Gotowe bibliografie tematyczne / Concertos (Viola) – Solo with piano

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Gotowa bibliografia na temat „Concertos (Viola) – Solo with piano”

Autor: Grafiati
Data publikacji: 26 lipca 2024
Data aktualizacji: 31 lipca 2025

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Artykuły w czasopismach na temat "Concertos (Viola) – Solo with piano"

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Josephson, Nors S. "Unifying stylistic syntheses in the late compositions (1939–1945) of Béla Bartók." Studia Musicologica 58, no. 2 (2017): 147–73. http://dx.doi.org/10.1556/6.2017.58.2.2.

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Bartók’s later works from the years 1939–1945 present an impressive synthesis of his musical innovations. Beginning with the Divertimento and Sixth String Quartet (both composed in 1939), the Hungarian composer starts with a freely tonal, neo-Classical foundation. Above this initial compositional level he then superimposes Beethovenian formal structures gleaned from the latter’s opp. 53 and 135, in addition to a prominent Stravinsky quotation from The Rite of Spring, part two. In both works Bartók achieves an impressive large-scale cyclical unity, frequently through wholetone scalar integratio
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Stahnke, Manfred. "György Ligeti: hamburgisches Konzert für Horn und Kammerorchester mit 4 obligaten Naturhörnern. Aspects of a Crystalline Microtonality." Studia Universitatis Babeş-Bolyai Musica 69, Sp.Issue 2 (2024): 61–89. http://dx.doi.org/10.24193/subbmusica.2024.spiss2.06.

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This is a study on the microtonal aspects of György Ligeti’s Hamburgisches Konzert für Horn und Kammerorchester mit 4 obligaten Naturhörnern, with special reference to its relationship with the American composer Harry Partch. The special mixture of equal temperament versus just intonation is analyzed for longer passages and adhoc chords in the concept of Ligeti. The movement “Choral” is confronted with Harry Partch’s idea of “tonality flux”. The “Hamburgisches Konzert für Horn und Kammerorchester mit 4 obligaten Naturhörnern” by György Ligeti, composed in 1998-2002, joins a long chain of explo
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Shchetynsky, Oleksandr. "Valentyn Bibik: reaching artistic maturity." Aspects of Historical Musicology 23, no. 23 (2021): 42–64. http://dx.doi.org/10.34064/khnum2-23.03.

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The object of research is the works of V. Bibik written at the beginning of his mature period. The aim of the research is to reveal the main features of Bibik’s style. Methods of research include technical analysis of the works in the context of the innovative tendencies in the Ukrainian music of 1960–70s, as well as comparative research. Research results. Outstanding Ukrainian composer Valentyn Bibik (1940–2003) wrote over 150 works. Mostly they are large-scale symphonic, choral, vocal, and chamber pieces. Among them are 11 symphonies, over 20 concerti for various instruments with orchestra,
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An, Le. "“Wolfgang Amadeus Mozart’s Piano Concertos in the Context of Genre Development”." Highlights in Art and Design 7, no. 3 (2024): 1–29. http://dx.doi.org/10.54097/v40kxj92.

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Aim of study is to consider Wolfgang Amadeus Mozart’s piano concertos in the context of genre development. To achieve this aim, the following objectives defined: 1) to trace concerto origins; 2) to identify solo concerto origins; 3) to reveal the peculiarities of the musical language of Mozart piano concertos. The thesis concept contains a comprehensive interdisciplinary approach that contributes to the multidimensional disclosure of the phenomenon of classical concert. Due to the need to determine the individual stylistic amplitude of Mozart's piano concertos, the analytical (structural-compo
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Shevtsova, Anastasiya Vladimirovna. "Genre evolution of the Russian viola repertory." PHILHARMONICA. International Music Journal, no. 4 (April 2020): 70–84. http://dx.doi.org/10.7256/2453-613x.2020.4.32769.

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The research object is Russia’s repertory heritage including compositions for viola by the composers of the 20th century. The works are considered from the viewpoint of a direct impact on their appearance of the brightest representatives of the Russian viola school V.V.Borisovsky, F.S. Druzhinin and Yu.A. Bashmet. The analysis is based on pieces devoted to V.V. Borisovsky (Sonata for viola and Piano by V. Kryukov and S. Vasilenko, “Songs of the Dead” and Rhapsody for viola and piano by A. Veprik, A suite for viola and piano by V. Gaigerova) and to Yu.A. Bashmet (A
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Keefe, Simon P. "A Complementary Pair: Stylistic Experimentation in Mozart's Final Piano Concertos, K. 537 in D and K. 595 in B-flat." Journal of Musicology 18, no. 4 (2001): 658–84. http://dx.doi.org/10.1525/jm.2001.18.4.658.

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Given the chronological separation of Mozart's final piano concertos, K. 537 and K. 595, from his extraordinary sequence of 15 piano concertos of 1782-86 (K. 413-503), it is no surprise that critics have continually stressed stylistic and affective departures from the composer's norm. But the stylistic significance of these final concertos remains fundamentally misunderstood. In spite of sharply contrasting characteristics——ostentatious virtuosity in K. 537 and carefully measured writing in K. 595——these works are, in fact, kindred spirits. In both concertos Mozart experiments with the introdu
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Rickards, Guy. "Berlin: Hindemith's ‘Klaviermusik mit orchester’." Tempo 59, no. 233 (2005): 55–56. http://dx.doi.org/10.1017/s0040298205260230.

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Paul Wittgenstein's commissioning of concertos for piano left-hand is as enviable a legacy as any performer could wish to have, centred as it is on concertos by Korngold, Franz Schmidt (who also penned for Wittgenstein a set of Concertante Variations on a theme of Beethoven with orchestra and three piano quintets), Richard Strauss, Prokofiev, Britten (his op. 21 Diversions) and Ravel. Yet the maimed pianist's quixotic attitude to the works he received is almost as remarkable. Ravel he offended by the liberties he took with the solo part, while Prokofiev's Concerto No. 4 languished unplayed for
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Benedetti, Danieli Verônica Longo. "A produção para piano solo da Société Musicale Indépendante-SMI." Revista Música 19, no. 2 (2019): 44–64. http://dx.doi.org/10.11606/rm.v19i2.161147.

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O presente artigo – segmento de pesquisa de Pós-doutorado – pretende, por meio do estudo dos programas de concertos e da produção da crítica especializada da época investigada, realizar uma análise e uma reflexão sobre a produção pianística apresentada nas temporadas da Société Musicale Indépendante – SMI. O trabalho está fundamentado em material coletado nos acervos privados da Bibliothèque nationale de France – BnF e do Arquivo do compositor Charles Koechlin - ACK.
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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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Swenson-Eldridge, Joanne. "Six Bagatelles: for Solo Viola, and: Rhapsodic Variations No. 4: for Solo Viola, and: Sonate: pour alto seul, and: Requiescat: for Viola and Piano, and: Tinuviel's Dance: pour alto & piano, and: Urizen: for Viola and Piano (review)." Notes 59, no. 2 (2002): 453–58. http://dx.doi.org/10.1353/not.2002.0196.

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Rozprawy doktorskie na temat "Concertos (Viola) – Solo with piano"

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Tábora, Deras Manuel Emilio. "The viola works of Peter Racine Fricker, with emphasis on his Three movements for viola solo, op. 25 plus an overview of his Concerto for viola op. 18, and Fantasy for viola and piano, op. 44." Diss., University of Iowa, 2015. https://ir.uiowa.edu/etd/1921.

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British composer Peter Racine Fricker (1920-1990) is known among violists for his masterly Concerto for Viola and Orchestra, Op. 18, dedicated to and premiered by the famous Scottish violist William Primrose. He wrote two other works that feature the viola: Three Movements for Viola Solo, Op. 25, and Fantasy for Viola and Piano, Op. 44. Fricker was a well-respected and prolific composer, one of the foremost young composers to emerge in England after World War II. After his move to the United States in 1964, the prominence he had established in his homeland virtually disappeared, and he never b
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Parys, Marcin. "Tchaikovsky's Piano Concerto No. 1 In B-Flat Minor, Op. 23: A Newly Arranged Edition of the Orchestral Reduction." Thesis, University of North Texas, 2019. https://digital.library.unt.edu/ark:/67531/metadc1609138/.

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As it stands, only one arrangement of Tchaikovsky's Piano Concerto No. 1, Op. 23 orchestral reduction exists, which is by Tchaikovsky himself. A number of critical editions of the piece exist, but none of them cover the subject of the material within the orchestral reduction. Tchaikovsky wrote the reduction from a compositional rather than a pianistic perspective, thus some passages present awkward technical challenges. The purpose of this dissertation is ultimately to contribute to the repertoire of accompanists by producing a new edition of Tchaikovsky's Piano Concerto No. 1. I created my ar
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Tang, Wen-Chien. "Antonín Dvořák’s Piano Concerto in G Minor, Opus 33: A Discussion of Musical Intent and Pianistic Effectiveness in Vilém Kurz's Version of the Solo Piano Part." Thesis, University of North Texas, 2010. https://digital.library.unt.edu/ark:/67531/metadc30516/.

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Since its premiere in 1878, Antonín Dvořák’s Piano Concerto in G Minor has been underrated and held in low regard by musicologists, critics, performers and audiences alike. Vilém Kurz (1872-1945), a Czech pianist and pedagogue, revised and reworked the piano solo part to incorporate what he considered to be added brilliance and pianistic effectiveness. However, the revised version has not increased the popularity of the work. In recent decades, this concerto has begun to appear more often in the programs and recordings are currently available, utilizing either the original piano part or Kurz's
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Lee, Sungyo. "Composer/Performer Collaboration as Seen in the Solo Piano Part of Percy Grainger's Edition of the Edvard Grieg Piano Concerto in A Minor Opus 16." Thesis, University of North Texas, 2017. https://digital.library.unt.edu/ark:/67531/metadc984142/.

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The purpose of this document is threefold. First, it demonstrates what Grieg contributes to the musical text compared with the original Peters edition, particularly, those additions that refer to expression, interpretation, and style. Second, this document focuses on presenting Grainger's changes that were approved by Grieg. Third, the document evaluates Grainger's own suggestions for pedaling, hand redistribution and fingering, addition of notes, tempo markings, and other performance guidelines.
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Duhaime, Ricky Edward. "A Neglected Clarinet Concerto by Ludwig August Lebrun: A Performing Edition with Critical Commentary: A Lecture Recital, Together with Three Other Recitals." Thesis, North Texas State University, 1986. https://digital.library.unt.edu/ark:/67531/metadc331084/.

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The present study makes available a modern performing edition of an eighteenth-centyry clarinet concerto. Written by the Mannheim oboist and composer Ludwig August Lebrun, the Concerto in B-flat for solo clarinet and orchestra has existed solely as a set of manuscript parts for over 200 years. The following chapters present biographical information on Ludwig August Lebrun as an oboist and composer of the late eighteenth century, the historical background of Lebrun's Concerto in B-flat. a thematic and harmonic analysis of the concerto's three movements, and a summary of the procedures followed
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Oliver, Jason L. "The Creation of a Performance Edition of the Georg Christoph Wagenseil Concerto for Trombone with Attention Given to the Surviving Manuscripts and Primary Sources of Performance Practice from the Middle of the Eighteenth Century." Thesis, University of North Texas, 2010. https://digital.library.unt.edu/ark:/67531/metadc30500/.

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The Concerto for Trombone, written in 1763 by Georg Christoph Wagenseil, is a piece in 2 movements for alto trombone and chamber orchestra. The orchestration consists of 2 parts for violin, 1 part for viola, cello and string bass, 2 French horn parts and 2 parts for flute. It is the first concerto form solo work for the alto trombone and was written during a time when wide use of this instrument had been diminished from centuries past. The Concerto for Trombone helped mark the beginning of a time when the musical expressiveness of the trombone began to be noticed in chamber genres where such a
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Bogard, Rick. "The Trumpet in Selected Solo and Chamber Works of Paul Hindemith : Elements of Trumpet Technique and Their Relationship to the Gebrauchsmusik Concept, a Lecture Recital, Together with Three Recitals of Selected Works of J.N. Hummel, A. Jolivet, C. Chaynes, and Others." Thesis, University of North Texas, 1994. https://digital.library.unt.edu/ark:/67531/metadc278128/.

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The trumpet was one of the wind instruments Hindemith used frequently in his chamber music, and he employed it prominently in five works from 1925 to 1954. These works are the Sonate fur Trompete (1939), the Konzert fur Trompete in B und Fagott mit Streichorchester (1954), Drei Stucke (19251 the Septett fur Blasinstrumente (1949), and "Morgenmusik," from the collection Plöner Musiktag (1932). This study examines and compares Hindemith's writing for the trumpet in these selected works, noting features in his use of the instrument which determine the applicability of the works to the Gebrauchsmu
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Yin, Te-Lun, and 殷德倫. ""Symphonic"and "Virtuosic" Expressions of the Solo Concerto--Illustrated by Brahms' Two Piano Concertos." Thesis, 2001. http://ndltd.ncl.edu.tw/handle/69564900023543685090.

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"A portfolio of four original music compositions." 1998. http://library.cuhk.edu.hk/record=b5889514.

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Trombone concerto (first movement) -- Post-Zero -- Trio for flute, violin and cello, no. 2.<br>submitted by Tang Pan-hang Benny.<br>Thesis submitted in: December 1997.<br>Thesis (M.Mus.)--Chinese University of Hong Kong, 1998.<br>Abstract also in Chinese.<br>Abstract --- p.i<br>摘要 --- p.ii<br>Acknowledgment --- p.iii<br>Declaration --- p.iv<br>Introduction --- p.1<br>Trombone Concerto (first movement) --- p.2<br>Programme notes --- p.3<br>Remarks --- p.5<br>Instrumentation --- p.6<br>Seating Plan --- p.7<br>Scores --- p.8<br>Post-Zero 零後 --- p.56<br>Introduction --- p.57<br>Progra
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Miranda, Clayton. "The Inception of Trumpet Performance in Brazil and Four Selected Solos for Trumpet and Piano Including Modern Performance Editions: Fantasia for Trumpet (1854) By Henrique Alves De Mesquita (1830-1906); Vocalise-Etude for Trumpet (1929) By Heitor Villa-Lobos (1887-1959); Invocation and Point (1968) By Osvaldo Costa de Lacerda (1927-2011); and Concerto for Trumpet And Piano (2004) By Edmundo Villani-Côrtes (B. 1930)." 2016. http://hdl.handle.net/10365/25708.

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Książki na temat "Concertos (Viola) – Solo with piano"

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Bartók, Béla. Viola concerto. Boosey & Hawkes, 1995.

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Druckman, Jacob. Viola concerto. Boosey & Hawkes, 1992.

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Casadesus, Henri Gustave. Konzert c-Moll für Viola und Orchester. C.F. Peters, 1995.

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Telemann, Georg Philipp. Concerto in G major for viola and orchestra. G. Schirmer, 1991.

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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. Bärenreiter, 1996.

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Delius, Frederick. Concerto for violoncello and piano. Masters Music Publications, 1998.

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Respighi, Ottorino. Concerto gregoriano: For violin and piano. Masters Music Publications, 1998.

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Prokofiev, Sergey. Two violin concerti for violin and piano. Kalmus, 1999.

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Rudnyt︠s︡ʹkyĭ, Antin. Concerto for cello and piano, op. 29. Henri Elkan, 1985.

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Amram, David. Concerto for violin and orchestra: Violin and piano. C.F. Peters, 1995.

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Części książek na temat "Concertos (Viola) – Solo with piano"

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Greiving, Tim. "Simple Gifts, 2008–2014." In John Williams. Oxford University PressNew York, 2025. https://doi.org/10.1093/oso/9780197620885.003.0017.

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Abstract Chapter 16, “Simple Gifts, 2008–2014,” opens with the election of Barack Obama being “scored” by John Williams—who makes creative use of an old Aaron Copland piece with even older Shaker roots—arguably the moment where his anointing as America’s composer becomes official. An extended sabbatical from film yields a bounty of new concertos, including ones for viola, harp, and oboe; as well as new chamber works and music for both solo guitar and piano. Refreshed, Williams follows Spielberg’s whims from madcap animation (The Adventures of Tintin) to a melancholic picture book about World W
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Stevens, Halsey. "The Concertos." In The Life and Music of Béla Bartók. Oxford University PressOxford, 1993. http://dx.doi.org/10.1093/oso/9780198163497.003.0008.

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Abstract BartÓK’S follow work in the concerto mold was not originally intended as a concerto at all. The Rhapsody, opus 1, was written for solo piano, and later rewritten for piano and orchestra in preparation for his Paris visit in 1905 to compete for the Prix Rubinstein. Dated November 1904, the original differs in certain respects from the version with orchestra, chiefly in the addition of a rather extended introduction, as well as in the amplification of several internal passages in order to provide balance.
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Hutchings, Arthur. "Conclusion. Mozart And Modern Performance Performance: Orchestral And Solo." In A Companion to Mozart’s Piano Concertos. Oxford University PressOxford, 1998. http://dx.doi.org/10.1093/oso/9780198167082.003.0021.

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Abstract Perfunctory and over-delicate performances of Mozart are growing rarer, though this age has introduced distortions of its own; sometimes a piece loses entity in its general movement while each section, each phrase, is well preened and pinned; sometimes exaggeration takes an opposite course, and the taut, lithe exquisiteness of Mozart’s phrases becomes lost in a tempestuous tribute to his poetry. Archaism and ‘historical’ preciosity produce rival falsehoods to Schumann izing or Bcethovenizing.
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Hutchings, Arthur. "The ancestry. Keyboard concertos before mozart." In A Companion to Mozart’s Piano Concertos. Oxford University PressOxford, 1998. http://dx.doi.org/10.1093/oso/9780198167082.003.0003.

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Abstract In his fifth deal of ‘Brandenburg’ instruments, Bach raises the continuo player to chief performer. It is notable that the bass of the harpsichord part is figured only where the right hand stave is empty; it is therefore probable that the functions of Cembalo Concertato and Cembalo Continuo were invested in one keyboard; it is also possible, but not probable, that Mozart’s audiences remembered seeing a continuo player doing his duty even when a clavier soloist was to the forefront. Mozart’s clavier remembers its humble origin, though its memory fades until in the last three concertos
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Wilson, Miranda. "Luigi Boccherini (1743–1805)." In Notes for Cellists. Oxford University PressNew York, NY, 2024. http://dx.doi.org/10.1093/9780197623770.003.0007.

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Abstract By the late eighteenth century, improvements to cello technique made the instrument the equal of the violin in terms of virtuosity. The prolific cellist-composer Luigi Boccherini bridged the Baroque and Classical style periods with demanding sonatas and concertos that further extended the cello technique, often requiring the cellist to play in the highest registers. In the Austro-Hungarian lands, cello concertos by Joseph Haydn showcased the top European players at the courts of music-loving aristocrats. All over Europe, developments in playing technique gave the cello additional cred
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Ferraguto, Mark. "Music for a Virtuoso." In Beethoven 1806. Oxford University Press, 2019. http://dx.doi.org/10.1093/oso/9780190947187.003.0003.

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In both his Fourth Piano Concerto and Violin Concerto, Beethoven inverts the standard formula of the concerto by foregrounding lyricism and introspection rather than bravura and brilliance. In so doing, he responds to contemporary conceptions of virtuosity that privileged expressiveness over technical proficiency, proffering a new kind of relationship between virtuoso and public that centered on Innigkeit—the spectacle of the self—as the hallmark of the true virtuoso. But concertos are mutable texts; Beethoven’s revisions to the solo part of the Fourth Piano Concerto reveal a desire to further
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Wilson, Miranda. "Domenico Gabrielli (1651/1659–1690)." In Notes for Cellists. Oxford University PressNew York, NY, 2024. http://dx.doi.org/10.1093/9780197623770.003.0002.

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Abstract The cello originated during the Baroque era. The youngest member of the violin family, it went through many variations in size and string tuning before instrument builders and string manufacturers reached a consensus. The earliest solo cello repertoire comes from seventeenth-century Bologna with the pioneering Ricercare of Domenico Gabrielli. After that, the cello rose in popularity across Europe. It superseded the viola da gamba in popularity in France, where Jean-Baptiste Barrière composed his four books of sonatas. In Germany, Johann Sebastian Bach’s Six Suites created a cello repe
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Reiter, Walter S. "A Brief History of Baroque Romanticism." In The Baroque Violin & Viola, vol. II. Oxford University Press, 2020. http://dx.doi.org/10.1093/oso/9780197525111.003.0020.

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This lesson looks at how the way of playing the solo works of Bach evolved through the nineteenth and twentieth centuries. The author expresses respect for the great artists who perform in a more traditional way but notes that times are changing, with today’s students having more available stylistic options. Both the title and title page of Bach’s book are discussed in detail and the question of symbolism here and elsewhere in the work is explored. A history of the book and the Bach revival from Mendelssohn to modern times follows. Robert Schumann, Felix Mendelssohn, Johannes Brahms, and Fritz
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Davies, Stephen. "Musical Understanding and Musical Kinds1." In Themes in the Philosophy of Music. Oxford University PressOxford, 2003. http://dx.doi.org/10.1093/oso/9780199241576.003.0014.

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Abstract Suppose someone, call her Cecilia, is keen to understand the music composed by Mozart after 1778. She listens carefully and repeatedly to the first movements of the Sinfonia Concertante for Violin and Viola in E flat major (K. 364 of 1779 or later), Symphony No. 36 in C major (the ‘Linz’, K. 425 of 1783), the last of the piano concertos in C major (K. 503 of 1786), Symphony No. 41 in C major (the ‘Jupiter’, K. 551 of 1788), and the Clarinet Concerto in A major (K. 622 of 1791; the first movement was written in G for basset-horn in 1789). She reads (from the record notes) that each of
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Steinberg, Michael. "Bach." In The Concerto. Oxford University PressNew York, NY, 1998. http://dx.doi.org/10.1093/oso/9780195103304.003.0002.

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Abstract Bach wrote these works about 1720, and presumably led and took part in their first performances at the court of Cothen soon after their composition. They were almost certainly introduced singly, not as a set. Bach played the harpsichord in the Concerto No. 5, and probably played violin in the first four concertos and viola in No. 6. The scoring is discussed in the notes on the individual works. When Bach assumed the post of Capellmeister to His Most Serene Highness Leopold, Prince of Anhalt-Cothen, in 1717, he made that move in the hope of spending the rest of his life there. The cour
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