Sonata for Cello and Piano; Sonata for Violin and Piano; Sonata for Flute, Viola, and Harp; Syrinx

1968 ◽  
Vol 109 (1505) ◽  
pp. 638
Author(s):  
Diana Mcveagh ◽  
Debussy ◽  
Maurice Gendron ◽  
Jean Francaix ◽  
Arthur Grumiaux ◽  
...  
Keyword(s):  
Piano Sonata ◽  
Violin And Piano

Two Sonatas for Violin [&] Piano: Sonata Breve, op. 26 (Second Sonata for Violin and Piano)

Notes ◽  
1955 ◽  
Vol 12 (4) ◽  
pp. 641
Author(s):  
Robert Evett ◽  
Lockrem Johnson
Keyword(s):  
Piano Sonata ◽  
Violin And Piano

Duo for Violin and Cello; Six Pieces for Cello; Duo for Violin and Piano; Sonata for Violin

1995 ◽  
Vol 136 (1824) ◽  
pp. 107
Author(s):  
Helen Wallace ◽  
Roger Sessions ◽  
Curtis Macomber ◽  
Joel Krosnick ◽  
Barry David Salwen
Keyword(s):  
Piano Sonata ◽  
Violin And Piano

scholarly journals 7. Echoes of Romanticism in Violin and Piano Sonata No. 2, Op. 45 by Marcel Mihalovici - Analytical Landmarks for an Upscale Interpretation

2020 ◽  
Vol 19 (1) ◽  
pp. 46-57
Author(s):  
Augustina Florea
Keyword(s):  
Musical Language ◽  
Piano Sonata ◽  
Gerard De Nerval ◽  
Emotional Tension ◽  
Romantic Poet ◽  
Violin Technique ◽  
Stylistic Influences ◽  
Violin And Piano

AbstractThe evolution of the genre of violin and piano sonata in the Romanian composition creation in the first half of the 20th century, marked by the tendency towards getting close to the European musical phenomenon by assimilating stylistic influences of Romanticism, especially, of Enescian Romanticism, distinctly manifesting in Violin and Piano Sonata no. 2, op. 45, by Marcel Mihalovici, one of the most renowned Romanian composers settled in Paris, appreciated by the famous contemporaries, such as M.Ravel, V.d’Indy, F. Poulenc etc. Sonata (1941), preceded by a motto in the sonnet of Romantic poet Gérard de Nerval Myrtho: „Je sais pourquoi lá bas lé volcan s’est rouvert…”, impresses through the high emotional tension, metaphorically expressed by the image of the “woken” volcano, figurative suggestiveness of the musical language, architectonic innovativeness, spectacular capitalization of the violin technique in the formula of a violin-piano choir.

scholarly journals Two-Part Transition or Two-Part Subordinate Theme?

2012 ◽  
Vol 31 (1) ◽  
pp. 46-65
Author(s):  
Carl Wiens
Keyword(s):  
Functional Role ◽  
Sonata Form ◽  
Piano Sonata ◽  
Classical Form ◽  
Clear Cut

In William Caplin’s Classical Form (1998), the ending of a sonata-form exposition’s two-part transition and a two-part subordinate theme’s internal cadence share the same harmonic goal: the new key’s dominant. In this article, the author contends that the choice between the two is not as clear-cut as Caplin suggests, arguing that the functional role of these passages should be read within the context of the entire sonata movement, rather than on more localized analytical interpretations of the sonata’s sections taken in isolation. Two works are discussed: the first movement of Beethoven’s Piano Sonata op. 2, no. 3, and the first movement of the Piano Sonata op. 10, no. 2.

First Sonata for Violin and Piano

Notes ◽  
1953 ◽  
Vol 10 (3) ◽  
pp. 486
Author(s):  
Douglas Townsend ◽  
Robert Ward
Keyword(s):  
Violin And Piano

Ethnic Variations on a Theme of Paganini (Based on the 24th Caprice); Violin and Piano

Notes ◽  
1984 ◽  
Vol 41 (2) ◽  
pp. 376
Author(s):  
Jean Christensen ◽  
David Baker ◽  
Gary Smart
Keyword(s):  
Violin And Piano ◽  
Ethnic Variations ◽  
Variations On A Theme

Violin Sonata No. 2 (Violin and Piano)

Notes ◽  
1969 ◽  
Vol 26 (2) ◽  
pp. 356
Author(s):  
Thomas Warburton ◽  
Samuel Adler
Keyword(s):  
Violin Sonata ◽  
Violin And Piano
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