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Concerto For Orchestra (Lutosławski)
Polish composer Witold Lutosławski's Concerto for Orchestra was written in the years 1950–54, on the initiative of the artistic director of the Warsaw Philharmonic, Witold Rowicki, to whom it is dedicated. It is written in three movements, lasts about 30 minutes, and constitutes the last stage and a crowning achievement of the folkloristic style in Lutosławski's work. That style, inspired by the music of the Kurpie region, went back in time to the pre-1939 years. Having written a series of small folkloristic pieces for various instruments and their combinations (piano, clarinet with piano, chamber ensemble, orchestra, voice with orchestra), Lutosławski decided to use his experience of stylisation of Polish folklore in a bigger work. However, the Concerto for Orchestra differs from Lutosławski's earlier folkloristic pieces not only in that it is more extended, but also in that what is retained from folklore is only melodic themes. The composer moulds them into a different real ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Witold Lutosławski
Witold Roman Lutosławski (; 25 January 1913 – 7 February 1994) was a Polish composer and conductor. Among the major composers of 20th-century classical music, he is "generally regarded as the most significant Polish composer since Szymanowski, and possibly the greatest Polish composer since Chopin". His compositions—of which he was a notable conductor—include representatives of most traditional genres, aside from opera: symphonies, concertos, orchestral song cycles, other orchestral works, and chamber works. Among his best known works are his four symphonies, the Variations on a Theme by Paganini (1941), the Concerto for Orchestra (1954), and his cello concerto (1970). During his youth, Lutosławski studied piano and composition in Warsaw. His early works were influenced by Polish folk music and demonstrated a wide range of rich atmospheric textures. His folk-inspired music includes the Concerto for Orchestra (1954)—which first brought him international renow ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Tambourine
The tambourine is a musical instrument in the percussion family consisting of a frame, often of wood or plastic, with pairs of small metal jingles, called "zills". Classically the term tambourine denotes an instrument with a drumhead, though some variants may not have a head. Tambourines are often used with regular percussion sets. They can be mounted, for example on a stand as part of a drum kit (and played with drum sticks), or they can be held in the hand and played by tapping, hitting, or shaking the instrument. Tambourines come in many shapes with the most common being circular. It is found in many forms of music: Albanian folk music, Arabic folk music, Israeli folk music, Turkish folk music, Greek folk music, Italian folk music, French folk music, classical music, Galician traditional music, Asturian traditional music, Persian music, samba, gospel music, pop music, country music, and rock music. History The origin of the tambourine is unknown, but it appea ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Toccata
Toccata (from Italian ''toccare'', literally, "to touch", with "toccata" being the action of touching) is a virtuoso piece of music typically for a keyboard or plucked string instrument featuring fast-moving, lightly fingered or otherwise virtuosic passages or sections, with or without imitative or fugal interludes, generally emphasizing the dexterity of the performer's fingers. Less frequently, the name is applied to works for multiple instruments (the opening of Claudio Monteverdi's opera ''L'Orfeo'' being a notable example). History Renaissance Little is known about the origination of the toccata other than that it was likely adapted from music for festive functions that was written for trumpet and timpani and latter transcribed for the organ or other keyboard instruments. The form first appeared in the late Renaissance period. It originated in northern Italy. Several publications of the 1590s include toccatas, by composers such as Claudio Merulo, Andrea and Giovanni Gab ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Passacaglia
The passacaglia (; ) is a musical form that originated in early seventeenth-century Spain and is still used today by composers. It is usually of a serious character and is typically based on a bass- ostinato and written in triple metre. Origin The term passacaglia (; ; Italian: ''passacaglia'', ''passacaglio'', ''passagallo'', ''passacagli'', ''passacaglie'') derives from the Spanish ''pasar'' (cross, pass) and ''calle'' (street). It originated in early 17th-century Spain as a strummed interlude between instrumentally accompanied dances or songs. Despite the form's Spanish roots (confirmed by references in Spanish literature of the period), the first written examples of passacaglias are found in an Italian source dated 1606. These pieces, as well as others from Italian sources from the beginning of the century, are simple, brief sequences of chords outlining a cadential formula. The passacaglia was redefined in the late 1620s by Italian composer Girolamo Frescobaldi, who trans ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Arioso
In classical music, arioso (; also aria parlante ) is a category of Solo (music), solo vocal piece, usually occurring in an opera or oratorio, falling somewhere between recitative and aria in style. Literally, arioso means ''airy''. The term arose in the 16th century along with the aforementioned styles and monody. It is commonly confused with Recitative, recitativo accompagnato. Arioso is similar to recitative due to its unrestrained structure and inflexions, close to those of speech. It differs, however, in its rhythm. Arioso is similar to aria in its melodic form, both being closer to singing than recitative; however, they differ in Musical form, form, arioso generally not resorting to the process of repetition. Well-known examples At the start of the finale in the first act of Mozart's ''The Magic Flute'', the andante of the priest (''Sprecher'') "''Sobald dich führt der Freundschaft Hand ins Heiligtum zum ew'gen Band''" is an example of arioso. "''Amor ti vieta''", sung by L ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Scherzo
A scherzo (, , ; plural scherzos or scherzi), in western classical music, is a short composition – sometimes a movement from a larger work such as a symphony or a sonata. The precise definition has varied over the years, but scherzo often refers to a movement that replaces the minuet as the third movement in a four-movement work, such as a symphony, sonata, or string quartet. The term can also refer to a fast-moving humorous composition that may or may not be part of a larger work. Origins The Italian word ''scherzo'' means " joke" or "jest." More rarely, the similar-meaning word ''badinerie'' (also spelled ''battinerie''; from French, "jesting") has been used. Sometimes the word ''scherzando'' ("joking") is used in musical notation to indicate that a passage should be executed in a playful manner. An early use of the word ''scherzo'' in music is in light-hearted madrigals of the early baroque period, which were often called ''scherzi musicali'', for example: * Claud ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Capriccio (music)
A or caprice (sometimes plural: ''caprices'', ''capri'' or, in Italian, ''capricci''), is a piece of music, usually fairly free in form and of a lively character. The typical ''capriccio'' is one that is fast, intense, and often virtuoso, virtuosic in nature. The term has been applied in disparate ways, covering works using many different procedures and forms, as well as a wide variety of vocal and instrumental forces. The earliest occurrence of the term was in 1561 by Jacquet de Berchem and applied to a set of Madrigal (music), madrigals. In the late 16th and early 17th centuries, it could refer to madrigals, music intended alternatively for voices or instruments, or strictly instrumental pieces, especially keyboard compositions.Erich Schwandt, Schwandt, Erich. 2001. "Capriccio (i)". ''The New Grove Dictionary of Music and Musicians'', second edition, edited by Stanley Sadie and John Tyrrell (musicologist), John Tyrrell. London: Macmillan. Examples * Charles-Valentin Alkan: ''C ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Symphony No
A symphony is an extended musical composition in Western classical music, most often for orchestra. Although the term has had many meanings from its origins in the ancient Greek era, by the late 18th century the word had taken on the meaning common today: a work usually consisting of multiple distinct sections or movements, often four, with the first movement in sonata form. Symphonies are almost always scored for an orchestra consisting of a string section (violin, viola, cello, and double bass), brass, woodwind, and percussion instruments which altogether number about 30 to 100 musicians. Symphonies are notated in a musical score, which contains all the instrument parts. Orchestral musicians play from parts which contain just the notated music for their own instrument. Some symphonies also contain vocal parts (e.g., Beethoven's Ninth Symphony, or Mahler's Second Symphony). Etymology and origins The word ''symphony'' is derived from the Greek word (), meaning ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Overture
Overture (from French ''ouverture'', "opening") is a music instrumental introduction to a ballet, opera, or oratorio in the 17th century. During the early Romantic era, composers such as Beethoven and Mendelssohn composed overtures which were independent, self-existing, instrumental, programmatic works that foreshadowed genres such as the symphonic poem. These were "at first undoubtedly intended to be played at the head of a programme". The idea of an instrumental opening to opera existed during the 17th century. Peri's '' Euridice'' opens with a brief instrumental ritornello, and Monteverdi's '' L'Orfeo'' (1607) opens with a toccata, in this case a fanfare for muted trumpets. More important was the prologue, consisting of sung dialogue between allegorical characters which introduced the overarching themes of the stories depicted. French overture As a musical form, the French overture first appears in the court ballet and operatic overtures of Jean-Baptist ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
String Section
The string section of an orchestra is composed of bowed instruments belonging to the violin family. It normally consists of first and second violins, violas, cellos, and double basses. It is the most numerous group in the standard orchestra. In discussions of the Orchestration, instrumentation of a musical work, the phrase "the strings" or "and strings" is used to indicate a string section as just defined. An orchestra consisting solely of a string section is called a string orchestra. Smaller string sections are sometimes used in jazz, pop, and rock music and in the pit orchestras of musical theatre. Seating arrangement The most common seating arrangement in the 2000s is with first violins, second violins, violas, and cello sections arrayed clockwise around the Conductor (music), conductor, with basses behind the cellos on the right. The first violins are led by the concertmaster (leader in the UK); each of the other string sections also has a principal player (principal secon ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Harp
The harp is a stringed musical instrument that has individual strings running at an angle to its soundboard; the strings are plucked with the fingers. Harps can be made and played in various ways, standing or sitting, and in orchestras or concerts. Its most common form is triangular in shape and made of wood. Some have multiple rows of strings and pedal attachments. Ancient depictions of harps were recorded in Mesopotamia (now Iraq), Persia (now Iran) and Egypt, and later in India and China. By medieval times harps had spread across Europe. Harps were found across the Americas where it was a popular folk tradition in some areas. Distinct designs also emerged from the African continent. Harps have symbolic political traditions and are often used in logos, including in Ireland. Historically, strings were made of sinew (animal tendons). Other materials have included gut (animal intestines), plant fiber, braided hemp, cotton cord, silk, nylon, and wire. In pedal harp scor ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Celesta
The celesta () or celeste (), also called a bell-piano, is a struck idiophone operated by a keyboard. It looks similar to an upright piano (four- or five-octave), albeit with smaller keys and a much smaller cabinet, or a large wooden music box (three-octave). The keys connect to hammers that strike a graduated set of metal (usually steel) plates or bars suspended over wooden resonators. Four- or five-octave models usually have a damper pedal that sustains or damps the sound. The three-octave instruments do not have a pedal because of their small "table-top" design. One of the best-known works that uses the celesta is Pyotr Ilyich Tchaikovskys "Dance of the Sugar Plum Fairy" from ''The Nutcracker''. The sound of the celesta is similar to that of the glockenspiel, but with a much softer and more subtle timbre. This quality gave the instrument its name, ''celeste'', meaning "heavenly" in French. The celesta is often used to enhance a melody line played by another instrument or ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
