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This article discusses the Bärenreiter Urtext edition of Beethoven's Trio in B-flat major for Pianoforte, Violin, and Violoncello, also known as the "Archduke" trio. The Urtext edition, edited by Jonathan Del Mar, aims to provide an authentic and unmediated access to Beethoven's original text. Del Mar compares various sources and versions of the trio to determine Beethoven's original instructions and distinguish them from later additions or changes made by others. The article highlights the importance of understanding the historical context and collaborative nature of music production in order to interpret and perform Beethoven's music accurately. The Bärenreiter Urtext edition is praised for its accessibility, high-quality textual-critical work, and affordable price. [Extracted from the article]

This article discusses four volumes of music compositions from the late nineteenth and early twentieth centuries. The first volume focuses on Jean Cras and includes his early songs from 1892-1901. The second volume features César Franck's Quatre Mélodies for piano, and the third volume presents Franck's complete melodies. The fourth volume is an edition of Gabriel Fauré's piano version of Pavane op. 50. The article provides insights into the history and context of these compositions, as well as critical commentary on their musical elements. [Extracted from the article]

The high level of canonicity enjoyed by Brahms's chamber music since the final decades of the nineteenth century easily obscures the roles different performance settings, media, and listening practices have played in shaping how individual works are heard and interpreted. In the case of the Trio for Piano, Violin, and Waldhorn (1865), perhaps Brahms's most singular essay in chamber music, the issue seems particularly acute given the culturally specific associations of the Waldhorn and the unusually important role accorded to timbre in this mid-nineteenth-century chamber work. This article considers the "resonance" of the Waldhorn in the Horn Trio in terms of its symbolic associations and sounding presence. Drawing on early critical assessments of the trio in German-language music periodicals, the investigation explores the Romantic qualities of the work noted by early writers, elucidating the symbolism of the Waldhorn and Brahms's deployment of the contrasting affects and temporalities associated with this instrument in his multi-movement composition. The later sections of the article discuss performances of the trio in relation to two important contexts: the developing institutional norms for public chamber music performance in Vienna during the 1860s, and the domestic reception of the classical chamber canon through gramophone recordings in Britain in the 1920s and 1930s. These episodes illustrate how particular contexts and media might throw into relief different aspects of the Horn Trio's compositional design, while suggesting ways in which the relatively fragile aesthetic at the heart of this work has been reengaged in the technological reception of Brahms's music. [ABSTRACT FROM AUTHOR]

DIGI-ORCH is a research project with objectives, on one hand, to design and develop "smart" brochures for concerts and educational programs of the State Conservatory of Thessaloniki (Greece), and, on the other, to develop an innovative system for the visualization of information on smart mobile devices (smartphones and tablets). The application of Augmented Reality (AR) provides free access to the information and content of the above concerts and educational programs, combining the information of a robust data server and an easy-to-use user interface of the smart device in real-time.The pilot implementation of the system in real conditions took place at the beginning of December 2022, in an event held at the facilities of the State Conservatory of Thessaloniki. The event was an evening of Chamber Music entitled Musical Kaleidoscope, with the internationally acclaimed artists Simos Papanas (violin), Dimos Goundaroulis (violoncello), and Vassilis Varvaresos (piano). They performed the Piano Trio no. 3 in G minor, Robert Schumann's opus 110, and the Piano Trio no. 2 in E flat major, Op. 100 D. 929 by Franz Schubert. The concert was attended by over 150 attendees.The paper will present the chaîne-operatoire of the development of the system, from the acquisition of raw data (text, video, image, and sound) to the methodology used to produce the "smart" event brochure and the AR application for the above concert. Essentially, this large amount of information that cannot be assessed by a regular printed concert brochure is included in the smart system and displayed on the mobile device when the user locates the appropriate AR patterns on the surface of the analog concert poster and/or on the pages of the brochure.This information comprised of ie. additional text and images about the composers and their musical projects, about the musicians of the concert (e.g. biographies), their interviews and rehearsals (video) before the concert, information about the State Conservatory of Thessaloniki (text, video, image, and sound), 3D models of musical instruments, 360° of the concert space, etc. diverse multimedia material. [ABSTRACT FROM AUTHOR]

Collaborative authorship of compositions is a rare phenomenon in classical music. An intriguing example of this from Estonian music history is a piano trio - a neoclassical piece consisting of three movements for violin, cello and piano - jointly composed in 1977 by three young composers, Mati Kuulberg (1947-2001), Lepo Sumera (1950-2000) and Raimo Kangro (1949-2001). They attributed the work to the pseudonym Malera Kasuku, formed from the initial syllables of their own names, which is still used in promotional materials for the composition. The article focuses on the creation, presentation, performances and reception of Malera Kasuku's Piano Trio, illustrating the uniqueness of this multi-authored collaboration. The discussion reveals a certain generational creative like-mindedness among the three composers in the 1970s, while also exposing some aspects of the organisation of the Composers' Union as the central institution of Soviet professional composers. From a theoretical standpoint, the thematic approach is based mostly on the idea of postmodernist playfulness, which manifests itself through all the above-mentioned facets of the work and reveals the composers' humorous attitude towards their piano trio. The work's descriptions and reviews in various media outlets published since its creation serve as the study's main sources. [ABSTRACT FROM AUTHOR]

But Koch's writings lend no support to this suggestion, and it is contradicted by the theoretical tradition on which Koch relied. Burstein not only reclaims its central role in Koch's theory of punctuation form, but he also shows that it was recognized by other eighteenth-century theorists and "frames an enormously large number of Galant expositions" (123). From the outset, Burstein declares that his goal is "to clarify some of Koch's ideas and terms that may seem foreign to modern readers" and "to defamiliarize some of Koch's concepts, showing that at times they are more foreign than is typically supposed" (19). Having equated the modern concept of perfect authentic cadence with Koch's I Cadenz i , Burstein draws a distinction between Koch's concepts of I Cadenz i and I förmliche Cadenz i . [Extracted from the article]

This article examines the communicative and interpretive significance of melodic embellishment in Beethoven's oeuvre, with a particular focus on multi-movement instrumental works from the period 1795-1824. Embellishment has received comparatively little attention in Beethoven studies; yet it formed a crucial part of his musicianship as both a performer and a composer. The article begins with a broad overview of Beethoven's embellishment practices, drawing examples primarily from his early piano trios and piano sonatas. It then goes on to examine a series of issues in more detail: first, the role of embellishments in the composition and performance of concertos (with a focus on the Piano Concertos Nos. 3-5); second, the role of embellishments in evoking musical character and expressive personae (with a focus on the Piano Sonata op. 31, no. 3, the Violin Sonata op. 30, no. 1, and the Cello Sonata op. 5, no. 1); and finally, the possibility of understanding embellishment as a musical topic in symphonic writing (with a focus on the slow movements of the Symphonies Nos. 4, 8, and 9). The article closes with reflections on the expressive function of embellishments in Beethoven's late style, arguing that melodic decorations, along with other rhetorical devices, provided a vehicle for the evocation of nostalgia and memory. Keywords: Beethoven, embellishment, composer-performer relationship, virtuosity, topic theory, agency. [ABSTRACT FROM AUTHOR]

The editions studied for this review included a study score for the string quartet and full-size performance/conducting scores for the piano quartet and serenade. They indicate the Serenade was less difficult for Dvorák to finalize than either the Piano Quartet or String Quartet. Either in response to Keller's suggestions or to his own perception upon finally hearing the quartet in performance later that year, Dvorák made several large-scale changes to the work. [Extracted from the article]