Season The Philadelphia Orchestra. Saturday, March 24,, at 8:00. Thursday, March 22, at 8:00. James Conlon Conductor
|
|
- Cassandra Shepherd
- 5 years ago
- Views:
Transcription
1 Season The Philadelphia Orchestra Thursday, March 22, at 8:00 Friday, March 23,, at 2:00 Saturday, March 24,, at 8:00 James Conlon Conductor Mozart Overtures to Don Giovanni, K. 527, Idomeneo, K. 366, and The Marriage of Figaro, K. 492 Mozart Symphony No. 38 in D major, K. 504 ( Prague ) I. Adagio Allegro II. Andante III. Presto Intermission Dvořák Symphony No. 7 in D minor, Op. 70 I. Allegro maestoso II. Poco adagio III. Scherzo: Vivace IV. Finale: Allegro This program runs approximately 1 hour, 60 minutes. The March 22 concert is sponsored by the Louis N. Cassett Foundation.
2 James Conlon is currently music director of Los Angeles Opera, the Ravinia Festival (summer home of the Chicago Symphony), and the Cincinnati May Festival, America s oldest choral festival. He has served as principal conductor of the Paris National Opera (1995 to 2004); general music director of the City of Cologne, Germany (1989 to 2002), where he was music director of both the Gürzenich Orchestra-Cologne Philharmonic and the Cologne Opera; and music director of the Rotterdam Philharmonic (1983 to 1991). Since his first appearance as a guest conductor at the Metropolitan Opera in 1976, Mr. Conlon has led more than 250 performances there and has appeared at the Teatro alla Scala in Milan, the Royal Opera Covent Garden, Lyric Opera of Chicago, the Teatro di Roma, and the Maggio Musicale Fiorentino in Florence. This coming summer he continues a five-year series of six Mozart operas with the Chicago Symphony at Ravinia; this follows a complete cycle of the Mozart piano concertos. In an effort to raise awareness of the significance of the lesser-known works of composers suppressed by the Nazi regime, Mr. Conlon has devoted himself to extensive programming of this music throughout Europe and North America. His work on behalf of these composers led to the creation of the OREL Foundation, a resource on the topic for music lovers, musicians, and scholars. Committed to working with pre-professional musicians, he has devoted much time to teaching at the Juilliard School, the New World Symphony, Ravinia s Steans Institute for Young Artists, the Aspen Music Festival, the Tanglewood Music Center, the Cliburn Competition, and the Colburn Conservatory. Mr. Conlon s extensive discography and videography include releases on the EMI, Erato, Capriccio, Decca, and Sony Classical labels. He has won two Grammy awards and conducted the soundtrack for several opera movies, including Kenneth Branagh s The Magic Flute. Mr. Conlon holds several honorary doctorates, and he has received many awards, including France s Légion d Honneur in He made his Philadelphia Orchestra debut in 1976.
3 FRAMING THE PROGRAM Nowhere is [Mozart s] music better understood and executed than in Prague. So proclaimed a local critic in response to an all-mozart concert given in the Bohemian capital a couple years after the composer s death in Mozart had visited the city several times and enjoyed some of the greatest professional successes there. In January 1787 he offered the public his most recent and ambitious symphony to date, now known as the Prague Symphony, and returned later that year to conduct the premiere of his new opera Don Giovanni. The program today opens with a trio of overtures, first to that masterpiece before moving on seamlessly to his first great dramatic hit (Idomeneo from 1781) and to another favorite with the Prague public: The Marriage of Figaro. Antonín Dvořák and his older contemporary Bedřich Smetana were the preeminent Czech composers of the 19th century. They both aspired, however, to be viewed not just as colorful exotics but rather as serious composers within a broader European mainstream. Dvořák, who would eventually spend three years in America, achieved great acclaim abroad. His deeply felt and brooding Seventh Symphony (the second of his nine published in his lifetime) was commissioned by the Royal Philharmonic Society and premiered in London in 1885, the first time he conducted abroad and where it proved a triumph.
4 Parallel Events 1780 Mozart Idomeneo Music Gluck Flute Concerto Literature Claudius Lieder für das Volk Art Copley Death of Chatham History Joseph II becomes Holy Roman Emperor 1786 Mozart Symphony No. 38 Music Dittersdorf Doctor und Apotheker Literature Bourgoyne The Heiress Art Reynolds The Duchess of Devonshire History Shays Rebellion 1884 Dvořák Symphony No. 7 Music Brahms Symphony No. 4 Literature Ibsen The Wild Duck Art Seurat Une Baignade, Asnières History First subway, in London
5 Overtures to Don Giovanni, Idomeneo, and The Marriage of Figaro Wolfgang Amadè Mozart Born in Salzburg, January 27, 1756 Died in Vienna, December 5, 1791 An overture in Mozart s time was often identical to a symphony; operas began with a sinfonia, usually in a fast-slow-fast arrangement of movements. Eventually symphonies grew in size and rose to the highest rank of instrumental music in which Beethoven and later 19th-century composers would achieve some of their greatest statements. The overture also began to assume a new role. It no longer served merely as an instrumental attention-getter, functioning to settle down the audience, but rather would introduce what was about to happen dramatically in the theater. Some of Mozart s overtures to his mature operas, such as Don Giovanni, Così fan tutte, and The Magic Flute, offer a foretaste of musical passages that will be heard in the course of the opera. Other composers did similar things, although the practice eventually degenerated (at least in Richard Wagner s later assessment) to mere potpourris, previews of catchy tunes as are now familiar from Broadway shows. Don Giovanni is perhaps the most integrated of Mozart s opera overtures in that the dramatic introduction (andante) in a frightening D minor returns in the final act when the statue of the Commandatore (who Don Giovanni killed in the first scene of the opera) arrives for dinner and the unrepentant title character is dragged to hell. In contrast to this harrowing introduction the following molto allegro is pure joy, reminding us that this is supposedly a comic opera. Il dissoluto punito, o sia il Don Giovanni (The Dissolute Punished, or Don Giovanni) was premiered as a drama giocoso (jocular drama), mixing comedy and tragedy. It was the composer s second collaboration with librettist Lorenzo Da Ponte. After the enormous success of their Marriage of Figaro in Prague, Mozart was commissioned to write a new work for the Bohemian capital, where he conducted the first performance of Don Giovanni on October 29, 1787 it proved a highlight of his career. Although Mozart had written most of the opera in Vienna he added some numbers while in rehearsal in Prague and composed the Overture last (legend has it the very day before the premiere). Idomeneo dates from seven years earlier, when Mozart was 24, and is considered by many his first dramatic masterpiece. (He had written his initial opera at age 11.) Premiered in Munich in January 1781, it was a piece Mozart cared about deeply and later revised for performances in Vienna. The story concerns Idomeneo, the King of Crete, who as he returns in triumph from the Trojan War is threatened by a storm at sea. To appease the god Neptune, he pledges to offer in sacrifice the first person he encounters at home, which turns out to be his own son, Idamante. Complicated by a love triangle between Idamante, his beloved Ilia, and the exiled Princess Elettra, who also loves him, everything ends up happily in the end when Idomeneo abdicates his throne to his son and Ilia. The Overture opens with majestic gestures befitting an opera about royalty (Mozart would later begin La clemenza di Tito, written for Prague, in a similar way): full orchestra in a bright D major. The second
6 theme, in A minor, foreshadows the darker side of the opera to follow and the Overture has a wonderful fade out to end. (In the opera this leads directly to a scene for Ilia, while in the performances today the three overtures are performed without pause.) Mozart finished The Marriage of Figaro, the first of his three operas with Da Ponte, in They based the work on Pierre Augustin Caron de Beaumarchais s revolutionary play, which was the middle offering in a trilogy containing The Barber of Seville and The Guilty Mother. Because of Figaro s pointed political and erotic content (less evident in the opera than in the original), Beaumarchais had difficulty getting the work performed in France. Mozart, in turn, took a risk in tackling a play banned in Austria. As with the two other overtures on the concert today, first things came last: Mozart wrote the Overture shortly before conducting the successful premiere on May 1, 1786, in Vienna s Burgtheater. The great popularity of Figaro became especially evident at the Prague premiere later that year. Mozart recounted, Here they talk about nothing but Figaro. Nothing is played, sung, or whistled but Figaro. No opera is drawing like Figaro. Nothing, nothing but Figaro. The plot takes off a few years after the ending of The Barber of Seville, in which Figaro s cunning successfully united Count Almaviva with his beloved Rosina. The upstairs/downstairs tale of the Count and Countess and their servants Figaro and Susanna involves a day of intrigue as the young couple prepare for their wedding. But when Susanna informs him that the Count is pursuing her, as he apparently does all young women, Figaro vows revenge. By the end everything works out just fine, with lessons learned by all, but there are many complications along the way. The atmosphere at the outset of the opera is all expectation and excitement. A new world is beginning for Figaro and Susanna, and the drama that unfolds will be breathless for at least the first act. The presto Overture perfectly sets the stage even though there are not direct musical connections to the opera itself. It opens not so much with a tune (just try to sing it) as with pure movement: florid strings bustling along, immediately eliding into a second melody in the oboes and horns, imitated by flutes and clarinets. The Overture is filled with a wide variety of tunes, which all dart by quickly. The manuscript indicates that Mozart originally included a slower middle section, but he deleted this part to proceed directly to the recapitulation of the opening string rumblings. There is no respite from beginning to end of the brief Overture. The audience now prepared, the curtain can rise. Christopher H. Gibbs The Overture to Don Giovanni was composed in 1787; the Overture to Idomeneo in 1780; and the Overture to The Marriage of Figaro in Leopold Stokowski conducted The Philadelphia Orchestra s first performances of the Don Giovanni Overture, in February The work s most recent appearance on subscription concerts was in November 2000, with Charles Dutoit conducting. Eugene Ormandy led the first, and only other, Orchestra performances of the Idomeneo Overture, in December Mozart s Marriage of Figaro Overture received its Philadelphia Orchestra premiere on
7 December 19, 1913, with Leopold Stokowski conducting; the last subscription performances were in January 2003, with Bobby McFerrin on the podium. All three overtures are scored for pairs of flutes, oboes, clarinets, bassoons, horns, and trumpets, timpani, and strings. The Overture to Don Giovanni runs approximately six minutes in performance; the Overture to Idomeneo approximately five minutes; and the Overture to The Marriage of Figaro approximately four minutes.
8 Symphony No. 38 ( Prague ) Wolfgang Amadè Mozart As greatly as Mozart long yearned to leave his native Salzburg and live in Vienna, which he eventually succeeded in doing in 1781, his final decade in the capital city was not uniformly happy. At first his music was widely performed and praised, and his skills as a pianist equally lauded, but opportunities declined in the second half of the 1780s, due partly to war and inflation. Mozart never won the broad public recognition or the official position he deserved. As he is said famously to have remarked when he was appointed Court Kammermusicus (chamber musician), he was paid too much for what I do, too little for what I can do. Beloved in Prague But Mozart enjoyed enthusiastic triumphs elsewhere: most notably in Prague, the Bohemian capital and the Austrian Empire s second largest city. His first visit in January 1787 was announced in a local newspaper and hopes expressed that he would perform in public ( discerning inhabitants of Prague will surely assemble in large numbers ). For his part, Mozart reported that everyone was whistling tunes from The Figaro of Figaro, which he conducted there, and that he was showered with honors. A week after his arrival he obliged public demand by presenting a concert on which he offered a major new piece, the Symphony in D major, now fittingly known as the Prague, a work he had finished just the month before and probably not yet performed. On this concert he also dazzled with extensive piano improvisations, including on a favorite aria from Figaro. The month-long stay was so successful that later that year he rewarded the city with a special present: the premiere of Don Giovanni, which he returned to conduct himself in October. The love affair between Mozart and Prague continued and the composer made further trips (about a three-day journey of 150 miles) before he died at age 35; the last time was in 1791 to conduct the premiere of this final opera, La clemenza di Tito. A few years after his death, the Prague Symphony was heard at an all-mozart concert. A local critic commented: It is easy to imagine how full the hall was, if one knows Prague s artistic sense and its love for Mozart s music. Mozart s widow and son both wept tears of grief at their loss, and of gratitude towards a noble nation. Thus this evening was fittingly and admirably devoted to an act of homage to merit and genius; it was a rewarding feast for sensitive hearts and a small tribute to the unspeakable delight that Mozart s divine tones often drew from us. From many a noble eye there flowed a silent tear for this well-loved man! It is as though Mozart had composed especially for Bohemia; nowhere is his music better understood and executed than in Prague, and even out in the country it is universally popular. A Closer Look The Prague Symphony was Mozart s most serious and ambitious work in the genre to date, and came following a three-year hiatus after his Linz Symphony, No. 36. (Audiences and record collectors often wonder what happened to No. 37, which it turns out was written primarily by Michael Haydn; Mozart only contributed the slow introduction to its opening movement.) The genre of the symphony, which historically had primarily been
9 geared toward entertainment, becomes more substantial and serious. Mozart s new attitude, further realized in his miraculous final three symphonies from the summer of 1788, is evident in the rich orchestration, the weighty introduction to the first movement, and in the absence of a minuet. Most of his symphonies display the traditional four movements, but here he seems to question the vestige of older Baroque suites and dispenses with a dance movement altogether. The extended Adagio introduction of the first movement, lasting some three minutes, immediately indicates the ambition of the Symphony. (Unlike Haydn, Mozart relatively rarely used slow introductions.) It leads to a syncopated Allegro theme that bears some resemblance to the principal theme of the Overture to The Magic Flute with its insistent repeated notes and it undergoes elaborate contrapuntal development of great intensity. The second movement Andante is in G major and a 6/8 meter with alluring use of chromatic scales to give color. Mozart the great composer of comic opera is fully evident in the breathless concluding Presto, which is back in D major and more straightforward and carefree than the earlier two movements. The Prague audience no doubt delighted in the similarity of the principal theme with the brief duettino Aprite presto sung by Susanna and Cherubino in Act II of The Marriage of Figaro. Mozart composed the Prague Symphony in Christopher H. Gibbs Fritz Reiner was on the podium for the first Philadelphia Orchestra performances of the Symphony, in December The most recent subscription appearance of the work was in March 1991, with Kurt Masur. The score calls for two flutes, two oboes, two bassoons, two horns, two trumpets, timpani, and strings. Performance time is approximately 26 minutes.
10 Symphony No. 7 Antonín Dvořák Born in Nelahozeves, Bohemia, September 8, 1841 Died in Prague, May 1, 1904 Dvořák lived in a bicultural Bohemia where Czechs and Germans coexisted as they had for centuries. Since cross-cultural influences were strong, Germany and Austria were essential proving grounds for native Bohemian Czechs. Thus Dvořák was thrown into an acute depression in 1883 when, the year before he began composing his Seventh Symphony, the Vienna Court Opera rejected his Czech operas The Cunning Peasant and Dimitrij, which had scored huge successes in Prague. The management requested that he write a German opera, which understandably rankled even though he spoke the language fluently. To make matters worse, the Berlin publisher Fritz Simrock, who had issued the composer s first set of Slavonic Dances at Brahms s urging, wanted him to compose more of these folk-like, exotic collections which did brisk sales in German-speaking lands. Bigger Ideas Dvořák had his sights on bigger things: His Stabat Mater had been a huge success in England, and his operas were celebrated in Prague. He was eager to make his mark in German-speaking lands with large-scale works. If we view this from the standpoint of common sense, he wrote to Simrock, considering all you have written in your last letter, we are led to the clear conclusion that I should write no symphonies, no large vocal works, and no instrumental music only occasional lieder, piano pieces, dances, and who knows what sort of publishable works. Well, as an artist who wants to amount to something, I simply cannot do it! Indeed, my dear friend, this is how I see it from my standpoint as an artist, a poor artist, and the father of a family. Instead of deciding to appease publishers or opera companies or the press, Dvořák composed the Seventh Symphony, a work whose truculent defiance and high Brahmsian tragedy seemed to reflect the composer s state of mind in With the Seventh Dvořák saw the opportunity to compose a serious, large-scale work that was true to his own stylistic standards and at the same time pleasing to audiences from Hamburg to Vienna. I am occupied at present with my new symphony, he wrote while composing the piece. And wherever I go I think of nothing but my work, which must be capable of stirring the world, and may God grant that it will. Written mostly in late 1884 and early 1885, the Symphony is indeed a Brahmsian work, based on pregnant and propulsively forward-moving thematic material that is worked out on a scale that could only have made his mentor proud. More than one critic has dubbed the Seventh Brahms s Fifth, and it is clear from Dvořák s correspondence that Brahms s music was lurking at the back of his consciousness when he began writing the piece. I have been busy for a long, long time over my new symphony, he wrote to Simrock in February 1885, but I want to justify Brahms s words when he said, I imagine your new symphony will be quite unlike the D major [No. 6]. There shall be no grounds for thinking he was wrong.
11 The work was completed by the spring of 1885, and Dvořák conducted the Royal Philharmonic in the first performance, in London on April 22, The Symphony is indeed worthy of standing side-by-side with other essential works in the genre. I have no hesitation, writes the critic Donald Francis Tovey, in setting Dvořák s Seventh along with the C-major Symphony of Schubert and the four symphonies of Brahms as among the greatest and purest examples in this art form since Beethoven. A Closer Look The Seventh moves far beyond the realm of the composer s earlier symphonies. ( The longer I live, the more I become convinced that composers, like authors, mostly follow the impulse of writing too much, Dvořák wrote, in a discussion of the music of Schubert though he might just as well have been talking about himself.) The Seventh is particularly dense with ideas, with such a wealth of thematic material that even the composer himself seems to have struggled to give each its proper elaboration. Like Brahms, Dvořák knew the art of drawing the listener into a work by presenting concise, easily grasped motivic material in the opening measures of the piece. The Symphony s opening movement, Allegro maestoso, with its puzzlingly incomplete first theme, seems to invite the listener on a long journey. The tripartite (A-B-A) slow movement, Poco adagio, is one of the composer s most tuneful songs; but it, too, contains storm clouds and dense drama. The skipping, majestic Vivace is the most tension-charged scherzo since Beethoven s Ninth the scherzo of which it resembles, in fact. Like the first movement, the final Allegro opens with an unstable diminished chord, again setting the listener s ear on edge. The clouds of this untamed Symphony are never dispersed entirely, though its D-major conclusion comes as a marked relief from the relentless D-minor tension. Dvořák s Seventh Symphony was composed from 1884 to Paul J. Horsley The first Philadelphia Orchestra performances of the Seventh were not until February 1965, when Hans Schmidt-Isserstedt conducted the work. Most recently Christoph Eschenbach led the Symphony in March The Philadelphians have recorded the work twice: in 1976 with Eugene Ormandy for RCA and in 1989 with Wolfgang Sawallisch for Angel/EMI. Dvořák scored the piece for two flutes (II doubling piccolo), two oboes, two clarinets, two bassoons, four horns, two trumpets, three trombones, timpani, and strings. The Symphony runs approximately 40 minutes in performance. Program notes All rights reserved. Program notes may not be reprinted without written permission from The Philadelphia Orchestra Association.
12 GENERAL TERMS Cadence: The conclusion to a phrase, movement, or piece based on a recognizable melodic formula, harmonic progression, or dissonance resolution Cadenza: A passage or section in a style of brilliant improvisation, usually inserted near the end of a movement or composition Chord: The simultaneous sounding of three or more tones Chromatic: Relating to tones foreign to a given key (scale) or chord Coda: A concluding section or passage added in order to confirm the impression of finality Contrapuntal: See counterpoint Counterpoint: A term that describes the combination of simultaneously sounding musical lines Diminished interval: A perfect or minor interval contracted by a chromatic semitone Divertimento: A piece of entertaining music in several movements, often scored for a mixed ensemble and having no fixed form K.: Abbreviation for Köchel, the chronological list of all the works of Mozart made by Ludwig von Köchel Lieder: Songs Minuet: A dance in triple time commonly used up to the beginning of the 19th century as the lightest movement of a symphony Recapitulation: See sonata form Rondo: A form frequently used in symphonies and concertos for the final movement. It consists of a main section that alternates with a variety of contrasting sections (A-B-A-C-A etc.). Scale: The series of tones which form (a) any major or minor key or (b) the chromatic scale of successive semi-tonic steps Scherzo: Literally a joke. Usually the third movement of symphonies and quartets that was introduced by Beethoven to replace the minuet. The scherzo is followed by a gentler section called a trio, after which the scherzo is repeated. Its characteristics are a rapid tempo in triple time, vigorous rhythm, and humorous contrasts. Sinfonia: A short introductory instrumental piece Sonata form: The form in which the first movements (and sometimes others) of symphonies are usually cast. The sections are exposition, development, and recapitulation, the last sometimes followed by a coda. The exposition is the introduction of the musical ideas, which are then developed. In the recapitulation, the exposition is repeated with modifications. Suite: A set or series of pieces in various dance-forms. The modern orchestral suite is more like a divertimento. Syncopation: A shift of rhythmic emphasis off the beat THE SPEED OF MUSIC (Tempo) Adagio: Leisurely, slow Allegro: Bright, fast Andante: Walking speed Maestoso: Majestic Presto: Very fast Vivace: Lively
13 TEMPO MODIFIERS Molto: Very Poco: Little, a bit
Symphony in C Igor Stravinksy
Symphony in C Igor Stravinksy One of the towering figures of twentieth-century music, Igor Stravinsky was born in Oranienbaum, Russia on June 17, 1882 and died in New York City on April 6, 1971. While
More informationMu 110: Introduction to Music
Attendance/Reading Quiz! Mu 110: Introduction to Music Queensborough Community College Instructor: Dr. Alice Jones Spring 2018 Sections H2 (T 2:10-5), H3 (W 2:10-5), L3 (W 5:10-8) Recap Midterm optional
More informationThe Classical Period (1825)
The Classical Period 1750-1820 (1825) 1 Historical Themes Industrial Revolution Age of Enlightenment Violent political and social upheaval Culture 2 Industrial Revolution Steam engine changed the nature
More informationThe Classical Period
The Classical Period How to use this presentation Read through all the information on each page. When you see the loudspeaker icon click on it to hear a musical example of the concept described in the
More informationMu 110: Introduction to Music
Attendance/Reading Quiz! Mu 110: Introduction to Music Instructor: Dr. Alice Jones Queensborough Community College Fall 2017 Sections J2 (Tuesdays 3:10-6) and C3A (Wednesdays 9:10-12) Recap Employment
More informationChapter 13. Key Terms. The Symphony. II Slow Movement. I Opening Movement. Movements of the Symphony. The Symphony
Chapter 13 Key Terms The Symphony Symphony Sonata form Exposition First theme Bridge Second group Second theme Cadence theme Development Recapitulation Coda Fragmentation Retransition Theme and variations
More informationPeoria Symphony Orchestra Program Notes September 22, 2018 Michael Allsen
Peoria Symphony Orchestra Program Notes September 22, 2018 Michael Allsen This opening program of the Peoria Symphony Orchestra s season features the distinguished violinist Catherine Cho, who performs
More informationrhinegold education: subject to endorsement by ocr Beethoven: Symphony No. 3 in Eb, Op. 55, Eroica, first movement
80 AS/A LEVEL MUSIC STUDY GUIDE Mozart: Symphony No. 41 in C, K. 551 Jupiter Composed in 1788 in Vienna It is not known if the symphony was performed in Mozart s lifetime it was not published until after
More informationChapter 13. The Symphony
Chapter 13 The Symphony!1 Key Terms symphony sonata form exposition first theme bridge second group second theme cadence theme development retransition recapitulation coda fragmentation theme
More informationPart IV. The Classical Period ( ) McGraw-Hill The McGraw-Hill Companies, Inc. All rights reserved.
Part IV The Classical Period (1750-1820) Time-Line Seven Years War-1756-1763 Louis XVI in France-1774-1792 American Declaration of Independence-1776 French Revolution-1789 Napoleon: first French consul-1799
More informationThe Classical Period-Notes
The Classical Period-Notes The Classical period lasted from approximately 1750 1810. This was a fairly brief period but contains the work of three of the greatest composers of all time. They were... Joseph
More informationConcerto No. 1 in B-flat minor for Piano and Orchestra, op. 23 (1875)
Michael Stern, Music Director Nielsen (1865-1931) Overture to Maskarade (1906) Schoenberg (b. 1980) Finding Rothko (2006) I. Orange II. Yellow III. Red IV. Wine Dvořák (1841-1904) Concerto in B minor for
More informationrhinegold education: subject to endorsement by ocr Mozart: Clarinet Concerto in A, K. 622, first movement Context Scores AS PRESCRIBED WORK 2017
94 AS/A LEVEL MUSIC STUDY GUIDE AS PRESCRIBED WORK 2017 Mozart: Clarinet Concerto in A, K. 622, first movement Composed in 1791 (Mozart s last instrumental work, two months before he died), dedicated to
More informationMu 110: Introduction to Music
Reading/Attendance quiz! Mu 110: Introduction to Music Instructor: Dr. Alice Jones Queensborough Community College Spring 2017 Sections F1 (Mondays 12:10-3) and F4 (Thursdays 12:10-3) Recap Meter is the
More informationLISTENING GUIDE. p) serve to increase the intensity and drive. The overall effect is one of great power and compression.
LISTENING GUIDE LUDWIG VAN BEETHOVEN (1770 1827) Symphony No. 5 in C Minor Date of composition: 1807 8 Orchestration: two flutes, two oboes, two clarinets, two horns, two trumpets, timpani, strings Duration:
More informationMusic of the Classical Period
Music of the Classical Period 1750 1825 A new style in architecture, literature, and the arts developed. Sought to emulate the ideals of Classical Antiquity, especially Classical Greece Called Classicism
More informationCopyright 2009 Pearson Education, Inc. or its affiliate(s). All rights reserved. NES, the NES logo, Pearson, the Pearson logo, and National
Music (504) NES, the NES logo, Pearson, the Pearson logo, and National Evaluation Series are trademarks in the U.S. and/or other countries of Pearson Education, Inc. or its affiliate(s). NES Profile: Music
More informationMu 101: Introduction to Music
Attendance/Reading Quiz! Mu 101: Introduction to Music Instructor: Dr. Alice Jones Queensborough Community College Fall 2018 Sections F2 (T 12:10-3) and J2 (3:10-6) Reading quiz Religion was the most important
More informationWestern Classical Tradition. The concerto
Western Classical Tradition The concerto Classical! The word classical is often used in a general way to refer to any music that is not pop music! However, the term also has a more precise meaning, and
More informationMu 110: Introduction to Music
Attendance/Reading Quiz! Mu 110: Introduction to Music Instructor: Dr. Alice Jones Queensborough Community College Spring 2017 Sections F1 (Mondays 12:10-3) and F4 (Thursdays 12:10-3) Recap Musical analysis
More informationTopic Page: Mozart, Wolfgang Amadeus ( )
Topic Page: Mozart, Wolfgang Amadeus (1756-1791) Definition: Mozart from Collins English Dictionary n 1 Wolfgang Amadeus (ˈvɔlfɡaŋ amaˈdeːʊs). 1756 91, Austrian composer. A child prodigy and prolific genius,
More informationCHICAGO SYMPHONY ORCHESTRA ANNOUNCES TOUR PLANS FOR 2012/13 SEASON
FOR IMMEDIATE RELEASE: May 8, 2012 Press Contacts: Raechel Alexander Rachelle Roe CHICAGO SYMPHONY ORCHESTRA ANNOUNCES TOUR PLANS FOR 2012/13 SEASON Music Director Riccardo Muti Leads CSO in Fall 2012
More information17. Beethoven. Septet in E flat, Op. 20: movement I
17. Beethoven Septet in, Op. 20: movement I (For Unit 6: Further Musical understanding) Background information Ludwig van Beethoven was born in 1770 in Bonn, but spent most of his life in Vienna and studied
More informationSunday, April 30, :00 p.m. Mika Allison. Certificate Recital. DePaul Concert Hall 800 West Belden Avenue Chicago
Sunday, April 30, 2017 1:00 p.m. Mika Allison Certificate Recital DePaul Concert Hall 800 West Belden Avenue Chicago Sunday, April 30, 2017 1:00 p.m. DePaul Concert Hall PROGRAM Paul Hindemith (1895-1963)
More informationMu 110: Introduction to Music
Reading/Attendance quiz! Mu 110: Introduction to Music Instructor: Dr. Alice Jones Queensborough Community College Spring 2017 Sections F1 (Mondays 12:10-3) and F4 (Thursdays 12:10-3) Recap Meter is the
More informationCHAPTER 1 ANTONIN DVORAK S SERENADE IN D MINOR, OP. 44, B.77. Czech composer, Antonin Dvořák is well known for his orchestral repertoire.
1 CHAPTER 1 ANTONIN DVORAK S SERENADE IN D MINOR, OP. 44, B.77 Czech composer, Antonin Dvořák is well known for his orchestral repertoire. His works encompass a variety of genres including, but not limited
More informationSonata No. 13 in E-flat Major, Opus 27, No. 1, Quasi una fantasia (1801)
Concert of Wednesday, February 28, 2018, at 8:00p Jonathan Biss, piano Ludwig van Beethoven (1770-1827) Sonata No. 1 in F minor, Opus 2, No. 1 (1795) I. Allegro II. Adagio III. Menuetto. Allegretto IV.
More informationHaydn: Symphony No. 97 in C major, Hob. I:97. the Esterhazy court. This meant that the wonderful composer was stuck in one area for a large
Haydn: Symphony No. 97 in C major, Hob. I:97 Franz Joseph Haydn, a brilliant composer, was born on March 31, 1732 in Austria and died May 13, 1809 in Vienna. For nearly thirty years Haydn was employed
More informationPROGRAM NOTES SEPTEMBER 22, 2012
PROGRAM NOTES SEPTEMBER 22, 2012 Johannes Brahms (1833 1897) Academic Festival Overture, Op. 80 Brahms was born in Hamburg in northern Germany. He was given the Latin name Johannes to distinguish him from
More informationMichael Haydn Born in Austria, Michael Haydn was the baby brother of the very famous composer Joseph Papa Haydn. With the loving support of
Michael Haydn 1737-1805 Born in Austria, Michael Haydn was the baby brother of the very famous composer Joseph Papa Haydn. With the loving support of his older brother, Michael became a great singer and
More informationAdditional Theory Resources
UTAH MUSIC TEACHERS ASSOCIATION Additional Theory Resources Open Position/Keyboard Style - Level 6 Names of Scale Degrees - Level 6 Modes and Other Scales - Level 7-10 Figured Bass - Level 7 Chord Symbol
More informationRomantic Era Practice Test
Name Date Part 1 Multiple Choice Romantic Era Practice Test 1) Romantic style flourished in music during the period A) 1600-1750 B) 1750-1820 C) 1820-1900 D) 1900-1950 2) Which of the following is not
More informationConcerts of March 6-8, Michael Stern, Music Director. Anthony McGill, clarinet. Beethoven. Leonore Overture No. III, op. 72b (1806) Danielpour
Concerts of March 6-8, 2015 Michael Stern, Music Director Anthony McGill, clarinet Beethoven Leonore Overture No. III, op. 72b (1806) Danielpour From the Mountaintop for Clarinet and Orchestra (2013) Co-commission
More informationSymphony No. 101 The Clock movements 2 & 3
Unit Study Symphony No. 101 (Haydn) 1 UNIT STUDY LESSON PLAN Student Guide to Symphony No. 101 The Clock movements 2 & 3 by Franz Josef Haydn Name: v. 1.0, last edited 3/27/2009 Unit Study Symphony No.
More informationIf the classical music world ever had a Renaissance Man, Leonard Bernstein was it. He
Divertimento Leonard Bernstein (1918 1990) Written: 1980 Movements: Eight Style: Contemporary American Duration: Fifteen minutes If the classical music world ever had a Renaissance Man, Leonard Bernstein
More informationTEXAS MUSIC TEACHERS ASSOCIATION Student Affiliate World of Music
Identity Symbol TEXAS MUSIC TEACHERS ASSOCIATION Student Affiliate World of Music Grade 11 2012-13 Name School Grade Date 5 MUSIC ERAS: Match the correct period of music history to the dates below. (pg.42,43)
More informationFolksong in the Concert Hall
Folksong in the Concert Hall The works featured on this programme all take inspiration from folk music. Zoltán Kodály s Concerto for Orchestra is an example of folklorism the systematic incorporation of
More informationCarnegie Mellon University School of Music Piano Literature & Repertoire II, Classical Spring Semester, 2015
Carnegie Mellon University School of Music Piano Literature & Repertoire II, Classical Spring Semester, 2015 lec Chien, Professor School of Music, College of Fine rts Room CF 160 Tuesdays, 12:30-2:20 PM
More informationBellwork Chapter 18 Vocabulary and Definitions
Bellwork Chapter 18 Vocabulary and Definitions Chapter 18 Classical and Romantic 18.1 Music of the Classical Period Classical Period 1750-1825 Era of intellectual enlightenment Rise of a new Middle Class
More informationBeethoven and the Battle with Form
Beethoven and the Battle with Form The Violin Concerto Theme 1 Theme 1 T1 Theme 1 In D Major Transition Transition T2 Transition Op 61 (1806) Theme 2 Theme 2 Theme 2 Cadence Cadence T3 T4 Cadenza Presented
More informationBeethoven: Sonata no. 7 for Piano and Violin, op. 30/2 in C minor
symphony, Piano Piano Beethoven: Sonata no. 7 for Piano and Violin, op. 30/2 in C minor Gilead Bar-Elli Beethoven played the violin and especially the viola but his writing for the violin is often considered
More informationMassachusetts Youth Symphony Project at Powers (MYSP) Winter Concert Notes Belmont, MA
Massachusetts Youth Symphony Project at Powers (MYSP) Winter Concert Notes - 2016 www.powersmusic.org 617-484-4696 Belmont, MA The MYSP Winter Concert repertoire carries a resounding theme of pride throughout
More informationRoyal Liverpool Philharmonic Chamber Music Series Programme Notes Online
Royal Liverpool Philharmonic Chamber Music Series Programme Notes Online Pavel Haas Quartet Tuesday 8 May 2018 7.30pm St George s Hall Concert Room sponsored by Investec ANTONÍN DVOŘÁK (1841-1904) String
More informationof musical means, and conduct it toward a solution that corresponds apprehensively to that of
Overture to Tannhäuser Richard Wagner (1813 1883) Written: 1845 Movements: One Duration: Fourteen minutes An opera overture must encompass the general spirit of the action without the misuse of musical
More informationTechnical and Musical Analysis of Trio No: 2 in C Major for Flute, Clarinet and Bassoon by Ignaz Joseph Pleyel
Technical and Musical Analysis of Trio No: 2 in C Major for Flute, Clarinet and Bassoon by Ignaz Joseph Pleyel Sabriye Özkan*, Burçin Barut Dikicigiller** & İlkay Ak*** *Associate professor, Music Department,
More informationGCSE MUSIC REVISION GUIDE
GCSE MUSIC REVISION GUIDE J Williams: Main title/rebel blockade runner (from the soundtrack to Star Wars: Episode IV: A New Hope) (for component 3: Appraising) Background information and performance circumstances
More informationBrahms Piano Quintet in F minor - 3 rd Movement (For Unit 3: Developing Musical Understanding)
Brahms Piano Quintet in F minor - 3 rd Movement (For Unit 3: Developing Musical Understanding) Background information and performance circumstances Biography Johannes Brahms was born in Hamburg, Germany
More informationsomething of a child prodigy. At the age of ten, he played his cantata Gold for Gustav Mahler,
Suite from Much Ado About Nothing Erich Wolfgang Korngold (1897 1957) Written: 1919 Movements: Five Duration: Sixteen minutes Erich Wolfgang Korngold is most often remembered today for his brilliant Hollywood
More information3. Berlioz Harold in Italy: movement III (for Unit 3: Developing Musical Understanding)
3. Berlioz Harold in Italy: movement III (for Unit 3: Developing Musical Understanding) Background information Biography Berlioz was born in 1803 in La Côte Saint-André, a small town between Lyon and Grenoble
More informationLudwig van Beethoven
Ludwig van Beethoven Haga clic para modificar el estilo de subtítulo del patrón María Sobrón Jorge 3º E.S.O. - B y la sonata Claro de Luna Beethoven Beethoven was a XIXth century German composer, conductor
More informationLISTENING GUIDE. FORM: SONATA ALLEGRO EXPOSITION 1st Theme. 1st Theme. 5. TRANSITION ends with 2 CHORDS.
LISTENING GUIDE Ludwig van Beethoven (1770 1827) Symphony No. 5 in C minor, Opus 67 Composed 180 1808 1st Performance in Vienna, December 22, 1808 Movement I Allegro con brio FORM: SONATA ALLEGRO EXPOSITION
More informationPiano Concerto No. 2 in F Minor, Op. 21
The Chopin piano concertos are simply beautiful to hear, whether from a seat in the audience or from a seat on the stage. I especially love the second movement of the Piano Concerto No. 2 and always wish
More informationUnit Outcome Assessment Standards 1.1 & 1.3
Understanding Music Unit Outcome Assessment Standards 1.1 & 1.3 By the end of this unit you will be able to recognise and identify musical concepts and styles from The Classical Era. Learning Intention
More informationEMOTIONAL AND COMPOSITIONAL ACHIEVEMENTS IN BEETHOVEN S LATE PERIOD WORKS 1. Jana Cheteleva Belevska
EMOTIONAL AND COMPOSITIONAL ACHIEVEMENTS IN BEETHOVEN S LATE PERIOD WORKS 1 Jana Cheteleva Belevska University St. Kliment Ohridski Bitola, Macedonia Faculty of Education, Bitola, Macedonia ceteleva@yahoo.com
More information50 Moments That Rocked the Classical Music World
50 Moments That Rocked the Classical Music World Darren Henley AND Sam Jackson 6 Strike Up the Band: The Invention of the Symphony Can anyone really be described as a great composer if they have never
More informationIf you ve seen the play or movie Amadeus, forget everything you learned about Antonio
Sinfonia in D Major,"La Veneziana" Antonio Salieri (1750 1825) Written: 1779 Movements: Three Style: Classical Duration: Nine minutes If you ve seen the play or movie Amadeus, forget everything you learned
More informationL van Beethoven: 1st Movement from Piano Sonata no. 8 in C minor Pathétique (for component 3: Appraising)
L van Beethoven: 1st Movement from Piano Sonata no. 8 in C minor Pathétique (for component 3: Appraising) Background information and performance circumstances The composer Ludwig van Beethoven was born
More informationGERSHWIN S CUBAN OVERTURE and DVOŘÁK S NEW WORLD *
CLASSICAL SERIES 2018/19 SEASON GERSHWIN S CUBAN OVERTURE and DVOŘÁK S NEW WORLD * Friday and Saturday, February 8-9, 2019 at 8 p.m. Sunday, February 10, 2019 at 2 p.m. MICHAEL STERN, conductor GERSHWIN
More informationRESPIGHI Ancient Airs and Dances: Suite I (15 )* Balletto detto Il Conte Orlando Villanella Passo mezzo e Mascherada Gagliarda
Mendelssohn & Haydn Wednesday, October 11 7:30 pm William Eddins, conductor & piano Sara Davis Buechner, piano RESPIGHI Ancient Airs and Dances: Suite I (15 )* Balletto detto Il Conte Orlando Villanella
More informationDvořák Symphony No. 8 PRESENTATION BY DANIEL SMITH
Dvořák Symphony No. 8 PRESENTATION BY DANIEL SMITH Antonín Leopold Dvořák Pronnciation by native Czech speaker Lived 1841 1904 1857-9 Organ School First pblication at age 20 Played Viola 1873 married Anna
More informationSunday, May 21, :00 p.m. Anne-Sophie Paquet. Certificate Recital. DePaul Recital Hall 804 West Belden Avenue Chicago
Sunday, May 21, 2017 4:00 p.m Anne-Sophie Paquet Certificate Recital DePaul Recital Hall 804 West Belden Avenue Chicago Sunday, May 21, 2017 4:00 p.m. DePaul Recital Hall PROGRAM Anne-Sophie Paquet, violin
More informationMassachusetts Youth Symphony Project at Powers (MYSP) Spring Concert Notes Belmont, MA
Massachusetts Youth Symphony Project at Powers (MYSP) Spring Concert Notes - 2016 www.powersmusic.org 617-484-4696 Belmont, MA It s almost impossible to listen to great music without feeling some type
More informationGRADUATE PLACEMENT EXAMINATIONS - COMPOSITION
McGILL UNIVERSITY SCHULICH SCHOOL OF MUSIC GRADUATE PLACEMENT EXAMINATIONS - COMPOSITION All students beginning graduate studies in Composition, Music Education, Music Technology and Theory are required
More informationTheme and Variations
Sonata Form Grew out of the Baroque binary dance form. Binary A B Rounded Binary A B A Sonata Form A B development A B Typically, the sonata form has the following primary elements: Exposition: This presents
More informationMartinů, Madrigals for Violin and Viola
PROGRAM NOTES BY DR. MICHAEL FINK COPYRIGHT 2009. ALL RIGHTS RESERVED. Martinů, Madrigals for Violin and Viola We might term Bohuslav Martinů (1890-1959) the bad boy of Czech music. Although, historically
More informationThe Grand Sonata Liszt s Piano Sonata in B Minor
The Grand Sonata Liszt s Piano Sonata in B Minor What we can never deny is that Liszt and Chopin were the two that totally changed the piano technique, and we would not be wrong to say that not such an
More informationBeethoven s Violin Concerto and his Battle with Form. Presented by Akram Najjar STARK Creative Space
Beethoven s Violin Concerto and his Battle with Form Presented by Akram Najjar STARK Creative Space A Collaboration between JML, STARK Creative Space and Karaz w Laimoon Agenda 1) Placing the Concerto
More informationThe Classical and Romantic Periods
The Classical and Romantic Periods Classical / Romantic Music Influence Kill da Wabbit!! From Wagner s Ring Cycle Disney s Fantasia Disney s Sorcerer's Apprentice Mozart s Blue Rondo Alla Turk Classical
More informationInformation Sheets for Proficiency Levels One through Five NAME: Information Sheets for Written Proficiency Levels One through Five
NAME: Information Sheets for Written Proficiency You will find the answers to any questions asked in the Proficiency Levels I- V included somewhere in these pages. Should you need further help, see your
More informationChristoph Eschenbach and The Philadelphia Orchestra tour Florida and Puerto Rico
N E W S R E L E A S E CONTACT: Katherine Blodgett Director of Public/Media Relations phone: 215.893.1939 e-mail: kblodgett@philorch.org FOR IMMEDIATE RELEASE DATE: February 9, 2006 Christoph Eschenbach
More informationTeach Your Students to Compose Themselves!
Teach Your Students to Compose Themselves! Robert Sheldon Composer/Conductor/Clinician/Concert Band Editor Alfred Music www.robertsheldonmusic.com rsheldon@alfred.com 1) Where to begin? What does the composer
More information1 st semester: 25 years (at the beginning of the studies)
HOCHSCHULE FÜR MUSIK UND THEATER Conducting Programmes of study: Duration of study programme: Degree earned: Area of professional activity: Age limit: 8 semesters conduct of an chestra (theatre I concert)
More informationMUSIC (MUS) Music (MUS) 1
Music (MUS) 1 MUSIC (MUS) MUS 2 Music Theory 3 Units (Degree Applicable, CSU, UC, C-ID #: MUS 120) Corequisite: MUS 5A Preparation for the study of harmony and form as it is practiced in Western tonal
More informationConcerto No. 2 for Piano and Orchestra in C minor, Opus 18 (1901)
Concert of Sunday, November 4, 2018, at 3p Overture Concert Stephen Mulligan, Conductor Jason Guo, piano ASYO Concerto Competition Winner George Enescu (1881-1955) Rumanian Rhapsody No. 1 in A Major, Opus
More informationChapter 20-- Important Composers and Events of the Classical Era
Chapter 20-- Important Composers and Events of the Classical Era Illustration 1: Manuscript of Opening of Mozart's Requiem (courtesy of the Petrucci Music Library) SOME IMPORTANT EVENTS OF THE CLASSICAL
More informationKing Edward VI College, Stourbridge Starting Points in Composition and Analysis
King Edward VI College, Stourbridge Starting Points in Composition and Analysis Name Dr Tom Pankhurst, Version 5, June 2018 [BLANK PAGE] Primary Chords Key terms Triads: Root: all the Roman numerals: Tonic:
More informationThe story of how Beethoven came to write his only opera, Fidelio, is as full of dramatic twists and turns as the opera itself.
Saturday, November 7, 2009, 8 pm Sunday, November 8, 2009, 3 pm Venue: Ohio Theatre DvořÁk s New World Symphony Beethoven - Overture to Fidelio Rachmaninoff - Piano Concerto No. 3 Dvořák - Symphony No.
More informationRoyal Liverpool Philharmonic Orchestra Programme Notes Online
Royal Liverpool Philharmonic Orchestra Programme Notes Online Henry E Rensburg Series Beethoven s Third Piano Concerto Thursday 31 May 2018 7.30pm sponsored by Investec LI HUANZHI (1919-2000) Spring Festival
More informationPROGRAMMING FOR THE YOUTH AND COMMUNITY ORCHESTRA: BEETHOVEN AND SCHUBERT AS MODELS FOR SELECTION A CREATIVE PROJECT SUBMITTED TO THE GRADUATE SCHOOL
PROGRAMMING FOR THE YOUTH AND COMMUNITY ORCHESTRA: BEETHOVEN AND SCHUBERT AS MODELS FOR SELECTION A CREATIVE PROJECT SUBMITTED TO THE GRADUATE SCHOOL IN PARTIAL FULFILLMENT OF THE REQUIREMENTS FOR THE
More informationTrumpets. Clarinets Bassoons
LISTENING GUIDE RTÓK (1943) One of artók s last works, the was premiered by the oston Symphony Orchestra at Symphony Hall on December 1, 1944. The score was a commission from Serge Koussevitsky, the orchestra
More informationSymphony No. 4, I. Analysis. Gustav Mahler s Fourth Symphony is in dialogue with the Type 3 sonata, though with some
Karolyn Byers Mr. Darcy The Music of Mahler 15 May 2013 Symphony No. 4, I. Analysis Gustav Mahler s Fourth Symphony is in dialogue with the Type 3 sonata, though with some deformations. The exposition
More informationExam 2 MUS 101 (CSUDH) MUS4 (Chaffey) Dr. Mann Spring 2018 KEY
Provide the best possible answer to each question: Chapter 20: Voicing the Virgin: Cozzolani and Italian Baroque Sacred Music 1. Which of the following was a reason that a woman would join a convent during
More informationLevel performance examination descriptions
Unofficial translation from the original Finnish document Level performance examination descriptions LEVEL PERFORMANCE EXAMINATION DESCRIPTIONS Accordion, kantele, guitar, piano and organ... 6 Accordion...
More informationHow to Write about Music: Vocabulary, Usages, and Conventions
How to Write about Music: Vocabulary, Usages, and Conventions Some Basic Performance Vocabulary Here are a few terms you will need to use in discussing musical performances; surprisingly, some of these
More informationMusic Study Guide. Moore Public Schools. Definitions of Musical Terms
Music Study Guide Moore Public Schools Definitions of Musical Terms 1. Elements of Music: the basic building blocks of music 2. Rhythm: comprised of the interplay of beat, duration, and tempo 3. Beat:
More informationPhiladelphia Theodore Presser Co Chestnut Str. Copyright, 1915, by Theodore Presser Co. Printed in the U.S.A. Page 2
Philadelphia Theodore Presser Co. 1712 Chestnut Str. Copyright, 1915, by Theodore Presser Co. Printed in the U.S.A. Page 2 FREDERIC FRANÇOIS CHOPIN BY THOMAS TAPPER The story Wolfgang Amadeus Mozart by
More informationBite-Sized Music Lessons
Bite-Sized Music Lessons A series of F-10 music lessons for implementation in the classroom Conditions of use These Materials are freely available for download and educational use. These resources were
More informationThe Development of Modern Sonata Form through the Classical Era: A Survey of the Masterworks of Haydn and Beethoven B.
The Development of Modern Sonata Form through the Classical Era: A Survey of the Masterworks of Haydn and Beethoven B. Michael Winslow B. Michael Winslow is a senior music composition and theory major,
More information3 against 2. Acciaccatura. Added 6th. Augmentation. Basso continuo
3 against 2 Acciaccatura One line of music may be playing quavers in groups of two whilst at the same time another line of music will be playing triplets. Other note values can be similarly used. An ornament
More informationCELEBRATED MASTER CONDUCTOR GERARD SCHWARZ RETURNS TO LOS ANGELES TO CONDUCT THE USC THORNTON SYMPHONY THURSDAY, OCTOBER 18, 2012 AT 7:30PM
FOR IMMEDIATE RELEASE Media Contacts: Helane Anderson hemander@yahoo.com/(310)945-5481 Michael Dowlan dowlan@thornton.usc.edu/(213) 740-3233 Images available upon request CELEBRATED MASTER CONDUCTOR GERARD
More informationConcerts of January 9-11, Michael Stern, Music Director. Yefim Bronfman, piano. Debussy. Prélude à L après-midi d un faune (1894) Brahms
Concerts of January 9-11, 2015 Michael Stern, Music Director Yefim Bronfman, piano Debussy Prélude à L après-midi d un faune (1894) Brahms Concerto No. 1 for Piano and Orchestra in D minor, Op. 15 (1861)
More informationLESSON 1 PITCH NOTATION AND INTERVALS
FUNDAMENTALS I 1 Fundamentals I UNIT-I LESSON 1 PITCH NOTATION AND INTERVALS Sounds that we perceive as being musical have four basic elements; pitch, loudness, timbre, and duration. Pitch is the relative
More informationœ œ Œ œ œ j œ œ œ œ j œ œ œ œ j œ œ œ œ œ œ œ œ j œ œ w œ œ Œ œ œ j œ œ œ œ J œ œ œ œ j œ œ Œ œ œ J œ œ œ œ j Œ œ œ j œ œ œ œ œ œ œ œ œ œ œ œ œ œ j w
# # I Surrender All j j j J Œ # # J Œ j J j w In the Bleak Midwinter Gustav Holst b 2 5 6 J j Œ J 7 8 9 10 11 b j Œ j 12 1 1 15 16 b Œ J j w b Minuet from Don Giovanni 2 Œ Œ Mozart 5 6 7 8 b n J n Œ Œ
More informationBreaking Convention: Music and Modernism. AK 2100 Nov. 9, 2005
Breaking Convention: Music and Modernism AK 2100 Nov. 9, 2005 Music and Tradition A brief timeline of Western Music Medieval: (before 1450). Chant, plainsong or Gregorian Chant. Renaissance: (1450-1650
More informationProgram Notes for KIDS
Program Notes for KIDS November 9, 2017 Woolsey Hall BEETHOVEN S NINTH William Boughton, conductor Jeffrey Douma, conductor Yale Glee Club Jennifer Johnson Cano, mezzo-soprano Gabriella Reyes de Ramirez,
More informationRiccardo Muti Conductor Vivaldi Concerto in A Major for Strings and Continuo, R. 158 Allegro molto Andante molto Allegro
Program One Hundred Twenty-Second Season Chicago Symphony Orchestra Riccardo Muti Music Director Pierre Boulez Helen Regenstein Conductor Emeritus Yo-Yo Ma Judson and Joyce Green Creative Consultant Global
More informationAn Interpretive Analysis Of Mozart's Sonata #6
Back to Articles Clavier, December 1995 An Interpretive Analysis Of Mozart's Sonata #6 By DONALD ALFANO Mozart composed his first six piano sonatas, K. 279-284, between 1774 and 1775 for a concert tour.
More informationEdexcel A Level Syllabus Analysis
M USIC T EACHERS.CO.UK the internet service for practical musicians. Edexcel A Level Syllabus Analysis Mozart: Piano Sonata in B-flat K333, first movement. 2000 MusicTeachers.co.uk Mozart: Piano Sonata
More informationMusic Appreciation Final Exam Study Guide
Music Appreciation Final Exam Study Guide Music = Sounds that are organized in time. Four Main Properties of Musical Sounds 1.) Pitch (the highness or lowness) 2.) Dynamics (loudness or softness) 3.) Timbre
More informationGREAT STRING QUARTETS
GREAT STRING QUARTETS YING QUARTET At the beginning of each session of this course we ll take a brief look at one of the prominent string quartets whose concerts and recordings you will encounter. The
More information