HOME
*





Fate Motif
Fate motif refers to a musical motif in a number of different works: * Symphony No. 5 (Beethoven) *''Carmen'' (opera by Bizet) * Symphony No. 6 (Mahler) * ''Pelleas und Melisande'' (Schoenberg) *Symphony No. 8 (Shostakovich) * Oboe Concerto (Strauss) *Symphony No. 4 (Tchaikovsky) *''La forza del destino'' (opera by Verdi) *''Die Walküre (; ''The Valkyrie''), WWV 86B, is the second of the four music dramas that constitute Richard Wagner's ''Der Ring des Nibelungen'' (English: ''The Ring of the Nibelung''). It was performed, as a single opera, at the National Theatre Munich on ...'' (opera by Richard Wagner) {{Disambiguation Musical terminology ...
[...More Info...]      
[...Related Items...]     OR:     [Wikipedia]   [Google]   [Baidu]  


Motif (music)
In music, a motif IPA: ( /moʊˈtiːf/) (also motive) is a short musical phrase, a salient recurring figure, musical fragment or succession of notes that has some special importance in or is characteristic of a composition: "The motive is the smallest structural unit possessing thematic identity". The '' Encyclopédie de la Pléiade'' regards it as a " melodic, rhythmic, or harmonic cell", whereas the 1958 ''Encyclopédie Fasquelle'' maintains that it may contain one or more cells, though it remains the smallest analyzable element or phrase within a subject. It is commonly regarded as the shortest subdivision of a theme or phrase that still maintains its identity as a musical idea. "The smallest structural unit possessing thematic identity". Grove and Larousse also agree that the motif may have harmonic, melodic and/or rhythmic aspects, Grove adding that it "is most often thought of in melodic terms, and it is this aspect of the motif that is connoted by the ter ...
[...More Info...]      
[...Related Items...]     OR:     [Wikipedia]   [Google]   [Baidu]  


picture info

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). Etymology and origins The word ''symphony'' is derived from the Greek word (), meaning "agreement or concord of sound ...
[...More Info...]      
[...Related Items...]     OR:     [Wikipedia]   [Google]   [Baidu]  


picture info

Carmen
''Carmen'' () is an opera in four acts by the French composer Georges Bizet. The libretto was written by Henri Meilhac and Ludovic Halévy, based on the novella of the same title by Prosper Mérimée. The opera was first performed by the Opéra-Comique in Paris on 3 March 1875, where its breaking of conventions shocked and scandalised its first audiences. Bizet died suddenly after the 33rd performance, unaware that the work would achieve international acclaim within the following ten years. ''Carmen'' has since become one of the most popular and frequently performed operas in the classical canon; the " Habanera" from act 1 and the " Toreador Song" from act 2 are among the best known of all operatic arias. The opera is written in the genre of '' opéra comique'' with musical numbers separated by dialogue. It is set in southern Spain and tells the story of the downfall of Don José, a naïve soldier who is seduced by the wiles of the fiery gypsy Carmen. José abandons h ...
[...More Info...]      
[...Related Items...]     OR:     [Wikipedia]   [Google]   [Baidu]  


picture info

Pelleas Und Melisande (Schoenberg)
''Pelleas und Melisande'', Op. 5, is a symphonic poem written by Arnold Schoenberg and completed in February 1903. It was premiered on 25 January 1905 at the Musikverein in Vienna under the composer's direction in a concert that also included the first performance of Alexander von Zemlinsky's '' Die Seejungfrau''. The work is based on Maurice Maeterlinck's play '' Pelléas and Mélisande'', a subject suggested by Richard Strauss. When he began composing the work in 1902, Schoenberg was unaware that Claude Debussy's opera, also based on Maeterlinck's play, was about to premiere in Paris. Instrumentation The symphonic poem is scored for a large orchestra comprising piccolo, 3 flutes (3rd doubling 2nd piccolo), 3 oboes (3rd doubling 2nd English horn), English horn, E flat clarinet, 3 clarinets in B flat and A (3rd doubling 2nd bass clarinet), bass clarinet, 3 bassoons, contrabassoon, 8 horns in F, 4 trumpets in E and F, alto trombone, 4 tenor-bass trombones, tuba, timpani (2 pl ...
[...More Info...]      
[...Related Items...]     OR:     [Wikipedia]   [Google]   [Baidu]  


Oboe Concerto (Strauss)
The Concerto in D major for Oboe and Small Orchestra, AV 144, TrV 292, was written by Richard Strauss in 1945. It was one of the last works he composed near the end of his life, during what is often described by biographers, journalists and music critics as his "Indian summer." Inception and premiere American oboist John de Lancie was a corporal in the U.S. Army unit which secured the area round the Bavarian town of Garmisch where Strauss was living in April 1945, following World War II. As principal oboist of the Pittsburgh Orchestra in civilian life, he knew Strauss's orchestral writing for oboe thoroughly, visited the composer in his home, and in the course of a long conversation asked him if he had ever considered writing an oboe concerto. Strauss answered simply "No", and the topic was dropped. However, in the months to follow, the idea grew on him and he completed the short score of his Oboe Concerto on September 14, 1945, finishing the orchestration on October 25.Benjamin ...
[...More Info...]      
[...Related Items...]     OR:     [Wikipedia]   [Google]   [Baidu]  


picture info

La Forza Del Destino
' (; ''The Power of Fate'', often translated ''The Force of Destiny'') is an Italian opera by Giuseppe Verdi. The libretto was written by Francesco Maria Piave based on a Spanish drama, ' (1835), by Ángel de Saavedra, 3rd Duke of Rivas, with a scene adapted from Friedrich Schiller's ''Wallenstein (trilogy of plays)#Wallenstein's Camp, Wallensteins Lager'' (''Wallenstein's Camp''). It was first performed in the Bolshoi Kamenny Theatre of Saint Petersburg, Russia, on 29 November 1862 Old Style and New Style dates, O.S. (N.S. 10 November). ' is frequently performed, and there have been a number of complete recordings. In addition, the overture (to the revised version of the opera) is part of the standard Musical repertoire, repertoire for orchestras, often played as the opening piece at concerts. Performance history Revisions After its premiere in Russia, ''La forza'' underwent some revisions and made its debut abroad with performances in Rome in 1863 under the title ' ...
[...More Info...]      
[...Related Items...]     OR:     [Wikipedia]   [Google]   [Baidu]  


picture info

Die Walküre
(; ''The Valkyrie''), WWV 86B, is the second of the four music dramas that constitute Richard Wagner's ''Der Ring des Nibelungen'' (English: ''The Ring of the Nibelung''). It was performed, as a single opera, at the National Theatre Munich on 26 June 1870, and received its first performance as part of the ''Ring'' cycle at the Bayreuth Festspielhaus on 14 August 1876. As the ''Ring'' cycle was conceived by Wagner in reverse order of performance, ''Die Walküre'' was the third of the four texts to be written, although Wagner composed the music in performance sequence. The text was completed by July 1852, and the music by March 1856. Wagner largely followed the principles related to the form of musical drama, which he had set out in his 1851 essay '' Opera and Drama'' under which the music would interpret the text emotionally, reflecting the feelings and moods behind the work, using a system of recurring leitmotifs to represent people, ideas, and situations rather than the con ...
[...More Info...]      
[...Related Items...]     OR:     [Wikipedia]   [Google]   [Baidu]