Author: Raymond J. Tischer (II.)Publisher:
ISBN:
Category :
Languages : en
Pages : 35
Book Description
An Interpretive Analysis of Brahms' Sonata in E-flat Op. 120, #2
Author: Raymond J. Tischer (II.)Publisher:
ISBN:
Category :
Languages : en
Pages : 35
Book Description
A Comparative Study of Interpretations by Violists and Clarinetists on the Brahms Sonata in E Flat for Clarinet and Piano, Op. 120, No.2
Author: Becky ChappellBrahms Sonata Op. 120, No. 2, and Hindemith Sonata 1939
Author: James S. HortonA Brief History of the Sonata with an Analysis and Comparison of a Brahms' and Hindemith's Clarinet Sonata
Author: Kenneth Tadashi AokiPublisher:
ISBN:
Category : Sonatas
Languages : en
Pages : 104
Book Description
“An” Analysis and Comparison of the Clarinet and Viola Version of the Two Sonatas for Clarinet (or Viola) and Piano Op. 120 by Johannes Brahms
Author: Publisher:
ISBN:
Category :
Languages : en
Pages : 41
Book Description
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.
Musical Analysis in Relation to Performance and Sonata in F Minor, Op. 120, No. 1 by Johannas Brahms
Author: Dawn Lynn O'HairPublisher:
ISBN:
Category : Musical analysis
Languages : en
Pages : 106
Book Description
An Analysis and Comparison of the Allegro Amabile of Brahm's Clarinet Sonata, Op. 120, No. 2 with the Mässig Bewegt of Hindemith's Clarinet Sonata, (1939)
Author: Estelle L. CioffariA Comparative Analysis Based on the Theories of Schenker and Schoenberg Using Brahms' F Minor Sonata, Op. 120
Author: Vicky Marie BatesPublisher:
ISBN:
Category : Musical analysis
Languages : en
Pages : 132
Book Description
An Interpretive Analysis of the Piano Trio in B Major, No. 1, Op. 8 by Johannes Brahms
Author: Thomas George LeonardPublisher:
ISBN:
Category :
Languages : en
Pages : 506
Book Description
Mozart's Music of Friends
Author: Edward KlormanPublisher: Cambridge University Press
ISBN: 1107093651
Category : Art
Languages : en
Pages : 359
Book Description
This study analyzes chamber music from Mozart's time within its highly social salon-performance context.