Wolfgang Amadeus Mozart (1756-91) Sonata for piano and violin in
... Brahms composed the third and final of his numbered sonatas for piano and violin – there was also an early A minor work, which he performed with Ferdinand David – between 1886 and 1888, dedicating it to Hans von Bülow. The 1888 premiere was given by Brahms and Jenõ Hubay in Budapest. Its concentrati ...
... Brahms composed the third and final of his numbered sonatas for piano and violin – there was also an early A minor work, which he performed with Ferdinand David – between 1886 and 1888, dedicating it to Hans von Bülow. The 1888 premiere was given by Brahms and Jenõ Hubay in Budapest. Its concentrati ...
Quatuor Ysaÿe - San Antonio Chamber Music Society
... only twenty, led Schumann to proclaim him, in 1853, “a musician chosen to give ideal expression to his times, a young man over whose cradle Graces and Hero have stood watch.” From the very beginning he was the Brahms of noble melody, of rich texture, of rhythmic freedom, of large statements in big f ...
... only twenty, led Schumann to proclaim him, in 1853, “a musician chosen to give ideal expression to his times, a young man over whose cradle Graces and Hero have stood watch.” From the very beginning he was the Brahms of noble melody, of rich texture, of rhythmic freedom, of large statements in big f ...
Higher Music Concepts
... Sometimes referred to as continuo. In the Baroque period, the continuo part consisted of a bass line (basso continuo) played by cello, bass, viola da gamba or bassoon, along with which was the harpsichord, organ or lute which filled in harmonies built on the bass line. Sometimes numbers were written ...
... Sometimes referred to as continuo. In the Baroque period, the continuo part consisted of a bass line (basso continuo) played by cello, bass, viola da gamba or bassoon, along with which was the harpsichord, organ or lute which filled in harmonies built on the bass line. Sometimes numbers were written ...
PDF - Brentano Quartet
... impetuosity, yet residing largely within the expected structures and scope of a string quartet written by a Mozart or a Haydn, any time during the previous 25 years. The second of these quartets, in G major, is a case in point. The music is genial, filled with sunlight. The first movement enters t ...
... impetuosity, yet residing largely within the expected structures and scope of a string quartet written by a Mozart or a Haydn, any time during the previous 25 years. The second of these quartets, in G major, is a case in point. The music is genial, filled with sunlight. The first movement enters t ...
24. (5/17) MUSIC I N THE 1680 1. Corelli, Trio Sonata op. 3 no. 2 in
... 4. Henry Purcell, Dido and Aeneas, “Thy Hand Belinda…When I am laid to rest” a. Purcell (1659–1695), one of the great composers for the English language. Early career as a singer. b. English did not like continuously sung opera; spoken drama was always particularly strong in England. However, spo ...
... 4. Henry Purcell, Dido and Aeneas, “Thy Hand Belinda…When I am laid to rest” a. Purcell (1659–1695), one of the great composers for the English language. Early career as a singer. b. English did not like continuously sung opera; spoken drama was always particularly strong in England. However, spo ...
Program booklet - Dubrovačke ljetne igre
... The second greatest representative of the18th century Italian violin art after Vivaldi, Giuseppe Tartini (1692-1770) was born in Piran by Italian father and Istrian mother. He studied the violin and composition at the Franciscan Monastery in Assisi, but was actually self-taught. He was one of the mo ...
... The second greatest representative of the18th century Italian violin art after Vivaldi, Giuseppe Tartini (1692-1770) was born in Piran by Italian father and Istrian mother. He studied the violin and composition at the Franciscan Monastery in Assisi, but was actually self-taught. He was one of the mo ...
Misha Dichter - Coastal Concerts
... Romantic School as personified by Rosina Lhévinne, his mentor at The Juilliard School, and the German Classical style that was passed on to him by Aube Tzerko, a pupil of Artur Schnabel. Mr. Dichter reveals this dual legacy in his solo recitals and appearances with virtually all of the world's major ...
... Romantic School as personified by Rosina Lhévinne, his mentor at The Juilliard School, and the German Classical style that was passed on to him by Aube Tzerko, a pupil of Artur Schnabel. Mr. Dichter reveals this dual legacy in his solo recitals and appearances with virtually all of the world's major ...
August 6, 2015 Program Notes
... a more playful nature. After the recapitulation of these themes, the movement concludes with a reprise of the introductory material, this time treated with more energy and animation. The composer wrote to Mme. von Meck, "The first movement is my homage to Mozart. It is intended to be an imitation of ...
... a more playful nature. After the recapitulation of these themes, the movement concludes with a reprise of the introductory material, this time treated with more energy and animation. The composer wrote to Mme. von Meck, "The first movement is my homage to Mozart. It is intended to be an imitation of ...
Opera in 17th-century France
... – binary dance form — variety of midpoint cadence choices – rondeau ...
... – binary dance form — variety of midpoint cadence choices – rondeau ...
Claude Debussy Sesquicentennial Robert Holm, piano UNIVERSITY OF SOUTH ALABAMA
... Haydn’s F minor Variations are a set of double variations including a theme in F minor in binary form followed by a theme in F major in binary form. The piece originally was intended to end after the 2nd variation as the first movement of a planned Sonata, but Haydn reworked the ending with a large- ...
... Haydn’s F minor Variations are a set of double variations including a theme in F minor in binary form followed by a theme in F major in binary form. The piece originally was intended to end after the 2nd variation as the first movement of a planned Sonata, but Haydn reworked the ending with a large- ...
EXAMINATION NUMBER 00766000 1. If you`re studying the science
... 15. The _______ is a musical form that utilizes multiple soloists. A. sarabande C. chorale prelude B. concerto grosso D. Gothic motet ...
... 15. The _______ is a musical form that utilizes multiple soloists. A. sarabande C. chorale prelude B. concerto grosso D. Gothic motet ...
Richard Tognetti
... fresh; though its ‘Spring’ nickname was not Beethoven’s own, it fits better than many others applied by third parties to his music. Among nearcontemporary works, the Piano Sonata, Op 28 is somewhat similar in mood, while Beethoven later revisited the key of F major for the development of similar sen ...
... fresh; though its ‘Spring’ nickname was not Beethoven’s own, it fits better than many others applied by third parties to his music. Among nearcontemporary works, the Piano Sonata, Op 28 is somewhat similar in mood, while Beethoven later revisited the key of F major for the development of similar sen ...
The Romantic Period
... Study Guide for Exam III Ludwig Van Beethoven (1770-1827) -where did he spend most of his career? -Heiligenstadt Testament – what is it and what change in musical style coincided with its writing? -What are the characteristics of Beethoven’s music that we talked about? How did he impact the symphony ...
... Study Guide for Exam III Ludwig Van Beethoven (1770-1827) -where did he spend most of his career? -Heiligenstadt Testament – what is it and what change in musical style coincided with its writing? -What are the characteristics of Beethoven’s music that we talked about? How did he impact the symphony ...
Final Exam
... (3) Support your educated guesses by giving 3 specific facts about the musical elements that you heard in the excerpt. (Points will be SUBTRACTED for incorrect musical facts.) Lists of Style Characteristics (Baroque, Classical, Romantic) Dynamics – some sudden changes from loud to soft and soft to l ...
... (3) Support your educated guesses by giving 3 specific facts about the musical elements that you heard in the excerpt. (Points will be SUBTRACTED for incorrect musical facts.) Lists of Style Characteristics (Baroque, Classical, Romantic) Dynamics – some sudden changes from loud to soft and soft to l ...
robert schumann - Cultural District
... truly afflicted with his other symptoms until he became ill in both mind and body. It was, however, an insidious physical problem that led to his psychological woes rather than the other way around, as he believed. Seen against this background of pathetic suffering, Schumann’s Second Symphony emerge ...
... truly afflicted with his other symptoms until he became ill in both mind and body. It was, however, an insidious physical problem that led to his psychological woes rather than the other way around, as he believed. Seen against this background of pathetic suffering, Schumann’s Second Symphony emerge ...
Durchweg leise zu halten
... Although this work has been compared to a large scale sonata with three movements, its overall form does not comply. The second movement entitled Durchaus energisch (to be played energetically) is unusual to the sonata form in that it is the virtuosic movement of the entire work, with sentiments of ...
... Although this work has been compared to a large scale sonata with three movements, its overall form does not comply. The second movement entitled Durchaus energisch (to be played energetically) is unusual to the sonata form in that it is the virtuosic movement of the entire work, with sentiments of ...
Fanfare - Roger Rudenstein
... adventurous ERM label. His music is tonal (though he occasionally pushes the envelope) and more akin to that of the composers of the old Howard Hanson Eastman Conservatory School than to those of Pierre Boulez’s old IRCAM circle. In the notes to this release, he states, “I have a large repertoire of ...
... adventurous ERM label. His music is tonal (though he occasionally pushes the envelope) and more akin to that of the composers of the old Howard Hanson Eastman Conservatory School than to those of Pierre Boulez’s old IRCAM circle. In the notes to this release, he states, “I have a large repertoire of ...
Program Notes: the russian cello
... and Joseph Kalichstein in piano and Milton Babbitt and Robert Beaser in composition. In May 1998, Auerbach became a recipient of the first Paul and Daisy Soros Fellowship for New Americans, the only artist among the twenty people chosen for that major grant, which recognizes and assists some of the ...
... and Joseph Kalichstein in piano and Milton Babbitt and Robert Beaser in composition. In May 1998, Auerbach became a recipient of the first Paul and Daisy Soros Fellowship for New Americans, the only artist among the twenty people chosen for that major grant, which recognizes and assists some of the ...
Contemporary Music
... • Baroque (1600-1750): (Vivaldi, J.S. Bach, Handel) The term “Baroque”, first used in French, derives form the Portuguese word meaning a pearl of irregular shape. It was applied more to art until present century. “Baroque” refers to a period in music history which began in Italy and ended in England ...
... • Baroque (1600-1750): (Vivaldi, J.S. Bach, Handel) The term “Baroque”, first used in French, derives form the Portuguese word meaning a pearl of irregular shape. It was applied more to art until present century. “Baroque” refers to a period in music history which began in Italy and ended in England ...
lecture 17 - Sheridan Public Schools
... that was much simpler in texture. It is in some ways ironic that two of J.S. Bach’s children, Carl Philipp Emanuel (C.P.E.) and Johann Christian (J.C.), were among the leaders of this new artistic movement. Homophony--music in which melody and accompaniment are distinct-dominated the Classical sty ...
... that was much simpler in texture. It is in some ways ironic that two of J.S. Bach’s children, Carl Philipp Emanuel (C.P.E.) and Johann Christian (J.C.), were among the leaders of this new artistic movement. Homophony--music in which melody and accompaniment are distinct-dominated the Classical sty ...
Program Notes – Beethoven Symphony No. 7
... The second movement is an outlier. Its tempo is slower than the others, it is in a minor key, and ...
... The second movement is an outlier. Its tempo is slower than the others, it is in a minor key, and ...
A Tale of Youth and of Three Cities: Vienna
... the first theme, a forceful statement for the piano alone. The other instruments soon join in to develop this initial theme and cadence. There are five other themes in the exposition. The development section then goes through many of the themes previously heard and extends them in new ways, changing ...
... the first theme, a forceful statement for the piano alone. The other instruments soon join in to develop this initial theme and cadence. There are five other themes in the exposition. The development section then goes through many of the themes previously heard and extends them in new ways, changing ...
Classical Era Study Guide
... 1 In your own words, explain what Bond means when he describes the aesthetic of the Classical era as “a preference for the natural over the excessively artful, or artificial”. 2 What are the elements of Classical style that Bond delineates? 3 What do the terms gallant and rococo mean in the context ...
... 1 In your own words, explain what Bond means when he describes the aesthetic of the Classical era as “a preference for the natural over the excessively artful, or artificial”. 2 What are the elements of Classical style that Bond delineates? 3 What do the terms gallant and rococo mean in the context ...
Unit 9: Introduction to Musical styles
... The Coda rounds off this section and effectively end the Exposition section ...
... The Coda rounds off this section and effectively end the Exposition section ...
Sonata form
Sonata form (also sonata-allegro form or first movement form) is a large-scale musical structure used widely since the middle of the 18th century (the early Classical period).While it is typically used in the first movement of multi-movement pieces, it is sometimes used in subsequent movements as well—particularly the final movement. The teaching of sonata form in music theory rests on a standard definition and a series of hypotheses about the underlying reasons for the durability and variety of the form—a definition that arose in the second quarter of the 19th century. There is little disagreement that on the largest level, the form consists of three main sections: an exposition, a development, and a recapitulation; however, beneath this, sonata form is difficult to pin down in a single model.The standard definition focuses on the thematic and harmonic organization of tonal materials that are presented in an exposition, elaborated and contrasted in a development and then resolved harmonically and thematically in a recapitulation. In addition, the standard definition recognizes that an introduction and a coda may be present. Each of the sections is often further divided or characterized by the particular means by which it accomplishes its function in the form.Since its establishment, the sonata form became the most common form in the first movement of works entitled ""sonata"", as well as other long works of classical music, including the symphony, concerto, string quartet, and so on. Accordingly, there is a large body of theory on what unifies and distinguishes practice in the sonata form, both within eras and between eras. Even works that do not adhere to the standard description of a sonata form often present analogous structures or can be analyzed as elaborations or expansions of the standard description of sonata form.