In the Larghetto, sometimes nicknamed "Indian Lament," Mr. Hoopes used tasteful slides to imbue the melody with a vocal quality of great sweetness and nobility.
|
|
If the Larghetto was a touch draggy, Mr. van Zweden made up for it during the quiet middle movement of Beethoven's Piano Concerto No. 4.
|
|
In the Larghetto of his String Quartet No. 1 ("Clouds"), a keening cello solo evokes the sounds of the Chinese bowed erhu, woven into a modernist score that is both wistful and severe.
|
|
But the composer thinks the conductor's tempo is better, so right on the spot the musicians are told to change the movement title from Larghetto to Largo, which is how we all know it today.
|
|
They opened with an elegant, crisply articulate performance of Mozart's Larghetto and Allegro for Two Pianos, a work left in sketchy form by the composer and played here in a completion by the pianist Paul Badura-Skoda.
|
|
The virtuosic powerhouse Marc-André Hamelin and Leif Ove Andsnes, known for his poetic sensibility, perform works ranging from the sunny simplicity of Mozart's Larghetto and Allegro for Two Pianos and Debussy's "En blanc et noir" to two bravura pieces by Stravinsky: the sparkling Concerto for Two Pianos and the composer's own brilliant arrangement of "The Rite of Spring," which challenges the players to faithfully render the score's vivid orchestral colors on black and white keys. (carnegiehall.org)
|
|
Allegro moderato # Lied. Andante con espressione # Lied. Larghetto # Wanderlied. Presto op.
|
|
The overture is followed by a slower dance-like piece for orchestra,marked andante larghetto.
|
|
The composition is in three movements: # Allegro # Larghetto # Allegretto A typical performance takes around 22 minutes.
|
|
Moderato assai # Bitte. Larghetto # Dein ist mein Herz. Feierlich leidenschaftlich op. 8 – Songs Without Words # Lied.
|
|
The composition has three movements: # Adagio - Allegro # Larghetto # Allegretto A standard performance usually lasts 22–23 minutes.
|
|
The cantata, written in C minor, has seven movements. # Coro. Largo - Larghetto (C minor) # Recitativo. Presto (A minor) # Aria.
|
|
The work is in three movements: # Allegro moderato # Preghiera: Larghetto # Rondo: Allegro giocoso A typical performance takes around 28 - 30 minutes.
|
|
The composition is structured in three movements: # Larghetto sostenuto – Allegro con brio # Adagio non troppo # Rondo: Molto vivace A typical performance takes around 27 to 30 minutes.
|
|
Bach-Handel'sche Periode, 1720, Largo – Grave; 2. Haydn- Mozart'sche Periode, 1780, Larghetto; 3. Beethoven'sche Periode, 1810, Scherzo; and 4. Allerneueste Periode ["very latest Period"], 1840, Allegro vivace.
|
|
Allegro non tanto Lentamente Allegro deciso 1947/1959 Concert of Valencia (Concierto Levantino) for guitar and orchestra Allegro non tanto. Allegro deciso Larghetto. Animado. Larghetto Presto 1950 Simfonia number 3 1950 Salmantinas for female choir and orchestra. 1951/1955 Escena y danza de Omar 1953 Two aquarelles for string orchestra 1956 Tríptico catedralicio (There is also a wind orchestra version) 1963 Heráldica Anthem for nuevo al Santísimo Cristo Verdadero for choir and orchestra.
|
|
This symphony consists of four movements: #Adagio molto, – Allegro con brio, (D major) #Larghetto, (A major) #Scherzo: Allegro, (D major) #Allegro molto, (D major) A typical performance runs 33 to 36 minutes.
|
|
The movements are 1. Larghetto – [Allegro], 2. Largo, 3. Allegro.Concerto for 2 Oboes and 2 Clarinets in C major, RV 559, details at ArkivMusic A performance lasts for about 10 to 12 minutes.
|
|
The work is structured in four movements: # Adagio - Allegro moderato # Andante # Allegro # Finale: Larghetto - Allegro energico To date the quartet, which won a prize offered by the St Petersberg Chamber Musical Union, has not been recorded commercially.
|
|
"La lune d'automne ..." rises on > an agitato wave. "Alors ..." returns to the larghetto of the second mélodie, > and "L'été ..." unfolds calm. The end is freely slow, dim. e morendo, with > the freedom to let the instruments resonate as deeply as possible.
|
|
The longest, a Larghetto, is around seven minutes in length. The remaining four movements are all in a fast tempo and feature virtuoso keyboard writing; the third movement, only around two minutes long, functions as a variation on the first.
|
|
The central third movement, marked Larghetto e piano, contains one of the most beautiful melodies written by Handel. With its quiet gravity, it is similar to the andante larghetto, sometimes referred to as the "minuet", in the overture to the opera Berenice, which Charles Burney described as "one of the most graceful and pleasing movements that has ever been composed". The melody in time and E major is simple and regular with a wide range with a chaconne-like bass. After its statement, it is varied twice, the first time with a quaver walking bass, then with the melody itself played in quavers.
|
|
The opening bars of No. 2 in F major. Composed in 1832, it is a technically challenging piece in A-B-A form, in 2/4. The first section, Larghetto (mm.40), features an intricate, elaborately ornamental melody over an even quaver bass.
|
|
The chorus reminds her of her divinity and that with her powers she can transform Acis's body into a beautiful fountain. The work closes with Galatea's larghetto air, "Heart, the seat of soft delight", in which she exerts her powers to enact the transformation, ending with the chorus celebrating Acis's immortalisation.
|
|
The Larghetto movement of Antonín Dvořák's String Quintet Op. 97 (1893) is described by Colin Lawson Lawson, Colin (2003) "The string quartet as a foundation for larger ensembles," in Robin Stowell and Jonathan Cross, eds, The Cambridge Companion to the String Quartet, pp. 310–327. Cambridge: Cambridge University Press. as a set of double variations.
|
|
Rota, unhappy with that plan, wrote an original motif (with echoes of the "Larghetto" from Dvořák's Opus 22 Serenade for Strings in E majorAllmusic. Nino Rota - Le Molière imaginaire, ballet suite for orchestra) with rhythmic lines matched to Corelli's piece that synchronize with Gelsomina's movements with the trumpet and Il Matto's with the violin.Betti, 161.
|
|
The second movement, Larghetto, in E major—the relative major of C minor—features a strikingly simple principal theme. The final movement, Allegretto, is a theme and eight variations in C minor. The work is one of Mozart's most advanced compositions in the concerto genre. Its early admirers included Ludwig van Beethoven and Johannes Brahms.
|
|
The work is in three movements: # Allegro # Larghetto # Allegretto Unlike the composers earlier Clarinet sonata, this work was written for the amateur market with the piano dominating the thematic material while the flute provides accompaniment. The original publication noted that the composer had prepared alternate passages for the piano allowing the piece to be performed without the flute.
|
|
They described performing the theme as "one of the highlights of my career". The English band Radiohead also composed a song for the film, "Spectre", which went unused. The song is written in the key of F minor with a tempo of 66 beats per minute (Larghetto). Smith's vocals range from A ♭3 to D♭5.
|
|
Romance, Consolation (Proms premiere 24 September 1902), Gavotte Sentimentale, L'Adieu (Proms premiere 16 October 1897 with Squire playing cello), Larghetto in D, Old Swedish Air, Tzig-Tzig (Proms premiere 13 October 1898 with Squire playing cello), Prière, Slumber Song / Entr'acte (Proms premiere 16 September 1899 with Squire playing cello), Rêve D'Amour (Proms premiere 13 October 1898 with Squire playing cello), Madrigal in G.
|
|
"Institutionalized", a song from band Suicidal Tendencies whose lead vocalist Mike Muir went to school with Iron Man star Robert Downey, Jr., is also included on the soundtrack. Djawadi performed a piano rendition of Antonio Salieri's "Concerto in Do Maggiroe Per Pianoforte eo Orchestra: Larghetto" which was used exclusively for the film, and as such was not included in the soundtrack.
|
|
Finale: Tempo di menuet Brown I:C 2 - Symphony in C major, I. Adagio - Allegro, II. Larghetto, III. Presto Brown I:C 3 - Symphony in C major, I. Allegro con fuoco, II. Andantino, III. Menuetto, IV. Finale: Presto Brown I:C 4 - Symphony in C major, I. Allegro, II. Andante, III. Menuetto Brown I:C 5 - Symphony in C major, I. Allegro, II. Andante alla Francese, III.
|
|
The 2008 film Iron Man used the Larghetto movement from Salieri's Piano Concerto in C major. The scene where Obadiah Stane, the archrival of Tony Stark, the wealthy industrialist turned Iron Man, tells Tony that he is being ousted from his company by the board, Obadiah plays the opening few bars of the Salieri concerto on a piano in Stark's suite.
|
|
1939 For the score, Beecham produced an eleven-movement suite: :1. Introduction (Overture to Act II of Admeto) :2. Allegro (or First Dance or Fugato) (from Overture to Teseo) :3. Minuet (from Alcina) :4. Hornpipe (from Concerto grosso Op. 6/7 :5. Musette (from Il pastor fido) :6. Ensemble (or Second Dance) (from Organ Concerto Op. 4/4) :7. Larghetto (or Dream) (from Alcina) :7a.
|
|
The 94th Psalm sonata is a symphonic poem, and the three movements are connected but formally independent. It is programme music in that the text of the psalm is used to inspire the mood of the piece. These verses accompanied the first performance: The 94th Psalm (Grave - Larghetto) 1 O Lord God, to whom vengeance belongeth, shew thyself. Herr Gott, des die Rache ist, erscheine.
|
|
This movement, Larghetto, is in the dominant key of A major and is one of Beethoven's longest symphonic slow movements. There are clear indications of the influence of folk music and the pastoral, presaging his Symphony No. 6 ("Pastoral"). The movement, like the first, is in sonata form. Franz Schubert quoted from the movement in the second movement of his Grand Duo for piano.
|
|
The Austrian composer Gregor Joseph Werner wrote a concerto in B-flat major for organ, 2 chalumeaux and string orchestra, dated 1753: Allegro – Largo – Tempo di menuet (manuscript: Országos Széchényi Könyvtár, Budapest: Ms.mus III.305; RISM: 530003636), as well as other concertos for organ and string or chamber orchestra. Besides these he wrote a pastorella in D major for organ and string orchestra: Andante – Larghetto – Allegro.
|
|
A wistful recollection of the melody from the preceding Larghetto appears and then diminuendos away. The movement's recapitulation starts with the main theme, followed in turn by the second and third themes. A 20-bar eighth-note passage leads into a quotation of the first movement's theme, bringing the piece full circle. A Presto coda follows, and the Serenade ends with three E major chords.
|
|
The work is scored for flute, two oboes, two bassoons, two horns, solo piano and strings, which makes it thinner than Mozart's other late concertos, all of which except for No. 23 have trumpet and timpani. It has the following three movements: Although all three movements are in a major key, minor keys are suggested, as is evident from the second theme of the first movement (in the dominant minor), as well as the presence of a remote minor key in the early development of that movement and of the tonic minor in the middle of the Larghetto. Another interesting characteristic of the work is its rather strong thematic integration of the movements, which would become ever more important in the nineteenth century. The principal theme of the Larghetto, for instance, is revived as the second theme of the final movement (in measure 65).
|
|
The melody and harmonies are all Schubert's but with the addition of Liszt's own interpretation, while still staying true to the original meaning of Rückert's poem. The piece is in triple meter () and is marked larghetto (fairly slow) and pianissimo (very soft). The piece is in bar form and its original key is E-flat major. It starts with both hands playing broken triads softly and slowly in treble clef.
|
|
With a pianissimo and larghetto marking and the piano part light in texture, Schubert sets up the poem for the first few lines, "You are peace, the mild peace," in the introduction. The piece has five verses. The first and second verses are almost exactly identical to the third and fourth, with the exception of one note. The fifth (and final) verse is the start of the B section ("").
|
|
600px This four-movement concerto resembles a sonata da chiesa. From the original autograph, Handel initially intended the concerto to have two extra movements, a fugue in the minor key as second movement and a final gigue; these movements were later used elsewhere in the set. The opening andante larghetto is noble, spacious and flowing, with rich harmonies. The responses from the concertino trio are derived from the opening ritornello.
|
|
The "cuckoo" effects are transformed into repeated notes, sometimes supplemented by extra phrases, exploiting the different sonorities of solo and tutti players. The "nightingale" effects are replaced by reprises of the ritornello and the modified cuckoo. The final organ solo, partly ad libitum, is replaced by virtuoso semiquaver passages and an extra section of repeated notes precedes the final tutti. The larghetto, a gentle siciliana, is similarly transformed.
|
|
43 (loc. 696). He was also attracted to the singing student Konstancja Gładkowska. In letters to Woyciechowski, he indicated which of his works, and even which of their passages, were influenced by his fascination with her; his letter of 15 May 1830 revealed that the slow movement (Larghetto) of his Piano Concerto No. 1 (in E minor) was secretly dedicated to her – "It should be like dreaming in beautiful springtime – by moonlight."Zamoyski (2010), pp.
|
|
Alfred Einstein said of the concerto's second movement that it "moves in regions of the purest and most moving tranquility, and has a transcendent simplicity of expression". Marked Larghetto, the movement is in E major and cut common time. The trumpets and timpani play no part; they return for the third movement. The movement opens with the soloist playing the four-measure principal theme alone; it is then repeated by the orchestra.
|
|
The slow movement of BWV 1055 is a highly expressive Larghetto in F minor and time. Although it does not have the dotted rhythms of a siciliano, it is close in spirit to this melancholy dance-form. The movement is pervaded by the chromatic fourth—both falling and rising—which is associated with the lamento. It is first heard in the descending bass line of the opening two bar ritornello, which frames the work.
|
|
The opening measures of "Le coq ..." The pieces display > contrasts in sonority and tempo: the Préface—"vif" and "quasi una > cadenza"—comes together on an andantino assuming a rich adornment evoking > the sustained "voice of the nightingales in the flowers". "Les herbes de > l'oubli ..." follows the course of a larghetto phrase. The tempo of "Le coq" > is moderato, with a little more animation towards the end. "La petite tortue > ..." proceeds naturally on a lento rhythm.
|
|
The Trio Sonata for Two Flutes in A minor, F. 49, BR B15, is one of three trio sonatas for paired flutes and basso continuo composed c. 1740 by Wilhelm Friedemann Bach while organist at the Dresden Sophienkirche. The manuscript is in the Central State Archives Museum of Literature and Arts of Ukraine in Kiev. There are two movements: #Allegro #Larghetto (fragment) An attempt to complete the second movement and add a third was published in the 1990s.
|
|
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 Symphony in G major ("Mannheim No. 1") is a symphony in the style of the Mannheim school, attributed to Johann Stamitz, but probably by Antoine Mahaut, a close contemporary of the composer. It was probably written from 1741 to 1746, and if it is by Stamitz, it could be his first. But if it is by Mahaut, it probably is his first. It consistes of three movements: #Allegro #Larghetto #Presto It is about 7 minutes long.
|
|
The piano concerto is dedicated to Friedrich Kalkbrenner. While writing it, Chopin wrote to Tytus Woyciechowski, saying, “Here you doubtless observe my tendency to do wrong against my will. As something has involuntarily crept into my head through my eyes, I love to indulge it, even though it may be all wrong.” Undoubtedly, this sight must have been the well-known soprano Konstancja Gładkowska, who was the “ideal” behind the Larghetto from Chopin's Second Piano Concerto.
|
|
The first movement opens with a lilting, almost Wagnerian, introduction played by orchestra (Larghetto calmato). A stentorian cadenza follows, and after a short reprise of the introduction the proper sonata form begins (Poco più mosso, e con passione). The theme of the cadenza is incorporated in the first subject, while the introductory one is later transformed into the second (in F major). The development section is interrupted by the reappearing of the initial cadenza, much more elaborated.
|
|
Charmes de la vie champêtre by François Boucher. The musette, a drone reed instrument, gave its name to the popular eighteenth century pastoral dance evoking shepherds and shepherdesses. 600px The elegiac musette in E major is the crowning glory of the concerto, praised by the contemporary commentator Charles Burney, who described how Handel would often perform it as a separate piece during oratorios. In this highly original larghetto, Handel conjures up a long dreamy pastoral of some 163 bars.
|
|
Larghetto 3/4 B major The structure of the third movement is close to ternary form. The lyrical opening theme, Excerpt 9, is supposed to have originated from Excerpts 1 and 4. The first part of this movement is in ternary form itself, and Excerpt 9 reappears after the exposition of Excerpt 10. In the second part of this movement, a passionate melody is exhibited by the first violin over the accompaniment of extended arpeggios (Excerpt 11).
|
|
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 opera is set in Persia (modern-day Iran) about 470 BC and is very loosely based upon Xerxes I of Persia. Serse, originally sung by a mezzo soprano castrato, is now usually performed by a mezzo-soprano or counter-tenor. The opening aria, "Ombra mai fu", sung by Xerxes to a plane tree (Platanus orientalis), is set to one of Handel's best-known melodies, and is often known as Handel's "Largo" (despite being marked "larghetto" in the score).
|
|
The first, covering the first three stanzas, is set larghetto and marked dolce. There is a triplet accompaniment in the piano, with many modulations through the flat keys, creating a dreamy atmosphere. As Cooper remarks, "the lover sees his beloved wherever he wanders, and the music correspondingly wanders through a great range of keys and rhythms."Barry Cooper's remark is taken from his commentary on the recording by tenor Peter Schreier and pianist András Schiff, Decca 444-817-2.
|
|
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 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.
|
|
Poulenc commented, "In the Larghetto of this Concerto I permitted myself, for the first theme, to return to Mozart, because I have a fondness for the melodic line and I prefer Mozart to all other musicians. If the movement begins alla Mozart, it quickly diverges at the entrance of the second piano, toward a style that was familiar to me at the time."Claude Rostand, Entretiens avec Claude Rostand (Paris: Rene Juillard 1954) p. 83. #Allegro molto – in D minor.
|
|
The movement ends with two E major chords. The second movement is often marked Larghetto, but the indication is missing from the autograph. The opening theme is played by the winds at the beginning of the movement but by the piano in the recapitulation. The development, after spending one bar on a German augmented sixth chord with a root of C, abruptly goes into the distant key of E minor for one bar, and four bars later, ends up back in the home B major.
|
|
Last page of the autograph manuscript of the third Grand Concerto, signed by Handel and dated October 6, 1739 600px In the opening larghetto in E minor the full orchestra three times plays the ritornello, a sarabande of serious gravity. The three concertino responses vere towards the major key, but only transitorily. The dialogue is resolved with the full orchestra combining the music from the ritornello and the solo interludes. The profoundly tragic mood continues in the following andante, one of Handel's most personal statements.
|
|
600px The fourth concerto in A minor is a conventional orchestral concerto in four movements, with very little writing for solo strings, except for brief passages in the second and last movements. The first movement, marked larghetto affetuoso, has been described as one of Handel's finest movements, broad and solemn. The melody is played by the first violins in unison, their falling appoggiatura semiquavers reflecting the galant style. Beneath them, the bass part moves steadily in quavers, with extra harmony provided by the inner parts.
|
|
The irony is that today the Symphony is heard with some frequency (several recordings have long been available) while the overture remains formidably obscure. The Overture in G major has, however, a full measure of the dramatic atmosphere that characterizes his opera overtures. Indeed, after the stately opening gestures of its Larghetto introduction, an undercurrent of unease becomes apparent, conveyed by chromatic twists in the bass, and by an early turn from G into E-flat, which mixes G-minor vocabulary into the major-mode context. Strings are muted throughout the introduction.
|
|
The rollicking first subject is derived from the twenty third sonata in Domenico Scarlatti's Essercizi Gravicembalo of 1738. The subsequent repeated semiquaver passage-work over a walking bass recalls the style of Georg Philipp Telemann. Handel, however, treats the material in a wholly original way: the virtuoso movement is full of purpose with an unmistakable sense of direction, as the discords between the upper parts ineluctably resolve themselves. The final menuet, marked un poco larghetto, is a more direct reworking of the minuet in the overture to the Ode.
|
|
The order of the third and fourth movements was reversed so that the long andante became the central movement in the concerto grosso. The first two movements together have the form of a French overture. In the andante larghetto, e staccato the orchestral ritornellos with their dotted rhythms alternate with the virtuoso passages for upper strings and solo first violin. The following allegro is a short four- part fugue which concludes with the fugal subject replaced by an elaborated semiquaver version of the first two bars of the original subject.
|
|
Rautavaara structured the work in four movements: # Hymnus – Festivamente # Credo et dubito – Vivace – Grave # Dies Irae – Allegro # Lacrymosa – Larghetto tranquillo Two of the four Latin titles correspond to movements of the Requiem mass, to parts of the sequence Dies irae (Day of Wrath), its verses "Dies irae" and "Lacrymosa dies illa" (Tearful will be that day). Rautavaara scored the work for 13 brass parts, timpani and percussion, and wrote the dedication "to the memory of my mother". The first movement opens with a trombone fanfare accompanied by trumpets. The meter changes often.
|
|
All four movements are in slow tempo. An introductory, solemnly carried Andante mesto with muted timpani and trumpets is followed by a rhythmically profiled Larghetto, like a shriek dance, with melodically ariose qualities. The third movement is simply titled Choral and consists of a simple four-part setting over the first verse of the Protestant hymn Now let us bury the body by Martin Weiße (1531). The finale begins in Adagio, in which the chorale is processed as a cantus firmus movement as well as a fugue (with a rhythmically altered thematic head).
|
|
There is also a Waltz Suite, Op. 60 (1935) for two pianos. He wrote cadenzas for five Mozart piano concertos, and for Beethoven's Piano Concerto No. 3. He wrote three pieces for the left- handed pianist Paul Wittgenstein: Variations on an Original Theme for clarinet, violin, viola, cello and piano left hand; Study for the Left Hand, Op. 47; and Prelude (Larghetto), Op. 61. Only two works for organ came from his pen: a Prelude and Fugue in D, Op. 23 (1908), and Ten Preludes on the Lady Margaret Hall Hymn-tunes, Op. 50 (1923).
|
|
The ruins of Tintagel, Cornwall, UK There is much speculation as to who inspired Elgar to write this symphony. It was officially dedicated to Edward VII, who died in May 1910, but many scholars nonetheless believe his close friend Alice Stuart Wortley, with whom he was rumoured to have a romantic liaison, served as inspiration.Kent, p. 41. Others tie the work to Elgar's grief over the death of his close friend Alfred E. Rodewald in 1903, as shortly thereafter, Elgar started sketching the Larghetto movement of the symphony.
|
|
The opening bars of No. 1 in C minor The Nocturne in C-sharp minor is initially marked larghetto and is in 4/4 meter, written as common time. It transitions to più mosso (more movement) in measure 29, along with a time signature change to 3/4 meter. The piece returns to its original tempo and meter in measure 84, and ends in an adagio beginning in measure 99. The piece is 101 measures long and written in ternary form with coda; the primary theme is introduced, followed by a secondary theme and a repetition of the first.
|
|
The Concertino da camera for alto saxophone and eleven instruments was written by Jacques Ibert in 1935. Ibert dedicated the work to saxophone pioneer Sigurd Raschèr,Raschèr, S. Top Tones for the Saxophone, (1941) Carl Fischer, NY page 19 who premiered the first movement in 1935. Later that year, Ibert completed the second movement, which was performed for the first time in its entirety by Raschèr in December 1935. The work is in two movements; the first, Allegro con moto, is lively and technically challenging and the second begins with a lyrical Larghetto, featuring soaring lines in the saxophone's upper register.
|
|
The 1794 first edition had these gaps filled in, and most Mozart scholars such as Alfred Einstein and Alan Tyson have assumed that the additions were made by the publisher Johann André. Einstein is on record as finding André's completion somewhat wanting: "For the most part, this version is extremely simple and not too offensive, but at times—for example, in the accompaniment of the Larghetto theme—it is very clumsy, and the whole solo part would gain infinitely by revision and refinement in Mozart's own style."Alfred Einstein, Mozart: His Character, His Work. Trans. Arthur Mendel and Nathan Broder.
|
|
The work consists of the following four movements and, with the intended repetitions, has a duration of between 31 and 38 minutes, usually around 35 minutes. 1st movement: Allegro,The C. F. Peters Leipzig edition of the score marks the movement as Allegretto A major, time = 4/4, 197 bars, where bars 1 to 79 and bars 80 to 197 are repeated. This movement shows the typical sonata form with exposition, development and recapitulation. 2nd movement: Larghetto, D major, time = 3/4, 85 bars 3rd movement: Menuetto with Trio I in A minor and Trio II in A major, time = 3/4, 31 + 41 + 51 bars.
|
|
This composition takes approximately 30 minutes to perform. The movement list is as follows: # Allegro moderato # Larghetto Given its very unusual nature, for Penderecki's chamber music is rare, the melodic lines of this composition are very well defined, because Penderecki usually writes scores for large orchestras and ensembles. This work is remarkable for its chromatic scales, present all along the piece. This sextet was commissioned by Auftragswerk der Gesellschaft der Musikfreunde and was eventually premiered on June 7, 2000 in Vienna's Musikverein by Paul Meyer (clarinet), Radovan Vlatkovic (horn), Julian Rachlin (violin), Yuri Bashmet (viola), fellow musician Mstislav Rostropovich (cello), and Dmitri Alexeev (piano).
|
|
The work is in three movements as follows: #Allegro moderato #Larghetto #Rondo allegretto The fact that each performance has a different orchestration makes it difficult to describe the work accurately, but in general the concerto has the style of classical composers of the late 18th century such as Joseph Haydn, who would later come to tutor Beethoven. The first movement has a piano part using mainly scale ideas at a fast tempo. The slow, second movement is similar in form, with arpeggiation and ornamenting rather common. The last movement has a jolly melody for the main theme, played very fast, again based on scales.
|
|
In the film La Boum, it also appears frequently (usually during the actors' romantic scenes), being the film's main theme song. For the film's 1982 sequel, La Boum 2, the main song was changed to "Your Eyes", performed by Cook da Books. Because "Reality" has the same key as "Go On Forever" (another song played in the last part of the film, from the La Boum soundtrack and sung by Sanderson and Chantal Curtis), both songs are musically linked at the end of the film. The La Boum soundtrack album, which features the song "Reality", was made available on iTunes in 2009 by Larghetto.
|
|
The third movement is unconventional. It alternates between two different moods: in the stately largo sections the full orchestra and solo violins respond in successive bars with incisive dotted rhythms; the larghetto, andante e piano at a slightly quicker speed in repeated quavers, is gentle and mysterious with harmonic complexity created by suspensions in the inner parts. There is an apparent return to orthodoxy in the fourth movement which begins with a vigorous fugue in four parts, treated in a conventional manner. It is interrupted by contrasting interludes marked pianissimo in which a slow-moving theme, solemn and lyrical, is heard in the solo strings above repeated chords.
|
|
600px The sixth concerto in G minor was originally intended to have four movements. The autograph manuscript contains the sketch for a gavotte in two parts, which, possibly in order to restore an imbalance created by the length of the musette and its different key (E major), Handel abandoned in favour of two new shorter allegro movements. The musette thus became the central movement, with a return to the minor tonality in the concluding movements. The first movement, marked Larghetto e affetuoso, is one of the darkest that Handel wrote, with a tragic pathos that easily equals that of the finest dramatic arias in his opera seria.
|
|
Originally composed to be sung by a soprano castrato (and sung in modern performances of Serse by a countertenor, contralto or a mezzo- soprano), it has been arranged for other voice types and instruments, including solo organ, solo piano, violin and piano, and string ensembles, often under the title "Largo from Xerxes", although the original tempo is marked larghetto. In the opera, the aria is preceded by a short recitativo accompagnato of 9 bars, setting the scene ("Frondi tenere e belle"). The aria itself is also short; it consists of 52 bars and typically lasts three to four minutes. The instrumentation is for a string section: first and second violins, viola, and basses.
|
|
The concerto is in the usual three movements: #Allegro in #Larghetto in (in B-flat major) #Tempo di menuetto in It is scored for solo keyboard (piano or harpsichord), two oboes, two bassoons (second movement only), two horns and strings. The winds and brass do not play an important role throughout the concerto, and Mozart himself advertised an "a quattro" version, which is for string quartet and keyboard only, presumably for domestic use. As per 18th century performance practice a string orchestra could also have provided as a suitable option for the "quattro" accompaniment. The time signatures of the concerto are slightly unusual: Mozart wrote only three other keyboard concertos with first movements in (No.
|
|
27 Other individual characteristics are also noteworthy. His Concerto in C major, Op. 29, published in 1795, starts with an introductory Larghetto in 3/8 time, a solemn thematic declamation that is unique to the classical concerto. His last surviving work in the genre, Opus 70 in E-flat major, was one of the first to lengthen substantially the opening movement: at 570 measures long, it is roughly a third longer than his previous contributions,Lindeman, pp. 28–9 and foreshadows the practice of a dominant opening movement in concerto writing, found, for example, in the concertos of Chopin and the two minor concerti Opus 85 and Opus 89 by Johann Nepomuk Hummel as well as Beethoven's fifth.
|
|
He also acted as director of the Conservatorio Nacional de Música. In his essay Música vernácula ecuatoriana (Microestudio), published in 1952 in Casa de la Cultura Ecuatoriana, he expresses his thoughts about the creation of a national form. For example, he replaced the classical symphonic pattern (Allegro - Larghetto - Allegretto Scherzo - Allegro Vivace) with a sequence of Ecuadorian folk dances: ::Ecuadorian Symphony ::I Sanjuanito ::II Yaraví ::III Danzante ::IV Albazo, Aire típico or AlzaSalgado, Luis H. 1952. > Luis Humberto Salgado was the leading figure of his generation. His > symphonic suite Atahualpa (1933), his Suite coreográfica (1946), the ballets > El amaño (1947), and El Dios Tumbal (1952) and other works show strong > nationalistic feeling.
|
|
In addition, his performance of Chopin's First Concerto with the Connecticut Virtuosi Chamber Orchestra was broadcast on WQXR radio in New York and was featured as the soundtrack of the independent film "Romance Larghetto" by director Pablo Goldbarg. In 2007, in collaboration with American pianist Earl Wild, Lovchinsky recorded his debut album on the Ivory Classics label, featuring music of Chopin, Scriabin and Wild's transcriptions of Gershwin songs. The disc received rave reviews from Gramophone Magazine, Germany's Piano Magazine, MusicWeb International Record Review and was voted one of top five classical recordings of 2008 by Time Out International. An avid exponent of new music, Mr. Lovchinsky has premiered works of Olivier Messiaen, Heather Schmidt and Frank Felice.
|
|
Elgar told close friends that the symphony represented everything that had happened to him from April 1909 to February 1911, from the people he was with and the places he visited. During this time, Elgar visited Venice where he admired St. Mark's Basilica and its square, which, he later explained, inspired the opening of the Larghetto movement. Later in this period, he visited Tintagel in Cornwall in the southwest of England, spending time with Alice Stuart Wortley and her husband Charles. His friendship with Alice strengthened over the course of their many walks; Alice's daughter Clare later recalled one such stroll in the evening sun, the lyrical beauty of the countryside and the coastline engaging Elgar's interest.
|
|
The twenty-four measures of the Larghetto and the eight of the Trio are each modular; though Cowell offers some suggestions, any hypothetically may be included or not and played once or repeatedly, allowing the piece to stretch or contract at the performers' will—the practical goal being to give a choreographer freedom to adjust the length and character of a dance piece without the usual constraints imposed by a prewritten musical composition.Nicholls (1991), p. 167. Cowell had contributed to the Eiffel Tower project at the behest of Cage, who was not alone in lending support to his friend and former teacher. Cowell's cause had been taken up by composers and musicians around the country, although a few, including Ives, broke contact with him.
|
|
Cristofaro was the author of a comprehensive method (Méthode de mandolin) for the mandolin, consisting of two volumes, each being published in five languages: English, French, Italian, Portuguese, and Spanish. The method was considered complete by Philip J. Bone in 1914, who said the method covers of the mandolin thoroughly, and is illustrated by numerous diagrams. He added that "It commences with the elements of the theory of music, and all the exercises are melodious and arranged with a definite object: they are well- graded and admirably suited for pupil and teacher, as the majority are written as duets for two mandolins." Bone called particular attention to pieces in the second volume, the Andante maestros, Larghetto, Andante religious, and Allegro giusto style fugue.
|
|
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.
|
|
One of the most noticed examples of such incorporation is his use of the Larghetto from Dvorák's Serenade for Strings in E major as a theme for a character in Fellini's La Strada.AllMusic. Nino Rota - Le Molière imaginaire, ballet suite for orchestra During the 1940s, Rota composed scores for more than 32 films, including Renato Castellani's ' (1944). His association with Fellini began with Lo sceicco bianco (The White Sheik) (1952), followed by I vitelloni (1953) and La strada (The Road) (1954). They continued to work together for decades, and Fellini recalled: The relationship between Fellini and Rota was so strong that even at Fellini's funeral Giulietta Masina, Fellini's wife, asked trumpeter Mauro Maur to play Rota's Improvviso dell'Angelo in the Basilica di Santa Maria degli Angeli e dei Martiri in Rome.
|
|
Schubert revised this later, believing it to be inappropriate. #:It is unknown if the allusion to the hymn was a patriotic gesture, or an homage to Haydn. #"" Allegretto, B-flat major, 2/4; soprano and tenor duet #"" Larghetto, G minor ending in G major, 3/4; chorus (divisi) #"" Adagio, C minor, common time; tenor #"" C major, common time; chorus #:Schubert authorised cuts in this movement from bars 19–46, and bars 65–71. #"" Andantino, G major, 3/8; bass #"" Maestoso, E major, cut common time; chorus #"" Allegretto moderato, A major, common time; trio #:— ""... Più mosso, A minor, common time #"" Andante sostenuto, F major, 3/4; trio and choir #"Amen" Allegro maestoso, F major, cut common time; chorus #:Schubert authorised a cut in this movement from bars 101-115.
|
|
The second movement of the Symphony is a Larghetto funeral march in C minor. It has become popular belief that this movement is an elegy to Edward VII, after whose death it was written. Many, including Michael Kennedy, hold the belief that it is also a more personal expression of Elgar's grief, as he had lost close friends August Johannes Jaeger and Alfred Edward Rodewald around the time he was working on the symphony. The movement is in sonata form without a development and is characterised by its manipulation of modal expectations. It opens with a seven-bar C minor introduction of soft chords in the strings, grouped into a 3+3+1 bar pattern which contrasts with the clear 4+4 grouping of the main theme's funeral march.
|
|
Richard Greene in Music & Letters describes the piece as "a larghetto dance in a siciliano rhythm with a simple, stepwise, rocking melody", but lacking the power of The Planets and, at times, monotonous to the listener. A more popular success was A Moorside Suite for brass band, written as a test piece for the National Brass Band Festival championships of 1928. While written within the traditions of north-country brass-band music, the suite, Short says, bears Holst's unmistakable imprint, "from the skipping 6/8 of the opening Scherzo, to the vigorous melodic fourths of the concluding March, the intervening Nocturne bearing a family resemblance to the slow-moving procession of Saturn". A Moorside Suite has undergone major revisionism in the article "Symphony Within: rehearing Holst's A Moorside Suite" by Stephen Arthur Allen in the Winter 2017 edition of The Musical Times.
|
|
Russ, p. 133 The first theme is presented by the piano, unaccompanied. Ravel said he took as his model the theme from the Larghetto of Mozart's Clarinet Quintet, but in an analysis of the work published in 2000 Michael Russ comments that whereas the Mozart melody unfolds across 20 bars, Ravel builds an even longer – 34-bar – melody, without repeating a single bar.Russ, p. 133 The musicologist Michel Fleury calls the opening an "extended monologue in the style of a stately Sarabande", and remarks that it derives "its curiously hypnotic character" from the rhythmic discrepancy between the time signature of the melody in the right hand and the signature of the accompaniment.Fleury, Michel. Notes to Ars CD ARS38178 (2015) After thirty bars – about three minutes in a typical performance – the solo flute enters with a C and oboe, clarinet and flute carry the melody into the second theme.
|
|
While meters and keys vary, the nocturnes are generally set in ternary form (A–B–A), featuring a melancholy mood, and a clear melody floating over a left-hand accompaniment of arpeggios or broken chords. Repetitions of the main theme generally add increasingly ornate embellishments, notably in Opus 9 No. 2 in E. From the 7th and 8th nocturnes onwards, Chopin published them in contrasting pairs, although each can stand alone as a complete work. Exceptions to the ternary form pattern include Opus 9 No. 2 and Op. 55 No. 2 in E, neither of which contain a contrasting section, Op. 15 No. 3 in binary form with a novel coda, and Op. 37 No. 2 in A–B–A–B–A form. The tempo marking of all but one of the nocturnes is a variation of Lento, Larghetto or Andante, the Allegretto of No. 3 breaking the mould.
|
|
600px The fifth grand concerto in the brilliant key of D major is an energetic concerto in six movements. It incorporates in its first, second and sixth movements reworked versions of the three-movement overture to Handel's Ode for St Cecilia's Day HWV 76 (Larghetto, e staccato – allegro – minuet), composed in 1739 immediately prior to the Op. 6 concerti grossi and freely using Gottlieb Muffat's Componimenti musicali (1739) for much of its thematic material. The minuet was added later to the concerto grosso, perhaps for balance: it is not present in the original manuscript; the rejected trio from the overture was reworked at the same time for Op. 6 No. 3. The first movement, in the style of a French overture with dotted rhythms and scale passages, for dramatic effect has the novel feature of being prefaced by a two bar passage for the first concertino violin.
|
|
This is in sonata rondo form. In a sonata-rondo, the piece follows the thematic outline of a rondo (ABACABA), and the tonal outline of a sonata (I V I or i III i, etc.). Beethoven uses Mozart's favourite rite rondo form for this movement (ABACBA). The absence of the A theme in between the C and second B is a surprise and adds interest by reducing the repetition of the A theme. : Intro, F minor (bars 1–9) (Larghetto expressivo) : A, F minor (bars 10–32) (Allegretto agitato): It might be prudent to note that the "missing A" from the typical rondo-sonata form could be analysed as being shifted from its "rightful" place after "C" to a more intriguing place in bar 23. : B, C minor (bars 32–50) : A', F minor (bars 51–64) : C (bars 65–82) : B' (bars 82–97): Here's where the sonata part of sonata-rondo comes in.
|
|
The sonata is structured in three movements: # Grave—Allegro # Larghetto con moto # Rondo: Allegretto Bert Hagels in his comments that the opening movement of the sonata has some structural (but not musical) influences from Beethoven's, Op. 5, No. 2 Cello Sonata, Tutino agrees, speculating that may have been due to the fact that Ries had once arranged Beethoven's sonata for string quintet. Unlike the flute sonatas the composer wrote in England, this work is scored for two performers of approximately equal skill level and like the other cello sonatas he composed is a true duo, rather than a piano sonata with cello accompaniment. Tutino concurs with this assessment, pointing out that both players would require fairly advanced skills in their respective instruments to successfully perform the sonata. Martin Rummel in the notes to the Naxos recording of the sonata broadly agrees with the previous authors, singling out the concluding rondo as showcasing both players abilities, he also noted structural similarities to Beethoven's Op. 69 Cello Sonata and suggests that while the Opp.
|
|
The 38th Scripps National Spelling Bee was held in Washington, D.C. on June 9–10, 1965, sponsored by the E.W. Scripps Company. 70 contestants1965 National Spelling Bee Competitors participated in the competition. 7th grader 12-year old Michael Kerpan, Jr., from Tulsa, Oklahoma, sponsored by the Tulsa Tribune, won the competition by correctly spelling the word "eczema" (also the winning word in 1936) after 17 rounds. Judy Guarr of Topeka, Kansas took second place after misspelling "larghetto" in a long duel.Stanley, Tim (1 November 2014). Former national champion speller from Tulsa reflects on his winning run, Tulsa World As of 2015, Kerpan is the last of two winners from Oklahoma, the first being John Capehart in the 1961 bee.(10 June 1965). Boy Strikes Winning Chord in Spelling Bee, Toledo Blade Third place was taken by 13-year-old Ralph Moore of Ohio.Coyne, Joseph R. (11 June 1965). Boy Scout, 12 Tops National Spelling Bee, Telegraph (Associated Press) There were 70 contestants this year, ranging from 11 to 15 years old, evenly split with 35 boys and 35 girls, from 32 states, the District of Columbia, and Guam.
|
|