No description available.

Concerto for Piano and Orchestra is a three-movement composition for solo piano and orchestra. The three movements follow the general pattern of fast-slow-fast, although the first movement includes some slow sections. There is no break in continuity between the second and third movements. The duration of the entire work is approximately nineteen minutes, the first movement equivalent in time to the second and third movements combined.

The history of the development of the piano works for left-hand has spanned for more than one hundred and fifty years, and the piano concertos for left-hand, which made special historical significance in the concerts, were mostly written for one-arm pianist Paul Wittgenstein. The purpose of the thesis is the study of the stylistic features of one-movement piano concertos for one-hand, including Concerto pour la main gauche by Ravel, Parergon and Panathenaenzug by Richard Struass, and Diversions by Britten. The discussions contain the structure, form, orchestration, and performing technique. The contents of the thesis includes four chapters, in addition to the introduction. The first chapter discusses the general historical background for the creation of left-hand playing, and the development of the creation of the piano works for left hand. The second chapter is basic literature research for the piano concertos for left hand, and introduces the creative background to four piano concertos for left hand. The third chapter emphasizes the detailed analysis of the piano concertos for left hand of the selected works of Ravel, Richard Strauss and Britten. In the four left-hand piano concertos, Concerto pour la main gauche and the Parergon are designed in multi-sectional stracyure, the Panathenaenzug is planted for a symphonic studies in Passacaglia form and the Diversions is in a form of thematic variations in which each variation is characteristic in different title. In addition, composers frequently make use of the different instrumental colors of orchestra to replenish the lacks of rich acoustics of the piano playing, including accompaniment, support of harmony, momentum and dynamic of sounding expression. Richard Struass¡¦s Panathenaenzug employs the glockenspiel and celesta to enrich the sounding expression. The difficulties of left-hand piano techniques are variable; Ravel use the different and difficult piano skills in his two candenzas, Richard Struass¡¦s Panathenaenzug is also collected left-hand piano techniques in it, and Britten¡¦s Diversions is in different point of view that the composer employs the whole register of eighty-eight keys to makes this piano concerto sounding rich.

No description available.

Beethoven wrote his earliest piano concerto, the Piano Concerto in E-Flat Major WoO 4, in 1784-85. The surviving manuscript copy contains the solo part complete and a piano reduction of all orchestral passages (Tutti) whenever the soloist is not playing. That manuscript also includes Beethoven's cues for an instrumentation consisting of strings, horns and flutes. Eminent Beethoven scholar Willy Hess completed his own reconstruction of the concerto in 1943. His version has been recorded three times, but only one is currently available on the Philips label (442580-2). The newest reconstruction of the concerto, created by Professor Jon Ceander Mitchell in 2003, is presented in this study in the form of a piano reduction (as a two-piano critical edition). This present edition, edited by Dr. Mitchell and the author of this essay, retains Beethoven's instrumentation and restores the endings of the second and third movements (which were changed by Willy Hess). This study also includes a piano cadenza for the first movement, which is a free composition by the author. It also discusses both available restorations of this work and some of the concerto's interpretative issues.

This thesis begins with the origin and development of cadenza. Then the structure of W.A.Mozart¡¦s cadenza is discussed. Mozart¡¦s Piano Concerto K.V.453 first movement is used as an example to explain the ritornello form and the cadenza structure. Finally, those of other composers, such as Johannes Brahms (1833-97), Ferruccio Busoni (1866-1924), Ernst von Dohnányi (1877-1961) and Edwin Fischer (1886-1960), their cadenzas for K.V.453 first movement will also be analyzed and compared. Most of Mozart¡¦s cadenzas can be analyses as three-part form: The first part starts either themes from the concerto movement or virtuoso runs which appeared in the movement before or newly invented. The second part usually over a sustained bass note or chord continually develops sequences of an important theme or motive from the concerto movement. This will leads into the third part with a number of virtuoso runs, passages in thirds, etc., until the close of the cadenza which usually ends with a long trill. During the 19th and 20th centuries, performers performed Mozart Piano Concerto, seldom adopted the cadenza of Mozart's. Rather, they would replace Mozart's cadenza with those written by themselves. Those cadenzas according to the treatises and Mozart¡¦s own cadenzas usually did not have the so-called ¡§Mozart's style¡¨. Because the authenticity movement of performing early music in the late 20th, when a performer decides to perform Mozart Piano Concerto, it becomes very important for him to figure out how to choose or create the proper cadenza for himself to perform. Yet, the change of time with different personality and style will influence the result of creating and performing a cadenza. Maybe this is one the main reason that make the cadenza so very and interesting always.

This paper is a study of the relationship between piano and orchestra in Mozart¡¦s piano concerto, K.467. The paper includes an introduction followed by three sections and a conclusion. The introduction briefly reviews the origins of the solo concerto. The following section discusses the changing nature of the relationship between tutti and soloist as the solo concerto evolved up until the time of Mozart. The next section is an analysis, with diagrams, of the form of K.467, the first movement being in concerto-sonata form, the second movement in three-stanza song form, and the third movement in rondo form. This is followed by the most important section of the paper which categorizes and discusses four types of solo-tutti relationships used by Mozart in K.467, showing examples from the score. These four types, suggested by Girdlestone in his book Mozart and His Piano Concertos, include: first, the orchestra as accompaniment supporting the soloist; second, the soloist as accompaniment to the orchestra; third, orchestra and soloist cooperating or competing on an equal basis; and fourth, orchestra and soloist entering in turn, answering one another.

Tyzen Hsiao(1938-), one of the most important Taiwanese composers in modern time, whose main contribution is to blend Taiwanese folk music into the western music, promoting and introducing it to the international stage. His compositional style is not only influenced by S. V. Rachmaninoff(1873-1943), F. Chopin(1810-1849), and B. Bartók(1881-1945), it is also strongly marked by native Taiwanese folk music. His works are numerous and his composing realm, being various and wide, includes many forms of works. The thesis discusses and analyzes different kinds of Hsiao¡¦s piano works, focusing on the melody, harmony, folkloric music material, and composing techniques, so to categorize the composing style and language of his piano works. This study includes the analysis of his representative work¡ÐPiano Concerto in C Minor, Op.53, and the related discussion of the performing skills and interpretation. This thesis consists of five chapters. Chapter one describes the motivation, means and realm of the study. Chapter two presents Hsiao¡¦s life and music works and the important factors that have influenced the formation of his music style, including his life, his Christian belief, education, the background of his study of western music, and the ideal of blending eastern and western music. Chapter three focuses on a practical analysis of his piano composition style. It is categorized into four music characters: Romanticism, Taiwanese folkloric music material, the composition method of the 20th century music and the poetic music expression. Chapter four discusses his most important piano work¡ÐPiano Concerto in C Minor, Op.53. In addition, the author has met with the composer himself in order to understand the thought of his composition and receive valuable comments that have helped analyzing the entire work and the characteristics of this work. Also through the commands of critics, the author discusses the related questions of the performing skills and interpretation of this piece, so to present specific explanation and recommendation. Chapter five concludes Hsiao¡¦s piano work style, and the value and influences of his works.

This study examines the Piano Concerto in C sharp, Op.17 (1923), by Erich Wolfgang Korngold (1897-1957), in light of developing variation, techniques that transform motivic ideas and create musical continuity in this work. The troublesome reception history of Korngold’s piano concerto derives from its complex musical features, which have created difficulties in understanding and evaluating this piece. Consequently, critics and scholars often label the highly sophisticated yet tonal musical language in this piece a residue of Romanticism from the nineteenth century. In this document, in contrast, examination of motivic development and connections in Korngold’s piano concerto reveals thematic and structural coherence in light of Korngold’s idea of modernity. This study provides a historical and technical survey of developing variation and discusses Korngold’s implementation of these techniques in his early compositions and the piano concerto. By doing so, this study recognizes the progressive aspect in Korngold’s music.

The lecture, given on August 3, 1981, consisted of a discussion of the circumstances surrounding the composition of K. 413, 414, and 415; of specific compositional characteristics pertaining to each; and of their relationship to Mozart's later piano concertos. Additionally, their orchestration, effect with string quartet, idiomatic piano writing, considerations for amateurs, and passages for connoisseurs were explored.