Author: Horatio William Parker
Publisher:
ISBN:
Category : Concertos (Organ)
Languages : en
Pages : 40
Book Description
Concerto for the organ with orchestra (strings, brass, harp and drums)
Author: Horatio William Parker
Publisher:
ISBN:
Category : Concertos (Organ)
Languages : en
Pages : 40
Book Description
Publisher:
ISBN:
Category : Concertos (Organ)
Languages : en
Pages : 40
Book Description
Concerto for organ (harp) and orchestra
Author: Georg Friedrich Händel
Publisher:
ISBN: 9783795771584
Category :
Languages : de
Pages : 36
Book Description
Publisher:
ISBN: 9783795771584
Category :
Languages : de
Pages : 36
Book Description
Concerto for organ and orchestra (strings, brass, harp and drums)
Author: Horatio Wilhelm Parker
Publisher:
ISBN:
Category :
Languages : en
Pages : 69
Book Description
Publisher:
ISBN:
Category :
Languages : en
Pages : 69
Book Description
Concerto for Organ (harp) and Orchestra
Author: Georg Friedrich Händel
Publisher:
ISBN:
Category :
Languages : de
Pages : 14
Book Description
Publisher:
ISBN:
Category :
Languages : de
Pages : 14
Book Description
Concerto for organ and orchestra (strings, brass, harp and drums)
Author: Horatio William Parker
Publisher:
ISBN:
Category : Concertos (Organ)
Languages : en
Pages : 80
Book Description
Publisher:
ISBN:
Category : Concertos (Organ)
Languages : en
Pages : 80
Book Description
Concerto for organ, strings and harp
Author: Howard Hanson
Publisher:
ISBN:
Category : Concertos (Harp and organ with string orchestra)
Languages : en
Pages : 48
Book Description
Publisher:
ISBN:
Category : Concertos (Harp and organ with string orchestra)
Languages : en
Pages : 48
Book Description
Concerto for Organ and Orchestra (strings, Brass, Harp and Drums)
From North and West to a Concerto for Organ, Strings, and Harp
Author: Jean Karole Janes
Publisher:
ISBN:
Category :
Languages : en
Pages : 342
Book Description
The composition North and West represents an early stage of Hanson's development as a composer. The looseness of formal structure, profusion of extraneous thematic material, and the lack of direction inherent in the harmonic scheme indicate an experimental approach to manipulating largescale orchestral forces. The textless choir exhibited insufficient independence and definition to warrant their inclusion in the final two versions, further illustrating the experimental nature of N and W. This thesis established some of the ways in which Hanson attempted to correct the weaknesses of N and W in the two organ concertos. These last two versions show a greater coherence of structure through the elimination of much of the connecting filler material of N and W. Hanson replaced this material, much of it consisting of scales and glissandos, with material derived from the basic thematic material of the piece. The expansion of the D major section at the end of the concertos as well as a more systematic treatment of the harmonic structure in part two alleviated many of the problems in the harmonic structure of N and W. Concertos I and II also demonstrate Hanson's experimentation with orchestration, the chief problem of the revisions turning on the treatment of the organ in relation to the orchestra. In Concerto II, the organ plays a more dominant role than it does in Concerto I. Concerto II also solves a serious problem of orchestration in the elimination of brass and wind instruments, thereby avoiding the clash of orchestral and organ reed sounds. Despite the obvious improvements made in the course of the three versions, they reveal little about developments in Hanson's general compositional style. What these three versions represent is not a reevaluation of the basic ideas motivating N and W, but merely a reworking of the musical material into a more coherent and readily performable composition. Although Hanson, in general principle, avoided making revisions for fear of disrupting the original qualities of a piece, the example of N and W shows that his fear was largely unfounded. In N and W and the two concertos, Hanson retained the initial concept of the piece despite alterations is its components.
Publisher:
ISBN:
Category :
Languages : en
Pages : 342
Book Description
The composition North and West represents an early stage of Hanson's development as a composer. The looseness of formal structure, profusion of extraneous thematic material, and the lack of direction inherent in the harmonic scheme indicate an experimental approach to manipulating largescale orchestral forces. The textless choir exhibited insufficient independence and definition to warrant their inclusion in the final two versions, further illustrating the experimental nature of N and W. This thesis established some of the ways in which Hanson attempted to correct the weaknesses of N and W in the two organ concertos. These last two versions show a greater coherence of structure through the elimination of much of the connecting filler material of N and W. Hanson replaced this material, much of it consisting of scales and glissandos, with material derived from the basic thematic material of the piece. The expansion of the D major section at the end of the concertos as well as a more systematic treatment of the harmonic structure in part two alleviated many of the problems in the harmonic structure of N and W. Concertos I and II also demonstrate Hanson's experimentation with orchestration, the chief problem of the revisions turning on the treatment of the organ in relation to the orchestra. In Concerto II, the organ plays a more dominant role than it does in Concerto I. Concerto II also solves a serious problem of orchestration in the elimination of brass and wind instruments, thereby avoiding the clash of orchestral and organ reed sounds. Despite the obvious improvements made in the course of the three versions, they reveal little about developments in Hanson's general compositional style. What these three versions represent is not a reevaluation of the basic ideas motivating N and W, but merely a reworking of the musical material into a more coherent and readily performable composition. Although Hanson, in general principle, avoided making revisions for fear of disrupting the original qualities of a piece, the example of N and W shows that his fear was largely unfounded. In N and W and the two concertos, Hanson retained the initial concept of the piece despite alterations is its components.
6 Concertos
Author: George Frideric Handel
Publisher: A-R Editions, Inc.
ISBN:
Category : Music
Languages : en
Pages : 104
Book Description
Publisher: A-R Editions, Inc.
ISBN:
Category : Music
Languages : en
Pages : 104
Book Description
Organ concerto
Author: Georg Friedrich Händel
Publisher:
ISBN:
Category :
Languages : en
Pages : 0
Book Description
Publisher:
ISBN:
Category :
Languages : en
Pages : 0
Book Description