1,794,853 research outputs found
Syzygy presents Wayne Crouse, viola; John Schneider, piano; Viola and Piano Music by Living American Composers
No full textSecond Sonata for Viola and Piano (1952), Ross Lee Finney (b. 1906) -- Canti (Six Songs for Viola and Piano) (1981), Paul Cooper (b. 1926) -- Sonata For Viola and Piano (1979), George Rochberg (b. 1918) -- Entendre for Viola and Piano (1982), Ellsworth Milburn (b. 1938
Wayne Turner Crouse, viola; Mary Norris, piano
No full textFantasia No. 7 in A-flat for unaccompanied viola, Georg Philipp Telemann (1681-1767) -- Sonata in D Major, K. 306, Wolfgang Amadeus Mozart (1756-1791) -- Two Songs for Soprano, Viola, and Piano, Op. 91, Johannes Brahms (1833-1897) -- Sonata for Flute, Viola, and Harp, Claude Debussy (1862-1918) -- Sonata No. 2 for Viola and Piano, Ross Lee Finney (b. 1906
Wayne Turner Crouse, viola
No full textSonata in C Major, K. 296, Wolfgang Amadeus Mozart -- Concertino for Flute, Viola and Contrabass, Erwin Schulhoff -- Five Songs transcribed for the Viola (with piano) -- Sonata for Viola and Piano, Op. 147, Dimitri Shostakovich -- Fantasy for Viola and Strings (piano), Johann Nepomuk Humme
Wayne Crouse, viola; Mary Norris, piano
No full textFantasia No. 9 in E Minor for Solo Viola, Georg Philipp Telemann (1681-1767) -- Sonata in A Minor for Viola and Piano, Franz Schubert (1797-1828) -- Suite for Viola and Bass, Reinhold Glière (1875-1956) -- Sonata in E-Flat, Op. 120, No. 2, Johannes Brahms (1833-1897
The twentieth-century revolution in string playing as reflected in the changing performing practices of viola players from Joseph Joachim to the present day: a practice-based study
Full text linkThe aim of this Ph. D. is to investigate string performance practice issues in late nineteenth- and early twentieth-century viola repertoires. The study will focus
especially on the use of vibrato and portamento, as well as tempo modification and rhythm adjustment. This practice-based research involves a methodology which explores the close relationship between theory and practice.
Chapter One outlines my methodology, reflecting on the philosophical approach that I have developed throughout my project. The content also describes the importance of first-hand experience, highlighting the link between psychology and qualitative method. These subjects are then developed in Chapter Two, which explores the early stage of my four-year journey of this research. I analyse my two `modern'
recordings of Brahms' Sonatas for Viola and Piano, Op. 120, No. 1 and 2, demonstrating the way in which globalisation and modernised playing have dominated our perception and affected music production in the recording industry.
Chapter Three examines primary sources, and related early recordings(1) together with secondary literature,(2) with reference to my interpretation of German-Romantic viola repertoires by Robert Schumann, Joseph Joachim and Johannes Brahms(3). My intention is to try to understand and apply Joachim's aesthetic to my playing.
Chapter Four focuses upon Lionel Tertis' playing. Using Tertis' treatise, Beauty of Tone in String Playing,(4) as well as his complete Vocalion and Columbia recordings,(5)
and fingerings from his edition, I develop and then criticise my own interpretation. In Chapter Five I examine the process through which I have developed my own taste
as a historically-informed player. I consider my expectations for the future alongside literature related to interpretation.
Details of the recorded portfolio are presented at the end of this thesis, including a description of each CD album, a list of the repertoire and the duration, recording date, instrumental equipment and setting, as well as the recording equipment, software and recording engineer. It is suggested that the reader uses the commentary with the recordings, or if preferred, listens to the recordings first and then uses the written text for detailed explanation regarding my approach to interpretation.
1 See Discography, p. 95-6.
2 See Bibliography, p. 91-4.
3 See Appendix I, pp. 97-102.
4 Lionel Tertis, Beauty of Tone in String Playing (London, 1938).
5 Lionel Tertis' complete Vocalion recordings, 1919-24, Biddulph 80219-2; and Columbia recordings, 1924-33, Biddulph 80216-2
"The Sleep of Reason:" A Video Installation by Bill Viola
No full textPhotograph of the exhibition "'The Sleep of Reason:' A Video Installation by Bill Viola," November 14, 1991-February 9, 1992 held at the Dallas Museum of Art
"The Sleep of Reason:" A Video Installation by Bill Viola
No full textPhotograph of the exhibition "'The Sleep of Reason:' A Video Installation by Bill Viola," November 14, 1991-February 9, 1992 held at the Dallas Museum of Art
"The Sleep of Reason:" A Video Installation by Bill Viola
No full textPhotograph of the exhibition "The Sleep of Reason: A Video Installation by Bill Viola," November 14, 1991-February 9, 1992 held at the Dallas Museum of Art
The Edmonton Latvian Society Imanta
No full textScrapbook page: Includes a B&W photo of Ted & Viola Baker, descriptive history of Imanta in Alberta, Imanta's Mission and Purpose [1947], Updated Imanta Constitution of 2003, Goda Karte (Ted Baker Honourary and Lifetime member of Imanta)1.0 Imanta, 1.1.1 History of Imant
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