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Symphony No. 2 (Schubert)
The Symphony No. 2 in B major, D 125,Newbould, Brian. ''Schubert: The Music and the Man''. University of California Press, 1997, p. 424. is a symphony by Franz Schubert composed between 1814 and 1815. It is scored for 2 flutes, 2 oboes, 2 clarinets, 2 bassoons, 2 horns, 2 trumpets, timpani and strings. There are four movements: The work runs about 31 minutes. In the opening movement, the initial theme of the ''Allegro vivace'' is based on the corresponding first theme of Ludwig van Beethoven's overture to '' The Creatures of Prometheus''.Brown, A. Peter. ''The Symphonic Repertoire'' (Volume 2). Indiana University Press (), 2002, pp. 586–591. The second movement is a theme with five variations in E major, Schubert's only set of symphonic variations. Although there is some variation in the melody, the primary focus of the variations is on instrumentation and tone color. The first variation features violins and winds. The second variation passes the theme between the low ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Schubert Thematic Catalogue
''Schubert: Thematic Catalogue of all his Works in Chronological Order'', also known as the Deutsch catalogue, is a numbered list of all compositions by Franz Schubert compiled by Otto Erich Deutsch. Since its first publication in 1951, Deutsch (abbreviated as D or D.) numbers are used for the unique identification of Schubert's compositions. 1951 edition The Deutsch catalogue was first published in London in 1951 by J. M. Dent & Sons, as ''Schubert: Thematic Catalogue of all his Works in Chronological Order, compiled by O. E. Deutsch, in collaboration with Donald R. Wakeling.'' 1978 edition: NSE VIII/4 In 1978, as part VIII Supplement / Volume 4 of the New Schubert Edition (NSE), an updated version of the catalogue was published in German. A few compositions that had been undated in the first edition received a new number (usually followed by a letter), e.g. was renumbered to . Later versions The original 1951 edition (in English) was re-issued several times, for instance ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
The Creatures Of Prometheus
''The Creatures of Prometheus'' (german: Die Geschöpfe des Prometheus, links=no), Op. 43, is a ballet composed in 1801 by Ludwig van Beethoven following the libretto of Salvatore Viganò. The ballet premiered on 28 March 1801 at the Burgtheater in Vienna and was given 28 performances. It was premiered in New York at the Park Theatre on 14 June 1808 being one of the first full length works by Beethoven to be performed in the United States. It is the only full length ballet by Beethoven. History Viganò was tasked with presenting a work to the Archduchess Maria Theresa at the Vienna Court Theatre (Burgtheater), and chose the subject matter of Prometheus in an allegorical sense. While Viganò usually composed his own music for his performances, he felt this performance was far too important and asked Beethoven to compose instead. The ballet was written in two acts, with Beethoven creating an overture, an introduction, fifteen numbers, and a finale. Summary The ballet i ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Symphonies By Franz Schubert
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). Etymology and origins The word ''symphony'' is derived from the Greek word (), meaning "agreement or concord of sound", "concert of ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Galop
In dance, the galop, named after the fastest running gait of a horse (see Gallop), a shortened version of the original term galoppade, is a lively country dance, introduced in the late 1820s to Parisian society by the Duchesse de Berry and popular in Vienna, Berlin and London. In the same closed position familiar in the waltz, the step combined a glissade with a chassé on alternate feet, ordinarily in a fast time. The galop was a forerunner of the polka, which was introduced in Prague ballrooms in the 1830s and made fashionable in Paris when Raab, a dancing teacher of Prague, danced the polka at the Odéon Theatre in 1840. In Australian bush dance, the dance is often called galopede. An even livelier, faster version of the galop called the can-can developed in Paris around 1830. The galop was particularly popular as the final dance of the evening. The " Post Horn Galop", written by the cornet virtuoso Herman Koenig, was first performed in London in 1844; it remains a sign ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Pizzicato
Pizzicato (, ; translated as "pinched", and sometimes roughly as "plucked") is a playing technique that involves plucking the strings of a string instrument. The exact technique varies somewhat depending on the type of instrument : * On bowed string instruments it is a method of playing by plucking the strings with the fingers, rather than using the bow. This produces a very different sound from bowing, short and percussive rather than sustained. * On keyboard string instruments, such as the piano, pizzicato may be employed (although rarely seen in traditional repertoire, this technique has been normalized in contemporary music, with ample examples by George Crumb, Toru Takemitsu, Helmut Lachenmann, and others) as one of the variety of techniques involving direct manipulation of the strings known collectively as "string piano". * On the guitar, it is a muted form of plucking, which bears an audible resemblance to pizzicato on a bowed string instrument with its relatively short ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Fortissimo
In music, the dynamics of a piece is the variation in loudness between notes or phrases. Dynamics are indicated by specific musical notation, often in some detail. However, dynamics markings still require interpretation by the performer depending on the musical context: for instance, the ''forte'' marking (meaning loud) in one part of a piece might have quite different objective loudness in another piece or even a different section of the same piece. The execution of dynamics also extends beyond loudness to include changes in timbre and sometimes tempo rubato. Purpose and interpretation Dynamics are one of the expressive elements of music. Used effectively, dynamics help musicians sustain variety and interest in a musical performance, and communicate a particular emotional state or feeling. Dynamic markings are always relative. never indicates a precise level of loudness; it merely indicates that music in a passage so marked should be considerably quieter than . There are m ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
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 ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
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 ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Sixteenth Note
Figure 1. A 16th note with stem facing up, a 16th note with stem facing down, and a 16th rest. Figure 2. Four 16th notes beamed together. In music, a 1/16, sixteenth note (American) or semiquaver (British) is a note played for half the duration of an eighth note (quaver), hence the names. It is the equivalent of the semifusa in mensural notation, first found in 15th-century notation. Sixteenth notes are notated with an oval, filled-in note head and a straight note stem with two flags (see Figure 1). A single sixteenth note is always stemmed with flags, while two or more are usually beamed in groups. A corresponding symbol is the sixteenth rest (or semiquaver rest), which denotes a silence for the same duration. As with all notes with stems, sixteenth notes are drawn with stems to the right of the notehead, facing up, when they are below the middle line of the musical staff (or on the middle line, in vocal music). When they are on the middle line (in instrumental music) or ab ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Tuplet
In music, a tuplet (also irrational rhythm or groupings, artificial division or groupings, abnormal divisions, irregular rhythm, gruppetto, extra-metric groupings, or, rarely, contrametric rhythm) is "any rhythm that involves dividing the beat into a different number of equal subdivisions from that usually permitted by the time-signature (e.g., triplets, duplets, etc.)" This is indicated by a number, or sometimes two indicating the fraction involved. The notes involved are also often grouped with a bracket or (in older notation) a slur. The most common type of tuplet is the triplet. Terminology The modern term 'tuplet' comes from a rebracketing of compound words like quintu(s)-(u)plet and sextu(s)-(u)plet, and from related mathematical terms such as "tuple", "-uplet" and "-plet", which are used to form terms denoting multiplets (''Oxford English Dictionary'', entries "multiplet", "-plet, ''comb. form''", "-let, ''suffix''", and "-et, ''suffix''1"). An alternative modern term, ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Woodwind
Woodwind instruments are a family of musical instruments within the greater category of wind instruments. Common examples include flute, clarinet, oboe, bassoon, and saxophone. There are two main types of woodwind instruments: flutes and reed instruments (otherwise called reed pipes). The main distinction between these instruments and other wind instruments is the way in which they produce sound. All woodwinds produce sound by splitting the air blown into them on a sharp edge, such as a reed or a fipple. Despite the name, a woodwind may be made of any material, not just wood. Common examples include brass, silver, cane, as well as other metals such as gold and platinum. The saxophone, for example, though made of brass, is considered a woodwind because it requires a reed to produce sound. Occasionally, woodwinds are made of earthen materials, especially ocarinas. Flutes Flutes produce sound by directing a focused stream of air below the edge of a hole in a cylindrical tube. T ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Wind Instruments
A wind instrument is a musical instrument that contains some type of resonator (usually a tube) in which a column of air is set into vibration by the player blowing into (or over) a mouthpiece set at or near the end of the resonator. The pitch of the vibration is determined by the length of the tube and by manual modifications of the effective length of the vibrating column of air. In the case of some wind instruments, sound is produced by blowing through a reed; others require buzzing into a metal mouthpiece, while yet others require the player to blow into a hole at an edge, which splits the air column and creates the sound. Methods for obtaining different notes * Using different air columns for different tones, such as in the pan flute. These instruments can play several notes at once. * Changing the length of the vibrating air column by changing the length of the tube through engaging valves ''(see rotary valve, piston valve)'' which route the air through additional tubing ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
