Polovtsian Dances (no. 17) Alexander Borodin (1833
... The symphony is cast in a sustained, 25-minute singlemovement arch, not unlike the Sibelius Seventh Symphony, a work that has had an immense effect on Adams's compositional thinking. The opening, with its pounding timpani and Varèse-like jagged brass fanfares, conjures a devastated post-nuclear lan ...
... The symphony is cast in a sustained, 25-minute singlemovement arch, not unlike the Sibelius Seventh Symphony, a work that has had an immense effect on Adams's compositional thinking. The opening, with its pounding timpani and Varèse-like jagged brass fanfares, conjures a devastated post-nuclear lan ...
ARCANUM (BISSAM1187) By Ezequiel Vinao
... expressive. At such a frenetic pace, the treacherous pizzicato string sections were amazing. Jim Thatcher had a glorious moment in the final movement, when the French horn soars over the orchestra with one of the most exquisite themes ever written. The booming chordal section in the brass and bassoo ...
... expressive. At such a frenetic pace, the treacherous pizzicato string sections were amazing. Jim Thatcher had a glorious moment in the final movement, when the French horn soars over the orchestra with one of the most exquisite themes ever written. The booming chordal section in the brass and bassoo ...
Symphony No.6 in F major, “Pastorale” Symphony No. 7 in A major
... chords before leading into the seminal rhythmic motive that pervades the entire work in various forms. The traditional sonata form is adhered to, however it is thought that the repetitive rhythms and chromatic bass line found in the coda may have led to Carl Maria von Weber’s claim that this was evi ...
... chords before leading into the seminal rhythmic motive that pervades the entire work in various forms. The traditional sonata form is adhered to, however it is thought that the repetitive rhythms and chromatic bass line found in the coda may have led to Carl Maria von Weber’s claim that this was evi ...
LUDWIG VAN BEETHOVEN Symphony No. 3 in
... It is nearly impossible to speak of Beethoven’s Third Symphony, Eroica, without resorting to superlatives. More than a singular masterpiece, it is one of those rare compositions that came as a true breakthrough, not only for its creator but for an entire era. ...
... It is nearly impossible to speak of Beethoven’s Third Symphony, Eroica, without resorting to superlatives. More than a singular masterpiece, it is one of those rare compositions that came as a true breakthrough, not only for its creator but for an entire era. ...
Mozart and Mendelssohn - Atlantic Classical Orchestra
... front desk players, is written for medium size orchestra with no heavy brass or percussion, apart from timpani, and lasts about 17 minutes. There are three movements: Intrada, Lullaby and Finale.” ...
... front desk players, is written for medium size orchestra with no heavy brass or percussion, apart from timpani, and lasts about 17 minutes. There are three movements: Intrada, Lullaby and Finale.” ...
The Baroque Era
... The style of execution Corelli introduced when playing the violin was of vital importance for the development of violin playing. It has been said that the paths of all of the famous violinist-composers of 18th-century Italy led to Arcangelo Corelli who was their "iconic point of ...
... The style of execution Corelli introduced when playing the violin was of vital importance for the development of violin playing. It has been said that the paths of all of the famous violinist-composers of 18th-century Italy led to Arcangelo Corelli who was their "iconic point of ...
Johannes Brahms b. 1833 Hamburg, Germany d. 1897 Vienna
... Romantic music, brings it to an end - Because he destroyed much of his own music, we have only a quarter of the music he wrote. ...
... Romantic music, brings it to an end - Because he destroyed much of his own music, we have only a quarter of the music he wrote. ...
Johannes Brahms
... His music is deep, reflective, melancholy - Brahms picks up where Beethoven left off Brahms sums up all Classical and Romantic music, brings it to an end - Because he destroyed much of his own music, we have only a quarter of the music he wrote. Brahms understood that he was the last of a great trad ...
... His music is deep, reflective, melancholy - Brahms picks up where Beethoven left off Brahms sums up all Classical and Romantic music, brings it to an end - Because he destroyed much of his own music, we have only a quarter of the music he wrote. Brahms understood that he was the last of a great trad ...
CARL NIELSEN Symphony No. 4, Op. 29, “The Inextinguishable
... During the 19th century, a new kind of symphony captured the imaginations of many composers. This type of composition had an inherently dramatic character that reflected the Romantic ideal of heroic striving. Specifically, it conveyed a sense of struggle and ...
... During the 19th century, a new kind of symphony captured the imaginations of many composers. This type of composition had an inherently dramatic character that reflected the Romantic ideal of heroic striving. Specifically, it conveyed a sense of struggle and ...
Symphony No. 7 in D minor, Op. 70 • Antonín Dvořák (1841
... to a friend, Dvořák commented, "I am convinced that England offers me a new and certainly happier future, and one which I hope may benefit our entire Czech art. The English are a fine people, enthusiastic about music, and it is well known that they remain loyal to those whose art they have enjoyed. ...
... to a friend, Dvořák commented, "I am convinced that England offers me a new and certainly happier future, and one which I hope may benefit our entire Czech art. The English are a fine people, enthusiastic about music, and it is well known that they remain loyal to those whose art they have enjoyed. ...
PROGRAM NOTES by Paul Schiavo Old, and
... neither the halting rhythms of its phrases nor their sudden dynamic contrasts offer anything that could be described as commonplace or predictable. A miracle of economy, the ensuing Allegro is being built entirely on a single theme. The second movement begins as a set of variations on the hymn-like ...
... neither the halting rhythms of its phrases nor their sudden dynamic contrasts offer anything that could be described as commonplace or predictable. A miracle of economy, the ensuing Allegro is being built entirely on a single theme. The second movement begins as a set of variations on the hymn-like ...
PROGRAM NOTES
... 5, 1568, and his head was displayed on a pike. Although the Netherlands’ independence from Spain was not fully secured until the Treaty of Westphalia in 1648, Egmont was hailed as one of the heroes of the struggle against the oppressive Spanish regime. Vienna was invaded by the French army of Napole ...
... 5, 1568, and his head was displayed on a pike. Although the Netherlands’ independence from Spain was not fully secured until the Treaty of Westphalia in 1648, Egmont was hailed as one of the heroes of the struggle against the oppressive Spanish regime. Vienna was invaded by the French army of Napole ...
Conjurer - New York Philharmonic
... playing all these instruments ties them together. In addition, most of the instruments have no pitch at all (or very little), and don’t sustain a sound (like a violin or trumpet). As a result, most percussion concerti I have heard sound like orchestral pieces with an extra-large percussion section. ...
... playing all these instruments ties them together. In addition, most of the instruments have no pitch at all (or very little), and don’t sustain a sound (like a violin or trumpet). As a result, most percussion concerti I have heard sound like orchestral pieces with an extra-large percussion section. ...
Program Notes: Beethoven`s Fifth
... miraculous score, described by the great 20thcentury German conductor Wilhelm Furtwängler as “a stroke of genius, worthy of Beethoven,” on May 6, 1895. The premiere took place that year in Cologne on November 5, with Franz Wüllner leading the Gürzenich Orchestra. Till Eulenspiegel is based upon two ...
... miraculous score, described by the great 20thcentury German conductor Wilhelm Furtwängler as “a stroke of genius, worthy of Beethoven,” on May 6, 1895. The premiere took place that year in Cologne on November 5, with Franz Wüllner leading the Gürzenich Orchestra. Till Eulenspiegel is based upon two ...
Program Notes PDF - The Grant Park Music Festival
... strings. The performance time is 23 minutes. The Grant Park Orchestra first performed this Concerto on June 26, 1963, with Irwin Hoffman conducting and Gary Graffman as soloist. Bartók, never a robust man, suffered from serious ailments from the time he settled in the United States in 1940. Some of ...
... strings. The performance time is 23 minutes. The Grant Park Orchestra first performed this Concerto on June 26, 1963, with Irwin Hoffman conducting and Gary Graffman as soloist. Bartók, never a robust man, suffered from serious ailments from the time he settled in the United States in 1940. Some of ...
Analyze and Describe Percussion (Word doc.)
... In the staff below write out your clef, initial key signature and time signature. If you have changes, please indicate those with a bar line and write out the new key signature and/or time signature. If your piece is in multiple movements please indicate the movement number above the bar line. ...
... In the staff below write out your clef, initial key signature and time signature. If you have changes, please indicate those with a bar line and write out the new key signature and/or time signature. If your piece is in multiple movements please indicate the movement number above the bar line. ...
program notes - H. Leslie Adams
... passages before the full orchestra joins in echoing the melody. In the mid-section, the theme takes on an expanded quality, played by several combinations of solo and ensemble groupings. These thematic re-statements become increasingly more fragmented and complex and, after reaching an energetic pea ...
... passages before the full orchestra joins in echoing the melody. In the mid-section, the theme takes on an expanded quality, played by several combinations of solo and ensemble groupings. These thematic re-statements become increasingly more fragmented and complex and, after reaching an energetic pea ...
KOKO - Stratford School Academy
... Starts with a SOLO by the BALAFON. The balafon also plays rolls up and down the keys (hitting one or two notes really fast, continuously). 2nd BALAFON joins in (low pitch). Then Both balafons play the theme before the drums comes in. The balafons play polyrhythms and improvise lots of melodies based ...
... Starts with a SOLO by the BALAFON. The balafon also plays rolls up and down the keys (hitting one or two notes really fast, continuously). 2nd BALAFON joins in (low pitch). Then Both balafons play the theme before the drums comes in. The balafons play polyrhythms and improvise lots of melodies based ...
February-14-2015_Unedited
... heel-kicking gopak folk dancing thrown by Stalin and his henchmen. The dance, introduced (symbolically?) by the xylophone again, evolves into a mad rush reintroducing the themes from the previous movements. At some point between the composition of the third and fourth movements, in January 1948, the ...
... heel-kicking gopak folk dancing thrown by Stalin and his henchmen. The dance, introduced (symbolically?) by the xylophone again, evolves into a mad rush reintroducing the themes from the previous movements. At some point between the composition of the third and fourth movements, in January 1948, the ...
BELA BARTOK Music for Strings, Percussion and Celeste
... influenced by the French composer Claude Debussy, whose compositions Kodály had brought back from Paris. Bartók's music reflects two trends that dramatically changed the sound of music in the 20th century: the breakdown of the diatonic system of harmony that had served composers for the previous two ...
... influenced by the French composer Claude Debussy, whose compositions Kodály had brought back from Paris. Bartók's music reflects two trends that dramatically changed the sound of music in the 20th century: the breakdown of the diatonic system of harmony that had served composers for the previous two ...
Program Notes - Music Academy of the West
... developments, concluding with a rousing coda. Beethoven maintained that this was his finest symphony, and while it is difficult to choose among his works in this genre, there is reason to agree. Nowhere, even in his Fifth and Ninth Symphonies, was the composer more successful in welding a wide array ...
... developments, concluding with a rousing coda. Beethoven maintained that this was his finest symphony, and while it is difficult to choose among his works in this genre, there is reason to agree. Nowhere, even in his Fifth and Ninth Symphonies, was the composer more successful in welding a wide array ...
Enrique Soro Tres aires chilenos
... cymbals, side drum, and strings. Performance time is approximately fourteen minutes. Enrique Soro began studying piano and music theory with his father, José Soro Sforza, an Italian composer who was living in Chile. The tables were turned when, at the age of fourteen, Enrique won a Chilean governmen ...
... cymbals, side drum, and strings. Performance time is approximately fourteen minutes. Enrique Soro began studying piano and music theory with his father, José Soro Sforza, an Italian composer who was living in Chile. The tables were turned when, at the age of fourteen, Enrique won a Chilean governmen ...
Evolution of timpani in the 18th and 19th centuries
The modern timpani evolved in the 18th and 19th centuries from the simple 12th-century membranophone of the Naker to a complex instrument, consisting of a suspended kettle with a foot operated clutch, capable of rapid tuning. The technological evolution of the instrument led to increased interest in its capabilities and sound among such composers as Ludwig van Beethoven, Robert Schumann, and Hector Berlioz.Initially used only outdoors, the instrument underwent modifications in the 16th and 17th centuries that led to its incorporation into chamber ensembles. During the 18th and 19th centuries, modifications in its design and construction, and rising interest in the symphony orchestra led to changes not only to the ensemble's size, but also to composers' use of specific instruments within the orchestra.These new and challenging compositional demands influenced the design of the timpani, how timpanists play the instrument, and also helped to raise the standard of playing to a whole new level. The combination of composers' and players' interest in the timpani during the 18th and 19th centuries helped to make the instrument what it is today.