He is a trained engineer; Assai specializes in consulting transportation, technology, energy and construction businesses.
|
|
GPA converted four stores to the Assai format and is in the process of converting eight more.
|
|
Sales also rose in Brazil, helped by a strong performance of the Assai cash-and-carry outlets.
|
|
Casino also owns Assai and Via Varejo in Brazil, and Grupo Exito in Colombia, Argentina, Uruguay and Chile.
|
|
"We expect sales of around 15 or 2.53 billion reais," Assai Chief Executive Belmiro Gomes said on Tuesday.
|
|
In Brazil food retail sales were driven by its Assai cash-and-carry stores despite continuing food price deflation.
|
|
You are most likely to see it in "screamo" sheet music, where the common musical notation "strillare ASSAI" exists.
|
|
"God willing, there will be an announcement in the next few days that all the eastern bank is under control," Assai said.
|
|
Growing market share and the conversion of former hypermarkets boosted net revenue at the company's Assai cash-and-carry stores by 25.2 percent.
|
|
Its fast-growing Assai unit, which sells discounted goods in a warehouse setting, continues to operate solely as a brick-and-mortar chain.
|
|
The firm plans to open 12 new Compre Bem stores, 23 Mercado Extra supermarkets and 11 Assai stores by year-end, they said.
|
|
A years-long recession helped popularize so-called "cash-and-carry" stores like GPA's Assai, which offers a no-frills, wholesale format to customers.
|
|
Casino also owns wholesale chain Assai and electronics and appliance retailer Via Varejo in Brazil, and supermarket chain Grupo Exito in Colombia, Argentina, Uruguay and Chile.
|
|
The retailer controlled by France's Casino Guichard Perrachon SA will concentrate on expanding its wholesale brand Assai and resume growth of its premium brand Pao de Acucar.
|
|
GPA's Assai format, a type of store offering a wholesale format to final customers which has grown increasingly popular in recent years in Brazil, grew 10.7 percent.
|
|
In a conference call with analysts, executives said they planned to open 12 Compre Bem stores, 23 Mercado Extra supermarkets and 11 Assai stores by year-end.
|
|
Aggressive discounts at Extra hypermarkets also helped to boost third-quarter sales volumes, GPA said, but net revenue in the food division rose just 1.1 percent, excluding Assai.
|
|
The robust performance of Brazil, Casino's second-largest market after France, has been largely driven by the Assai Cash and Carry stores, as Brazil emerges from a recession.
|
|
The robust performance of Brazil, Casino's second largest market after France, has been largely driven by the Assai Cash and Carry stores, as Brazil emerges from a recession.
|
|
The company's traditional formats together posted a net loss of 85 million reais, while the Assai division posted a net profit of 113 million reais in the quarter.
|
|
Sales in Brazil, the second-largest market after France, grew 7.1 percent on a same-store basis, boosted by the strong performance of the Assai cash and carry stores.
|
|
Earlier in October, GPA said sales at its Assai cash-and-carry stores open for at least 12 months, a measure known as same-store-sales, grew 7.7 percent.
|
|
Iabrudi said GPA plans to focus investments in its most profitable formats and open about 20 stores per year in its Assai cash-and-carry format between 2018 and 2020.
|
|
In Brazil, its second-biggest market by revenue, food retail sales were robust, driven by the cash and carry Assai stores and sales revitalisation of the Extra hypermarkets, Casino said.
|
|
Sure, we have tougher bits of fill like KER, LATH and ASSAI in the bottom-right corner alone ... but these are small prices to pay for such an intricate theme.
|
|
The company is currently building or converting stores under other GPA banners into 14 new Assai stores that will total 70,000 square meters in retail area when completed, the executives said.
|
|
Atacadão leads the segment in sales but is likely to face increasing competition from new players entering the "cash and carry" format as well as rival GPA SA's Assai wholesale chain.
|
|
But after paring back to 44 locations, Maxxi gives Wal-Mart far less exposure to the cash-and-carry business than Atacadão and GPA's Assai, which have 123 and 95 stores, respectively.
|
|
While the Multivarejo division, which groups GPA's traditional supermarket formats, swung to profit, the firm's Assai division again stole the show, with earnings before interest, taxes, depreciation, and amortization jumping some 49 percent.
|
|
But in recession-hit Brazil, where Casino makes around 40 percent of its sales, food retail sales grew 8.3 percent, driven by the cash and carry Assai stores and promotional activity at the Extra hypermarkets.
|
|
SAO PAULO, Oct 26 (Reuters) - Brazilian food retailer GPA plans to shake up formats, betting big on its wholesale Assai stores and regionally focused Compre Bem stores while cutting other brands, executives said on Friday.
|
|
The company said on Monday its fourth quarter net revenue rose 6.8 percent from last year to 10.73 billion reais ($3.91 billion) with a strong performance at its Assai wholesale format, although food deflation limited gains.
|
|
GPA's cash-and-carry wholesaler Assai also continued to provide profitable growth, as a dozen new stores and more demand from bargain-hunting families helped boost sales by 29 percent and operating profit by 75 percent.
|
|
The swing to profit was driven by the strong performance of GPA's Assai stores, which contributed 36 percent more to earnings before interest, tax, depreciation, and amortization (EBITDA) than a year earlier on improving gross profit margins.
|
|
The group's net revenue rose 4.4 percent from a year earlier to 15.1 billion reais ($4.7 billion), driven by 45.7 percent growth for rapidly expanding wholesaler Assai, which offers rock-bottom prices for families pinched by a severe recession.
|
|
São Paulo-based GPA expects to convert as many as 20 Extra hypermarket stores into Assai cash-and-carry stores next year, Chief Executive Officer Ronaldo Iabrudi told investors in a Friday conference call to discuss third-quarter earnings.
|
|
Chief Executive Officer Ronaldo Iabrudi said GPA, owned by France's Casino Guichard Perranchon SA, plans to focus investments in its most profitable formats and open about 20 stores per year in its Assai cash-and-carry format between 2018 and 2020.
|
|
The company said that among its Multivarejo formats, GPA's flagship Pao de Acucar stores posted volume gains for the second straight quarter, indicating that consumers are increasingly willing to shop at the format, even as it is slightly more expensive that Assai.
|
|
Casino, which controls Brazil's top retailer Grupo Pao de Acucar, said food retail sales in Brazil rose 9.9 percent from 9.8 percent in the first quarter, despite slowing inflation, reflecting a recovery at the Extra hypermarkets and strong growth at the Assai stores.
|
|
Sales at Assai stores open for at least 12 months, known as same-store sales, grew 7.7 percent, while same-store sales in the retailer's more traditional formats rose 0.6 percent, led by a recovering volumes in the group's flagship Pão de Açucar supermarkets.
|
|
"The rate and the timing of conversions will depend on our investment analysts - we want to convert as many stores as possible at the lowest cost," Iabrudi said, noting that he wants to take the Assai retail format to 19 Brazilian states in 2017.
|
|
He was bafflingly at ease through the technical acrobatics of the Allegro assai from the Sonata No. 3; and he was so still and steady playing the Andante from the Sonata No. 2, it was hard to imagine the interweaving lines coming from a single person.
|
|
Here, the dancers, wearing simple shifts, are mercifully freed from the harsh-toned red, blue and purple outfits (by Alessandro Sartori) of the opening section, "Allegro assai," and Mr. Millepied calms the pace of the sometimes overdetailed ensemble choreography, using stillness as a counterpoint to pounding musical passages.
|
|
SAO PAULO, Oct 16 (Reuters) - Brazilian supermarket chain Grupo Pão de Açúcar SA on Wednesday reported its total gross sales grew 9.5% to 14.57 billion reais ($3.49 billion) in the third quarter as double-digit growth in wholesale unit Assai compensated for flat performance in its other brands.
|
|
In addition to running Assai Management Consulting, a company he started in 2013 after leaving his job as director of the project management office at the Port Authority, he is a professional opera singer, currently preparing to play the lead baritone in Puccini's "Turandot" at New Jersey's Bergen Performing Arts Center.
|
|
GPA's capex next year will be its largest in the last decade and is similar to its top rival, the Brazilian unit of Carrefour SA. The retailer expects to keep the high growth rate of its wholesale brand Assai, convert supermarkets to the brands Compre Bem and Mercado Extra and resume growth in its premium brand Pao de Acucar after two years.
|
|
SAO PAULO, Jan 15 (Reuters) - Brazilian supermarket chain GPA SA on Wednesday reported a 24% rise in total gross sales in the fourth-quarter from a year earlier, to 18.9 billion reais ($4.56 billion), including operations from Colombia's Almacenes Exito SA. In Brazil alone, the local subsidiary of France's Casino Guichard Perrachon SA posted fourth-quarter gross sales of 16.515 billion reais, up 8.4% year-on-year, as double-digit revenue growth in wholesale unit Assai compensated for weaker performance in other segments.
|
|
Moderato assai # Bitte. Larghetto # Dein ist mein Herz. Feierlich leidenschaftlich op. 8 – Songs Without Words # Lied.
|
|
An unrecognised Central-European composer called Skitner wrote at last one concerto in D major for organ and chamber orchestra, dated before 1802: Allegro (assai) – Allegro assai (manuscript: Landesbibliothek, Coburg: Ms Mus 374/1.52; RISM 450.107.181; another manuscript: Národní knihovna České republiky, Prague: no sigla; RISM 552.000.678).
|
|
The composition has three movements: # Allegro vivace # Adagio # Assai vivace A typical performance lasts about 22 minutes.
|
|
The work has three movements: # Allegro vivace # Andante in G minor # Allegro assai A typical performance lasts 25 minutes.
|
|
The composition is in four movements: #Allegro moderato #Adagio #Scherzo: Allegro assai #Finale: Allegro non troppo A typical performance takes around 25 minutes.
|
|
169) :(f) Preludio. Quasi presto, arditamente, pp. 19-21. ::[Preludio from Busoni's Toccata, BV 287 (score)] :(g) Nach Mendelssohn. Vivace assai, pp. 22-23.
|
|
The cantata is opened by a Sinfonia, marked adagio assai, which resembles the slow movement of an oboe concerto, with an expressive and plaintive solo.
|
|
The symphony is scored for flute, two oboes, bassoon, two horns and strings. There are four movements: #Vivace assai, #Adagio cantabile in B major, #Menuetto & Trio: Allegretto, #Finale: Allegro assai, The first movement opens in standard Italian style with three loud chords followed by a quiet response. The second theme group is based on an inversion of the quiet response.Brown, A. Peter, The Symphonic Repertoire (Volume 2).
|
|
His diary, published in 1879, notes: > "In questo monastero ritrovai una quantità grandissima di codici > membranacei... ve ne sono alcuni che mi sembravano anteriori al settimo > secolo, ed in ispecie una Bibbia in membrane bellissime, assai grandi, > sottili, e quadre, scritta in carattere rotondo e belissimo; conservano poi > in chiesa un Evangelistario greco in caractere d'oro rotondo, che dovrebbe > pur essere assai antico".Lumbroso, G. (1879).
|
|
Stefano's poem has been used, with varying degrees of liberty, to re-create Sicilian versions of the Tuscanised legacy of other Sicilian poets. Besides Pir meu, Stefano left two other songs, Assai cretti celare and Assai mi placeria.Attributed to Istefano di Messina in one manuscript. A fourth, Amor, da cui move tuttora e vene, customarily assigned to Pier delle Vigne, has been lately ascribed to Stefano.
|
|
Allegro maestoso - Allegro assai (D major) # Aria con Coro. Andante con moto (F major) # Recitativo. Largo (D minor) # Aria. Adagio con affetto (E♭ major) # Coro.
|
|
Allegro assai. # in A minor, for recorder, strings and continuo.Concerto 6 de GB-Lbl Ms. R.M.21.b.14 on RISM #:: Vivace. Adagio. Allegro. Adagio. Allegro.
|
|
Ch'io mi scordi di te? Che a lui mi doni puoi consigliarmi? E puoi voler che in vita… Ah no! Sarebbe il viver mio di morte assai peggior.
|
|
Like all of Mendelssohn's string quartets, this work has four movements: # Allegro assai appassionato # Scherzo: Allegro di molto # Andante # Presto agitato A typical performance just under 30 minutes.
|
|
The third mazurka, in A-flat major, is marked Legato assai. This piece is one of the longest mazurkas Chopin wrote, lasting about six minutes in a typical performance.
|
|
The six pieces are: # Intermezzo in A minor. Allegro non assai, ma molto appassionato # Intermezzo in A major. Andante teneramente # Ballade in G minor. Allegro energico # Intermezzo in F minor.
|
|
Andante # Im Wald. Allegro vivace op. 4/5 – Songs Without Words # Allegro assai # Allegretto # Allegro molto quasi presto # Lento appassionato # Allegro molto vivace # Mélodie op. 6 – Songs Without Words # Lied.
|
|
Like all of Mendelssohn's string quartets, this work has four movements: # Allegro vivace # Scherzo: Assai leggiero vivace # Adagio non troppo # Molto allegro con fuoco A typical performance lasts around 35 minutes.
|
|
Jörg Widmann's Clarinet Quintet was composed in 2017. It was premiered on 24 April 2017 in Madrid. The one-movement Adagio in tempo Lento assai has a duration of approximately forty minutes.
|
|
Beginning with the move of the program to public television in 1971, the theme music of Firing Line was the Brandenburg Concerto No. 2 in F Major, Third Movement (Allegro assai), by Johann Sebastian Bach.
|
|
The work is in standard four movement form and scored for flute, two oboes, two bassoons, two horns, continuo (harpsichord) and strings. It is the last symphony that Haydn composed that is not scored for trumpets and timpani. #Largo – Allegro assai, #Andante in B major, #Minuet: Un poco allegretto, #Vivace, () (alla breve) The first movement opens with a slow introduction which Haydn works into the opening allegro assai. The Allegro's first theme is derived from an idea Haydn used in his cantata Arianna a Naxos, Hob.
|
|
The symphony consists of six movements, organised into two parts with each part containing three movements, marked as follows: :Part One ::I. Allegro assai – attacca: ::II. Lento espressivo e solenne – attacca: ::III. Vivace – attacca: :Part Two ::IV.
|
|
Two thousand died at Ariano in the territory of Avellino, and the town was in ruins. Lacedonia was reduced to dust and abandoned completely. Sant' Agata dei Goti was assai conquassata ('practically crushed').Baratta, pp. 66–74.
|
|
They didn't make it though. There were Dolphin, On the go, PHARAON, Assai, Chayan Famali, Pompeya among their rivals. In 2017 Sergey Boldyrev/Cloud Maze won "Jagermeister Music Awards 2017” music award in "People's Choice awards: Russia” nomination.
|
|
They also create an intensity not present in Herder's drama, which carries over into the symphonic poem, from the furious opening (marked Allegro energico ed adagio assai) to the principal musical material (marked Allegro molto appassionato).Shulstad, 209–10.
|
|
To the Turin Exhibition, he sent a Margherita based on Faust by Goethe. Venice, in 1887, another canvas portante titled: Fiato sprecato, che la critica trovò assai interessante. Dizionario degli Artisti Italiani Viventi: pittori, scultori, e Architetti., by Angelo de Gubernatis.
|
|
458 was entered in Mozart's own handwritten thematic catalogue on 9 November 1784." It is in four movements: # Allegro vivace assai # Menuetto and Trio. Moderato # Adagio, in E-flat major # Allegro assai Neither Mozart nor Artaria called this piece "The Hunt." "For Mozart's contemporaries, the first movement of K.458 evidently evoked the 'chasse' topic, the main components of which were a 6/8 time signature (sometimes featuring a strong upbeat) and triadic melodies based largely around tonic and dominant chords (doubtless stemming from the physical limitations of the actual hunting horns to notes of the harmonic series).
|
|
Allegro assai, in A minor meter. In the final movement Bach relies on bariolage figures to generate striking acoustic effects. The meter and rhythm are those of a gigue.Robin Stowell, "Violin Concertos," in Oxford Composer Companions: J.S. Bach, Oxford University Press, 1999, p.
|
|
The trio has four movements: # Molto allegro ed agitato (D minor) # Andante con moto tranquillo (B-flat major) # Scherzo: Leggiero e vivace (D major) # Finale: Allegro assai appassionato (D minor, ending in D major) A typical performance lasts just under 30 minutes.
|
|
The opera is in four movements with a corresponding representation of Arlecchino in each of them:Busoni (1918), pp. vi, 1, 65, 74, 122. :I. ARLECCHINO als Schalk [Arlecchino as Rogue] (Allegro molto) :II. ARLECCHINO als Kriegsmann [Arlecchino as Warrior] (Allegro assai, ma marziale) :III.
|
|
The chamber concerto is structured in five movements named Canto (chant): # Canto 1 – Moderato e Maestoso # Canto 2 – Allegro mosso # Canto 3 – Adagio # Canto 4 – Vivace assai subito # Canto 5 – Poco più mosso The instruments in the ensemble are flute, clarinet, violin, cello and percussion.
|
|
The symphony is scored for two oboes, bassoon, two horns (in C alto), continuo (harpsichord) and strings. This symphony is divided into four movements: #Allegro assai con brio #Andante in C major, #Menuetto e trio. Allegretto, #Finale. Presto The symphony has several distinct features.
|
|
Like most of Mozart's concertos it is in three movements: # Allegro # Allegretto in C major # Allegro assai The concerto was written for Mozart to perform himself: Hutchings calls it "athletic", combining grace with vigour. It is scored for flute, two oboes, two bassoons, two horns, and strings.
|
|
Orchids and bromeliads exploit trees and other plants to get closer to the sunlight. They grow hanging onto the branches or tree trunks with aerial roots, not as parasites but as epiphytes. Species of tropical trees native to the Amazon include Brazil nut, rubber tree and Assai palm.
|
|
Chabrier Mélodiste. In: Emmanuel Chabrier. Ostinato rigore – revue internationale d'études musicales. No.3, 1994, Jean-Michel Place/Centre national du livre, Paris, p. 62. Howat sees a precedent here for the Adagio assai second movement of Ravel's G major concerto « with its undercurrent of across its slow metre ».
|
|
The sonata, written for violin with basso continuo (figured bass), is written in four movements: #Larghetto ma non troppo #Allegro moderato #Andante #Allegro assai — Andante — Allegro assai The first movement, in time, begins gently and reflectively, with languid double stops and a flowing violin melody line filled with tasteful embellishments. The melody, which moves from the tonic to the mediant key in the middle of the movement includes several deceptive cadences, before returning once again to a tonic theme similar to the beginning. A crisp, quick, highly decorated bravura follows, preceding a brief cantabile slow movement, said to signify Tartini's dream state. The last movement, technically difficult, begins fast, before dissolving into repeated, modular violin melody over an intensifying accompaniment.
|
|
The piece is written in the form of a suite with five movements: #Prélude: Moderato assai #Sérénade: Andantino #Scherzo: Allegro grazioso #Romance: Adagio #Finale: Allegro con brio The end of the finale contains a recapitulation of the prelude, typical of a serenade. In fact, the work bears a close resemblance to Antonín Dvořák's String Serenade.
|
|
It has three movements: #Allegro assai #Tempo di minuetto, ma molto moderato e grazioso - in E-flat major #Allegro vivace This sonata is characteristic of early/middle Beethoven in its solid sonata structure, just beginning to get adventurous in syncopation, with some extraordinary off beat sforzandi. The work takes approximately 18 minutes to perform.
|
|
Sonata a la Española is a sonata for solo guitar composed in 1969 by the Spanish composer Joaquín Rodrigo. The piece has three movements. The first of these, allegro assai, introduces a steady tread against music with a nasal- like sound. The second, adagio, has a theme centered on the lower strings of the guitar.
|
|
2.000 died at Ariano in the territory of Avellino, and the town was in ruins; Lacedonia was reduced to dust and abandoned completely. Sant' Agata dei Goti was assai conquassata ('practically crushed;). Bella Bona, p. 224. The extensive damage and death may account, at least in part, for the diocesan reorganization of the metropolitanate of Benevento.
|
|
In Act I, Rossini's slander aria from The Barber of Seville is used as the basis for Peppo's slander scene; the folk tune Te voglio ben assai is used in Act I to highlight the young lovers' feelings; the Latin hymn "O Santissima" is used in Act II to underscore the power of Christianity over Golfo's demonry.
|
|
It consists of a single movement composed by Piston in four variations without theme: # Variation I Con moto- # Variation II Poco piu mosso- # Variation III Assai lento- # Variation IV Allegro—Vivo The unusual structure was inspired by the success of the composer's earlier Variations for Cello and Orchestra (1966). The average performance time is around 12 minutes.
|
|
He first apprenticed with Andrea Voltolino. He then trained in Bologna under Giovanni Maria Viani. He painted a series of canvases of classical stories for the Count Ercole Giusti. He painted some religious canvases for the Colombini in Bologna. He was described by Carlo Ridolfi as having a ‘’very strange brain’’’’Questo pittore fu di un cervello bizzarro assai’’, Ridolfi, page 37.
|
|
Like Morelli, his religious subject matter often focused on the mystical and morbid spirituality, as exemplified by his canvas of San Pier Damiani at the bedside of a dead Countess Adelaide of Turin, Marquesa of Susa (1887).San Pier Damiani is found at the Galleria d'Arte Moderna, Rome. In 1883 at Rome, he exhibited: Anche tu fosti sposa and Maria! che incontrò assai.
|
|
Presto Brown I:D 5 - Symphony in D major, I. Adagio - Vivace, II. Andante cantabile, III. Intermezzo: Allegro scherzante, IV. Menuetto, V. Andante siciliano un poco lento, VI. Menuetto, VII. Finale: Allegro Brown I:D 6 - Symphony in D major, I. Allegro molto, II. Andante, III. Allegro non troppo Brown I:D 7 - Symphony in D major, I. Allegro assai, II. Andante, III.
|
|
The piece follows standard concerto form. The first movement is brisk and in sonata form, the second movement is slow, and the third movement is fast. The length of the concerto is approximately 29 minutes. The three movements of the concerto are: #Moderato assai #:The first movement begins in E-flat in common time with the piano playing large and rapid arpeggios.
|
|
The set of works describes an old grandmother narrating tales to her young grandson who listens carefully in her lap. It is full of nostalgia, with all the movements written in minor keys. The work comprises four untitled movements: # Moderato (D minor) # Andantino (F-sharp minor) # Andante assai (E minor) # Sostenuto (B minor) A performance lasts between eight and ten minutes.
|
|
The rocking motif returns several times and a full tutti brings the movement to a close without a coda. :Opening theme of the Vivace assai The "Military" second movement is derived from a movement from an earlier Concerto for Lire Organizzata in G, Hob. VIIh/3, which Haydn had composed for Ferdinand IV, King of Naples.Oxford Composer Companions: Haydn, ed.
|
|
In soft quarter-note octaves, a tone-row in the piano opens the work, reminiscent of the first bars of Sergei Prokofiev's Violin Sonata No. 1 (Op. 80, 1946). Prokofiev's tempo indication is Andante assai for Op. 80, Shostakovich writes Andante for his Op. 134. Beyond a parallel austerity, Prokofiev's structural and textural influence in the movement is clear, particularly regarding the violin parts.
|
|
However, Berwald did indicate the tuning and register of the brass and timpani at the beginning of each movement.Nils Castegren, preface to Sinfonie capricieuse. Kassel: Bärenreiter (1989): iv in German, v in English, vi in Swedish. The work is in three movements, # Allegro # Andante # Allegro assai and lasts about 29 and a half minutes per Berwald's indications of duration (from which metronome markings could be extrapolated).
|
|
According to Etymology Online, the verb assay means "to try, endeavor, strive; test the quality of", from Anglo-French assaier, from assai (n.), from Old French essai "trial", and the noun assay thus means "trial, test of quality, test of character", mid-14th century, from Anglo-French assai and the meaning "analysis" is from the late 14th century. For assay of currency coins, this literally meant analysis of the purity of the gold or silver or whatever precious component was used to represent the true value of the coin. This might have translated later (possibly after the 14th century) into a generalized meaning of analysis, e.g. of an important or principal component of a target inside a mixture such as an active ingredient of a drug inside the inert excipients in a pharmacological formulation which originally used to be measured by its actual action on an organism (e.g.
|
|
The piece is written in four movements: #Allegro e risoluto assai #Minuet e trio: Allegro con fuoco #Largo #Finale: Allegro agitato In almost all movements, it is the piano which takes a leading role and even goes as far as displaying virtuosic passages. Despite all that, the piece exhibits the congeniality of a piece of chamber music much like that of the music composed by Hummel's contemporary, Schubert.
|
|
Ci son altri fondamenti assai. Dubito di violenza di gente che non sa. Il Padre Nostro fa fracassi contra, e dice ex ora Papa: ma tu non è informato, nè può pensare a questo. V. S. per mio‘ avviso faccia scriver dal Gran Duca, che siccome mettono Domenicani e Gesuiti e Teatini e Preti secolari in questa Congregazione contro i vostri libri, ammettano anche il Padre Castelli e me.
|
|
Amsale was born in 1977 in Bahir Dar, capital city of the Amhara Region. After moving to the capital city Addis Ababa she attended her primary school at Assai School and secondary school at Bole Highschool. She earned a BA from Addis Ababa University in Architecture. On 2010 Amsale become the first Ethiopian female captain by flying an Ethiopian Airlines BombardierDHC-8-402Q400 from Addis Ababa to Gondar.
|
|
The first vocal movement combines several aspects of getting ready to die, based mostly on texts from the Old Testament. Bach expresses their ideas in a variety of musical form and scoring. The movement opens (2a) on a text in free poetry, "" (God's time is the best of all times). The chorus has no initial tempo marking, but has a fugal section marked Allegro, and the end is Adagio assai.
|
|
The four movements follow the what was by then archaic Sonata da chiesa pattern: slow-quick-slow (minuet)-quick. #Adagio, #Allegro, #Menuet – Trio, #Presto assai, Only the slow first movement – which is almost as long as the other three movements combined – is in D minor, the rest of the symphony is in sunny D major. Because of this, the piece is sometimes denoted with two key signatures (i.e. D minor/D major).
|
|
Michael Haydn's Symphony No. 32 in D major, Perger 23, Sherman 32, MH 420, was written in Salzburg in 1786. Scored for flute, 2 oboes, 2 bassoons, 2 horns, 2 trumpets, timpani and strings. It is Haydn's only symphony in two movements; this it has in common with Carl Nielsen's Symphony No. 5 but not much else (Delarte, 2006). #Vivace assai #Rondeau The first movement, in , begins softly with a somewhat dancelike theme.
|
|
The first movement, moderato assai (very moderate), contains a typical twelve-bar blues progression. Still titled this movement 'Longing' in his notebook. Main theme in original outline in "Rashana" This opening theme expands into the first of two main themes of the movement, and it returns various times throughout the first, second, and third movements. This theme – theme 1 – shown below, is first played by the trumpet and uses classic blues harmonies and melodic progressions.
|
|
The Violin Concerto in E major, BWV 1042, by Johann Sebastian Bach is a concerto based on the three-movement Venetian concerto model, albeit with a few unusual features as each movement has "un-Italian characteristics". It is written for violin, strings, and continuo in the following movements: #Allegro, meter of , in ritornello form. #Adagio, meter of , with a ground bass. #Allegro assai, meter of , with an overall structure of a rondo.
|
|
I. "Harold in the Mountains": theme of the adagio I. "Harold in den Mountains": theme of the allegro II. "March of the Pilgrims": theme III. "Sérénade": theme of the allegro assai III. "Sérénade": theme of the allegretto IV. "At the Orgy of the Brigands": theme From a formal point of view, the work can be regarded as a symphony. For example, it has four movements, the third of which is a Beethovenesque scherzo.
|
|
It opens with a fanfare played by four trumpets separated at the four compass points of the orchestra. Vision II (Larghetto) is a quiet elegiac section for strings alone, based on the major second (D-C). Vision III (Allegro assai – Agitato) begins with a section for solo percussion and is based on the minor second (F-E). The rest of the orchestra joins in to produce an agitated and dramatic tutti which abruptly ends in silence.
|
|
The work is in standard four movement form and scored for flute, two oboes, two bassoons, two horns and strings. #Vivace, #Andante con moto in C major, #Minuet, #Vivace assai, The first movement, opens with five forte staccato chords followed by a flowing piano melody. The development section maintains the thematic order of the exposition, but develops the harmonic structure. Then in the recapitulation, the music stays in the tonic, but the themes themselves are developed.
|
|
Musica notturna delle strade di Madrid comprises these movements: # Le campane de l’Ave Maria – The Ave Maria Bell; the main church calls the faithful for the Ave Maria prayers. # Il tamburo dei Soldati – The Soldiers’ drum. # Minuetto dei Ciechi – The Minuet of the Blind Beggars; Boccherini directed the cellists to place their instruments upon their knees, and strum them, like guitars. # Il Rosario (Largo assai, allegro, largo come prima) – The Rosary, a slow section not played in strict time.
|
|
The work consists of three traditional movements. Although the concerto is marked as A-flat, but he treated the tonality considerably freely. The first movement, allegro assai, begins with the declaration, by trombones and strings, of "motto for whole work", three notes; A-flat, E-flat and F, which later appear as the fundamental elements of this work written in sonata form. First subject is gathered motives which remind the audiences of the aircraft flying through the clouds.
|
|
Scored for flute, 2 oboes, 2 bassoons, 2 horns, 2 trumpets, 3 trombones, timpani and strings, the piece is in four movements: # Allegro # Larghetto con moto quasi andante # Allegro assai # Allegro Inspired by Ludwig van Beethoven's Symphony No. 5 in C minor, Ries's Fifth uses the rhythm of Beethoven's famous "Fate" motif with different pitches.Hill (1982): xix The piece has been recorded by the Zurich Chamber Orchestra conducted by Howard Griffiths on the Classic Produktion Osnabrück label.
|
|
The main section (allegro assai) is in time, though, as it is largely in triplets, the effect is like for much of the time. It soon moves to E major. As originally written, the piece had two trios, the first in B major, andante in alla breve time, and the second in A major, andantino in . Schubert crossed out the second, but it is not infrequently played also, as heard in the recordings by Arrau, Pires and Uchida.
|
|
The String Quartet No. 22 in B-flat major, K. 589, was written in May 1790 by Wolfgang Amadeus Mozart. It is the second of the Prussian Quartets. There are four movements: # Allegro, in B flat major # Larghetto, in E flat major # Menuetto: Moderato # Allegro assai, in B flat major The quartet was written for and dedicated to the King of Prussia, Friedrich Wilhelm II, an amateur cellist. It is written in a similar style to the quartets of Joseph Haydn.
|
|
The serenade is scored for two oboes (doubling flutes), bassoon, two horns, two trumpets and strings. There are eight movements: #Andante maestoso – Allegro assai #[Andante] #Menuetto #[Allegro] #Menuetto #[Andante] #Menuetto #Prestissimo The March in D, K. 237/189c, was used as an introduction or exit for this work. The second, third and fourth movements all feature the solo violin prominently, forming a three-movement violin concerto within the serenade. This is similar to the K. 204 serenade from the previous year.
|
|
Abbado died from stomach cancer in Bologna on 20 January 2014 at the age of 80. One week later, in tribute to him, the orchestra "Filarmonica della Scala", conducted by Daniel Barenboim, performed the slow movement of Beethoven's Symphony No. 3 (Marcia funebre: Adagio assai in C minor) to an empty theater, with the performance relayed to a crowd in the square in front of the opera house and live-streamed via La Scala's website. He is buried in Val Fex in Switzerland.
|
|
The Symphony No. 1 in C minor, Op. 3, by Nikolai Myaskovsky was written in 1908 (and revised 1921). It is in three movements: # Lento, ma non troppo. Allegro. # Larghetto, quasi andante # Allegro assai e molto risoluto The first sketches for this symphony were written at the time of Myaskovsky's studies in Saint Petersburg in February 1908. The following summer he wrote the piano score, and on the first, ninth and twenty-seventh of July, the movements were finished in piano reduction.
|
|
The second quartet of the set, in C major, is numbered III/45 in the Hoboken-Verzeichnis catalogue. Its movements are: #Vivace #Adagio cantabile #Menuetto: Allegretto #Finale: Vivace assai The first movement is in 3/4 time, hitherto uncommon among Haydn's opening movements. In this movement, Haydn departs from the monothematic approach that characterises many of his other sonata form movements in the set. The exposition presents two clearly distinct themes: the first in the tonic and the second in the dominant.
|
|
Richard Wistreich: "'La voce e grata assai, ma..' Monteverdi on Singing" in Early Music, February 1994 Independent instrumental accompaniment opened up new possibilities for choral music. Verse anthems alternated accompanied solos with choral sections; the best-known composers of this genre were Orlando Gibbons and Henry Purcell. Grands motets (such as those of Lully and Delalande) separated these sections into separate movements. Oratorios (of which Giacomo Carissimi was a pioneer) extended this concept into concert- length works, usually based on Biblical or moral stories.
|
|
In both the autograph score and in his personal catalog, Mozart notated the meter as alla breve. #Allegro vivace assai The opening movement begins quietly with a march figure, but quickly moves to a more lyrical melody interspersed with a fanfare in the winds. The music grows abruptly in volume, with the violins taking up the principal melody over the march theme, which is now played by the brass. This uplifting theme transitions to a brief, quieter interlude distinguished by a sighing motif in the brass.
|
|
Michael Haydn's Symphony No. 23 in D major, Perger 43, Sherman 22, Sherman- adjusted 23, MH 287, is believed to have been written in Salzburg around 1779. It was attributed to Wolfgang Amadeus Mozart in Ludwig von Köchel's original catalog as K. 291. Scored for 2 oboes, 2 bassoons, 2 horns and strings, in three movements: #Allegro assai #Andantino, in D minor, changing to D major at measure 65 #Fugato. Presto mà non troppo The slow movement begins in D minor, sans winds at first.
|
|
It is written for an orchestra consisting of two oboes, four horns (two in B alto and two in G), and strings (violins divided into two, violas, cellos and double basses). There are four movements: #Allegro assai, #Andante, in E major #Menuet & Trio, #Finale: Allegro di molto, File:Haydn-39-1-theme.png The opening movement features a nervously exciting main theme interrupted by frequent pauses. Felix Diergarten has specifically analysed the pauses in the first movement in the symphony, with respect to symphonic form of the time.
|
|
Trio Accanto has over the years made many studio recordings of new works, for radio. Several of these were collected onto two CDs, on Assai (2003, featuring works by Mauricio Sotelo, Stefano Gervasoni, Toshio Hosokawa and Brice Pauset) and on Zeitklang (2009, featuring works by Jörg Birkenkötter, Erhard Großkopf, Manuel Hidalgo, Jo Kondo and Bernfried Pröve). The trio has released many other individual performances on other CDs. Trio Accanto have in recent years begun recording the highlights of its repertoire for Wergo, in purpose-made studio recordings.
|
|
Michael Haydn's Symphony No. 22 in F major, Perger 14, Sherman 23, Sherman- adjusted 22, MH 284, was written in Salzburg in 1779. Scored for 2 oboes, 2 bassoons, 2 horns and strings, in three movements: #Adagio - Presto #Andante, in B-flat major #Vivace assai This symphony is the second of four by Michael Haydn to include a slow introduction before the first movement (the others are Symphonies Nos. 21, 27, and 30). All four were written between 1778 and 1785 and attached to symphonies cast in three movements (without minuets).
|
|
At one stage during the composition of the work Walton had thought of leaving the Allegro assai as a single-movement symphony. The commentator Keith Anderson observes that the movement has "a compelling unity" that has prompted comparisons with Sibelius, although Walton disagreed with such a view. ;II: Scherzo: Presto con malizia The scherzo – "with malice" – in E minor, is in a fast time, with occasional bars of rhymically disruptive ; over insistent rhythms, with percussive outbursts, angular off-beat fragmentary themes continue throughout, with no relaxed trio section to break the tension.Burton, Anthony (2014).
|
|
His solo piano music consists mainly of short pieces, miniatures, album leaves, preludes and the like. There is also Variations on a Norwegian Air, Op. 4 (1894), the suite The Days of the Week (1904), a West African Fantasietta, Op. 63 (1935), and a Study for the Left Hand, Op. 47. He arranged the Allegro assai from Felix Mendelssohn's String Quartet in F minor, for piano solo. For piano duet, he wrote Six Duettinos, Op. 39 (1926), a West African Fantasia, Op. 53 (1933), and a Rhapsody and Fugue, Op. 57 (1934).
|
|
The church of Saint Lucy at the Septizodium is mentioned in the Liber Pontificalis as the site of one of the most ancient deaconries of the city. That diaconia is mentioned in the biographies of Pope Leo III (795–816) and Gregory IV (827–844), and was situated next to the church. The church itself is described by Armellini as assai vasta e ricchissimamente decorata, "quite vast and most richly decorated." Even though the church survived until the time of Pope Sixtus V in a satisfactory condition, Armellini holds that was demolished during his papacy.
|
|
No planes were at the airport, just a damaged and unusable Mil Mi-24 helicopter. In mid-June 2012, Intallah Ag Assai, an MNLA colonel, said that the airport served as a base for their weapons and equipment, with more than half of their war material being seized from battles with the army. According to him the MNLA had 30 tanks in working order and 10 others in repair as well as a helicopter. The number of his fighters was 2,000, of which however half he recognized, were young recruits still inexperienced.
|
|
The third movement, "His childhood years passed" (), is named again Chorus, marked "Moderato", set for mezzo-soprano and choir. The fourth movement, "From the cares of the dreary world" (), is named Aria (Ария), for the solo tenor, marked "Andante", an "aria of praise". The last movement, "Ever glorious and without compare" (), is named Hymn (Гимн) and marked "Moderato assai", set for all voices. It has been regarded as "a hymn, in which the two soloists join, exultantly taken up by the chorus, with a burst of joy at the close".
|
|
The first movement, which requires almost half an hour to play and has 1342 bars, is marked "Allegro assai". Performance demands tremendous physical endurance, and great technical skills to cover features including arpeggios, octave runs, scales, leaps, grace notes, alternating hands, swiftly changing block chord motifs, tremolos, and trills executed by the fourth and fifth fingers with the melody played on the same hand. Alkan stays close to the classical sonata form, using a double exposition, but the exposition and development sections are expanded greatly. center The opening bars, constituting the first theme, are marked "quasi-trombe" (like trumpets).
|
|
Scored for 2 oboes, bassoon, 2 horns, and strings.H. C. Robbins Landon, The Symphonies of Joseph Haydn, London: Universal Edition & Rockliff (1955): 687. It is in four movements: #Allegro, #Un poco adagio cantabile in D major, #Menuetto e Trio, #Presto assai, The opening movement begins with a hammerstroke and a dotted- rhythm fanfare of repeated notes which serves as the first theme for the sonata-form movement. The line between the development and recapitulation is blurred by the reappearance of the dotted-rhythm in G minor (the home tonic but the wrong mode) followed by standard recapitulation of the second theme group.
|
|
The piece is composed of a theme and eight variations (seven in Fitzenhagen's version), making up roughly 20 minutes of music. Part of the difficulty of the piece lies in this continuous and prolonged format, devoid of the usual extended orchestral tuttis allowing the soloist to rest for a few moments. The soloist is also challenged by mostly having to play in the high register using the thumb position. #Moderato assai quasi Andante – Thema: Moderato semplice #:The orchestra comes in with a somewhat brief (though it looks long on paper) introduction, and the solo cello states the simple, elegant theme.
|
|
Allegretto, #Finale: Presto assai, After a slow introduction which deliberately avoids establishing C major, the main theme of the first movement is a fanfare that emphasizes the three notes of the C major triad. :500px The second subject is a Ländler that makes use of pizzicato in the bass. :400px The second movement is a set of F major variations with an irregular episode in F minor and a coda. In the variation following the minore episode, Haydn used the unusual sul ponticello marking instructing the violins to play with the bow near the bridge creating a "glassy" or "metallic" sound.
|
|
The Symphony No. 3 in C major of the Swedish composer Franz Berwald, nicknamed the Singulière, was written in 1845. It is scored for 2 flutes, 2 oboes, 2 clarinets, 2 bassoons, 4 horns, 2 trumpets, 3 trombones, timpani and strings. It is about a half-hour in length and is in three movements: #Allegro fuocoso in C major #Adagio - Scherzo (Allegro assai) - Adagio (in G major) #Finale: Presto in C minor (ends in C major) The autograph was bought by the Stockholm Academy of Music in the 1870s. The work was not premiered until 37 years after the death of the composer.
|
|
The third movement minuet opens with pizzicato cellos accompanying a lilting oboe melody in G major. A contrasting section in time marked Presto ma non assai begins in the strings, and this theme is soon taken over by the full orchestra (minus trumpets). Bar 107 returns to the main tempo and gentle mood, but the idyll setting is again disrupted in bar 126 when the earlier Presto marking makes a re-entry, this time in a variation. Brahms yet again diverts the movement back into its principal tempo (bar 194) and thereafter to its peaceful close.
|
|
The symphony is in four movements: #Adagio maestoso – Presto #Adagio assai #Menuet and trio: Allegretto #Finale: Presto Following a slow introduction, the opening theme of the first movement is stated in octaves by the first horn and the bassoon against a string accompaniment. It is the string accompaniment which is worked in the development. The movement is also notable for its advances in orchestration because of the independence of the bassoon from the other bass parts and other sectional specializations, such as the use of winds to sustain harmonies while the strings expand on the melodies. The slow movement is one of Haydn's most memorable.
|
|
Felix Mendelssohn's Cello Sonata No. 2 in D major, Op. 58 was composed in late 1842 (announced in November letters) — first half of 1843 (published in July by F. Kistner). The main theme of the first movement is a reworking of an unrealised Piano Sonata in G major. The Cello Sonata, which was dedicated to the Russian/Polish cellist Count Mateusz Wielhorski, has four movements: # Allegro assai vivace # Allegretto scherzando in B minor # Adagio in G major # Molto allegro e vivace A typical performance lasts 25 minutes. Of particular interest is the Adagio, because it mirrors Mendelssohn's fascination with the music of J. S. Bach.
|
|
Commemorative plaque placed on Teatro Monumental in Madrid. The Violin Concerto No. 2 in G minor, Op. 63, written in 1935 by Sergei Prokofiev, is a work in three movements: #Allegro moderato #Andante assai #Allegro, ben marcato It was premiered on 1 December 1935 at the Teatro Monumental in Madrid, by the French violinist Robert Soetens and the Madrid Symphony Orchestra conducted by Enrique Fernández Arbós. Prokofiev wrote it after the first performance of his Sonata for Two Violins, by Soetens and Samuel Dushkin, which pleased him greatly. Dushkin had recently had a concerto written for him by Igor Stravinsky, so Prokofiev did the same for Soetens.
|
|
The beginning of Movement I (Allegro vivace assai) The String Quartet No. 14 in G major, K. 387, nicknamed the "Spring" quartet, was composed by Wolfgang Amadeus Mozart in 1782 while in Vienna. In the composer's inscription on the title page of the autograph score is stated: "li 31 di decembre 1782 in vienna". ISMN M-006-20118-1 The work was perhaps edited in 1783. This is the first of the Haydn Quartets, a set of six string quartets he wrote during his first few years in Vienna in honor of the composer Joseph Haydn, who is generally viewed as the father of the string quartet form.
|
|
The serenade is scored for two oboes (doubling flutes), bassoon, two horns, two trumpets and strings. There are seven movements: #Allegro assai, 4/4 #Andante moderato in A major, 3/4 #Allegro in A major, 2/2 #Menuetto & Trio, 3/4 #[Andante] in G major, 2/4 #Menuetto & Trio, 3/4 #Andantino Grazioso, 2/4 — Allegro, 3/8 The March in D, K. 215/213b, was used as an introduction or exit for this work. The second, third and fourth movements all feature the solo violin prominently, forming a three-movement violin concerto within the serenade. This is similar to the K. 203 serenade from the previous year.
|
|
1–3, constituted "a close study of Beethoven's three Rasumovsky quartets, Op. 59; that is to say, the attempt to understand those great works resulted in, not a verbal analysis, but music". The three Simpson quartets offer, in his own idiom, "musical analogies" to the procedures of Beethoven's three quartets, but they can be performed without reference to the Beethoven and indeed without reference to each other. ; String Quartet No. 4 (1973) : is dedicated to Basil Lam. The four movements – an Allegro, a Presto scherzo, an Andante sosteunto slow movement joining on without a break to an Assai vivace finale – correspond to the layout of Beethoven's op.59 no.1.
|
|
The movement opens in D major in a slow tempo (Andante con moto quasi Allegretto. Tranquillo assai). A solo horn introduces the opening theme to the accompaniment of rocking chords on muted strings and arpeggiated triplets played by the harp. This theme is taken up by the woodwind and horns, and after twenty-one measures dies away against a shimmering haze of rising and falling arpeggios on the harp: center This whole section is then repeated in E (though the key signature is altered from D major to B. This tranquil episode represents perhaps the excommunicate, who inhabit the first terrace of Ante-Purgatory.
|
|
Her solo piano compositions included "Concert Etude in D flat", the ballades "Chivalric Poem" and "Of Romance", and a Ballade in C-sharp minor that won the Prize for a Piano Composition in the 1916 St. Louis Art League Music Competition; organ works included "Etude in D minor", "Lento Assai", and "Meditation". Her works for violin included "Serenade", "Spring Fantasie", and "Twilight in the Garden". Wyer's art songs with piano accompaniment encompassed "I Have a Rendezvous With Death", "Requiescat", "To Ships", "Remembrance", "The Mocking Bird", plus a setting from Paul Verlaine's "The Sky Above the Roofing Lies" and one from Charles Baudelaire's "Tropic Memories".
|
|
The Symphony in E-flat major, Op. 11, No. 3 is a late symphony by Johann Stamitz, likely written in Paris in 1754 or 1755. It was published as No. 6 in a 1769 publication of six symphonies by Stamitz. This is one of his last symphonies and is in the standard four-movement symphonic scheme of the time: #Allegro assai #Andantino #Menuetto – Trio #Prestissimo It is approximately fifteen minutes in length, and demonstrates Stamitz's late symphonic style. It demonstrates the culmination of the Mannheim school of orchestral playing which emphasized extended techniques for the instruments (musicians at this time were mostly people with free time and simply played when asked), among them an attention to detail of dynamics.
|
|
The work is orchestrated for solo piano, flute, two oboes, two bassoons, two horns, two trumpets, timpani and strings. The concerto is in three movements: #Allegro assai #Andante in G major #Allegro di molto Simon Keefe has noted contemporary comments from Mozart's era on how the woodwind writing in this concerto showed a "newly intricate and sophisticated" character compared to Mozart's prior keyboard concerti. M. S. Cole has noted Mozart's use of meter changes in the coda of the finale, starting at measure 315, from 2/4 to 3/8, and subsequent thematic transformations. Joel Galand has noted that the finale, in rondo- ritornello form, avoids use of a new re-entry theme.
|
|
There are six movements: #Molto allegro (in D major) #Menuetto (in D major) #Andantino (in A major) #Menuetto (Tema con variazioni) (in D major) #Rondo (Allegro assai) (in D major) #Marcia alla francese (in D major) The opening movement is in monothematic sonata form where instead of a true second subject in the dominant key of A major, the first subject appears in A minor. The trio of the first minuet is for strings only and the Andantino third movement is in rondo form. The fourth movement is an unusual mix of minuet and variation form. Here, the three variations serve as the "trios" with the minuet-theme returning da capo after each variation.
|
|
The language "contemporaneousness" however, is not unambiguous since it does not pertain to dodecaphony or tonal means, while at the same time both the procedures with twelve tones and clear "tonal" centers exist in the work. Here, Ristić also demonstrated his contrapuntal and orchestration skills, though without indication of communicating an extra musical narrative. This composition does not contain a "strict, determined program," but, as Peričić states "it operates by its sole musical content." The "non-discursive" trait of this symphony is emphasized by its traditional four-movement formal plan: Allegro moderato—Vivace, Come una Marcia funebre, Tempo I—Andante mosso— Allegro assai, in which individual movements follow the sonata form (first and fourth movements), and binary—ternary architectural patterns (second and third movements).
|
|
The paintings usually include a banner with a mysterious saying that purportedly explains the subject of the composition. Of a pair of paintings sold at Sotheby’s (27–29 January 2005, New York, lot 369A) one is inscribed Son Capporal Dei Matti Ch osseruo beni patti (I am corporal of the fools that well observes the rules) while the other is inscribed Assai Ben Balla A chi fortuna Suona (He dances well enough who fortune plays for). The Ruzhnikov Collection holds a tryptich by this artist, which depicts a dreamlike world in which the natural order has been overturned. The work contains the artist's trademark assemblage of fantastical figures, each apparently representing a failed attempt to explain the world through astrology or mysticism.
|
|
Assai tranquillo, in B minor, is a work written for cello and piano by Felix Mendelssohn. The piece was composed on 25 July 1835 on a journey from Düsseldorf to Leipzig. Mendelssohn dedicated it to the cellist Julius Rietz, who was the composer's assistant Kapellmeister in Düsseldorf. The piece, whose parts serenely weave together, passing the melody and the running eighth notes back and forth, was likely left incomplete, as it ends with a pause on the dominant, an F♯. The piece was not published until 1962, when a reproduction of the facsimile was included in Reinhold Sietz's article Das Stammbuch von Julius Rietz, and was first recorded by Hyperion Records on their recording of Mendelssohn's complete works for cello and piano.
|
|
Initially, Sibelius wrote six numbers for the 2 December 1903 production: # Tempo di valse lente - Poco risoluto (Act I) # Moderato (Paavali's Song: 'Pakkanen puhurin poika', for solo baritone, Act II) # Moderato assai - Moderato (Elsa's Song: 'Eilaa, eilaa', for solo soprano) - Poco adagio (Act II) # Andante (The Cranes, Act II) # Moderato (Act III) # Andante ma non tanto (Act III) In 1904, he revised No. 1 as Valse triste, and it was performed in Helsinki on 25 April 1904. It was published as Op. 44 in 1905 by Breitkopf & Härtel, and immediately took on a life of its own. It became an instant hit with the public, and one of Sibelius's signature pieces. However, because of the publishing contract, Sibelius saw relatively little money in terms of royalties from the performances of Valse triste.
|
|
In his notes accompanying the full set of recordings of Prokofiev's sonatas by Boris Berman, David Fanning states the following: > Whether the restrained, even brooding quality of much of the Fourth Sonata > relates in any direct way to Schmidthof's death is uncertain, but it is > certainly striking that the first two movements both start gloomily in the > piano's low register. Allegro molto sostenuto is the intriguing and apt > marking for the first, in which a hesitant and uncertain mood prevails - the > reverse of Prokofiev's usual self-confidence. The Andante assai second > movement alternates between progressively more elaborate statements of the > opening theme and a nostalgic lyrical episode reminiscent of a Rachmaninov > Etude-tableau; finally the two themes are heard in combination. With the > rumbustious finale Prokofiev seems to be feeling himself again.
|
|
Michael Haydn's Symphony No. 37 in D major, Perger 29, Sherman 37, MH 476, written in Salzburg in 1788, is the last D major symphony he wrote, the fourth of his final set of six symphonies. The symphony is scored for 2 oboes (2nd alternating on flute in the second movement), 2 bassoons, 2 horns and strings and is in three movements: #Vivace #Andantino, in A major #Allegro assai The first movement is notable among Haydn's works for the use of tremolo notation as a shortcut for repeated semiquavers. The second movement, like the slow movements of other symphonies in the set, treats the woodwinds in an almost concertante fashion. The third movement is a lively rondo with a little development in minor keys of the A subject before the final restatement in D major.
|
|
Luwdig Schorn, Ernst Förster, vol. 4 (1846), 345f. (però che aveva sempre attorno fanciulli e giovani sbarbati, i quali amava fuor di modo, si acquistò il sopranome di Soddoma, del quale, non che si prendesse noia o sdegno, se ne gloriava, facendo sopra esso stanze e capitoli e cantandogli in sul liuto assai commodamente. trans. Adrienne DeAngelis: "since he always had about him boys and beardless youths, whom he loved more than was decent, he acquired the by-name of Sodoma; and in this name, far from taking umbrage or offence, he used to glory, writing about it songs and verses in terza rima, and singing them to the lute with no little facility.") See also: Jeanne Morgan Zarucchi, "Vasari’s Biography of Bazzi as ‘Soddoma’: Art History and Literary Analysis", Italian Studies 70.2 (2015), .
|
|
"He takes us back to the golden age of the piano", declared the daily Le Monde in highlighting Bellucci's success in the World Piano Masters Competition in Montecarlo 1996World Piano Masters Competition in Montecarlo – the last in a lengthy series of successes in international competitions (from the Queen Elisabeth in Brussels to the "Prague Spring","Prague Spring" from the RAI "Casella" to the "C. Kahn" in Paris, from the "Busoni" to the "Franz Liszt"). In 2005, he received the award "Recital of the year" after his first concert tour in Australia. All his CDs, published by Decca, Warner Classics, Accord-Universal, Opus 106, Assai, and Danacord, have been awarded by specialist publications: "Choc de l'année" by the Classical magazine Répertoire and "CHOC" of Le Monde de la musique in France, UK Gramophones "Editor's choice",Gramophones "Editor's choice" "5 Stars" from Musica, "5 stars" from the BBC Music Magazine, "Cd exceptionnel" from Répertoire, "ffff" from Télérama, "Best Cd" from the magazine Suono, etc.
|
|
In 1362 he fought for the Florentines against Pisa, notably in the capture of Peccioli, where he succeeded Bonifazio Lupo, to whom Matteo, the continuator of Giovanni Villani's chronicle, compared him, as "nobler in birth, but much inferior in swiftness and mind".più illustre di nascita, ma inferiore assai per prontezza e per mente. "Assedio di Peccioli" a lack of initiative: "He remained sleeping mornings until the third hour, in a bed supplied with low company and leading a quiet, courtly life>"Stava dormendo la mattina fino alla terza, con letto fornito di disonesta compagnia e menando vita di corte quieta In 1370 he victoriously warred for Florence against Bernabò Visconti. The commune of Camerino was one of many in the Papal States that rose in rebellion against papal authority during the war headed by Florence against the French-allied papacy of Gregory XI, in which Ser John Hawkwood ("Giovanni Acuto") distinguished himself.
|
|
The setting is divided into six movements. # Kyrie Adagio - Allegro moderato, B-flat major, 3/4 # Gloria Vivace, B-flat major, common time #: "Gratias agimus tibi" Allegretto, G minor, 3/4 #:: "Qui tollis peccata mundi" Più allegro, G minor, 3/4 #: "Quoniam tu solus sanctus" Vivace, common time # Credo Allegro, B-flat major, cut time #: "Et incarnatus est" Adagio, E-flat major, 3/4 #: "Et resurrexit" Allegro, B-flat major, 3/4 #: "Et vitam venturi" Vivace assai, B-flat major, 3/4 # Sanctus Adagio, B-flat major, cut time #: "Pleni sunt coeli" Allegro, B-flat major, 3/4 # Benedictus Moderato, E-flat major, 2/4 # Agnus Dei Adagio, B-flat minor, 3/4 #: "Dona nobis pacem" Allegro, B-flat major, 3/4 The Sanctus section of the mass is a setting of a then-popular Austrian tune to the German translation of Sanctus, "Heilig". The Mass takes its popular German title Heiligmesse from this section.
|
|
Symphony No. 2 in E minor was written by Wilhelm Furtwängler between 1945 and 1946 in Switzerland. It is in four movements: # Assai moderato - Allmählich belebend (bis Allegro) - Von hier ab festes Tempo (Allegro) # Andante semplice (Tranquillo) (in C major) key: p.104 (first page of 2nd movement) of 1952 score (see below): movement starts on a low C, main theme goes: G E A D-EF EF G. The sound is a clear C major. # Un poco moderato - Più Allegro - Più Moderato - Allegro - Moderato - Allegro (movement is in A minor) # Langsam - Moderato andante - Allegro molto - Moderato - Langsam - Moderato - Presto The symphony is scored for Piccolo,Appears during the finale, but - unusually given publication conventions - not mentioned, in the 1952 score, at the beginning of the finale or that of the score. 3 flutes, 2 oboes, cor anglais, 3 clarinets, 2 bassoons, double-bassoon, 4 horns, 3 trumpets, 3 trombones, tuba, timpani, percussion (tamtam), and strings.
|
|
The piece is marked by a tragic perspective and is in two movements: :I. Pezzo elegiaco (Moderato assai – Allegro giusto) (in A minor) (approx 20:00) :II. (A) Tema con variazioni: Andante con moto (in E major) – (B) Variazione finale e coda (in A major – A minor) (approx 27:00) Total timing: approx. 47:00 The variations are as follows: :Var I :Var II: Più mosso :Var III: Allegro moderato :Var IV: L'istesso tempo (Allegro moderato) :Var V: L'istesso tempo :Var VI: Tempo di Valse :Var VII: Allegro moderato :Var VIII: Fuga (Allegro moderato) :Var IX: Andante flebile, ma non tanto :Var X: Tempo di mazurka :Var XI: Moderato :Variazioni finale e coda: Allegro risoluto e con fuoco :Coda: Andante con moto – Lugubre (L'istesso tempo) The Pezzo elegiaco is a darkly brooding and rather conventional romantic first movement with a beautiful opening cello solo with a theme that returns for a final funeral march.
|
|
Tali vantaggi, uniti al miglior metodo curativo diretto dal medico in capo dell'ospedale di Lucca, e seguito dal chirurgo di stanza là; ed uniti al trattamento, tutto dolce, tutto filosofico, senza ombra di violenza, col non usare, meno il caso di necessità, della camiciuola inglese, e neppure del semplice racchiudere in camera, fanno sì che le vere guarigioni sono assai frequenti in quest'ospedale. Si procura di tenere i pazzi in azione, di farli anche lavorare; si mandano pure al passeggio ; ma ogni occasione di farsi del male è loro tolta in casa e fuori, e sono sempre guardati a vista tanto di giorno che di notte, per cui niun caso sinistro è avvenuto nel luogo dal 1812 in poi, cioè da quando s'introdusse questa vigilanza rigorosa, e questi metodi dolci e filosofici. Tutti dormono in letti separati: gli maniaci hanno una cella ciascuno. I maniaci sono guarentiti esal farsi del male mercè una camiciuola di nuova invenzione, che non gli obbliga a tenere una costante posizione qualunque, che riesce sempre penosa.
|
|
The name malaria derived from mal aria ('bad air' in Medieval Italian). This idea came from the Ancient Romans who thought that this disease came from pestilential fumes in the swamps. The word malaria has its roots in the miasma theory, as described by historian and chancellor of Florence Leonardo Bruni in his Historiarum Florentini populi libri XII, which was the first major example of Renaissance historical writing: > Avuto i Fiorentini questo fortissimo castello e fornitolo di buone guardie, > consigliavano fra loro medesimi fosse da fare. Erano alcuni a' quali pareva > sommamente utile e necessario a ridurre lo esercito, e massimamente essendo > affaticato per la infermità e per la mala ariae per lungo e difficile > campeggiare nel tempo dell'autunno e in luoghi infermi, e vedendo ancora > ch'egli era diminuito assai per la licenza conceduta a molti pel capitano di > potersi partire: perocchè, nel tempo che eglino erano stati lungamente a > quello assedio, molti, o per disagio del campo o per paura d'infermità, > avevano domandato e ottenuto licenza da lui (Acciajuoli 1476).
|
|
1888) and the entire transcription was completed by Groschopp BV B94 :^ Giga, Bolero e Variazione: Studie nach Mozart from An die Jugend (1909) BV 254 :^ Cornelius: Fantasie über Motive aus "Der Barbier von Bagdad" (1886) BV B 52 :^ Liszt: Mephisto Waltz from Deux Épisodes d'apres le Faust de Lenau (S.110 no. 2) (Mephisto Waltz No. 1: "Der Tanz in der Dorfschenke"), ed. for piano by Busoni (1904) BV B61 :^ Klavierübung in 5 Parts: Part 3: Staccato: Nach Mendelssohn, Vivace assai (the Presto from the Mendelssohn-Liszt edition of the Wedding March and Elfin Chorus, S.410) ::Holger Groschopp, piano :CD4: :^ Bach: Prelude and Fugue in E minor for organ, BWV 533, transcribed for piano by Busoni (1894) BV B 26 :^ Schubert Overture in E minor for Orchestra, D. 648 transcribed for piano by Busoni (1889) BV B 104 :^ Variationen und Fuge in freier Form über Fr. Chopins c-Moll-Präludium (Op. 28, Nr. 20), Op. 22 (1884–1885) BV 213 :^ Canto e Valse, ed. by Ronald Stevenson (1884, 1922) :^ An die Jugend (1909) BV 254 :::2.
|
|
The sonata, while it is nominally structured in four movements, is effectively a two-movement work with the first movement directly linked to the second and the third movement directly linked to the fourth: #Placido, teneramente, ma con moto - Lento, assai espressivo e tranquillo #Allegro mosso, scherzando - Epliogue: Tranquillo, mesto, ma con moto Since the work was rediscovered, there has been speculation about just what it was that caused Goosens to reject the sonata. In looking at the later clarinet sonata, both Huss and the anonymous author of the liner notes to the Hyperion recording comment that while both compositions share structural and rhythmic similarities, the clarinet sonata represents a simplification and clarification over the earlier work. Huss further speculates that as he started the process of revision Howells may have decided that in attempting to write a composition that would challenge Goosens skills as an oboist, he had in fact written beyond the capabilities of the oboe as he perceived them. The author of the Hyperion liner notes comments that in their opinion that the ending of the composition, which recapitulates material from the first two movements may have been a miscalculation on the composers part.
|
|
His Sixth Quartet constitutes one of Tsintsadze's finest creations: on the one hand, it represents the culmination in the development and maturation of the composer's individual style; on the other, it reflects his continued search for new means of expression. A composition consisting of one movement yet divided into five structurally open sections, with its development based on monothematic techniques that serve to integrate the parts into a whole, this quartet is written in a form close to that of rondo-sonata, with a prominent role being given to variational continuation. The first section, marked Andante sostenuto, in which the theme is expounded, is wrought with emotion; in the ensuing Allegro assai the musical development is of a dramatic intensity that finds its culmination in the fugato; in the third section, also marked Andante sostenuto, the theme, filled with concealed sorrow, moves from sighs of lament to a rhythmic acceleration; in the Allegro scherzando, which sounds not unlike a grotesque and fantastic dance, the theme is subjected to a number of contrapuntal devices; finally, in the Andante molto sostenuto, the theme returns in its tragic colouring, as if posing a question to which there comes no reply.
|
|