Ocho por Radio (Eight Musicians Broadcasting). For Chamber Orchestra

Notes ◽  
1952 ◽  
Vol 9 (2) ◽  
pp. 326
Author(s):  
Richard Bales ◽  
Silvestre Revueltas
Keyword(s):  
Chamber Orchestra

Engaging young string players in metacognition

2018 ◽  
Vol 36 (4) ◽  
pp. 659-670 ◽  
Author(s):  
Anne M. Power ◽  
Sarah J. Powell
Keyword(s):  
Focus Groups ◽  
Chamber Orchestra ◽  
Performing Arts ◽  
Role Models ◽  
Dynamic Control ◽  
Music Program ◽  
Technical Issues ◽  
Youth Music

This article is about one focus of a two-year project researching the Penrith (NSW Australia) Youth Music Program offered at the Joan Sutherland Performing Arts Centre. The Penrith Youth Music Program has been designed to encourage young string players through a program of guided rehearsals and tutorials with mentoring by performers from the Australian Chamber Orchestra. This article focuses on a part of the research that has engaged the young string players in reflection on their own progress. Eight young string players are the focus here, drawn from the whole study that encompasses 27 instrumentalists. In focus groups they were asked at intervals (at the end of each session of three ensemble rehearsals, spaced approximately 6 weeks apart) about their learning and about their practice strategies. This article presents the voices of the eight instrumentalists as they talk about technical issues, ensemble cuing, issues of balance and dynamic control. It also provides data that benefits in performance were achieved without an increase in the reported time given to practice but rather through thoughtful attention by the instrumentalists to their practice and to the proximity of the expert mentors as role models.

scholarly journals Интерпретации «Хайтармы» А. Спендиаряна в творчестве современных исполнителей республики Татарстан

2021 ◽  
pp. 44-51
Author(s):  
Лилия Бородовская
Keyword(s):  
Folk Music ◽  
Chamber Orchestra ◽  
Folk Dance ◽  
Professional Musicians ◽  
Historical Information ◽  
Wide Range ◽  
Musical Arrangements ◽  
Crimean Tatar

This article presents two musical arrangements of "Haytarma" from A. Spendiaryan's suite "Crimean Sketches" (part 1), performed by Kazan musicians and composers - R.E. Ilyasov for the "Kazan Nury" folk instrument orchestra and R.Yu. Abyazov for the "La Primavera" string chamber orchestra. A brief historical information about the work of A. Spendiaryan connected with the Crimean Tatar music is given. Also presented is material about the peculiarities of the Crimean Tatar folk dance "haitarma", about its different musical variants. This work will be useful to a wide range of professional musicians, as well as researchers of the Crimean Tatar folk music.

Lucie Brosseau, Music Librarian, Les Violons du Roy (Chamber Orchestra) and La Chapelle de Québec (Chamber Choir)

2022 ◽  
pp. 231-238
Author(s):  
Patrick Lo ◽  
Robert Sutherland ◽  
Wei-En Hsu ◽  
Russ Girsberger
Keyword(s):  
Chamber Orchestra ◽  
Chamber Choir

Neil Black

2020 ◽  
pp. 1-12
Author(s):  
Michele Fiala
Keyword(s):  
Chamber Orchestra ◽  
Role Models ◽  
Musical Settings ◽  
Tone Production ◽  
Oxford University ◽  
School Of Music

Neil Black was an internationally known oboist and a professor at London’s Guildhall School of Music and Drama. Black attended Oxford University and earned a degree in history. Three years after finishing at Oxford, he became principal oboist for the London Philharmonic Orchestra. Later in his career, he became the principal oboist for the Academy of St. Martin in the Fields and the English Chamber Orchestra. In this chapter he discussed his beginnings in music, ideas on tone production, reeds, and technique. He further shared his thoughts on flexibility in musical settings, solo playing, and pedagogy. He also reminisced about his role models and his memorable concerts.

In Certainty of Song. Cantata... for Mixed Chorus with Chamber Orchestra (SATB and Solo Voices)

Notes ◽  
1952 ◽  
Vol 9 (2) ◽  
pp. 325
Author(s):  
Irving Lowens ◽  
Wallingford Riegger
Keyword(s):  
Chamber Orchestra ◽  
Mixed Chorus

Gruber's Concertos

Tempo ◽  
1991 ◽  
pp. 22-27
Author(s):  
Paul Driver
Keyword(s):  
Chamber Orchestra ◽  
Double Bass ◽  
The Self ◽  
String Orchestra ◽  
Tenor Saxophone ◽  
Late 20Th Century ◽  
Violin Concerto ◽  
Popular Songs ◽  
Solo Violin ◽  
Desperate Attempt

The concerto evidently appeals to HK Gruber, as symphonies do not. He has so far written four works that are unambiguously in this form: ‘…aus schatten duft gewebt…’, a concerto for violin and orchestra of 1977–8; the concerto for percussion and orchestra Rough Music (Rauhetöne) of 1982–3; Nebelsteinmusik, for solo violin and string orchestra, of 1988; and the Concerto for Cello and Chamber Orchestra of 1989. Ambiguous examples of the form are his early Concerto for Orchestra (1960–64) – concertos for orchestra are by definition ambiguous – and Frankenstein!!, his ‘pan–demonium’ (rather than ‘concerto’) for baritone chansonnier and orchestra (on children's rhymes by H.C. Artmann), finalized in 1977. Then there are four works which remain in manuscript (withdrawn from circulation): Concerto No. l for flute, vibraphone, xylophone and percussion (1961); Concerto No. 2 for tenor saxophone, double bass and percussion (1961); ‘furbass’ for double bass and orchestra; and an unsatisfactory forerunner of the violin concerto, Arien (1974–5). The symphony he has not touched; and one is tempted to see in this reliance on solo/ensemble confrontation an attempt to hold together the self–splintered, all too globally diversified language of the late 20th century by an eloquent soloist's sheer persuasiveness, by musical force, so to speak, the soloist being dramatized as a kind of Atlas. In the same way Gruber's recourse to popular songs and idioms of ‘light music’ in these works can seem like a desperate attempt to find a tonal prop and sanction for a language so pervasively threatened by tone–deafness and gobbledygook.

Sessions's Concertino

Tempo ◽  
1975 ◽  
pp. 2-10
Author(s):  
Edward T. Cone
Keyword(s):  
Significant Role ◽  
Chamber Orchestra ◽  
University Of Chicago ◽  
Solo Performance ◽  
The University

‘A concerto of relatively small dimensions’ is Roger Sessions's own characterization of his Concertino for Chamber Orchestra. In a programme note accompanying the recording and (in slightly abridged form) the score, the composer explains how his conception of the work arose largely from practical, though artistically relevant, circumstances. The Concertino, written in 1971–72, had been commissioned by the Fromm Foundation for The Contemporary Chamber Players of the University of Chicago, a group directed by the wellknown composer and conductor Ralph Shapey:… Mr. Shapey's organization is composed of players who, especially among the woodwinds, are accustomed to playing several instruments in their chosen categories. Since this work, designed as it is for an orchestra of chamber dimension, … by conception as well as by the demands of the medium itself, emphasizes solo performance, I decided to avail myself of the players' versatility and give each of the various available instruments a significant role to play.

Sign in / Sign up

Export Citation Format

Share Document