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SYS Concerto Competition – Suggested Repertoire SYS Concerto Competition – Suggested Repertoire This Repertoire is Eligible for SSO Accompaniment during SYS Seasons that contain an SSO/SYS Side by Side Concert Violin: Oboe: Bach – E Major Cimarosa – Concerto cm Bruch – Gm (I, III) Handel – Concerto gm Lalo – Symphonie Espagnol (I) Haydn – Concerto CM Mendelssohn – Concerto (I, III) JS Bach – Concerto dm for vln/ob Mozart – GM, DM, AM (I) Marcello – Concerto in cm Saint-Saens – Introduction & Rondo Barlow – Winters Past Tchaikovsky – Concerto (I, III) Vivaldi – Four Seasons (any 1) Wianiawski – Concerto No. 2 (1 or 3) Viola: Clarinet: Bach, JC – Concerto Crusell – Concerto in fm (I) Bloch – Suite Hebraique Debussy – Premiere Rhapsody Handel (Cas.) – Concerto Mozart – Concerto AM (I, III) Stamitz – Concerto in DM Weber – Concertino Telemann – Concerto in DM Weber – Concerto in gm, EbM Hoffmeister – Concerto Cello: Bassoon: Boccherini – Concerto in BbM B. Phillips – Concert Piece Dvorak – Concerto in bm (I, IV) David – Concertino, Op. 12 Elgar – Concerto in em (I, IV) Mozart – Concerto, K. 191 Faure – Elegie Vivaldi – Concerto am Haydn – Concerto in CM, DM (I, III) Weber – Concerto in F, op. 75 Lalo – Concerto in dm (I, III) Weber – Hungarian Fantasy, op. 35 Saint-Saens – Allegro Appassionato Saint-Saens – Concerto No. 1 Tchaikovsky – Variations/Rococo Double bass: Horn: Botessini – Concerto No. 2 bm Forster – Concerto No. 2 Dittersdorf – Concerto (I) Haydn – Concerto No. 2 Dragonetti – Concerto (I) Mozart – Concerto No. 1, 2, 3, 4 Koussevitsky – Concerto (I, III) Saint-Saens – Morceau de Concept, Op. 94 Strauss – Concerto No. I (I, III) F. Strauss – Op. 8 cm Harp: Trumpet: Debussy – Sacred/Profane Dances Artunian – Concerto Dittersdorf – Concerto Bohme – Concerto Handel – Concerto Genzmer – Konzert Mozart – Concerto for Flute, Harp Haydn – Concerto Haydn, M. – Concerto No. 2 Hummel – Concerto Neruda – Concerto Tartini – Concerto in C Flute: Trombone: Griffes – Poeme David – Concertino Hanson – Serenade Ewazen – Concerto Mozart – Concerto GM, DM (I) Grandahl – Konzert Reineke – Concerto DM Guilmant – Morceau Symphonique Chaminade – Concertino Jacob – Concerto (I) Larsson – Concertino for Tb/String bass Piccolo: McCarty – Sonate Vivaldi – Concerto in CM, F Serocki – Sonatine Spillman – Concerto Euphonium: Piano: David – Concertino Bach J.S – Concerto dm, fm Guilmant – Morceau Symphonique Beethoven – Concerto No. 1-5 Brahms – Concerto No. 1, 2 Tuba: Chopin – Concerto No. 1, 2 Anderson, E. – Concerto No. 1 bm Frank – Symphonic Variations Gregson – Concerto Gershwin – Rhapsody in Blue Jager – Concerto Gershwin – Concerto in F Grieg – Concerto in am Percussion: Haydn – Concerto in DM Kurka – Marimba Concerto Liszt – Concerto No. 1, 2 Milhaud – Percussion Concerto Mendelssohn – Concerto No. 1, 2 Mayuzumi – Concerto for Xylophone Mozart – Any solo concerto Rosauro – Marimba Concerto Rachmaninoff – Concerto No. 2, 3 Vivaldi – Marimba Concerto in am, Op. 3, No. 6 Ravel – Concerto in GM Saint-Saens – Concerto No. 2, 4 Schumann – Concerto in am Shostakovich – Concerto No. 1 Tchaikovsky – Concerto No. 1 Please note: selecting a concerto on this list may mean the student will not be able to be accompanied by the SYO, as we do not currently have parts in our library and our budget may or may not allow for the rental/purchasing of additional music. It is strongly recommended that students choose from this list. .
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  • On the Question of the Baroque Instrumental Concerto Typology
    Musica Iagellonica 2012 ISSN 1233-9679 Piotr WILK (Kraków) On the question of the Baroque instrumental concerto typology A concerto was one of the most important genres of instrumental music in the Baroque period. The composers who contributed to the development of this musical genre have significantly influenced the shape of the orchestral tex- ture and created a model of the relationship between a soloist and an orchestra, which is still in use today. In terms of its form and style, the Baroque concerto is much more varied than a concerto in any other period in the music history. This diversity and ingenious approaches are causing many challenges that the researches of the genre are bound to face. In this article, I will attempt to re- view existing classifications of the Baroque concerto, and introduce my own typology, which I believe, will facilitate more accurate and clearer description of the content of historical sources. When thinking of the Baroque concerto today, usually three types of genre come to mind: solo concerto, concerto grosso and orchestral concerto. Such classification was first introduced by Manfred Bukofzer in his definitive monograph Music in the Baroque Era. 1 While agreeing with Arnold Schering’s pioneering typology where the author identifies solo concerto, concerto grosso and sinfonia-concerto in the Baroque, Bukofzer notes that the last term is mis- 1 M. Bukofzer, Music in the Baroque Era. From Monteverdi to Bach, New York 1947: 318– –319. 83 Piotr Wilk leading, and that for works where a soloist is not called for, the term ‘orchestral concerto’ should rather be used.
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  • Download Article
    International Conference on Arts, Design and Contemporary Education (ICADCE 2016) The Concertizing Clarinet in the Music of the 20th- 21st Centuries Yu Zhao Department of Musical Upbringing and Education Institute of Music, Theatre and Choreography Herzen State Pedagogical University of Russia Saint-Petersburg, Russia E-mail: [email protected] Abstract—The article deals with stating the problem of a clarinet concert of the 20-21 centuries (one should note in research in ontology of the genre of Clarinet Concert in 20-21 this regard S. E. Artemyev‟s full-featured thesis considering centuries. The author identifies genre variants of long forms the Concerto for clarinet and orchestra of the 18th century). for solo clarinet with orchestra or instrumental ensemble and proposes further steps in making such a research, as well. II. A SHORT GUIDE IN THE HISTORY OF THE CLARINET Keywords—instrumental concert; concertizing; concerto; CONCERT GENRE concert genres; genre diversity Studies in the executive mastership are connected with a research of the evolution of the genres of instrumental music. I. INTRODUCTION The initial period of genesis and development of clarinet concert is investigated widely. Contemporary music in its various genres has become in many aspects a subject of scrupulous studies in musicology. It is known that the most early is the composition of Our research deals with professional problematics of the Antonio Paganelli indicated by the author as Concerto per instrumental concert genre, viewed more narrowly, namely, Clareto (1733). Possibly, it was written for chalumeau, the connected with clarinet performance. instrument-predecessor of the clarinet itself. But, before this time clarinet was used as one of the concertizing instruments The purpose of this article is to identify the situation in the genre of Concerto Grosso, particularly by J.
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  • 9. Vivaldi and Ritornello Form
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  • Heralding a New Enlightenment
    Peculiarities of Clarinet Concertos Form-Building in the Second Half of the 20th Century and the Beginning of the 21st Century Marina Chernaya and Yu Zhao* Abstract: The article deals with clarinet concertos composed in the 20th– 21st centuries. Many different works have been created, either in one or few parts; the longest concert that is mentioned has seven parts (by K. Meyer, 2000). Most of the concertos have 3 parts and the fast-slowly-fast kind of structure connected with the Italian overture; sometimes, the scheme has variants. Our question is: How does the concerto genre function during this period? To answer, we had to search many musical compositions. Sometimes the clarinet is accompanied by orchestra, other times it is surrounded by an ensemble of instruments. More than 100 concertos were found and analyzed. Examples of such concertos were written by C. Nielsen, P. Boulez, J. Adams, C. Debussy, M. Arnold, A. Copland, P. Hindemith, I. Stravinsky, S. Vassilenko, and the attention in the article is focused on them. A special complete analysis is made as regards “Domaines” for clarinet and 21 instruments divided in 6 groups, by Pierre Boulez that had a great role for the concert routine, based on the “aleatoric” principle. The conclusions underline the significant development of the clarinet concerto genre in the 20th -21st centuries, the high diversity of the compositions’ structures, the considerable expressiveness and technicality together with the soloist’s part in the expressive concertizing (as a rule). Further studies suggest the analysis of stylistic and structural peculiarities of the found compositions that are apparently to win their popularity with performers and listeners.
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  • College Orchestra Director Programming Decisions Regarding Classical Twentieth-Century Music Mark D
    James Madison University JMU Scholarly Commons Dissertations The Graduate School Summer 2017 College orchestra director programming decisions regarding classical twentieth-century music Mark D. Taylor James Madison University Follow this and additional works at: https://commons.lib.jmu.edu/diss201019 Part of the Arts and Humanities Commons Recommended Citation Taylor, Mark D., "College orchestra director programming decisions regarding classical twentieth-century music" (2017). Dissertations. 132. https://commons.lib.jmu.edu/diss201019/132 This Dissertation is brought to you for free and open access by the The Graduate School at JMU Scholarly Commons. It has been accepted for inclusion in Dissertations by an authorized administrator of JMU Scholarly Commons. For more information, please contact [email protected]. College Orchestra Director Programming Decisions Regarding Classical Twentieth-Century Music Mark David Taylor A Doctor of Musical Arts Document submitted to the Graduate Faculty of JAMES MADISON UNIVERSITY In Partial Fulfillment of the Requirements For the degree of Doctor of Musical Arts School of Music August 2017 FACULTY COMMITTEE Committee Chair: Dr. Eric Guinivan Committee Members/ Readers: Dr. Mary Jean Speare Mr. Foster Beyers Acknowledgments Dr. Robert McCashin, former Director of Orchestras and Professor of Orchestral Conducting at James Madison University (JMU) as well as a co-founder of College Orchestra Directors Association (CODA), served as an important sounding-board as the study emerged. Dr. McCashin was particularly helpful in pointing out the challenges of undertaking such a study. I would have been delighted to have Dr. McCashin serve as the chair of my doctoral committee, but he retired from JMU before my study was completed.
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  • Repertoire List
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  • Vivaldi Piccolo Concerto in C Bolling, Claude Flute Sentimentale Briccialli Flute Carnival of Venice Chaminade, C
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  • Concerto and Aria Application Fall 2021
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  • Adagio (1950–51) Metamorphose (1953) Symphony No. 1, Sinfonia Austéra (1953–55, Rev
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  • February 22, 2012 SUPPLEMENT CHRISTOPHER ROUSE
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