Symphony In C (Bizet)
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Symphony In C (Bizet)
The Symphony in C is an early work by the French composer Georges Bizet. According to '' Grove's Dictionary'', the symphony "reveals an extraordinarily accomplished talent for a 17-year-old student, in melodic invention, thematic handling and orchestration." Bizet started work on the symphony on 29 October 1855, four days after turning 17, and finished it roughly a month later. It was written while he was studying at the Paris Conservatoire under the composer Charles Gounod, and was evidently a student assignment. Bizet showed no apparent interest in having it performed or published, and the piece was never played in his lifetime. He used certain material from the symphony in later works, however. There is no mention of the work in Bizet's letters, and it was unknown to his earlier biographers. His widow, Geneviève Halévy (1849–1926), gave the manuscript to Reynaldo Hahn, who passed it along with other papers to the archives of the conservatory library, where it was found in 193 ...
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Georges Bizet
Georges Bizet (; 25 October 18383 June 1875) was a French composer of the Romantic music, Romantic era. Best known for his operas in a career cut short by his early death, Bizet achieved few successes before his final work, ''Carmen'', which has become one of the most popular and frequently performed works in the entire opera repertoire. During a brilliant student career at the Conservatoire de Paris, Bizet won many prizes, including the prestigious Prix de Rome in 1857. He was recognised as an outstanding pianist, though he chose not to capitalise on this skill and rarely performed in public. Returning to Paris after almost three years in Italy, he found that the main Parisian opera theatres preferred the established classical repertoire to the works of newcomers. His keyboard and orchestral compositions were likewise largely ignored; as a result, his career stalled, and he earned his living mainly by arranging and transcribing the music of others. Restless for success, he ...
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His Master's Voice
His Master's Voice (HMV) was the name of a major British record label created in 1901 by The Gramophone Co. Ltd. The phrase was coined in the late 1890s from the title of a painting by English artist Francis Barraud, which depicted a Jack Russell Terrier dog named Nipper listening to a wind-up disc gramophone and tilting his head. In the original, unmodified 1898 painting, the dog was listening to a cylinder phonograph. The painting was also famously used as the trademark and logo of the Victor Talking Machine Company, later known as RCA Victor. In the 1970s, an award was created which is a copy of the statue of the dog and gramophone, ''His Master's Voice'', cloaked in bronze, and was presented by the record company (EMI) to artists, music producers and composers in recognition of selling more than 1,000,000 recordings. The painting The trademark image comes from a painting by English artist Francis Barraud titled ''His Master's Voice''. It was acquired from the artist in ...
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Coda (music)
In music, a coda () (Italian for "tail", plural ''code'') is a passage that brings a piece (or a movement) to an end. It may be as simple as a few measures, or as complex as an entire section. In classical music The presence of a coda as a structural element in a movement is especially clear in works written in particular musical forms. Codas were commonly used in both sonata form and variation movements during the Classical era. In a sonata form movement, the recapitulation section will, in general, follow the exposition in its thematic content, while adhering to the home key. The recapitulation often ends with a passage that sounds like a termination, paralleling the music that ended the exposition; thus, any music coming after this termination will be perceived as extra material, i.e., as a coda. In works in variation form, the coda occurs following the last variation and will be very noticeable as the first music not based on the theme. One of the ways that Beethoven ...
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Tutti
''Tutti'' is an Italian word literally meaning ''all'' or ''together'' and is used as a musical term, for the whole orchestra as opposed to the soloist. It is applied similarly to choral music, where the whole section or choir is called to sing. Music examination boards may instruct candidates to "play in tuttis", indicating that the candidate should play both the solo and the tutti sections. An orchestrator may specify that a section leader (e.g., the principal violinist) plays alone, while the rest of the section is silent for the duration of the solo passage, by writing ''solo'' in the music at the point where it begins and ''tutti'' at the point where the rest of the section should resume playing. In organ music, it indicates that the full organ should be used: all stops and all couplers. Some organ consoles offer a toe stud or piston to toggle the tutti: pressing once activates all stops (although it does not physically move the stop knobs), and pressing again reverts to the ...
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Parody
A parody, also known as a spoof, a satire, a send-up, a take-off, a lampoon, a play on (something), or a caricature, is a creative work designed to imitate, comment on, and/or mock its subject by means of satiric or ironic imitation. Often its subject is an original work or some aspect of it (theme/content, author, style, etc), but a parody can also be about a real-life person (e.g. a politician), event, or movement (e.g. the French Revolution or 1960s counterculture). Literary scholar Professor Simon Dentith defines parody as "any cultural practice which provides a relatively polemical allusive imitation of another cultural production or practice". The literary theorist Linda Hutcheon said "parody ... is imitation, not always at the expense of the parodied text." Parody may be found in art or culture, including literature, music, theater, television and film, animation, and gaming. Some parody is practiced in theater. The writer and critic John Gross observes in his ''Oxford Boo ...
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Columbia University Orchestra
Columbia may refer to: * Columbia (personification), the historical female national personification of the United States, and a poetic name for America Places North America Natural features * Columbia Plateau, a geologic and geographic region in the U.S. Pacific Northwest * Columbia River, in Canada and the United States ** Columbia Bar, a sandbar in the estuary of the Columbia River ** Columbia Country, the region of British Columbia encompassing the northern portion of that river's upper reaches ***Columbia Valley, a region within the Columbia Country ** Columbia Lake, a lake at the head of the Columbia River *** Columbia Wetlands, a protected area near Columbia Lake ** Columbia Slough, along the Columbia watercourse near Portland, Oregon * Glacial Lake Columbia, a proglacial lake in Washington state * Columbia Icefield, in the Canadian Rockies * Columbia Island (District of Columbia), in the Potomac River * Columbia Island (New York), in Long Island Sound Populated places * Co ...
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Grove Music Online
''The New Grove Dictionary of Music and Musicians'' is an encyclopedic dictionary of music and musicians. Along with the German-language ''Die Musik in Geschichte und Gegenwart'', it is one of the largest reference works on the history and theory of music. Earlier editions were published under the titles ''A Dictionary of Music and Musicians'', and ''Grove's Dictionary of Music and Musicians''; the work has gone through several editions since the 19th century and is widely used. In recent years it has been made available as an electronic resource called ''Grove Music Online'', which is now an important part of ''Oxford Music Online''. ''A Dictionary of Music and Musicians'' ''A Dictionary of Music and Musicians'' was first published in London by Macmillan and Co. in four volumes (1879, 1880, 1883, 1889) edited by George Grove with an Appendix edited by J. A. Fuller Maitland in the fourth volume. An Index edited by Mrs. E. Wodehouse was issued as a separate volume in 1890. In ...
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La Nonne Sanglante
''La nonne sanglante'' (''The Bloody Nun''), is a five-act opera by Charles Gounod to a libretto by Eugène Scribe and Germain Delavigne. Written between 1852 and 1854, it was first produced on 18 October 1854 at the Salle Le Peletier by the Paris Opéra. It received 11 performances between October and November 1854. Its poor reception, in the midst of various crises, contributed to the overthrow of the Opéra director Nestor Roqueplan, who was replaced by his adversary François Crosnier. Crosnier immediately cancelled the run, saying that 'such filth' (''pareilles ordures'') would no longer be tolerated. Performance history Although the first run sold well, Gounod's opera disappeared completely for a very long time. After the unfortunate beginning, no other opera manager took the risk. One year later, British composer Edward James Loder presented his version of the subject, ''Raymond and Agnes''. This opera was first shown in Manchester and was brought to London in 1859. Loder's ...
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La Maison Du Docteur
''La maison du docteur'' is an opéra comique in one act by Georges Bizet with a French libretto by Henry Boisseaux. Some music scholars assert that the opera was composed in 1852 while others believe that it was written in 1855. Either way the composition is the first opera Opera is a form of theatre in which music is a fundamental component and dramatic roles are taken by singers. Such a "work" (the literal translation of the Italian word "opera") is typically a collaboration between a composer and a libr ... written by Bizet. ''La maison du docteur'' has never been performed and while the music does survive in piano score only, the work has never been published. An orchestration of the piano score was performed on 9 February 2012 by the Orchestre de la Bastille at the Auditorium St. Germain in Paris. References External links * http://www.orchestre-de-la-bastille.com/classique.html Operas by Georges Bizet French-language operas Opéras comiques 1852 op ...
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Sapho (Gounod)
''Sapho'' is a 3-act opera by Charles Gounod to a libretto by Émile Augier which was premiered by the Paris Opera at the Salle Le Peletier on 16 April 1851. It was presented only 9 times in its initial production, Lajarte 1878p. 208 but was a ''succès d'estime'' for the young composer, with the critics praising Act 3 in particular.Huebner 1992, p. 176. It was later revived in 2-act (1858) and 4-act (1884) versions, achieving a total of 48 performances.Wolff 1962, pp. 198–199. Background The impetus for the composition of Gounod's first opera, and its acceptance for performance at France's premiere opera house, was primarily due to the influence of Pauline Viardot, who met the young composer in January or February 1850, shortly after her triumph there in Meyerbeer's ''Le prophète''.Huebner 1990, p. 26. In his memoirs Gounod relates that the violinist François Seghers, who at that time was the leader of the Concerts de la Société Sainte-Cécile on the Rue Chaussée-d'Antin ...
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