O corpo entre concertos e consertos: um estudo sobre a dança tribal

Fundação de Amparo à Pesquisa do Estado de São Paulo (FAPESP)

Concertos for the pianoforte, op. 25 [and] op. 40 /

v. 1. Op. 25.--v. 2. Op. 40.

Concertos for the piano. [music] /

For 2 pianos.

Concertos for the piano, op. 25 [and] op. 40. [music] /

Cover title: Concerto in D minor for the piano.

12 Organ concertos. [music] /

Original works composed in 1738 and 1740.

Concertos for stringed or wind instruments and orchestra. [music] /

[v.1.] B flat major, K. 207; D major, K. 211; G major, K. 216; D major, K. 218 -- [v.2.] Concerto, A major, K. 219; Adagio for violin, K. 261; Rondo concertante, K. 269; Rondo, K. 373; Concertante for 2 solo violins, K. 186e (190).

The six Brandenburg concertos. [music] : complete in two volumes /

Mode of access: Internet.

Concertos for the piano, the orchestral accompaniments arranged for a second piano.

Mode of access: Internet.

Five piano concertos. [music].

No. 1, in C, op. 15 -- No. 2, in B-flat, op. 19 -- No. 3, in C, op. 37 -- No. 4, in G, op. 58 -- No. 5, in E-flat, op. 73.

Collecção de tratados e concertos de pazes que o estado da India portugueza fez com os reis e senhores com quem teve relações nas partes da Asia e Africa Oriental desde o principio da conquista até ao fim do seculo XVIII,

Mode of access: Internet.

Selected Violin Concertos: In Search of a Missing Link

My dissertation presented seven violin concertos in three recital programs. Three of these concertos are acknowledged masterpieces performed in established concert venues throughout the world. They are the concertos of Mozart, Beethoven and Tchaikovsky. The other four are less standard and are composed by Viotti, Kreutzer, Rode and Spohr. These less standard concertos were popular during their time yet they seem not to have stood the test of time. A curriculum devoted exclusively to the standard concertos creates problems for the young violinist. The Mozart violin concertos are often the first standard concertos that the young violin student encounters. They are considered to be the least technically demanding of the standard concertos. The next most advanced standard concertos that the student will usually encounter are Bruch’s G minor concerto, Wieniawski’s D minor concerto and Barber’s concerto. The trouble is that the work on Mozart concertos does not adequately prepare a student for the next most advanced standard concerto. There is a discontinuous leap in the progression of technical difficulty between the Mozart concertos and the next most advanced concertos. Likewise the standard concerto repertoire provides no smooth historical or stylistic progression between the Mozart concertos and the next most advanced concertos. If the young violinist is limited to the standard repertoire then she has no smooth progression either technical, historical or stylistic. I seek to demonstrate that, by adding concertos of Spohr, Viotti, Kreutzer, and Rode to the standard violin curriculum, one could remedy this problem. The first and third recitals were performed in the Gildenhorn Recital Hall and the second recital in the School of Music’s Smith Lecture Hall, both at the University of Maryland. All three recitals can be found in the Digital Repository at the University of Maryland (DRUM).

The Scherzo in Selected Works for Piano

This performance project will cover performing issues in terms of technique in the scherzo. The Dictionary of Musical Terms defines technique as "the system of creating music, the musical slull to show personality by controlling tones that is not an abstract theory but a practical ability in composition or performance." My project focuses on techniques in fast tempos, specifically those found in the scherzo form and in concertos containing a scherzo character. The term scherzo has varied in its meaning and form throughout history. In the Baroque period, a scherzo was a work of light vocal or instrumental character. In the Classical period, scherzo still meant light in style, but it also indicated a quick tempo, often in 2/4 time. The scherzo was usually a single movement in a suite or multi-movement work. Like the minuet form, the scherzo contained a contrasting trio section. The scherzo was also standard in Romantic and post-Romantic symphonies and related genres. Because of the high degree of subjectivity in Romantic music, genres that stressed emotional content over abstract form developed rapidly. Some composers even wrote one-movement pieces entitled scherzo. These pieces became very important because they usually expressed a particular character or mood. The objective of my dissertation project is to research scherzo-like concertos, scherzo as single movements in larger forms, and scherzo as independent works. My first recital will consist of two concertos with a scherzo-like character. These are Mozart's Piano Concerto No. 9 i ?nl Major; K. 271 and Ravel's Piano Concerto in G Major. I will perform these works in December 2002 with a second piano. In addition, I will perform the Ravel with an orchestra in 2003. My second recital will consist of two parts. The fxst half presents multi-movement works with scherzo movements. The pieces are Haydn's Piano Sonata No. 3 in F Majol; Hob. WI/9, Beethoven's Piano Sonata No. 10 in G Major; Op. 14, No. 2. The second half presents independent four scherzi by Chopin. The final program will also include multi-movement works containing scherzo and independent scherzo. These are Prokofiev's Piano Sonata No. 2 in D minor, Op. 14, Grieg Lyric Pieces Op. 54, Schubert Zwei Scherzi D. 593 and Copland Scherzo humoristique; Le Chat et la Souris (The Cat and the Mouse).

RECITAL REPERTOIRE FOR TROMBONE AND PERCUSSION

The solo trombone recital was once a rare musical event, but in recent years professional and amateur trombonists frequently present solo performances. The trombone has been around since the latter half of the 15th century and there is a wealth of ensemble repertoire, written for the instrument; however, there is no corresponding corpus of solo works. A small body of solo works does exist, from baroque sonatas and the alto trombone concertos of Leopold Mozart and Georg Wagenseil, to the romantic works by Ferdinand David and Nicolai Rimsky-Korsakov. This repertoire is small in number and a modern trombonist often has to resort to orchestral reductions and arrangements for modern performance in a solo recital setting. The trombone came into its own as a solo instrument in the 20th century and it is in this era where the bulk of a modern trombonist's repertoire resides. While there is now no shortage of music to choose from, presenting a diverse, yet musically cohesive recital remains a challenge though many interesting musical opportunities can arise to meet this challenge. While the piano is an extremely versatile instrument, pairing trombone with percussion opens up possibilities that are absent from the more traditional piano pairing. Percussion instruments can offer an almost unlimited variation of timbre and dynamics to complement the trombone. Dynamic range of the trombone must be considered as the instrument has the ability to play at the extremes of the dynamic range. Percussion instruments can match the trombone in these extremes. When presenting a recital of 20th and 21st century music, using timbre and dynamic range as selection criteria when planning the program are effective ways to bring a unique and intense musical experience to the audience. In this paper, the two considerations of dynamics and timbre will be explored and the need for a dissertation recital project will be explained.