Guido Baggiani Fabio Cifariello Ciardi Fabio Cifariello Ciardi was
... applied to a literal reconstruction of Don Quichotte, has reached opposed shores than those touched by Cervantes in the sixteenth century? Pierre MÈnard was a fiction and could benefit from the terms of the Absolute. Fabio Cifariello is a reality and must manage within the restricted spaces of the H ...
... applied to a literal reconstruction of Don Quichotte, has reached opposed shores than those touched by Cervantes in the sixteenth century? Pierre MÈnard was a fiction and could benefit from the terms of the Absolute. Fabio Cifariello is a reality and must manage within the restricted spaces of the H ...
Jean Sibelius Lemminkäinen in Tuonela and The Swan of Tuonela
... symphony based on the Kalevala, was such a success in 1892 that from that point on Finland looked no farther for its greatest composer. (The impact of Sibelius’s exposure to the Kalevala on the rest of his career is closely paralleled by Bartók’s famous discovery of Hungarian folk song a decade late ...
... symphony based on the Kalevala, was such a success in 1892 that from that point on Finland looked no farther for its greatest composer. (The impact of Sibelius’s exposure to the Kalevala on the rest of his career is closely paralleled by Bartók’s famous discovery of Hungarian folk song a decade late ...
Shira 2014 Program - Congregation B`nai B`rith
... Mitropoulos. He began his tenure in that position in 1958, having held the post jointly with Mitropoulos from 1957 to 1958. In 1958, Bernstein and Mitropoulos took the New York Philharmonic on tour to South America. In his first season in sole charge, Bernstein included a season-long survey of Ameri ...
... Mitropoulos. He began his tenure in that position in 1958, having held the post jointly with Mitropoulos from 1957 to 1958. In 1958, Bernstein and Mitropoulos took the New York Philharmonic on tour to South America. In his first season in sole charge, Bernstein included a season-long survey of Ameri ...
Listen
... Mozart’s own career as a freelance artist during his final decade (1781-91), when he produced almost all of the piano concertos we prize as masterpieces today, exemplifies a radical change in lifestyle and attitudes toward the composer’s role in society. Once again, Mozart in a sense got there befor ...
... Mozart’s own career as a freelance artist during his final decade (1781-91), when he produced almost all of the piano concertos we prize as masterpieces today, exemplifies a radical change in lifestyle and attitudes toward the composer’s role in society. Once again, Mozart in a sense got there befor ...
Chapter 7 Notes
... Compare Rachmaninoff’s Piano Concerto No. 2 with Carmen’s “All By Myself” performed in Spanish by Celine Dion. ...
... Compare Rachmaninoff’s Piano Concerto No. 2 with Carmen’s “All By Myself” performed in Spanish by Celine Dion. ...
Characterisation of composer style using high
... and test whether this could be used to differentiate between individual composers. The corpus crosses vocal and instrumental genres, for example Bach Chorales, and Buxtehude sonatas. Ten pieces were chosen for each composer with the exception of Ruggero, for whom only six pieces were available. The ...
... and test whether this could be used to differentiate between individual composers. The corpus crosses vocal and instrumental genres, for example Bach Chorales, and Buxtehude sonatas. Ten pieces were chosen for each composer with the exception of Ruggero, for whom only six pieces were available. The ...
Beethoven String Quartet Op 131
... Beethoven completed the three string quartets commissioned by Prince Galitzin (Op 127, 130 & 132) in 1826 after his Ninth Symphony. According to Karl Holz, the second violin in Ignaz Schuppanzigh's string quartet, who had effectively become Beethoven's secretary: 'While composing the three quartets. ...
... Beethoven completed the three string quartets commissioned by Prince Galitzin (Op 127, 130 & 132) in 1826 after his Ninth Symphony. According to Karl Holz, the second violin in Ignaz Schuppanzigh's string quartet, who had effectively become Beethoven's secretary: 'While composing the three quartets. ...
2017 Spring meeting PROGRAM - American Musicological Society
... studies, often presented Duke Ellington as a remarkably strong individual composer. While this narrative served an important twentieth-century purpose in celebrating his art in particular and the broader arenas of jazz and African American music in a cultural environment that often positioned such m ...
... studies, often presented Duke Ellington as a remarkably strong individual composer. While this narrative served an important twentieth-century purpose in celebrating his art in particular and the broader arenas of jazz and African American music in a cultural environment that often positioned such m ...
T-SYSTEM Savio Santoro* The Brazilian composer Tacuchian (b
... The Brazilian composer Tacuchian (b. 1939, Rio de Janeiro) enjoyed a significant reputation in the 1960s with his nationalist/neoclassical pieces, characterized by the influence of the writer Mário de Andrade (1893-1945), and his principal mentors: the composers Francisco Mignone (1897-1986) and Jos ...
... The Brazilian composer Tacuchian (b. 1939, Rio de Janeiro) enjoyed a significant reputation in the 1960s with his nationalist/neoclassical pieces, characterized by the influence of the writer Mário de Andrade (1893-1945), and his principal mentors: the composers Francisco Mignone (1897-1986) and Jos ...
Burgundy—15th-century music
... Burgundian rulers were not merely patrons of the arts, but took an active part: Charles the Bold himself played the harp, and composed chansons and motets (although none have survived with reliable attribution) The worldly dukes also encouraged the composition of secular music to a degree seen only ...
... Burgundian rulers were not merely patrons of the arts, but took an active part: Charles the Bold himself played the harp, and composed chansons and motets (although none have survived with reliable attribution) The worldly dukes also encouraged the composition of secular music to a degree seen only ...
LE CARNAVAL DES ANIMAUX (THE CARNIVAL OF
... fourteen movements by the French Romantic composer Camille Saint-Saëns (born 1835 – died 1921). It is a set of orchestral character pieces, each of which is meant to describe a particular animal, usually by mimicking the sounds it makes or characterizing the way it moves or carries itself. The piece ...
... fourteen movements by the French Romantic composer Camille Saint-Saëns (born 1835 – died 1921). It is a set of orchestral character pieces, each of which is meant to describe a particular animal, usually by mimicking the sounds it makes or characterizing the way it moves or carries itself. The piece ...
this PDF file
... that listening to a fragment of sound repetitively changes our perception. And therefore, we can suddenly perceive aspects of the sound that are not perceivable during ‘natural’ listening, because these events pass by too rapidly and are not made evident 3 A musical genre based on studio compositio ...
... that listening to a fragment of sound repetitively changes our perception. And therefore, we can suddenly perceive aspects of the sound that are not perceivable during ‘natural’ listening, because these events pass by too rapidly and are not made evident 3 A musical genre based on studio compositio ...
Read notes on the program
... the Quartet veers suddenly toward a more chromatic phrase, it is a reference to Beethoven’s massive Grosse fuge for string quartet. A third quotation, more subtle for now but emphasized later, borrows the signature motive of Shostakovich: the notes D, E-flat, C, B, or as they are known in German par ...
... the Quartet veers suddenly toward a more chromatic phrase, it is a reference to Beethoven’s massive Grosse fuge for string quartet. A third quotation, more subtle for now but emphasized later, borrows the signature motive of Shostakovich: the notes D, E-flat, C, B, or as they are known in German par ...
Program notes by:
... star was in ascendance. Schubert spent his entire life in the shadow of Beethoven, whom he revered. As the older composer was reaching the height of his powers, developing his own distinctive musical voice, Schubert was struggling to find his own, primarily through the Lied, a vehicle that capitaliz ...
... star was in ascendance. Schubert spent his entire life in the shadow of Beethoven, whom he revered. As the older composer was reaching the height of his powers, developing his own distinctive musical voice, Schubert was struggling to find his own, primarily through the Lied, a vehicle that capitaliz ...
Document
... VOLUME (like the harpsichord) CONTROL (like the clavichord) Cristofori came up with the brilliant idea of replacing the wire hooks of the two instruments with leather padded hammers. The result was an instrument that played both piano (soft) and forte (loud). The new keyboard became known as t ...
... VOLUME (like the harpsichord) CONTROL (like the clavichord) Cristofori came up with the brilliant idea of replacing the wire hooks of the two instruments with leather padded hammers. The result was an instrument that played both piano (soft) and forte (loud). The new keyboard became known as t ...
Rondo, 3rd Movement from Sonatina in F Op 168
... A sonatina is a little sonata (meaning ‘piece for instrument’) and has between 2 and 3 contrasting movements. The last movement tends to be lively and is often in rondo form. Rondo means ‘round’ and refers to a musical structure ABACADA where A is the theme that comes back around. In this sonatina, ...
... A sonatina is a little sonata (meaning ‘piece for instrument’) and has between 2 and 3 contrasting movements. The last movement tends to be lively and is often in rondo form. Rondo means ‘round’ and refers to a musical structure ABACADA where A is the theme that comes back around. In this sonatina, ...
Untitled document.docx
... Explain how three composers of the romantic era used programme music to great effect, referring to tonality and expressive use of resources. In Berlioz’s Symphonie Fantastique, the composer uses tonality for expressive purposes, to describe the many disturbing visions of an infatuated artist. The fi ...
... Explain how three composers of the romantic era used programme music to great effect, referring to tonality and expressive use of resources. In Berlioz’s Symphonie Fantastique, the composer uses tonality for expressive purposes, to describe the many disturbing visions of an infatuated artist. The fi ...
CHI 2002
... MIDI data. Sequencing programs allow composers to edit out mistakes, play music in various tempos, change keys without replaying parts, rearrange an entire song, draw volume graphs, and more. ...
... MIDI data. Sequencing programs allow composers to edit out mistakes, play music in various tempos, change keys without replaying parts, rearrange an entire song, draw volume graphs, and more. ...
Beethoven Symphony No. 3 Listening Guide
... In m. 394 (10:00) theme 1 is played by the horn in the tonic as the strings are playing the dominant chord. This was very surprising in Beethoven’s time leading some to think a mistake had been made and some conductors to change what was written to either move the horn into the dominant or the orch ...
... In m. 394 (10:00) theme 1 is played by the horn in the tonic as the strings are playing the dominant chord. This was very surprising in Beethoven’s time leading some to think a mistake had been made and some conductors to change what was written to either move the horn into the dominant or the orch ...
William Mathias - Dr David Wright
... music for now and not for an uncertain future. Had he not died so young on 29 July 1992 aged 57, what might he have accomplished? Death was an inspiration to him, however. Following the death of his mother in March 1980, he composed the large choral and orchestral work Lux Aeterna first performed at ...
... music for now and not for an uncertain future. Had he not died so young on 29 July 1992 aged 57, what might he have accomplished? Death was an inspiration to him, however. Following the death of his mother in March 1980, he composed the large choral and orchestral work Lux Aeterna first performed at ...
Neo-classicism - DMU
... Prokofiev’s ‘Classical’ Symphony; Cone has contrasted the first movement of Stravinsky’s Symphony in C (1938–40) with Classical models; Van den Toorn and Taruskin have focussed on Stravinsky’s use of octatonic scales. Yet the dangers of unproductive over-simplification are probably greater than for ...
... Prokofiev’s ‘Classical’ Symphony; Cone has contrasted the first movement of Stravinsky’s Symphony in C (1938–40) with Classical models; Van den Toorn and Taruskin have focussed on Stravinsky’s use of octatonic scales. Yet the dangers of unproductive over-simplification are probably greater than for ...
Something To Laugh About: Beethoven
... movement. The actual moment of recapitulation is in fact blurred. The opening material does in fact return in the bass, but in a maze of swirling scales and invertible counterpoint which quickly launches into yet another developmental section. Only the final passage–a reprise of the second theme in ...
... movement. The actual moment of recapitulation is in fact blurred. The opening material does in fact return in the bass, but in a maze of swirling scales and invertible counterpoint which quickly launches into yet another developmental section. Only the final passage–a reprise of the second theme in ...
Mascletá Sinfónica Valencia
... Soledad Giménez over the course of his 20-year career in the music industry. A musical project of this scale could not have been accomplished without the expertise of award-winning composer and director Joan Cerveró, who was recognized in 2005 by the Spanish Ministry of Culture with the National Mus ...
... Soledad Giménez over the course of his 20-year career in the music industry. A musical project of this scale could not have been accomplished without the expertise of award-winning composer and director Joan Cerveró, who was recognized in 2005 by the Spanish Ministry of Culture with the National Mus ...
"Performance Practices in Classic Piano Music" By Sandra P
... have been for many the alpha and omega of performance practice. By definition, these are small adornments in the totality of the composition. Granted, if done to excess and in poor taste, they can affect the piece negatively. But it is not excess and taste that concerns pianists; rather, how the orn ...
... have been for many the alpha and omega of performance practice. By definition, these are small adornments in the totality of the composition. Granted, if done to excess and in poor taste, they can affect the piece negatively. But it is not excess and taste that concerns pianists; rather, how the orn ...