O concerto dissonante da modernidade: narrativa poética e poesia em prosa

O presente trabalho parte da discussão preliminar de conceitos dúbios da teoria da poesia lírica e da teoria da narrativa para, em seguida, investigar e conceituar a narrativa poética, considerando-a, ao lado da poesia em prosa – pelas muitas possibilidades de construção e recepção que encetam – como forma privilegiada da modernidade literária. Palavras-chave: Poesia. Prosa. Poesia em prosa. Prosa poética. Narrativa poética. Gêneros literários. Modernidade. 

O concerto para viola e orquestra de Antônio Borges-Cunha: forma e interpretação

This article has as object of study the Concerto for Viola and Orquestra by Antonio Borges-Cunha. We investigated the work by observing its formal structure. This resulted in data which were relevant to the understanding of the work itself and to decisive procedures in its interpretation. These data were then applied to specific issues in the area of performance, by means of a process whereby the sensations of movement and direction were delineated. This investigation discusses interpretation and the queries regarding the paths which performers can choose in their quest for positive results in expressivity. It is a study specifically geared to the area of performance and, in a broader sense, serves composers that are interested in the performer's contribution to the creative process of a work.

A literatura carpentieriana e a história: aspectos metaficcionais historiográficos em concerto barroco

This work is set in the context of the Hispanic-American literature of the twentieth century (in particular, Alejo Carpentier) viewed in a historical perspective. For this task, we focus on a specific writer’s work: the novel Baroque Concert (1974). The text is divided into three parts: the first deals with some topics concerning the intersection between sui generis Literature and History. Next, we focus on the Hispanic-American literary context, discussing it in an analytical perspective, with regard to its connections with the historical discourse. Finally, we analyze the novel Baroque Concert, by means of the basic concepts of the theory of historiographic metafiction.

3me concerto pour la clarinette, avec accompagnement de 2 violons, alto, basse, 2 flûtes, 2 hautbois, 2 cors, 2 bassons, trompettes & timbales

par Iwan Müller

Mus Hs 2212 - Concerto in A minore op. 85

da J. N. Hummel

Bartolommeo Campagnoli, Maestro di Concerto di S. A. R.ma. Principe di Frisigna.

Signatur des Originals: S 36/G00577

Le premier concerto de Mozart

Signatur des Originals: S 36/G01728

Concerto pour le clavecin ou le fortepiano avec accompagnement de deux violons, alto, basse, deux cors et deux hautbois ad libitum oeuvre 18

composé par J. F. Sterkel

Mus Hs 635 - Six concerto pour le clavecin avec accompage. de deux violons et violoncelle

composée par ... Schroeter

A favourite concerto for the piano-forte or harpsichord with accompaniments for two violins and a violoncello [Música notada]

Hay un ejemplar encuadernado con: Deux sonates et La Coquette pour forte piano (XVIII/2815)

Concerto grosso IX : op. 6, no. 9 /

Figured bass realized for keyboard instrument.

Concerto no. 17 (first movement) in D minor for violin.

Pl. no. 16481.

Concerto pour violon /

"à son ami, P. Sarasate." -- T. p.

Concerto pour piano : avec accomp d'orchestre /

"Imp: Langlet Rue Cadet 18"--P.2.