1.
Romantic music
–
Romantic music is an era of Western classical music that began in the late 18th or early 19th century. In the Romantic period, music became more expressive and emotional, expanding to encompass literary, artistic, famous early Romantic composers include Beethoven, Schubert, Schumann, Chopin, Mendelssohn, Bellini, and Berlioz. The late 19th century saw an expansion in the size of the orchestra and in the dynamic range. Also, public concerts became a key part of middle class society, in contrast to earlier periods. Famous composers from the half of the century include Johann Strauss II, Brahms, Liszt, Tchaikovsky, Verdi. A prominent mark of late 19th century music is its nationalistic fervor, as exemplified by such figures as Dvořák, Sibelius, other prominent late-century figures include Saint-Saëns, Fauré, Rachmaninoff and Franck. The Romantic movement was an artistic, literary, and intellectual movement that originated in the half of the 18th century in Europe. In part, it was a revolt against social and political norms of the Age of Enlightenment and a reaction against the scientific rationalization of nature. It was embodied most strongly in the arts, music, and literature, but had a major impact on historiography and education. One of the first significant applications of the term to music was in 1789, in the Mémoires by the Frenchman André Grétry, in the first of these essays Hoffmann traced the beginnings of musical Romanticism to the later works of Haydn and Mozart. It was also through the writings of Hoffmann and other German authors that German music was brought to the centre of musical Romanticism, the attributes have also been criticized for being too vague. For example, features of the ghostly and supernatural could apply equally to Mozarts Don Giovanni from 1787, events and changes that happen in society such as ideas, attitudes, discoveries, inventions, and historical events always affect music. For example, the Industrial Revolution was in effect by the late 18th century. This event had a profound effect on music, there were major improvements in the mechanical valves. The new and innovative instruments could be played with greater ease, another development that had an effect on music was the rise of the middle class. Composers before this period lived on the patronage of the aristocracy, many times their audience was small, composed mostly of the upper class and individuals who were knowledgeable about music. The Romantic composers, on the hand, often wrote for public concerts and festivals, with large audiences of paying customers. Composers of the Romantic Era, like Elgar, showed the world that there should be no segregation of musical tastes, during the Romantic period, music often took on a much more nationalistic purpose
Romantic music
–
Wanderer Above the Sea of Fog, by
Caspar David Friedrich is an example of Romantic painting.
2.
Piano
–
The piano is an acoustic, stringed musical instrument invented around the year 1700, in which the strings are struck by hammers. It is played using a keyboard, which is a row of keys that the performer presses down or strikes with the fingers and thumbs of both hands to cause the hammers to strike the strings. The word piano is a form of pianoforte, the Italian term for the early 1700s versions of the instrument. The first fortepianos in the 1700s had a sound and smaller dynamic range. An acoustic piano usually has a wooden case surrounding the soundboard and metal strings. Pressing one or more keys on the keyboard causes a padded hammer to strike the strings. The hammer rebounds from the strings, and the continue to vibrate at their resonant frequency. These vibrations are transmitted through a bridge to a soundboard that amplifies by more efficiently coupling the acoustic energy to the air, when the key is released, a damper stops the strings vibration, ending the sound. Notes can be sustained, even when the keys are released by the fingers and thumbs and this means that the piano can play 88 different pitches, going from the deepest bass range to the highest treble. The black keys are for the accidentals, which are needed to play in all twelve keys, more rarely, some pianos have additional keys. Most notes have three strings, except for the bass that graduates from one to two, the strings are sounded when keys are pressed or struck, and silenced by dampers when the hands are lifted from the keyboard. There are two types of piano, the grand piano and the upright piano. The grand piano is used for Classical solos, chamber music and art song and it is used in jazz. The upright piano, which is compact, is the most popular type, as they are a better size for use in private homes for domestic music-making. During the nineteenth century, music publishers produced many works in arrangements for piano, so that music lovers could play. The piano is widely employed in classical, jazz, traditional and popular music for solo and ensemble performances, accompaniment, with technological advances, amplified electric pianos, electronic pianos, and digital pianos have also been developed. The electric piano became an instrument in the 1960s and 1970s genres of jazz fusion, funk music. The piano was founded on earlier technological innovations in keyboard instruments, pipe organs have been used since Antiquity, and as such, the development of pipe organs enabled instrument builders to learn about creating keyboard mechanisms for sounding pitches
Piano
–
A grand piano (left) and an upright piano (right)
Piano
Piano
–
Grand piano by Louis Bas of
Villeneuve-lès-Avignon, France, 1781. Earliest French grand piano known to survive; includes an inverted wrestplank and action derived from the work of Bartolomeo Cristofori (ca. 1700) with ornately decorated soundboard.
Piano
–
Early piano replica by the modern builder Paul McNulty, after Walter & Sohn, 1805
3.
Violin
–
The violin is a wooden string instrument in the violin family. It is the smallest and highest-pitched instrument in the family in regular use, smaller violin-type instruments are known, including the violino piccolo and the kit violin, but these are virtually unused in the 2010s. The violin typically has four strings tuned in fifths, and is most commonly played by drawing a bow across its strings. Violins are important instruments in a variety of musical genres. They are most prominent in the Western classical tradition and in varieties of folk music. They are also used in genres of folk including country music and bluegrass music. Electric violins are used in forms of rock music, further. The violin is sometimes called a fiddle, particularly in Irish traditional music and bluegrass. The violin was first known in 16th-century Italy, with further modifications occurring in the 18th and 19th centuries. In Europe it served as the basis for stringed instruments used in classical music, the viola. According to their reputation, the quality of their sound has defied attempts to explain or equal it, many of these trade instruments were formerly sold by Sears, Roebuck and Co. and other mass merchandisers. A person who makes or repairs violins is called a luthier or violinmaker, the parts of a violin are usually made from different types of wood and on the use of a pickup and an amplifier and speaker). Violins can be strung with gut, Perlon or other synthetic, the earliest stringed instruments were mostly plucked. Similar and variant types were probably disseminated along East-West trading routes from Asia into the Middle East, the first makers of violins probably borrowed from various developments of the Byzantine lira. These included the rebec, the Arabic rebab, the vielle, the earliest pictures of violins, albeit with three strings, are seen in northern Italy around 1530, at around the same time as the words violino and vyollon are seen in Italian and French documents. One of the earliest explicit descriptions of the instrument, including its tuning, is from the Epitome musical by Jambe de Fer, by this time, the violin had already begun to spread throughout Europe. The violin proved very popular, both among street musicians and the nobility, the French king Charles IX ordered Andrea Amati to construct 24 violins for him in 1560, one of these noble instruments, the Charles IX, is the oldest surviving violin. The Messiah or Le Messie made by Antonio Stradivari in 1716 remains pristine and it is now located in the Ashmolean Museum of Oxford
Violin
–
A standard modern violin shown from the front and the side
Violin
–
A young violinist at
Ruthin School
Violin
–
The cupola of Madonna dei Miracoli in
Saronno, with angels playing violin, viola and cello, dates from 1535 and is one of the earliest depictions of the violin family
4.
Viola
–
The viola is a string instrument that is bowed or played with varying techniques. It is slightly larger than a violin and has a lower and deeper sound. Since the 18th century it has been the middle or alto voice of the family, between the violin and the cello. The strings from low to high are generally tuned to C3, G3, D4. In the past, the viola varied in size and style as did its names, the Italians often used the term, viola da braccio meaning literally, of the arm. Brazzo was another Italian word referring to the viola which the Germans adopted in the form, the French had their own names, Cinquiesme was a small viola, Haute Contre was a large viola and Taile meant Tenor. In the modern era, the French use the term Alto, the viola had enjoyed popularity in the heyday of five-part harmony up until the eighteenth century, taking three lines of the harmony and occasionally playing the melody line. Music that is written for the viola differs from that of most other instruments in that it uses the alto clef. Viola music switches to the treble clef when there are sections of music written in a higher register to make the notes easier to read. The viola often plays the voices in string quartets and symphonic writing. The viola occasionally plays a major, soloistic role in orchestral music, examples include Don Quixote by Richard Strauss and Harold en Italie by Hector Berlioz. In the earlier part of the 20th century, more composers began to write for the viola, encouraged by the emergence of specialized soloists such as Lionel Tertis and William Primrose. English composers Arthur Bliss, York Bowen, Benjamin Dale, Frank Bridge, Benjamin Britten and Ralph Vaughan Williams all wrote substantial chamber, many of these pieces were commissioned by, or written for Lionel Tertis. William Walton, Bohuslav Martinů, Toru Takemitsu, Tibor Serly, Alfred Schnittke, Paul Hindemith wrote a substantial amount of music for viola, including the concerto Der Schwanendreher. The concerti by Paul Hindemith, Béla Bartók, and William Walton are the big three of viola repertoire, the viola is similar in material and construction to the violin. A full-size violas body is between 25 mm and 100 mm longer than the body of a violin, with an average length of 41 cm. Small violas typically made for children typically start at 30 cm, for a child who needs a smaller size, a fractional-sized violin is often strung with the strings of a viola. Unlike the violin, the viola does not have a full size. The body of a viola would need to measure about 51 cm long to match the acoustics of a violin, there have been several experiments intended to increase the size of the viola, in the interest of improving the instruments sound
Viola
–
A viola shown from the front and the side
Viola
–
Playing a 17" viola in 3rd position.
Viola
–
Bow frogs, top to bottom: violin, viola, cello
Viola
–
This article is about the classical musical instrument. For the flower, see
Viola (plant). For the Portuguese guitar, see
viola caipira. For other uses, see
Viola (disambiguation).
5.
Cello
–
The cello or violoncello is a bowed or plucked string instrument with four strings tuned in perfect fifths. The strings from low to high are generally tuned to C2, G2, D3 and A3 and it is a member of the violin family of musical instruments, which also includes the violin and viola and the double bass. The cello is used as a musical instrument, as well as in chamber music ensembles, string orchestras, as a member of the string section of symphony orchestras. It is the second-largest and second lowest bowed string instrument in the symphony orchestra. Cello parts are written in the bass clef, but both tenor clef and treble clefs are used for higher-range parts, both in orchestral/chamber music parts and in solo cello works. A person who plays the cello is called a cellist or violoncellist, in a small Classical ensemble, such as a string quartet, the cello typically plays the bass part, the lowest-pitched musical line of the piece. In orchestra, in Baroque era and Classical music period, the cello plays the bass part. In Baroque era music, the cello is used to play the basso continuo bassline, in a Baroque performance, the cello player might be joined by other bass instruments, playing double bass, viol or other low-register instruments. The name cello is a contraction of the Italian violoncello, which means little violone, in modern symphony orchestras, it is the second largest stringed instrument. Thus, the name contained both the augmentative -one and the diminutive -cello. By the turn of the 20th century, it had become common to shorten the name to cello and it is now customary to use cello without apostrophe as the full designation. Viol is derived from the viola, which was derived from Medieval Latin vitula. Cellos are tuned in fifths, starting with C2, followed by G2, D3 and it is tuned in the same intervals as the viola, but an octave lower. Unlike the violin or viola but similar to the double bass, the cello is most closely associated with European classical music, and has been described as the closest sounding instrument to the human voice. The instrument is a part of the orchestra, as part of the string section. A large number of concertos and sonatas have been written for the cello, among the most well-known Baroque works for the cello are Johann Sebastian Bachs six unaccompanied Suites. The Prelude from the First Suite is particularly famous, romantic era repertoire includes the Robert Schumann Concerto, the Antonín Dvořák Concerto as well as the two sonatas and the Double Concerto by Johannes Brahms. The cello is increasingly common in traditional music, especially Scottish fiddle music
Cello
–
Cello close-up
Cello
–
Cello, front and side view. The endpin at the bottom is retracted or removed for easier storage and transportation, and adjusted for height in accordance to the player.
Cello
–
A baroque cello strung with gut strings. Note the absence of fine-tuning pins on the tailpiece.
Cello
–
The cello section of the Orchestra of the Munich University of Applied Sciences is shown here.
6.
Double bass
–
The double bass, or simply the bass, is the largest and lowest-pitched bowed string instrument in the modern symphony orchestra. It is an instrument and is typically notated one octave higher than sounding to avoid excessive ledger lines below the staff. The double bass is the modern bowed string instrument that is tuned in fourths, rather than fifths, with strings usually tuned to E1, A1, D2. The instruments exact lineage is still a matter of some debate, the double bass is a standard member of the orchestras string section, as well as the concert band, and is featured in concertos, solo and chamber music in Western classical music. The bass is used in a range of genres, such as jazz, 1950s-style blues and rock and roll, rockabilly, psychobilly, traditional country music, bluegrass, tango. The double bass is played either with a bow or by plucking the strings, in orchestral repertoire and tango music, both arco and pizzicato are employed. In jazz, blues, and rockabilly, pizzicato is the norm, Classical music uses just the natural sound produced acoustically by the instrument, so does traditional bluegrass. In jazz, blues, and related genres, the bass is typically amplified with an amplifier and speaker, the double bass stands around 180 cm from scroll to endpin. However, other sizes are available, such as a 1⁄2 or 3⁄4 and these sizes do not reflect the size relative to a full size, or 4⁄4 bass, a 1⁄2 bass is not half the size of a bass but is only slightly smaller. It is typically constructed from several types of wood, including maple for the back, spruce for the top and it is uncertain whether the instrument is a descendant of the viola da gamba or of the violin, but it is traditionally aligned with the violin family. While the double bass is nearly identical in construction to other violin family instruments, like other violin and viol-family string instruments, the double bass is played either with a bow or by plucking the strings. In orchestral repertoire and tango music, both arco and pizzicato are employed, in jazz, blues, and rockabilly, pizzicato is the norm, except for some solos and also occasional written parts in modern jazz that call for bowing. In classical pedagogy, almost all of the focus is on performing with the bow and producing a good bowed tone, some of these articulations can be combined, for example, the combination of sul ponticello and tremolo can produce eerie, ghostly sounds. Classical bass players do play pizzicato parts in orchestra, but these parts generally require simple notes, vibrato is used to add expression to string playing. In general, very loud, low-register passages are played with little or no vibrato, mid- and higher-register melodies are typically played with more vibrato. The speed and intensity of the vibrato is varied by the performer for an emotional and musical effect, in jazz, rockabilly and other related genres, much or all of the focus is on playing pizzicato. In jazz and jump blues, bassists are required to play extremely rapid pizzicato walking basslines for extended periods, as well, jazz and rockabilly bassists develop virtuoso pizzicato techniques that enable them to play rapid solos that incorporate fast-moving triplet and sixteenth note figures. In jazz and related styles, bassists often add semi-percussive ghost notes into basslines, to add to the rhythmic feel and to add fills to a bassline
Double bass
–
Side and front views of a modern double bass with a French-style bow
Double bass
–
Jazz bassist Ron Carter pictured playing with his Quartet at "Altes Pfandhaus" in Cologne
Double bass
–
Example of a Busetto-shaped double bass: Copy of a Matthias Klotz (1700) by Rumano Solano
Double bass
–
Principal parts of the double bass
7.
Flute
–
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
Flute
–
A selection of flutes from around the world
Flute
–
Chinese women playing flutes, from the 12th-century
Song dynasty remake of the Night Revels of Han Xizai, originally by
Gu Hongzhong (10th century)
Flute
–
Panflute players.
Cantigas de Santa Maria, mid-13th century, Spain
Flute
–
Statue of
Krishna playing a flute
8.
Piccolo
–
The piccolo /ˈpɪkəloʊ/ is a half-size flute, and a member of the woodwind family of musical instruments. The modern piccolo has most of the same fingerings as its sibling, the standard transverse flute. This gave rise to the name ottavino, the name by which the instrument is referred to in the scores of Italian composers, piccolos are now manufactured in the key of C or D♭. It was for this D♭ piccolo that John Philip Sousa wrote the solo in the final repeat of the closing section of his march The Stars. In the orchestral setting, the player is often designated as piccolo/flute III. The larger orchestras have designated this position as a position due to the demands of the literature. Piccolos are often orchestrated to double the violins or the flutes, adding sparkle, in concert band settings, the piccolo is almost always used and a piccolo part is almost always available. Historically, the piccolo had no keys, and should not be confused with the fife, the piccolo is used in conjunction with marching drums in traditional formations at the Carnival of Basel, Switzerland. It is a myth that one of the earliest pieces to use the piccolo was Beethovens Symphony No.5 in C Minor, although neither Joseph Haydn nor Mozart used it in their symphonies, some of their contemporaries did, including Hoffmeister, Süssmayr and Michael Haydn. Also, Mozart used the piccolo in his opera Idomeneo, opera orchestras in Paris sometimes included small transverse flutes at the octave as early as 1735 as existing scores by Rameau show. Finely made piccolos are often available with a variety of similar to the flute. Most piccolos have a body with a cylindrical head, which is like the Baroque flute. There are a number of pieces for piccolo alone, by composers as Samuel Adler, Robert Dick, Michael Isaacson, David Loeb, Polly Moller, Vincent Persichetti. Additionally, there is a selection of chamber music that uses the piccolo. One example is the Quintet for Piccolo and String Quartet by Graham Waterhouse, another is Stockhausens Zungenspitzentanz, for piccolo and two euphoniums, with optional percussionist and dancer. Bryn Mawr, Theodore Presser Company,2008, the Symphonic Debutante Piccolo, Was it Really Beethovens Fifth. The Woodwind Fingering Guide, with piccolo fingerings
Piccolo
–
A Yamaha piccolo. The body is made of
ABS resin, and the head is plated with
silver.
Piccolo
–
The piccolo sounds one
octave higher than written. Sounding:
Piccolo
–
A piccolo being played
9.
Clarinet
–
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
Clarinet
–
Bass clarinet
Clarinet
–
Written range (though it is possible to play higher):
Clarinet
–
Sound wave propagation in the soprano clarinet
Clarinet
–
Schüller's quarter-tone clarinet
10.
Glass harmonica
–
The name glass harmonica refers today to any instrument played by rubbing glass or crystal goblets or bowls. The alternate instrument consisting of a set of glasses is generally known in English as musical glasses or the glass harp. When Benjamin Franklin invented his version of the instrument in 1761, he called it the armonica, based on the Italian word armonia. The unrelated free-reed wind instrument aeolina, today called the harmonica, was not invented until 1821, the word hydrodaktulopsychicharmonica is also recorded, composed of Greek roots to mean something like harmonica to produce music for the soul by fingers dipped in water. The Museum of Music in Paris displays a hydrodaktulopsychicharmonica, because its sounding portion is made of glass, the glass harmonica is a type of crystallophone. The phenomenon of rubbing a wet finger around the rim of a goblet to produce tones is documented back to Renaissance times, Galileo considered the phenomenon. The Irish musician Richard Pockrich is typically credited as the first to play an instrument composed of glass vessels by rubbing his fingers around the rims, beginning in the 1740s, he performed in London on a set of upright goblets filled with varying amounts of water. His career was cut short by a fire in his room, edward Delaval, a friend of Benjamin Franklin and a fellow of the Royal Society, extended the experiments of Pockrich, contriving a set of glasses better tuned and easier to play. During the same decade, Christoph Willibald Gluck also attracted attention playing an instrument in England. Benjamin Franklin invented a new arrangement of the glasses in 1761 after seeing water-filled wine glasses played by Edmund Delaval at Cambridge in England in May 1761. Franklin worked with London glassblower Charles James to build one, and it had its premiere in early 1762. In honour of your language, I have borrowed from it the name of this instrument. In Franklins treadle-operated version,37 bowls were mounted horizontally on an iron spindle, the whole spindle turned by means of a foot pedal. The sound was produced by touching the rims of the bowls with water-moistened fingers, rims were painted different colors according to the pitch of the note, A, B, C, D, E, F, G, and accidentals were marked in white. With the Franklin design, it is possible to play ten glasses simultaneously if desired, Franklin also advocated the use of a small amount of powdered chalk on the fingers, which under some acidic water conditions helped produce a clear tone. Some attempted improvements on the armonica included adding keyboards, placing pads between the bowls to reduce vibrations, and using violin bows. Another supposed improvement claimed in ill-informed post-period observations of non-playing instruments was to have the glasses rotate into a trough of water. However, William Zeitler put this idea to the test by rotating an armonica cup into a basin of water, with several dozen glasses, each a different diameter and thus rotating with a different depth, the result would be musical cacophony
Glass harmonica
–
Spinning glass disks (bowls) on a common shaft are arranged with the lower notes (larger disks) to the left and higher notes (smaller disks) to the right.
Glass harmonica
–
A
glass harp, an ancestor of the glass harmonica, being played in
Rome. The rims of
wine glasses filled with water are rubbed by the player's fingers to create the notes.
Glass harmonica
–
A modern glass armonica built using Benjamin Franklin's design
Glass harmonica
–
Part of the original manuscript score of "Aquarium" from
The Carnival of the Animals by
Camille Saint-Saëns. The top staff was written for the (glass) "Harmonica".
11.
Xylophone
–
The xylophone is a musical instrument in the percussion family that consists of wooden bars struck by mallets. The term xylophone may be used generally, to all such instruments such as the marimba, balafon. The term is popularly used to refer to similar instruments of the lithophone and metallophone types. The bars of metal sound more high pitched than the wooden ones, the modern western xylophone has bars of rosewood, padauk, or various synthetic materials such as fiberglass or fiberglass-reinforced plastic which allows a louder sound. Some can be as small a range as 2½ octaves but concert xylophones are typically 3½ or 4 octaves, the xylophone is a transposing instrument, its parts are written one octave below the sounding notes. Xylophones should be played with hard rubber, polyball, or acrylic mallets. Sometimes medium to hard rubber mallets, very hard core, or yarn mallets are used for softer effects, lighter tones can be created on xylophones by using wooden-headed mallets made from rosewood, ebony, birch, or other hard woods. Concert xylophones have tube resonators below the bars to enhance the tone, frames are made of wood or cheap steel tubing, more expensive xylophones feature height adjustment and more stability in the stand. In other music cultures some versions have gourds that act as Helmholtz resonators, others are trough xylophones with a single hollow body that acts as a resonator for all the bars. Old methods consisted of arranging the bars on tied bundles of straw, ancient mallets were made of willow wood with spoon-like bowls on the beaten ends. The instrument has obscure, ancient origins, according to Nettl, it originated in southeast Asia and came to Africa c. AD500 when a group of Malayo-Polynesian speaking peoples migrated to Africa, one piece of evidence for this is the similarity between East African xylophone orchestras and Javanese and Balinese gamelan orchestras. This, however has been questioned by ethnomusicologist and linguist Roger Blench who posits an independent origin in Africa, the xylophone-like ranat was used in Hindu regions. Java and Bali use xylophones in gamelan ensembles and they still have traditional significance in Africa, Malaysia, Melanesia, Indonesia, Thailand, Myanmar, and regions of the Americas. The term marimba is also applied to traditional folk instruments such as the West Africa balafon. Early forms were constructed of bars atop a gourd, the wood is first roasted around a fire before shaping the key to achieve the desired tone. A skilled maker can produce startling amplification, the mallets used to play dibinda and mbila have heads made from natural rubber taken from a wild creeping plant. This usually doubles an already rapid rhythmic pulse that may also co-exist with a counter-rhythm, the Mbila is associated with the Chopi people of the Inhambane Province, in southern Mozambique
Xylophone
–
Xylophone with different type of mallets
Xylophone
–
Cameroon, ~1914
Xylophone
–
Kulintang a Kayo, a
Philippine xylophone
Xylophone
–
Timbila
12.
Shrove Tuesday
–
Shrove Tuesday is the day in February or March immediately preceding Ash Wednesday, which is celebrated in some countries by consuming pancakes. In others, especially those where it is called Mardi Gras or some translation thereof, this is a carnival day and this moveable feast is determined by Easter. The expression Shrove Tuesday comes from the word shrive, meaning absolve, the term Mardi Gras is French for Fat Tuesday, referring to the practice of the last night of eating richer, fatty foods before the ritual fasting of the Lenten season, which begins on Ash Wednesday. The tradition of marking the start of Lent has been documented for centuries, the association between pancakes and Shrove Tuesday may have arisen as it permits foods which are discouraged from being eaten during the Lenten season, such as butter, eggs, and fat to be used up. Christians use these ingredients during Shrovetide to make pancakes or other foods, such as fasnachts. Before the Reformation, the celebration of Shrovetide lasted a week or more before the start of Lent, the specific custom of Christians eating pancakes on Shrove Tuesday dates to the 16th century. Along with its emphasis on feasting, another theme of Shrove Tuesday involves Christians repenting of their sins in preparation to begin the season of Lent in the Christian kalendar. The word shrove is a form of the English word shrive, thus Shrove Tuesday gets its name from the custom for Christians to be shriven before the start of Lent. In the United Kingdom, Ireland and parts of the Commonwealth, elsewhere, the day has also been called Fat Tuesday or Mardi Gras. In Germany, the day is known as Fastnachtsdienstag, Faschingsdienstag, Karnevalsdienstag or Veilchendienstag, similarly, in German American areas such as Pennsylvania Dutch Country, it is known as Fastnacht Day. In the Netherlands, it is known as vastenavond, or in Limburgish dialect vastelaovond, in some parts of Switzerland, the day is called Güdisdienstag, preceded by Güdismontag. According to the Duden dictionary, the term derives from Güdel, in Portuguese-, Spanish- and Italian-speaking countries, among others, it is known as Carnival. This derives from Medieval Latin carnelevamen and thus to another aspect of the Lenten fast and it is often celebrated with street processions or fancy dress. The most famous of these events is the Brazilian Carnival in Rio de Janeiro, the use of the term carnival in other contexts derives from here. In Spain, the Carnival Tuesday is named día de la tortilla, on the Portuguese island of Madeira, they eat malasadas on Terça-feira Gorda which is also the last day of the Carnival of Madeira. Malasadas were cooked in order to use up all the lard and sugar in the house, in Denmark and Norway, the day is known as Fastelavn and is marked by eating fastelavnsboller. Fastelavn is the name for Carnival in Denmark which is either the Sunday or Monday before Ash Wednesday, Fastelavn developed from the Roman Catholic tradition of celebrating in the days before Lent, but after Denmark became a Protestant nation, the holiday became less specifically religious. This holiday occurs seven weeks before Easter Sunday, with dressing up in costumes
Shrove Tuesday
–
Pieter Bruegel the Elder:
The Fight Between Carnival and Lent (detail), 1559
Shrove Tuesday
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Shrove Tuesday, Bear guiding (pl) in
Poland (1950).
Shrove Tuesday
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Russian artist
Boris Kustodiev 's Maslenitsa (1916)
Shrove Tuesday
–
A
pancake race in England
13.
Pauline Viardot
–
Pauline Viardot was a leading nineteenth-century French mezzo-soprano, pedagogue, and composer of Spanish descent. Born Michelle Ferdinande Pauline García, her name appears in various forms, when it is not simply Pauline Viardot, it most commonly appears in association with her maiden name García or the unaccented form, Garcia. This name sometimes precedes Viardot and sometimes follows it, sometimes the words are hyphenated, sometimes they are not. She achieved initial fame as Pauline García, the accent was dropped at some point, after her marriage, she referred to herself simply as Mme Viardot. She came from a family and took up music at a young age. She began performing as teenager and had a long and illustrious career as a star performer and her three daughters also pursued careers in music performances. Michelle Ferdinande Pauline García was born in Paris to the Garcías and her godparents were Ferdinando Paer and Princess Pauline Galitsin, who provided her with her middle names. She was 13 years younger than her sister, diva Maria Malibran. As a small girl, she travelled with her family to London, New York and Mexico. By the age of six she was fluent in Spanish, French, English and Italian, later in her career, she sang Russian arias so well that she was taken for a native speaker. After her fathers death in 1832, her mother, soprano Joaquina Sitchez, took over her singing lessons and she had wanted to become a professional concert pianist. She had taken lessons with the young Franz Liszt and counterpoint and harmony classes with Anton Reicha, the teacher of Liszt and Hector Berlioz. It was with the greatest regret that she abandoned her strong vocation for the piano, Liszt, Ignaz Moscheles, Adolphe Adam, Camille Saint-Saëns and others have left accounts of her excellent piano playing. After Malibrans death in 1836, aged 28, Pauline became a professional singer, however, her professional debut as a musician was as a pianist, accompanying her brother-in-law, the violinist Charles Auguste de Bériot. In 1837, 16-year-old Pauline García gave her first concert performance in Brussels and in 1839 and this proved to be the surprise of the season. Despite her flaws, she had an exquisite technique combined with a degree of passion. At the age of 17, she met and was courted by Alfred de Musset, some sources say he asked for Paulines hand in marriage, but she declined. However, she remained on good terms with him for many years and her friend George Sand had a role in discouraging her from accepting de Mussets proposal, directing her instead to Louis Viardot
Pauline Viardot
–
Pauline Viardot
Pauline Viardot
Pauline Viardot
–
Viardot as Valentina and
Alboni as Urbano in Act 1 of Meyerbeer's
Gli Ugonotti Royal Italian Opera (Covent Garden) (1848) (
lithograph by
John Brandard)
Pauline Viardot
–
Salon of Mme Viardot
14.
Franz Liszt
–
Franz Liszt was a prolific 19th-century Hungarian composer, virtuoso pianist, conductor, music teacher, arranger, organist, philanthropist, author, nationalist and a Franciscan tertiary. Liszt gained renown in Europe during the nineteenth century for his prodigious virtuosic skill as a pianist. As a composer, Liszt was one of the most prominent representatives of the New German School and he left behind an extensive and diverse body of work in which he influenced his forward-looking contemporaries and anticipated many 20th-century ideas and trends. Franz Liszt was born to Anna Liszt and Adam Liszt on October 22,1811, in the village of Doborján in Sopron County, in the Kingdom of Hungary, Liszts father played the piano, violin, cello and guitar. He had been in the service of Prince Nikolaus II Esterházy and knew Haydn, Hummel, at age six, Franz began listening attentively to his fathers piano playing and showed an interest in both sacred and Romani music. Adam began teaching him the piano at age seven, and Franz began composing in an elementary manner when he was eight and he appeared in concerts at Sopron and Pressburg in October and November 1820 at age 9. After the concerts, a group of wealthy sponsors offered to finance Franzs musical education in Vienna, There Liszt received piano lessons from Carl Czerny, who in his own youth had been a student of Beethoven and Hummel. He also received lessons in composition from Antonio Salieri, then director of the Viennese court. Liszts public debut in Vienna on December 1,1822, at a concert at the Landständischer Saal, was a great success and he was greeted in Austrian and Hungarian aristocratic circles and also met Beethoven and Schubert. In spring 1823, when his one-year leave of absence came to an end, Adam Liszt therefore took his leave of the Princes services. At the end of April 1823, the returned to Hungary for the last time. At the end of May 1823, the family went to Vienna again, towards the end of 1823 or early 1824, Liszts first composition to be published, his Variation on a Waltz by Diabelli, appeared as Variation 24 in Part II of Vaterländischer Künstlerverein. Liszts inclusion in the Diabelli project—he was described in it as an 11 year old boy, born in Hungary—was almost certainly at the instigation of Czerny, his teacher, Liszt was the only child composer in the anthology. After his fathers death in 1827, Liszt moved to Paris, to earn money, Liszt gave lessons in piano playing and composition, often from early morning until late at night. His students were scattered across the city and he often had to long distances. Because of this, he kept uncertain hours and also took up smoking, the following year he fell in love with one of his pupils, Caroline de Saint-Cricq, the daughter of Charles Xs minister of commerce, Pierre de Saint-Cricq. Her father, however, insisted that the affair be broken off, Liszt fell very ill, to the extent that an obituary notice was printed in a Paris newspaper, and he underwent a long period of religious doubts and pessimism. He again stated a wish to join the Church but was dissuaded this time by his mother and he had many discussions with the Abbé de Lamennais, who acted as his spiritual father, and also with Chrétien Urhan, a German-born violinist who introduced him to the Saint-Simonists
Franz Liszt
–
Portrait of Liszt by
Ary Scheffer, 1837
Franz Liszt
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Anna Liszt, née Maria Anna Lager (portrait by Julius Ludwig Sebbers between 1826 and 1837)
Franz Liszt
–
Niccolò Paganini. His playing inspired Liszt to become a great virtuoso.
Franz Liszt
–
Franz Liszt's fundraising concert for the flood victims of Pest, where he was the conductor of the orchestra. Vigadó Concert Hall,
Pest, Hungary 1839.
15.
Le cygne
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Le cygne, pronounced, or The Swan, is the 13th and penultimate movement of The Carnival of the Animals by Camille Saint-Saëns. Originally scored for solo cello accompanied by two pianos, it has been arranged and transcribed for many instruments but remains best known as a cello solo, the piece is in 6/4 time, with a key signature of G major and a tempo marking andantino grazioso. The slow cello melody is accompanied by almost constant broken chord figurations on the pianos, when performed as a separate movement, not in the context of The Carnival, The Swan is frequently played with accompaniment on only one piano. This is the movement from The Carnival of the Animals that the composer allowed to be played in public during his lifetime. He thought the remaining movements were too frivolous and would damage his reputation as a serious composer, Le cygne is often known as The Dying Swan, after a poem by Tennyson. According to tradition, the swan in Pavlovas dance is badly injured, however, Maya Plisetskaya re-interpreted the swan simply as elderly and stubbornly resisting the effects of aging, much like herself. Eventually the piece came to be considered one of Pavlovas trademarks, in 1949 the American synchronized swimmer Beulah Gundling created a routine inspired by Fokines choreography and entitled The swan to Le cygne by Saint-Saëns. In the 1890s, Louis van Waefelghem adapted Le cygne for viola or viola damore, the edition was published by Durand in 1895. In Leonard Bernsteins famous recording of the piece with the New York Philharmonic the melody is performed on bass by a 20-year-old Gary Karr. Montserrat Caballé recorded a version in which she vocalizes sections of the melody accompanied by a piano, in the early 20th century, Clara Rockmore, the renowned thereminist, performed it on theremin with her sister Nadia Reisenberg accompanying her on the piano. Steven Mead arranged the piece for Euphonium and Piano in 1995, public-domain scores and recordings in the Petrucci Music Library Performance of Godowskys transcription of The Swan for solo piano by Jiyang Chen MP3 file of Le cygne Performance of Le cygne
Le cygne
–
Le cygne illustrates the fleeting nature of beauty with its interpretation of the legend of the "
swan song ": A popular (albeit erroneous) belief among the ancient Greeks and Romans, who regarded the swan as the most beautiful of animals, was that the
mute swan is silent until its final moments of life, during which it sings the most beautiful of all birdsongs.
16.
Glockenspiel
–
A glockenspiel is a percussion instrument composed of a set of tuned keys arranged in the fashion of the keyboard of a piano. In this way, it is similar to the xylophone, however, the glockenspiel, moreover, is usually smaller and higher in pitch. In German, a carillon is also called a Glockenspiel, while in French, in music scores the glockenspiel is sometimes designated by the Italian term campanelli. When used in a marching or military band, the bars are mounted in a portable case and held vertically. However, sometimes the bars are held using a harness similar to a marching snare harness. In orchestral use, the bars are mounted horizontally, a pair of hard, unwrapped mallets, generally with heads made of plastic or metal, are used to strike the bars, although mallet heads can also be made of rubber. If laid out horizontally, a keyboard glockenspiel may be contrived by adding a keyboard to the instrument to facilitate playing chords, another method of playing chords is to use four mallets, two per hand. The glockenspiel is limited to the register, and usually covers about two and a half to three octaves, but can also reach up to three and a half octaves. The glockenspiel is an instrument, its parts are written two octaves below the sounding notes. When struck, the give an very pure, bell-like sound. Glockenspiels are quite popular and appear in almost all genres of music ranging from hip-hop to jazz. A keyboard-operated glockenspiel, as played by Danny Federici on such hit songs as Born to Run and Hungry Heart, is considered part of Bruce Springsteen, john Lennon also plays it on Only a Northern Song. Panic. at the Disco have used glockenspiel in several of their songs, including their hits I Write Sins Not Tragedies and Build God, Then Well Talk. Radiohead have used glockenspiel on their single No Surprises as well as on The Tourist, Lull, Morning Bell/Amnesiac, Sit Down/Stand Up, songs From the Wood, Heavy Horses and Stormwatch. Solo glockenspiel can be heard briefly, but notably at the beginning of Shostakovichs 15th Symphony, a modern example of the glockenspiel can be heard in Steve Reichs 1970–71 composition Drumming, in which the glockenspiel plays a major role in the third and fourth movements. Other instruments that work on the same principle as the glockenspiel include the marimba. The Dulcitone has a sound to the glockenspiel since its sound is made by hammers striking tuning forks. The dulcitone uses soft hammers which damp the forks, compared to the hammers of the glockenspiel
Glockenspiel
–
Glockenspiel
Glockenspiel
–
A Mardi Gras musician playing a glockenspiel.
Glockenspiel
–
Two bell lyres in use
Glockenspiel
–
Most orchestral glockenspiels are mounted in a case
17.
Sergei Prokofiev
–
Sergei Sergeyevich Prokofiev was a Russian and Soviet composer, pianist and conductor. As the creator of acknowledged masterpieces across numerous genres, he is regarded as one of the major composers of the 20th century. Prokofievs greatest interest, however, was opera, and he composed works in that genre, including The Gambler. Prokofievs one operatic success during his lifetime was The Love for Three Oranges, composed for the Chicago Opera and subsequently performed over the decade in Europe. During that time he married a Spanish singer, Carolina Codina, in the early 1930s, the Great Depression diminished opportunities for Prokofievs ballets and operas to be staged in America and western Europe. He enjoyed some success there – notably with Lieutenant Kijé, Peter and the Wolf, Romeo and Juliet, the Nazi invasion of the USSR spurred him to compose his most ambitious work, an operatic version of Leo Tolstoys War and Peace. Prokofiev was born in 1891 in Sontsovka, a rural estate in the Yekaterinoslav Governorate of the Russian Empire. His father, Sergei Alexeyevich Prokofiev, was an agronomist, Prokofievs mother, Maria, came from a family of former serfs who had been owned by the Sheremetev family, under whose patronage serf-children were taught theatre and arts from an early age. She was described by Reinhold Glière as a woman with beautiful. Who knew how to create an atmosphere of warmth and simplicity about her, after their wedding in the summer of 1877, the Prokofievs had moved to a small estate in the Smolensk governorate. Eventually Sergei Alexeyevich found employment as a engineer, employed by one of his former fellow-students, Dmitri Sontsov. By seven, he had learned to play chess. At the age of nine, he was composing his first opera, The Giant, as well as an overture, unable to arrange that, Tanayev instead arranged for composer and pianist Reinhold Glière to spend the summer of 1902 in Sontsovka teaching Prokofiev. The first series of lessons culminated, at the 11-year-old Prokofievs insistence, the following summer, Glière revisited Sontsovka to give further tuition. By 1904, his mother had decided instead on Saint Petersburg, glazunov was so impressed that he urged Prokofievs mother to have her son apply for admission to the Conservatory. He passed the tests and enrolled that year. Several years younger than most of his class, Prokofiev was viewed as eccentric and arrogant and he also shared classes with the composers Boris Asafyev and Nikolai Myaskovsky, the latter becoming a relatively close and lifelong friend. As a member of the Saint Petersburg music scene, Prokofiev developed a reputation as a rebel, while getting praise for his original compositions
Sergei Prokofiev
–
Sergei Prokofiev in New York, 1918
Sergei Prokofiev
–
Prokofiev as drawn by
Henri Matisse for the premiere of
Chout (1921)
Sergei Prokofiev
–
Prokofiev and his second wife, Mira Mendelson
Sergei Prokofiev
–
Sergei Prokofiev with
Mstislav Rostropovich
18.
Peter and the Wolf
–
Peter and the Wolf, Op.67, a symphonic fairy tale for children, is a musical composition written by Sergei Prokofiev in 1936. The narrator tells a story, while the orchestra illustrates it. It is Prokofievs most frequently performed work, and one of the most frequently performed works in the classical repertoire. It has been recorded many times, in 1936, Sergei Prokofiev was commissioned by Natalya Sats, the director of the Central Childrens Theatre in Moscow to write a musical symphony for children. Sats and Prokofiev had become acquainted after he visited her theatre with his sons several times, the intent was to introduce children to the individual instruments of the orchestra. The first draft of the libretto was about a Young Pioneer called Peter who rights a wrong by challenging an adult, however, Prokofiev was dissatisfied with the rhyming text produced by Antonina Sakonskaya, a then popular childrens author. Prokofiev wrote a new version where Peter captures a wolf, Prokofiev produced a version for the piano in under a week, finishing it on April 15. The orchestration was finished on April 24, the debut at a childrens concert in the main hall of the Moscow Conservatory with the Moscow Philharmonic on 2 May 1936. The American premiere took place in March 1938, with Prokofiev himself conducting the Boston Symphony Orchestra at Symphony Hall, by that time Sats was serving a sentence in the gulag, where she was sent after her lover Marshal Mikhail Tukhachevsky was shot in June 1937. Peter, a Young Pioneer, lives at his grandfathers home in a forest clearing, one day, Peter goes out into the clearing, leaving the garden gate open, and the duck that lives in the yard takes the opportunity to go swimming in a pond nearby. The duck starts arguing with a little bird, Peters pet cat stalks them quietly, and the bird—warned by Peter—flies to safety in a tall tree while the duck swims to safety in the middle of the pond. Soon afterwards a big, grey wolf does indeed come out of the forest, the cat quickly climbs into a tree, but the duck, who has jumped out of the pond, is chased, overtaken, and swallowed by the wolf. Peter fetches a rope and climbs over the wall into the tree. He asks the bird to fly around the head to distract it, while he lowers a noose. The wolf struggles to get free, but Peter ties the rope to the tree, Prokofiev produced detailed performance notes in both English and Russian for Peter and the Wolf. Before an orchestral performance it is desirable to show these instruments to the children, thereby, the children learn to distinguish the sonorities of the instruments during the performance of this tale. Gramophones best DVD version is the 2006 film by Suzie Templeton, its music is performed, without narrator, Peter and the Wolf Prokofiev, while touring the West in 1938, visited Los Angeles and met Walt Disney. Prokofiev performed the version of Peter and the Wolf for le papa de Mickey Mouse
Peter and the Wolf
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Disney's 1946 animated short.
Peter and the Wolf
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1947 coloring book cover
Peter and the Wolf
–
Performance by
Ballet Rambert at a factory in England, 1943
Peter and the Wolf
–
2007
Toronto, Canada production
19.
Benjamin Britten
–
Edward Benjamin Britten, Baron Britten OM CH was an English composer, conductor and pianist. He was a figure of 20th-century British classical music, with a range of works including opera, other vocal music, orchestral. His best-known works include the opera Peter Grimes, the War Requiem, Born in Suffolk, the son of a dentist, Britten showed talent from an early age. He studied at the Royal College of Music in London and privately with the composer Frank Bridge, Britten first came to public attention with the a cappella choral work A Boy was Born in 1934. With the premiere of Peter Grimes in 1945, he leapt to international fame, over the next 28 years, he wrote 14 more operas, establishing himself as one of the leading 20th-century composers in the genre. In addition to large-scale operas for Sadlers Wells and Covent Garden, he wrote operas for small forces. Among the best known of these is The Turn of the Screw, recurring themes in his operas include the struggle of an outsider against a hostile society and the corruption of innocence. Brittens other works range from orchestral to choral, solo vocal, chamber and he took a great interest in writing music for children and amateur performers, including the opera Noyes Fludde, a Missa Brevis, and the song collection Friday Afternoons. He often composed with particular performers in mind, Britten was a celebrated pianist and conductor, performing many of his own works in concert and on record. He also performed and recorded works by others, such as Bachs Brandenburg concertos, Mozart symphonies, in his last year, he was the first composer to be given a life peerage. Britten was born in the port of Lowestoft in Suffolk, on the east coast of England on 22 November 1913. He was the youngest of four children of Robert Victor Britten and his wife Edith Rhoda, Robert Brittens youthful ambition to become a farmer had been thwarted by lack of capital, and he had instead trained as a dentist, a profession he practised successfully but without pleasure. While studying at Charing Cross Hospital in London he met Edith Hockey and they were married in September 1901 at St Johns, Smith Square, London. The consensus among biographers of Britten is that his father was a loving but somewhat stern, Britten, according to his sister Beth, got on well with him and shared his wry sense of humour, dedication to work and capacity for taking pains. Edith Britten was an amateur musician and secretary of the Lowestoft Musical Society. In the English provinces of the early 20th century, distinctions of class were taken very seriously. Music was the means by which Edith Britten strove to maintain the familys social standing, inviting the pillars of the local community to musical soirées at the house. When Britten was three months old he contracted pneumonia and nearly died, the illness left him with a damaged heart, and doctors warned his parents that he would probably never be able to lead a normal life
Benjamin Britten
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Britten in the mid-1960s (photograph by Hans Wild)
Benjamin Britten
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Britten's birthplace in Lowestoft, which was the Britten family home for over twenty years
Benjamin Britten
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Frank Bridge, Britten's teacher
Benjamin Britten
–
Early influences, clockwise from top left:
Mahler,
Ireland,
Shostakovich,
Stravinsky
20.
Seattle Youth Symphony
–
Seattle Youth Symphony Orchestras is the largest youth symphony organization in the United States, the eighth oldest and among the most distinguished. Founded in 1942, Seattle Youth Symphony Orchestras is the largest youth orchestra training program in the United States, the organization serves over 1,600 diverse students each year with four full orchestras, three summer festival programs, and extensive partnerships with local public schools. By awarding nearly $200,000 in financial aid annually, SYSO ensures that every talented student can participate in our programs, sYSO-in-the-Schools supports public school instrumental music programs by providing instruction in 25 Seattle-area public schools serving over 600 students annually. Marrowstone Summer Festivals provide intensive learning environments for over 500 students age 7 to 25 years each summer, the Academic-Year Orchestra Program serves over 470 students through four full orchestras and one string orchestra. The four full orchestras are, The Symphonette Orchestra serves as an arena for younger musicians to gain valuable performance experience, the next level orchestra is the Debut Symphony Orchestra, it was founded in 1946 and is the largest orchestra in the organizations academic year program. The next orchestra is Junior Symphony Orchestra, this orchestra performs major works from the symphonic repertoire, Seattle Youth Symphony Orchestra, composed of talented young musicians in the Puget Sound region, this group is SYSOs flagship orchestra and one of the premier youth orchestras in the United States. Finally, the Prelude String Orchestra, the lowest level, founded in 2016, is composed of young musicians. This orchestras purpose is to young musicians to experience being in an orchestra. SYSO also offers three summer music programs, faculty members at Marrowstone have included Dale Clevenger and Glenn Dicterow. Two sessions of Marrowstone in the City are held in suburbs that surround Seattle, the first of its kind in the United States, the program has been emulated in many other places, including New York City, Fort Lauderdale, Florida and Vancouver, B. C. EIP partners with 13 Seattle-area public schools to serve over 170 students a year, through all of its programs, Seattle Youth Symphony Orchestras serves over 1,100 young musicians each year. Its concerts reach over 14,000, and are replayed over KING-FM to audiences in excess of 200,000, in November 2008, the Seattle Youth Symphony Orchestras received a grant of $500,000 from the Wallace foundation. The Seattle Youth Symphony Orchestra, the organizations oldest and most accomplished orchestra, has a long history, for its first two years, it was called the Youth Symphony Orchestra of Seattle. From 1944 to 1963, it was the Youth Symphony Orchestra of the Pacific Northwest, vilem Sokol led the orchestra for 28 years, and it was under him that the YSO became the fourth orchestra in the United States to perform Gustav Mahlers Tenth Symphony. Under conductor Sokol, the Seattle Youth Symphony Orchestra made two recordings of Mahlers Tenth Symphony in its entirety, today, SYSO is led by Dr. Stephen Rogers Radcliffe who joined as Music Director in 2006 and by Daniel Petersen who serves as Executive Director. Dr. Radcliffe continues to fulfill the promise recognized when he made his Lincoln Center conducting debut with Metropolitan Opera sopranos Jan DeGaetani, Susan Graham and Dawn Upshaw. Since then Mr. Stephen Rogers Radcliffe served as the Director of Orchestral and Operatic Activities at the University of Massachusetts and Music Director of the Five College Opera Project. Mr. Radcliffe holds a degree in Music Education from the New England Conservatory and has led youth orchestra programs throughout the United States, Europe, Latin America, and Asia
Seattle Youth Symphony
–
Vilem Sokol at 90
21.
Vilem Sokol
–
He was conductor of the Seattle Youth Symphony Orchestras from 1960 to 1988, and principal violist of the Seattle Symphony from 1959 to 1963. He was the featured soloist with the Seattle Symphony for subscription concerts held March 7 and 8,1960, Sokol was raised in Ambridge, Pennsylvania. At the age of 15, he studied with Otakar Ševčík in Boston and he studied under a fellowship grant at the Juilliard School in New York City. Upon his return from Prague, he taught at Shorter College in Rome and he returned in 1941 to Oberlin College to pursue graduate work, but was drafted when the United States entered the Second World War. He served in Miami Beach, Florida, Lincoln, Nebraska and Biloxi, following his discharge in 1945, he returned to Oberlin College to continue his graduate work. Before coming to Seattle, he taught at the University of Kentucky, and the Kansas City Conservatory of Music, Sokol was one of the first American teachers to meet Shinichi Suzuki and apply aspects of his teaching method. On August 19,2011, Sokol died, aged 96, in Seattle,1974 –1812 Overture filmed at Pacific Northwest Music Camp at Fort Flagler State Park. Directed by Jean Walkinshaw, KCTS-TV, Seattle
Vilem Sokol
–
Vilem Sokol at 90
22.
String section
–
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
String section
–
The
Chicago Symphony Orchestra performing with a jazz group. The string sections are at the front of the orchestra, arrayed in a semicircle around the
conductor's podium.
23.
Dziggetai
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The Mongolian wild ass, also known as Mongolian khulan is the nominate subspecies of the onager. It is found in Mongolia and northern China, and was found in eastern Kazakhstan. Previously in 2003, there were a population of less than 20,000 individuals. In 2009, the Mongolian wild ass population had decreased to 14,000 total individuals, in 2015, the Mongolian wild ass are listed as Near Threatened by the IUCN and it is also estimated that there are 23,000 mature individuals in total. The Mongolian wild ass may be synonymous with the possible proposed separate subspecies, the Mongolian wild ass, like most Asiatic wild asses, lives in deserts, cold deserts, steppes, shrublands and mountains. The Gobi Desert is the main stronghold. It may also be found at the Altai Mountains, the Mongolian wild ass is the most widespread subspecies, although despite that, the subspecies lost about 50% of its former distribution range in Mongolia in the past 70 years. Its distribution range then dramatically reduced during the 1990s, a 1994–1997 survey estimated its population size at 33,000 to 63,000 individuals over a continuous distribution range encompassing all of southern Mongolia. In 2003, a new survey found approximately 20,000 individuals over an area of 177,563 square kilometres in southern Mongolia, the species had decreased to 14,000 individuals in 2009. The population estimates of the Mongolian population should be treated with due to a lack of proven survey protocols. The Mongolian wild ass are herbivorous mammals and they feed on grasses, herbs and vegetation. They also feed on shrubs and trees in drier habitats, during spring and summer in Mongolia, the succulent plants of the Zygophyllaceae family form an important component of the diet of the Mongolian wild ass. Mongolian khulans are known to dig holes at dry river beds, watering holes dug by khulans are also used by other species as well as by humans to access to water. The Mongolian wild ass population is declining due to poaching and competition from grazing livestock, the conservation status of the species is evaluated as endangered. The Mongolian khulan are threatened by predators such as gray wolves, dholes. Poaching for meat appears to be a problem in Mongolia. For some parts of the population, wild ass and other wildlife meat seems to provide a substitute or even a cheap alternative to meat from domestic animals. In 2005, a survey based on questionnaires, suggested that as many as 4,500 wild asses, about 20% of the whole population
Dziggetai
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Mongolian wild ass
Dziggetai
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A Mongolian khulan at
Gobi Desert,
Mongolia.
Dziggetai
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A Mongolian wild ass at
Shanghai Zoo,
China.
24.
Can-can
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The can-can is a high-energy, physically demanding dance which became a popular music hall dance in the 1840s, continuing in popularity in French cabaret to this day. Originally danced by both sexes, it is now associated with a chorus line of female dancers. The main features of the dance are the high kicks, splits, the Infernal Galop from Jacques Offenbachs Orpheus in the Underworld is the tune most associated with the can-can. The name can-can may be derived from the French for tittle-tattle or scandal, however, the dance was also referred to as the coin-coin and this may have become corrupted into can-can. In its early days, the dance was called the chahut. The cancan is believed to have evolved from the figure in the quadrille. The dance was considered scandalous, and for a while, there were attempts to repress it and this may have been partly because in the 19th century, women wore pantalettes, which had an open crotch, meaning that a high kick could be unintentionally revealing. There is no evidence that cancan dancers wore special closed underwear, occasionally, people dancing the cancan were arrested, but there is no record of it being banned, as some accounts claim. Throughout the 1830s, it was often groups of men, particularly students, as the dance became more popular, professional performers emerged, although it was still danced by individuals not by a chorus line. A few men became cancan stars in the 1840s to 1861, however women performers were much more widely known. This was a combination of the style of the Parisian dance-halls. In United States and elsewhere, the cancan achieved popularity in music halls, the main moves are the high kick or battement, the rond de jambe, the port darmes, the cartwheel and the grand écart. It has become practice for dancers to scream and yelp while performing the cancan. The cancan was introduced in America on December 23rd,1867 by Giuseppina Morlacchi and it was billed as. Grand Gallop Can-Can, composed and danced by Mlles. Morlacchi, Blasina, Diani, Ricci, Baretta. accompanied with cymbals and triangles by the coryphees, the new dance received an enthusiastic reception. By the 1890s the cancan was out of style in New York dance halls, the cancan became popular in Alaska and Yukon, Canada where theatrical performances feature cancan dancers to the present day. The cancan is now considered a part of dance culture. Often the main feature observed today is how physically demanding and tiring the dance is to perform, when the dance first appeared in the early 19th century, it was considered a scandalous dance, similar to how rock and roll was perceived in the 1950s
Can-can
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Depiction of the can-can by
Henri de Toulouse-Lautrec, 1895
Can-can
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Georges Seurat, 1889-90,
Le Chahut, oil on canvas, 170 x 141 cm,
Kröller-Müller Museum
Can-can
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Toulouse-Lautrec, Jane Avril Dancing
Can-can
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The Moulin Rouge featured in a Toulouse-Lautrec painting
25.
Jacques Offenbach
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Jacques Offenbach was a German-born French composer, cellist and impresario of the romantic period. He is remembered for his nearly 100 operettas of the 1850s–1870s and he was a powerful influence on later composers of the operetta genre, particularly Johann Strauss, Jr. and Arthur Sullivan. His best-known works were revived during the 20th century. The Tales of Hoffman remains part of the opera repertory. Born in Cologne, the son of a cantor, Offenbach showed early musical talent. At the age of 14, he was accepted as a student at the Paris Conservatoire but found academic study unfulfilling, from 1835 to 1855 he earned his living as a cellist, achieving international fame, and as a conductor. His ambition, however, was to compose pieces for the musical theatre. Finding the management of Paris Opéra-Comique company uninterested in staging his works, there he presented a series of his own small-scale pieces, many of which became popular. In 1858, Offenbach produced his first full-length operetta, Orphée aux enfers, during the 1860s, he produced at least 18 full-length operettas, as well as more one-act pieces. His works from this period included La belle Hélène, La Vie parisienne, La Grande-Duchesse de Gérolstein, Offenbach became associated with the Second French Empire of Napoleon III, the emperor and his court were genially satirised in many of Offenbachs operettas. Napoleon III personally granted him French citizenship and the Légion dHonneur, with the outbreak of the Franco-Prussian War in 1870, Offenbach found himself out of favour in Paris because of his imperial connections and his German birth. He remained successful in Vienna and London, however and he re-established himself in Paris during the 1870s, with revivals of some of his earlier favourites and a series of new works, and undertook a popular U. S. tour. In his last years he strove to finish The Tales of Hoffmann, but died before the premiere of the opera, Offenbach was born Jacob or Jakob Offenbach to a Jewish family, in the German city of Cologne, which was then a part of Prussia. His birthplace in the Großen Griechenmarkt was a distance from the square that is now named after him. He was the son and the seventh of ten children of Isaac Juda Offenbach né Eberst and his wife Marianne. Isaac, who came from a family, had abandoned his original trade as a bookbinder and earned an itinerant living as a cantor in synagogues. He was generally known as der Offenbacher, after his native town, Offenbach am Main, in 1816 he settled in Cologne, where he became established as a teacher, giving lessons in singing, violin, flute and guitar, and composing both religious and secular music. When Jacob was six years old, his father taught him to play the violin, within two years the boy was composing songs and dances, and at the age of nine he took up the cello
Jacques Offenbach
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Offenbach in the 1860s
Jacques Offenbach
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Offenbach in the 1840s
Jacques Offenbach
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Early influences:
Luigi Cherubini and
Fromental Halévy (top);
Louis-Pierre Norblin and
Friedrich von Flotow (below)
Jacques Offenbach
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Offenbach as a young cello virtuoso, drawing by Alexandre Laemlein from 1850
26.
Orpheus in the Underworld
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Orphée aux enfers, whose title translates from the French as Orpheus in the Underworld, is an opéra bouffe, or opéra féerie in its revised version. Its score was composed by Jacques Offenbach to a French text written by Ludovic Halévy, the work, first performed in 1858, is said to be the first classical full-length operetta. Offenbachs earlier operettas were small-scale one-act works, since the law in France did not allow full-length works of certain genres, Orpheus was not only longer, but more musically adventurous than Offenbachs earlier pieces. This also marked the first time that Offenbach used Greek mythology as a background for one of his pieces. The operetta is an irreverent parody and scathing satire on Gluck and his Orfeo ed Euridice, the Infernal Galop from Act 2, Scene 2, is famous outside classical circles as the music for the can-can. Saint-Saëns borrowed the Galop, slowed it to a crawl, the first performance of the two-act, opéra bouffe version took place at the Théâtre des Bouffes-Parisiens in Paris on 21 October 1858 and ran for an initial 228 performances. It then returned to the stage a few later, after the cast had been given a rest. In America the work played in German at the Stadt Theatre, on Broadway and it had its Czech premiere in 1864, under Adolf Čech. It had a run of 76 performances at Her Majestys Theatre, in London, beginning on 26 December 1865, a four-act version, designated as an opéra féerie, was first performed at the Théâtre de la Gaîté on 7 February 1874. Sadlers Wells opera presented an English version by Geoffrey Dunn beginning on 16 May 1960, in the 1980s, English National Opera staged the opera freely translated into English by Snoo Wilson with David Pountney. The production was notable for its portrayal of the then Prime Minister Margaret Thatcher as the character Public Opinion. The first performance was at the Coliseum Theatre in London on 5 September 1985, the DOyly Carte Opera Company performed the work in the 1990s. The Toronto Operetta Theatre staged a performance in Dec. 1993-Jan. 1994 in which heaven was Club Med, and hell was a leather bar, in the eyes of Clément and Larousse the piece is une parodie grotesque et grossière, full of vulgar and indecent scenes that give off une odeur malsaine. In the opinion of Piat, however, Offenbachs Orphée is, like most of his major operettas, Scene 1, Near Thebes A melodrama opens the work. Public Opinion explains who she is – the guardian of morality and she seeks to rework the story of Orphée and Eurydice – who, despite being husband and wife, hate each other – into a moral tale for the ages. However, she has her work cut out for her, Eurydice is in love with the shepherd, Aristée, who lives next door, and Orphée is in love with Chloë, a shepherdess. When Orphée mistakes Eurydice for her, everything comes out, however Orphée, fearing Public Opinions reaction, torments her into keeping the scandal quiet using violin music, which she hates
Orpheus in the Underworld
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Jacques Offenbach
Orpheus in the Underworld
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Playbill from an 1874 revival
Orpheus in the Underworld
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"Ah! quel supplice". Sven Erik Vikström (Orpheus) and
Elisabeth Söderström (Eurydice),
Stockholm, 1955.
27.
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
Felix Mendelssohn
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Portrait of Mendelssohn by the English
miniaturist James Warren Childe (1778–1862), 1839
Felix Mendelssohn
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First page of the
manuscript of Mendelssohn's Octet (1825) (now in the US
Library of Congress)
Felix Mendelssohn
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Felix Mendelssohn's study in Leipzig
Felix Mendelssohn
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Felix Mendelssohn's grave
28.
Hector Berlioz
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Hector Berlioz was a French Romantic composer, best known for his compositions Symphonie fantastique and Grande messe des morts. Berlioz made significant contributions to the orchestra with his Treatise on Instrumentation. He specified huge orchestral forces for some of his works, and he also composed around 50 songs. His influence was critical for the development of Romanticism, especially in composers like Richard Wagner, Nikolai Rimsky-Korsakov, Franz Liszt, Richard Strauss. Hector Berlioz was born in France at La Côte-Saint-André in the département of Isère, Louis was an agnostic, with a liberal outlook, his mother, Marie-Antoinette, was a devout Roman Catholic. He had five siblings in all, three of whom did not survive to adulthood, the other two, Nanci and Adèle, remained close to Berlioz throughout his life. Berlioz was not a prodigy, unlike some other famous composers of the time, he began studying music at age 12, writing small compositions. As a result of his fathers discouragement, he never learned to play the piano and he became proficient at guitar, flageolet and flute. He learned harmony from textbooks alone—he was not formally trained, the majority of his early compositions were romances and chamber pieces. While yet at age twelve, as recalled in his Mémoires, he experienced his first passion for a woman and he also began to visit the Paris Conservatoire library, seeking out scores of Glucks operas and making personal copies of parts of them. He recalled in his Mémoires his first encounter with Luigi Cherubini, Cherubini attempted to throw the impetuous Berlioz out of the library since he was not a formal music student at that time. Berlioz also heard two operas by Gaspare Spontini, a composer who influenced him through their friendship, and whom he later championed when working as a critic, from then on, he devoted himself to composition. He was encouraged in his endeavors by Jean-François Le Sueur, director of the Royal Chapel, in 1823, he wrote his first article—a letter to the journal Le corsaire defending Spontinis La vestale. Despite his parents disapproval, in 1824 he formally abandoned his studies to pursue a career in music. This work was rehearsed and revised after the rehearsal but not performed until the following year, Berlioz later claimed to have burnt the score, but it was re-discovered in 1991. Later that year or in 1825, he began to compose the opera Les francs-juges, the work survives only in fragments, the overture has been much recorded and is sometimes played in concert. In 1826 he began attending the Conservatoire to study composition under Jean-François Le Sueur and he also submitted a fugue to the Prix de Rome, but was eliminated in the primary round. Winning the prize would become an obsession until he won it in 1830
Hector Berlioz
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Crop of a
carte de visite photo of Hector Berlioz by Franck, Paris, c. 1855
Hector Berlioz
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Drawing of
Harriet Smithson as
Ophelia in Shakespeare's
Hamlet
Hector Berlioz
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Lithograph of Berlioz by
August Prinzhofer, Vienna, 1845. Berlioz considered this to be a good likeness.
Hector Berlioz
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Painting of a young Berlioz by
Émile Signol, 1832.
29.
La damnation de Faust
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La damnation de Faust, Op.24 is a work for four solo voices, full seven-part chorus, large childrens chorus and orchestra by the French composer Hector Berlioz. He called it a légende dramatique and it was first performed at the Opéra-Comique in Paris on 6 December 1846. The French composer was inspired by a translation of Goethes dramatic poem Faust and produced a work that, like the masterpiece on which it is based. Conceived at various times as an oratorio and as an opera its travelogue form. Berlioz himself was eager to see the work staged, but once he did, most of the works fame has come through concert performances. Berlioz read Goethes Faust Part One in 1828, in Gérard de Nervals translation, I read it incessantly, at meals, in the theatre, in the street. He was so impressed that a suite entitled Eight Scenes from Faust became his Opus 1, the Metropolitan Opera premiered it first in concert and then on stage and revived it in concert at Carnegie Hall on 10 November 1996. Filmmaker Terry Gilliam made his debut at Londons English National Opera in May 2011. Three instrumental passages, the Marche Hongroise, Ballet des sylphes, hearing peasants sing and dance, he realizes that their simple happiness is something he will never experience. An army marches past in the distance, Faust doesnt understand why the soldiers are so enthusiastic about glory and fame. Depressed, Faust has returned to his study, even the search for wisdom can no longer inspire him. Tired of life, he is about to commit suicide when the sound of bells and an Easter hymn remind him of his youth. Suddenly Méphistophélès appears, ironically commenting on Fausts apparent conversion and he offers to take him on a journey, promising him the restoration of his youth, knowledge, and the fulfillment of all his wishes. Méphistophélès and Faust arrive at Auerbachs tavern in Leipzig, where Brander, the other guests offer an ironic Amen, and Méphistophélès continues with another song about a flea that brings his relatives to infest a whole royal court. Disgusted by the vulgarity of it all, Faust demands to be somewhere else. On a meadow by the Elbe, Méphistophélès shows Faust a dream vision of a woman named Marguerite. He calls out her name, and Méphistophélès promises to lead Faust to her, together with a group of students and soldiers, they enter the town where she lives. Faust and Méphistophélès hide in Marguerites room, Faust feels that he will find in her his ideal of a pure and innocent woman
La damnation de Faust
–
Hector Berlioz
