The rarely performed Piano Quintet in C major (1904) by Béla Bartók is a major work in the chamber music genre although its individuality and significance seem to have gone unnoticed in the scholarly literature. The piece represents the composer’s early attempts to break from the traditional compositional standards of his contemporaries as well as his early attempts to include folk elements in his works. This document presents a detailed history of the piece and the circumstances surrounding its composition as well as a brief history of the genre of the piano quintet. The author focuses on the musical influences that Bartók acquired during his musical education and how they influenced the Piano Quintet in addition to the folk origins so intrinsic to the Hungarian language and culture that also appear in the piece. A detailed analysis of the slow movement is included due to the extraordinary way in which it simultaneously looks backwards and markedly forward.

Quintet in G minor / Franz Danzi -- Variations sur un theme corse / Henri Tomasi -- Quintet / Steinmetz. / text

"Quintet for Woodwinds " is in four movements. The form of each movement is basically traditional: the first movement is in Sonata form; the second movement is a Theme and Variations; the third movement is a short Chorale; and the fourth movement is a Rondo. The themes of the movements are interrelated, giving a cynical effect.

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Today’s leading brass chamber ensemble is the brass quintet, whose inception was relatively late compared to the string quartet or woodwind quintet. The first modern brass quintet formed in the 1950s, while the first string quartet can be traced to the 17th century. Compositions for woodwind quintet were written as early as 1811 during the Classical Period. The New York Brass Quintet, American Brass Quintet, and Annapolis Brass Quintet commissioned a large portion of the currently existing brass quintet literature. The literature grew exponentially as the brass quintet became popular in the 1960s. Also during this time, a new genre of works emerged for brass quintet with orchestral accompaniment. The paper references fifty-seven works for the brass quintet with orchestral accompaniment that were found through music catalogues, reviews, recordings and searching JSTOR, World Cat and Google. Since the author was not able to discover any scholarly treatment of this genre, this paper will address the gap and unearth the quantity of literature available. Many of these works are unrecorded. While there are many existing scores in the literature, there is a resurgence of compositions currently being written for brass quintet with orchestral accompaniment. This document is presented in two parts: Part I, “Overview of Brass Chamber Music in the Twentieth Century,” “Earliest Music in the United States for Brass Chamber Ensembles,” “A Brief History of the Modern Brass Quintet,” “Annapolis Brass Quintet,” and “A Survey of Existing Works for Brass Quintet and Orchestra.” The second part of this dissertation contains materials which are pertinent to the Doctor of Musical Arts Degree which include recital programs, program notes, and vita.

W. A. Mozart¡¥s compositions for clarinet played a significant role in the music history. Many scholars took their attention to Concerto in A major for Clarinet and Orchestra. However, the importance of Clarinet Quintet for Clarinet and String Quartet is unneglectable. According to the literature, the development of clarinet in the musical history is no earlier than the seventeenth century. Clarinet had a variety of sizes and tonalities in the beginning of development. Mozart composed lots of brilliant compositions for the combination with the clarinet in A. A. Stadler, a clarinetist, had excellent skill in playing clarinet. He cooperated with T. Lotz, an instrumental maker, extended the compass of basset clarinet lower to C. Inspired by Stadler and the invented instrument, Mozart wrote Clarinet Quintet, K. V. 581 and Clarinet Concerto, K. V. 622 for the basset clarinet. Mozart¡¦s Clarinet Quintet, K. V. 581 is undeniably important to the history of chamber music. Clarinet Quintet, K. V. 581 is composed in four movements. Harmony, form, texture, idiom and expression in every movement were discussed in Chapter3. The setting of clarinet and string quartet was also an innovation for the chamber music in his time. This setting of Clarinet Quintet became one of the standard settings which several composers tried to compose music for. Among the works, J. Brahms¡¦ Clarinet Quintet, op. 115 and M. Reger¡¦s Clarinet Quintet, op. 146 have gained the same respect as Mozart¡¦s Clarinet Quintet, K. V. 581. These works have several similarities. For example, they were all created in one or two years before the composers¡¦ death, and the inspiration for creating the music all came from the cooperation with the outstanding performers ¡Ketc. To sum up, Mozart¡¦s Clarinet Quintet, K. V. 581 is important and influential to the history of chamber music.

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abstract: Piano Quintet> is a three movement piece, inspired by music of Eastern Europe. Sunrise in Hungary starts with a legato song in the first violin unfolding over slow moving sustained harmonics in the rest of the strings. This is contrasted with a lively Hungarian dance which starts in the piano and jumps throughout all of the voices. Armenian Lament introduces a mournful melody performed over a subtly shifting pedal tone in the cello. The rest of the voices are slowly introduced until the movement builds into a canonic threnody. Evening in Bulgaria borrows from the vast repertoire of Bulgarian dances, including rhythms from the horo and rachenitsa. Each time that the movement returns to the primary theme, it incorporates aspects of the dance that directly preceded it. The final return is the crux of the piece, with the first violin playing a virtuosic ornaments run on the melody. / Dissertation/Thesis / M.M. Composition 2014

Orientador: Esdras Rodrigues Silva / Tese (doutorado) - Universidade Estadual de Campinas, Instituto de Artes / Made available in DSpace on 2018-08-24T11:15:01Z (GMT). No. of bitstreams: 1 Queiroz_RuckerBezerra_D.pdf: 6234718 bytes, checksum: 24c95df0e6461a73b8cfaf4ca4ee5f40 (MD5) Previous issue date: 2014 / Resumo: Esta pesquisa, na área de práticas interpretativas, tem como objetivo confrontar o ideal musical e interpretativo do Movimento Armorial com as performances do Quintetos Armorial (1974), da Paraíba (1994) e Uirapuru (2014). De forma a se ter uma obra que possibilitasse essa comparação utilizou-se o "Toré", de Antônio Madureira. O trabalho encontra-se dividido em três capítulos onde o primeiro versa sobre o Movimento Armorial e sua música. O segundo contextualiza os quintetos e suas formações. O terceiro traz a análise interpretativa da obra Toré / Abstract: This research in the area of ??performance practice, aims to confront the musical and interpretive ideal of Armorial Movement with performances of Quintets Armorial (1974), Paraíba (1994) and Uirapuru (2014). In order to have a work that enabled this comparison we used the music " Toré", by Antonio Madureira. The thesis is divided into three chapters where the first is about the Armorial Movement and its music. The second contextualizes the three quintets and their formations. The third brings the interpretative analysis of the music "Toré" / Doutorado / Praticas Interpretativas / Doutor em Música

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