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Eclectic qualities of Zoltán Kodály's Sonata, opus 8, for solo violoncello :|ba lecture recital, together with three recitals of music by Shostakovich, Biggs, Brahms, Franck, Bach, Ginastera, Martinu, and BarberRietz, Marilyn June 08 1900 (has links)
The lecture recital was given April 11, 1977. The subject was Eclectic Qualities of Zoltán Kodály's Sonata, Opus 8, for Solo Violoncello, and it included a discussion of rhythmic, melodic, harmonic, and formal qualities of the sonata along with conclusions and performance suggestions. The Kodály Sonata, Opus 8, was performed at the conclusion of the lecture.
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Three piano sonatas by Friedrich KuhlauDawe, Edmund Noel January 1988 (has links)
Friedrich Kuhlau (1786-1832) ranks as a minor master of the early nineteenth century. As a composer of keyboard music he is perhaps best known for his sets of sonatinas, but the twenty-two sonatas he composed from 1809 to 1831 form a significant part of his extensive output. This study examines three of his
sonatas -- Op. 4, Op. 46 No. 2 and Op. 127 -- and places them in historical context through a discussion of the importance of this genre in the repertoire of that era. A survey of contemporary keyboard performance practices is also included, as well as an introductory biographical sketch.
Kuhlau's style is undeniably conservative, with phrases of regular and predictable length in evidence throughout, and his music is often derivative of that of earlier composers from C.P.E. Bach through Beethoven. However, his works also reflect numerous traits of early Romanticism. They are melodically rich, widely spaced sonorities are frequently employed, and his textures range from delicate nuances to thickly scored passages. From a purely pianistic point of view, he displays a fondness for scalewise and arpeggiated passages so often used to excess by lesser composers of his era, but he also clearly demonstrates that he was aware of more innovative approaches to keyboard writing. Throughout history, countless minor composers such as Kuhlau were highly respected during their lifetimes; nevertheless, most of their compositions, including those under consideration here, have not survived on the concert stage. Consequently, there exists a vast body of literature of which little or nothing is known. It is both necessary and useful to study such works in order to gain a more complete understanding of music of their period. Moreover, a closer examination of them might well lead to a reassessment of their worth, which in turn may encourage more frequent performances. / Arts, Faculty of / Music, School of / Graduate
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Charles Ives, the Violin Sonatas: a Lecture Recital, Together with Three Recitals of Selected Works of L. v. Beethoven, J. Brahms, E. Chausson, C. Debussy, W. Latham, G. Tartini, and A. VivaldiGabbi, Marianna Paone 08 1900 (has links)
A lecture recital was given on July 14, 1975. The violin sonatas of Charles Ives are a unique and innovative addition to the violin repertoire and capture the New England Transcendental movement of the early twentieth century. In addition to the lecture recital, three other public recitals were performed, including solo compositions for violin and chamber works including violin.
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A Realization and Edition of Three Sonatas by Corelli for Two Violins and HarpsichordCox, Bobby Wayne, 1926- 08 1900 (has links)
This thesis covers the history of Archangelo Corelli, and includes the creation of and three sonatas by Corelli.
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Sonata for clarinet and pianoMulder, David Louis 01 January 1963 (has links) (PDF)
No description available.
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The second subject in the sonata-allegro movements of Joseph Haydn's piano sonatasCraig, Wallace Alexander, Jr. 01 January 1959 (has links) (PDF)
Joseph Haydn was born in 1732 and died in 1809, a period spanning the lifetimes of the elder Bach and Beethoven. During his seventy-seven years he wrote at least fifty-two keyboard sonatas, eighty-three string quartets, one hundred-eight symphonies, many masses, divertimenti for instrumental ensembles, operas, cantatas, concert!, oratorios, songs, instrumental trios, and almost as many works in other categories.
It was only in 1957, after this present project had begun, that a complete catalogue of Haydn's works began to appear in print. At this writing the first of three volumes by Anthony van Hoboken has been published. Considering that Kochel 's comparable work on Mozart has been available for ninety-seven years, it is apparent that research about Haydn's work has been impaired by the lack of such a reference.
This paper deals with some of the aspects of one of the major contributions ascribed to Haydn—the Sonata allegro form. For reasons to be explained later, the analysis is concentrated on the so-called second or subordinate subject. A thorough survey of the literature was undertaken, and such materials as were pertinent are quoted at the appropriate points in the thesis. To the writer's knowledge, no other work exists which deals explicitly with the problem of the second subject in Haydn's sonata-allegro form. However, he has drawn upon the studies of scholars who have investigated related problems.
The sonata-allegro form is worthy of continuing investigation.
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The Bassoon Sonatas of Victor Bruns: An Analytical and Performance Perspective (With an Annotated Bibliography of Works for Bassoon)Stomberg, Eric Wolf 05 October 2004 (has links)
No description available.
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Beethoven's Late Style in His Last Five Piano SonatasLai, Wei-Ya 04 August 2009 (has links)
No description available.
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The Piano Sonatas of Carl Vine: A Guideline to Performance and Style AnalysisYang, Eun-Kyoung 31 March 2003 (has links)
No description available.
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Six Oboe Sonatas by Giuseppe Sammartini (Sibley Manuscript S. 189): With Critical Commentary and a Performing Edition of Sonata Five, a Lecture Recital, Together with Three Other RecitalsCombs, Julia C. (Julia Carolyn) 12 1900 (has links)
The lecture was given on October 7, 1985. The discussion dealt with the stylistic characteristics of six oboe sonatas and preparation of a performing edition of the fifth sonata by the eighteenth-century oboist and composer Giuseppe Sammartini. After Sammartini emigrated from Milan to London in the 1720s, he became the leading oboist in England. Both his playing and his compositions were praised by contemporaneous writers including Burney and Hawkins. Sammartini's oboe sonatas share stylistic traits with the work of his baroque contemporaries while looking forward to the emergence of the classical style. Five of the sonatas show derivation from the sonata da camera, while one is a clear example of the sonata da chiesa. As some of the few baroque sonatas composed specifically for the oboe, they represent important new additions to a limited repertoire. The performance practice problems encountered included realization of the unfigured bass accompaniment, correcting errors in the manuscript, and providing performance directions for tempos, dynamics, articulation, and ornamentation. In addition to the lecture recital, three other recitals for solo oboe were given. The first recital was given on November 7, 1983 and included works by Antonio Vivaldi, Ernst Eichner, Bohuslav Martina, and Heinrich von Herzogenberg. The second recital was given on April 16, 1984 and included works by Johann Sebastian Bach, Georg Phillip Telemann, Ruth Crawford Seeger, and August Klughardt. The third recital was given on September 16, 1985 and included works by Paul Hindemith, Jean Franpaix, and Gary Smart. All four recitals were recorded on magnetic tape and are filed, along with the written version of the lecture materials, as a part of the dissertation.
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