Serenade for Solo Violin, String Orchestra, Harp, & Percussion

Notes ◽  
1958 ◽  
Vol 15 (4) ◽  
pp. 657
Author(s):  
David M. Epstein ◽  
Leonard Bernstein
Keyword(s):  
String Orchestra ◽  
Solo Violin

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 Then there are four works which remain in manuscript (withdrawn from circulation): Concerto No. l for flute, vibraphone, xylophone and percussion (1961); Concerto No. 2 for tenor saxophone, double bass and percussion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.

MARGARET BROUWER, CHEN YI, SADIE HARRISON, MISATO MOCHIZUKI, ONUTE NARBUTAITE, APPARENZE

Tempo ◽  
2004 ◽  
Vol 58 (229) ◽  
pp. 60-66
Author(s):  
Guy Rickards
Keyword(s):  
String Quartet ◽  
Wind Ensemble ◽  
Chamber Orchestra ◽  
String Orchestra ◽  
Folk Dance ◽  
Paul Klee ◽  
Chen Yi ◽  
Dance Suite ◽  
Solo Violin ◽  
Guitar Quartet

MARGARET BROUWER: Lament for violin, clarinet, bassoon and percussion12,4,6,10; Light for soprano, harpsichord, flute, clarinet, violin, cello and percussion1,7,2,5,13,14,11; Under the Summertree for piano8; Skyriding for flute, violin, cello & piano3,13,14,9; Demeter Prelude for string quartet15. 1Sandra Simon (sop), 2Sean Gabriel (fl), 3Alice Kogan Weinreb (fl), 4Jean Kopperud (cl), 5Amitai Vardi (cl), 6Donald McGeen (bsn), 7Jeanette Sorrell (hpschd), 8Kathryn Brown (pno), 9Mitsuko Morikawa (pno), 10Dominic Donato (perc), 11Scott Christian (perc), 12Laura Frautschi (vln), 13Gabriel Bolkosky (vln), 14Ida Mercer (vlc), 15Cavani String Quartet. New World 80606-2.CHEN YI: Momentum; Chinese Folk Dance Suite for violin and orchestra1; Dunhuang Fantasy for organ and chamber wind ensemble3; Romance and Dance for 2 violins and string orchestra1,2; Tu. 1Cho-Liang Lin (vln), 2Yi-Jia Susanne Hou (vln), 3Kimberley Marshall (org), Singapore SO c. Lan Shui. BIS-CD-1352.SADIE HARRISON: The Light Garden for mixed quintet1; The Fourteenth Terrace for clarinet and ensemble2; Bavad Khair Baqi! for solo violin3. Traditional Afghan Music4. 1Tate Ensemble, 2Andrew Spalding (cl), Lontano c. Odaline de la Martinez, 3Peter Sheppard Skærved (vln), 4Ensemble Bakhtar. Metier MSV CD92084.MISATO MOCHIZUKI: Si bleu, si calme1; All that is including me for bass flute, clarinet and violin1,2,3; Chimera; Intermezzi I for flute & piano1,4; La chamber claire. 1Eva Furrer (fl, bass fl), 2Bernhard Zachhuber (cl), 3Sophie Schafleitner (vln), 4Marino Formenti (pno), Klangforum Wien c. Johannes Kalitzke. Kairos 0012402KAIONUTE NARBUTAITE: Symphony No. 2; Liberatio for 12 winds, cymbals & 4 strings; Metabole for chamber orchestra. Lithuanian National SO c.Robertas Fervenikas. Finlandia 0927-49597-2.ALLA PAVLOVA: Symphony No. 1, Farewell Russia1,3,4; Symphony No.32,3,5. 1Leonid Lebedev (fl), Nikolay Lotakov (picc), Mikhail Shestakov (vln), Valery Brill (vlc), Mikhail Adamovich (pno); 2Olga Verdernikova (vln), 3Russian PO c. 4Konstantin D. Krimets, 5Alexander Vedernikov. Naxos 8.557157.‘APPARENZE: Collana di Nuove Musiche 1997’. Works by SILVIA DELITALA, RITA PORTERA, CATERINA DE CARLO, BEATRICE CAMPODONICO, PAOLA CIAR-LANTINI, JANET MAGUIRE, MARCO SANTAM BROGIO, PAOLO MINETTI, FEDERICO MONTAGNER, RINALDO BELLUCCI and BIAGIO PUTIGNANO. Maria Vittoria Vallese (sop), Pia Zanca, Fiametta Facchini, Rinaldo Bellucci (pnos), Duo Soncini-Flückiger, Italian Guitar Quartet, Ensemble Paul Klee, Fabrizio Fantini, Gianluca Calonghi (cls), Giuseppe Giannotti (ob). Radio Onda d'Urto E.F.B 001.

Sa’Unine String Orchestra, Orkes Geseknya Indonesia

Panggung ◽  
2012 ◽  
Vol 22 (2) ◽  
Author(s):  
Ranti - Rachmawanti
Keyword(s):  
Popular Culture ◽  
Qualitative Method ◽  
Music Industry ◽  
Main Idea ◽  
String Orchestra ◽  
Characteristic Func ◽  
Orchestra Music ◽  
Research Show ◽  
Func Tion

ABSTRACT This article explains the result of Sa’Unine String Orchestra as one of Indonesian orchestras in popular culture. Main idea of this research is to uncover and describe the characteristic, func- tion, and role of Sa’Unine String Orchestra within the popular culture in Indonesia. This research used qualitative method with ethnographical approaches to identify all facts that discovered during research. The conclusions of this research show that Sa’Unine String Orchestra moves in two ways, there are; the idealism which had a vision to create a real Indonesian string orchestra and a part of music industry. At the end, these two ways are connected to each other because of the earnings of those. Music industry becomes a support factor which create the idealism of Sa’Unine String Or- chestra to be an Indonesian String Orchestra. Keywords: String Orchestra, Music, Popular Culture. 

String Orchestra

1968 ◽  
Vol 109 (1499) ◽  
pp. 65
Author(s):  
Robert Anderson ◽  
Corelli ◽  
Manfredini ◽  
Mendelssohn ◽  
Istvan Szelenyi ◽  
...  
Keyword(s):  
String Orchestra

Via Crucis, for String Orchestra (with Solo Cello Obbligato)

Notes ◽  
1965 ◽  
Vol 22 (1) ◽  
pp. 823
Author(s):  
John R. White ◽  
Reginald Smith Brindle
Keyword(s):  
String Orchestra

Ecocompositional and Performative Strategies for Creative Usage of Everyday Sounds: Creative Semantic Anchoring

Leonardo ◽  
2018 ◽  
Vol 51 (2) ◽  
pp. 195-196
Author(s):  
Damián Keller ◽  
Leonardo Feichas
Keyword(s):  
New Method ◽  
Creative Practice ◽  
Recent Advances ◽  
Solo Violin ◽  
Available Resources

The authors cover recent advances in ecologically grounded creative practice, highlighting performative strategies in instrumental writing. They address techniques adopted in ecocomposition and propose an expansion of the available resources by introducing a new method: creative semantic anchoring. The underlying concepts are presented and a case study—targeting the performative practice of Flausino Valle’s 26 Characteristic and Concert Preludes for Solo Violin—is described.

Elliott Carter's Harvest Home

Tempo ◽  
1988 ◽  
pp. 2-13 ◽  
Author(s):  
David Schiff
Keyword(s):  
Middle Years ◽  
Solo Piano ◽  
Elliott Carter ◽  
Rocky Soil ◽  
Solo Violin ◽  
As If

ApproachingHisEightiethBirthday, Elliott Carter has acquired a new fluency, as if composing had suddenly—finally—become easy. In his middle years Carter felt compelled to exhaust a musical vocabulary with each composition. Since the solo piano Night Fantasies of 1980, however, he has based a series of widely different works on similar premises: after years of ploughing through rocky soil it was now time for the harvest. As an overflow of this bounty Carter has produced a new (for him) genre: short occasional pieces of three to six minutes in duration. Along with the five major works composed since Night Fantasies, there are seven new short works for media ranging from solo violin to large orchestra. The inventiveness and high spirits of his recent music may call to mind those other wonders of a secondyouth, Falstaff and Agon.

Concerto for Oboe and String Orchestra

Notes ◽  
1951 ◽  
Vol 8 (2) ◽  
pp. 400
Author(s):  
Wendell Margrave ◽  
Alan Rawsthorne
Keyword(s):  
String Orchestra

Holliger's Violin Concerto

Tempo ◽  
2005 ◽  
Vol 59 (231) ◽  
pp. 70-70 ◽  
Author(s):  
Peter Palmer
Keyword(s):  
Violin Concerto ◽  
Solo Violin

HOLLIGER: Violin Concerto, ‘Hommage à Louis Soutter’. YSAŸE: Sonata op. 27, No. 3, ‘Ballade’ for solo violin. Thomas Zehetmair (vln), SWR Sinfonieorchester c. Heinz Holliger. ECM New Series 476 1941.

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