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Piano Sonata No. 3 (Brahms)
The Piano Sonata No. 3 in F minor, Op. 5 of Johannes Brahms was written in 1853 and published the following year. The sonata is unusually large, consisting of five movements, as opposed to the traditional three or four. When he wrote this piano sonata, the genre was seen by many to be past its heyday. Brahms, enamored of Beethoven and the classical style, composed Piano Sonata No. 3 with a masterful combination of free Romantic spirit and strict classical architecture. As a further testament to Brahms' affinity for Beethoven, the Piano Sonata is infused with the instantly recognizable motive from Beethoven's Symphony No. 5 during the first, third, and fourth movements. Composed in Düsseldorf, it marks the end of his cycle of three sonatas, and was presented to Robert Schumann in November of that year; it was the last work that Brahms submitted to Schumann for commentary. Brahms was barely 20 years old at its composition. The piece is dedicated to Countess Ida v ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Johannes Brahms
Johannes Brahms (; 7 May 1833 – 3 April 1897) was a German composer, pianist, and conductor of the mid- Romantic period. Born in Hamburg into a Lutheran family, he spent much of his professional life in Vienna. He is sometimes grouped with Johann Sebastian Bach and Ludwig van Beethoven as one of the "Three Bs" of music, a comment originally made by the nineteenth-century conductor Hans von Bülow. Brahms composed for symphony orchestra, chamber ensembles, piano, organ, violin, voice, and chorus. A virtuoso pianist, he premiered many of his own works. He worked with leading performers of his time, including the pianist Clara Schumann and the violinist Joseph Joachim (the three were close friends). Many of his works have become staples of the modern concert repertoire. Brahms has been considered both a traditionalist and an innovator, by his contemporaries and by later writers. His music is rooted in the structures and compositional techniques of the Classical masters. Emb ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Sonata Form
Sonata form (also ''sonata-allegro form'' or ''first movement form'') is a musical form, musical structure generally consisting of three main sections: an exposition, a development, and a recapitulation. It has been used widely since the middle of the 18th century (the early Classical music era, Classical period). While it is typically used in the first Movement (music), movement of multi-movement pieces, it is sometimes used in subsequent movements as well—particularly the final movement. The teaching of sonata form in music theory rests on a standard definition and a series of hypotheses about the underlying reasons for the durability and variety of the form—a definition that arose in the second quarter of the 19th century. There is little disagreement that on the largest level, the form consists of three main sections: an exposition, a development, and a recapitulation; however, beneath this general structure, sonata form is difficult to pin down to a single model. The st ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Joseph Joachim
Joseph Joachim (28 June 1831 – 15 August 1907) was a Hungarian violinist, conductor, composer and teacher who made an international career, based in Hanover and Berlin. A close collaborator of Johannes Brahms, he is widely regarded as one of the most significant violinists of the 19th century. Joachim studied violin early, beginning in Buda at age five, then in Vienna and Leipzig. He made his debut in London in 1844, playing Beethoven's Violin Concerto, with Mendelssohn conducting. He returned to London many times throughout life. After years of teaching at the Leipzig Conservatory and playing as principal violinist of the Gewandhausorchester, he moved to Weimar in 1848, where Franz Liszt established cultural life. From 1852, Joachim served at the court of Hanover, playing principal violin in the opera and conducting concerts, with months of free time in summer for concert tours. In 1853, he was invited by Robert Schumann to the Lower Rhine Music Festival, where he met Clara ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Musical Cryptogram
A musical cryptogram is a cryptogrammatic sequence of musical symbols, a sequence which can be taken to refer to an extra-musical text by some 'logical' relationship, usually between note names and letters. The most common and best known examples result from composers using ciphered versions of their own or their friends' names as themes or motifs in their compositions. Much rarer is the use of music notation to encode messages for reasons of espionage or personal security called steganography. Because of the multitudinous ways in which notes and letters can be related, detecting hidden ciphers and proving accurate decipherment is difficult. History From the initial assignment by Western music theorists of letter names to notes in the 9th century it became possible to reverse the procedure and assign notes to the letters of names. However, this does not seem to have become a recognized technique until the Romantic period. From the mid-19th century it has become quite common. Sp ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Rondo
The rondo is an instrumental musical form introduced in the Classical period. Etymology The English word ''rondo'' comes from the Italian form of the French ''rondeau'', which means "a little round". Despite the common etymological root, rondo and rondeau as musical forms are essentially different. Rondeau is a ''vocal'' musical form that was originally developed as monophonic music (in the 13th century) and then as polyphonic music (in the 14th century). Notably, both vocal forms of rondeau nearly disappeared from the repertoire by the beginning of the 16th century. In French, ''rondeau'' is used for both forms, while in English ''rondeau'' is generally used for the ''vocal'' musical form, while ''rondo'' is used for the ''instrumental'' musical form.Don Neville, "Rondò", ''The New Grove Dictionary of Opera'', 4 vols., edited by Stanley Sadie Stanley John Sadie (; 30 October 1930 – 21 March 2005) was an influential and prolific British musicologist, music critic, and edit ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Piano Trio No
The piano is a stringed keyboard instrument in which the strings are struck by wooden hammers that are coated with a softer material (modern hammers are covered with dense wool felt; some early pianos used leather). It is played using a keyboard, which is a row of keys (small levers) that the performer presses down or strikes with the fingers and thumbs of both hands to cause the hammers to strike the strings. It was invented in Italy by Bartolomeo Cristofori around the year 1700. Description The word "piano" is a shortened form of ''pianoforte'', the Italian term for the early 1700s versions of the instrument, which in turn derives from ''clavicembalo col piano e forte'' (key cimbalom with quiet and loud)Pollens (1995, 238) and ''fortepiano''. The Italian musical terms ''piano'' and ''forte'' indicate "soft" and "loud" respectively, in this context referring to the variations in volume (i.e., loudness) produced in response to a pianist's touch or pressure on the keys: the grea ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Felix Mendelssohn
Jakob Ludwig Felix Mendelssohn Bartholdy (3 February 18094 November 1847), born and widely known as Felix Mendelssohn, was a German composer, pianist, organist and conductor of the early Romantic period. Mendelssohn's compositions include symphonies, concertos, piano music, organ music and chamber music. His best-known works include the overture and incidental music for '' A Midsummer Night's Dream'' (which includes his "Wedding March"), the '' Italian Symphony'', the '' Scottish Symphony'', the oratorio ''St. Paul'', the oratorio ''Elijah'', the overture ''The Hebrides'', the mature Violin Concerto and the String Octet. The melody for the Christmas carol "Hark! The Herald Angels Sing" is also his. Mendelssohn's ''Songs Without Words'' are his most famous solo piano compositions. Mendelssohn's grandfather was the renowned Jewish philosopher Moses Mendelssohn, but Felix was initially raised without religion. He was baptised at the age of seven, becoming a Reformed Christi ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Musical Quotation
Musical quotation is the practice of directly quoting another work in a new composition. The quotation may be from the same composer's work (self-referential), or from a different composer's work (appropriation). Sometimes the quotation is done for the purposes of characterization, as in Puccini's use of ''The Star-Spangled Banner'' in reference to the American character Lieutenant Pinkerton in his opera ''Madama Butterfly'', or in Tchaikovsky's use of the Russian and French national anthems in the ''1812 Overture'', which depicted a battle between the Russian and French armies. Sometimes, there is no explicit characterization involved, as when Luciano Berio used brief quotes from Johann Sebastian Bach, Ludwig van Beethoven, Alban Berg, Pierre Boulez, Gustav Mahler, Claude Debussy, Paul Hindemith, Maurice Ravel, Arnold Schoenberg, Karlheinz Stockhausen, Richard Strauss, Igor Stravinsky, Anton Webern, and others in his ''Sinfonia''. Quotation vs. variation Musical quotation is to be ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Trio (music)
In music, a trio (from the Italian language, Italian) is any of the following: * a composition for three performers or three Part (music), musical parts * in larger works, the middle section of a ternary form (so named because of the 17th-century practice of scoring the contrasting second or middle dance appearing between two statements of a principal dance for three instruments) * an ensemble of three instruments or voices performing trio compositions. Composition A trio is a composition for three performers or musical parts. Works include Baroque trio sonatas, choral works for three parts, and works for three instruments such as string trios. In the 17th and early 18th century, musical genre trio sonata two melodic instruments are accompanied by a basso continuo, making three Part (music), parts in all. Because the basso continuo is usually played by two instruments (typically a cello or bass viol and a keyboard instrument such as the harpsichord), performances of trio sonata ... [...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: * Claudio Monte ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Progressive Tonality
Progressive tonality is the music compositional practice whereby a piece of music does not finish in the key in which it began, but instead 'progresses' to an ending in a different key or tonality. To avoid misunderstanding, it should be stressed that in this connection 'different key' means a different tonic, rather than merely a change to a different mode (see: Picardy third and List of major/minor compositions): Gustav Mahler's Second Symphony (1888–94), for example, which moves from a C minor start to an E-flat major conclusion, exhibits 'progressive tonality'—whereas Ludwig van Beethoven's Fifth Symphony (1804–08), which begins in C minor and ends in C major, does not. A work which ends in the key in which it began may be described as exhibiting 'concentric tonality'. The terms 'progressive' and 'concentric' were both introduced into musicology by Dika Newlin in her book ''Bruckner, Mahler, Schoenberg'' (1947).William Kinderman and Harald Krebs, eds. (1996). ''The Sec ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Parallel Key
In music theory, a major scale and a minor scale that have the same tonic note are called parallel keys and are said to be in a parallel relationship. Forte, Allen (1979). ''Tonal Harmony'', p.9. 3rd edition. Holt, Rinehart, and Wilson. . "When a major and minor scale both begin with the same note ... they are called ''parallel''. Thus we say that the parallel major key of C minor is C major, the parallel minor of C major is C minor." The parallel minor or tonic minor of a particular major key is the minor key based on the same tonic; similarly the parallel major has the same tonic as the minor key. For example, G major and G minor have different modes but both have the same tonic, G; so G minor is said to be the parallel minor of G major. In contrast, a major scale and a minor scale that have the same key signature (and therefore different tonics) are called relative keys. A major scale can be transformed to its parallel minor by lowering the third, sixth, and seventh scale ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
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