Violin Sonata No. 5 (Beethoven) - Violin Sonata No. 5 (Beethoven) The Violin Sonata No. 5, opus 24, is a sonata for violin and piano by Ludwig van Beethoven. It is often known as the Spring sonata, and was published in 1801. The work is in four movements: Allegro Adagio molto espressivo Scherzo. Allegro molto Rondò. Allegro ma non troppo.
Piano Sonata No. 8 (Beethoven) - Piano Sonata No. 8 (Beethoven) Ludwig van Beethoven's Piano Sonata No. 8 in C Minor, op. 13 was titled "Pathétique" by the composer himself, unlike most of the other "named" sonatas. It was published in 1799, though written the year before, when the composer was 27 years old. Beethoven dedicated the work to his friend Prince Karl von Lichnowsky. The "Pathétique" Sonata is perhaps the earliest of Beethoven's compositions to achieve widespread and enduring popularity. Many music historians judge that Beethoven was the first Romantic composer, and those who do might well regard this sonata as defining the start of the Romantic period. The sonata is in three movements: Grave; allegro di molto e con brio Adagio cantabile Rondo: allegro The first movement is in standard first.
Piano - Andreas Stein (who worked in Augsburg, Germany) and the Viennese makers Nannette Stein (daughter of Johann Andreas) and Anton Walter. The Viennese-style pianos were built with wooden frames, two strings per note, and leather-covered hammers. It was for such instruments that Mozart composed his concertos and sonatas, and replicas of them are built today for use in authentic-instrument performance. The piano of Mozart's day had a softer, clearer tone than today's pianos, with less sustaining power. The word "tinkling" is unfair when applied to the lovely sound of these instruments, but it does perhaps suffice to convey roughly how they differ in tone from modern pianos. The term fortepiano is often used to distinguish the 18th century style of instrument from later pianos. In the lengthy period lasting from about 1790.
Piano trio - a group of piano and two other instruments, almost always a violin and a cello, or a piece of music written for such a group. It is one of the most common forms found in classical chamber music. Traditionally, piano trios tend to be in the same overall form as a sonata, which can be roughly said to be as follows: First movement - a quick movement in sonata form Second movement - a slow movement Third movement - a minuet and trio or a scherzo in ternary form Fourth movement - another quick movement, often in rondo form or sonata-rondo form However, many variations on this form exist, and there are piano trios which bear no resemblance to this formal plan. Among the better known piano trios in classical music.
Johannes Brahms - was a German composer of classical music. Brahms was considered by many to be the "successor" to Beethoven, and his first symphony was described by Hans von Bülow as "Beethoven's tenth symphony" (the nickname is still used). Table of contents showTocToggle("show","hide") 1 Works 2 Life 3 Influences on Brahms 4 Brahms's personality 5 Resources Works Brahms wrote a number of major works for orchestra, including four symphonies, two piano concertos, a Violin Concerto, and the large choral work A German Requiem (Ein deutsches Requiem). Brahms was also a prolific composer in the theme and variation form, having notably composed the Variations and Fugue on a theme by Handel, Paganini Variations, and Variations on the St. Anthony Chorale, along with other lesser known sets of variations. Brahms also wrote a great deal.
Henri Vieuxtemps - active in France. Vieuxtemps was born in Verviers, Belgium, son of a weaver and amateur violinist and violin-maker. He received his first violin instruction from his father and a local teacher and gave his first public performance at the age of six, playing a concerto by Rode. Soon he was giving concerts in various surrounding cities, including Brussels where he met the violinist Charles de Bériot with whom he began studies. In 1829, Bériot took him to Paris where he made a successful concert debut, again with a concerto by Rode, but he had to return the next year because of the July Revolution and Bériot's marriage and departure on concert tour. Back in Brussels, Vieuxtemps continued developing his violin technique on his own. A tour of Germany in 1833 brought.
Grammy Awards of 2000 - Monteverdi Choir & the London Symphony Orchestra for Stravinsky: The Rake's Progress Best Choral Performance Robert Shafer (conductor), Betty Scott, Joan McFarland (choir directors), the Maryland Boys Choir, the Shenandoah Conservatory Chorus & the Washington Choir for Britten: War Requiem Best Instrumental Soloist(s) Performance (with orchestra) Charles Dutoit (conductor), Martha Argerich & the Orchestre Symphonie de Montréal for Prokofiev: Piano Concertos Nos. 1 & 3/Bartók: Piano Concerto No. 3 Best Instrumental Soloist Performance (without orchestra) Vladimir Ashkenazy for Shostakovich: 24 Preludes & Fugues, Op. 87 Best Small Ensemble Performance (with or without conductor) Joseph Jennings (conductor) & Chanticleer for Colors of Love - Works of Thomas, Stucky, Tavener & Rands Best Chamber Music Performance Anne-Sophie Mutter & Lambert Orkis for Beethoven: The Violin Sonatas (Nos. 1-3, Op. 12; Nos. 1-3, Op..
Grammy Award for Best Chamber Music Performance - Best Chamber Music or Other Small Ensemble Performance From 1992 to the present it has been awarded as Best Chamber Music Performance Years reflect the year in which the Grammy Awards were presented, for works released in the previous year. Table of contents showTocToggle("show","hide") 1 2000s 2 1990s 3 1980s 4 1970s 5 1960s 6 1950s 2000s Grammy Awards of 2003 Andrew Keener (producer), Simon Dominic Eadon (engineer) & the Takács Quartet for Beethoven: String Quartets ("Razumovsky" Op. 59, 1-3; "Harp" Op. 74) Grammy Awards of 2002 Joanna Nickrenz (producer), Marc J. Aubort (engineer) & The Angeles String Quartetfor Joseph Haydn: The Complete String Quartets Grammy Awards of 2001 Da-Hong Seetoo, Max Wilcox (producers & engineers) & the Emerson String Quartet for Shostakovich: The String Quartets Grammy Awards of 2000 Anne-Sophie.
Grammy Award for Best Instrumental Soloist Performance (without orchestra) - Flat Major and A Major) Grammy Awards of 1995 Emanuel Ax for Haydn: Piano Sonatas, Nos. 32, 47, 53, 59 Grammy Awards of 1994 John Browning for Barber: The Complete Solo Piano Music Grammy Awards of 1993 Vladimir Horowitz for Horowitz - Discovered Treasures (Chopin, Liszt, Scarlatti, Scriabin, Clementi) Grammy Awards of 1992 Alicia de Larrocha for Granados: Goyescas; Allegro de Concierto; Danza Lenta Grammy Awards of 1991 Vladimir Horowitz for The Last Recording Grammy Awards of 1990 Andras Schiff for Bach: English Suites 1980s Grammy Awards of 1989 Alicia De Larrocha for Albeniz: Iberia, Navarra, Suite Espagnola Grammy Awards of 1988 Best Classical Performance - Instrumental Soloist(s) (without orchestra) Vladimir Horowitz for Horowitz in Moscow Grammy Awards of 1986 Vladimir Ashkenazy for Ravel: Gaspard de la Nuit; Pavane Pour Une.
Franz Schubert - attended. He was also a fair amateur musician, and transmitted his own measure of skill to his two elder sons, Ignaz and Ferdinand. At the age of five Schubert began to receive regular instruction from his father. At six he entered the Lichtenthal school where he spent some of the happiest years of his life. About the same time his musical education began. His father taught him the rudiments of the violin, his brother Ignaz the rudiments of the pianoforte. At seven, having outstripped these simple teachers, he was placed under the charge of Michael Holzer, the Kapellmeister of the Lichtenthal Church. Holzer's lessons seem to have consisted mainly in expressions of admiration, and the boy gained more from a friendly joiner's apprentice, who used to take him to a neighboring.
Fugue - places where an "entrance" of a theme or subject could occur. In each fugue theme, then, there is an implied structure of where and at what intervals the theme can begin in another voice. Bach was sufficiently expert that he could tell exactly what entrances could occur simply by hearing the first playing of a theme. Although fugues are often described in purely contrapuntal terms, tonally-centered fugues also manifest a fundamental harmonic structure (Ratz, 1951). As with most classical music, this structure is ternary, with an initial exposition of the subject in the tonic, subsequent developments in related keys, concluding with a return to the tonic. Double (Triple, Quadruple) fugue A double fugue has two subjects that are often developed simultaneously. Sometimes the second subject is initially presented as the counter-subject.
Concerto - The most usual kind of concerto is one that pits a solo instrument against a full orchestra in three movements. The term appears in the beginning of the 17th century, at first as a title of no very definite meaning, but which early acquired a sense justified by its etymology and became applied chiefly to compositions in which unequal instrumental or vocal forces are brought into opposition. Although by Johann Sebastian Bach's time the concerto as a polyphonic instrumental form was thoroughly established, the term frequently appears in the autograph title-pages of his church cantatas, even when the cantata contains no instrumental prelude. Indeed, so entirely does the actual concerto form, as Bach understands it, depend upon the opposition of masses of tone unequal in volume with a compensating inequality in.
Timeline of trends in music to 1899 - Adam de la Halle writes the first operetta, "Le Jeu de la Feuillee" c. 1265 Franco of Cologne and Pierre de la Croix develop the motet c. 1300 Jongleurs appear in France 1309 Marchettus of Padua tries to introduce counterpoint 1322 The Pope expressly forbids counterpoint c. 1325 Organ pedals are invented "Tournai Mass", the first polyphonic Mass, is written c. 1330 The ars nova style is invented c. 1350 Meistersingers appear in Germany First evidence of a nyckelharpa in Sweden, specifically a carving in K¨lunge church in Götland 1352 Morroccan traveller Ibn Battuta reports the existence of the ngoni and balafon instruments at the court of Mansa Musa 1360 Original forms of the clavichord and cembalo appear 1377 Musicians at the papal chapel in Avignon move to Rome, making it.
Romantic music - and academics is not necessarily about this and does not always sound like what would nowadays be thought of as "romantic" in the general sense. It is instead related to the wider concept of romanticism which flourished in the arts around this time. Musical language The musical language employed by the romantic composers was a good deal more extensive and flexible than that of the classical composers, allowing for the greater range of expression these composers sought. Composers such as Ludwig van Beethoven, often regarded as the first romantic composer, and later Richard Wagner expanded their harmonic language to include chordss previously unused, or to treat existing chords in different ways. Wagner's Tristan chord, found in Tristan and Isolde, has had much written about it attempting to explain exactly what harmonic.
Robert Schumann - Chopin's variations on a theme from Don Juan, which appeared in the Allgemeine musikalische Zeitung in 1831. Here the work is discussed by the imaginary characters Florestan and Eusebius (the counterparts of Vult and Walt in Jean Paul's novel Flegeljahre), and Meister Raro (representing either the composer himself or Wieck) is called upon for his opinion. By the time, however, that Schumann had written Papillons (1831) he had gone a step farther. The scenes and characters of his favourite novelist had now passed definitely and consciously into the written music, and in a letter from Leipzig (April 1832) he bids his brothers "read the last scene in Jean Paul's Flegeljahre as soon as possible, because the Papillons are intended as a musical representation of that masquerade." In the winter of 1832.
Pierre Rode - became a favourite pupil of the great Giovanni Battista Viotti who found the boy so talented that he charged him no fee for the lessons. Rode inherited his teacher's style to which he added more mildness and a more refined tone. It is also recorded that he made extensive use of portamento. He collaborated with Baillot and Kreutzer on the official Violin Method of the Conservatoire of Paris, published in 1802. Rode served as violin soloist to Napoleon I of France and toured extensively in the Netherlands, Germany, England and Spain, staying in St. Petersburg for 1804-1809, and later spending much time in Moscow. Ludwig van Beethoven wrote his last violin sonata (opus 96) for Rode when the violinist was visiting Vienna. He also performed chamber music, but the backbone of.
List of Grammy Hall of Fame Award recipients A-D - Shame" Fats Domino Imperial Records (1955 in music) R&B (Single) Inducted 2002 "Ain't Misbehavin'" Thomas "Fats" Waller Victor Records (1929 in music) Jazz (Single; piano solo) Inducted 1984 "Ain't No Mountain High Enough" Marvin Gaye & Tammi Terrell Tamla (1967 in music) R&B (Single) Inducted 1999 "Ain't No Sunshine" Bill Withers Sussex Records (1971 in music) R&B (Single) Inducted 1999 "Alice's Restaurant" Arlo Guthrie Reprise (1967 in music) Folk (Single) Inducted 2002 "All Along the Watchtower" The Jimi Hendrix Experience Reprise (1968 in music) Rock (Single) Inducted 2001 "Amazing Grace" The Dixie Hummingbirds Apollo Records (1946 in music) Gospel (Single) Inducted 2000 Amazing Grace Aretha Franklin With James Cleveland & The Southern California Community Choir Atlantic Records (1972 in music) Gospel (Album) Inducted 1999 "American Pie" Don McLean U.A (1971 in.
Piano Sonata No. 14 (Beethoven) - Piano Sonata No. 14 (Beethoven) Ludwig van Beethoven's opus 27 no. 2 is the Piano Sonata No. 14 in C sharp minor "Quasi una fantasia" (Italian: Like a fantasy), popularly known as the Moonlight Sonata. Beethoven wrote this sonata in 1801 and dedicated it to the 17-year-old Countess Giulietta Guicciardi, with whom he was (or, according to some accounts, had been) in love. In 1832, several years after Beethoven's death, the poet Ludwig Rellstab compared the music to moonlight shining on Lake Lucerne. Since then, it has been known as the Moonlight Sonata. The Sonata has three movements: Adagio sostenuto (attacca), Allegretto and Presto agitato The first movement, written in a kind of truncated sonata form, is the most well known. Its powerful, haunting and quiet melody.
Piano Sonatas Nos. 13 - 14, Opus 27 (Beethoven) - Nos. 13 - 14, Opus 27 (Beethoven) Ludwig van Beethoven's opus number 27 is a set of two sonatas for solo piano. See: Piano Sonata No. 13 (Beethoven) Piano Sonata No. 14 (Beethoven) (the Moonlight sonata).
Piano Sonata No. 29 (Beethoven) - Piano Sonata No. 29 (Beethoven) Beethoven's "Hammerklavier" sonata, Op. 106 in B-flat major, is widely considered to be one of the defining works of the composer's third period and one of the great piano sonatas. The sonata was written in the last half of the 1810s, towards the end of a fallow period in Beethoven's compositional career, and represents the spectacular emergence of many of the themes that were to recur in Beethoven's late period: the reinvention of traditional forms, such as sonata form; a brusque humor; and a return to pre-classical compositional traditions, including an exploration of modal harmony and reinventions of the fugue within classical forms. The sonata's name (literally "hammer-keyboard") simply means "piano". It comes from the title page of the work, which says.
