By Ethan Mordden
Cozy and obtainable widespread, this authoritative consultant is the 1st symphony guide for non-musicians. The publication starts with a common creation to the symphony and brief items at the orchestra and musical kinds. Mordden is going directly to describe, chronologically, over seven hundred pieces--from Vivaldi to twentieth-century composers. extra aids to the reader contain lists of repertory developers and a thesaurus of musical phrases. "Easy and gratifying to read...a surely priceless advisor for the track lover who has no longer had a musical schooling yet loves live performance music."--John Barkham stories
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Extra info for A Guide to Orchestral Music: The Handbook for Non-Musicians (Oxford Paperback Reference)
5 (the "Emperor") Beethoven: Violin Concerto Schubert: Symphony no. 8 (the "Unfinished") Schubert: Symphony no. 9 (the "Great C Major") Roimantic Era 23. 24. 25. 26. 27. 28. 29. 30. 31: 32. 33. 34. 35. 36. 37. 38. 39. 40. 41. 42. 43. Berlioz: Symphonie Fantastique Berlioz: any collection of overtures Liszt: Les Preludes Wagner: any collection of overtures and preludes Franck: Symphony in d minor Smetana: The Moldau Brahms: Symphony no. 2 Brahms: Piano Concerto no. 2 Brahms: The "Haydn" Variations Brahms: The Academic Festival Overture Saint-Saens: Symphony no.
The tone poem, which has no set form The essential dynamic of symphonic music is: statement, variation, and restatement Accordingly, the basic symphonic movements follow that dynamic, in several different forms: sonata-allegro form, ABA form, and rondo form. Virtually all first movements and many last movements are in sonataallegro (or just sonata) form, consisting of: 36 The Digest Guide for Dilletantes 37 Most slow movements and scherzos are in ABA form, which is a simplified sonata-allegro: In the scherzo, the middle section is called the trio.
Mendelssohn was one of the first musicians to profess himself a conductor as well as a composer: he regularly performed other men's works. This was something new in music, and not till the end of the nineteenth century were there many people who went into music primarily to minister to the creations of others, whether as conductors or instrumental soloists. But the old usage of the all-around musicianship that knew no boundaries between composer and performer—everyone had been both—finally broke down.