Premiere Symphonie concertante in B Flat for Clarinet, Bassoon and Orchestra; Quartet in B Flat for Clarinet and String Trio

1981 ◽  
Vol 122 (1664) ◽  
pp. 679
Author(s):  
Niall O'Loughlin ◽  
Vogel ◽  
Klocker ◽  
Hartmann ◽  
Concerto Amsterdam ◽  
...  
Keyword(s):  
String Trio ◽  
Symphonie Concertante

Concerto

2021 ◽  
Keyword(s):  
18Th Century ◽  
Sonata Form ◽  
Concerto Grosso ◽  
Actual Nature ◽  
Variation Sets ◽  
Working Together ◽  
Symphonie Concertante ◽  
Concerto Form ◽  
Major Factors ◽  
The 19Th Century

The term concerto has been applied to music works since the early 16th century, first appearing in treatises almost a century later. Reflecting the sense of two or more forces either contending with or working together with someone (both Latin), or “arrange, agree, get together” (Italian), early concertos combined voices and instruments with no other formal consequences. These characteristics remain with the genre throughout its history. Only with the emergence of the instrumental, non-texted concerto in the late 17th century did structure begin to become an issue. Two important formal trends regarding the concerto dominate the 18th century. The most pervasive overall form is that of three movements, fast-slow-fast. The form of the first movement has attracted the most attention in the literature. Concertos in the first half of the 18th century, emanating from Italy and spreading northward, start with some version of ritornello form, which is also used in arias. In the latter part of the century, first movements increasingly take on the characteristics of sonata form, found in symphonies and sonatas, resulting in first movement concerto form or concerto-sonata form. The actual nature of the merging of the two ideas in any given work remains a vibrant topic. In one sense, the influence of the two forms, ritornello and sonata, has declined since Beethoven, giving way to other compositional concerns, yet the forms can often lurk in the background of the genre. The breadth of works that fall under the descriptive term concerto can be exasperating. Concerto also embraces a number of subgenres. The earliest works are known as vocal concertos or sacred concertos (many of them were sacred pieces), but do not always bear the designation. They are performed in stile concertato, using diverse musical forces. The term remains applicable to certain textures. The concerto grosso, connected with the Baroque, is another subgenre. Yet another subgenre is the symphonie concertante, which emerged in 18th-century France. This subgenre passed in popularity, but the term concertante continues to be applied to the texture. Later developments made use of other textures, though the symphonic concerto, originating in the 19th century, might be seen as derivative of earlier approaches. These styles and textures are major factors in many other works not called concertos, such as variation sets, fantasies, and even symphonies, to name a few.

scholarly journals Brian Cherney’s String Trio: Transcendent Pedagogy and the Spiritualization of Technique

2019 ◽  
Vol 37 (1) ◽  
pp. 105-118
Author(s):  
Arlan N. Schultz
Keyword(s):  
Pedagogical Approach ◽  
String Trio ◽  
Human Emotions ◽  
Teaching Composition ◽  
Spiritual Expression

Brian Cherney’s pedagogical and compositional philosophy is examined from the perspective of transcendent intention. Both in teaching composition and in his own works, Cherney emphasizes technique, attention to details, a convincing formal architecture, and the power of music to give expression to fundamental human emotions and experiences. Drawing upon the philosopher Henri Bergson’s concepts about the “nature of creative consciousness,” the author finds striking parallels between Bergson’s ideas and Cherney’s music. Analytical observations on Cherney’s String Trio are tied to the composer’s pedagogical approach, which profoundly influenced the author both as a composer and as a teacher. Cherney’s String Trio confronts the listener with a work in which the spiritual expression of a universal impermanence is manifested in the music itself in various ways that are illuminated and discussed using specific musical examples.

scholarly journals Structure in Charles Wuorinen's String Trio

2018 ◽  
Vol 56 (2) ◽  
pp. 113
Author(s):  
Kuchera-Morin
Keyword(s):  
String Trio

Symphonies Reframed

2018 ◽  
Author(s):  
Gjertrud Pedersen
Keyword(s):  
Chamber Music ◽  
String Quartet ◽  
Chamber Ensemble ◽  
Educational Value ◽  
Chamber Ensembles ◽  
String Trio ◽  
Original Works ◽  
The Difference ◽  
Core Questions ◽  
First Time

Symphonies Reframed recreates symphonies as chamber music. The project aims to capture the features that are unique for chamber music, at the juncture between the “soloistic small” and the “orchestral large”. A new ensemble model, the “triharmonic ensemble” with 7-9 musicians, has been created to serve this purpose. By choosing this size range, we are looking to facilitate group interplay without the need of a conductor. We also want to facilitate a richness of sound colours by involving piano, strings and winds. The exact combination of instruments is chosen in accordance with the features of the original score. The ensemble setup may take two forms: nonet with piano, wind quartet and string quartet (with double bass) or septet with piano, wind trio and string trio. As a group, these instruments have a rich tonal range with continuous and partly overlapping registers. This paper will illuminate three core questions: What artistic features emerge when changing from large orchestral structures to mid-sized chamber groups? How do the performers reflect on their musical roles in the chamber ensemble? What educational value might the reframing unfold? Since its inception in 2014, the project has evolved to include works with vocal, choral and soloistic parts, as well as sonata literature. Ensembles of students and professors have rehearsed, interpreted and performed our transcriptions of works by Brahms, Schumann and Mozart. We have also carried out interviews and critical discussions with the students, on their experiences of the concrete projects and on their reflections on own learning processes in general. Chamber ensembles and orchestras are exponents of different original repertoire. The difference in artistic output thus hinges upon both ensemble structure and the composition at hand. Symphonies Reframed seeks to enable an assessment of the qualities that are specific to the performing corpus and not beholden to any particular piece of music. Our transcriptions have enabled comparisons and reflections, using original compositions as a reference point. Some of our ensemble musicians have had first-hand experience with performing the original works as well. Others have encountered the works for the first time through our productions. This has enabled a multi-angled approach to the three central themes of our research. This text is produced in 2018.

Density

Lyric Cousins ◽  
2016 ◽  
Author(s):  
Fiona Sampson
Keyword(s):  
String Trio ◽  
The Way

This chapter explores the ‘vertical’ or the simultaneous way in which non-denotative elements contribute to a piece or poem. This simultaneous quality is referred to as ‘density’. As so often with abstract forms, density is more easily spotted in music than in verse, as it is easier to believe there just is more going on at any one moment of a thickly orchestrated symphony than of a string trio: more diversity, even though not necessarily more in the way of musical ideas, and above all simply more noise. In poetry, however, the chapter sums up the principle of poetic density through an equation: D = CV (or, density = content × versification).

Ghosts and Shadow Sounds

2021 ◽  
pp. 254-292
Author(s):  
Peter J. Schmelz
Keyword(s):  
Piano Sonata ◽  
Viola Concerto ◽  
Violin Concerto ◽  
String Trio ◽  
Artificial Nature ◽  
The Grotesque

Chapter 9 begins studying Alfred Schnittke’s lengthy retreat from polystylism by looking at several of his key compositions from the 1980s, among them his Piano Sonata no. 2, Violin Concerto no. 4, String Trio, and Viola Concerto. In these works, polystylism began to fade as Schnittke emphasized the grotesque, artificial nature of his quotations. He also began speaking more about what he called “shadow sounds,” which soon took precedence in his aesthetic schema, largely replacing polystylism. Yet by the end of the 1980s, as polystylism dissipated, it remained a central category for critics and listeners. Schnittke himself became more unrooted; he emigrated from the USSR to Germany but continued to express a deep ambivalence about his true home.

Wolfgang von Schweinitz - Wolfgang von Schweinitz, KLANG. Goeyvaerts String Trio. Louth Contemporary Music, LCMS1903.

Tempo ◽  
2020 ◽  
Vol 74 (292) ◽  
pp. 96-97
Author(s):  
Ian Power
Keyword(s):  
Contemporary Music ◽  
String Trio

String Trio; Quanta

1971 ◽  
Vol 112 (1535) ◽  
pp. 41
Author(s):  
Hugh Ottaway ◽  
Rainier ◽  
London Oboe Quartet ◽  
King ◽  
Aeolian Quartet ◽  
...  
Keyword(s):  
String Trio

Quartet in G, Op. 11, no. 1, for Flute and String Trio

Notes ◽  
1962 ◽  
Vol 19 (4) ◽  
pp. 689
Author(s):  
David Ossenkop ◽  
Francois Devienne ◽  
J. C. Bach ◽  
Joseph Haydn
Keyword(s):  
String Trio

String Trio of New York

2003 ◽  
Author(s):  
Barry Kernfeld
Keyword(s):  
New York ◽  
String Trio
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