1.
C major
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C major is a major scale based on C, with the pitches C, D, E, F, G, A, and B. Its key signature has no flats and no sharps, C majors relative minor is A minor and its parallel minor is C minor. C major is one of the most common key signatures used in western music, most transposing instruments playing in their home key are notated in C major, for example, a clarinet in B♭ sounding a B-flat major scale is notated as playing a C major scale. The white keys of the piano correspond to the C major scale, among brass instruments, the contra-bass tuba is in C. A pedal harp tuned to C major has all of its pedals in the middle position, there are no black keys in the C major scale, thus it doesnt fit the natural positions of the fingers well. Twenty of Joseph Haydns 104 symphonies are in C major, making it his second most often used key, of the 134 symphonies mistakenly attributed to Haydn that H. C. Robbins Landon lists in his catalog,33 are in C major, more than any other key. Before the invention of the trumpet, Haydn did not write trumpet and timpani parts in his symphonies. H. C. Robbins Landon writes that it wasnt until 1774 that Haydn uses trumpets, most of Haydns symphonies in C major are labelled festive and are of a primarily celebratory mood. Many Masses and settings of Te Deum in the Classical era were in C major, mozart wrote most of his Masses in C major and so did Haydn. Of Franz Schuberts two symphonies in the key, the first is nicknamed the Little C major and the second the Great C major, many musicians have pointed out that every musical key conjures up specific feelings. This idea is explored in a radio program called The Signature Series. American popular songwriter Bob Dylan claimed the key of C major to be the key of strength, french composers such as Marc-Antoine Charpentier and Rameau generally thought of C major as a key for happy music, but Hector Berlioz in 1856 described it as serious but deaf and dull. Ralph Vaughan Williams was impressed by Sibeliuss Symphony No.7 in C major, however, C major was a key of great importance in Sibeliuss previous symphonies. Claude Debussy, noted for composing music that avoided a particular key center, once said, in musical catalogs that sort the musical pieces by key, whether they go by semitones or along the circle of fifths, they almost always begin with those pieces in C major. A notable modern use of the key is Terry Rileys In C, johann Sebastian Bach Toccata, Adagio and Fugue in C major, BWV564 Cello Suite No. 3, BWV1009 Ludwig van Beethoven Symphony No,1, Op.21 Piano Sonata No. 21, K.467 Piano Concerto No,25, K.503 Piano Sonata No. 16, K.545 String Quartet No,41, K.551 Sergei Prokofiev Piano Concerto No.3 Maurice Ravel Boléro Franz Schubert Wanderer Fantasy, Op.15 D.760 Symphony No
2.
Schubert Thematic Catalogue
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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 numbers are used for the identification of Schuberts compositions. In 1978, as part VIII Supplement / Volume 4 of the New Schubert Edition, in 1995 Dover Publications republished the 1951 edition, with updates derived from scholarship that had been published since 1951. From 1983 compact versions of the catalogue appeared, edited by Werner Aderhold, changes to the numbering of Schuberts works were minor in these later editions. Thematisches Verzeignis der im Druck erschienenen Compositionen von Franz Schubert, thematisches Verzeignis der im Druck erschienenen Werke von F. Schubert. Otto Erich Deutsch in collaboration with Donald R. Wakeling, Schubert, Thematic Catalogue of all his Works in Chronological Order. London, Dent — New York, W. W. Norton,1951, Schubert, Thematic Catalogue of all his Works in Chronological Order. By Otto Erich Deutsch. in The Musical Times Vol.92, the Schubert Catalogue, Corrections and Additions. Franz Schubert List of the Dances in Chronological Order in Revue belge de Musicologie/Belgisch Tijdschrift voor Muziekwetenschap, Vol.25, 1/4, pp. 68–97,1971 Reinhard Van Hoorickx. Thematic Catalogue of Schuberts Works, New Additions, Corrections and Notes in Revue belge de Musicologie/Belgisch Tijdschrift voor Muziekwetenschap, Vol. 28/30, pp. 136–171, Otto Erich Deutsch, with revisions by Werner Aderhold and others. Franz Schubert, thematisches Verzeichnis seiner Werke in chronologischer Folge, ISMN9790006305148 — ISBN9783761805718 Robert Winter. Cataloguing Schubert in 19th Century Music, November 1979 Eva Badura-Skoda, Schubert Studies, Problems of Style and Chronology. Otto Erich Deutsch, edited by Werner Aderhold, Walther Dürr, Franz Schubert, Werkverzeichnis — Der Kleine Deutsch. Otto Erich Deutsch, The Schubert Thematic Catalogue, ISBN0486286851 – ISBN9780486286853 Barry S. Brook, Richard J. Viano. Thematic Catalogues in Music, An Annotated Bibliography — second edition, ISBN 978-0-918728-86-9 Werner Aderhold Franz Schubert, Deutsch-Verzeichnis — Studienausgabe
3.
New Schubert Edition
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The New Schubert Edition, abbreviated as NSE, or NGA is the second complete works edition of the music of Franz Schubert. A longer and more formal title for the edition is Franz Schubert, the Neue Schubert-Ausgabe is published by Bärenreiter. It proposes eighty-three volumes, in eight series, publication of all volumes has been scheduled to conclude in 2016. Plans for this began as early as 1963, with the foundation of the International Schubert Society, headquartered at the University of Tübingen. The publication contains a new edition of the Deutsch catalogue, the edition contains in eight series 83 music volumes, critical reports and supplementing volumes. Franz Schubert, Neue Ausgabe sämtlicher Wërke, rossana Dalmonte and Pier Paolo Scattolin. Franz Schubert, Neue Ausgabe sämtlicher Wërke, Franz Schubert, Neue Ausgabe sämtlicher Wërke. Franz Schubert, Neue Ausgabe sämtlicher Wërke, manuela Jahrmärker and Volkmar von Pechstaedt. Franz Schubert, Neue Ausgabe sämtlicher Wërke, Franz Schubert, Neue Ausgabe sämtlicher Wërke. Franz Schubert, Neue Ausgabe sämtlicher Wërke, Franz Schubert, Neue Ausgabe sämtlicher Wërke. Franz Schubert, Neue Ausgabe sämtlicher Wërke, Franz Schubert, Neue Ausgabe sämtlicher Wërke. Volume 17 Der Graf von Gleichen, Franz Schubert, Neue Ausgabe sämtlicher Wërke. Volume 2a Mehrstimmige Gesänge für gemischte Stimmen, Franz Schubert, Neue Ausgabe sämtlicher Wërke. Volume 2b Mehrstimmige Gesänge für gemischte Stimmen, Franz Schubert, Neue Ausgabe sämtlicher Wërke. Volume 4 Mehrstimmige Gesänge für gleiche Stimmen ohne Klavierbegleitung, Franz Schubert, Neue Ausgabe sämtlicher Wërke. Franz Schubert, Neue Ausgabe sämtlicher Wërke, Franz Schubert, Neue Ausgabe sämtlicher Wërke. Franz Schubert, Neue Ausgabe sämtlicher Wërke, Franz Schubert, Neue Ausgabe sämtlicher Wërke. Franz Schubert, Neue Ausgabe sämtlicher Wërke, Franz Schubert, Neue Ausgabe sämtlicher Wërke
4.
Franz Schubert
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Franz Peter Schubert was an Austrian composer. Schubert died before his 32nd birthday, but was prolific during his lifetime. His output consists of six hundred secular vocal works, seven complete symphonies, sacred music, operas, incidental music. Appreciation of his music while he was alive was limited to a small circle of admirers in Vienna. Felix Mendelssohn, Robert Schumann, Franz Liszt, Johannes Brahms, today, Schubert is ranked among the greatest composers of the late Classical and early Romantic eras and is one of the most frequently performed composers of the early nineteenth century. Schubert was born in Himmelpfortgrund, Vienna, Archduchy of Austria on 31 January 1797, of Franz Theodors fourteen children, nine died in infancy. Their father was a teacher, and his school in Lichtental had numerous students in attendance. Though he was not recognised or even trained as a musician. At age six, Franz began to receive instruction from his father. His formal musical education started around the same time and his father taught him basic violin technique, and his brother Ignaz gave him piano lessons. The boy seemed to more from an acquaintance with a friendly joiners apprentice who took him to a neighbouring pianoforte warehouse where Franz could practice on better instruments. He also played viola in the string quartet, with brothers Ferdinand and Ignaz on first and second violin. Franz wrote his earliest string quartets for this ensemble, young Schubert first came to the attention of Antonio Salieri, then Viennas leading musical authority, in 1804, when his vocal talent was recognized. In October 1808, he became a pupil at the Stadtkonvikt through a choir scholarship, at the Stadtkonvikt, he was introduced to the overtures and symphonies of Mozart, and the symphonies of Joseph Haydn and his younger brother Michael. His exposure to these and lesser works, combined with occasional visits to the opera, one important musical influence came from the songs by Johann Rudolf Zumsteeg, an important Lieder composer of the time. The precocious young student wanted to modernize them, as reported by Joseph von Spaun, Schuberts friendship with Spaun began at the Stadtkonvikt and lasted throughout his short life. In those early days, the financially well-off Spaun furnished the impoverished Schubert with much of his manuscript paper, in the meantime, his genius began to show in his compositions. Schubert was occasionally permitted to lead the Stadtkonvikts orchestra, and Salieri decided to start training him privately in music theory, for male voices and orchestra, and his first symphony
5.
Symphony No. 10 (Schubert)
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Schuberts Symphony No.10 in D major, D 936A, is an unfinished work that survives in a piano sketch. Written during the last weeks of the short life, it was only properly identified in the 1970s. It has been orchestrated by Brian Newbould in a completion that has subsequently performed, published and recorded. The music of the symphony appears to some extent exploratory and contains elements, notably the hybrid form of the third movement. The sketches are written on two staves, with leading, and harmonies ranging from complete to partly indicated. The manuscript contains about 30 instrumental indications, confirming that the orchestra was similar in size to the eighth and ninth symphonies. The manuscript contains sketches of three movements, each one in different time signatures, scholars agree that the second movement is virtually completed, while the two outer are in less completed form. According to Newbould, the second and third movements are complete in the sketches, after ending the exposition in several A major cadences, the tempo changes from Allegro maestoso to Andante, and the new key of B♭ minor is established. This new section, acting as a development, presents a solemn chorale-like variation of the second subject played by the trombones. According to Newbould, the development is written out. Actually, many sketches of Schuberts finished works lack the recapitulation, after this, a series of short modules marked Presto serve as sketches for the coda of the movement. Andante in B minor,38 The second movement, whose lyricism is reminiscent of the composers Winterreise, in the sketch, Schubert crossed out the coda, despite no apparent falling-off quality. Also, a haunting F♯ major melody at the end of the subject group of the exposition does not reappear later in the movement. Scherzo in D major,24 The third movement was at first labelled scherzo, on another page, the movement is started again, this time materializing into a complete movement that became the finale of the symphony. The movement is unconventional, either as a scherzo or as a finale, what was intended as the trio of a scherzo in ternary form in the first draft, became an episode later, while the piece was reshaped into a rondo. The movement is riddled with counterpoint, and the two themes are superimposed at the end of the symphony. According to Newbould, the exposition and development of the first movement are completely out, so the recapitulation is based on the exposition. Only 11 bars based on earlier material or composed by Newbould were added
6.
Gesellschaft der Musikfreunde
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The Gesellschaft der Musikfreunde in Wien, also known as the Musikverein, was founded in 1812 by Joseph Sonnleithner, general secretary of the Court Theatre in Vienna, Austria. Its official charter, drafted in 1814, states that the purpose of the Society was to music in all its facets. In early 1818, Franz Schubert was rejected for membership in the Gesellschaft der Musikfreunde as a professional musician and it is now one of the worlds leading music archives. The first music director was Carl Heissler, who was followed by Anton Rubinstein, other notable music directors include Wilhelm Furtwängler and Herbert von Karajan. Membership in the Gesellschaft has included a whos who of notable 19th- and 20th-century musical figures, including composers, conductors, Gesellschaft der Musikfreunde - official website Website of the Gesellschaft der Musikfreunde archives Johannes Brahms, Life and Letters / Selected and annotated by Styra Avins
7.
Concert Spirituel
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The Concert Spirituel was one of the first public concert series in existence. The concerts began in Paris in 1725 and ended in 1790, later, concerts or series of concerts of the name occurred in Paris, Vienna, London. The series was founded to provide entertainment during the Easter fortnight, the programs featured a mixture of sacred choral works and virtuosic instrumental pieces, and for many years took place in a magnificently-decorated Salle des Cent Suisses in the Tuileries Palace. They started at six o’clock in the evening and were attended by well-to-do bourgeois, the lower aristocracy. In 1784 the concerts were moved to the area of the Salle des Machines, and in 1790. The first concert took place of 18 March 1725 where two of Delalandes motets and Corellis Christmas Concerto were performed, the first director was Anne Danican Philidor, brother of the composer and chess master François-André Danican Philidor. Philidor went bankrupt two years. His successors, Pierre Simart and Jean-Joseph Mouret, expanded the operation with a series of French Concerts, because no one was willing to take their place, the series was administered by the Académie Royale de Musique for the next fourteen years. During this period, the works of French composers were favored, the series was finally profitable because the Académie did not have to pay the license fee, but in general this was a period of stagnation. They continued to new and existing French works, but also presented the most famous Italian singers. Beginning in 1755, oratorios with French texts were introduced and became popular, in 1762 a well-connected royal functionary, Antoine Dauvergne, forced Royers widow out of the operation she had run since her husbands death in 1755. Dauvergne and various associates managed the concerts until 1773, the interest of the public was excited by adding a motet competition and by expanding the presentation of instrumental virtuosi beyond violinists to include masters of wind instruments. Although the concerts remained profitable, Dauvergne abandoned the concerts, as a result the Académie replaced him with Pierre Gaviniès, Simon Le Duc and François Joseph Gossec. From 1777 the Concert Spirituel was directed by Joseph Legros, its last and most brilliant director, Legros, a star singer at the Opera, who managed the concerts until they came to an end in 1790 with the French Revolution. The final concert took place on 13 May 1790, during the Napoleonic period concerts were occasionally held in Paris under the title concert spirituel, particularly after 1805 as religious feeling revived in France. During the Restoration, the Théâtre-Italien and Académie Royale de Musique gave 6 to 9 concerts spirituels per year and they became a regular feature at the Société des Concerts du Conservatoire shortly after it was founded in 1828 and remained so for most of the nineteenth century. They were frequently benefit performances featuring notable soloists - for example, entry on Le Concert Spirituel on the Naxos. com website Michel Brenet, Les Concerts en France sous lAncien Régime, Paris, Fischbacher,1900, réimprimé à New York, Da Capo Press,1970. Joann Élart, Musiciens et répertoires de concert en France à la fin de lAncien Régime, patrick Taïeb, université de Rouen,2005
8.
Vienna
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Vienna is the capital and largest city of Austria and one of the nine states of Austria. Vienna is Austrias primary city, with a population of about 1.8 million, and its cultural, economic and it is the 7th-largest city by population within city limits in the European Union. Today, it has the second largest number of German speakers after Berlin, Vienna is host to many major international organizations, including the United Nations and OPEC. The city is located in the part of Austria and is close to the borders of the Czech Republic, Slovakia. These regions work together in a European Centrope border region, along with nearby Bratislava, Vienna forms a metropolitan region with 3 million inhabitants. In 2001, the city centre was designated a UNESCO World Heritage Site, apart from being regarded as the City of Music because of its musical legacy, Vienna is also said to be The City of Dreams because it was home to the worlds first psycho-analyst – Sigmund Freud. The citys roots lie in early Celtic and Roman settlements that transformed into a Medieval and Baroque city and it is well known for having played an essential role as a leading European music centre, from the great age of Viennese Classicism through the early part of the 20th century. The historic centre of Vienna is rich in architectural ensembles, including Baroque castles and gardens, Vienna is known for its high quality of life. In a 2005 study of 127 world cities, the Economist Intelligence Unit ranked the city first for the worlds most liveable cities, between 2011 and 2015, Vienna was ranked second, behind Melbourne, Australia. Monocles 2015 Quality of Life Survey ranked Vienna second on a list of the top 25 cities in the world to make a base within, the UN-Habitat has classified Vienna as being the most prosperous city in the world in 2012/2013. Vienna regularly hosts urban planning conferences and is used as a case study by urban planners. Between 2005 and 2010, Vienna was the worlds number-one destination for international congresses and it attracts over 3.7 million tourists a year. The English name Vienna is borrowed from the homonymous Italian version of the name or the French Vienne. The etymology of the name is still subject to scholarly dispute. Some claim that the name comes from Vedunia, meaning forest stream, which produced the Old High German Uuenia. A variant of this Celtic name could be preserved in the Czech and Slovak names of the city, the name of the city in Hungarian, Serbo-Croatian and Ottoman Turkish has a different, probably Slavonic origin, and originally referred to an Avar fort in the area. Slovene-speakers call the city Dunaj, which in other Central European Slavic languages means the Danube River, evidence has been found of continuous habitation since 500 BC, when the site of Vienna on the Danube River was settled by the Celts. In 15 BC, the Romans fortified the city they called Vindobona to guard the empire against Germanic tribes to the north
9.
Ferdinand Schubert
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Ferdinand Schubert was an Austrian composer and brother of Franz Schubert. He also designed the stone for the grave of Ludwig van Beethoven. Ferdinand Lukas Schubert was an Austrian teacher, organist and composer and he is notable for his compositions and for his role in publishing the complete works of his younger brother Franz Schubert. As a boy, Ferdinand played violin in the Schubert family string quartet, with his brothers Franz and Ignaz on viola and violin, Franz Schubert composed many of his early string quartets for this ensemble. In 1810, Schubert became organist at the Lichtentaler Parish and was assistant teacher at an orphanage in Vienna. Four years later, in 1816, he was promoted to full-time teacher at the orphanage, in that year, Schubert married one of his students, Anna. In 1818, Franz Schubert composed the German Requiem D621 for Ferdinand, in 1820, Schubert became a teacher and choirmaster in Altlerchenfeld. In 1824, he received an appointment as teacher at the Normal-Hauptschule at St. Anna, after his first wife had died, Ferdinand married his second wife, Therese, in 1832. His two marriages produced a total of 29 children, of whom 12 survived to adulthood, in 1838, he became an honorary professor of organ at the Conservatory. Since he was admired in professional circles for his work as a school administrator. Ferdinand kept a part of the musical estate of Franz Schubert. With the exception of certain operas, masses, and symphonies, Diabellis firm published the catalog over the course of the next 30 years, even after Diabellis death. Ferdinand also wrote numerous educational journals and a number of sacred compositions, although he worked hard all his life, his family lived in poor economic conditions. So his will called for any work published after his death to be for the support of his dependents. Hirtenmesse, op.13 Salve Regina, op.12 Messe F-Dur, op.10 Filiae Regum Regina Coeli Free scores by Ferdinand Schubert in the Choral Public Domain Library
10.
Robert Schumann
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Robert Schumann was a German composer and influential music critic. He is widely regarded as one of the greatest composers of the Romantic era, Schumann left the study of law, intending to pursue a career as a virtuoso pianist. He had been assured by his teacher Friedrich Wieck that he could become the finest pianist in Europe, Schumann then focused his musical energies on composing. Works such as Carnaval, Symphonic Studies, Kinderszenen, Kreisleriana, and his writings about music appeared mostly in the Neue Zeitschrift für Musik, a Leipzig-based publication which he jointly founded. In 1840, Schumann married Friedrich Wiecks daughter Clara, against the wishes of her father, following a long and acrimonious legal battle, which found in favor of Clara and Robert. Clara also composed music and had a concert career as a pianist. After a suicide attempt in 1854, Schumann was admitted to an asylum, at his own request. Diagnosed with psychotic melancholia, Schumann died two years later in 1856 without having recovered from his mental illness, Schumann was born in Zwickau, in the Kingdom of Saxony, the fifth and last child of Johanna Christiane and August Schumann. Schumann began receiving general musical and piano instruction at the age of seven from Johann Gottfried Kuntzsch, the boy immediately developed a love of music and worked at creating musical compositions himself, without the aid of Kuntzsch. Even though he often disregarded the principles of composition, he created works regarded as admirable for his age. At age 14, Schumann wrote an essay on the aesthetics of music and also contributed to a volume, edited by his father, titled Portraits of Famous Men. While still at school in Zwickau, he read the works of the German poet-philosophers Schiller and Goethe, as well as Byron and the Greek tragedians. His most powerful and permanent literary inspiration was Jean Paul, a German writer whose influence is seen in Schumanns youthful novels Juniusabende, completed in 1826, and Selene. Schumanns interest in music was sparked by seeing a performance of Ignaz Moscheles playing at Karlsbad and his father, who had encouraged the boys musical aspirations, died in 1826 when Schumann was 16. Neither his mother nor his guardian thereafter encouraged a career in music, in 1828 Schumann left school, and after a tour during which he met Heinrich Heine in Munich, he went to Leipzig to study law. In 1829 his law studies continued in Heidelberg, where he became a member of Corps Saxo-Borussia Heidelberg. During Eastertide 1830 he heard the Italian violinist, violist, guitarist, in July he wrote to his mother, My whole life has been a struggle between Poetry and Prose, or call it Music and Law. During his studies with Wieck, it has claimed that Schumann permanently injured a finger on his right hand
11.
Leipzig
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Leipzig is the largest city in the federal state of Saxony, Germany. With a population of 570,087 inhabitants it is Germanys tenth most populous city, Leipzig is located about 160 kilometres southwest of Berlin at the confluence of the White Elster, Pleisse, and Parthe rivers at the southern end of the North German Plain. Leipzig has been a city since at least the time of the Holy Roman Empire. The city sits at the intersection of the Via Regia and Via Imperii, Leipzig was once one of the major European centers of learning and culture in fields such as music and publishing. Leipzig became an urban center within the German Democratic Republic after the Second World War. Leipzig later played a significant role in instigating the fall of communism in Eastern Europe, through events which took place in, Leipzig today is an economic center and the most livable city in Germany, according to the GfK marketing research institution. Since the opening of the Leipzig City Tunnel in 2013, Leipzig forms the centerpiece of the S-Bahn Mitteldeutschland public transit system, Leipzig is currently listed as Gamma World City and Germanys Boomtown. Outside of Leipzig the Neuseenland district forms a lake area of approximately 300 square kilometres. Leipzig is derived from the Slavic word Lipsk, which means settlement where the linden trees stand, an older spelling of the name in English is Leipsic. The Latin name Lipsia was also used, the name is cognate with Lipetsk in Russia and Liepāja in Latvia. In 1937 the Nazi government officially renamed the city Reichsmessestadt Leipzig, the common usage of this nickname for Leipzig up until the present is reflected, for example, in the name of a popular blog for local arts and culture, Heldenstadt. de. Leipzig was first documented in 1015 in the chronicles of Bishop Thietmar of Merseburg as urbs Libzi and endowed with city, Leipzig Trade Fair, started in the Middle Ages, became an event of international importance and is the oldest remaining trade fair in the world. During the Thirty Years War, two battles took place in Breitenfeld, about 8 kilometres outside Leipzig city walls, the first Battle of Breitenfeld took place in 1631 and the second in 1642. Both battles resulted in victories for the Swedish-led side, on 24 December 1701, an oil-fueled street lighting system was introduced. The city employed light guards who had to follow a schedule to ensure the punctual lighting of the 700 lanterns. The Leipzig region was the arena of the 1813 Battle of Leipzig between Napoleonic France and a coalition of Prussia, Russia, Austria and Sweden. It was the largest battle in Europe prior to the First World War, in 1913 the Monument to the Battle of the Nations celebrating the centenary of this event was completed. The railway station has two entrance halls, the eastern one for the Royal Saxon State Railways and the western one for the Prussian state railways
12.
Felix Mendelssohn
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Jakob Ludwig Felix Mendelssohn Bartholdy, born and widely known as Felix Mendelssohn, was a German composer, pianist, organist and conductor of the early Romantic period. A grandson of the philosopher Moses Mendelssohn, Felix Mendelssohn was born into a prominent Jewish family and he was brought up without religion until the age of seven, when he was baptised as a Reformed Christian. Mendelssohn was recognised early as a prodigy, but his parents were cautious. Mendelssohn enjoyed early success in Germany, where he revived interest in the music of Johann Sebastian Bach. The Leipzig Conservatoire, which he founded, became a bastion of this anti-radical outlook, Mendelssohn wrote symphonies, concerti, oratorios, piano music and chamber music. His Songs Without Words are his most famous solo piano compositions and he is now among the most popular composers of the Romantic era. Mendelssohns father was the banker Abraham Mendelssohn, the son of the German Jewish philosopher Moses Mendelssohn and his mother was Lea Salomon, a member of the Itzig family and a sister of Jakob Salomon Bartholdy. Mendelssohn was the second of four children, his older sister Fanny also displayed exceptional, the family moved to Berlin in 1811, leaving Hamburg in disguise fearing French revenge for the Mendelssohn banks role in breaking Napoleons Continental System blockade. Abraham and Lea Mendelssohn sought to give their children – Fanny, Felix, Paul, Fanny became a well-known pianist and amateur composer, originally Abraham had thought that she, rather than Felix, would be the more musical. However, at time, it was not considered proper, by either Abraham or Felix, for a woman to have a career in music, so Fanny remained an active. Abraham was also disinclined to allow Felix to follow a career until it became clear that he seriously intended to dedicate himself to it. Mendelssohn grew up in an intellectual environment, Sarah Rothenburg wrote of the household that Europe came to their living room. Abraham Mendelssohn renounced the Jewish religion, he and his wife decided not to have Felix circumcised. Felix and his siblings were first brought up without religious education, Abraham and his wife Lea were themselves baptised in 1822, formally adopting the surname Mendelssohn Bartholdy for themselves and their children. The name Bartholdy was added at the suggestion of Leas brother, Jakob Salomon Bartholdy, in 1829, his sister Fanny wrote to him of Bartholdy this name that we all dislike. Like Wolfgang Amadeus Mozart before him, Mendelssohn was regarded as a child prodigy and he began taking piano lessons from his mother when he was six, and at seven was tutored by Marie Bigot in Paris. After the family moved to Berlin, all four Mendelssohn children studied piano with Ludwig Berger, from at least May 1819 Felix studied counterpoint and composition with Carl Friedrich Zelter in Berlin. This was an important influence on his future career, Zelter had almost certainly been recommended as a teacher by his aunt Sarah Levy, who had been a pupil of W. F. Bach and a patron of C. P. E. Bach
13.
Gewandhaus
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Gewandhaus is a concert hall in Leipzig, Germany, the home of the Leipzig Gewandhaus Orchestra. Todays hall is the third to bear this name, like the second, the first concert hall was constructed in 1781 by architect Johann Carl Friedrich Dauthe inside the Gewandhaus, a building used by cloth merchants. The second Gewandhaus was designed by Martin Gropius and it opened on 11 December 1884, and had a main concert hall and a chamber music hall. It was destroyed in the fire-bombings of World War II between 1943 and 1944, the third Gewandhaus on Augustusplatz opened on 8 October 1981, two hundred years after the Leipzig Gewandhaus Orchestra moved into the original hall. The hall contains an organ, Schuke, Potsdam IV-92-6638. List of concert halls Leo Beranek, Concert Halls and Opera Houses, Musics, Acoustics, history of the Gewandhaus from the official site
14.
Symphony
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A symphony is an extended musical composition in Western classical music, most often written by composers for orchestra. Symphonies are scored for string, brass, woodwind, and percussion instruments which altogether number about 30–100 musicians, Symphonies are notated in a musical score, which contains all the instrument parts. Orchestral musicians play from parts which contain just the music for their instrument. A small number of symphonies also contain vocal parts, the word symphony is derived from the Greek word συμφωνία, meaning agreement or concord of sound, concert of vocal or instrumental music, from σύμφωνος, harmonious. The word referred to a variety of different things, before ultimately settling on its current meaning designating a musical form. In late Greek and medieval theory, the word was used for consonance, as opposed to διαφωνία, in the Middle Ages and later, the Latin form symphonia was used to describe various instruments, especially those capable of producing more than one sound simultaneously. Isidore of Seville was the first to use the word symphonia as the name of a two-headed drum, in late medieval England, symphony was used in both of these senses, whereas by the 16th century it was equated with the dulcimer. In German, Symphonie was a term for spinets and virginals from the late 16th century to the 18th century. 16, published in 1607, Lodovico Grossi da Viadanas Sinfonie musicali,18, published in 1610, and Heinrich Schützs Symphoniae sacrae, op. 6, and Symphoniarum sacrarum secunda pars, op,10, published in 1629 and 1647, respectively. Except for Viadanas collection, which contained purely instrumental and secular music, the opera sinfonia, or Italian overture had, by the 18th century, a standard structure of three contrasting movements, fast, slow, fast and dance-like. It is this form that is considered as the direct forerunner of the orchestral symphony. The terms overture, symphony and sinfonia were widely regarded as interchangeable for much of the 18th century, when composers from the 17th century wrote pieces, they expected that these works would be performed by whatever group of musicians were available. A performance of the piece might be done with a basso continuo group as small as a single cello, during the 18th century, the symphony was cultivated with extraordinary intensity. It played a role in areas of public life, including church services. Since the normal size of the orchestra at the time was quite small, laRue, Bonds, Walsh, and Wilson trace the gradual expansion of the symphonic orchestra through the 18th century. At first, symphonies were string symphonies, written in just four parts, first violin, second violin, viola, occasionally the early symphonists even dispensed with the viola part, thus creating three-part symphonies. A basso continuo part including a bassoon together with a harpsichord or other chording instrument was also possible, the first additions to this simple ensemble were a pair of horns, occasionally a pair of oboes, and then both horns and oboes together
15.
A minor
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A minor is a minor scale based on A, with the pitches A, B, C, D, E, F, and G. Its key signature has no flats and no sharps, however the harmonic minor scale raises the G to G♯. A minors relative major is C major, and its parallel major is A major, changes needed for the melodic and harmonic versions of the scale are written in with accidentals as necessary. Johann Joachim Quantz considered A minor, along with C minor, Violin Concerto in A minor, BWV1041 – Johann Sebastian Bach Violin Sonata No. 4, Op.23 – Ludwig van Beethoven String Quartet No,6, RV356 – Antonio Vivaldi Key Major and minor Chord Chord names and symbols List of symphonies in A minor Media related to A minor at Wikimedia Commons
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A major
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A major is a major scale based on A, with the pitches A, B, C♯, D, E, F♯, and G♯. Its key signature has three sharps and its relative minor is F-sharp minor and its parallel minor is A minor. The key of A major is the key where a Neapolitan sixth chord on 2 ^ requires both a flat and a natural accidental. In the treble, alto, and bass clefs, the G♯ in the key signature is placed higher than C♯, however, in the tenor clef, it would require a ledger line and so G♯ is placed lower than C♯. Although not as rare in the literature as sharper keys. 7, Bruckners Symphony No.6 and Mendelssohns Symphony No.4 comprise a complete list of symphonies in this key in the Romantic era. Mozarts Clarinet Concerto and Clarinet Quintet are both in A major, and generally Mozart was more likely to use clarinets in A major than in any other key besides E-flat major, moreover, the climax part of Tchaikovskys Violin Concerto is also A major. A major is often thought of as the simplest key for violin and other orchestra instruments, a major occurs frequently in chamber music. Franz Schuberts Piano Quintet known as the Trout Quintet and Antonín Dvořáks Piano Quintet No.2 are both in A major, johannes Brahms, César Franck, and Gabriel Fauré wrote violin sonatas in A major. In connection to Beethovens Kreutzer Sonata, Peter Cropper said that A major is the fullest sounding key for the violin, according to Christian Friedrich Daniel Schubart, A major is a key suitable for declarations of innocent love. Hope of seeing ones beloved again when parting, youthful cheerfulness, for orchestral works in A major, the timpani are typically set to A and E a fifth apart, rather than a fourth apart as for most other keys. 9, Op.47 – Ludwig van Beethoven String quartet No, media related to A major at Wikimedia Commons
17.
Ostinato
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In music, an ostinato is a motif or phrase that persistently repeats in the same musical voice, usually at the same pitch. The repeating idea may be a pattern, part of a tune. Both ostinatos and ostinati are accepted English plural forms, the reflecting the words Italian etymology. If the cadence may be regarded as the cradle of tonality, within the context of film music, Claudia Gorbman defines an obstinate as a repeated melodic or rhythmic figure that propel scenes that lack dynamic visual action. Ostinato plays an important part in improvised music, in which it is referred to as a riff or a vamp. A favorite technique of contemporary writers, ostinati are often used in modal and Latin jazz. Ostinato are used in 20th-century music to stabilize groups of pitches, as in Stravinskys The Rite of Spring Introduction and Augurs of Spring. A famous type of ostinato, called the Rossini crescendo, owes its name to a crescendo that underlies a persistent musical pattern and this style was emulated by other bel canto composers, especially Vincenzo Bellini, and later by Wagner. Applicable in homophonic and contrapuntal textures they are repetitive rhythmic-harmonic schemes, more familiar as accompanimental melodies, the techniques appeal to composers from Debussy to avant-garde composers until at least the 1970s. Lies in part in the need for unity created by the abandonment of functional chord progressions to shape phrases. Relentless, repetitive character help to establish and confirm the modal center and their popularity may also be justified by their ease as well as range of use, though. Ostinato must be employed judiciously, as its overuse can lead to monotony. Ground bass or basso ostinato is a type of form in which a bass line. Aaron Copland describes basso ostinato as, the easiest to recognize of the variation forms wherein. A long phrase—either an accompanimental figure or an actual melody—is repeated over and over again in the bass part, however, he cautions, it might more properly be termed a musical device than a musical form. Many instruments south of the Sahara Desert play ostinato melodies and these include lamellophones such as the mbira, as well as xylophones like the balafon, the bikutsi, and the gyil. Ostinato figures are also played on string instruments such as the kora, gankoqui bell ensembles, often, African ostinatos contain offbeats or cross-beats, that contradict the metric structure. Other African ostinatos generate complete cross-rhythms by sounding both the main beats and cross-beats, in the following example, a gyil sounds the three-against-two cross-rhythm
18.
Flute
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The flute is a family of musical instruments in the woodwind group. Unlike woodwind instruments with reeds, a flute is an aerophone or reedless wind instrument that produces its sound from the flow of air across an opening, according to the instrument classification of Hornbostel–Sachs, flutes are categorized as edge-blown aerophones. A musician who plays the flute can be referred to as a player, flautist, flutist or, less commonly. Flutes are the earliest extant musical instruments, as paleolithic instruments with hand-bored holes have been found, a number of flutes dating to about 43,000 to 35,000 years ago have been found in the Swabian Jura region of present-day Germany. These flutes demonstrate that a musical tradition existed from the earliest period of modern human presence in Europe. Flutes, including the famous Bansuri, have been a part of Indian classical music since 1500 BC. A major deity of Hinduism, Krishna, has been associated with the flute, the English verb flout has the same linguistic root, and the modern Dutch verb fluiten still shares the two meanings. Attempts to trace the word back to the Latin flare have been pronounced phonologically impossible or inadmissable, the first known use of the word flute was in the 14th century. According to the Oxford English Dictionary, this was in Geoffrey Chaucers The Hous of Fame, today, a musician who plays any instrument in the flute family can be called a flutist, or flautist, or simply a flute player. Flutist dates back to at least 1603, the earliest quote cited by the Oxford English Dictionary, flautist was used in 1860 by Nathaniel Hawthorne in The Marble Faun, after being adopted during the 18th century from Italy, like many musical terms in England since the Italian Renaissance. Other English terms, now obsolete, are fluter and flutenist. The oldest flute ever discovered may be a fragment of the femur of a cave bear. In 2008 another flute dated back to at least 35,000 years ago was discovered in Hohle Fels cave near Ulm, the five-holed flute has a V-shaped mouthpiece and is made from a vulture wing bone. The researchers involved in the officially published their findings in the journal Nature. The flute, one of several found, was found in the Hohle Fels cavern next to the Venus of Hohle Fels, on announcing the discovery, scientists suggested that the finds demonstrate the presence of a well-established musical tradition at the time when modern humans colonized Europe. Scientists have also suggested that the discovery of the flute may help to explain the probable behavioural and cognitive gulf between Neanderthals and early modern human. A three-holed flute,18.7 cm long, made from a mammoth tusk was discovered in 2004, the earliest extant Chinese transverse flute is a chi flute discovered in the Tomb of Marquis Yi of Zeng at the Suizhou site, Hubei province, China. It dates from 433 BC, of the later Zhou Dynasty and it is fashioned of lacquered bamboo with closed ends and has five stops that are at the flutes side instead of the top
19.
Oboe
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Oboes /ˈoʊboʊ/ OH-boh are a family of double reed woodwind musical instruments. The most common oboe plays in the treble or soprano range, oboes are usually made of wood, but there are also oboes made of synthetic materials. A soprano oboe measures roughly 65 cm long, with keys, a conical bore. Sound is produced by blowing into the reed and vibrating a column of air, the distinctive oboe tone is versatile, and has been described as bright. When the term oboe is used alone, it is taken to mean the standard treble instrument rather than other instruments of the family. In English, prior to 1770, the instrument was called a hautbois, hoboy. The spelling of oboe was adopted into English c.1770 from the Italian oboè, a musician who plays the oboe is called an oboist or simply an oboe player. In comparison to other woodwind instruments, the treble oboe is sometimes referred to as having a clear. The Sprightly Companion, a book published by Henry Playford in 1695, describes the oboe as Majestical and Stately. Humorously, the sound of the oboe is described in the play Angels in America as like that of a if the duck were a songbird. The rich timbre of the oboe is derived from its conical bore, as a result, oboes are readily audible over other instruments in large ensembles. The highest note of the oboe is a lower than the nominally highest note of the B♭ clarinet. Since the clarinet has a range of notes, the lowest note of the B♭ clarinet is significantly deeper than the lowest note of the oboe. Music for the oboe is written in concert pitch. Orchestras normally tune to a concert A played by the oboe, according to the League of American Orchestras, this is done because the pitch of the oboe is secure and its penetrating sound makes it ideal for tuning purposes. The pitch of the oboe is affected by the way in which the reed is made. The reed has a significant effect on the sound of the instrument, Variations in cane and other construction materials, the age of the reed, and differences in scrape and length all affect the pitch of the instrument. German and French reeds, for instance, differ in many ways, weather conditions such as temperature and humidity also affect the pitch
20.
Clarinet
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The clarinet is a musical-instrument family belonging to the group known as the woodwind instruments. It has a mouthpiece, a straight cylindrical tube with an almost cylindrical bore. A person who plays a clarinet is called a clarinetist, the word clarinet may have entered the English language via the French clarinette, or from Provençal clarin, oboe. It would seem however that its roots are to be found amongst some of the various names for trumpets used around the renaissance. Clarion, clarin and the Italian clarino are all derived from the medieval term claro which referred to a form of trumpet. This is probably the origin of the Italian clarinetto, itself a diminutive of clarino, according to Johann Gottfried Walther, writing in 1732, the reason for the name is that it sounded from far off not unlike a trumpet. The English form clarinet is found as early as 1733, while the similarity in sound between the earliest clarinets and the trumpet may hold a clue to its name, other factors may have been involved. The trumpet parts that required this speciality were known by the term clarino, Johann Christoph Denner is generally believed to have invented the clarinet in Germany around the year 1700 by adding a register key to the earlier chalumeau. Over time, additional keywork and airtight pads were added to improve the tone and these days the most popular clarinet is the B♭ clarinet. However, the clarinet in A, just a lower, is commonly used in orchestral music. Since the middle of the 19th century the clarinet has become an essential addition to the orchestra. The clarinet family ranges from the BBB♭ octo-contrabass to the A♭ piccolo clarinet, the clarinet has proved to be an exceptionally flexible instrument, equally at home in the classical repertoire as in concert bands, military bands, marching bands, klezmer, and jazz. The cylindrical bore is primarily responsible for the clarinets distinctive timbre, the tone quality can vary greatly with the musician, the music, the instrument, the mouthpiece, and the reed. The most prominent were the German/Viennese traditions and the French school, the latter was centered on the clarinetists of the Conservatoire de Paris. The proliferation of recorded music has made examples of different styles of clarinet playing available, the modern clarinetist has a diverse palette of acceptable tone qualities to choose from. The A clarinet and B♭ clarinet have nearly the same bore, orchestral players using the A and B♭ instruments in the same concert could use the same mouthpiece for both. The A and the B♭ instruments have nearly identical tonal quality, the tone of the E♭ clarinet is brighter than that of the lower clarinets and can be heard even through loud orchestral or concert band textures. The bass clarinet has a deep, mellow sound, while the alto clarinet is similar in tone to the bass
21.
Bassoon
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The bassoon is a woodwind instrument in the double reed family that typically plays music written in the bass and tenor clefs, and occasionally the treble. Appearing in its form in the 19th century, the bassoon figures prominently in orchestral, concert band. The bassoon is an instrument known for its distinctive tone color, wide range, variety of character. Listeners often compare its warm, dark, reedy timbre to that of a baritone voice. Someone who plays the bassoon is called a bassoonist, the word bassoon comes from French basson and from Italian bassone. However, the Italian name for the instrument is fagotto. B♭1–C5 The range of the bassoon begins at B♭1 and extends upward over three octaves, roughly to the G above the treble staff, higher notes are possible but difficult to produce, and rarely called for, orchestral and concert band parts rarely go higher than C5 or D5. Even Stravinskys famously difficult opening solo in The Rite of Spring only ascends to D5, a1 is possible with a special extension to the instrument—see Extended techniques below. The bassoon disassembles into six pieces, including the reed. Bassoons are double reed instruments like the oboe and the English horn, a modern beginners bassoon is generally made of maple, with medium-hardness types such as sycamore maple and sugar maple preferred. Both bore and tone holes are precision-machined, and each instrument is finished by hand for proper tuning and this ensures coverage by the fingers of the average adult hand. Wooden instruments are lined with hard rubber along the interior of the wing and boot joints to prevent damage from moisture, the end of the bell is usually fitted with a ring, either of metal, plastic or ivory. The joints between sections consist of a tenon fitting into a socket, the tenons are wrapped in either cork or string as a seal against air leaks. The bocal connects the reed to the rest of the instrument and is inserted into a socket at the top of the wing joint, bocals come in many different lengths and styles, depending on the desired tuning and playing characteristics. Folded upon itself, the bassoon stands 1.34 m tall, there are also short-reach bassoons made for the benefit of young or petite players. The origins of the dulcian are obscure, but by the century it was available in as many as eight different sizes. Otherwise, dulcian technique was rather primitive, with eight finger holes, the dulcian came to be known as fagotto in Italy. However, the etymology that equates fagotto with bundle of sticks is somewhat misleading
22.
French horn
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The French horn is a brass instrument made of tubing wrapped into a coil with a flared bell. The double horn in F/B♭ is the horn most often used by players in professional orchestras, a musician who plays any kind of horn is generally referred to as a horn player. Most horns have lever-operated rotary valves, but some, especially older horns, use piston valves, the backward-facing orientation of the bell relates to the perceived desirability to create a subdued sound, in concert situations, in contrast to the more piercing quality of the trumpet. A horn without valves is known as a horn, changing pitch along the natural harmonics of the instrument. Pitch may also be controlled by the position of the hand in the bell, the pitch of any note can easily be raised or lowered by adjusting the hand position in the bell. Three valves control the flow of air in the single horn, the more common double horn has a fourth valve, usually operated by the thumb, which routes the air to one set of tubing tuned to F or another tuned to B♭. Triple horns with five valves are made, tuned in F, B♭. Also common are descant doubles, which typically provide B♭ and alto F branches and this configuration provides a high-range horn while avoiding the additional complexity and weight of a triple. A crucial element in playing the horn deals with the mouthpiece, when playing higher notes, the majority of players exert a small degree of additional pressure on the lips using the mouthpiece. It is the goal of all serious brass musicians to develop their technique such that additional mouthpiece pressure is avoided altogether, or at the very least, the name French horn is found only in English, first coming into use in the late 17th century. At that time, French makers were preeminent in the manufacture of hunting horns, as a result, these instruments were often called, even in English, by their French names, trompe de chasse or cor de chasse. The International Horn Society has recommended since 1971 that the instrument be simply called the horn, there is also a more specific use of French horn to describe a particular horn type, differentiated from the German horn and Vienna horn. In this sense, French horn refers to an instrument with three Périnet valves. It retains the narrow bell-throat and mouthpipe crooks of the orchestral hand horn of the late 18th century, and most often has an ascending third valve. This is a whole-tone valve arranged so that with the valve in the up position the valve loop is engaged, the horn is the third-highest-sounding instrument in the brass family, below the trumpet and the cornet. Horns are mostly tuned in B♭ or F, or a combination of both, in some traditions, novice players use a single horn in F, while others prefer the B♭ horn. The F horn is used more commonly than the B♭ horn, sound is produced by vibrating the players lips into the mouthpiece of the instrument. Different partials in the series can be played by adjusting the air pressure and lip tension
23.
Trumpet
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A trumpet is a musical instrument commonly used in classical and jazz ensembles. The trumpet group contains the instruments with the highest register in the brass family, trumpets are used in art music styles, for instance in orchestras, concert bands, and jazz ensembles, as well as in popular music. They are played by blowing air through almost-closed lips, producing a sound that starts a standing wave vibration in the air column inside the instrument. Since the late 15th century they have primarily been constructed of brass tubing, there are many distinct types of trumpet, with the most common being pitched in B♭, having a tubing length of about 1.48 m. Early trumpets did not provide means to change the length of tubing, most trumpets have valves of the piston type, while some have the rotary type. The use of rotary-valved trumpets is more common in orchestral settings, each valve, when engaged, increases the length of tubing, lowering the pitch of the instrument. A musician who plays the trumpet is called a trumpet player or trumpeter, the earliest trumpets date back to 1500 BC and earlier. The bronze and silver trumpets from Tutankhamuns grave in Egypt, bronze lurs from Scandinavia, trumpets from the Oxus civilization of Central Asia have decorated swellings in the middle, yet are made out of one sheet of metal, which is considered a technical wonder. The Shofar, made from a ram horn and the Hatzotzeroth and they were played in Solomons Temple around 3000 years ago. They were said to be used to blow down the walls of Jericho and they are still used on certain religious days. The Salpinx was a straight trumpet 62 inches long, made of bone or bronze, Salpinx contests were a part of the original Olympic Games. The Moche people of ancient Peru depicted trumpets in their art going back to AD300, the earliest trumpets were signaling instruments used for military or religious purposes, rather than music in the modern sense, and the modern bugle continues this signaling tradition. Improvements to instrument design and metal making in the late Middle Ages, the natural trumpets of this era consisted of a single coiled tube without valves and therefore could only produce the notes of a single overtone series. Changing keys required the player to change crooks of the instrument, the development of the upper, clarino register by specialist trumpeters—notably Cesare Bendinelli—would lend itself well to the Baroque era, also known as the Golden Age of the natural trumpet. During this period, a vast body of music was written for virtuoso trumpeters, the art was revived in the mid-20th century and natural trumpet playing is again a thriving art around the world. The melody-dominated homophony of the classical and romantic periods relegated the trumpet to a role by most major composers owing to the limitations of the natural trumpet. Berlioz wrote in 1844, Notwithstanding the real loftiness and distinguished nature of its quality of tone, there are few instruments that have been more degraded. The attempt to give the trumpet more chromatic freedom in its range saw the development of the keyed trumpet, the symphonies of Mozart, Beethoven, and as late as Brahms, were still played on natural trumpets
24.
Trombone
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The trombone is a musical instrument in the brass family. Like all brass instruments, sound is produced when the players vibrating lips cause the air column inside the instrument to vibrate, nearly all trombones have a telescoping slide mechanism that varies the length of the instrument to change the pitch. Many modern trombone models also utilize a rotary valve as a means to lower pitch of the instrument, variants such as the valve trombone and superbone have three valves like those on the trumpet. The word trombone derives from Italian tromba and -one, so the name means large trumpet, the trombone has a predominantly cylindrical bore like its valved counterpart the baritone and in contrast to its conical valved counterparts, the euphonium and the horn. The most frequently encountered trombones are the trombone and bass trombone. The most common variant, the tenor, is an instrument pitched in B♭, an octave below the B♭ trumpet. A person who plays the trombone is called a trombonist or trombone player, the trombone is a predominantly cylindrical tube bent into an elongated S shape. Rather than being completely cylindrical from end to end, the tube is a series of tapers with the smallest at the mouthpiece receiver. The design of these affects the intonation of the instrument. As with other instruments, sound is produced by blowing air through pursed lips producing a vibration that creates a standing wave in the instrument. The detachable cup-shaped mouthpiece is similar to that of the baritone horn and it has the venturi, a small constriction of the air column that adds resistance greatly affecting the tone of the instrument, and is inserted into the mouthpiece receiver in the slide section. The slide section consists of a leadpipe, the inner and outer tubes. Modern stays are soldered, while sackbuts were made with loose, the slide, the most distinctive feature of the trombone, allows the player to extend the length of the air column, lowering the pitch. To prevent friction from slowing the action of the slide, additional sleeves were developed during the Renaissance, and this part of the slide must be lubricated frequently. Additional tubing connects the slide to the bell of the instrument through a neckpipe, for example, second position A is not in exactly the same place on the slide as second position E. Many types of trombone also include one or more rotary valves used to increase the length of the instrument by directing the air flow through additional tubing. This allows the instrument to reach notes that are not possible without the valve as well as play other notes in alternate positions. Like the trumpet, the trombone is considered a cylindrical bore instrument since it has sections of tubing, principally in the slide section
25.
Timpani
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Timpani, or kettledrums, are musical instruments in the percussion family. A type of drum, they consist of a skin called a head stretched over a large bowl traditionally made of copper and they are played by striking the head with a specialized drum stick called a timpani stick or timpani mallet. Timpani evolved from military drums to become a staple of the orchestra by the last third of the 18th century. Today, they are used in many types of ensembles, including concert bands, marching bands, orchestras. Timpani is an Italian plural, the singular of which is timpano and they are also often incorrectly termed timpanis. A musician who plays the timpani is a timpanist, alternative spellings with y in place of either or both is—tympani, tympany, or timpany—are occasionally encountered in older English texts. Although the word timpani has been adopted in the English language. The German word for timpani is Pauken, the French and Spanish is timbales, the Ashanti pair of talking drums are known as atumpan. The tympanum is defined in the Etymologiae of St. Isidore of Seville, est enim pars media symphoniae in similitudinem cribri. Tympanum autem dictum quod medium est, unde, et margaritum medium tympanum dicitur, et ipsum ut symphonia ad virgulam percutitur. The tympanum is skin or hide stretched over a wooden vessel which extends out. It is said by the symphonias to resemble a sieve, but has also likened to half a pearl. It is struck with a wand, beating time for the symphonia, the reference comparing the tympanum to half a pearl is borrowed from Pliny the Elder. The basic timpani drum consists of a drumhead stretched across the opening of a bowl made of copper or, in less expensive models, fiberglass. In the Sachs–Hornbostel classification, the timpani are thus considered membranophones, the heads tension can be adjusted by loosening or tightening the rods. Most timpani have six to eight tension rods, the shape of the bowl contributes to the quality of the drum. For example, hemispheric bowls produce brighter tones while parabolic bowls produce darker tones, another factor that affects the timbre of the drum is the quality of the bowls surface. Copper bowls may have a smooth, machined surface or a surface with many small dents hammered into it
26.
String section
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The string section is the largest body of a single instrument category in the standard Classical orchestra. It normally consists of the first violins, the violins, the violas, the cellos. The first and second play the same types of instruments. The first violins are generally given the melody or higher-pitch musical lines, the second violins may play a harmony part, a countermelody or an accompaniment passage. In discussions of the instrumentation of a work, the phrase the strings or. An orchestra consisting solely of a section is called a string orchestra. Smaller string sections are used in jazz, pop and rock music arrangements, the most common seating arrangement in the 2000s is with first violins, second violins, violas and cello sections arrayed clockwise around the conductor, with basses behind the cellos on the right. The principal string players sit at the front of their section, closest to the conductor and on the row of performers which is closest to the audience. If space or numbers are limited, cellos and basses can be put in the middle, violins and violas on the left and winds to the right, this is the usual arrangement in orchestra pits. The seating may also be specified by the composer, as in Béla Bartóks Music for Strings, Percussion and Celesta, in some cases, due to space constraints or other issues, a different layout may be used. The inside player typically turns the pages of the part, while the player continues playing. In cases where a turn occurs during an essential musical part. There are more variations of set-up with the bass section, depending on the size of the section. There are not usually as many basses as cellos, so they are either in one row, or for a larger section, in some orchestras, some or all of the string sections may be placed on wooden risers, which are platforms that elevate the performers. The size of a section may be expressed with a formula of the type 10-10-8-10-6, designating the number of first violins, second violins, violas, cellos. The numbers can vary widely, Wagner in Die Walküre specifies 16-16-12-12-8, in general, music from the Baroque music era and the Classical music period used smaller string sections. During the contemporary era, some composers requested smaller string sections. In some regional orchestras, amateur orchestras and youth orchestras, the sections may be relatively small
27.
Symphony No. 8 (Schubert)
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A scherzo, nearly completed in piano score but with only two pages orchestrated, also survives. Many have theorized that Schubert may have sketched a finale that instead became the big B minor entracte from his music to Rosamunde. One possible reason for Schuberts leaving the incomplete is the predominance of the same meter. The first movement is in 34, the second in 38, three consecutive movements in basically the same meter rarely occur in symphonies, sonatas, or chamber works of the most important Viennese composers. Schuberts eighth symphony is called the first Romantic symphony due to its emphasis on the lyrical impulse within the dramatic structure of Classical sonata form. To this day, musicologists still disagree as to why Schubert failed to complete the symphony and it could have been a combination of both factors. In 1823, the Graz Music Society gave Schubert an honorary diploma, what may never be known is how much of the symphony Schubert actually wrote, and how much of what he did write he gave to Hüttenbrenner. A fourth movement finale in the key would have been the norm for any symphony written at that time. The Schubert scholar Brian Newbould, who harmonized, orchestrated and conjecturally completed the sketch of the scherzo, believed this to be true. Pages appear to have torn out after the beginning of the scherzo in the full score sent to Hüttenbrenner. That Hüttenbrenner neither had the work performed, nor let the society know he had the manuscript is curious and has spawned various theories. Old age and approaching death seem to have influenced Hüttenbrenner to reveal the work to an important, the performance was nevertheless received with great enthusiasm by the audience. The score of two movements was not published before 1867. The Unfinished Symphony has been called No.7 instead of No, a typically laconic Schubertian transition consists of just four measures for the two horns, effectively modulating to the subdominant parallel key of G major. The second subject begins with a lyrical melody in that key, stated first by the celli. This is interrupted by a dramatic closing group alternating heavy tutti sforzandi interspersed with pauses and developmental variants of the G major melody, an important moment in the first movement occurs in measure 109. In these measures, Schubert holds a tonic B pedal in the bassoon and first horn under the dominant F♯ chord. Unfortunately, a well-meaning but inexperienced editor removed this dissonance by altering the second bassoon, conductors must check these parts carefully to make sure that the B pedal is intact
28.
Chicago Symphony Orchestra
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The Chicago Symphony Orchestra, based in Chicago, was formed by Theodore Thomas in 1891. The Symphony makes its home at Orchestra Hall in Chicago and plays a season at the Ravinia Festival. The music director is Riccardo Muti, who began his tenure in 2010, the CSO is one of five American orchestras commonly referred to as the Big Five. Since Thomas, the orchestra has had ten music directors, including Rafael Kubelík, Fritz Reiner, Sir Georg Solti, from 2010 to the present, the incumbent conductor is Riccardo Muti. In 1890 Charles Norman Fay, a Chicago businessman, invited Theodore Thomas to establish an orchestra in Chicago, under the name Chicago Orchestra, the orchestra played its first concert October 16,1891 at the Auditorium Theater. It is one of the oldest orchestras in the United States, along with the New York Philharmonic, the Boston Symphony Orchestra, Orchestra Hall, now a component of the Symphony Center complex, was designed by Chicago architect Daniel H. Burnham and completed in 1904. Maestro Thomas served as director for thirteen years until his death shortly after the orchestras newly built residence was dedicated December 14,1904. The orchestra was renamed Theodore Thomas Orchestra in 1905 and today, in 1905, Frederick Stock became music director, a post he held until his death in 1942. The orchestra was renamed the Chicago Symphony Orchestra in 1913, subsequent music directors have included Désiré Defauw, Artur Rodziński, Rafael Kubelík, Fritz Reiner, Jean Martinon, Georg Solti, and Daniel Barenboim. His contract has been renewed for five years, through the 2020 season. Many of these guests have also recorded with the orchestra, carlos Kleiber made his only symphonic guest appearances in America with the CSO, in October 1978 and June 1983. The three principal guest conductors of the orchestra have been Carlo Maria Giulini, Claudio Abbado, the CSO holds an annual fundraiser, originally known as the Chicago Symphony Marathon, more recently as Radiothon and Symphonython, in conjunction with Chicago radio station WFMT. As part of the event, from 1986 through 2008, the released tracks from their broadcast archives on double LP/CD collections. The Chicago Symphony Orchestra maintains a home at Ravinia in Highland Park. The CSO helped to inaugurate the first season of the Ravinia Festival in August 1936 and has been in residence at the Festival every summer since, as of 2005, James Conlon holds the title of Ravinia music director. The Chicago Symphony has amassed an extensive discography, recordings by the CSO have earned 62 Grammy Awards from the National Academy of Recording Arts and Sciences. These include several Classical Album of the Year awards, awards in Best Classical Performance in vocal soloist, choral, instrumental, engineering and orchestral categories. On May 1,1916, Frederick Stock and the orchestra recorded the Wedding March from Felix Mendelssohns music to A Midsummer Nights Dream for what was known as the Columbia Graphophone Company
29.
International Standard Music Number
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The International Standard Music Number or ISMN is a thirteen-character alphanumeric identifier for printed music developed by ISO. The original proposal for an ISMN was made by the UK Branch of IAML, put forward by Alan Pope, Malcolm Lewis, after meetings in Ottawa and Paris in 1993 the draft was finalized and published by ISO. The original format comprised four elements, a distinguishing prefix M, a publisher ID, an item ID, from 1 January 2008 the ISMN was defined as a thirteen digit identifier beginning 979-0 where the zero replaced M in the old-style number. The resulting number is identical with its EAN-13 number as encoded in the items barcode, the TC 46/SC9 is responsible for the standard. A publication may be assigned both an ISBN and an ISMN, unlike the ISBN, the ISMN does not segregate publishers by country. To calculate the check digit, each digit of the ISMN is multiplied by a weight and these weighted digits are added together. The check digit is the integer between 0 and 9 that makes the sum a multiple of 10, for another example, Robert Fripps collection of Guitar Craft scores has the ISMN 979-0-9016791-7-7. International Standard Musical Work Code International ISMN Agency
30.
Jean Paul
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Jean Paul, born Johann Paul Friedrich Richter, was a German Romantic writer, best known for his humorous novels and stories. Jean Paul was born at Wunsiedel, in the Fichtelgebirge mountains and his father was an organist at Wunsiedel. In 1765 his father became a pastor at Joditz near Hof and, in 1767 at Schwarzenbach, after attending the Gymnasium at Hof, in 1781 Jean Paul went to the University of Leipzig. His original intention was to enter his fathers profession, but theology did not interest him, unable to maintain himself at Leipzig he returned in 1784 to Hof, where he lived with his mother. From 1787 to 1789 he served as a tutor at Töpen, a village near Hof, Jean Paul began his career as a man of letters with Grönländische Prozesse, published anonymously in Berlin in 1783–84, and Auswahl aus des Teufels Papieren, published in 1789. These works were not received with favour, and in later life even their author had little sympathy for their satirical tone. Jean Pauls outlook was profoundly altered by a crisis he suffered on November 15,1790. Also among these was the novel Blumen- Frucht- und Dornenstücke, oder Ehestand, Tod and this series of writings assured Richter a place in German literature, and during the rest of his life every work he produced was welcomed by a wide circle of admirers. After his mothers death in 1797, Richter went to Leipzig, and in the year, to Weimar. The English writers Thomas Carlyle and Thomas De Quincey took an interest in Jean Pauls work, in 1801 he married Caroline Meyer, whom he had met in Berlin the year before. They lived first at Meiningen, then at Coburg, and finally, in 1804, here Richter spent a quiet, simple, and happy life, constantly occupied with his work as a writer. Jean Pauls Titan was followed by Flegeljahre and his later imaginative works were Dr Katzenbergers Badereise, Des Feldpredigers Schmelzle Reise nach Flätz, Leben Fibels, and Der Komet, oder Nikolaus Marggraf. In his last years he began Wahrheit aus Jean Pauls Leben, to which additions from his papers, also during this time he supported the younger writer E. T. A. Hoffmann, who long counted Richter among his influences. Richter wrote the preface to Fantasy Pieces, a collection of Hoffmanns short stories published in 1814, in September 1821 Jean Paul lost his only son, Max, a youth of the highest promise, and he never quite recovered from this shock. He lost his sight in 1824, and died of dropsy at Bayreuth, Jean Paul occupies an unusual position in German literature and has always divided the literary public. Some hold him in highest veneration while others treat his work with indifference and he took the Romantic formlessness of the novel to extremes, Schlegel called his novels soliloquies, in which he makes his readers take part. Jean Paul habitually played with a multitude of droll and bizarre ideas, his work is characterized by wild metaphors as well as by digressive, the quick changes of mood attracted the composer Schumann whose Papillons was inspired by Jean Paul. His novels were admired by women
31.
International Music Score Library Project
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Since its launch on February 16,2006, over 370,000 scores and 42,000 recordings for over 110,000 works by over 14,000 composers have been uploaded. The project uses MediaWiki software to provide contributors with a familiar interface, since June 6,2010, IMSLP has also included public domain and licensed recordings in its scope, to allow for study by ear. The site was launched on February 16,2006, the library consists mainly of scans of old musical editions out of copyright. In addition, it admits scores by composers who wish to share their music with the world by releasing it under a Creative Commons license. One of the projects of IMSLP was the sorting and uploading of the complete works of Johann Sebastian Bach in the Bach-Gesellschaft Ausgabe. Besides providing a repository, IMSLP offers possibilities as a musicological encyclopaedia, since multiple. Also, pages on publishers provide valuable information, and the pages themselves often contain a large quantity of information. IMSLP is recommended as a tool by MIT, which also uses it extensively for providing scores for its OpenCourseWare courses. In 2007–2015, IMSLP / Petrucci Music Library used logo based on a score, the score image in the background was taken from the beginning of the very first printed book of music, the Harmonice Musices Odhecaton. It was published in Venice, Italy in 1501 by Ottaviano Petrucci, in 2016, IMSLP changed its logo to a clean wordmark, featuring its two project names – IMSLP and Petrucci Music Library. In 2009, IMSLP won the MERLOT Classics award for Music and it was named one of the Top 100 Web Sites of 2009 by PC Magazine. On October 19,2007, the IMSLP closed following legal demands from Universal Edition of Vienna, at first I thought this letter would be similar in content to the first Cease and Desist letter I received in August. I cannot apologize enough to all IMSLP contributors, who have done so much for IMSLP in the last two years, in response, director Michael S. Hart of Project Gutenberg offered support to keep the project online. This offer was declined by Feldmahler, who voiced concern about having the project hosted in the United States, on November 2,2007, Michael Geist, a prominent Canadian copyright academic, wrote an article for the BBC discussing the specifics and the wider implications of this case. IMSLP went back online on June 30,2008, although the server is located in Canada, files which are not public domain in the US were until July 2010 flagged, for Technical Block or Temporary Block, and could not be viewed. The FAQ posted in their forum stated, Unfortunately, these temporary blocks will be until further notice – possibly all the way until the expiration of term in the USA. After an initial phase, flagged items have disappeared thanks to the introduction of regional servers operated by unaffiliated organizations. On 21 April 2011, the Music Publishers Association issued a DMCA takedown notice against the IMSLP, Go Daddy, the domain name registrar for the IMSLP, removed the domain name imslp. org, leaving it inaccessible
32.
Symphony, D 615 (Schubert)
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Schuberts Symphony in D major, D615, is an unfinished work that survives in an incomplete four-page, 259-bar sketch written for piano solo. It is one of Schuberts six unfinished symphonies and it was begun in May 1818, with initial sketches made for the opening sections of the first movement and finale. He abandoned this symphony after this phase of work and never returned to it, probably due to dissatisfaction with it. Although conductor and composer Brian Newbould has made a version of the fragments. This sketch is the first of a series of four unfinished symphonies – D615, D 708A, D729, previously, his fourth symphony had had Beethovenian influence, his fifth Mozartian influence, and his sixth Rossinian influence. There is thus some Beethovenian influence present, which would persist throughout his symphonic output, additionally, he was still learning how to master instrumental writing, despite having done so for vocal works some years before. His mastery of songwriting was helped by the fact that the words gave hints as to the structure he would use and he returned to writing directly into orchestral score for his seventh symphony, although piano sketches exist for the eighth. The unusually large number of unfinished symphonies on the way to the ninth from the sixth show how preoccupied he was writing this great symphony. In the mid-20th century, Dr. Ernst Hilmar discovered in a library in Vienna a folio containing works by Schubert, titled Sinfonie and it contained sketches for nine movements, all in D major or related keys. In 1951, Otto Erich Deutsch assumed in the first edition of his catalogue of Schuberts works that all the material was for one symphony, which he labelled D615. However, stylistic evidence shows that the material could not all have been for one symphony, in fact the folio was labelled Zwei Symphonien in D, indicating that a librarian had previously thought along similar lines around 1900. A1978 analysis of watermarks and handwriting proved that there was really three symphonies present, these were D615, D 708A, and D 936A and these separate Deutsch numbers were given in the 1978 second edition of the Deutsch catalogue. Furthermore, being still more fragmentary than D 708A, it remained incomplete when Newbould completed the D 708A symphony in 2012 for a commission from BBC Radio 3. Schubert/Newbould Symphony D615 in D major Adagio, — Allegro moderato,24 The sketches are written on two staves, with leading, and harmonies ranging from complete to partly indicated. The manuscript contains five instrumental indications, confirming that the orchestra was similar in size to the sixth symphony. The sketches total about 7 minutes of music, the middle movements were probably never written, as the sketch for the finale begins on the same page as the end of the sketch for the opening movement. Beginning of slow introduction First theme Like most of Schuberts early symphonies, this opens with a slow introduction. Near the end of the exposition, cadences in C major are alternated with those in A major, Brian Newbould sees a falling off of quality during the exposition, saying that despite some promising ideas it runs out of wind before Schubert rests his pen
33.
Symphony, D 708A (Schubert)
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Schuberts Symphony in D major, D 708A, is an unfinished work that survives in an incomplete eleven-page sketch written for piano solo. It is one of Schuberts six unfinished symphonies and it was begun in 1820 or 1821, with initial sketches made for the opening sections of the first, second, and fourth movements, and an almost complete sketch for the third movement. He abandoned this symphony after this phase of work and never returned to it. British conductor and composer Brian Newbould, an authority on Schuberts music, has speculated that the symphony was left due to problems Schubert faced in orchestrating the sketch. In 2012, Newbould was commissioned by BBC Radio 3 to complete the symphony and he had previously completed three other unfinished symphonies by Schubert. At that time he had work to make the existing fragments of D 708A performable. His completed version has subsequently performed, recorded, published. This sketch is the second of a series of four unfinished symphonies – D615, D 708A, D729, previously, his fourth symphony had had some Beethovenian influence, his fifth Mozartian influence, and his sixth Rossinian influence. There is thus some Beethovenian influence present, which would persist throughout his symphonic output, additionally, he was still learning how to master instrumental writing, despite having done so for vocal works some years before. His mastery of songwriting was helped by the fact that the words gave hints as to the structure he would use and he returned to writing directly into orchestral score for his seventh symphony, although piano sketches exist for the eighth. The unusually large number of unfinished symphonies on the way to the ninth from the sixth show how preoccupied he was writing this great symphony. Schuberts reasons for abandoning D 708A probably have much to do with problems in orchestrating it, in addition to the problematic extremely high clarinet solos at points in the second and third movements, a further problem is that the climax of the fourth movement reaches A♭ major. This key is so far away from D major that the horns, trumpets and timpani simply have no notes to play at this climax, despite them being needed to provide a full, loud orchestral sound. Unfortunately, he later had to work on that symphony as well to work on his opera Alfonso und Estrella. Schuberts use of trombones can later be seen in the eighth, ninth, in the mid-20th century, Dr Ernst Hilmar discovered in a library in Vienna a folio containing works by Schubert, titled Sinfonie and dated to May 1818. It contained sketches for nine movements, all in D major or related keys, in 1951, Otto Erich Deutsch assumed in the first edition of his catalogue of Schuberts works that all the material was for one symphony, which he labelled D615. However, stylistic evidence shows that the material could not all have been for one symphony, in fact the folio was labelled Zwei Symphonien in D, indicating that a librarian had previously thought along similar lines around 1900. A1978 analysis of watermarks and handwriting proved that there was really three symphonies present, these were D615, D 708A, and D 936A and these separate Deutsch numbers were given in the 1978 second edition of the Deutsch catalogue
