over Brian Elias. He has turned from being a miniaturist to being a composer on a symphonic scale and with symphonic aspirations. Not that he has written any work with so self-conscious a title as ‘symphony’ – at least, not yet. But in these few years he has given us two extended cycles for voice and symphony orchestra, a large-scale single-movement orchestral work that must certainly be called symphonic, a set of 49 Variations for piano inspired by Beethoven's set of 32 in C minor, and now an orchestral ballet in progress for Kenneth Macmilla
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22

Andrievska-Bodenchuk, Tetyana. "Karmella Tsepkolenko’s Concert-Drama for Piano with the Orchestra: Performance and Interpretation Aspect." Часопис Національної музичної академії України ім.П.І.Чайковського, no. 3-4(56-57) (December 26, 2022): 113–26. http://dx.doi.org/10.31318/2414-052x.3-4(56-57).2022.278209.

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The author of the study considered the performance and interpretation aspects of the Concerto-drama for piano and orchestra (1987) by the Ukrainian composer Karmella Tsepkolenko. After analyzing the musical form of the given work, it became possible to describe the correspondence of the logic involved in the development of the musical material applied in the Concerto-drama for piano with orchestra to the literary program and scenario designed by the author. The main performance and interpretation means of reflecting the author's idea are singled out, namely: piano texture; techniques of sound
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23

Meckna, Michael, and Ned Rorem. "Piano Concerto for Left Hand and Orchestra." American Music 16, no. 3 (1998): 365. http://dx.doi.org/10.2307/3052649.

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24

Asaulyuk, I. "Formation of professionally significant qualities of future specialists of music specialties." Scientific Journal of National Pedagogical Dragomanov University. Series 15. Scientific and pedagogical problems of physical culture (physical culture and sports), no. 9(140) (September 30, 2021): 13–17. http://dx.doi.org/10.31392/npu-nc.series15.2021.9(140).03.

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The article presents a general analysis of professionally significant qualities of future specialists of music specialties, specializations "piano", "orchestra string instruments (violin)".
 Materials and methods. The paper includes the analysis of professional scientific and methodological literature and sociological research methods, the method of expert evaluation and methods of mathematical statistics.
 Results of work. It is determined that the most significant professional physical quality for students majoring in "piano" is strength endurance (R = 1.42), less significant - han
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25

Burel, O. V. "About compositions for piano and orchestra by Ch.-M. Widor. Background." Aspects of Historical Musicology 13, no. 13 (2018): 45–60. http://dx.doi.org/10.34064/khnum2-13.04.

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Ch.-M. Widor (1844–1937) inscribed his name in the history of French music primarily as an author of organ works (10 Organ Symphonies, 1872–1900, in particular). But other genre branches of his creativity (symphonic, chamber-instrumental, chamber-vocal, operatic, choral) remains less famous for wide public. This quite vast layer is mostly not studied in musical science. However, at the recent time the interest is somewhat growing both among musicologists (A. Thomson, E. Krivitskaya, M. R. Bundy), and among the performers, which confi rms the relevance of this article. The objectives of this st
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26

Rusin, Anna. "Reprezentacje karnawału w fantazjach na fortepian z orkiestrą Dariusa Milhauda i Heitora Villi-Lobosa." Kwartalnik Młodych Muzykologów UJ, no. 54 (3) (December 7, 2022): 43–70. http://dx.doi.org/10.4467/23537094kmmuj.22.013.16813.

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The Representations of Carnival in Fantasias for Piano and Orchestra by Darius Milhaud and Heitor Villa-Lobos In the 1920s, Frenchman Darius Milhaud (1892–1974) and Brazilian Heitor Villa-Lobos (1887–1959), inspired by the carnival, created works that resemble each other in genre and scoring. These are the fantasias for piano and orchestra: Mômoprecóce by Villa-Lobos and Le Carnaval d'Aix, Op. 83b by Milhaud. The article presents an attempt to analyse the pieces in the context of carnivalesque aesthetics as well as musical representation (as described by Peter Kivy and Lawrence Kramer) and see
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27

Rajabova, Mashhura. "Harmonic and Fret Features of "Tanovar" Processing by A. F. Kozlovsky and A. Nabiev." Eurasian music science journal, no. 1 (June 18, 2021): 95–105. http://dx.doi.org/10.52847/eamsj/vol_2021_issue_1/55.

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In the modern musicology of our country, the issues of the modal structure of national music in its folk and classical branches are the most relevant. And they require a detailed study of the historical and theoretical aspects of fret thinking both in traditional classical and folk Uzbek music, and in the works of composers of our country. The article deals with some theoretical and historical aspects in the use of the means of musical expression of two composers of Uzbekistan: A. F. Kozlovsky and A. Nabiev. A brief comparative analysis of the stylistic features of orchestral and piano process
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28

Revenko, Natalia. "Ukrainian piano concert in the repertoire of the future teacher of music art." Scientific Visnyk V.O. Sukhomlynskyi Mykolaiv National University. Pedagogical Sciences 66, no. 3 (2019): 191–95. http://dx.doi.org/10.33310/2518-7813-2019-66-3-191-195.

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The article highlights the methods of working on a Ukrainian piano concert with students-pianists in the lessons on "Instrumental Performance (Piano)" in higher education institutions. The stages of the formation and development of the Ukrainian piano concert are presented: the end of the 20s-30s of the XX century – the origin and formation, the 40-60s – the development period, the 80-90s – the heyday of the concert genre. The best examples of this genre in the works of domestic composers of the past and the present are analyzed, namely, piano concerts by L. Revutsky, M. Skorik, V. Ptushkin. I
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29

Service, Tom. "London, Barbican: Knussen's Symphony in One Movement." Tempo 57, no. 223 (2003): 85. http://dx.doi.org/10.1017/s0040298203250087.

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Oliver Knussen's Symphony in One Movement is his latest symphony. It is also his earliest – originally composed as the Concerto for Orchestra in 1969, and premièred by the 17-year old Knussen and the London Symphony Orchestra, with André Previn playing the flamboyant piano part. 33 years later, the piece has finally reached its definitive form, and Knussen conducted the BBC Symphony Orchestra in its world première as part of an all-Knussen programme in celebration of his 50th birthday, at the Barbican Hall on 1 November.
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30

MacDonald, Calum. "British Piano Music." Tempo 60, no. 235 (2006): 44–49. http://dx.doi.org/10.1017/s0040298206310042.

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KENNETH LEIGHTON: Sonatinas Nos. 1 and 2, op.1; Sonata No.1 op.2; Sonata No.2 op.17; Five Studies op.22; Fantasia Contrappuntistica (Homage to Bach) op.24; Variations op.30; Nine Variations op.36; Pieces for Angela op.47; Conflicts (Fantasy on Two Themes) op.51; Six Studies (Study-Variations) op.56; Sonata (1972) op.64; Household Pets op.86; Four Romantic Pieces op.95; Jack-in-the-Box; Study; Lazy-bones. Angela Brownridge (pno). Delphian DCD 34301-3 (3-CD set).PATRICK PIGGOTT: Fantasia quasi una Sonata; 8 Preludes and a Postlude (Third Set). Second Piano Sonata. Malcolm Binns (pno). British Mu
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31

Zakharbekova, Irina S. "Ravel the arranger: transcriptions of piano and orchestra music." Contemporary Musicology, no. 3 (2019): 44–72. http://dx.doi.org/10.56620/2587-9731-2019-3-044-072.

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It is common practice for composers to make arrangements and transcriptions of their own or other composers’ music. However, Maurice Ravel stands out by his piano and orchestral transcriptions which constitute a prominent part of his works and reveal certain creative purposes and techniques. This shapes the subject of the article which, inter alia, also focuses on terminology not typical for Russian musicology. The study is novel as it examines Ravel’s transcriptions that have been virtually out of research or performance scope in Russia, namely, Debussy’s “Danse” and “Sarabande”, Chabrier’s “
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32

Hayes, Deborah, and Peggy Glanville-Hicks. "Etruscan Concerto [For] Piano and Chamber Orchestra (1954)." Notes 47, no. 2 (1990): 558. http://dx.doi.org/10.2307/942013.

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33

Service, Tom. "London, Queen Elizabeth Hall: Carter's ‘Dialogues’." Tempo 58, no. 229 (2004): 74. http://dx.doi.org/10.1017/s0040298204230248.

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It's been more than 40 years since Elliott Carter wrote a concertante work for piano and orchestra: the 1963 Piano Concerto was one of the high watermarks of the complexity and richness of his early maturity. His latest piece is Dialogues for piano and large ensemble, and at its dazzlingly expressive world premiere performance on 23 January, by its commissioners and dedicatees, pianist Nicolas Hodges and the London Sinfonietta, conducted by Oliver Knussen, the work was revealed as one of the most significant of Carter's recent catalogue.
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34

Grigorev, Konstantin A. "THE ROLE OF ANDRÉ JOLIVET'S TRUMPET COMPOSITIONS IN THE FORMATION OF ORIGINAL CONCERT REPERTOIRE." Arts education and science 3, no. 36 (2023): 25–30. http://dx.doi.org/10.36871/hon.202303025.

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The article deals with the Concertino for Trumpet, Piano and String Orchestra and the Concerto for Trumpet and Orchestra by André Jolivet. Their importance in the development of the original repertoire for this instrument in the XXth century is noted. The author describes the main trends in the development of the trumpet repertoire in the first half of the XXth century in the context of new tendencies in European musical culture. Using a comparative analysis of historical research and the repertoire of that time, the author notes the gradual overcoming of the most acute repertoire deficit, cau
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35

Domagała, Jarosław. "Teaching qualities in piano works by Henryk Pachulski in the context of the development of piano technique in children and youth. Part 1." Notes Muzyczny 2, no. 16 (2021): 59–86. http://dx.doi.org/10.5604/01.3001.0015.5488.

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Henryk Pachulski (1852-1921) – a Polish composer, pianist, and teacher. He graduated from the Warsaw Institute of Music, having studied piano with Rudolf Strobl. His harmony and counterpoint teachers were Stanisław Moniuszko and Władysław Żeleński. After that, he studied piano at the Moscow Conservatory with Nicolai Rubinstein and then Pawel Pabst. He learnt harmony from E. L. Langer, then Anton Arensky with whom he also had a special course in counterpoint. In 1886 he started his teaching career at the Moscow Conservatory, which lasted over 30 years. He also performed as a pianist in Moscow,
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36

Giardina, Adriano. "Vers le style d’exécution « mainstream » des concertos pour piano de Mozart: l’enregistrement Columbia du Concerto en Sol majeur, K. 453, par Ernst von Dohnányi." Studia Musicologica 58, no. 2 (2017): 197–224. http://dx.doi.org/10.1556/6.2017.58.2.4.

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The gramophone recording of Mozart’s Piano Concerto in G major, K. 453, featuring Ernst von Dohnányi as soloist and conductor of the Budapest Philharmonic Orchestra, made in 1928 for the Columbia Company, is important in many respects. The Hungarian pianist and composer made little more than a handful of gramophone recordings until the late 1940s. This performance is also the first audio recording ever to be published that contained a Mozart piano concerto (some piano rolls with concertos or extracts did exist beforehand). From the beginning of his career, Dohnányi had been one of the keenest
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37

Burel, Oleksandr. "On Gabriel Pierné and his compositions for piano and orchestra." Aspects of Historical Musicology 16, no. 16 (2019): 170–89. http://dx.doi.org/10.34064/khnum2-16.10.

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Background. The French composers’ creativity of the late XIX – first third of XX centuries is the admirable treasury of the world musical art. It is worth mentioning such remarkable and original artists as C. Debussy and M. Emmanuel, P. Dukas and E. Satie, A.Roussel and M.Ravel. The name of G. Pierné (1863–1937) can surely be added to this series of authors. But his oeuvre is still terra incognita for us. The thorough considerable researches about the author are not numerous. The monograph “Gabriel Pierné: musicien lorrain” by G. Masson was created in 1987, and the publicatio
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Carnovale, Norbert, and Gunther Schuller. "Three Concertos: Concerto no. 1 for Horn and Orchestra. Concerto for Piano and Orchestra. Concerto for Bassoon and Orchestra." American Music 15, no. 3 (1997): 413. http://dx.doi.org/10.2307/3052333.

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Hughes, Edward Dudley, Grete Sultan, and Eberhard Blum. "John Cage: Concert for Piano and Orchestra; Atlas Eclipticalis." Musical Times 134, no. 1804 (1993): 347. http://dx.doi.org/10.2307/1003073.

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40

Starr, Larry. "George Gershwin, Complete Music for Piano & Orchestra. Anne-Marie McDermott, piano; Dallas Symphony Orchestra; Justin Brown, conductor. Bridge CD 9252. 2008." Journal of the Society for American Music 6, no. 1 (2012): 135–37. http://dx.doi.org/10.1017/s1752196311000484.

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41

Knysh, P. О. "Piano concertos by F. Chopin: “composing center” means." Problems of Interaction Between Arts, Pedagogy and the Theory and Practice of Education 57, no. 57 (2020): 270–84. http://dx.doi.org/10.34064/khnum1-57.17.

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The article focuses on characterizing compositional and structural peculiarities of piano concertos by F. Chopin. The research emphasis is laid on the revealed fact that the corresponding “composing center” means (V. Kholopova) function as fundamental issues in terms of creating their interpretational versions, thus, joining analytical procedures performers of the above pieces have to follow. With a view to objectivize data concerning the composing component of the Concertos e-moll and f-moll by F.Chopin, the article presents an actual comparative analysis of various perspectives as for the fu
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42

Сидір, Наталія. "Ballade for Piano and Orchestra in the First Half of the 20th Century: Stylistic and Form-building elements." Edukacja Muzyczna 16 (2021): 149–60. http://dx.doi.org/10.16926/em.2021.16.09.

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This article presents a comparative analysis of creative solutions within the genre of ballades for piano and orchestra in works created by local and foreign composers in the first half of the 20th century, such as L. Różycki, G. Tailleferre, B. Britten, N. Medtner, and I. Shamo. It has been determined that most works are characterised by purposeful inspiration which influenced their style. The basis of the genre lies in the synthesis of various features of the folk ballad and the poetic piano concerto. The first component combines epic song features, parts of folk songs or their arrangements,
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43

Ming, Xia. "«Scenarity» as the Basis for the Formation of the Drama Genre in K. Tsepkolenko First Piano Concerto." CONTEMPORARY ART, no. 18 (November 29, 2022): 243–54. http://dx.doi.org/10.31500/2309-8813.18.2022.269739.

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The article reveals the peculiarities of creating the dramatic form of the Concerto-Drama for Piano and Orchestra. The paper substantiates the principles of dramatization of the composer’s piano concerto from the position of her creative method — her own genre concept, namely “scenario development” of musical material and general stylistic foundations of her creative work. The internal dramatic effect of the concerto is achieved thanks to the through development of musical images in the concerto-drama thanks to thematic bridges that unite all three parts into a single performance, in which the
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44

Patrikov, Georgi. "PEDAGOGICAL PROBLEMS OF WORKING ON RHAPSODIC FANTASY BY DIMITAR NENOV IN THE CURRICULUM IN ORCHESTRA CONDUCTING BY PIANO." Knowledge International Journal 28, no. 3 (2018): 1051–56. http://dx.doi.org/10.35120/kij28031051g.

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There are at least two reasons why Rhapsodic fantasy by Dimitar Nenov should be included in the curriculum for students in the Orchestra conducting field of study.The first of them is the high artistic value of the composition (the same applies to the Piano concert – one of the two great pinnacles of Nenov’s work), which assigns it a well-deserved honorary place not only amongst the Bulgarian musical culture, but also amongst the most valuable models of European symphonism.Unfortunately the work is not well-known even for the Bulgarian public – a problem that could be solved by it being studie
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Roberge, Marc-Andre. "From Orchestra to Piano: Major Composers as Authors of Piano Reductions of Other Composers' Works." Notes 49, no. 3 (1993): 925. http://dx.doi.org/10.2307/898925.

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McAdams, Stephen, Sandrine Vieillard, Olivier Houix, and Roger Reynolds. "Perception of Musical Similarity Among Contemporary Thematic Materials in Two Instrumentations." Music Perception 22, no. 2 (2004): 207–37. http://dx.doi.org/10.1525/mp.2004.22.2.207.

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Free classification was used to explore similarity relations in contemporary musical materials. Thirty-four subsections from the five themes of The Angel of Death by Roger Reynolds were composed identically for piano (Expt. 1) and chamber orchestra (Expt. 2) in terms of pitch, rhythm, and dynamics. Listeners were asked to group together those judged to be musically similar and to describe the similarities between the subsections in each group. Listeners based their classifications on surface similarities related to tempo, rhythmic and melodic texture, pitch register, melodic contour, and artic
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Ho, Allan B., Franz Liszt, Jay Rosenblatt, Imre Mezo, Imre Sulyok, and Geza Gemesi. "Concerto for Piano and Orchestra in E-Flat Major, Op. Posth.; Reduction for 2 Pianos." Notes 48, no. 4 (1992): 1447. http://dx.doi.org/10.2307/942165.

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48

Patrikov, Gueorgui. "PEDAGOGICAL PROBLEMS OF WORKING ON FOUR SKETCHES FOR A SYMPHONIC ORCHESTRA BY DIMITAR NENOV IN THE CURRICULUM IN ORCHESTRA CONDUCTING BY PIANO." KNOWLEDGE INTERNATIONAL JOURNAL 30, no. 2 (2019): 447–52. http://dx.doi.org/10.35120/kij3002447p.

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A simple reason to make Dimitar Nenov’s Four sketches for a symphonic orchestra part of the curriculum is their high artistic value. Even though they are a comparatively early opus, the Sketches were written with respectful professionalism and impress listeners with the impact they make. Another significant consideration that makes working on Four sketches for a symphonic orchestra scores in the orchestra-conducting classes especially valuable and useful, is the opportunity for the trainees to get to know the work better and acquire important conducting skills. The process of analyzing and per
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49

Quinn, Peter. "Kancheli and Knaifel." Tempo 60, no. 235 (2006): 34–35. http://dx.doi.org/10.1017/s0040298206230043.

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GIYA KANCHELI: Time…and again; V & V; Piano Quartet. Gidon Kremer (vln), Oleg Maisenberg (pno), Kremerata Baltica, The Bridge Ensemble. ECM New Series 461 8182.ALEXANDER KNAIFEL: Psalm 51 (50); Amicta Sole. Mstislav Rostropovich (vlc), Tatiana Melentieva (sop), Glinka Choral College, State Hermitage Orchestra c. Arkady Shteinlukht. ECM New Series 472 0832.
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Dashak, Yevhen. "“Romantic Concert” for Piano and Orchestra by Joseph Marx in the Aspect of Aesthetics of Late Romanticism." Scientific herald of Tchaikovsky National Music Academy of Ukraine, no. 130 (May 17, 2021): 69–88. http://dx.doi.org/10.31318/2522-4190.2021.130.231198.

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There is considered the “Romantic Concert” for piano and orchestra in E major (1919) by the Austrian composer, pianist, teacher, theoretician and public figure Joseph Marx (1882–1964). The “Romantic Concert” was included in the repertoire of such pianists as W. Gieseking, J. Bolet, M.-A. Hamelin and D. Lively.
 The relevance of the study consists not only in the absence in Ukraine publications devoted to the study of the “Romantic Concert”, but also in the need to introduce this work into the creative practice of native performers.
 The main objective of this study is to explore how
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