Bartok's Viola Concerto

Mosco Carner

doi:10.2307/935876

Narrative Analysis of Lim Jiesun's Viola Concerto The New Path in Memory of Yoon Dongjoo : Based on Gesture and Intertextuality

Music Theory Forum ◽

10.15571/mtf.2018.25.2.71 ◽

2018 ◽

Vol 25 (2) ◽

pp. 71-104

Author(s):

Sunyoung Park

Keyword(s):

Narrative Analysis ◽

Viola Concerto

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Barbican, London: Turnage's Viola Concerto ‘On Opened Ground’

Tempo ◽

10.1017/s0040298204220241 ◽

2004 ◽

Vol 58 (229) ◽

pp. 73-74

Author(s):

Robert Stein

Keyword(s):

Reference Points ◽

Viola Concerto ◽

String Instrument

Not being a string player himself, Mark-Anthony Turnage approached his first concerto for a string instrument with some trepidation. It turns out that while the writing for the viola is idiomatic enough, Turnage has something of a love/hate relationship with traditional ideas about the concerto. Divided into two movements – Turnage admitted that in the unlikely event of his writing a symphony it would have three, five or six movements, never four – the new concerto (completed in 2001 and here given its UK première) has the expected cadenza but one that appears only 36 bars in! Such challenging attitudes to an old form characterize the new piece, subtitled On Opened Ground. Even so the work's structure – scherzando opening with slower coda, slow second movement and brisk chaconne finale – bring us back to the more usual reference points for a concerto. While he acknowledges the surprising influence of Walton ‘in the second movement’, the influence of that composer's own viola concerto is actually more pervasive than Turnage would have us believe. Even the title, while apparently making reference to Seamus Heaney's collection Opened Ground, seems to point more fruitfully to the ground bass of the second movement's chaconne. One thing is certainly as described: On Opened Ground is, as he claims, one of Turnage's most lyrical pieces and might win him an audience for whom the earlier astrigencies were too great.

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RUBBRA'S VIOLA CONCERTO

Music and Letters ◽

10.1093/ml/xxxv.3.204 ◽

1954 ◽

Vol XXXV (3) ◽

pp. 204-205

Author(s):

IVOR KEYS

Keyword(s):

Viola Concerto

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A New Viola Concerto

The Musical Times ◽

10.2307/957560 ◽

1973 ◽

Vol 114 (1566) ◽

pp. 790

Author(s):

Thea Musgrave

Keyword(s):

Viola Concerto

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Ghosts and Shadow Sounds

Sonic Overload ◽

10.1093/oso/9780197541258.003.0009 ◽

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.

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First Performances

Tempo ◽

10.1017/s0040298200006483 ◽

1998 ◽

pp. 16-23

Keyword(s):

List Type ◽

Viola Concerto

The Masterprize Final Martin AndersonPer Nrgrd's Second Symphony Peter QuinnDer Gerettete Alberich William MivalIindberg does L.A. James HarleyToronto: Murray Schafer's Viola Concerto Paul RapoportTurku: Nordgren's Fourth Symphony Christophy SchlrenBirmingham: Raymond Head's This We Call Being Calum MacDonaldWestminster Abbey: Prt's Triodion Peter QuinnWestminster Cathedral: Roxanna Panufhik's Westminster Mass Martin AndersonMunich: Hosokawa's Vision of Lear John Wamaby

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Book Reviews

Tempo ◽

10.1017/s0040298200006495 ◽

1998 ◽

pp. 24-37

Keyword(s):

List Type ◽

Viola Concerto ◽

Professional Dancer

Finding the Key: Goehr's Selected Writings Mark CromarUncommon Ground, Common Subsoil: Michael Finnissy Geoffrey AlvarezMessiaen, Trait and Tombeau Christopher DingleNielsen and Sibelius Peter PalmerProfessional Dancer: George Butterworth Lewis ForemanKorngold the Last Prodigy (with a CD roundup) Martin AndersonBartk Viola Concerto Facsimile Malcolm GilliesClassical Modernism and Frtwngler Peter PalmerThe Search for Thomas F. Ward Michael Lister

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