ORCHESTRATION AS STRUCTURAL DETERMINANT: MOZART'S DEPLOYMENT OF WOODWIND TIMBRE IN THE SLOW MOVEMENT OF THE C MINOR PIANO CONCERTO K. 491

1997 ◽  
Vol 78 (2) ◽  
pp. 210-219 ◽  
Author(s):  
J. P. J. STOCK
Keyword(s):  
Slow Movement ◽  
Piano Concerto ◽  
Structural Determinant

Meaning and Scepticism

2020 ◽  
pp. 783-802
Author(s):  
Paul Boghossian
Keyword(s):  
Slow Movement ◽  
Piano Concerto ◽  
Musical Meaning ◽  
Absolute Music ◽  
Music And Meaning ◽  
Generic Sense

This chapter revisits the classic questions whether absolute music can express extra-musical meaning and whether such meaning should be thought of as playing an important role in our understanding and appreciation of music. It argues that music’s expressive ability plays a central role in our conception of its phenomenology and value—in our perception of music as expressive and in its capacity to move us, both in the understudied generic sense, and in the sense of arousing specific emotions in us. It examines a type of scepticism about music’s expressive ability made influential by Eduard Hanslick and considers to what extent it can be answered. The chapter concludes that, while the extreme scepticism espoused by Hanslick cannot be sustained, his discussion teaches us deep lessons about the expressive indeterminacy involved in music. The chapter illustrates some of the issues it deals with through an analysis of the slow movement of Beethoven’s Piano Concerto No. 4 in G Major and explores the connection between meaning in music and meaning in poetry.

Cadenzas and Elaboration of the Slow Movement of the Piano Concerto in A

1960 ◽  
Vol 101 (1413) ◽  
pp. 708
Author(s):  
Mozart ◽  
Philipp Karl Hoffmann
Keyword(s):  
Slow Movement ◽  
Piano Concerto

Clara Schumann's Interiorities and the Cutting Edge of Popular Pianism

2017 ◽  
Vol 70 (3) ◽  
pp. 697-765
Author(s):  
Alexander Stefaniak
Keyword(s):  
Cutting Edge ◽  
Critical Discourse ◽  
Robert Schumann ◽  
Piano Concerto ◽  
Sheet Music ◽  
Variation Sets ◽  
Music Market ◽  
Critical Responses ◽  
Drawing Room ◽  
Variations On A Theme

In her contemporaries’ imaginations Clara Schumann transcended aesthetic pitfalls endemic to virtuosity. Scholars have stressed her performance of canonic repertory as a practice through which she established this image. In this study I argue that her concerts of the 1830s and 1840s also staged an elevated form of virtuosity through showpieces that inhabited the flagship genres of popular pianism and that, for contemporary critics, possessed qualities of interiority that allowed them to transcend merely physical or “mechanical” engagement with virtuosity. They include Henselt's études and variation sets, Chopin's “Là ci darem” Variations, op. 2, and Clara's own Romance variée, op. 3, Piano Concerto, op. 7, and Pirate Variations, op. 8. Her 1830s and early 1840s programming offers a window onto a rich intertwining of critical discourse, her own and her peers’ compositions, and her strategies as a pianist-composer. This context reveals that aspirations about elevating virtuosity shaped a broader, more varied field of repertory, compositional strategies, and critical responses than we have recognized. It was a capacious, flexible ideology and category whose discourses pervaded the sheet music market, the stage, and the drawing room and embraced not only a venerated, canonic tradition but also the latest popularly styled virtuosic vehicles. In the final stages of the article I propose that Clara Schumann's 1853 Variations on a Theme by Robert Schumann, op. 20, alludes to her work of the 1830s and 1840s, evoking the range of guises this pianist-composer gave to her virtuosity in what was already a wide-ranging career.

Topoi in der Musik Béla Bartóks

2013 ◽  
Vol 54 (3) ◽  
pp. 289-299
Author(s):  
Jürgen Hunkemöller
Keyword(s):  
Bird Song ◽  
Musical Analysis ◽  
Piano Concerto ◽  
The Third ◽  
Different Types ◽  
Important Means

The recognition of topoi, i.e. traditional formulae, is an important means of musical analysis. To illustrate this, the paper discusses the types of the battaglia and the pastoral in Bach’s Cantata Halt im Gedächtnis Jesum Christ, and briefly enumerates different types of allusions to jazz in 20th-century compositions by Stravinsky, Milhaud, Blacher, Tippet, and Zimmermann. Then it raises the possibility of an analysis of topoi in Bartók’s music in four main categories. It considers Bartók’s musical quotations from Bach to Shostakovich; the chorale as special topos appearing in Mikrokosmos, in the Concerto for Orchestra, in the Adagio religioso of the Third Piano Concerto; the topos-like employment of the tritone; and finally the idea of a Bartókian Arcadia in the Finale of Music for Strings, and the integration of bird song in the Adagio religioso.

Piano Concerto in A Minor, Op. 54

Notes ◽  
1948 ◽  
Vol 5 (4) ◽  
pp. 518
Author(s):  
Edward N. Waters ◽  
Robert Schumann ◽  
Harold Bauer
Keyword(s):  
Piano Concerto ◽  
A Minor
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