244 research outputs found
Sonate n °3 en ré mineur op 108 pour violon et piano / Johannes Brahms ; Nathan Milstein, vl ; Vladimir Horowitz, p
No full textTitre uniforme : Brahms, Johannes (1833-1897). Compositeur. [Sonates. Violon, piano. No 3. Op. 108. Ré mineur]BnF-Partenariats, Collection sonore - BelieveContient une table des matière
Nathan Ukalović, klarinet : drugi dio diplomskog ispita
No full textDrugi dio diplomskog ispita Nathana Ukalovića (klarinet), studenta Muzičke akademije Sveučilišta u Zagrebu. Ispit je održan na Muzičkoj akademiji u dvorani Stančić 30. 9. 2021. Klavirska pratnja: Marina Matolić, umj. sav. Mentor: nasl. izv. prof. art. Davor Reba. Program: 1. Gioacchino Rossini: Introdukcija, tema i varijacije za klarinet i orkestar; 2. Jörg Widmann: Fantasie; 3. Johannes Brahms: Sonata za klarinet op. 120, br. 2
Modelling MECA scenarios using Brahms and KAoS
No full textIn this report we present a simulation of a MECA scenario, powered by Brahms and KAoS. To achieve this, the KAoS/Brahms bridge is developed, which allows agents in a Brahms multi-agent system to query KAoS policies. With the KAoS/Brahms bridge at hand, the MECA project is used as context for a scenario modelled in Brahms. The scenario is scripted to contain various situations in which Brahms’ work practice approach interacts with KAoS’ topdown specification of rules. The outcome of these interactions directly influences the outcome of the scenario as a whole. By including an actual human being in the simulation, the scenario can also be used to assess man-machine interaction between this human subject and the other agents. The human subject can assume the role of one of the actors, while the other actors remain simulated. By using a graphical user interface, the human is able to influence the simulation.MMIElectrical Engineering, Mathematics and Computer Scienc
Double concerto en la mineur, op. 102 / Johannes Brahms ; Nathan Milstein, vl ; Gregor Piatigorsky, vlc ; RCA Victor Symphony Orchestra ; Fritz Reiner, dir.
No full textTitre uniforme : Brahms, Johannes (1833-1897). Compositeur. [Concertos. Violon, violoncelle, orchestre. Op. 102. La mineur]BnF-Partenariats, Collection sonore - BelieveContient une table des matière
Nathan Ukalović, klarinet : diplomski ispit
No full textPrvi i drugi dio diplomskog ispita Nathana Ukalovića (klarinet), studenta Muzičke akademije Sveučilišta u Zagrebu. Prvi dio ispita održan je na Muzičkoj akademiji u dvorani Stančić 8. 5. 2021. Program prvog dijela ispita: 1. Wolfgang Amadeus Mozart: Koncert za klarinet i orkestar u A-duru, KV 622; 2. Orkestralna sola. Drugi dio ispita održan je na Muzičkoj akademiji u dvorani Stančić 30. 9. 2021. Program drugog dijela ispita: 1. Gioacchino Rossini: Introdukcija, tema i varijacije za klarinet i orkestar; 2. Jörg Widmann: Fantasie; 3. Johannes Brahms: Sonata za klarinet op. 120, br. 2. Klavirska pratnja: Marina Matolić, umj. sav. Mentor: nasl. izv. prof. art. Davor Reba
Performing practices in late-nineteenth-century piano playing
No full textEarly piano recordings provide audible evidence of the style of late- nineteenth and early twentieth century pianists. These clearly exhibit an approach to piano playing which differs radically from the present. The relationship between the practices preserved in the
recordings and their description in contemporaneous written texts is the focus of attention here. The investigation shows that the important features of recordings are not faithfully conveyed by the written texts. Therefore, the recordings reveal a manner of execution and interpretation that could seldom have been envisaged from the written texts alone.
The recordings examined here include those of a generation of pianists who were trained, in some cases, 150 years ago. These include Carl Reinecke, Theodor Leschetizky,Camille Saint-Satins, and Johannes Brahms, and those of a later generation have also been considered. Their recordings preserve vital information about general performing
practices of the second half of the nineteenth century, as well as the idiosyncrasies of their playing.
The significance of early recordings and their importance
as a means of appreciating lost traditions is outlined in the Introduction. Chapter 1 explores the early recording processes and draws conclusions about the value of the recordings as preserved evidence. The following chapters investigate practices that are prevalent in the recordings. These include dislocation (asynchrony of the hands), unnotated chordal arpeggiation, metrical rubato and various types of rhythmic alteration, and tempo modification. Each chapter compares contemporaneous and historical written references with numerous recorded examples provided on the accompanying compact discs. This process reveals, in many
cases, striking inconsistencies, and highlights the gulf between theory and practice. It also suggests that descriptive language and musical notation have hidden meanings for which the recordings provide an indispensable key.
Early piano recordings capture an expressive style alien to modern taste. The implications of this study are that any attempt at historically informed performances must
acknowledge the gulf between current aesthetics of performance and those of the late nineteenth and early-twentieth centuries
[[alternative]]The Research of Brahms Symphony No.1 Op.68 in c minor
No full text[[abstract]]本篇論文之提要為: (一) 布拉姆斯的生平與時代背景:1.生平 2.布拉姆
斯,華格納與布魯克納 (二) 從管弦樂作品中探討第一交響曲的創作歷
程:1.布拉姆斯的管弦樂作品 2.第一交響 曲的創作歷程和首演 3.與日後
三首交響曲之比較 (三) 第一交響曲之曲式結構與配器分析:每樂章皆
從1.曲式結構2.主題動機3.和聲調性4.配器層次上分析 (四) 第一交響曲
之指揮技巧與音樂處理
1.The life and background of Brahms : *his life *Brahms,
Wagner and Bruckner 2.To investigate the creating process of
symphony No.1 by orchestra works : *Brahms orchestra works
*The creating process and premiere of symphony No.1 *To
compare with symphony No.2,3,4 3.To investigate form and
structure, thema and motive, hormony and tune, instument of
symphony No.1 4.To discuss conducting technique and music
illustration of symphony No.1
1.The life and background of Brahms : *his life *Brahms,
La música de Brahms en el pensamiento de Ludwig Wittgenstein
No full textEl objetivo de este artículo es estudiar las huellas que la música y,
sobre todo, la música de Brahms, dejó en el pensamiento de Wittgenstein. Con
este fin, se analizarán las impresiones que le merecían a Wittgenstein la música
clásica y moderna, dedicando especial atención a las comparaciones que
establece entre las obras de Brahms y las de otros compositores, especialmente
Mendelssohn y Bruckner. En este contexto, se reflexionará sobre la función
que, en opinión de Wittgenstein, podría desempeñar la música clásica como
medio para expresar valores o principios éticos.The aim of this paper is to consider in detail the role music played
in Wittgenstein’s thought, more specifically the music of Brahms. To this end,
the author studies Wittgenstein’s impressions on classical and modern music.
Special attention is given to Wittgenstein’s comparison between the works
of Brahms and others composers’ such as Mendelssohn’s or Bruckner’s. In
addition, the author reflects on the function that classical music could play as
a means to express values or ethical principles
What is the key to Johannes Brahms music? Thoughts and analysis based on selected works and own experiences : ”How to interpret Brahms music to show the ’right’ content and expression?”
No full textThe aim of the following work is an attempt to focus on the broadly understood music of Johannes Brahms. The author of the work looks at selected works by the composer, which, in her opinion, can be helpful in working on any piece. Numerous searches in symphonic works, knowledge of individual chamber and vocal works can definitely help every musician find the unique sound of Brahms. All this is done with the composer's first piece in mind: Sonata in C major Op.1 No. 1, which the author of the work will perform at the diploma concert. The work below contains an analysis of the Sonata, conclusions, hints regarding the sound, the direction of work and numerous information about Brahms' life from the accounts of his friends.Johannes Brahms - Sonate No. 1 Op. 1 in C major n
Johannes Brahms and the French horn
No full textThesis (D.M.A.)--University of Rochester.The music of Johannes Brahms displays some of the most effective use of the French horn before the symphonies of Mahler, surpassing the works of Dvorak and even Bruckner in its heroic use of the instrument. It has been said that Brahms, in writing for the horn, was attempting to emulate the principles of orchestration found in the music of such composers as Beethoven and Schubert. How he did this, as well as how he synthesized these traditional orchestrational techniques with the artistic and technical developments of the time, not to mention his own heroic concept of the instrument, offers an area for scholarly investigation. This topic is one which is of interest to brass teachers and players because of Brahms’ unique treatment of the instrument. It is also of interest to Brahms scholars since Brahms’ associations with the horn and his treatment of the instrument are important aspects in the consideration of Brahms as a musician and a composer. Although the music should always be the most important consideration in a study such as this, Brahms’ use of the horn will best be understood after considering the many influences which caused Brahms to write for the instrument as he did. Consequently, before discussing the music, it will be necessary to discuss a number of topics which will provide information about the underlying reasons for Brahms’ horn-scoring techniques. The historical background of the horn before the time of Brahms will be an important consideration us well as the types of horn used in Brahms’ day. A discussion will be given of the techniques used by the hornists of the day, and also of the orchestras und hornists whom Brahms heard and conducted and with whom he performed. Any close associations Brahms had with horn players will be discussed as well as the time and place of the important early performances of his works with important horn parts. During the nineteenth century a number of texts on orchestration were written which were probably available to Brahms. The treatment of the horn in these texts will be considered in order to determine whether Brahms was influenced by any of these books in his horn-scoring techniques. Brahms, like most composers, was influenced by other composers who were both his predecessors and his contemporaries. An important consideration, therefore, will be the evolution of horn-scoring practices from the time the horn became a regular member of the orchestra (ca. 1750) to the time when Brahms' horn-scoring techniques became more or less stabilized (ca. l850). The second section of the study will deal with the music itself, showing the techniques which Brahms used in writing for the horn and the demands he made on his players. Since Brahms might have intended his horn parts to be played on the natural instrument, the first approach to his music will be to discuss any patterns in his use of notes which do not fall into the natural harmonic series (these being the notes which, in the hand-horn technique, are produced through the use of the hand in the bell of the instrument). Since the use of the hand differs from note to note it will be necessary to discuss the frequency of each of these so called “stopped” notes in order to discover any patterns in their usage. Also, the number of these notes found in solo and tutti passages will be discussed, as well as the specific nature of their use; that is, in chromatic or diatonic passages (both in and out of the key of the piece) and as non-harmonic tones. The author has obtained the actual parts of the works studied and has attempted to play all these parts using the hand-horn technique. This was done in order to determine, from a practical standpoint whether these parts were intended to be performed on the hand- or valve-horn. By comparing the results of this study with those of the analysis, and by putting the works in their proper chronological order, it will be shown how Brahms’ horn-scoring techniques changed through the years. To Brahms, the horn color, especially in solo passages, always had a very special meaning and he frequently used it in very important places. This psychological effect of Brahms' use of the instrument will also be discussed. The final section of the study will deal with conclusions reached through the historical and analytical approaches to the subject. Here an attempt will be made to stow how certain events and associations affected Brahms as a composer, particularly in relation to his use of the French horn. It is to be hoped. that, with a thorough knowledge of the techniques employed by Brahms in scoring for the horn, as well as an understanding of the underlying reasons for the use of these techniques, the true nature of Brahms' concept of the instrument will be made clear
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