Browsing by Subject "Concerto"
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Item Concerto for orchestra(2011-05) Passos, Luís Otávio Teixeira; Grantham, Donald, 1947-; Pinkston, Russell; Pennycook, Bruce; Drott, Eric; Lara, FernandoConcerto for orchestra is a twenty-minute work for large orchestra. It was conceived from my personal interest in creating a musical narrative that could create different moods, colors, contrast, agreement, tension, and resolution. I had a major influence from Ligeti’s Double Concerto regarding pitch, mood and form organization. I used his technique of interval signal to differentiate different sections of a movement as well as chromatic balance─the alternation of diatonic scales related chromatically. I also had influences from Mahler, Debussy, Nancarrow, and from my own work. The narrative of my Concerto is based on Ligeti’s notion of states, events and transformations. My Concerto presents states that are transformed into new states. The piece is divided in four movements: Lights, Convergences, Lights II, Convergences II. The Lights movements favor delicate texture, based on a major melodic line and a subtle accompaniment. They also give prominence to solo sections. Convergences favors the idea of dialogue, multitudinousness, contrast, and dense textures. Convergences II emphasizes the tutti versus solo and ritornello form from Baroque concertos.Item Concerto for percussion and wind ensemble(2013-12) Ozley, Christopher; Pinkston, RussellThis thesis is a musical composition featuring solo percussion with wind ensemble. It is in three movements with a cadenza linking the second and third movements. The performance time of this work is approximately 12’ 30”. The work will receive its world premiere in the spring of 2014 by Adam Groh and the Graceland University Symphonic Band.Item Concerto for piano and wind ensemble(2012-05) Stanton, Zachary Kane, 1983-; Pinkston, Russell; Welcher, Dan; Grantham, Donald; Sharlat, Yevgeniy; O'Hare, ThomasConcerto for Piano and Wind Ensemble is a 16-minute work for piano and winds, brass, and percussion. Although piano is my primary instrument, I have written relatively little for it. With this piece I sought to write a work in the vein of the Romantic and early Twentieth Century piano concerto repertoire, which I listened to and absorbed as a young musician, but with a more contemporary harmonic language. Rather than using the traditional orchestra as the accompanying ensemble, I chose the wind ensemble, which has a limited concerto repertoire, giving me the opportunity to make a meaningful contribution to its literature.Item Concerto for viola and orchestra(2010-05) Dempster, Thomas Jefferson; Sharlat, Yevgeniy; Pinkston, Russell; Grantham, Donald; Pearsall, Edward; O'Hare, ThomasCompleted in early 2010, the Concerto for Viola and Orchestra is a major foray into composing a concertante work for the viola, an instrument without the rich history of concertos of the violin or ‘cello. In three movements, the Concerto employs a diversity of compositional techniques for the viola and explores the timbral possibilities for the orchestra. The work derives primarily from the series of initial gestures in the viola, and, in the span of over forty minutes, as many possible permutations on these ideas are explored throughout the solo instrument and orchestra. Following the score of the work is a theoretical analysis of the piece, including a condensed history of the viola concerto as a genre. Within this examination, issues concerning approaches to deconstructing a 21st-Century orchestral work are discussed alongside structural, melodic, motivic, and orchestrational analyses.Item Concerto for violin and wind ensemble(2011-05) Camacho, Hermes; Grantham, Donald, 1947-; Sharlat, Yevgeniy; Pinkston, Russell; Freeman, Robert; Webb, LaurenConcerto for violin and wind ensemble is a 25-minute virtuosic work for the violin and accompanying winds, brass, and percussion. As a trained violinist, among the first works I learned were the concerti of J.S. Bach. Thus, I pay special homage to Bach in this piece by using the famous B-A-C-H motive (each letter corresponding to a pitch) to generate much of the musical material in the work. The analysis of the Concerto details the processes in which B-A-C-H affected and shaped the melodic and harmonic language of the piece, while also touching upon the use of orchestration and the problems associated with balancing a single solo instrument against a large ensemble. I also discuss the several existing works for violin that were highly influential in composing the Concerto and the "anxiety of influence" associated with each model.Item Encomium(2010-12) Johnston, Bradley Keith; Grantham, Donald, 1947-Encomium celebrates the life and contribution of Pianist and Master Teacher Jane Allen Ritter. She is mine and so many other’s musical mother.Item Pieces for solo viola and chamber orchestra(2016-05) Davis, Olivia Louise; Pinkston, Russell; Sharlat, YevgeniyPieces for Solo Viola and Chamber Orchestra is a single-movement composition of roughly eighteen minutes in length that explores the relationship between a soloist (viola) and a chamber orchestra consisting of ten instrumentalists, while simultaneously exploring unique orchestrations and colors. It is based on a single motive introduced in its beginning by the cello, contrabass, and B-flat bass clarinet. This short three-measure motive is pervasive throughout the piece, and transforms as it is applied to different musical characters. Another significant feature of the piece is set class 4-5 (0126), which is introduced by the solo violist. It combines with the three-measure motive as the piece progresses.