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String Quartet No. 3 (Shostakovich)
Dmitri Shostakovich's String Quartet No. 3 in F major, Op. 73, was composed in 1946. It was premiered in Moscow by the Beethoven Quartet, to whom it is dedicated, in December 1946. Structure The quartet has five movements: Playing time is approximately 33 minutes. For the premiere, most likely so that he would not be accused of "formalism" or " elitism," Shostakovich renamed the movements in the manner of a war story: A chamber symphony arrangement (Op. 73a) was made of this quartet by Rudolph Barshai. It calls for flute, oboe, English horn, clarinet, bassoon, harp, and strings. It adds winds for tonal colour in the style of Shostakovich's symphonies. The first movement is constructed using sonata allegro form. The first theme appears in the first violin and is often heard interacting with the cello. The second theme is stated in the first violin and then imitated and transformed by the other three instruments. The development is rather long and pulls its material mainl ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Dmitri Shostakovich
Dmitri Dmitriyevich Shostakovich, , group=n (9 August 1975) was a Soviet-era Russian composer and pianist who became internationally known after the premiere of his First Symphony in 1926 and was regarded throughout his life as a major composer. Shostakovich achieved early fame in the Soviet Union, but had a complex relationship with its government. His 1934 opera '' Lady Macbeth of Mtsensk'' was initially a success, but eventually was condemned by the Soviet government, putting his career at risk. In 1948 his work was denounced under the Zhdanov Doctrine, with professional consequences lasting several years. Even after his censure was rescinded in 1956, performances of his music were occasionally subject to state interventions, as with his Thirteenth Symphony (1962). Shostakovich was a member of the Supreme Soviet of the RSFSR (1947) and the Supreme Soviet of the Soviet Union (from 1962 until his death), as well as chairman of the RSFSR Union of Composers (1960–196 ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Formalism (music)
In music theory and especially in the branch of study called the aesthetics of music, formalism is the concept that a composition's meaning is entirely determined by its form. Aesthetic theory Leonard B. Meyer, in ''Emotion and Meaning in Music'' (1956), distinguished ''"formalists"'' from what he called ''"expressionists"'': "...formalists would contend that the meaning of music lies in the perception and understanding of the musical relationships set forth in the work of art and that meaning in music is primarily intellectual, while the expressionist would argue that these same relationships are in some sense capable of exciting feelings and emotions in the listener" (Meyer 1956, p. 3). (The term "expressionism" is also used to define a '' musical genre'' typified by the early works of Schoenberg. The two terms are not necessarily related.) Meyer applied the term formalist (p. 3) to Eduard Hanslick who, in his later years, championed the music of Brahms over tha ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
String Quartets By Dmitri Shostakovich
String or strings may refer to: *String (structure), a long flexible structure made from threads twisted together, which is used to tie, bind, or hang other objects Arts, entertainment, and media Films * ''Strings'' (1991 film), a Canadian animated short * ''Strings'' (2004 film), a film directed by Anders Rønnow Klarlund * ''Strings'' (2011 film), an American dramatic thriller film * ''Strings'' (2012 film), a British film by Rob Savage * ''Bravetown'' (2015 film), an American drama film originally titled ''Strings'' * ''The String'' (2009), a French film Music Instruments * String (music), the flexible element that produces vibrations and sound in string instruments * String instrument, a musical instrument that produces sound through vibrating strings ** List of string instruments * String piano, a pianistic extended technique in which sound is produced by direct manipulation of the strings, rather than striking the piano's keys Types of groups * String band, musical en ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Crescendo
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] |
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 Bee ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Sonata-allegro Form
Sonata form (also ''sonata-allegro form'' or ''first movement form'') is a 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 period). While it is typically used in the first 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 standard definition focuses on the thematic and harm ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Rudolph Barshai
Rudolf Borisovich Barshai (russian: Рудольф Борисович Баршай, link=no, September 28, 1924November 2, 2010) was a Soviet and Russian conductor and violist. Life Barshai was born on September 28, 1924, in Stanitsa Labinskaya, Krasnodar Krai, in modern-day Russia. He studied at the Moscow Conservatory under Lev Tseitlin and Vadim Borisovsky. He performed as a soloist with Sviatoslav Richter and David Oistrakh and as a member of a trio with Mstislav Rostropovich and Leonid Kogan. During his career Barshai won numerous Soviet and international competitions and was the founding violist of the Borodin Quartet in 1945, where he remained a member until 1953. He later studied conducting under Ilya Musin at the Leningrad Conservatory. In 1955, Barshai founded the Moscow Chamber Orchestra, which he led and conducted until he emigrated to the West in 1977. He was the artistic director of the Israel Chamber Orchestra from 1978 to 1981. From 1981 until 1982, Barshai w ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Elitism
Elitism is the belief or notion that individuals who form an elite—a select group of people perceived as having an intrinsic quality, high intellect, wealth, power, notability, special skills, or experience—are more likely to be constructive to society as a whole, and therefore deserve influence or authority greater than that of others. The term ''elitism'' may be used to describe a situation in which power is concentrated in the hands of a limited number of people. Beliefs that are in opposition to elitism include egalitarianism, anti-intellectualism, populism, and the political theory of pluralism. Elite theory is the sociological or political science analysis of elite influence in society: elite theorists regard pluralism as a utopian ideal. Elitism is closely related to social class and what sociologists term "social stratification". In modern Western societies, social stratification is typically defined in terms of three distinct social classes: the upper class, ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Attacca
A variety of musical terms are likely to be encountered in printed scores, music reviews, and program notes. Most of the terms are Italian, in accordance with the Italian origins of many European musical conventions. Sometimes, the special musical meanings of these phrases differ from the original or current Italian meanings. Most of the other terms are taken from French and German, indicated by ''Fr.'' and ''Ger.'', respectively. Unless specified, the terms are Italian or English. The list can never be complete: some terms are common, and others are used only occasionally, and new ones are coined from time to time. Some composers prefer terms from their own language rather than the standard terms listed here. 0–9 ; 1′ : "sifflet" or one foot organ stop ; I : usually for orchestral string instruments, used to indicate that the player should play the passage on the highest-pitched, thinnest string ; ′ : Tierce organ stop ; 2′ : two feet – pipe orga ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
F Major
F major (or the key of F) is a major scale based on F, with the pitches F, G, A, B, C, D, and E. Its key signature has one flat. Its relative minor is D minor and its parallel minor is F minor. The F major scale is: : F major is the home key of the English horn, the basset horn, the horn in F, the trumpet in F and the bass Wagner tuba. Thus, music in F major for these transposing instruments is written in C major. Most of these sound a perfect fifth lower than written, with the exception of the trumpet in F which sounds a fourth higher. (The basset horn also often sounds an octave and a fifth lower.) Notable compositions in F major * Antonio Vivaldi ** Trio sonata Op. 1/5 for two violins and basso continuo, RV 69 ** Violin sonata Op. 2/4, RV 20 ** Violin sonata Op. 5/1, RV 18 ** Violin concerto Op. 3/7 from ''L'estro armonico'', for four violins and orchestra, RV 567 ** Violin concerto Op. 4/9 from ''La Stravaganza'', RV 284 ** Violin concerto Op. 7/10, ''Il ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Tempo
In musical terminology, tempo ( Italian, 'time'; plural ''tempos'', or ''tempi'' from the Italian plural) is the speed or pace of a given piece. In classical music, tempo is typically indicated with an instruction at the start of a piece (often using conventional Italian terms) and is usually measured in beats per minute (or bpm). In modern classical compositions, a " metronome mark" in beats per minute may supplement or replace the normal tempo marking, while in modern genres like electronic dance music, tempo will typically simply be stated in BPM. Tempo may be separated from articulation and meter, or these aspects may be indicated along with tempo, all contributing to the overall texture. While the ability to hold a steady tempo is a vital skill for a musical performer, tempo is changeable. Depending on the genre of a piece of music and the performers' interpretation, a piece may be played with slight tempo rubato or drastic variances. In ensembles, the tempo is ofte ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Allegretto
In musical terminology, tempo (Italian, 'time'; plural ''tempos'', or ''tempi'' from the Italian plural) is the speed or pace of a given piece. In classical music, tempo is typically indicated with an instruction at the start of a piece (often using conventional Italian terms) and is usually measured in beats per minute (or bpm). In modern classical compositions, a "metronome mark" in beats per minute may supplement or replace the normal tempo marking, while in modern genres like electronic dance music, tempo will typically simply be stated in BPM. Tempo may be separated from articulation and meter, or these aspects may be indicated along with tempo, all contributing to the overall texture. While the ability to hold a steady tempo is a vital skill for a musical performer, tempo is changeable. Depending on the genre of a piece of music and the performers' interpretation, a piece may be played with slight tempo rubato or drastic variances. In ensembles, the tempo is often indi ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
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