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A New Piano Reduction of the Antonin Dvorak Concerto for Cello and Orchestra in B Minor Op.104.

紀錄類型:	書目-電子資源 : Monograph/item
正題名/作者:	A New Piano Reduction of the Antonin Dvorak Concerto for Cello and Orchestra in B Minor Op.104./
作者:	Kim, Hye Won.
出版者:	Ann Arbor : ProQuest Dissertations & Theses, : 2020,
面頁冊數:	164 p.
附註:	Source: Dissertations Abstracts International, Volume: 81-12.
Contained By:	Dissertations Abstracts International81-12.
標題:	Musical composition. -
電子資源:	http://pqdd.sinica.edu.tw/twdaoapp/servlet/advanced?query=27958691
ISBN:	9798645460082

A New Piano Reduction of the Antonin Dvorak Concerto for Cello and Orchestra in B Minor Op.104.
Kim, Hye Won.

A New Piano Reduction of the Antonin Dvorak Concerto for Cello and Orchestra in B Minor Op.104. - Ann Arbor : ProQuest Dissertations & Theses, 2020 - 164 p.

Source: Dissertations Abstracts International, Volume: 81-12.

Thesis (D.M.A.)--Arizona State University, 2020.

This item is not available from ProQuest Dissertations & Theses.

The process of learning orchestra reductions on the piano is rather different from learning a piece originally written for the piano. Even though Dvorak's Concerto for Cello and Orchestra in b minor is among the most performed works for cello and orchestra, and has been transcribed carefully by both the composer and other editors, the existing piano reductions are not always representative of many important aspects of the original orchestral score. Some reductions have large portions with unplayable or uncomfortable passages for pianists, or imprecise notations compared to the original orchestration, such as inaccurate indications for dynamics, rhythms, and notes. In rehearsal and performance, the pianist is challenged to adapt and transform one of the existing reductions into a playable and productive piano reduction, one which creates Dvorak's full orchestral sonorities while retaining clarity of voicing. The resulting sound can be infinite in variety, as individual decisions and reductions may differ greatly. This paper will explore the following: how to reduce this orchestral score and solve the technical problem involved in orchestral writing for piano while effectively producing the sound of the orchestra in the piano reduction. There will be a literature review on important published reductions and a brief history of the work and composer. While it is not possible to discuss in detail each passage that has been revised or altered, this paper will focus on and analyze representative and substantial passages, including the perspective of two different reductions: Barenreiter (2011) and Barenreiter Praha (2004). It will provide a detailed demonstration of each example and will make suggestions for changes which will concentrate on capturing the essence of the orchestral score at the piano. Chapter one introduces and presents current editions. Chapters two, three and four will discuss each movement of the concerto with detailed explanations about changes in certain passages and sections. The appendix will feature a new revised reduction of Dvorak's Cello concerto in B minor.

ISBN: 9798645460082Subjects--Topical Terms:

3289630
Musical composition.
Subjects--Index Terms:

Dvorak's Concerto forCello and Orchestra in b minor

A New Piano Reduction of the Antonin Dvorak Concerto for Cello and Orchestra in B Minor Op.104.
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520 $a The process of learning orchestra reductions on the piano is rather different from learning a piece originally written for the piano. Even though Dvorak's Concerto for Cello and Orchestra in b minor is among the most performed works for cello and orchestra, and has been transcribed carefully by both the composer and other editors, the existing piano reductions are not always representative of many important aspects of the original orchestral score. Some reductions have large portions with unplayable or uncomfortable passages for pianists, or imprecise notations compared to the original orchestration, such as inaccurate indications for dynamics, rhythms, and notes. In rehearsal and performance, the pianist is challenged to adapt and transform one of the existing reductions into a playable and productive piano reduction, one which creates Dvorak's full orchestral sonorities while retaining clarity of voicing. The resulting sound can be infinite in variety, as individual decisions and reductions may differ greatly. This paper will explore the following: how to reduce this orchestral score and solve the technical problem involved in orchestral writing for piano while effectively producing the sound of the orchestra in the piano reduction. There will be a literature review on important published reductions and a brief history of the work and composer. While it is not possible to discuss in detail each passage that has been revised or altered, this paper will focus on and analyze representative and substantial passages, including the perspective of two different reductions: Barenreiter (2011) and Barenreiter Praha (2004). It will provide a detailed demonstration of each example and will make suggestions for changes which will concentrate on capturing the essence of the orchestral score at the piano. Chapter one introduces and presents current editions. Chapters two, three and four will discuss each movement of the concerto with detailed explanations about changes in certain passages and sections. The appendix will feature a new revised reduction of Dvorak's Cello concerto in B minor.
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