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| Author | : Demetra Lambros |
| Publisher | : |
| Total Pages | : 78 |
| Release | : 1996 |
| Genre | : |
| ISBN | : |
| Author | : |
| Publisher | : |
| Total Pages | : 41 |
| Release | : 2004 |
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Johannes Brahms was one of the first composers to appreciate fully the viola2s potential, allowing the instrument a chance to shine in his chamber music. Although Brahms2 Two Sonatas in f-minor and E-flat major, Op. 120, were originally written for clarinet and piano, they are also greatly loved in the viola repertoire. Upon examination of the clarinet and viola versions of the sonatas, Brahms seems to have been keenly aware of the potential of each instrument. He intentionally sought different effects for these two instruments by composing two different versions. Each version is different not only with regard to its tone color or timbre, but also regarding practical techniques, such as vibrato, lip pressure, leap shifting, volume, and range. In my document, I will observe the differences between the clarinet and the viola versions, especially focusing on the unique characteristics of the each instrument. Then I will investigate why Brahms made such alterations for the viola, and I will also discuss how and why identical passages can sound and be expressed differently according to the instrument. In the first part of my document, I will provide a short historical background of the Op. 120 sonatas. I will also identify some of the composer2s musical idiosyncrasies, concentrating especially on his chamber music and his high regard for the role of the clarinet and the viola in these works. Secondly, I will compare the clarinet and viola versions of these sonatas and point out the possible reasons for the differences between these versions. Finally, the third part will focus on how identical passages can be heard and expressed differently according to each instrument.
| Author | : Joel Lester |
| Publisher | : Oxford University Press |
| Total Pages | : 352 |
| Release | : 2020-08-21 |
| Genre | : Music |
| ISBN | : 0190087056 |
Notation in Johannes Brahms's sonata scores tells violinists and pianists far more than merely what pitches to play and how long to play them--if read carefully, these scores reveal an immense amount of expression, both of musical and human essences. Joel Lester's Brahms's Violin Sonatas magnifies key passages from these scores, revealing in clear and accessible language how the composer built his themes and musical narratives and how, ultimately, Brahms's music came to sound Brahmsian. Through close readings and annotated musical examples, Brahms's Violin Sonatas guides practitioners to read scores with care and to develop their own informed interpretation of the pieces, eschewing the notion of a single "correct" interpretation of the historical score. By exploring not only the sonatas' musical elements, but also their relationship to important events in the composer's life, Lester shows how subtle components can communicate the gestures, moods, personalities, and emotions that make Brahms's music so compelling. A companion volume to the author's award-winning 1999 study Bach's Works for Solo Violin: Style, Structure, and Performance (OUP), Brahms's Violin Sonatas is a clear and practical guide to understanding and performing Brahms's music in the present.
| Author | : John Murray Carter |
| Publisher | : |
| Total Pages | : 195 |
| Release | : 2012 |
| Genre | : Instrumentation and orchestration |
| ISBN | : |
The objective of this dissertation is to examine the orchestration methods of Johannes Brahms, apply these methods to an orchestral transcription of his Sonata for Violin and Piano No. 3 in D Minor, op. 108, and provide a conductor's analysis of the transcription. Chapter 1 gives a brief historical background, and discusses reasons for and methods of the project. Chapter 2 examines general aspects of Brahms's orchestrational style. Chapter 3 addresses the transcription process and its application to the Third Violin Sonata. Chapter 4 explores areas in which a thorough understanding of a work's compositional and orchestrational structure informs performance practice. Chapter 5 discusses differences in chamber and orchestral music observed during the project. The full score of the transcription is included at the end.
| Author | : Robin Stowell |
| Publisher | : Cambridge University Press |
| Total Pages | : 254 |
| Release | : 2001-07-26 |
| Genre | : Music |
| ISBN | : 9780521625555 |
An invaluable guide to the available historical source material on playing the violin and viola.
| Author | : Constance Millecan |
| Publisher | : |
| Total Pages | : 19 |
| Release | : 2015 |
| Genre | : Sonatas (Violin and piano) |
| ISBN | : 9781321776348 |
Abstract: To this day, the three violin sonatas by Johannes Brahms have become a part of the standard violin repertoire. All composed just under a decade, his sonatas are filled with beautiful lyricism, passion, and contrasting emotions. Brahms's relationships with his friends, such as violinist Joseph Joachim and contralto singer Hermine Spies, influenced some of his works. This project report is an examination of the Brahms Sonata No. 2 for Piano and Violin, Opus 100 through history, analysis, and interpretations. The history of Brahms's life and influences were observed in order to understand his personality and the meaning behind his music. The sonata was studied through musical detail, looking carefully at how the dynamics, phrasing, and voicing shape the piece. Two artists were compared with their own interpretations of the second sonata. The purpose of this study is for one to create their own idea and voice in preparation for a performance of the piece.
| Author | : Ryan McClelland |
| Publisher | : Routledge |
| Total Pages | : 407 |
| Release | : 2016-04-15 |
| Genre | : Music |
| ISBN | : 1317172833 |
Despite the incredible diversity in Brahms's scherzo-type movements, there has been no comprehensive consideration of this aspect of his oeuvre. Professor Ryan McClelland provides an in-depth study of these movements that also contributes significantly to an understanding of Brahms's compositional language and his creative dialogue with musical traditions. McClelland especially highlights the role of rhythmic-metric design in Brahms's music and its relationship to expressive meaning. In Brahms's scherzo-type movements, McClelland traces transformations of primary thematic material, demonstrating how the relationship of the initial music to its subsequent versions creates a musical narrative that provides structural coherence and generates expressive meaning. McClelland's interpretations of the expressive implications of Brahms's fascinatingly intricate musical structures frequently engage issues directly relevant to performance. This illuminating book will appeal to music theorists, musicologists working on nineteenth-century instrumental music and performers.
| Author | : Samuel Rothermel |
| Publisher | : |
| Total Pages | : |
| Release | : 2021 |
| Genre | : |
| ISBN | : |
Johannes Brahms never procured a concerto for viola or clarinet. Curious minds yearn to know what one might sound like if he had. The closest approximation of such a piece is Brahms's Opus 120 sonatas for clarinet/viola and piano. A daring arranger with a keen knowledge about Brahmsian style might be able to orchestrate the piano part of the sonatas thus rendering a type of concerto. The Los Angeles Philharmonic commissioned Luciano Berio to do just that. Berio's style of composition distinguishes him as a great proponent of collage technique, and his orchestration of Johannes Brahms's Op. 120 No. 1 Sonata in F Minor for Clarinet or Viola resides in a comfortable middle ground between Brahmsian authenticity and personal creative liberty. Analysis of Brahms's style of texture and orchestration reveals key challenges Berio likely encountered during the arranging process and allows us to judge the quality of his solutions. All of this information should be of utmost importance to prospective performers of this nearly forgotten arrangement and to the scholarly community of both Berio and Brahms.
| Author | : Alexander J. Morin |
| Publisher | : Hal Leonard Corporation |
| Total Pages | : 1220 |
| Release | : 2002 |
| Genre | : Music |
| ISBN | : 9780879306380 |
Encompassing more than five hundred classical composers past and present, this listener's guide to classical music discusses the best recordings of symphonies, operas, choral pieces, chamber music, and more by the world's leading composers as performed by a variety of outstanding musicians and conductors, and includes essays on the classical repertory, composers, instruments, and more. Original.
| Author | : Helen Margaret Goode |
| Publisher | : |
| Total Pages | : 132 |
| Release | : 1993 |
| Genre | : Performance practice (Music) |
| ISBN | : |
