-Classique Net-

CLASSIQUE NET NEWS FLASH:********* Deborah Voigt to Sing Salome at California's Opera Pacific in 2009 By Matthew Westphal ********* Deborah Voigt as Salome at Lyric Opera of Chicago, seen with Jokanaan (Alan Held).After her triumph at Lyric Opera of Chicago last fall in her first staged Salome, Deborah Voigt will reprise the role at Opera Pacific in southern California during the 2008-09 season.The Richard Strauss â€” in the same Francesca Zambello production in which Voigt appeared in Chicago â€” will get four performances at the Orange County Performing Arts Center in Costa Mesa in March 2009. No other casting has yet been announced.Opera Pacific is Voigt's hometown company: she grew up in Orange County ("shopping heaven," as Orange County Register critic Tim Mangan calls it) and did her undergraduate work nearby. She hasn't appeared with the company since the 1992-93 season, before she was quite the star she is today.Opera Pacific's other news about the 2008-09 season is that Ricky Ian Gordon's opera The Grapes of Wrath will get its West Coast premiere there, with four performances in January 2009. The work had a sold-out world premiere run this past February at Minnesota Opera; just last week it completed a highly-praised run at Utah Opera.The company released no further news about the 2008-09 season, which is not yet fully programmed and cast. Opera Pacific's 2007-08 season, which includes Puccini's La BohÃ¨me, Mozart's Die ZauberflÃ¶te and Carlisle Floyd's Susannah, opens on October 24. More information is available at www.operapacific.org. ********** Baritone Matthias Goerne Withdraws from Two Concerts on Philadelphia Orchestra Tour By Matthew Westphal ********** Matthias Goerne photo by Sasha Gusov/Decca ClassicsDue to illness in his family, Matthias Goerne has withdrawn from his next two scheduled appearances with the Philadelphia Orchestra on its current U.S. tour.The German baritone was scheduled to perform Schubert songs, in orchestrations by Brahms, Reger and Webern, with the orchestra tomorrow at the Mondavi Center for the Performing Arts in Davis, California and on May 23 at the Segerstrom Concert Hall at the Orange County Performing Arts Center in Costa Mesa, California.In Goerne's absence, the orchestra will replace the Schubert with a work from one of its other tour programs: Mozartâ€™s Sinfonia concertante for winds and orchestra, K. 297b, with four Philadelphia Orchestra principals as soloists: Richard Woodhams (oboe), Ricardo Morales (clarinet), Daniel Matsukawa (bassoon) and Jennifer Montone (horn). Music director Christoph Eschenbach conducts.Philadelphia Orchestra spokespeople have expressed hope that Goerne will be able to make his two remaining scheduled dates on the tour: May 26 at Davies Symphony Hall in San Francisco and June 3 at the Kennedy Center Concert Hall in Washington, D.C. ********* Young maestro to head NZ orchestraYoung maestro to head orchestraThe New Zealand Symphony Orchestra has a rapidly rising star as its new musical director.Finnish violinist and conductor, Pietari Inkinen, has abandoned his career as a rock musician and professional footballer to take up the baton for the NZSO. And he's only 27.The young maestro started conducting at 14 and moulds the orchestra's performance in close consultation with his pianist.He is part of an international trend to younger conductors - a 26-year-old and a 32-year-old have just taken over two of the world's greatest orchestras.Inkinen will be with the NZSO for 10-12 weeks each year. For the rest of the time he will be conducting orchestras all around the world such as the BBC Symphony and the Gewandhaus Orchestra in Cincinnatti.

I'd like to meet:

Famous Composers: 1. Giovanni da Palestrina 2. Claudio Monteverdi 3. Henry Purcell 4. Antonio Vivaldi 5. Jean-Philipe Rameau 6. Johann Sebastian Bach 7. George Frideric Handel 8. Christoph Gluck 9. Franz Joseph Haydn 10. Wolfgang Amadeus Mozart 11. Ludwig van Beethoven 12. Franz Schubert 13 . Karl Maria Von Weber 14. Gioacchino Rossini 15. Gaetano Donizetti 16. Hector Berlioz 17. Felix Mendelssohn 18. Frederic Chopin 19. Robert Schumann 20. Franz Liszt 21. Richard Wagner 22. Giuseppe Verdi 23. Cesar Franck 24. Johann Strauss 25. Johannes Brahms 26. Camille Saint-Saens 27. Georges Bizet 28. Modest Mussorgsk 29. Peter Tchaikovsky 30. Antonin Dvorak 31. Edvard Grieg 32. Nikolay Rimsky-Korsakov 33. Gabriel Faurev 34. Giacomo Puccini 35. Gustav Mahler 36. Richard Strauss 37. Leos Janacek 38. Claude Debussy 39. Jean Sibelius 40. Ralph Vaughan Williams 41. Sergei Rachmaninoff 42. Arnold Schoenberg 43. Maurice Ravel 44. Manuel de Falla 45. Bela Bartok 46. Igor Stravinsky 47. Sergei Prokofiev 48. George Gershwin 49. Aaron Copland 50. Dmitri Shostakovich

Music:

WHAT IS?????: SONATA (From Latin and Italian sonare, "to sound"), in music, literally means a piece played as opposed to cantata (Latin and Italian cantare, to sing), a piece sung. The term, being vague, naturally evolved through the history of music, designating a variety of forms prior to the Classical era. The term would take on increasing importance in the Classical period, and by the early 19th century the word came to be used for a principle of composing large scale works, and be applied to most instrumental genres, regarded alongside the fugue as one of two fundamental methods of organizing, interpreting and analyzing concert music. In the 20th century the term continued to be applied to instrumental works, but the formal principles enunciated and taught through the 19th century were weakened or loosened.-USAGE OF SONATA: The Baroque applied the term sonata to a variety of works, including works for solo instrument such as keyboard or violin, and for groups of instruments. In the transition from the Baroque to the Classical period, the term sonata undergoes a change in usage, from being applied to many different kinds of small instrumental work to being more specifically applied to chamber music genres with either a solo instrument, or a solo instrument with piano. Increasingly after 1800, the term applies to a form of large-scale musical argument, and it is generally used in this sense in musicology and musical analysis. Most of the time if some more specific usage is meant, then the particular body of work will be noted: for example the sonatas of Beethoven will mean the works specifically labelled sonata, whereas Beethoven and sonata form will apply to all of his large-scale instrumental works, whether concert or chamber. In the 20th century, sonatas in this sense would continue to be composed by influential and famous composers, though many works which do not meet the strict criterion of "sonata" in the formal sense would also be created and performed.-INSTUMENTATIONS: In the Baroque period, a sonata was for one or more instruments almost always with continuo. After the Baroque most works designated as sonatas specifically are performed by a solo instrument, most often a keyboard instrument, or by a solo instrument together with a keyboard instrument. In the late Baroque and early Classical period, a work with instrument and keyboard was referred to as having an obbligato part, in order to distinguish this from use of an instrument as a continuo, though this fell out of usage by the early 1800s. Beginning in the early 19th century, works were termed sonata if, according to the understanding of that time, they were part of the genre, even if they were not designated sonata when originally published, or by the composer. A related term at the time was "Fantasia" or "Fantasie", which was applied to movements or works which had a much freer form than the Sonata (for example Schubert's Wanderer Fantasy).In the Classical period and afterwards, sonatas for piano solo were the most common genre of sonata, with sonatas for violin and piano or cello and piano being next. However, sonatas for a solo instrument other than keyboard have been composed, as have sonatas for other combinations of instruments, and for other instruments with piano.-BRIEF HISTORY OF THE USAGE OF SONATA:-THE BAROQUE SONATA: By the time of Arcangelo Corelli, two polyphonic types of sonata were established: the sonata da chiesa (church sonata) and the sonata da camera ("ordinary" sonata, literally chamber sonata).The sonata da chiesa, generally for one or more violins and bass, consisted normally of a slow introduction, a loosely fugued allegro, a cantabile slow movement, and a lively finale in some binary form suggesting affinity with the dance-tunes of the suite. This scheme, however, was not very clearly defined, until the works of Johann Sebastian Bach and George Friderich Handel, when it became the essential sonata and persists as a tradition of Italian violin music â€“ even into the early 19th century, in the works of Boccherini.The sonata da camera had consisted almost entirely of idealized dance-tunes, but by the time of Bach and Handel such a composition drew apart from the sonata, and came to be called a suite, a partita, an ordre, or, when it had a prelude in the form of a French opera-overture, an overture. On the other hand, the features of sonata da chiesa and sonata da camera then tended to be freely intermixed. Bach, however, while not using the titles themselves, nevertheless keeps the two types so distinct that they can be recognized by style and form. Thus, in his six solo violin sonatas, Nos. 1, 3, and 5 are recognizably sonate de chiesa; and Nos. 2, 4, and 6 are explicitly called partitas, but are admissible among the sonatas as being sonate da camera.[citation needed] Bach is also cited as being among the first composers to have the keyboard and solo instrument share a melodic line, whereas previously most sonatas for keyboard and instrument had kept the melody exclusively in the solo instrument.The term sonata is also applied to the series of over 500 works for harpsichord solo, or sometimes for other keyboard instruments, by Domenico Scarlatti, originally published under the name Essercizi per il gravicembalo (Exercises for the Harpsichord). Most of these pieces are in one binary-form movement only, with two parts that are in the same tempo and use the same thematic material, though occasionally there will be changes in tempo within the sections. Many of the sonatas were composed in pairs, one being in the major and the other in the parallel minor. They are frequently virtuosic, and use more distant harmonic transitions and modulations than were common for other works of their time. They are admired for their great variety and invention.The genre â€“ particularly for solo instruments with just the continuo or ripieno â€“ eventually influenced the solo movements of suites or concerti that occurred between movements with the full orchestra playing, for example in the Brandenburg Concerti of Bach. The trio sonatas of Vivaldi, too, show parallels with the concerti he was writing at the same time.The sonatas of Domenico Paradies are mild and elongated works of this type, with a graceful and melodious little second movement included. The manuscript on which Longo bases his edition of Scarlatti frequently shows a similar juxtaposition of movements, though without any definite indication of their connection. The style is still traceable in the sonatas of the later classics, whenever a first movement is in a uniform rush of rapid motion, as in Mozart's violin sonata in F (K. 377), and in several of Clementi's best works.-THE SONATA IN THE CLASSICAL PERIOD: The practice of the Classical period would become decisive for the sonata; the term moved from being one of many terms indicating genres or forms, to designating the fundamental form of organization for large-scale works. This evolution stretched over fifty years. The term came to apply both to the structure of individual movements (see Sonata form and History of sonata form) and to the layout of the movements in a multi-movement work. In the transition to the Classical period there were several names given to multimovement works, including divertimento, serenade, and partita, many of which are now regarded effectively as sonatas. The usage of sonata as the standard term for such works began somewhere in the 1770s. Haydn labels his first piano sonata as such in 1771, after which the term divertimento is used very sparingly in his output. The term sonata was increasingly applied to either a work for keyboard alone (see Piano sonata), or for keyboard and one other instrument, often the violin or cello. It was less and less frequently applied to works with more than two instrumentalists; for example piano trios were not often labelled sonata for piano, violin, and cello.Initially the most common layout of movements was:Allegro, which at the time was understood to mean not only a tempo, but also some degree of "working out", or development, of the theme. (See Charles Rosen's The Classical Style, and his Sonata Forms.) A middle movement which was, most frequently, a slow movement: an Andante, an Adagio, or a Largo; or, less frequently, a Minuet or Theme and Variations form. A closing movement, early in the period sometimes a minuet, as in Haydn's first three piano sonatas, but afterwards, generally an Allegro or a Presto, often labelled Finale. The form was often a Rondo. However, two-movement layouts also occur, a practice Haydn uses as late as the 1790s. There is also in the early Classical period the possibility of using four movements, with a dance movement inserted before the slow movement, as in Haydn's Piano sonatas No. 6 and No. 8. Mozart's sonatas would also be primarily in three movements. Of the works that Haydn labelled piano sonata, divertimento, or partita in Hob XIV, 7 are in two movements, 35 are in three movements, and 3 are in four movements; and there are several in three or four movements whose authenticity is listed as "doubtful". Composers such as Boccherini would publish sonatas for piano and obbligato instrument with an optional third movement â€“ in Boccherini's case, 28 Cello sonatas.But increasingly instrumental works were laid out in four, not three movements, a practice seen first in string quartets and symphonies, and reaching the sonata proper in the early sonatas of Beethoven. However, two- and three-movement sonatas continue to be written through out the Classical period: Beethoven's opus 102 pair has a two-movement C major sonata and a three-movement D major sonata.The four-movement layout was by this point standard for the string quartet, and overwhelmingly the most common for the symphony. The usual order of the four movements is:An allegro, which by this point was in what is called sonata form, complete with exposition, development, and recapitulation. A slow movement, an Andante, Adagio or Largo. A dance movement, frequently Minuet and trio or â€“ especially later in the classical period â€“ a Scherzo and trio A finale in faster tempo, often in a sonataâ€“rondo form. This four-movement layout came to be considered the standard for a sonata, and works without four movements, or with more than four, were increasingly felt to be exceptions; they were labelled as having movements "omitted", or had "extra" movements. Movements when they appeared out of this order would be described as "reversed", such as the Scherzo coming before the slow movement in Beethoven's 9th Symphony. This usage would be noted by critics in the early 1800s, and it was codified into teaching soon thereafter.It is difficult to overstate the importance of Beethoven's output of sonatas: 32 piano sonatas, plus sonatas for cello and piano and violin and piano, forming a large body of music which would over time increasingly be thought essential for any serious instrumentalist to master.-THE SONATA IN THE ROMANTIC PERIOD: In the early 19th century conservatories of music were established, leading to a codification by critics, theorists and professors of the practice of the Classical period. In this setting, our current usage of the term sonata was established, both as regards form per se, and in the sense that a fully elaborated sonata serves as a norm for concert music in general, which other forms are seen in relation to. Carl Czerny declared that he had invented the idea of sonata form, and music theorists began to write of the sonata as an ideal in music. From this point forward, the word sonata in music theory as often labels the abstract musical form as well as much as particular works. Hence there are references to a symphony as a sonata for orchestra. This is referred to by William Newman as the sonata idea, and by others as the sonata principle.Among works expressly labelled sonata, some of the most famous were composed in this era. There are the three sonatas of FrÃ©dÃ©ric Chopin, the sonatas of Felix Mendelssohn, the three sonatas of Robert Schumann, Franz Liszt's Sonata in B Minor, and later the sonatas of Johannes Brahms and Sergei Rachmaninoff.In the early 19th century the sonata form was rigorously defined, from a combination of previous practice and the works of important Classical composers, particularly Haydn, Mozart, Beethoven, but composers such as Clementi also. Works not explicitly labelled sonata were nevertheless felt to be an expression of the same governing structural practice. Because the word became definitively attached to an entire concept of musical layout, the differences in Classical practice began to be seen as important to classify and explain. It is during this period that the differences between the three- and the four-movement layouts became a subject of commentary, with emphasis on the concerto being laid out in three movements, and the symphony in four. Many thought that the four movement form was the superior layout. The concerto form was thought to be Italianate, while the four-movement form's predominance was ascribed to Haydn, and was considered German.The importance of the sonata in the clash between Brahmsians and Wagnerians is also of note. Brahms represented, to his advocates, adherence to the form as it was strictly construed, while Wagner and Liszt claimed to have transcended the Procrustean nature of its outline. For example Ernest Newman wrote, in Brahms and the Serpent!That, perhaps, will be the ideal of the instrumental music of the future; the way to it, indeed, seems at last to be opening out before modern composers in proportion as they discard the last tiresome vestiges of sonata form. This, from being what it was originally, the natural mode of expression of a certain eighteenth century way of thinking in music, became in the nineteenth century a drag upon both individual thinking... This view, that the sonata is truly only at home in the Classical style, and had become a road block to later musical development, is one that has been held at various times by composers and musicologists, including recently by Charles Rosen. In this view the sonata called for no explicit analysis in Haydn, Mozart, and Beethoven's era, in the same sense that Bach "knew" what a fugue was and how to compose one, whereas later composers were bound by an "academic" sense of form that was not well suited to the Romantic era's more frequent and more rapid modulations.-THE SONATA AFTER THE ROMANTIC PERIOD: The sonata was closely tied in the Romantic period to tonal harmony and practice. Even before the demise of this practice, large-scale works increasingly deviated from the four-movement layout that had been considered standard for almost a century, and the internal structure of movements began to alter as well. The "sonata idea", along with the term sonata itself, continued to be central to musical analysis, and a strong influence on composers, both in large-scale works and in chamber music. The role of the sonata as an extremely important form of extended musical argument would inspire composers such as Hindemith, Prokofiev, Shostakovich to compose in sonata form, and works with traditional sonata structures continue to be composed and performed.The piano sonatas of Scriabin would begin from standard forms of the late Romantic period, but would progressively abandon the formal markers that had been taught, and would usually be composed as single-movement works; he is sometimes thought of as a composer on the boundary between Romantic and modern practice of the sonata.Charles Ives's massive Concord Sonata (1920) for piano bore little resemblance to the traditional Sonata. It had four movements (though not with the usual tempos), very few barlines, and the tonality, where present, is fleeting or often compounded with polytonality. It even contained optional (and very minor) parts for viola and flute.Still later, Pierre Boulez would compose three sonatas in the early 1950s, which, while they were neither tonal nor laid out in the standard four-movement form, were intended to have the same significance as sonatas. Elliot Carter began his transition from neo-classical composer to avant-garde with his Cello Sonata. -THE SONATA IN SCHOLARSHIP AND MUSICOLOGY:-THE SONATA IDEA OR PRINCIPLE: Research into the practice and meaning of sonata form, style, and structure has been the motivation for important theoretical works by Heinrich Schenker, Arnold Schoenberg, and Charles Rosen among others; and the pedagogy of music continued to rest on an understanding and application of the rules of sonata form as almost two centuries of development in practice and theory had codified it.The development of the classical style and its norms of composition formed the basis for much of the music theory of the 19th and 20th centuries. As an overarching formal principle, sonata was accorded the same central status as Baroque fugue; and generations of composers, instrumentalists, and audiences were guided by this understanding of sonata as an enduring and dominant principle in Western music. The sonata idea begins before the term had taken on its present importance, along with the evolution of the Classical period's changing norms. The reasons for these changes, and how they relate to the evolving sense of a new formal order in music, is a matter to which research is devoted. Some common factors which were pointed to include: the shift of focus from vocal music to instrumental music; changes in performance practice, including the loss of the continuo and the playing of all movements of a work straight through, without "mechanical" repeats; the shift away from the idea that each movement should express one dominant emotion (see Affect (psychology)), to a notion of accommodating contrasting themes and sections in an integrated whole; the move from a polyphonic mode of composition to a homophonic mode; changes in the availability of instruments, and new technical developments in instruments; the obsolescence of straightforward binary organization of movements; the rise of more dance rhythms; and changes in patronage and presentation.Crucial to most interpretations of the sonata form is the idea of a tonal center; and, as the Grove Concise Dictionary of Music puts it: "The main form of the group embodying the 'sonata principle', the most important principle of musical structure from the Classical period to the 20th century: that material first stated in a complementary key be restated in the home key."The sonata idea has been thoroughly explored by William Newman in his monumental three-volume work Sonata in the Classic Era (A History of the Sonata Idea), begun in the 1950s and published in what has become the standard edition of all three volumes in 1972. He notes that according to his research, theorists had generally shown "a hazy recognition of 'sonata form' during the Classical Era and up to the late 1830s" and places particular emphasis on Reicha's 1826 work describing the "fully developed binary form", for its fixing of key relationships, Czerny's 1837 note in the preface to his Opus 600, and Adolph Bernhard Marx, who in 1845 wrote a long treatise on sonata form. Up until this point, Newman argues, the definitions available were quite imprecise, requiring only instrumental character and contrasting character of movements.William Newman also notes, however, that these codifications were in response to a growing understanding that the 18th century did have a formal organization of music. Before those publications of Reicha, Czerny, or Marx, there are references to the "customary sonata form", and in particular to the organization of the first movement of sonatas and related works. He documents the evolution of sonata analysis as well, showing that early critical works on sonatas, with some very notable exceptions, dealt with structural and technical details only loosely. Instead, many important works belonging to the sonata genre, or in sonata form, were not analyzed comprehensively in terms of their thematic and harmonic resources until the 20th century.-THE 20th CENTURY THEORY: Two of the most important theorists in European musicology of the 20th century, Heinrich Schenker and Arnold Schoenberg, both had ideas of central importance for the analysis and general understanding of the sonata. Their ideas were extremely rigorous, and placed tremendous emphasis on the long range influence of tonal materials. Both advanced theories of analysis of works which would be adopted by later theorists. While the two men disagreed with each other, their ideas have often been used in combination.Heinrich Schenker argued that there was an Urlinie or basic tonal melody, and a basic bass figuration. He held that when these two were present, there was basic structure, and that the sonata represented this basic structure in a whole work with a process known as interruption. Arnold Schoenberg advanced the theory of monotonality, according to which a single work should be played as if in one key, even if movements were in different keys, and that the capable composer would reference everything in a work to a single tonic triad.For Schenker, tonal function was the essential defining characteristic of comprehensible structure in music, and his definition of the sonata form rested, not on themes groups or sections, but on the basic interplay between the different "layers" of a composition. For Schoenberg, tonality was not essential to comprehensibility, but he accorded similar importance to the structural role of notes, in "explaining" the relationships of chords and counterpoint in musical structure. Both theorists held that tonality, and hence sonata structure in tonal form, is essentially hierarchical: what is immediately audible is subordinate to large-scale movements of harmony. They argued that transient chords and events are less significant than movement between certain crucial underlying chords.As a practical matter, Schenker applied his ideas to the editing of the piano sonatas of Beethoven, using original manuscripts and his own theories to "correct" the available sources. The basic procedure was the use of tonal theory to infer meaning from available sources as part of the critical process, even to the extent of completing works left unfinished by their composers. While many of these changes were and are controversial, that procedure has a central role today in music theory, and is an essential part of the theory of sonata structure as taught in most music schools.-FAMOUS SONATAS: For a more comprehensive list of sonatas, see List of sonatas.-Classical (ca 1760 â€“ ca 1830): Ludwig van Beethoven : Piano Sonata No. 8 "PathÃ©tique" Piano Sonata No. 14 "Moonlight" Piano Sonata No. 21 "Waldstein" Piano Sonata No. 23 "Appassionata" Piano Sonata No. 29 "Hammerklavier" See Piano sonatas by Ludwig van Beethoven. Violin Sonata No. 5 "Spring" Violin Sonata No. 8 Violin Sonata No. 9 "Kreutzer" Cello Sonata No. 1 in F Major Op.5 Cello Sonata No. 2 in G Minor Op.5 Cello Sonata No. 3 in A Major Op.69 Wolfgang Amadeus Mozart: Piano Sonata No. 8 in A Minor (K. 310) Piano Sonata No. 11 in A Major (K. 331/300i) Piano Sonata No. 12 in F Major (K. 332) Piano Sonata No. 13 in B? Major (K. 333) Piano Sonata No. 14 in C Minor (K. 457) Piano Sonata No. 15 in F Major (K. 533/494) Piano Sonata No. 16 in C Major (K. 545) Sonata in C for Keyboard and Violin (K. 6) Sonata in A for Violin and Keyboard (K. 526) Giuseppe Tartini: Devil's Trill Sonata- Romantic (ca 1830 â€“ ca 1900): Johannes Brahms: Cello Sonata No. 1 FrÃ©dÃ©ric Chopin: Piano Sonata No. 1 in C Minor Piano Sonata No. 2 in B Minor Piano Sonata No. 3 in B Minor Edvard Grieg: Three sonatas for Violin and Piano Franz Liszt: Sonata after a Reading of Dante (Fantasia Quasi Sonata) Sonata in B minor Robert Schumann: Violin Sonata No 1 in A minor opus 105 Johannes Brahms, Albert Dietrich, and Robert Schumann: 'F-A-E' Sonata- 20th Century (including contemporary) (ca 1910 â€“ 2000): Samuel Barber : Cello Sonata Op. 6 Pierre Boulez : Piano Sonata No. 1 Piano Sonata No. 2 Piano Sonata No. 3 Charles Ives : Piano Sonata No. 2, Concord, Mass., 1840-60 LeoÅ¡ JanÃ¡cek : 1. X. 1905 (JanÃ¡cek's Sonata for Piano) Ben Johnston : Sonata for Microtonal Piano Sergei Prokofiev: Violin Sonata No. 1 in F Minor Violin Sonata No. 2 in D Major Alexander Scriabin: Piano Sonata No. 2 (Sonata-Fantasy) Piano Sonata No. 3 Piano Sonata No. 4 Piano Sonata No. 5 Piano Sonata No. 6 Piano Sonata No. 7 "White Mass" Piano Sonata No. 8 Piano Sonata No. 9 "Black Mass" Piano Sonata No. 10- References: William S. Newman Sonata in the Classic Era (A History of the Sonata Idea) ISBN 0-393-00623-9 William S. Newman The sonata in the Baroque Era ISBN 0-393-00622-0 William S. Newman The sonata in the Classic Era ISBN 0-393-95286-X William S. Newman The sonata since Beethoven ISBN 0-393-95290-8 William S. Newman Beethoven on Beethoven: Playing His Piano Music His Way ISBN 0-393-30719-0 Charles Rosen Sonata Forms ISBN 0-393-02658-2 Charles Rosen The Classical Style ISBN 0-393-31712-9 Charles Rosen The Romantic Generation ISBN 0-674-77934-7 Arnold Schoenberg Harmonielehre Heinrich Schenker Free Composition Felix Salzer Structural Hearing Volumes I & II Stanley Sadie ed, The Grove Concise Dictionary of MusicUseful links: http://www.filmmusicsociety.org/ XXX http://www.music.org/cgi-bin/showpage.pl XXX http://www.chambermusicsociety.org/ XXX http://www.cums-smuc.ca/ XXX http://www.virtufoundation.org/ XXX http://www.imps.org/ XXX http://www.amc-music.com/ XXX http://www.amc.net/ XXX

Television:

What is??????: C-SHARP MINOR:C-sharp minor is a minor scale based on C-sharp, consisting of the pitches C-sharp, D-sharp, E, F-sharp, G-sharp, A, B-sharp and C-sharp (harmonic minor scale). Its key signature consists of four sharps.Its relative major is E major, and its parallel major is C-sharp major.Changes needed for the melodic and harmonic versions of the scale are written in with accidentals as necessary.There are only two known symphonies in the 18th Century written in this key. One of them is by Joseph Martin Kraus, but he appears to have found the key difficult since he later rewrote it in C minor. Even in the following two centuries C-sharp minor symphonies remained rare. Two notable examples are Mahler's Symphony No. 5 and Prokofiev's Symphony No. 7.This key occurs more often in piano literature, however, from the 18th Century onwards. Domenico Scarlatti wrote just two keyboard sonatas in C-sharp minor, K. 246 and K. 247. But after Beethoven's Moonlight Sonata, the key became more frequent in the piano repertoire.Interestingly, Haydn didn't write any works in C-sharp minor and Mozart only wrote one. Well known songs in this key All Along the Watchtower - Bob Dylan Barbie Girl - Aqua California Dreamin' - The Mamas and the Papas Hungarian Rhapsody No. 2 - Franz Liszt Oops I Did It Again - Britney Spears Crush - Jennifer Paige Because - The Beatles La Isla Bonita - Madonna * Echoes - Pink Floyd Moonlight Sonata - Ludwig van Beethoven Have A Nice Day - Bon Jovi Message in a Bottle - The Police All That She Wants - Ace of Base Prelude in C-sharp minor Op. 3 No. 2 - Sergei Rachmaninoff *''Round Round - Sugababes

Books:

Great People Part I.: CLAUDE DEBUSSY Born: August 22, 1862. St. Germaine-en-Laye, France Died: March 5, 1918. Paris, FranceIn his own words..."A symphony is usually built on a melody heard by the composer as a child. The first section is the customary presentation of a theme on which the composer proposes to work; then begins the necessary dismemberment; the second section seems to take place in an experimental laboratory; the third section cheers up a little in a quite childish way, interspersed with deep sentimental phrases during which the melody recedes, as is more seemly; but it reappears and the dismemberment goes on... I am more and more convinced that music is not, in essence, a thing which can be cast into a traditional and fixed form. It is made up of colors and rhythms." French composer and critic. Debussy's music is often associated with the contemporary impressionist movement in painting, and his approach shares some characteristics of this style."The primary aim of French music," Claude Debussy wrote in 1904, "is to give pleasure." Debussy, more than anything, was interested in the sensuous quality of music. Even as a student he let his concept of sound override many of the rules he was so assiduously taught by his teachers (much to their consternation). From this he developed a style that was wholly his own, but that also owed much to a wide variety of disparate influences. He also was a passionate champion of a purely French style, and he proudly referred to himself as "Claude Debussy, musicien franÃ§ais."Debussy was educated at the Paris Conservatory, and in 1885 he won the coveted Prix de Rome. His period in Rome, however, was not pleasant for Debussy and he longed to return to Paris. His early works show his desire to break the constraints of Western harmony and form (he especially disliked sonata-allegro form, which he came to see as overly Germanic and not fitting for a French composer). His Prelude to The Afternoon of a Faun departs from any sense of development, relying instead on a series of free repetitions and variations of the basic themes.As a student and a young composer, Debussy was also an ardent Wagnerite, seeing in the German composer the future of music, specifically musical drama. He later turned away from Wagner, describing him as "a beautiful sunset mistaken for a dawn." Yet his one completed opera, PellÃ©as et MÃ©lisande, owes much of its conception to this influence, even if the musical language is markedly different. The other strong influences on Debussy at this time were the symbolist and decadent movements in poetry, with their concern for sound and abstract meaning. While PellÃ©as was his only opera, he worked on various subjects by Edgar Allan Poe, one of his favorite writers and a strong influence on the symbolist writers.Debussy's interest in the exquisite and sensual also led him to an appreciation of the music of other cultures, and his use of various scales beyond the traditional major and minor ones shows the influence of Oriental and Russian music. A decisive influence was the Paris Exhibition of 1889, where he first encountered the music of the Indonesian gamelan orchestra. The different scales, as well as the floating qualities of form and rhythm, would find their way into his work, especially his piano music.Late in his life, Debussy turned his interests to abstract forms, producing three remarkable sonatas (he had originally conceived of six for various instruments, with the final one planned for all the instruments of the previous five). In these works, Debussy's rich melodic and harmonic language found a new and intriguing expression. Sadly, this endeavor was cut short by the composer's death at the height of World War I. The conflict of German and French civilization was for him a violent reflection of the musical conflict he dealt with his entire life.Musical Examples:"Jeux de vagues" from La Mer "Et la lune descend sur le temple qui fut" from Images II String Quartet in G minor, Op.10, first movement "Golligog's Cakewalk" from Children's CornerWorks: Orchestral music, including Prelude Ã L'aprÃ¨s-midi d'un faune (Prelude to The Afternoon of a Faun, 1894), Nocturnes (1899), La Mer (The Sea, 1905), Images (1912), incidental music Dramatic works, including the opera PellÃ©as et MÃ©lisande (1902) and the ballet Jeux (Games, 1913) Chamber music, including a string quartet (1893) and various sonatas (cello, 1915; violin, 1917; flute, viola and harp, 1915) Piano music, including Pour le piano (For the Piano, 1901), Estampes (Prints, 1903), 2 books of preludes (1909-1910, 1912-1913) Songs and choral music; cantatas, including L'enfant prodigue (The Prodigal Son, 1884)

Heroes:

SYMPHONIC POEM:A symphonic poem or tone poem is a piece of orchestral music, in one movement, in which some extra-musical programme provides a narrative or illustrative element. This programme could come from a poem, a novel, a painting or some other source. Music based on extra-musical sources is often known as program music, while music which has no other associations is known as absolute music. A series of tone poems may be combined in a suite, in the romantic rather than the baroque sense: "The Swan of Tuonela" (1895) is a tone poem from Sibelius LemminkÃƒÂ¤inen Suite.Franz Liszt largely invented the symphonic poem, in a series of single-movement orchestral works composed in the 1840s and 1850s. The immediate predecessors of the Lisztian tone poem were concert overtures, theatrical, colorful and evocative orchestral movements that were created for performance independent of any opera or theater-piece: for example, Felix Mendelssohn's Fingal's Cave or Hector Berlioz's Roman Carnival Overture. An early such independent overture is Carl Maria von Weber's Der Beherrscher der Geister ("The Ruler of the Spirits", 1811), a highly atmospheric overture without an opera. These concert pieces in turn sprang from the overtures by Ludwig van Beethoven such as those for Egmont, Coriolanus, and the Leonore No. 3, which in their musical content anticipates the story of the stage work which they introduce (plays in the case of Egmont and Coriolanus, the opera Fidelio in the case of Leonore). Even earlier orchestral mood pieces are exemplified by the 'storm' set-pieces that were an established genre that went back to the summer storm in Antonio Vivaldi's The Four Seasons, and some moody entr'actes between scenes of Baroque French operas.Other composers who took up the symphonic poem: *Sergei Rachmaninoff - The Isle of the Dead *Camille Saint-SaÃƒÂ«ns - Danse macabre *Claude Debussy - PrÃƒÂ©lude Ãƒ l'aprÃƒÂ¨s-midi d'un faune *Jean Sibelius - Finlandia *BedÃ…â„¢ich Smetana - MÃƒÂ¡ Vlast *DvorÃƒÂ¡k - The Golden Spinning Wheel and The Wood Dove, among others *Modest Mussorgsky - Night on Bald Mountain *Nikolai Rimsky-Korsakov - Sadko *Pyotr Tchaikovsky - Fatum, Romeo and Juliet (labeled "fantasy-overture"), 1812 Overture *CÃƒÂ©sar Franck - Le Chasseur Maudit ("The Accursed Huntsman") *Alexander Borodin - In the Steppes of Central Asia *Paul Dukas - L'apprenti-sorcier ("The Sorcerer's Apprentice") *Sergei Taneyev - Oresteia (labeled "overture", but really a symphonic poem based on themes from his opera of the same name) *Ottorino Respighi - the trilogy of Roman symphonic poems (The Pines of Rome, The Fountains of Rome, and Roman Festivals) and Brazilian Impressions *George Gershwin - An American in Paris *Geirr Tveitt - Nykken *Arnold Bax - Tintagel, and The Garden of Fand *Nigel Keay - Ritual Dance of the Unappeasable Shadow *Nick Peros - Northern LightsFrom the above one can understand that the freedom of the genre of the symphonic poem allows other appellations, such as "musical picture," "overture," "fantasy," etc.Richard Strauss (who preferred the term "tone poem" to "symphonic poem") was one of the most prolific late Romantic composers in the genre, with his works including Don Juan, Till Eulenspiegel, Also sprach Zarathustra, Don Quichote, and Ein Heldenleben. Strauss subtitled Don Quichote 'Introduction, Theme with Variations, and Finale' and 'Fantastic Variations for Large Orchestra on a Theme of Knightly Character.' The work could as easily be called a rhapsody as a tone poem.William Lloyd Webber, the father of theatrical composer/impresario Andrew Lloyd Webber, composed a symphonic poem Aurora, which has experienced a resurgence in popularity in recent years. However, some of this interest can be attributed to his association with the popularity of his son's works.There are also a number of one-movement works not written for orchestra, but for some chamber ensemble or solo instrument, based on some extra-musical source. Because of their non-orchestral nature, these are not considered to be "symphonic poems", although in all aspects other than instrumentation, they resemble one. One of the best known such pieces is Arnold Schoenberg's VerklÃƒÂ¤rte Nacht ("Transfigured Night"''), based on a poem, originally written for string sextet (though later arranged for a larger ensemble). See also * Symphonic poemsList of Tone Poems by Composer Claude Debussy PrÃƒÂ©lude Ãƒ l'aprÃƒÂ¨s-midi d'un faune Dances SacrÃƒÂ©e et Profane for harp and orchestra (1903) La Mer, esquisses symphoniques (Symphonic Sketches) for orchestra (1905)Franz Liszt * Ce qu'on entend sur la montagne, (1848-9) (after Victor Hugo) * Tasso: lamento e trionfo, (1849) (after Byron) * Les prÃƒÂ©ludes, after Lamartine (1848, rev. before 1854) * Orpheus, (1853-4) * Prometheus, (1850) * Mazeppa, (1851) * FestklÃƒÂ¤nge, (1853) * HÃƒÂ©roÃƒÂ¯de funÃƒÂ¨bre, (1849-50) * Hungaria, (1854) * Hamlet, (1858) * Hunnenschlacht, (1857) * Die Ideale (1857) (after Schiller)Sergei Rachmaninoff The Rock, op. 7 (1893) Caprice BohÃƒÂ©mien, op.12 (1894) The Isle of the Dead, op.29 (1909)Ottorino Respighi Fontane di Roma (Fountains of Rome - 1916) Pini di Roma (Pines of Rome - 1924) Feste Romane (Roman Festivals - 1928) Brazilian Impressions (1928)Camille Saint-SaÃƒÂ«ns Le Rouet d'Omphale, op. 31 PhaÃƒÂ©ton, op. 39 Danse macabre, op. 40 La Jeunesse d'Hercule, op. 50MieczysÃ…â€šaw KarÃ…â€šowicz Returning Waves, op.9 (1904) *Eternal Songs, op.10 (1906) *Lithuanian Rhapsody, op.11 (1906) *StanisÃ…â€šaw i Anna OÃ…Â¡wiecimovie, op.12 (1906) *Sorrowful Tale, op.13 (1908) *An Episode during Masquarade, op.14 (1908-09)Alexander Scriabin *The Poem of Ecstasy, op. 54 (1905) *Prometheus: The Poem of Fire, op.60 (1910)Dmitri Shostakovich *October, op. 131 (1967)Jean Sibelius *Kullervo, Symphony for soprano, baritone, chorus and orchestra Op.7 (1892) *En Saga, Tone Poem for orchestra Op.9 (1892) *Rakastava (The Lover) for male voices and strings or strings and percussion Op.14 (1893/1911) *LemminkÃƒÂ¤inen Suite (Four Legends from the Kalevala) for orchestra Op.22 (1893) *SkogsrÃƒÂ¥et (The Wood Nymph), Tone Poem for orchestra Op.15 (1894) *VÃƒÂ¥rsÃƒÂ¥ng for orchestra Op.16 (1894) *Kung Kristian (King Christian), Suite from the incidental music for orchestra Op.27 (1898) *Sandels, Improvisation for chorus and orchestra Op.28 (1898) *Finlandia for orchestra and chorus (optional) Op.26 (1899) *SnÃƒÂ¶frid for reciter, chorus and orchestra Op.29 (1899) *Tulen synty (The Origin of Fire) Op.32 (1902) *Kuolema ("Valse Triste" and "Scene with Cranes") for orchestra Op.44 (1904/1906) *Pohjolan tytÃƒÂ¤r (Pohjola's Daughter), Tone Poem for orchestra Op.49 (1906) *Svanevit (Swan-white), Suite from the incidental music for orchestra Op.54 (1908) *Nightride and Sunrise, Tone Poem for orchestra Op.55 (1909) *Dryadi (The Dryad) for orchestra Op.45/1 (1910) *Barden (The Bard), Tone Poem for orchestra and harp Op.64 (1913/1914) *Luonnotar, Tone Poem for soprano and orchestra Op.70 (1913) *Aallottaret (The Oceanides), Tone Poem for orchestra Op.73 (1914) *Oma Maa (Our Fatherland) for chorus and orchestra Op.92 (1918) *Jordens sÃƒÂ¥ng (Song of the Earth) for chorus and orchestra Op.93 (1919) *VÃƒÂ¤inÃƒÂ¶n virsi (VÃƒÂ¤inÃƒÂ¶'s song) for chorus and orchestra Op.110 (1926) *Tapiola, Tone Poem for orchestra Op.112 (1926)Kaikhosru Sorabji *Chaleur'' (1917)

I am here for Friends and Networking

About Me