Ballade et polonaise : pour violon avec accompagnement d'orchestre ou de piano : opus 38 /

Arranged for violin and piano.

Concerto russe : pour le violon avec accompagnement d'orchestre ou de piano. : op. 29.

For violin and piano.

Sonaten für Klavier und Violine.

Mode of access: Internet.

Twee sonates voor viool met pianobegeleiding /

Sonata 1 in G major, from Op. 8 according to Scheurleer's preface, is Op. 2, no. 5, the Andante from Op. 6, no. 12; sonata 2 in F minor, from Op. 4 according to Scheurleer, is Op. 6, no. 7. cf. Altmann. Kammermusik-katalog.

Musical commonplace book : manuscript, [approximately 1790-approximately 1810]

Contains songs, partly from English operas, and instrumental music.

Motivação para a aprendizagem de ferramentas de utilização do arco

Relatório de Estágio para a obtenção do grau de Mestre em Ensino da Música

Propuesta interpretativa y análisis de la obra concierto en DO Mayor de D Kavalevsky

Análisis del concierto para violín y orquesta en Do Mayor de Dimitry Kabalevsky Op.48., en el cual se ha puesto en consideración los principales aspectos analíticos dentro de la forma, armonía, estética, contexto histórico, aspectos técnicos del instrumento y sobre todo aportes personales en cuanto a la interpretación de determinados pasajes, conformando así una propuesta interpretativa de la obra. Cada uno de los parámetros antes nombrados constituyen los conocimientos fundamentales que un instrumentista requiere para la ejecución de una obra, por lo que se los ha puesto como referencia en el presente estudio.

GABRIEL URBAIN FAURÉ, THE UNSUNG MODERNIST: A PERFORMANCE SURVEY OF SELECTED LATE WORKS WRITTEN AFTER 1892 FOR PIANO SOLO, AND PIANO IN COLLABORATION WITH VIOLIN, VIOLONCELLO, AND VOICE

Gabriel Urbain Fauré lived during one of the most exciting times in music history. Spanning a life of 79 years (1845-1924), he lived through the height of Romanticism and the experimental avant-garde techniques of the early 20th century. In Fauré's music, one can find traces of Chopin, Liszt, Mendelssohn, Debussy and Poulenc. One can even argue that Fauré presages Skryabin and Shostakovich. The late works of Gabriel Fauré, chiefly those composed after 1892, testify to the argument that Fauré holds an important position in the shift from tonal to atonal composition and should be counted among such transitional composers as Gustav Mahler, Claude Debussy, Erik Satie, Richard Strauss, and Ferruccio Busoni. Fauré's unique way of fashioning harmonic impetus of almost purely linear means, resulting in a synthesis of harmonic and melodic devices, led me to craft the term mélodoharmonique. This term refers to a contrapuntally motivated technique of composition, particularly in a secondary layer of musical texture, in which a component of harmonic progression (i.e. arpeggiation, broken chord, etc.) is fused with linear motivic or thematic development. This dissertation seeks to bring to public attention through exploration in lecture and recital format, certain works of Gabriel Fauré, written after 1892. The repertoire will be selected from works for solo piano and piano in collaboration with violin, violoncello, and voice, which support the notion of Fauré as a modernist deserving larger recognition for his influence in the transition to atonal music. The recital repertoire includes the following--Song Cycles: La bonne chanson, opus 61; La chanson d'Ève, opus 95; Le jardin clos, opus 106; Mirages, opus 113; L'horizon chimérique, opus 118; Piano Works: Prelude in G minor opus 103, No. 3; Prelude in E minor opus 103, No. 9; Eleventh Nocturne, opus 104, No.1; Thirteenth Nocturne, opus 119; Chamber Works: Second Violin Sonata, opus 108; First Violoncello Sonata, opus 109; Second Violoncello Sonata, opus 117.

Exaltation : for violin, violoncello, harp (or piano) and organ. [music] /

Cover title.

STUDIES AND PERFORMANCES OF TRANSCRIPTIONS FOR CELLO FROM THE VIOLIN REPERTOIRE

The potential of the violoncello as a solo instrument was recognized and supported by cellists such as Luigi Boccherini (1743-1805), Luis Duport (1749-1819), Auguste Franchomme (1808-1884), and Alfredo Piatti (1822-1901). These pioneers composed technically demanding etudes, exercises, and caprices for the cello that were comparable to those already present in the violin literature. Even so, in the late nineteenth century and early twentieth century, considerably fewer substantial works were brought forth for the cello as compared with the violin. Consequently, many cellists such as Luigi Silva (1903-1961), Gregor Piatigorsky (1903-1976), Pierre Fournier (1906-1986), and Janos Starker (b. 1924) selected notable pieces from the violin repertoire and transcribed these for the cello. Some composers themselves actually adapted for the cello their own works originally written for the violin. Johannes Brahms with his Violin Sonata Op. 78, Igor Stravinsky with his Suite Italienne, and Béla Bartók with his First Rhapsody all belong to this category. Adaptations such as these further raised awareness among composers and performers of the possibilities of the cello as an independent and expressive instrument. Thus, many composers from the early 1900s to the present were encouraged to write increasing numbers of more soloistic and demanding works for cello. Herein, I explore the repertoire of cello transcriptions in order to analyze the differences between the original and transcribed versions and the challenges found therein. The performer may attempt to recreate the effect originally intended for the violin or, more daringly, may strive to search for alternate presentations of the music more suitable and expressive of the cello's own character. The project includes two recitals of the following transcribed works presented at the University of Maryland College Park, School of Music: Sonata in A by César Franck, transcribed by Jules Delsart, Variations on a Theme from Rossini by Nicolo Paganini, transcribed by Fournier, Suite Italienne by Igor Stravinsky, transcribed with the help of Piatigorsky, Sonatina Op. 137, No. 1 by Franz Schubert, transcribed by Starker, First Rhapsody by Béla Bartók and Sonata, Op. 108 by Johannes Brahms, transcribed by Hsiao-mei Sun.

JOACHIM, BRAHMS, AND SCHUMANN: THE FLOURSHING OF NINETEENTHCENTURY VIOLIN REPERTOIRE

The cultivation of violin repertoire and its ultimate dominance of the late Nineteenth-Century orchestral library are best examined through the analysis and study of the works of Joseph Joachim (1831-1907), Johannes Brahms (1833-1897), and Robert Schumann (1810-1856). Each of these men, in their own right, made significant contributions to the development of violin repertoire during the latter half of the Nineteenth Century. Yet their achievements were also the result of a collaborative effort and shared influence, the absence of which would have yielded a diminutive musical landscape, especially in the concerti of Brahms and Joachim. This dissertation explores Joachim’s technical dexterity and its influence on Brahms and Schumann, and further studies the vital role Brahms and Schumann played in forming Joachim as both composer and editor. The pieces examined in this dissertation evidence the significant influence each of these composers shared. Three chamber compositions stand as guideposts in the analysis and establish a stylistic foundation to collaborative efforts among Joachim, Brahms, and Schumann. The preliminary recital focuses on these chamber pieces which illustrate the individual style of each composer, featuring Joachim’s Romance, Op. 2, written between 1848 and 1852, Schumann’s Second Sonata, Op. 121, written in 1851, and Brahms’ Second Sonata, Op. 100, written in 1886. A second performance includes the enigmatic F-A-E Sonata of Brahms, Schumann, and Albert Deitrich, Schumann’s pupil, as well as Joachim’s Second Concerto. A collaborative effort, the F-A-E Sonata represents Brahms’ and Schumann’s efforts to write with Joachim’s unbridled style and technique in mind. An even greater musical offering, Joachim’s Second Concerto, a gift to Brahms in 1860, has been called the “Holy Grail” of concertos, and is considered the preeminent display of Joachim’s creative genius by incorporating demanding technical challenges and Hungarian-like overtones. The third and final program features Brahms’ Concerto in D Major. A fitting response to Joachim’s gift 17 years later, Brahms’ Concerto was written for Joachim at the height of his career, bearing the performer’s stylistic elements throughout. The recital also includes various Hungarian Dances by Brahms. While the Dances were not original to Brahms, they further illustrate the underlying idiom of Hungarian folk music in both Brahms’ and Joachim’s art.

Quintet in E flat, for violin, violoncello, clarinet, horn & pianoforte, op. 3.

Cover title.

Modern trio album. [music] : fifteen special concert arrangements and original compositions for violin, cello and piano /

Elegie and consolation, op. 200, no. 2 / Atherton, Frank P. -- Hungarian dance no. 5 (in G minor) / Brahms, Johannes -- Humoreske : op. 101, no. 7 / Dvor̂ák, Anton ; arr. by Gustav Saenger -- La Cinquantaine / Gabriel-Marie ; special concert arr. by C. Arnold -- Gavotte Louis XIII : Amaryllis / Ghys, H. ; arr. by N. Hansen -- Serenade, from Op. 3 / Herbert, Victor -- Dreams of love = Liebesträume : notturno III / Liszt, Franz ; arr. by R. Klugescheid -- O Belle Nuite, Barcarolle from "Contes d'Hoffmann" / Offenbach, J. ; arr. by Max Woltag -- Celebrated Andante / Reissiger, C. G. -- My heart at thy sweet voice : Cantabile from "Samson and Dalila" / Saint-Saëns, C. ; arr. by R. Klugescheid -- Melodie Mignonne / Sinding, Christian ; arr. by N. Hansen -- Vienna life = Wiener Blut / Strauss, Johann ; special concert arr. by C. Arnold -- Autumn song = Chant d'automne ; Chant sans paroles : op. 40, no. 6 / Tschaikowsky, P. ; arr. by N. Hansen -- Song to the evening star : from "Tannhäuser" / Wagner, Richard ; concert paraphrase by C. Arnold.

Concerto for violoncello and orchestra, op. 85 /

Mode of access: Internet.

Sonate für Pianoforte und Violine = Sonata for pianoforte and violin : op. 78 /

Mode of access: Internet.