With Obbligato, usually assembled as a quintet, he uses a polyphonic approach to unpack jazz standards.
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La sua vera paura era essere obbligato a tornare a Cambridge prima di riuscire a finire la sua ricerca.
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The other was the whole first section of the fast movement, a solo in F major with obbligato flute, in which Florestan recalls happier days with Leonore at his side.
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Here Ms. Herreid plays the oboe obbligato part in Bach's exquisite Cantata No. 82, "Ich habe genug," as sung by the bass-baritone Jonathan Woody, another performer of whom much the same could be said, with Brooklyn Baroque.
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Those included the Clarinet Quintet as well as the concerto, written a few months before his death in December 1791, as well as obbligato solos in operas like "The Abduction From the Seraglio" and "Idomeneo" in which the clarinet entered an equal relationship with the human voice.
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Obbligato includes the idea of independence, as in C.P.E. Bach's 1780 Symphonies "mit zwölf obligaten Stimmen" ("with twelve obbligato parts") by which Bach was referring to the independent woodwind parts he was using for the first time. These parts were also obbligato in the sense of being indispensable.
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His autobiography, Obbligato: Notes on a Foreign Service Career, was published in 1984.Obbligato: Notes on a Foreign Service Career, William H. Sullivan, W.W. Norton & Co., Inc., New York, 1984. .
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A later use has the contradictory meaning of optional, indicating that a part was not obligatory."Obbligato" in Lectionary of Music, Nicolas Slonimsky. McGraw-Hill A difficult passage in a concerto might be furnished by the editor with an easier alternative called the obbligato; or a work may have a part for one or more solo instruments, marked obbligato (but more commonly and correctly termed an ossia), that is decorative rather than essential; the piece is complete and can be performed without the added part."Obbligato" in Collins Music Encyclopedia, Westrup & Harrison: Collins, London, 1959 The traditional term for such a part is ad libitum, or ad lib.
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It is followed by a recitative for bass and an aria for alto, with obbligato violin and oboe. The second part begins with the central movement based on the New Testament text, a solo for bass, as vox Christi, accompanied by an obbligato violoncello. It is followed by an aria for soprano with obbligato recorders in unison. The second recitative for alto and strings leads into the concluding four-part chorale in which the choir doubled by the full orchestra.
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The ritornello is played with interwoven vocal parts and finally repeated as in the beginning. The first of four arias is for alto, possibly accompanied by an obbligato viola. Movement 3 is an aria for tenor and continuo. Movement 4 is an aria for soprano with an obbligato solo violin.
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The alto aria, "'" (Authority is God's gift), is accompanied by two obbligato recorders in unison. It is the only minor-mode movement of the cantata. The obbligato presents high repeated notes beginning midway through the ritornello theme, which recurs as episodes and at the conclusion of the movement. The movement is, in effect, a trio sonata.
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He was most notable for overtures, symphonies, harpsichord concerti, quartets, trios, duets for a solo instrument and obbligato harpsichord, and sonatas for harpsichord.
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The first aria, "" (Do not be ashamed, o soul, to acknowledge your Savior), is sung by the alto with an obbligato oboe d'amore.
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Obbligato, pp. 197- 208 His nephew is former United States Deputy Secretary of State and current United States Ambassador to Russia John Sullivan.
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An aria for soprano, "" (My God, I love You from my heart), is accompanied by two obbligato oboes which frequently play in tender third parallels.
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In the opening sonatina, marked Molto adagio, two obbligato alto recorders mournfully echo each other over a sonorous background of viola da gambas and continuo.
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The soprano aria "" (Sighs, tears, anguish, trouble) is one of the first arias in Italian style in a Bach cantata, accompanied by an obbligato oboe.
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Four Hymns, set to music for tenor voice with the accompaniment of pianoforte and viola obbligato, is a liturgical song cycle composed by Ralph Vaughan Williams.
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The second movement, "" (Highly praised Son of God), is a da capo aria for the alto, accompanied by an obbligato oboe da caccia, which was replaced by viola in later performances. Dürr describes the choice of voice and obbligato in the same range as unusual and "of special charme". The opening phrase is illustrated by an upward line, while the mention of falling darkness is interpreted by downward whole-tone steps.
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Another factor may have been the equal participation of the three obbligato parts, which had a strong cultural resonance in a society fascinated by the art of conversation .
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In the spirit of recitativo obbligato following the key of B minor; the modulation from B minor to E major functions as a short introduction to the next movement.
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Pallas refers to the muses in an alto aria, (Virtuous Muses! My followers!). It is the only movement in a minor key, accompanied by an obbligato oboe d'amore. Bach reused the music, transposed for a tenor, in Und es waren Hirten in derselben Gegend, Part II of his Christmas Oratorio, as the aria "Frohe Hirten, eilt, ach eilet", with an obbligato flute, No. 15, in which the shepherds are called to rush to the manger.
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Clementina is scored for the following instruments: 2 flutes, 2 oboes, 2 bassoons, 2 horns, strings. Clementina includes the ouverture, 12 arias, 2 obbligato recitatives and 6 ensembles, plus the dialogues.
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In a later performance of the cantata, Bach assigned the obbligato part to a violin. The da capo aria depicts humility in the first section, pride in the middle section, in rough rhythm both in the voice as in the obbligato, whereas the continuo plays the theme from the first section to unify the movement. John Eliot Gardiner describes the "harsh, stubborn broken chords" as illustrating arrogance. The only recitative, accompanied by the strings, is the central movement.
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In the first aria, the soprano renders "" (Fill utterly, you divine celestial flames), accompanied by an obbligato oboe da caccia, an instrument in alto range. The instruments illustrate the celestial flames in coloraturas.
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In arias, Bach often uses obbligato instruments, which correspond with the singer as an equal partner. In his early compositions he used instruments that had become old- fashioned, such as viola da gamba and violone.
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The second movement is an aria for tenor, "Auf, Sterbliche, lasset ein Jauchzen ertönen" (Arise, mortals, let your jubilation resound), calling the people to give thanks for the blessings. An obbligato oboe dominates the movement.
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Arne's orchestration is quite progressive for its day, using strings, bassoons, oboes, trumpets, horns and drums; it also includes obbligato parts for piccolo, flute, descant recorder and cello. The overture suggests the style of Handel.
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The closing chorale, "" (What God does, is well done), is set for four parts, illuminated by an instrumental obbligato part. Masaaki Suzuki and Gardiner use the trumpet that played the cantus firmus in the preceding aria.
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Bach composed the cantata in his fourth year as Thomaskantor in Leipzig. It is structured in five movements, alternating arias and recitatives for a bass soloist and closing with a four- part chorale. He scored the work for a Baroque instrumental ensemble of three woodwind instruments (two oboes and taille), three string instruments (two violins and a viola) and continuo. An obbligato cello features in the first recitative and an obbligato oboe in the second aria, resulting in different timbres in the four movements for the same voice part.
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Bellona sings an aria, "" (Blow the well-handled flutes). Matching the text, the soprano is accompanied by two obbligato flutes. The aria is in three parts, with the third part similar to the first but on different text.
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The eighth movement, "" (As He has promised our fathers), is a cheerful trio for three soloists and two obbligato oboes. A reviewer described the lines of oboes and bassoon as "bubbly", in dialogue with "lively transparent vocal lines".
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A 32-bar tune in AABA-form, and is also notable for its difficult melody, chromatic changes, and obbligato bass line. It was only recorded once, on September 22, 1954, and appears on the album Thelonious Monk and Sonny Rollins.
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The aria is characterized by an obbligato bell duet. Clifford Bartlett calls the bell knell "memorable and powerful". Simon Crouch notes that "some of [the aria's] thematic material is suggestive of Bach but the accompanying bells would be unique amongst Bach's surviving output".
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"'" (Will I forget you? ... Fear not, beloved), K. 505, is a concert aria by Wolfgang Amadeus Mozart for soprano, piano obbligato and orchestra, composed in December 1786 in Vienna. It is often considered to be one of his greatest compositions in this genre.
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Strings and voices alternate in the bar form's two Stollen, but are united for the Abgesang. Both recitatives are secco. The first aria is accompanied by an obbligato oboe. The first two measures of its theme are derived from the chorale tune.
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In the second aria the contrast of (suffering) and (joy) is expressed by chromatic, first down, then up, and vivid coloraturas. The closing chorale is the same as the one of , of 1714, but for no apparent reason without the obbligato violin.
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The third stanza, "" (Jesus Christ, God's Son), is a trio of the tenor, two obbligato violins and continuo. The tenor sings the chorale melody almost unchanged. The violins illustrate first how Christ slashes at the enemy. The music stops completely on the word "nichts" (nothing).
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A number of the extended da capo arias feature oboe obbligato, specially written for the virtuoso instrumentalist Giuseppe Sammartini.Burrows 2012, p. 297. The opera is scored for two recorders, bass flute, two oboes, bassoon, two horns, two trumpets, strings and continuo (cello, lute, harpsichord).
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The aria for alto and an obbligato oboe, "" (God is our sun and shield!), expresses similar ideas as the first movement in a personal way, described as "tranquil and individual" by Mincham. In a later version, the oboe is replaced by a transverse flute.
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Hector Berlioz in 1832, painted by Émile Signol Harold en Italie, Symphonie en quatre parties avec un alto principal (English: Harold in Italy, Symphony in Four Parts with Viola Obbligato), Op. 16, H. 68, a symphony with solo viola by Hector Berlioz, written in 1834.
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In 1834, Hector Berlioz wrote his Harold en Italie for orchestra with viola obbligato at the request of Niccolò Paganini, who refused to play the work. Berlioz offered the solo viola part to Urhan and the premiere was given on 23 November 1834 at the Paris Conservatory.
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The images of the crumbling rocks are illustrated by a rugged line in the continuo. The tenor aria is probably lacking the part of an obbligato violin. Robert Levin supplied three "convincing reconstructions" for the Bach Cantata Pilgrimage. The final movement, with trumpet sound, is happy and uncomplicated.
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The alto aria, "" (O God, remove the teachings that pervert your word!), is written in more modern concertante style with a solo violin as the obbligato instrument, playing lively figuration. The last line of the text remains close to the original, and again Bach quotes the chorale tune.
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Bach may have derived the opening sinfonia in B minor from a previous concerto. It includes a prominent "baroque 'weeping' figure". The first recitative uses tonality to underline the meaning of the "quasi-philosophical" text. The following da capo aria is in E minor and features a flute obbligato.
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One way to trace the decline of the continuo and its figured chords is to examine the disappearance of the term obbligato, meaning a mandatory instrumental part in a work of chamber music. In Baroque compositions, additional instruments could be added to the continuo group according to the group or leader's preference; in Classical compositions, all parts were specifically noted, though not always notated, so the term "obbligato" became redundant. By 1800, basso continuo was practically extinct, except for the occasional use of a pipe organ continuo part in a religious Mass in the early 1800s. Economic changes also had the effect of altering the balance of availability and quality of musicians.
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In connection with a keyboard part in the baroque period, obbligato has a very specific meaning: it describes a functional change from a basso continuo part (in which the player decided how to fill in the harmonies unobtrusively) to a fully written part of equal importance to the main melody part.
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One contemporary usage, however, is that by Erik Satie in the third movement of "Embryons desséchés" ("Desiccated Embryos"), where the obbligato consists of around twenty F-major chords played at fortissimo (this is satirising Beethoven's symphonic style). The term is also used with an entirely different meaning, signifying a countermelody.
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The Down Beat review by Peter Margasak says that "The most satisfying quality of the session is hearing the band members expertly blend together, suggesting the agile and empathic lines of West Coast jazz applied to fuzzy melodic shapes."Margasak, Peter. Obbligato review. Down Beat April 14: page 56. Print.
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In the central soprano da capo aria, "" (O my Savior, does your name instill even the very tiniest seed of that powerful terror?), the singer asks Jesus three questions and imagines the answers as "no", "no" and "yes", illustrated in the form of an echo-aria. An oboe is the obbligato instrument.
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Movement 5, a bass aria, alludes again to the Baptist who in turn referred to Isaiah. The voice is accompanied by an obbligato trumpet and strings, reminiscent of the opening movement. The final movement is a chorale of which Franck only submitted two lines. The continuation was found in a contemporary hymnal.
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The combination of instruments chosen by Telemann allows a great deal of flexibility in grouping, since the obbligato gamba part (which is entirely independent of the continuo bass) can function in bass, tenor, or alto register. Although he supplied separate versions for viola da gamba and cello, it appears from the indication "Violoncello, in luogo della Viola" on Telemann's title page and on the separate part for the cello that his first choice was the viola da gamba. The three obbligato instruments participate equally in the thematic working out of the quartets, frequently exhibiting kaleidoscopic textures with rapidly shifting pairings of instruments. Although there is an emphasis on technical virtuosity, Telemann's progressive approach to form applies the emerging galant style that contributed to the quartets' popularity .
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Danse macabre is scored for an obbligato violin and an orchestra consisting of one piccolo, two flutes, two oboes, two clarinets in B, two bassoons; four horns in G and D, two trumpets in D, three trombones, one tuba; a percussion section that includes timpani, xylophone, bass drum, cymbals and triangle; one harp and strings.
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Chromaticism contributes to the "fleeting shadows" of the welcoming of death. The accompanying keyboard part has historically been played by either harpsichord or organ. The obbligato oboe conveys a number of different ideas: dancing, sighing, and "quasi-tragic" descent. The soprano recitative uses word painting and sustained chordal harmonies to urge the listener into heaven.
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The opening sinfonia is scored for oboe, strings, and continuo. It is in F major and common time. Compared to the later version for harpsichord, the melody is straightforward and unembellished, and is harmonically conceived to prepare the second movement. The second movement is a combined tenor aria and soprano chorale with obbligato strings.
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Obbligato, pp. 73 -76. After obtaining a joint graduate degree from Harvard University and the Fletcher School at Tufts University under the GI Bill, Sullivan joined the Foreign Service and was posted to Bangkok, Thailand. During that tour, he was in brief communication with the Viet Cong, who were in exile in northern Thailand.
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Lo Presti was born in Marina di Gioiosa Ionica. At the age of 16, he left Calabria and moved to Piedmont. In 1957 he was arrested in Casale Monferrato for selling counterfeit money. In 1963 he was sent to stay in soggiorno obbligato in Bardonecchia and booming construction puts on a small construction company.
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The couple are resting on a couch, and Venus, accompanied by obbligato recorder, is toying with Adonis's sexual anticipation. Just before she gives in, hunting music is heard, and she encourages him to leave her and join the chase. The huntsmen intrude and sing of an enormous boar that is causing severe problems; thus goaded, Adonis leaves.
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Schlosskirche, Wittenberg, main door As Hofmann points out, Bach achieved "festive magnificence", using two horns and timpani not only in the opening chorus but also as obbligato instruments in the two chorales. Bach established unity of form by using a horn motif from the first movement again in the first chorale, juxtaposed to the hymn tune.
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Although he did not specified which instruments would play, most of his compositions have obbligato parts labeled vox instrumentalis. They also have a basso continuo. However, few if any figures are included to indicate the nature of the chords. Melodically, the basso continuo always follows the bass tone and thus rather takes on the character of a basso seguente.
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The third movement, "" (I am cheerful in my sorrow), is a soprano aria with an obbligato solo violin. The da capo movement describes the spirit's confidence in God. The first section includes a "motto theme" transitioning into a "hectic" violin melody. The middle section is characterized by a "muscular" soprano line and "oddly bizarre" solo violin.
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"The Songs of Richard Faith." The NATS Journal, Sept/Oct, 1994 Because Faith himself is an award-winning pianist, many of the songs have sophisticated accompaniments. Sometimes the piano doubles the voice, though hardly ever through an entire piece. At other times the piano will play a countermelody to the voice to form a kind of obbligato.
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The bass recitative is secco and concludes with a pastoral arioso. The alto aria is "dark and dramatic", in E minor with cello and organ obbligato. The organ line is complex, contributing to a movement that is "a complex and ever-changing kaleidoscope of richly entwined rhythms and melodies". The soprano recitative is short and accompanied by chordal strings.
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A work in the same vein, but with the piano taking the "concertante" part is d'Indy's Symphony on a French Mountain Air. Likewise, Litolff wrote five Concertos Symphoniques, also with a piano obbligato. Bruch explored the boundaries of the solistic and symphonic genres in the Scottish Fantasy (violin soloist), Kol Nidrei (cello soloist), and Serenade (violin soloist).
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The second aria is accompanied by the strings and the two oboes da caccia in unison as obbligato instruments, thus both arias are dominated by instruments with a relatively low range (oboes de caccia having a pitch below that of a normal oboe). The cantata is closed by a four-part chorale on the tune of "".
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The Down Beat review by J.D. Considine says "The jazz standard may be the most renewable resource in popular culture. Obbligato, drummer Tom Rainey’s 'standards' band, takes an approach that respects the melody and harmonic structure of these compositions while employing strategies from collective and free improvisation."Considine, J.D. Float Upstream review. Down Beat January 18: page 65. Print.
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Arlacchi, Mafia Business, p. 51 In 1939 he was charged with illegal carriage of firearms, in 1940 for grievous bodily harm, in 1944 for robbery with violence and in 1950 for murder.Arlacchi, Mafia Business, p. 20 In 1967, the court imposed a five-year mandatory internal banishment (soggiorno obbligato) to remove Piromalli from his home town and criminal associates.
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Several composers have also written music for "The Babe in Bethlem's Manger". In 1964, an optional obbligato for flute was copyrighted in the United States by Theron Kirk. In 1973, in one of his last works before his death, British composer Patrick Hadley wrote a piece of music for the carol so it could be performed in his Lent cantata.
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The narrative and the dialogue, in which the Seven Words appear, are composed like contemporary operatic recitative in a style that Schütz had learned in Venice. The sinfonia is one of few surviving instrumental works by Schütz. The work is a precursor of his Passions. The treatment of the vox Christi with obbligato instruments was used by Bach in his St Matthew Passion.
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The first added movement is a four-part setting of the chorale stanza. The Telemann movement is in two parts, a duet and a choral fugue, with strings and instruments colla parte and a partly independent trumpet. In Telemann's cantata, it was preceded by an instrumental introduction on the same theme. The first movement on Picander's text is a duet with obbligato violin.
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On 23 August 2007, Kate Royal performed the aria "Eternal source of light divine" at the Proms. On 19 May 2018, Elin Manahan Thomas performed the aria "Eternal source of light divine" as the bridal entry music for the wedding of the Duke and Duchess of Sussex, accompanied by the event's orchestra and with David Blackadder playing the trumpet obbligato.
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Mrs Philarmonica (fl. 1715) was the pseudonym of an early-18th century English female, Baroque composer. She published a collection of 6 trio sonatas for two violins with violoncello obbligato and continuo, as well as a set of 6 divertimenti for 2 violins, violoncello or harpsichord (or organ) with Richard Meares in London about 1715. Her actual identity is unknown.
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The cantata in five movements is scored for bass, oboe, two violins, viola, and basso continuo. # Aria: # Recitative: # Aria: # Recitative: # Aria: Another version exists for soprano (as BWV 82a), transposed from C minor to E minor with the oboe part replaced by flute and slightly altered. In the 1740s version for bass, an oboe da caccia is the obbligato instrument.
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In the first movement, the bass as the vox Christi sings "I am a good shepherd", framed by instrumental ritornellos. The motif on these words appears already four times in the ritornello. The movement is between aria and arioso, with the oboe as a concertante instrument in "a mood of tranquil seriousness". The alto aria is accompanied by an obbligato violoncello piccolo.
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On the one hand, her fioriture in La Cenerentola and in Il barbiere di Siviglia (as in Mozart's "Parto. parto") lacked the superlative precision achieved by Janet Baker, Teresa Berganza and Marilyn Horne. On the other hand, her Rosina, while characterful, did not sound as spontaneous as was desirable. Bas de Jong and George Pieterson both negotiated their tricky obbligato woodwind parts adeptly.
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A duet, "" (Now all trouble disappears), finally unites both voices and also their "associated obbligato instruments (oboe and violin), so far heard only separately". Gardiner writes: "It is one of those duets … in which he seems to throw caution to the winds, rivalling the lieto fine conclusions to the operas of his day, but with far more skill, substance and even panache".
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The second movement is a secco bass recitative, "" (You are, my God, the Giver of all gifts). It has been described as "operatic in its intensity and subtle adjustments of character". The recitative is remarkable for its "aggressive, even belligerent" conclusion. The following bass aria, "" (Let my heart be the coin), has an unusual and unique accompaniment of two obbligato cellos with continuo.
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Sullivan was born in Cranston, Rhode Island, and graduated from Brown University as salutatorian and Class Orator of the class of 1943. His senior address was on America's duty to "aid in repairing not only the damage suffered by our Allies, but also that sustained by our enemies."Obbligato: Notes on a Foreign Service Career, William H. Sullivan. W.W. Norton & Co. Inc.
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Musicologist and Bach scholar Christoph Wolff wrote that Bach achieves "a finely shaded series of timbres" in . Each of the four solo movements are scored differently. All the instruments accompany the opening aria; only the continuo is scored for the secco recitative, an obbligato oboe for the central aria, and strings for the accompagnato recitative. All instruments return for the closing chorale.
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An alto aria, ' (Through powerful strength You maintain our borders) is based on contemporary poetry. Set in C major with the trumpets and timpani as the only obbligato instruments, it is in two sections: the first in triple time marked Vivace corresponds to God's power and glory, while the second in common time is a prayer for peace on Earth.
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"'", K. 612, is a concert aria by Wolfgang Amadeus Mozart for solo bass with an obbligato double bass. Composed in Vienna, it is dated 8 March 1791 in Mozart's own catalogue. It is well known by players of the double bass, with difficult scale work and double stops. It may have been composed as an interlude in a performance of an opera buffa, written by another composer.
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The fugue is concluded by a homophonic "summary". The sequence of fugue and summary is repeated. Finally, the complete ritornello is repeated like a da capo, but with the voices additionally embedded, stating the complete text once more in homophony. The soprano aria was originally accompanied by an obbligato organ, as was, three weeks later, the aria Ich geh und suche mit Verlangen, BWV 49.
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The first lyrics were written in 1918 by Ballard MacDonald and the music by Robert A. "Bobo" King, who used the pseudonym Mary Earl.Ohio History Central web site The melody is partly based on "Song of India" by Rimsky-Korsakov and "Beautiful Dreamer" by Stephen Foster. The original 1918 publication also featured a second obbligato voice using the tune Love's Old Sweet Song.Available on IMSLP.
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He repeated it again, probably in 1730, with minor changes in the scoring, doubling the oboes by flutes and assigning a flute as the obbligato instrument in the alto aria. He used the music of the opening chorus and the duet again in his Missa in G major, BWV 236, and the music of the alto aria in his Missa in A major, BWV 234.
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He also wrote two songs for alto singer, viola and piano, Op. 91, reviving the form of voice with string obbligato that had been virtually abandoned since the Baroque. The Seine at Lavacourt by Claude Monet. Impressionist music and art sought similar effects of the ethereal, atmospheric. The exploration of tonality and of structure begun by Brahms was continued by composers of the French school.
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He chose obbligato instruments to differentiate the character of the three arias: two flutes with the tenor expressing the "lowly birth", oboe d'amore with the alto, representing God's love, and trumpet, oboes and strings with the bass for his call to sing songs of joy together. Bach led the Thomanerchor in the first performances on Christmas Day, one in the Nikolaikirche and one in the Thomaskirche.
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The over 120 settings run the stylistic gamut from sophisticated concert pieces to simple miniatures, duets, vocalises and selections with obbligato instruments, including flute, cello, viola and harp. His settings are generally for medium voice. Some have been written for specific singers to whom he has dedicated the music. Many of the songs are grouped according to subject matter, but are not necessarily musically connected.
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The opening chorus on the first verse of the psalm, "" (Praise the Lord, my soul.), is quite short, using imitative fanfare figures without much harmonic development. It employs a ritornello theme on the tonic and dominant chords, incorporating a descending-third sequence. The voices sing mostly in homophony. The soprano chorale, "" (O Prince of peace, Lord Jesus Christ), is accompanied by a violin obbligato.
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This creates a "sepulchral" sound. The Bach scholar Christoph Wolff notes that this "opulent oboe scoring" with all four oboes playing together is used only in the two recitatives (1 and 3). The second movement, the first aria, is the longest of the work. It is sung by the tenor with an obbligato part for violoncello piccolo, an instrument with a tenor-bass range.
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His entire oevre is either piano solo, chamber works, or songs. He frequently used innovative combinations for his chamber music; for example, "Adagio Mysterioso", opus 22, is scored for violin, cello, harp and organ. He, like others of the Jewish art music movement, favored songs with obbligato string parts. The song "Ahava Rahya", for example, is scored for singer and violin, flute, viola and organ.
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Johann Hermann Schein wrote a cantata for three parts in 1618, Johann Crüger set it for four voices, two obbligato instruments (violins) and continuo. The hymn appears in several of Johann Sebastian Bach's Christmas cantatas. He inserted its seventh stanza in one of his church cantatas, Sehet, welch eine Liebe hat uns der Vater erzeiget, BWV 64, written for the Third Day of Christmas 1723.
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Other pieces in manuscript include two fantasias, one in the manner of Pachelbel and one with fugal design, a Fuga with two obbligato countersubjects, a passacaglia (16 variations), a Durezza, a Battaglia, and other works. The non-keyboard part of Krieger's oeuvre comprises vocal works only. Neue musicalische Ergetzligkeit (Frankfurt and Leipzig, 1684) is a large collection of songs for one to four voices. It is divided into three parts.
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On that occasion he played two solos and the obbligato part in Courtlandt Palmer's Lethe. Joseph, Sr. also was a member of the Durand orchestra. He headed the violin department at the Ecole Communale in Etterbeek, now Brussels, from 1907 to 1912 and later the same department at the University of Redlands in Redlands, California. As in Brooklyn and Stockton, he was proprietor of a music school in Brussels.
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Percival (Percy) Benedict Kahn (9 December 18802 May 1966) was an English composer and pianist. His most noted composition was the song Ave Maria with accompaniment by piano, and violin obbligato. Kahn was born in London in 1880. He was a boy soprano, and at the age of 15 won a scholarship to the Royal College of Music, where he studied for four years under the organist and composer Walter Parratt.
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She urges Sesto to assassinate Tito. He agrees, singing one of the opera's most famous arias (Parto, parto, ma tu, ben mio with basset clarinet obbligato). Almost as soon as he leaves, Annio and the guard Publio arrive to escort Vitellia to Tito, who has now chosen her as his empress. She is torn with feelings of guilt and worry over what she has sent Sesto to do.
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Festive occasions call for richer instrumentation. Some instruments also carry symbolic meaning, such as a trumpet, the royal instrument of the Baroque, for divine majesty and three trumpets for the Trinity. In an aria of BWV 172, addressing the Heiligste Dreifaltigkeit (Most holy Trinity), the bass is accompanied only by three trumpets and timpani. In many arias Bach uses obbligato instruments, which accompany the singer as an equal partner.
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Bach structured the cantata in six movements. Bach scored the work for three vocal soloists (soprano (S), alto (A) and bass (B)), a four-part choir, and a Baroque instrumental ensemble of two oboes (Ob), two violins (Vl), two obbligato violins (Vs), viola (Va) and basso continuo. The duration of the cantata is given as 20 minutes. In the following table of the movements, the scoring follows the Neue Bach-Ausgabe.
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All twelve quartets were played during the composer's visit, by the four musicians who had invited him and doubtless accompanied by Telemann himself on the harpsichord. So that Forqueray and Edouard could take turns playing the solo and continuo bass lines, Telemann composed separate versions of the obbligato part, one for viola da gamba and the other for cello—"a cunning diplomatic gesture, which is typical of Telemann's practical mind" .
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The fugue is one of few instrumental fugues in Bach's cantatas. The first aria is given to the bass, who invites the Soul (and the listener) to "step upon the path of faith". It is accompanied by an obbligato oboe and seems to illustrate the path () in scales. The recitative is divided in two sections, following the contrast of "" (evil world) and "" (blessed Christian) in recitative and arioso.
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Bach 1733 (autograph of D major version) In movements three and four the oboes are replaced by oboes d'amore (Oa). In the 10th movement (Suscepit Israel) the oboes replace the trumpet for the obbligato instrumental part. The continuo part is played by organ, bassoon, cello and violone in most movements. In the 1723 version movement 10 (Suscepit Israel) has a bassett (Ba) part played exclusively by violins and viola in unisono.
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Mincham summarises the "uncompromising" tone of the statement "the time will come when your murderer will believe that he has done a service to God". Movement 3 refers to the opening in tranquil 3/4 time with an obbligato oboe. The words "" (martyrdom, exile, and bitter pain) are coloured in expressive chromatic, although the text speaks of overcoming them. Hofmann describes "sigh-like suspension and emotionally charged harmonic darkening".
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There are 12 characters in the drama, four prominent instrumental sinfonias, elaborate choruses, and 26 dances, most of which are organized into suites. The instrumentation is highly creative and often employs solo or independent viola writing. Obbligato recitative is used for moments of extreme drama, and here the orchestral accompaniment is elaborate and complex. Choral movements are large and often involve solo passages for various members of the cast.
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The answer is given in the aria "" (No, God is always concerned), It begins immediately, without the usual ritornello, a passionate: "" (No, no). The middle section begins with a contrasting, but also passionate "" (Yes, yes). In the very end, the strings join the obbligato oboe d'amore and play a ritornello, reminiscent of a minuet. According to Alfred Dürr, the clear, even structure may symbolize the "" ("right path" or "true path") mentioned in the text.
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Count Ferdinand Troyer (February 1, 1780 – July 23, 1851) was an Austrian noble, philanthropist, and amateur clarinettist. Born in Brünn (Brno), Moravia, Troyer became the chief steward to Archduke Rudolf of Austria- Tuscany. It was noted that on 2 March 1817, Troyer played the obbligato to Wolfgang Amadeus Mozart's Parto for the Vienna Philharmonic Society at the Large Ridotto Room. His sound was described as being "sensitive," with an "extremely tender handling" of the clarinet.
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The cantata opens with a bass aria in A minor, accompanied by three instruments in a polyphonic setting, the two violins and the viola (with the corno). The motif for the first words is present most of the time. The soprano aria seems to lack a part for an obbligato instrument. For the Bach Cantata Pilgrimage of the Monteverdi Choir (and John Eliot Gardiner), Robert Levin reconstructed a version for flauto traverso and oboe d'amore.
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' (original: ', English: "I have enough" or "I am content"), ', is a church cantata by Johann Sebastian Bach. He composed the solo cantata for bass in Leipzig in 1727 for the Feast (Purification of Mary) and first performed it on 2 February 1727. In a version for soprano, ', possibly first performed in 1731, the part of the obbligato oboe is replaced by a flute. Part of the music appears in the Notebook for Anna Magdalena Bach.
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In his composition, Bach stresses the weight of the central biblical quotation by giving it to the choir, and by scoring the framing recitatives and arias with reduced accompaniment. The obbligato part in the first aria is played by the violins and viola in unison and resembles the vocal part. According to John Eliot Gardiner, Bach thus evokes an "unstained mind". Julian Mincham notes the "sombre and shaded tone quality" of the unison strings.
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The first aria is sung by the soprano, accompanied by three oboes in pastoral time. A short secco recitative leads to a tenor aria, which is dominated by an obbligato violoncello piccolo in expansive movement. The last recitative for bass contains one line from Martin Luther's (German litany), which Bach set for four-part choir, marked allegro, as if the congregation joined the prayer of the individual. The closing chorale corresponds to the first movement.
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As with the earlier recitative, it concludes on an arioso repeating the last line of text, again with the "joy" motive in the continuo. The bass aria mirrors the earlier tenor aria in adopting the minor mode. The movement is remarkable for its "reaching" obbligato violin and for the multiple instances of word painting throughout the vocal line. The seventh movement is an alto aria in which the singer assumes a personal view of devotion.
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Although the vocal line is mostly undecorated, it is accompanied by a rhythmically active violin counterpoint following the circle of fifths. The obbligato line reaches a double cadence before the soprano entrance. The tenor recitative on another verse from the psalm, "" (It is fortunate for him, whose help the God of Jacob is), is quite short and is considered unremarkable. The fourth movement is a tenor aria in free verse, "" (Thousand-fold misfortune, terror).
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Because of its intimate scoring and lack of large-scale opening chorus, the work is a "treasureable miniature" and "the most personal of Bach's Christmas cantatas". The opening aria begins with a lullaby-like molto adagio in 12/8 time. This movement "dominates and casts a glow over the entire work", with its "mood of iridescent transparency". It is in G major and is accompanied by obbligato flute and strings doubled by oboe d'amore.
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The opening chorus, "" (It is our salvation come here to us), is a chorale fantasia, the vocal part embedded in a concerto of the instruments. The cantus firmus of the chorale melody is in the soprano in unadorned long notes, while the lower voices engage in imitation. The scoring with the obbligato instruments flute and oboe d'amore in contrast to the strings is unusual, sometimes the first violin takes also part in the concerto.
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Bach structured the cantata in seven movements, an opening instrumental sinfonia and four choral movements interspersed by only two arias. He scored it for four soloists (soprano, alto, tenor and bass), a four-part choir, and a small Baroque instrumental ensemble of two violins (Vl), bassoon (obbligato) (Fg) and basso continuo. The duration of the cantata is about 17 minutes. In the following table of the movements, the scoring follows the Neue Bach- Ausgabe.
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The first recitative is accompanied by the strings, the others are secco. The bass aria is highlighted by an obbligato trumpet part, but it is so difficult that Bach gave it to a violin in a later performance. The words "" (full of sorrow, torment and pain) are illustrated by a slower tempo and harmonic tension. The following recitative refers in the end to the view towards heaven, expressed by an upward motion.
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Fragments of the usual chorale theme, "", can be detected occasionally. Terry interprets that the bassoon obbligato was intended to accompany a chorale melody which "never actually sounded", conveying the "hiddenness" of the church in the world. The bass prepares in a recitative, ending as an arioso, the last aria, which is accompanied by the divided violins and the continuo. The theme is again a contrast between the "" (restlessness of "the world") and "" (peace with Jesus).
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A solo violin accents the alto aria, "" (Christ's members, ah, consider), possibly inspired by the words "" (Christ gave as new garments crimson robes, white silk). Gardiner interprets it as "the cleansing effect of baptismal water". The musicologist Julian Mincham supports that, stating: "Bach seldom neglects opportunities of creating musical images of cleansing water when mention is made of the act of baptism. This is the starting point of his invention of the violin obbligato melody".
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The Harpsichord Concerto in E major, BWV 1053, is a concerto for harpsichord and string orchestra by Johann Sebastian Bach. It is the second of Bach's keyboard concerto composed in 1738, scored for keyboard and baroque string orchestra. The movements were reworkings of parts of two of Bach's church cantatas composed in 1726: the solo obbligato organ played the sinfonias for the two fast movements; and the remaining alto aria provided the slow movement.
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The two arias are based on arias from Bach's 1713 Hunting Cantata (). The soprano aria "" (My faithful heart) resembles the former aria of the shepherd goddess Pales "" (While the herds all woolly-coated). In the church cantata, Bach used an obbligato violoncello piccolo, an instrument he experimented with in cantatas of the second cantata cycle (1724–25). John Eliot Gardiner describes it as "surely one of Bach's most refreshing and unbuttoned expressions of melodic joy and high spirits".
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In Western classical music, obbligato (, also spelled obligatoobligato in dictionary at Merriam-Webster website) usually describes a musical line that is in some way indispensable in performance. Its opposite is the marking ad libitum. It can also be used, more specifically, to indicate that a passage of music was to be played exactly as written, or only by the specified instrument, without changes or omissions. The word is borrowed from Italian (an adjective meaning mandatory; from Latin obligatus p.p.
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The ritornello theme has virtually become a free "ground bass" > throughout. The tortuous melodic line, the main focus of attention in the > concerto setting, has now become an obbligato melody of secondary > significance. It is played by the organ, the first time Bach has used the > instrument in this way in a chorus. The choir rises magnificently above > everything else establishing itself as the dominant musical force, even > appearing to disregard the phrasing of the original composition.
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A part for obbligato organ (Org) replacing oboe and cello in movement 5 was adopted in an even later performance. The work is about 25 minutes long. In the Weimar version and the 1724 version, Bach requested a repeat of the opening chorus, by adding after the chorale . In the following table of the movements, the scoring follows the Weimar version of the Neue Bach-Ausgabe, and the abbreviations for voices and instruments the list of Bach cantatas.
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The piano reframes it initially in D major, then slides into a bitonal obbligato against a G major underpinning in strings. Then the coda explodes into a musical battle between soloist and orchestra, with prominent piano ornamentation over the orchestra (including famously difficult double-note arpeggi, sometimes approximated by pianists with keyboard glissandos using the knuckles), eventually establishing the ending key of C major and finishing in a flourish with a fortissimo C tonic ninth chord.
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The last aria, "" (Jesus, death of my death), is set for tenor, accompanied by the violins in unison, marked "Aria Violini unisoni e Tenore". The image of the serpent appears again, described by the composer and musicologist William G. Whittaker: "the whole of the obbligato for violins in unison is constructed out of the image of the bending, writhing, twisting reptile, usually a symbol of horror, but in Bach's musical speech a thing of pellucid beauty".
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A Coney Island of the Mind is a collection of poetry by Lawrence Ferlinghetti originally published in 1958. It contains some of Ferlinghetti’s most famous poems, such as “I Am Waiting” and “Junkman's Obbligato”, which were created for jazz accompaniment. There are approximately a million copies in print of A Coney Island, and the book has been translated into over a dozen languages. It remains one of the best-selling and most popular books of poetry ever published.
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Sacred concerto (, plural , ) is a 17th-century genre of sacred music, characterized as settings of religious texts requiring both vocal soloists and obbligato instrumental forces for performance.geistliches Konzert at Starting from Italian models, the genre flourished primarily in Germany. It is a broad term for various genres of chamber concerto for a small number of voices and instruments popular in Germany during the 17th century and prefiguring the late baroque church cantata and solo sacred cantata forms.
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1715, and copied it for a Cistercian monastery of Osek soon afterwards. He revised it in the 1720s, making the tenor and bass parts more suitable to male voices, and adding two oboes, which he used prominently as obbligato instruments in an expanded version of "Sicut locutus est". This version became known as RV 610. While Vivaldi assigned two choirs, with instructions in the choral movements to use one or the other or both, it remains monochoral music.
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Louis Armstrong, Bix Beiderbecke, Sydney Bechet, Benny Goodman , Jelly Roll Morton and Fats Waller have recorded the tune. Notably, Armstrong's interest in the tune started in New Orleans when he learned the clarinet solo from the original record in addition to the clarinet obbligato of "High Society," which helped to shape his music vocabulary. The New Orleans Rhythm Kings released it as a 78 single. Nick LaRocca and the Original Dixieland Band released a version in 1936.
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Ludwig van Beethoven attempted to set it to music but abandoned the effort; his sketch however was full enough to be published in a completion by Reinhold Becker (1897). A few other 19th-century versions are those by Václav Tomášek (1815) and Louis Spohr (1856, with obbligato violin) and Heinrich Wilhelm Ernst (Polyphonic Studies for Solo Violin). Twenty-first-century examples are the pianist Marc-André Hamelin's "Etude No. 8 (after Goethe)" for solo piano, based on "Erlkönig".
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While many of these names were leading figures to the music public of their time, they are generally unknown by contemporary audiences. Wolfgang Amadeus Mozart's concert aria, Per Questa Bella Mano, K.612 for bass, double bass obbligato, and orchestra contains impressive writing for solo double bass of that period. It remains popular among both singers and double bassists today. The double bass eventually evolved to fit the needs of orchestras that required lower notes and a louder sound.
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End of sinfonia and beginning of Cleopatra's aria "V'adoro, pupille", act 2, scene 2, autograph manuscript, 1723, British Library Part of final chorus and duet in minor key for Cesare and Cleopatra, act 3, autograph manuscript The opera is scored for transverse flute, two alto recorders, two oboes, two bassoons, four horns, viola da gamba, harp, theorbo, strings and continuo. The basic orchestra consists of oboes, strings and continuo. The horns, divided into four parts, are used in the opening and closing choruses. Other obbligato instruments are used to add orchestral colour to individual arias: a hunting horn for Cesare's aria "Va tacito"; divided alto recorders for the central largo section of Sesto's "Svegliativi nel core"; solo concertato violin and divided bassoons in Cesare's aria "Se in fierto"; alto recorders in unison for Cornelia's aria "Cesa omai"; a solo violin for Cleopatra's aria "Venere bella"; sustained bassoons in unison for Cleopatra's aria "Se pieta"; transverse flute, first violins and obbligato cello for Cleopatra's aria "Piangero"; divided strings for Cesare's arioso-aria "Aure de per pieta".
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A secco recitative leads to the third chorale, which is sung by the soprano alone like an aria, accompanied for the first line only by the continuo, but for the rest of the text by the oboes, playing an obbligato melody in unison. The only aria of the cantata is dominated by the oboes and accompanied by pizzicato in the strings which symbolizes funerary bells, according to John Eliot Gardiner. The closing chorale is again enriched by a soaring additional violin part.
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The last aria for alto with an obbligato trumpet, "" (Ah, in my love there is still ), takes the form of a sarabande. Bach conveys the "" (imperfection) of human attempt to live by the law of love, by choosing the trumpet and composing for it "awkward intervals" and "wildly unstable notes" which would sound imperfect on the period's valveless instruments. In contrast, Bach wrote in the middle section a long trumpet solo of "ineffable beauty", as a "glorious glimpse of God's realm".
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Title page of the first partita, printed in 1726 by Balthasar Schmid of Nuremberg sixth sonata for obbligato harpsichord and violin, BWV 1019a, later incorporated as Corrente in sixth partita, BWV 830. The six partitas for keyboard form the last set of suites that Bach composed, and are the most technically demanding of the three. They were composed between 1725 and 1730 or 1731. As with the French and English Suites, the autograph manuscript of the Partitas is no longer extant.
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"Bel raggio", from Rossini's Semiramide, was the album's only disappointment. Von Stade infused it with passion, but the aria's fioriture and other vocal challenges were too difficult for her to negotiate without some moments of audible discomfort. "L'Ombra fedele, anch'io" from Broschi's Idaspe was an aria that many listeners would probably never have come across before. Written for the composer's brother, the famous castrato Farinelli, it was "an insinuating piece with a kind of trumpet obbligato, and many repeated notes, in Handelian vein".
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S.Bach from Cantata BWV80 "Ein' feste Burg ist unser Gott", Aria for soprano with oboe obbligatoJ.S.Bach from Cantata BWV 80 "Ein' feste Burg ist unser Gott", Aria for soprano with oboe obbligato. \- and Mozart :Mozart K491 first movement, bars 211-14 Mozart, Piano Concerto in C minor, K491, first movement, bars 211-214. However, it is frequently encountered in the music of early modernist composers such as Debussy, Enescu and Stravinsky, who were directly influenced by non-Western (and largely heterophonic) musics.
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Bach set the first stanza as a chorale fantasia with the cantus firmus in the alto, adding sparkle by a "dancing" soprano and the illumination of a sopranino, which he used for the first time in his cantatas. In the four inner movements, all four vocal parts have their solo. A tenor aria is accompanied by an obbligato transverse flute, a part written for a virtuoso player. A bass aria is accompanied by an oboe and strings, acting as in a Venetian concerto.
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The ritornello for horn obbligato at the outset (bars 1 to 9) prefigures the melody sung by Caesar. The horn subsequently also echoes Caesar every time the word "cacciator" (hunter) is sung. As pointed out by Richard Taruskin, the use of a natural instrument such as the horn "sets ... narrow limits on the harmony, virtually confining it to ... the "primary" chords – tonic, dominant, subdominant",Taruskin (2010), p. 166. and this is reflected in the harmony and orchestration of the aria.
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In the alto aria, "Ich will doch wohl Rosen brechen" (I will yet indeed pluck roses), the voice is accompanied by the strings and a violin obbligato in virtuoso figuration, which may illustrate the heavenly light promised as the final fulfillment. John Eliot Gardiner, who conducted the Bach Cantata Pilgrimage in 2000, interprets the solo violin's motif as an image of plucking a rose, who notes that the solo violin is silent when fulfillment is reached ("For He has pledged His word").
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In January 1821, on his return from Naples, Paganini met Rossini again in Rome, just in time to become the substitute conductor for Rossini's opera Matilde di Shabran, upon the sudden death of the original conductor. Paganini's efforts earned gratitude from Rossini. Paganini met Berlioz in Paris, and was a frequent correspondent as a penfriend. He commissioned a piece from the composer, but was not satisfied with the resultant four-movement piece for orchestra and viola obbligato, Harold en Italie.
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Movement 2 begins as a recitative with string accompaniment, but ends as an arioso with continuo on the final lines "" (Ah, that only, as he wishes, everyone might also love him). In the chorale, two violins play partly independent parts, achieving a full sound. The chorale is followed by an aria with an obbligato violin. Scholars have discussed if this unusual ending of the cantata was Bach's intention or if he had planned to conclude the work with Neumeister's fifth movement, another chorale.
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Berlioz, Hector; A Treatise on Modern Orchestration and Instrumentation; J. Alfred Novello; Paris: 1856. He also used this unusual ensemble in his cantata, Gleichwie der Regen und Schnee vom Himmel fällt, BWV 18 and in Mein Herze schwimmt im Blut, BWV 199, the chorale is accompanied by an obbligato viola. There are a few Baroque and Classical concerti, such as those by Georg Philipp Telemann (one of the earliest viola concertos known), Alessandro Rolla, Franz Anton Hoffmeister and Carl Stamitz.
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Covent Garden's orchestra played splendidly, with the opera's famous obbligato clarinet and basset-horn obbligatos both dispatched with distinction. Conducting, Davis infused the album with all the energy of a live performance, eliciting "taut rhythms, firm accents [and] a general urgency". It was obvious that Davis, his orchestra and several of his soloists had profited greatly having presented Tito at Covent Garden. Well recorded and well balanced, the album was certainly the best version of the opera yet committed to disc.
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In the earliest violin sonatas a bass instrument and the harpsichord played a simple bass line (continuo) with the harpsichord doubling the bass line and fixed chords while the violin played independently. The music was contrapuntal with no fixed format. Georg Philipp Telemann wrote many such sonatas as did Johann Sebastian Bach. Bach later wrote sonatas with harpsichord obbligato, which freed the keyboard instrument from playing only a bass line accompaniment and allowed in to enhance the part of the soloist.
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"Gently rocking siciliano melodies, expressing spiritual tranquillity and compassion" appear in extended ritornellos. The recitative is accompanied by three upper string parts, similar to the original Brandenburg concerto movement. In the second aria, the violins and violas are combined to an obbligato part, "whose 'knocking' motif of repeated notes insistently underlines the urgency of the text". The cantata is closed by a four-part chorale setting of the well-known melody which Bach used to conclude his St John Passion with the third stanza, "".
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It has been characterized as a somewhat unstable combination of emerging individualism with conventional techniques; however, the premiere was moderately successful, and the Berlin premiere was met with an enthusiastic reception. Weber used a melody from a discarded aria for the opera to compose the popular Seven Variations on a Theme from Silvana for clarinet and piano. He used the same melody for the theme-and-variations first movement of his Sonata No. 5 in A major (from the ' for piano and violin obbligato, J 99-104).
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Musicologist Julian Mincham points out that it is "an unusual and imaginative combination of aria and chorus" and likens it to the interaction between a pastor and his flock. A second secco recitative leads to a tender aria which was accompanied by an obbligato oboe da caccia in 1726. In a later performance, likely in 1734, this was replaced by a "violetta", which can be a viola or a descant viola da gamba, according to Johann Gottfried Walther. The cantata closes with a four-part chorale.
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Vesperae solennes de confessore (Solemn Vespers for a Confessor), K. 339, is a sacred choral composition, written by Wolfgang Amadeus Mozart in 1780. It is scored for SATB choir and soloists, violin I, violin II, 2 trumpets, 3 trombones colla parte, 2 timpani, and basso continuo (violoncello, double bass, and organ, with optional bassoon obbligato). The setting was composed for liturgical use in the Salzburg Cathedral. The title "de confessore" was not Mozart's own, and was added by a later hand to his manuscript.
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The bass aria with an obbligato trumpet, depicting God's wrath compared to a thunderstorm, has been regarded as "more frightening" than any contemporary operatic 'rage' arias. The closing chorale is not the usual simple four-part setting, but includes instrumental interludes reminiscent of motifs used before. Bach used music of the first section of the opening chorus for of his Mass in B minor. He made considerable changes when he adapted the lamenting music to depict the Lamb of God carrying the sins of the world.
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The closing chorale is a stanza from Elisabeth Cruciger's hymn "". The music is scored for three vocal soloists, a four-part choir, oboe, strings and continuo. The work shows that Bach had mastered the composition of a dramatic scene, an expressive aria with obbligato oboe, a recitative with strings, an exuberant dance, and a chorale in the style of his predecessor in the position as Thomaskantor, Johann Kuhnau. Bach directed the first performance of the cantata during a church service, together with another audition piece, .
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The obbligato instrument is marked "organo" in the score, but the music is written in the oboe part and appears to have been composed for an oboe d'amore. Possibly Bach changed his intentions during the process of composition, or he may have changed the marking later. Max Reger used the movement's ritornello theme for his Bach-Variationen Op. 81. The cantata is closed by a four-part chorale, most instruments playing colla parte, while the horns play different parts because of their limited range.
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It is an important early song because it established many compositional techniques to which the composer returned throughout his lyrical output. Another "sea" example is "Ships" an English translation of "Vaisseaux, nous vous aurons aimés" by Jean de la Ville de Mirmont :fr:Jean de La Ville de Mirmont, the French World War I poet killed in action in 1914. This poem was also set by Fauré in that composer's final song cycle L'horizon chimérique. Faith's song is scored for cello obbligato, piano, and female voice.
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Commissioned by a consortium of music schools headed by conductor Gary Green and trombonist Timothy Connor of the University of Miami Frost School of Music, this concerto is dedicated to the memory of flutist Christine Nield- Capote. It is scored for an ensemble of 21 wind and brass instruments, as well as double bass, piano, and percussion; and features a prominent obbligato cello part. It is in three large movements, each of an intense and song-like nature. David's Book: Concerto for Percussionist and Wind Ensemble (2006).
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Bach used the solo viola only rarely in his cantatas (twice, according to Boyd); he may have played these solos himself. The second aria is accompanied by the full orchestra with the trumpet as a "ferociously demanding obbligato". In sudden breaks it conveys the silencing of "" (Be silent, host of hell). Different as the two arias are, the figuration in the second one is similar to the one in the first, interpreting that it is the very flow of blood which silences the "army of hell".
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The opening recitative is harmonically active but melodically fragmented because of the unusual choice to set balanced couplets in recitative. The first aria is characterized by a "restless feeling of effort" beginning immediately after the short instrumental ritornello, and is the only one in da capo form. The second recitative is the only one to be accompagnato, with the strings supporting a harmony that "begins to slide around like quicksand". The second aria has a flowing ritornello theme provided by continuo and obbligato violin.
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224 Berlioz told him that he could not write a brilliantly virtuoso work, and began composing what he called a symphony with viola obbligato, Harold in Italy. As he foresaw, Paganini found the solo part too reticent – "There's not enough for me to do here; I should be playing all the time" – and the violist at the premiere in November 1834 was Chrétien Urhan.Holoman (1989), p. 161 Until the end of 1835 Berlioz had a modest stipend as a laureate of the Prix de Rome.
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The third stanza as the closing chorale The sixth movement, "" (My Friend is mine!), is another duet for soprano and bass with obbligato oboe. This duet, like the third movement, is a love duet between the soprano Soul and the bass Jesus. Gardiner notes that Bach uses the means of "contemporary operatic love-duets in his use of chains of suspensions and parallel thirds and sixths". Dürr describes it as giving "expression to the joy of the united pair", showing a "relaxed mood" in "artistic intensity".
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He had ties with the clan of Marseille and with all the major crime families of Calabria and Sicily. He entertained friendly relations with Don Mico Domenico Tripodo, when he was in soggiorno obbligato (coerced stay) in Avigliana. Tripodo's presence was frequently reported in BardonecchiaDelitti e mafia Stampa Sera June 6, 1975. He also had contacts with Don Giovanni Stilo of Africo, the Calabrian priest who was repeatedly accused of collusion with the 'Ndrangheta, on the occasion of the adjustment of the Ceretto trial.
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The Adagio follows in G major with solo violin and solo cello with prominent obbligato flute parts coloring the accompanying orchestration. The movement ends with an extended cadenza for the solo violin and cello. As is the case with symphonies 6 and 8, the double bass has an extensive solo in the trio of the menuet. Like the previous symphony, the finale contains passages for almost all the instruments, but here its intensified even more with solos and tuttis often exchanging every other bar.
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An alto and tenor duet, "" (How happy are they, who bear God in their mouths) is accompanied by continuo and obbligato violin with oboe da caccia. The movement is "submissive" in character with a texture that becomes more complex as the duet progresses, at one point including five simultaneous melodic lines. Bach uses a juxtaposition of "flowing, largely semi-quaver" instrumental parts with the vocal "crotchet/quaver rhythms" to depict the shield of the faithful; the two parts then coalesce to tell of the smiting of enemies.
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The architecture of the movement combines elements of the usual concerto form with the more text-related older form of a motet. Bach scores an unusual flauto piccolo (descant recorder in D) as an obbligato instrument in an aria contemplating the sorrow of missing Jesus, who is addressed as a doctor who shall heal the wounds of sins. Bach scores a trumpet in only one movement, an aria expressing the joy about the predicted return of Jesus. The cantata in six movements closes with a chorale, the ninth stanza of Paul Gerhardt's hymn "".
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Crosby singled Norman out several times on radio for solo passages which required an obbligato. She was once introduced by him as "The Lorelei from Birmingham, Alabama" and another time as "The Hartz Mountain Canary." A favorite standard of Crosby's, Whispering Hope, was reprised on his Chesterfield show with his brother Bob Crosby, and Norman was given the role of performing their sister Catherine’s part. Norman appeared as a member of The Mel-Tones on Mel Torme’s recording of California Suite, and many popular arrangers and conductors used her on their albums.
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Bach first performed the cantata on 12 August 1714. When he performed it again in Leipzig on the eleventh Sunday after Trinity in 1723 (8 August) it was the first solo cantata and the most operatic work which he had presented to the congregation up to that point. He made revisions for that performance, such as transposing it from C minor to D minor and changing the obbligato viola to violoncello piccolo. In the same service, he also performed a new work, : one before and one after the sermon.
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All that > was of primary importance in the concerto is now secondary to the chorus and > its message. This momentous adagio, seemingly complete in its version for > strings and harpsichord, has taken on a whole new dimension of musical > meaning. Hofmann summarizes: "Filled with lamenting in the spirit of the Passion, the movement gains its intensity from the dense and dissonant harmonic expressiveness, and incorporates ostinato phrases whose regular appearances seem to illustrate inevitability." The third movement is an alto aria with violin obbligato, which transcends "" (towards Heaven).
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Haydn generally used the Italian version of his name in signing works; see Haydn's name. Source: Dack (2009) Haydn's biographer Albert Christoph Dies recounted the story of how the mass was rediscovered in a chapter of his Haydn biography, based on an interview visit of 21 November 1805: :Chance brought into his hands a short time ago one of his youthful compositions that he had forgotten all about. This work is a four-voice short mass with two obbligato sopranos. The recovery of this child, lost fifty-two years before, gave the parent great joy.
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Bach scored the work in eight movements for four vocal parts and a festive Baroque orchestra of three trumpets, timpani, two oboes, strings, an obbligato organ and basso continuo. The organ dominates the first movement Sinfonia which Bach derived from a Partita for violin. The full orchestra accompanies the first choral movement and plays with the voices in the closing chorale, while a sequence of three arias alternating with two recitatives is scored intimately. Bach used the music from the choral movement for both the and of his Mass in B minor.
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The opening chorus on three psalm verses and two lines from Luther's "Tedeum" is a complex architecture in three sections. A concerto is concluded by the liturgical melody of "" in unison, a choral fugue "" (Everything that has breath) is concluded by a similar "", the final section Halleluja is a shortened reprise of the first. In the second movement, the liturgical melody is set four-part and interrupted by recitatives. The following alto aria is dance-like and simple, the duet is accompanied by an obbligato instrument which may be oboe d'amore or violin.
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The Missa brevis No. 8 in C major, K. 259, is a mass composed by Wolfgang Amadeus Mozart in 1776. It is scored for SATB soloists, SATB choir, violin I and II, 2 oboes, 2 clarini (high trumpets), 3 trombones colla parte, timpani and basso continuo. Although classed as a missa brevis (brief mass), the inclusion of trumpets in the scoring makes it a missa brevis et solemnis. The mass derives its nickname Orgelmesse or Orgelsolomesse (Organ Solo Mass) from the obbligato organ solo entry of the Benedictus.
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The oratorio is written for three solo parts, soprano, tenor, bass; and a four- part (SATB) mixed choir, with the orchestra consisting of strings, two flutes, two oboes (although flutes and oboes are never used in the same number), a bassoon, two horns, three trumpets, timpani and basso continuo. Flutes are heard in the first chorus (No. 2) and the duet (No. 9). There are obbligato parts for trumpet in the Part I tenor aria (Ich folge dir) and for bassoon in one of the bass arias (Willkommen, Heiland).
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While the text of the Advent cantata was written by the Weimar court poet Salomo Franck, the librettist of the adapted version who added several recitatives is anonymous. Bach began the cantata with a chorus for the full orchestra, followed by alternating recitatives and arias with often obbligato instrument. He scored it for four vocal soloists, a four-part choir, and a Baroque instrumental ensemble of trumpet, two oboes, strings, and continuo. The closing chorale of the earlier work was replaced by the hymn "" (1661) by Martin Janus, with a melody by Johann Schop.
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But after an extended internal struggle, Tito tears up the execution warrant for Sesto. He determines that, if the world wishes to accuse him (Tito) of anything, it should charge him with showing too much mercy, rather than with having a vengeful heart (aria Se all'impero). Vitellia at this time is torn by guilt, but Servilia warns her that tears alone will not save Sesto (aria S'altro che lagrime). Vitellia finally decides to confess all to Tito, giving up her hopes of empire (rondo Non più di fiori with basset horn obbligato).
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The first movement, an aria, begins with an expressive melody of the obbligato oboe which is picked up by the voice on the words "" (I have enough). The beginning upward leap of a minor sixth is reminiscent of the aria (Have mercy) in Bach's St Matthew Passion and the aria (When will you come, my salvation?) from . The first motif is changed to a phrase that appears at the end of three vocal sections. A similar motif begins the middle section on the words "" (I have seen him), turning upwards in the end.
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The "joyful longing for the hereafter" is expressed by "agile coloraturas that characterize the entire movement". Mincham notes that the final aria corresponds to the first in similarity of the scoring with the obbligato instrument, key, and triple time. The final aria is faster, marked "vivace". The text first treats the "joy of anticipation of death and the desire for it to happen imminently", then, treated in the middle section, the "conviction that death will release us from the misery of the world to which we have been chained".
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The setting is divided into six movements, including five psalms and a setting of the Magnificat. A setting of the Minor Doxology (Gloria Patri) concludes all movements, each recapitulating the opening theme. The first three psalms are scored in a vigorous, exuberant manner, contrasting with the strict counterpoint of the a cappella Laudate pueri. The Laudate Dominum is set as an extended aria for the soprano soloist with obbligato organ, while the Magnificat opens with a majestic, moderate tempo, only to return to the bolder tempo of the first three psalms.
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Falletta was raised in the borough of Queens in an Italian-American household. She was educated at the Mannes College of Music and The Juilliard School in New York City. She began her musical career as a guitar and mandolin player, and in her twenties was often called to perform with the Metropolitan Opera and New York Philharmonic when a work called for a mandolin or guitar obbligato. Falletta entered Mannes in 1972 as a guitar student, but began conducting the student orchestra in her freshman year, which initiated her interest in a conducting career.
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Craig Smith suggests that the "vaulting high-energy fugue theme is the perfect illustration of the heroic struggle". The bass recitative in E minor describes the importance of the victory over Satan, but exudes a sombre mood, suggesting the continued difficulties of mankind. The third movement is a soprano aria with obbligato oboes, "an oasis of protective tranquillity" in the major mode. However, elements of the music disturb the peace conveyed by the text: the extended ritornello begins with an "odd three-bar phrasing", leading into a passage of constant momentum between the two oboes.
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They are written in a da capo form, which is organized so as to reflect the pattern of human emotion as it occurs. Because Bach treats the music and emotions of the piece as more of a sacred drama than an actual oratorio, the similarities between Bach and Handel are striking. Unique in many ways, Bach even wrote in an obbligato figure for the bassoon, an uncommon practice in music at that time as well as today. The piece provided what is now a relatively commonly played bassoon piece.
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In 1958, Benjamin Britten wrote a Nocturne for tenor, seven obbligato instruments and strings, and the third movement of his Serenade for Tenor, Horn and Strings (1943) is also titled "Nocturne". Nocturnes are generally thought of as being tranquil, often expressive and lyrical, and sometimes rather gloomy, but in practice pieces with the name nocturne have conveyed a variety of moods: the second of Debussy's orchestral Nocturnes, "Fêtes", for example, is very lively, as are parts of Karol Szymanowski's Nocturne and Tarantella (1915) and Kaikhosru Shapurji Sorabji's Symphonic Nocturne for Piano Alone (1977–78).
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Orchestras grew in size, arias lengthened, ensembles became more prominent, and obbligato recitative became both common and more elaborate. While throughout the 1780s Metastasio's libretti still dominated the repertory, a new group of Venetian librettists pushed opera seria in a new direction. The work of Gaetano Sertor and the group surrounding him finally broke the absolute dominance of the singers and gave opera seria a new impetus towards the spectacular and the dramatic elements of 19th-century Romantic opera. Tragic endings, on-stage death and regicide became the norm rather than the exception.
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An alto aria, "" (It is well for you, you chosen souls, whom God has designated for his dwelling), conveys images of contentment by incorporating a lilting berceuse-like rhythm, with an obbligato melody played by muted violins and flutes in octaves and tenths. It is accompanied by a tonic pedal in the continuo. The aria is in adapted ternary form. The pastoral character suited the original text, "Wohl euch, ihr auserwählten Schafe" (It is well for you, you chosen sheep), which alludes to the bridegroom, a pastor or "shepherd of souls".
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The similarities begin with the first movement, which like that of the previous year´s cantata, is given to the bass as the vox Christi. The movement is the quotation of verse 7 from the gospel, beginning: "" (It is good for you that I leave; for if I did not go, the Comforter would not come to you.) It is between aria and arioso. An oboe d'amore as the obbligato instrument plays extended melodies. Voice and oboe share the musical material, conveying "the mood of grieving at parting".
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The opening movement sets only a single line: the biblical quotation from Genesis which became the title of the cantata. The movement has an eight-measure ritornello that opens, ends, and bisects the movement; it features a prominent imitative motif. The second movement is a tenor aria accompanied by continuo and obbligato oboe d'amore, which perform a long ritornello serving much the same structural function as in the first movement. Craig Smith suggests that this is "perhaps the single most difficult tenor aria in the whole repertoire", with "wild and extremely ornate melismas".
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The three later cantatas, written within a few months, employ the organ as an obbligato instrument, possibly because Bach liked the combination of alto voice and organ registrations. A week later, Bach composed the famous cantata for bass solo, , also concluded by a chorale. It is not known if Bach looked for texts suitable for a solo voice, or if texts were "clerically imposed on him", which stressed individual piety and therefore suggested to be treated as solo cantatas. Bach first performed the cantata on 20 October 1726.
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The motifs of the instruments, which also appear in the lower voices, are derived from the tune, following the upward movement of its first line and the downward movement of its second line. Both other recitatives are secco. The first aria is accompanied only by an obbligato viola illustrating the flow of blood, termed by John Eliot Gardiner the "gushing, curative effect of the divine spring" in "tumbling liquid gestures", summarized as "the cleansing motions of some prototype baroque washing machine". The tenor sings the same figuration on the word "" (washing).
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Cage quoted in Kostelanetz, 67 Cage composed canons from his earliest works, such as the Three Easy Pieces of 1933 and Solo with obbligato accompaniment of two voices in canon of 1934. To compose the quartet Cage used a new technique, which consisted of dealing with fixed sonorities, or chords. He called those 'gamuts', and each gamut was created independently of all others. After producing a fixed amount of gamuts, scored for each player in an unchanging way,Pritchett, Grove a succession of them could be used to create a melody with harmonic background.
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The cantata is scored like chamber music, especially compared to the chorale cantatas on the same chorale with a melody by Severus Gastorius. In the opening chorus, the mostly homophonic setting of the voices, with the oboes playing colla parte, is complemented by strings dominated by the first violin as an obbligato instrument rather than an independent orchestral concerto. The final line is in free polyphony, extended even during the long last note of the tune. All voices have extended melismas on the word "" (govern), stressing that God is "ultimately in control".
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The last section, which speaks of God's "" (too fervent mercy) is embedded in the ritornello, then the ritornello is repeated once more. One motif in the ritornello is similar to one in the chorus "" from Bach's St John Passion and may illustrate undecidedness in both cases. The following three movements, two recitatives and an expressive aria, are only accompanied by the continuo, the last aria also by an obbligato oboe. The closing chorale is set for four parts; the melody in the soprano is doubled by the horn, the oboes, and violin I.
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Toccata, Adagio, and Fugue in C major (BWV 564) is an organ composition by Johann Sebastian Bach. As is the case with most other organ works by Bach, the autograph score does not survive. The earliest manuscript copies were probably made in 1719-1727\. The title of the piece in these copies is given, as expected of organ literature of the time, simply as Toccata in C major (or more precisely, Toccata ped: ex C in one source and Toccata ex C pedaliter, referring to the obbligato pedal part).
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1) (1910) BV 257 :v Paul Jacobs, piano :v Geoffrey Douglas Madge, piano :v Jeni Slotchiver, piano :v Roland Pöntinen, piano :v Marc-André Hamelin, piano Sonatina seconda, for piano (1912) BV 259 :v Paul Jacobs, piano :v Geoffrey Tozer, piano :v Jeni Slotchiver, piano :v Geoffrey Douglas Madge, piano :v Roland Pöntinen, piano :v Marc-André Hamelin, piano :v Olga Stezhko, piano Floh-Sprung. Canon for two voices with obbligato bass (1914) BV 265 :v Holger Groschopp, piano Indianisches Tagebuch. Erstes Buch (Red Indian Diary. First Book).
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As in the cantata for the same occasion in Bach's first year in Leipzig, , the text begins with words of Jesus from the gospel, sung by the bass as the vox Christi, accompanied by the strings, doubled by the oboes. It is formally free and untitled, but resembles a fugue because the instruments enter in imitation, and the voice sings a similar theme. A secco recitative leads to an alto aria with two obbligato oboi da caccia. The prayer for forgiveness (Forgive, o Father, our guilt) is illustrated by sighing motifs.
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The anthology Cantica sacra published in 1652 contained motets for 1, 2, 3 or 4 soloists with continuo, the first of their kind in France. What was new was not the use of continuo (for which there was some precedent) but the combining, in sacred music, of solo voices with obbligato instruments, particularly in the petits motets for one or two voices. Here there are many innovations, such as the introduction of typical Italian devices such as vocalise and echo. The grand motets also look forward to those later written for Versailles.
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Other times only one chorus sings (chorus I always takes the parts of the disciples) or they alternate, for example when "some bystanders" say "He's calling for Elijah", and "others" say "Wait to see if Elijah comes to help him." In the arias, obbligato instruments are equal partners with the voices, as was customary in late Baroque arias. Bach often uses madrigalisms, as in "", where the flutes start playing a raindrop-like staccato as the alto sings of drops of his tears falling. In "", the line about the serpent is set with a twisting melody.
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In the first recitative the strings accompany the voice, most keenly in motifs in the arioso middle section, in Gardiner's words "to evoke the spirit of God moving upon the face of the waters". Trumpet and bass voice are used to convey the call "to banish the tribe of idolaters", while the strings possibly illustrate "the hordes of infidels". The last recitative leads in an arioso to the chorale. In the chorale, Bach has the violin play an obbligato part to the four-part setting of the voices and separates the lines by interludes, with the trumpet anticipating the line to follow.
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In classical music the term has fallen out of use by modern-day practitioners, as composers, performers and audiences alike have come to see the musical text as paramount in decisions of musical execution. As a result, everything is now seen as obbligato unless explicitly specified otherwise in the score. It is still used to denote an orchestral piece with an instrumental solo part that stands out, but is not as prominent as in a solo concerto, as in Bloch's Concerto Grosso mentioned below. The term is now used mainly to discuss music of the past.
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Johann Heermann, the hymn writer The only chorale stanza of the work is "" ("I, Your troubled child"), the third stanza of Johann Heermann's "" ("Where should I flee"), published in 1630. Its term "troubled child" is a good summary of the position of the human being in relation to God. The wording of its conclusion, "In deine tiefen Wunden, da ich stets Heil gefunden" ("into Your deep wounds, where I have always found salvation") leads to the following recitative. The voice is accompanied by an obbligato viola (violoncello piccolo in the Leipzig version) in a lively figuration.
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The aria is in three sections. Bach wrote an aria accompanied by only an obbligato brass instrument again in his Missa of 1733 in B minor, composed for the court in Dresden and much later integrated into his Mass in B minor. The bass aria Quoniam tu solus sanctus, reflecting God's holiness and majesty, is set for corno da caccia, two bassoons and basso continuo. When he assembled the complete mass, he used an aria with only woodwinds to reflect the Holy Spirit in Et in Spiritum Sanctum, also a movement with many symbols of the Trinity.
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Hale Bopp, op. 36/2, for string orchestra with an obbligato treble voice (or horn) was composed in 1997, inspired by the Comet Hale–Bopp, which was discovered on 23 July 1995 and dubbed the Great Comet of 1997. The piece in one movement of about 7 minutes begins with tremolandi, glissandi and wide spaced scoring and ends with a quote of the chorale "How Brightly Shines the Morning Star", sung by a boy soprano accompanied by a string quartet. The original German hymn by Philipp Nicolai begins: "Wie schön leuchtet der Morgenstern" and was published in 1599.
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Britten delineated the three tiers of characters, the rustics being given folk-like "simple" music, the lovers a more romantic sound-world and the fairies being represented in a very ethereal way. Almost all of the action now takes place in the woods around Athens, and the fairies inhabit a much more prominent place in the drama. The comic performance by the rustics of Pyramus and Thisbe at the final wedding takes on an added dimension as a parody of nineteenth-century Italian opera. Thisbe's lament, accompanied by obbligato flute, is a parody of a Donizetti "mad scene" ("Il dolce suono").
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The sonnet was set to music by Benjamin Britten as the last song of his eight-song cycle Nocturne Op. 60 (1958) for tenor, 7 obbligato instruments (flute, clarinet, cor anglais, bassoon, French horn, timpani, harp) and strings. In 1990 Dutch composer Jurriaan Andriessen set the poem to a mixed chamber choir setting. Rufus Wainwright's "Sonnet 43", the sixth track on his album All Days Are Nights: Songs for Lulu (2010), is a musical setting of the sonnet. In 2004 the Flemish composer Ludo CLAESEN set this poem to a setting for chambermusic (flute, piano and soprano-solo).
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The orchestra mostly provides a background accompaniment. But with Beethoven, the work is often conceived in symphonic terms; the piano takes the secondary role, reflecting on or responding to ideas that have already been introduced by the orchestra (excepting the fourth piano concerto). Busoni combined both these precedents in the Piano Concerto, Op. 39, creating a huge work of symphonic proportions which was originally accused of having only a piano obbligato. The work presents exceptional challenges for the soloist, who is often nevertheless required to incorporate a glittering cascade of notes into the overall orchestral sound.
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The piece is set in 2/2, begins in B-flat major and is marked "Happily". It begins with eight measures of instrumental introduction, with broken chords in constant flowing eighth-notes in an obbligato flute and harp, accompanied by strings. The sopranos alone enter, singing a long lyric melody. The melody follows the text, first upward, reaching the key note on "earth"; it culminates in the refrain on "Lord of all, to thee we raise", illustrating the raising, an renders the final line "this our joyful hymn - of praise" with a soft descent in syncopes.
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While this was also a technique which developed in Venice, it was widespread by the end of the 16th century: almost all composers of sacred polyphony used polychoral techniques at some time, especially those working in large acoustical environments (such as most cathedrals in Europe). The most important achievement of the younger Anerio, however, was his Teatro armonico spirituale of 1619, which is arguably the first oratorio. It includes the earliest surviving obbligato writing for instruments by the Roman School. Instrumentation is indicated with unusual care, and the alternate instrumental and vocal passages were greatly influential in works of the following decades.
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The hymn printed in the Erfurt Enchiridion, 1524 The closing chorale is "" ("Kill us through your goodness" or "Us mortify through kindness"), the fifth stanza of Elisabeth Cruciger's "". Its melody is based on one from Wolflein Lochamer's Lochamer-Liederbuch, printed in Nürnberg around 1455. It first appears as a sacred tune in Johann Walter's Wittenberg hymnal (1524). The usual four-part setting of the voices is brightened by continuous runs of the oboe and violin I. Isoyama thinks that Bach may have intentionally imitated the style of his predecessor Johann Kuhnau in the "elegantly flowing obbligato for oboe and first violin".
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Opening chorale of BWV 8 in E major version, copyist C.F. Barth Closing chorale of BWV 8 in E major version, copyist C.F. Barth The opening chorus is a gapped chorale setting of the tune. The alto, tenor, and bass voices sing free counterpoint, while the sopranos sing the chorale unadorned in long notes. Philipp Spitta described the sound of this movement as a "church-yard full of flowers in the springtime". As Alfred Dürr comments, the chorus, with instrumental ensemble of high obbligato flute, two oboes d'amore and plucked arpeggios, presents "a sublime vision of the hour of death".
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Title on autograph score: Concerto 5to à une Traversiere, une Violino principale, une Violino è una Viola in ripieno, Violoncello, Violone è Cembalo concertato. Concertino: harpsichord, violin, flute Ripieno: violin, viola, cello and violone Duration: about 23 minutes The harpsichord is both a concertino and a ripieno instrument. In the concertino passages the part is obbligato; in the ripieno passages it has a figured bass part and plays continuo. This concerto makes use of a popular chamber music ensemble of the time (flute, violin, and harpsichord), which Bach used on its own for the middle movement.
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In the third section, the sopranos repeat the melody in a fugue, while the altos simultaneously sing a countersubject that rises in fast movement for more than an octave, illustrating the resurrection. The fourth section is a reprise of the sinfonia with the voices added, then a variation of sections 2 to 4 follows as 5 to 7. The tenor aria ' (My Jesus is arisen) is accompanied by an obbligato oboe d'amore. The theme is presented in the opening by the strings and later picked up by the voice, illustrating the word "" by an upward run.
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Bach structured the cantata in six movements. The text and tune of the hymn are kept in the outer choral movements, a chorale fantasia and a four-part closing chorale, which frame a sequence of alternating recitatives and arias. Bach scored the work for three vocal soloists (soprano (S), tenor (T) and bass (B)), a four-part choir, and a Baroque instrumental ensemble of two horns (Co), two oboes da caccia (Oc), two violins (Vl), two obbligato violins (Vs), viola (Va) and basso continuo. A festive scoring like this, including brass, was usually performed on holidays.
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He had not yet attained his brother's eminence, and was called "Little Parke" when he played at the benefit concert of the elder musician. Parke held his post at Covent Garden for forty years, William Shield occasionally writing an effective obbligato for him. The soprano Margaret Martyr had become his mistress by 1787; they had two sons. He appeared at the Ladies' Concerts and the Professional Concerts; his playing at the Noblemen's Subscription Concerts won the admiration of the Duke of Cumberland, who became his patron, and commanded his presence at his musical parties in town and country.
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In the duet for soprano and alto, "" (When cares press upon me), in "bright E major", as the Bach scholar Christoph Wolff writes, the voices are embedded in a "dense quartet texture". He concludes that the movement "banishes human care by means of joyful singing". The Bach scholar Klaus Hofmann notes that the obbligato motif, which is later picked up by the voices, is played by the oboes d'amore and violin in unison, providing "a new and remarkable tone colour". Bach refers to the Cross, as mentioned in the text, by using a cross- motif in the melody and applying double sharp marked by a cross.
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In terms of "home keyboard" features the HT-6000 improved the auto-accompaniment versus the previous HT's by including some additional PCM drum sounds, an additional accompaniment part ("obbligato"), 4 bass patches (versus one), additional chord inversions (including more tonic, suspended and subdominant triads), and the addition of "Intro" and drum and chord "Variation" for auto-rhythms. The HT-6000 was also sold in Germany by Hohner as the KS-610/TR. The HT-6000 was reviewed in Keyboard Magazine, November 1988, p. 149\. If the HT-6000, rather than the HZ-600, had been packaged as the "professional" model, it may have sold much better.
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He scored the work for three vocal soloists, a four-part choir, and a Baroque instrumental ensemble of two horns, timpani, two transverse flutes (added for a later performance), two oboes, strings and continuo. He achieved a unity within the structure by using the horns not only in the opening but also as obbligato instruments in the two chorales, the first time even playing the same motifs. Bach performed the cantata again, probably in 1730. He later reworked the music of the opening chorus and a duet again in his Missa in G major, BWV 236, and the music of an alto aria in his Missa in A major, BWV 234.
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Monteverdi achieved a collection of great variety both in style and structure, which was unique at the time. Styles range from chordal falsobordone to virtuoso singing, from recitative to polyphonic setting of many voices, and from continuo accompaniment to extensive instrumental obbligato. Structurally, he demonstrated different organisation in all movements. John Butt, who conducted a recording in 2017 with the Dunedin Consort using one voice per part, summarised the many styles: Butt described the first three psalms as radical in style, while the other two rather follow the polychoral style of Gabrieli, suggesting that the first three may have been composed especially with the publication in mind.
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A year later Charles Gounod selected this young violinist to play the obbligato of a piece, Vision de Jeanne d'Arc, composed for the Joan of Arc Centenary Celebration at Reims, where he also performed, before an audience of 2500 people, his teacher Léonard's Violin Concerto No. 5. Marteau made his professional debut in London in 1888, at a Richter concert. In 1892 he gained the first place prize at the Conservatoire de Paris, and Jules Massenet and Théodore Dubois both wrote a violin concerto especially for his benefit. A further series of tours followed. Twice he visited America, once in 1893, and once in 1898, and he visited Russia 1897-1899.
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The cantata is structured in five movements, an opening choral movement, a soprano arias, a chorale, an alto aria and another chorale. # Kündlich groß ist das gottselige Geheimnis # Geheimnisvolle Worte # Der Sohn des Vaters, Gott von Art # Dies Geheimnis führt und treibt uns # Gib uns, o Jesu The cantata is scored for soprano and alto soloists, a four-part choir, oboe, 2 violins, viola and continuo. The choral movements is in two parts, the first for the announcement of the mystery mostly homophonic, the second, "Gott ist offenbaret im Fleisch", in polyphony. In a da capo aria, the soprano is accompanied by obbligato instruments oboe and violin.
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The harpsichord was a common instrument in the 1730's, but never as popular as string or wind instruments in the concerto role in the orchestra, probably due to its relative lack of volume in an orchestral setting. In this context, harpsichords were more usually employed as a continuo instrument, playing a harmonised bass part in nearly all orchestral music, the player often also directing the orchestra. Bach's Brandenburg Concerto No.5 in D major, BWV 1050, may be the first work in which the harpsichord appears as a concerto soloist. In this piece, its usual continuo role is alternated with prominent solo obbligato episodes in all three movements.
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A passage from the "Arabesque-Nocturne" from Sorabji's Piano Symphony No. 6, which reflects the textural thinning out of his late music In 1953, Sorabji expressed disinterest in continuing to compose when he described Sequentia cyclica (1948–49) as "the climax and crown of his work for the piano and, in all probability, the last he will write".Sorabji (1953), p. 9, reproduced in Abrahams, p. 154 His rate of composition slowed down in the early 1960s, and later that decade, Sorabji vowed to cease composing, which he eventually did after writing Concertino non grosso for String Sextet with Piano obbligato quasi continuo (1968).
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In the first aria, "" ("My Jesus, draw me after You"), the alto voice is accompanied by an obbligato oboe, which expressively intensifies the text. Johann Mattheson, music theorist, 1746 An aria is, according to Johann Mattheson in Der vollkommene Capellmeister (Part II, chapter 13, paragraph 10), "correctly described as a well-composed song, which has its own particular key and meter, is usually divided into two parts, and concisely expresses a great affection. Occasionally it closes with a repetition of the first part, occasionally without it." In this aria, an individual believer requests Jesus to make him follow, even without comprehending where and why.
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The dialogue is opened by the soprano as the Soul in an aria in E minor, marked lento, "" (Dearest Jesus, my desire), The voice is complemented by an obbligato oboe, described by John Eliot Gardiner as "a solo oboe as her accomplice in spinning the most ravishing cantilena in the manner of one of Bach’s concerto slow movements". Julian Mincham distinguishes in the oboe line two different "ideas", in the first five measures a "sense of striving, effort and stretching upwards", then "garlands" of content in achieving a union, as the last lines of the text say "" (Ah! My treasure, bring me joy, let me embrace You with greatest delight).
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North was one of several composers who brought the influence of contemporary concert music into film, in part marked by an increased use of dissonance and complex rhythms. But there is also a lyrical quality to much of his work which may be connected to the influence of Aaron Copland, with whom he studied. His classical works include two symphonies and a Rhapsody for Piano, Trumpet obbligato and Orchestra. He was nominated for a Grammy Award for his score for the 1976 television miniseries Rich Man, Poor Man, and went on to score the sequel Rich Man, Poor Man Book II and the 1978 miniseries The Word.
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The text, written by the court poet Salomon Franck, is based on the prescribed gospel reading for the Sunday, "Render unto Caesar...", and includes several allusions to money and gold. The cantata has six movements, beginning with an aria for tenor, followed by two pairs of recitatives and arias, one for bass and the other for the duet of soprano and alto, and a concluding chorale. Similar to other cantatas on words by Franck, the work is scored for a small Baroque chamber ensemble of two violins, viola, two cellos and continuo. Bach composed a unique aria with a dark texture of a bass voice and two obbligato cellos.
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Beside works of György Ligeti, Paul Hindemith, Charles Ives and Max Reger, he also played compositions written especially for this project and that cannot be performed on conventional organs. It contains premieres of two works of John Cage; “Solo with Obbligato Accompaniment of Two Voices in Canon, and Six Short Inventions on the Subjects of the Solo” from 1933/34 and “Composition for Three Voices” from 1934. Later, Bonnen produced several CDs in several different musical genres, as for example the soundscape-composition “Bonnen in Beijing”, recorded 1993/94 for WDR in Beijing and Cologne. Other works present music of other composers in new arrangements.
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The symphony has been recorded many times, with recordings made by major orchestras and conductors. Conductors who have recorded the work include Arturo Toscanini, Mstislav Rostropovich, Lorin Maazel, Eugene Goossens, André Previn, Bernard Haitink, Eugene Ormandy, Yuri Temirkanov, Constantin Silvestri, Yevgeny Svetlanov, Riccardo Muti, Sir Neville Marriner, Igor Markevitch, Yuri Ahronovitch, Andrew Litton, Mikhail Pletnev (twice), Vladimir Fedoseyev, Riccardo Chailly, Mariss Jansons, Vasily Petrenko, Zubin Mehta, Vladimir Jurowski, Vladimir Ashkenazy and others. Manfred is less frequently performed in concert. This is due to its length, unfamiliarity, and its requirement for a large orchestra, including obbligato harmonium (specified by Tchaikovsky, but often played on the organ).
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Rocco Lo Presti or Lopresti (May 6, 1937 – January 23, 2009), known in Marina di Gioiosa Ionica, his town of origin as "Roccu u Maneja", was an Italian crime boss of the Lo Presti 'ndrina, a Mafia-type organization in Calabria, Italy, but his criminal base was Bardonecchia, in Piedmont region. Historical 'Ndrangheta boss of Bardonecchia and Val di Susa, was the Godfather of the 'Ndrangheta in Piedmont. Lo Presti was the first mobster sent in soggiorno obbligato (coerced stay), in northern Italy. Bardonecchia is an alpine town in the province of Turin, in Piedmont, on the border with France and one of the main ski resorts in Italy.
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Occasionally, the third movement from Bach's Sonata for Violin and Continuo in G, BWV 1021 (marked Largo) is substituted for the second movement as it contains an identical 'Phrygian cadence' as the closing chords. The Largo from the Sonata for Violin and Obbligato Harpsichord in G major, BWV 1019, has also been used. The outer movements use the ritornello form found in many instrumental and vocal works of the time. The first movement can also be found in reworked form as the sinfonia of the cantata Ich liebe den Höchsten von ganzem Gemüte, BWV 174, with the addition of three oboes and two horns.
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For this performance the Imperial Theatre's Premier maître de ballet Marius Petipa re-choreographed the ballet and commissioned the composer Riccardo Drigo to expand his original score with music for new dances. Among these additions was a new Grand Pas des dryads arranged for a corps de ballet of dryads led by a new character called the Dryad Queen that Petipa created for his daughter Marie. Also included were two new solo variations for the principal role of Ilka and for the Genie of the forest, respectively. The variation for Ilka featured an obbligato solo for harp arranged by Drigo for the virtuoso harpist Albert Zabel.
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He was a contemporary of Carl Stamitz and Anton Stamitz, and belonged to the Mannheim school. In the summer of 1778 he married the soprano Franziska Danzi, one of the most outstanding and well-known singers of the time and the sister of composer Franz Danzi. With her he travelled extensively across Europe: Milan, Paris, London, Vienna, Prague, Naples, Munich and Berlin. The couple's playing and singing complemented each other perfectly and arias with obbligato oboe were written for them, as for instance those in Günther von Schwarzburg (1777) by Ignaz Holzbauer, L'Europa riconosciuta (1778) by Antonio Salieri and Castore e Polluce (1787) by Georg Joseph Vogler.
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Sebastian D'Souza was a successful Goan music arranger in the Bollywood music industry, considered to be the master of fusing Indian music with European classical music concepts of harmony, cadence and obbligato. He is largely responsible for changing the entire harmonic structure of the Hindi film song to create an extremely listenable full body of sound behind the voice of the singer. Sebastian was very competent in creating counter-melody which became popular from 1950 onwards and Sebastian became a well-known and the most wanted Music Arranger of many music directors of Hindi Film industry. Since 1952 till 1975, he was a permanent Assistant to Shankar-Jaikishan along with Datta Ram.
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The cantata begins with a Sinfonia, which Bach derived from the first movement of his Brandenburg Concerto No. 3, possibly composed already in Weimar. For the cantata, he added to the nine string parts two new parts for corno da caccia and a ripieno trio of oboe I and violin I, oboe II and violin II, taille and viola, parts that are also new, but reinforcing existing parts. John Eliot Gardiner hears in the result the addition of "new-minted sheen and force to the original concerto movement, its colours and rhythms even sharper than before". In the first aria, two obbligato oboes in imitation introduce themes which the voice picks up.
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In European music after 1900, an example of an overture displaying a connection with the traditional form is Dmitri Shostakovich's Festive Overture, Op. 96 (1954), which is in two linked sections, "Allegretto" and "Presto" (Temperely 2001). Malcolm Arnold's A Grand, Grand Overture, Op. 57 (1956), is a 20th-century parody of the late 19th century concert overture, scored for an enormous orchestra with organ, additional brass instruments, and obbligato parts for four rifles, three Hoover vacuum cleaners (two uprights in B, one horizontal with detachable sucker in C), and an electric floor polisher in E; it is dedicated "to President Hoover" (; ; ; Anon. 1957 mistakenly says just three rifles, but publisher's website confirms four, as stated also in Maycock 2009).
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There have been several reconstructions of the violin concerto; Ferdinand David made one in 1873; Robert Reitz in 1917; and Wilfried Fischer prepared one for Volume VII/7 of the Neue Bach Ausgabe in 1970 based on BWV 1052. In 1976, in order to resolve playability problems in Fischer's reconstruction, Werner Breig suggested amendments based on the obbligato organ part in the cantatas and BWV 1052a. In the twenty-first century, however, Bach scholarship has moved away from any consensus regarding a violin original. In 2016, for example, two leading Bach scholars, Christoph Wolff and Gregory Butler, both published independently conducted research that led each to conclude that the original form of BWV 1052 was an organ concerto.
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Since 1712 the German-born Handel had been resident in London. It is not known exactly why or when Handel set the text of the Brockes Passion, already used by numerous other composers, to music, but it is known that the work was performed in Hamburg in 1719. It is a lengthy and contemplative work for vocal soloists, choir and instrumental ensemble with some passages of great beauty, such as the duet for Mary and her son. The few choruses, perhaps surprisingly in view of Handel's later large scale choral works, are short and perfunctory in comparison with the arias, some of which are in an operatic style, others with simple accompaniment of solo oboe or obbligato violin.
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The Gramophone Company recorded him as obbligato to Dame Nellie Melba in 1904, a match which reflected the classical phrasing, tonal purity and security of his art and was an ideal complement to it. Their early version of the Bach-Gounod Ave Maria (G.C. 03033) was recorded twice, in October 1904 and again in February 1905, and this was one of the great early classics of the gramophone, one of those records which 'made' the instrument a popular success, though the double celebrity single-sided title retailed at one guinea. Nine years later (when technology had improved) the partnership was reformed to re-make the record (as 03333), in May 1913 with organ accompaniment and again in October 1913.
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Scored for harpsichord, oboe and strings in the autograph manuscript, Bach abandoned this concerto after entering only nine bars. As with the other harpsichord concertos that have corresponding cantata movements (BWV 1052, 1053 and 1056), this fragment corresponds to the opening sinfonia of the cantata Geist und Seele wird verwirret, BWV 35, for alto, obbligato organ, oboes, taille and strings. summarises the musicological literature discussing the possibility of a lost instrumental concerto on which the fragment and movements of the cantata might have been based. A reconstruction of an oboe concerto was made in 1983 by Arnold Mehl with the two sinfonias from BWV 35 as outer movements and the opening sinfonia of BWV 156 as slow movement.
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The final chorus for full orchestra with divided horns has a central interlude in the minor key with a duet for Cesare and Cleopatra accompanied only by oboes and continuo. It is preceded by another duet for Cesare and Cleopatra and an orchestral march with obbligato trumpet (not in the autograph manuscript and not always performed). The most elaborate and ravishing orchestration occurs at the beginning of act 2 in Cleopatra's aria "V'adoro, pupille" sung in the guise of Lidia to seduce Cesare. On stage there is a tableau of the Temple of Virtue, below Mount Parnassus with a second orchestra or "symphony" of nine instruments played by the muses, with muted strings in the pit.
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The score of Giulio Cesare calls for four horns in the orchestra (although only one is used in this aria), and this would seem to be the first appearance in music of the 'horn quartet' which would become a standard feature of orchestral scores of the music of the romantic period a century later. The only other noted use by Handel of a horn obbligato in an aria occurs in his pastoral ode L'Allegro, il Penseroso ed il Moderato (1740), where the text, "Mirth, admit me", also refers to hunting.Blandford (1939), p. 698. Earlier versions of the thematic material of the aria can be traced in Handel's Acis and Galatea (1718) and in an early trio sonata.
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Bjorn joins in later in the verse, at "I must've gone to bed...", to add to this "smooth and genial major-key affirmation". Benny's riffs "level...out into a more synthetic plateau" at "And rattling on the roof...", Agnetha's second-last phrase. One more repeat of the "forlorn title hook", and the lead vocals end, the soundscape being swept up by the instruments and backing vocals in a "moving mosaic of sound colours" until the end of the song. Kultur says the song "is portrayed, sophisticated enough, simply by harmonies and minor cadences, topped off with Anni-Frid Lyngstad's obbligato that could just as easily belong in a baroque largo by Handel and Albinoni".
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He had taken the popular excerpt "My Lady Sleeps" from Longfellow's The Spanish Student, and arranged it for voice and string quartet as well as piano and violin or flute obbligato. This music can still be heard today in a private collection. He composed Herne's Oak, produced at Liverpool, October 1887; The Rose of Windsor, Accrington, August 1889; an operetta, A Pair of Lunatics in 1892, Quartet in B-flat, Trio in D minor, pianoforte and strings, and Sonata in G minor, May Pole suite, and many other pieces for pianoforte. In 1895 he arranged and composed music for the first act of The Importance of Being Earnest for a musical event.
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Of these, the E minor symphony, Wq. 178, has been particularly popular. In Hamburg, Bach wrote a major set of six string symphonies for Gottfried van Swieten, Wq. 182. These works were not published in his lifetime (van Swieten, who had commissioned them to be written in a more "difficult" style, preferred to retain them for private use), but since their rediscovery, have become increasingly popular. However, Bach's best works in the form (by his own estimation) are assuredly the four Orchester- Sinfonien mit zwölf obligaten Stimmen, Wq. 183, which, as their title suggests, were written with obbligato wind parts that are integral to the texture, rather than being added on to an older string symphony.
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From 1806, when Beethoven broke relations with Prince Lichnowsky, most of his chamber music was first played in Zmeskall's house. There are more than 100 letters and notes from Beethoven to Zmeskall, the last written a month before the composer's death. They often met in the tavern Zum Schwan near Bürgerspital; Zmeskall gave minor help to Beethoven, such as providing him with pens, a watch, and loaning books.Nikolaus Zmeskall Beethovenhaus Bonn, accessed 26 October 2016. A work by Beethoven written in 1796 for viola and cello, WoO 32, entitled "Duet mit zwei obligaten Augengläsern" ("Duet with two obbligato eyeglasses"), was dedicated to Zmeskall; it was written for Beethoven and Zmeskall, who both wore spectacles, to play together.
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French composer Christophe Looten wrote a transcription for voice and string quartet (Théâtre des Champs-Élysées, Paris, March 2015). In 2013 (the bicentennial of Wagner's birth) the French composer Alain Bonardi released a new version for voice, piano, clarinet and cello, including instrumental interludes with oriental resonant percussions. In the same year, the Chinese-British composer Jeffrey Ching premiered his Wesendonck Sonata, for voice, viola (or cello), and piano. Ching transposed Wagner's original songs so as to form a closed palindromic tonal sequence in the manner of a five-movement sonata, and also added an elaborate obbligato part for viola (or cello), which comments on the poems and adds harmonic and contrapuntal detail to Wagner's accompaniment.
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Achieving greater popularity were the numerous danzas of his follower, Juan Morel Campos (1857–96), a bandleader and extraordinarily prolific composer who, like Tavárez, died in his youthful prime (but not before having composed over 300 danzas). By Morel Campos' time, the Puerto Rican danza had evolved into a form quite distinct from that of its Cuban (not to mention European) counterparts. Particularly distinctive was its form consisting of an initial paseo, followed by two or three sections (sometimes called "merengues"), which might feature an arpeggio-laden "obbligato" melody played on the tuba-like bombardino (euphonium). Many danzas achieved island-wide popularity, including the piece "La Borinqueña", which is the national anthem of Puerto Rico.
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In the following chorale and recitative, Bach distinguishes the chorale lines from the secco recitative by a continuo line on a repeated motif that is derived from the beginning of the respective melody line, termed "in rhythmically compressed form ... four times as fast". The first aria shows the image of "wild sea surf" in undulating movements in the voice, in the obbligato part of the violins in unison, and in the continuo. The bass voice has to sing challenging coloraturas on the words "" and especially "" (be wrecked). The center of the cantata is an unchanged stanza of the chorale, the alto's unadorned melody accompanied by the oboes d'amore and the continuo as equal partners.
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Earlier in 1786, Mozart had produced a previous (musically only distantly related) score based on the same text, as an insertion aria for the character Idamante in a revised version of his 1781 opera Idomeneo, made for a private performance in Prince Auersperg's palace in Vienna. For that revival, Mozart reworked the role of Idamante (originally a castrato) for the tenor voice, and the substitution of this scena (recitative and rondò "", KV 490) for that of 1781 was only one of many changes that resulted from this recasting. The K. 505 setting was written for Nancy Storace, probably for her farewell concert from Vienna on 23 February 1787 at the Theater am Kärntnertor. Mozart himself very likely played the obbligato piano part (K.
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The aria for Senesino in the role of Ottone, Ritorna, o dolce amore, a siciliana in 12/8 time, is praised by musicologist Paul Henry Lang as "exquisitely turned...one of his most beguiling melodies". The three star roles for women singers are characterised by Handel with entirely different music. Teofane's music is pure and melting; her entrance aria Falsa imagine, with its "fine" cello obbligato is, according to Lang, one of Handel's greatest arias, and she too is given a "bewitching" siciliana to sing, the aria Affanni del pensier. The music for Matilda, as her mood swings wildly in the course of the action between hatred, anguish and love, is completely different in character from the "gentle and maidenly" music for Teofane.
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He changed the second movement to a choral movement by embedding vocal parts in the music, but this time without additional woodwinds. Brian Robins commented: > The opening chorus is superimposed onto the deeply moving slow movement of > the concerto, the anguish of the repeated (ostinato) bass line ideally > underlining a text concerned with the tribulation that must be endured > before the kingdom of heaven is attained. Musicologist Julian Mincham describes the process of changing a harpsichord concerto movement to a chorus with obbligato organ in detail: > The original thirteen-bar throbbing ritornello theme is retained but its > function has changed. The voices soar above it from the very first bar and > continue to enhance it throughout its six appearances in different tonal > environments.
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The slow section, marked grave, in dotted rhythm is instrumental, in the fast section, marked vivace, the orchestra plays a fugue, to which the soprano sings the cantus firmus of the melody line by line in long notes, whereas the lower voices take part in the imitation of the instrumental motifs. After the last line all voices join in an "urgent homophonic concluding statement". Bach structured the inner movements, named "versus" (Latin for stanza), as five arias and two recitatives, using the voices from the lowest to the highest, increasing the instrumentation from continuo to obbligato instruments. He kept the structure of the text, two even parts, in all of these movements but the duet which shows a modified da capo form.
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Milner, Greg, Perfecting Sound Forever: An Aural History of Recorded Music, New York: Faber and Faber, 2009 So it proved, and Verlet continued to be involved. For instance, together with violinist Arthur L. Walsh, who had also performed at the convention, and members of the New York Philharmonic, on November 30, 1915, she repeated her performance of "Caro nome" before a capacity audience at Orchestra Hall in Chicago. She also sang with her records of Johann Strauss's Voices of Spring; the "Jewel Song" from Gounod's Faust; "Parigi o cara" and "Addio del passato" from Verdi's La traviata; and "Belle nuit" from Offenbach's The Tales of Hoffmann, the last a duet recording with Margaret Matzenauer, in whose absence Walsh played a violin obbligato.
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The opening recitative, speaking of longing and waiting, expands expressively on a throbbing pedal point of 11 measures, moving only on the words "" mentioning "joy" (the lack of joy, though), only to sink back for the final "" (almost all my confidence has drained away). In the following duet, an unusual obbligato bassoon plays virtuoso figurations in a wide range of two and one half octaves (including a truly remarkable G0), whereas the voices sing together, for most of the time in homophony. Movement 3 speaks words of consolation. Bach chose the bass as the (voice of Christ) to deliver them, almost as an arioso on the words "" (so that the light of His grace might shine on you all the more brightly).
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Movement 2 is a secco recitative for tenor, concluding in an arioso section with a "deeply moving" melisma on the word "" (sorrows). Movement 3, "" (Besides You is no doctor to be found) is an aria for alto with the obbligato flauto piccolo, which according to Mincham, employs a "figuration ever striving upwards, moderates the underlying sense of potential tragedy". The alto recitative "marks a change of scene", it begins in B minor, like the opening chorus, but modulates to D-major and ends with a wide-ranging coloratura marking the word "" (joy). Movement 5, "" (Recover now, O troubled feelings), picks up the joyful coloraturas, supported by the trumpet and fanfares in triads in the orchestra, Mincham notes that the trumpet "bursts upon us with an energy, acclamation and jubilation unheard, so far, in this work".
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Eisen and Keefe, p. 221. which is believed by some to be related to the Sinfonia Concertante for Four Winds (K.Anh.C14.01). In 1781 Wendling took part in the premiere of Mozart's opera Idomeneo in Munich, with his wife Dorothea performing the part of Ilia and his brother's wife Elisabeth the part of Elettra. Ilia's second aria contains a four-part obbligato for flute, oboe, bassoon and horn, composed by Mozart for Wendling and his colleagues.Eisen and Keefe, p. 221. Wendling was also active as a flute teacher, not only of noble amateurs but also of the next generation of professionals. His most notable pupils were Duke Christian IV of Deux-Ponts, Elector Carl Theodor of Mannheim, the Duke of Guines, Johann Baptist Becke, Johann Georg Metzger, Johann Nikolaus Heroux and Jakob Heinrich Appold.
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When Mascheroni arrived in London, unknown, he experienced great difficulty in obtaining a few guineas for his song For all eternity; but this copyright when sold by public auction a few years later realized as many thousand guineas — the record price paid for a musical copyright. Other of his successful vocal compositions are : Woodland serenade, with mandolin obbligato, published in 1892, and Ave Maria, composed at Madame Patti's Welsh castle. Mascheroni was the author of several arrangements and original compositions for mandolin and piano, the principal being: On the banks of the Rhine; Tarantella, written in 1894, published by Augener, London; Fantasia on Faust (Gounod), and others of a like nature. Mascheroni also wrote obbligatos for the mandolin to several of his vocal compositions, as well as solos and duos for mandolin, with piano accompaniment.
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In 1996, Herrmann was the youngest finalist and winner of the International Johann Sebastian Bach Competition in Leipzig and in 1999 she won the special prize of the . In 2002, she made her debut at the Salzburg Festival and in 2003 conducted Mozart's recitative and rondo Ch'io mi scordi di te? for soprano with piano obbligato and orchestra KV 505 with Elīna Garanča, Marcello Viotti and the Mozarteum Orchestra Salzburg. Herrmann performed as a soloist with orchestras such as the Camerata Salzburg, the Mozarteum Orchestra Salzburg, the Bruckner Orchester Linz, the Vienna Chamber Orchestra, the NHK Symphony Orchestra, The Florida Orchestra, the MDR Sinfonieorchester, the Israel Chamber Orchestra and worked with the conductors Sir Roger Norrington, Manfred Honeck, Hubert Soudant, Sir Neville Marriner, James Judd, Pinchas Steinberg, Fabio Luisi, Lawrence Renes, Stefan Sanderling.
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A recitative, "Drum sucht auch Amor sein Vergnügen" (Therefore Love himself seeks his pleasure), leads to the third aria, "Wenn die Frühlingslüfte streichen" (When the springtime breezes caress), with a solo violin, in elegiac mood. The recitative "Und dieses ist das Glücke" (And this is good fortune) prepares the aria "Sich üben im Lieben, in Scherzen sich herzen" (To cultivate love, to cuddle in playful tenderness) with an obbligato oboe. The melody of the dance- like music in a triple metre alludes to folk music. A recitative, "So sei das Band der keuschen Liebe" (So may the bond of chaste love) leads to the final aria, marked as a Gavotte, again with all instruments, "Sehet in Zufriedenheit tausend helle Wohlfahrtstage" (May you see in contentment a thousand bright happy days).
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The movements 1 (Magnificat), 7 (Fecit potentiam) and 12 (Gloria patri) are the cornerstones of the composition: they are in the tonic key (E major for BWV 243.1, D major for BWV 243.2), and are the only movements that feature a five-part chorus as well as a tutti orchestra. The chorus also sings in movement 4 (Omnes generationes), accompanied by an orchestra without trumpets and timpani, and in movement 11 (Sicut locutus est), there only accompanied by the continuo. The first three choral movements are, in the version without the Christmas hymns, followed by two movements for a vocal soloist, the second one often with richer scoring. In the movements for vocal soloists the instrumentation is as usual in Bach's cantata's: the soloists are accompanied by an obbligato instrument, only strings and/or continuo.
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The use of a larger choir is partly a question of balance with the relatively large instrumental forces, but there is also supporting evidence for the use of more than four singers in the score, where a marking implies that Bach envisaged the option of a vocal ensemble that is separate from the four soloists. This was Bach's first cantata for festive orchestra, including trumpets and timpani. The instruments are divided into four spatially separated "choirs", placing the work in the polychoral tradition associated with composers such as Heinrich Schütz. The instruments required for the Baroque instrumental ensemble are three trumpets (Tr), timpani (Ti), two recorders (Fl), two oboes (Ob), bassoon (Fg), organ obbligato (Org), two violins (Vl), viola (Va), violoncello (Vc), viola da gamba (Vg) and basso continuo.
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The manuscript to be used once belonged to C. P. E. Bach, who sold it through Kirnberger to Princess Anna Amalia of Prussia (for twelve louis d'or). It is presumed that this manuscript contained neither the text of the chorales nor any reference to the larger works from which the harmonisations had been taken. The manuscript's harmonisations extracted only the vocal parts and ignored the instrumental parts and the continuo, even though all of Bach's chorale settings included both instrumental parts and continuo. The instrumental parts were either independent, so called obbligato instrumental parts, or mostly doubled the vocal parts sometimes separating from it for a very few beats, and the continuo had its bass mostly double the vocal bass at the lower octave, but could also separate from it for a very few beats.
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Cappella Regia Musicalis is a massive collection of hymns, sacred and festive songs, and all manner of musical settings of almost all central parts of the Roman Catholic liturgy, all printed primarily in the Czech language. It is difficult to tell just how much of the collection was composed by Holan himself (though it is clear that many other composers are represented), and some of the songs and other pieces are clearly much older, such as the anonymous fifteenth century Czech settings of the Passion. Curiously, the collection also contains many earlier Protestant and even Hussite songs, making it something of a survey of Czech sacred song to date. Unlike most other Czech hymnals, many pieces in Holan's collection also included basso continuo and even obbligato instruments such as violins, viols, and trumpets.
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The earliest surviving manuscript of the concerto can be dated to 1734; it was made by Bach's son Carl Philipp Emanuel and contained only the orchestral parts, the cembalo part being added later by an unknown copyist. This version is known as BWV 1052a. The definitive version BWV 1052 was recorded by Bach himself in the autograph manuscript of all eight harpsichord concertos BWV 1052–1058, made around 1738. In the second half of the 1720s, Bach had already written versions of all three movements of the concerto for two of his cantatas with obbligato organ as solo instrument: the first two movements for the sinfonia and first choral movement of Wir müssen durch viel Trübsal in das Reich Gottes eingehen, BWV 146 (1726); and the last movement for the opening sinfonia of Ich habe meine Zuversicht, BWV 188 (1728).
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Manuscript of the first movement of BWV 1019, third version, copied by Johann Christoph Altnickol The six sonatas for violin and obbligato harpsichord BWV 1014–1019 by Johann Sebastian Bach are works in trio sonata form, with the two upper parts in the harpsichord and violin over a bass line supplied by the harpsichord and an optional viola da gamba. Unlike baroque sonatas for solo instrument and continuo, where the realisation of the figured bass was left to the discretion of the performer, the keyboard part in the sonatas was almost entirely specified by Bach. They were probably mostly composed during Bach's final years in Cöthen between 1720 and 1723, before he moved to Leipzig. The extant sources for the collection span the whole of Bach's period in Leipzig, during which time he continued to make changes to the score.
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Incipit of the Gregorian chant introit for a Requiem Mass, from the Liber Usualis Duruflé structured the work in nine movements: # Introit (Requiem aeternam) # Kyrie eleison # Offertory (Domine Jesu Christe), Choir & baritone solo # Sanctus and Benedictus # Pie Jesu, Mezzo-soprano solo, optional solo cello # Agnus Dei # Communion (Lux aeterna) # Libera me, Choir & baritone solo # In paradisum The work is for SATB choir with brief mezzo-soprano and baritone solos. It exists in three versions: one for organ alone (with obbligato solo for cello); one for organ with string orchestra and optional trumpets, harp, and timpani; and one for organ and full orchestra. Like Fauré in his Requiem, Duruflé's omits most of the liturgical Dies Irae, but sets its part Pie Jesu. He includes Libera me and In Paradisum, from the burial service, again like Fauré, focused on calmness and a meditative character.
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Autograph manuscript of first movement of BWV 596 Autograph manuscript of third movement and beginning of fourth movement of BWV 596 # [Allegro] # Pieno. Grave – Fuge # Largo e spiccato # [Allegro] This transcription of Vivaldi's Concerto in D minor for two violins and obbligato violoncello, Op.3, No.11 (RV 565), had the heading on the autograph manuscript altered by Bach's son Wilhelm Friedemann Bach who added "di W. F. Bach manu mei Patris descript" sixty or more years later. The result was that up until 1911 the transcription was misattributed to Wilhelm Friedemann. Despite the fact that Carl Friedrich Zelter, director of the Sing- Akademie zu Berlin where many Bach manuscripts were held, had suggested Johann Sebastian as the author, the transcription was first published as a work by Wilhelm Friedemann in 1844 in the edition prepared for C.F. Peters by Friedrich Griepenkerl.
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Beginning of the obbligato oboe and soprano parts, performing the hymn's second stanza The second movement combines an aria and chorale: the bass sings free poetry, "" (Everything that is born of God), while the oboe and soprano perform the second stanza of the hymn, "" (Nothing can be done through our strength), in an embellished version of the chorale melody, particularly in the oboe line. Like the first movement, the duet is in D major and common time. The musicologist Richard D. P. Jones interpreted the theme of the ritornello, played in unison by the strings, as a motto of victory, corresponding to the two mentions of victory in the text. In the Weimar version, the instrumental quotation of the tune of the same hymn used as the closing chorale provided a structural unity to the cantata.
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Cut to a book titled Young Man with a Horn; a caricature of Harry James breaks loose with a jazz trumpet obbligato similar to James' "You Made Me Love You", in which he segues into the standard, "It Had to Be You", as a striptease is about to begin on the cover of Cherokee Strip. Book covers for The Whistler and The Sea Wolf show their characters whistling and howling at the off-screen action, Shakespeare's inner workings also break apart at the sight of the action. Henry VIII (designed to resemble Charles Laughton's portrayal of him) also gets excited at the sight of the striptease until his mother on the cover of The Aldrich Family calls for him. As she starts to spank Henry, "The Voice in the Wilderness", an emaciated Frank Sinatra caricature, appears gently singing "It Had to Be You" while being pushed along by an orderly.
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Joshua Rifkin also argues for a Weimar date, rather than the more commonly assigned Köthen period, based on stylistic elements such as the short recitatives ending arioso, the slow–fast- slow tempo of the first aria, which Bach used only rarely after 1714, and the specific relation of voice and obbligato oboe in the seventh movement, which rarely occurs after 1715. More traditionally, the composition was linked to Bach's time in Köthen from 1718, and the occasion a wedding, possibly his own to Anna Magdalena in December 1721. The text relates beginning love to the arrival of spring after winter, mentioning shooting flowers in the first two movements, the sun climbing higher in the third movement, Cupid searching for "prey" in the following two movements, finally a bridal couple and good wishes for them. The tone is humorous and jesting, which suggests a civil wedding.
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All three settings of the stanzas from Luther's chorale are different, beginning with a duet for soprano and alto for the first stanza. The voices are doubled by the oboes d'amore and render the text in sections of different length, with sixteen measures for the final "" (that God had ordained such a birth for Him). Alfred Dürr notes the expressiveness of the music, especially in leaps of sixths on the urgent request "" (now come), syncopated rhythm on "" (over whom the whole world marvels), and daring chromatic on the final line. The tenor aria reflects "" (Love approaches with gentle steps) with oboe d'amore as obbligato instrument, "the traditional musical symbol of love", alluding to the concept of Jesus as the bride-groom and the Soul as the bride, which is also the base for Nicolai's hymn that closes part I in a "rousing four-part harmonisation".
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Miriam > and the two boyfriends in her odd ménage à trois bring "The Band Played On" > to life by singing it on the merry-go-round, lustily and loudly... Grinning > balefully on the horse behind them, Bruno then sings it himself, making it > his motto. The band plays on through Bruno's stalking of his victim and > during the murder itself, blaring from the front of the screen, then > receding into the darkness as an eerie obbligato when the doomed Miriam > enters the Tunnel of Love. "The Band Played On" makes its final reprise during Guy's and Bruno's fight on the merry-go-round, even itself shifting to a faster tempo and higher pitch when the policeman's bullet hits the ride operator and sends the carousel into its frenzied hyper-drive. Critic Jack Sullivan had kinder words for Tiomkin's score for Strangers than did biographer Spoto: "[S]o seamlessly and inevitably does it fit the picture's design that it seems like an element of Hitchcock's storyboards", he writes.
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The main numbers of the score are Murena's first aria Ahi! Che di calma un'ombra and his duet with Publius (Act 1, scene 1), the Septimus and Argelia's duet (Act 1, scene 3), the final trio of the act 1, for which the work owes much of its popularity in the nineteenth century, the Murena's mad scene in Act 2 and the duet between Argelia and Murena, also in act 2. The music is still much affected by the opera seria influence, the classic example of which is Rossini's Semiramide of 1823, although the instrumental passages with the accompaniment of English horn or bassoon obbligato and extensive scenes altogether often make us think about Donizetti's old master, Simon Mayr, or even of Gaspare Spontini's The Vestal (1803). However, the dramatic intensity of the situations, as well as Donizetti's typical use of the flute and the attempt to remove the final prima donna's aria already announced the composer's mature works.
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The surviving source is a copy by Penzel, identified on the title page as being for the Purification (the Lutheran feast Mariae Reinigung), which was celebrated on 2 February, but with an alternate designation for Easter Tuesday in the parts. Bach composed several cantatas for the Purification and the texts are related to Simeon's canticle Nunc dimittis, part of the prescribed readings.Erfreute Zeit im neuen Bunde, BWV 83, 1724; Mit Fried und Freud ich fahr dahin, BWV 125, 1725 (on Luther's hymn after Nunc dimittis); Ich habe genug, BWV 82, 1727 Because of the references to the "Nunc dimittis" in Der Friede sei mit dir and because of the alternate title page designation, it is widely assumed that at least the two central movements were originally part of a longer cantata for the Purification, with a different introductory recitative not evoking Christ's Easter reappearance to the disciples. The obbligato writing in the aria, which appears better suited to flute than the "violino" specified in Penzel's copy, is cited in support of the hypothesis that it was originally written for a different occasion.
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Durch Adams Fall ist ganz verderbt. Fuga. (2nd version), BWV 705 :::9. In dir ist Freude (In Thee is joy), BWV 615 :::10. Jesus Christus, unser Heiland (Jesus Christ, our Savior), BWV 665 ::Holger Groschopp, piano :CD2: :^ Fantasia contrappuntistica, edizione definitiva (1910), second edition published by Breitkopf & Härtel, 1916 BV 256 :::1. Preludio corale :^ Bach: Capriccio on the Departure of His Beloved Brother, in B-flat major for harpsichord, BWV 992, transcribed for piano by Busoni (1914) BV B 34 :^ Bach: Fantasy, Adagio, and Fugue for harpsichord, BWV 906, 968, transcribed for piano by Busoni (1915) BV B 37 :^ Bach: Canonic Variations and Fugue from the "Musical Offering," BWV 1079, transcribed for piano by Busoni (1916) BV B 40 :^ Floh- Sprung. Canon for two voices with obbligato bass (1914) BV 265 :^ after Bach: Two Chorale Preludes (Das Calvarium), transcribed for piano by Busoni (fragments only - date unknown) BV B 46 :+ transcriptions by Michael von Zadora and Egon Petri and a composition by Anna Weiß-Busoni ::Holger Groschopp, piano Busoni/Bach – Liszt.
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The Inventions and Sinfonias, BWV 772–801, also known as the Two- and Three- Part Inventions, are a collection of thirty short keyboard compositions by Johann Sebastian Bach (1685–1750): 15 inventions, which are two-part contrapuntal pieces, and 15 sinfonias, which are three-part contrapuntal pieces. They were originally written as "Praeambula" and "Fantasiae" in the Klavierbüchlein für Wilhelm Friedemann Bach, a Clavier-booklet for his eldest son, and later rewritten as musical exercises for his students. Bach titled the collection: > Forthright instruction, wherewith lovers of the clavier, especially those > desirous of learning, are shown in a clear way not only 1) to learn to play > two voices clearly, but also after further progress 2) to deal correctly and > well with three obbligato parts, moreover at the same time to obtain not > only good ideas, but also to carry them out well, but most of all to achieve > a cantabile style of playing, and thereby to acquire a strong foretaste of > composition. The two groups of pieces are both arranged in order of ascending key, each group covering eight major and seven minor keys.
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Unlike Bach's other harpsichord concertos, BWV 1055 has no known precursors, either as an instrumental concerto or as a movement with obbligato organ in a cantata. It has generally been accepted that it is a reworking of a lost instrumental concerto, since Donald Francis Tovey first made the suggestion in 1935, when he proposed the oboe d'amore as the melody instrument. Additional reasons for the oboe d'amore have been given by Ulrich Siegele in 1957, Wilfried Fischer in 1970, Hans-Joachim Schulze in 1981 and Werner Breig in 1993; Schulze has dated the original concerto to 1721; and a reconstruction as a concerto for oboe d'amore and strings was prepared by Wilfried Fischer in 1970 for Volume VII/7 of the Neue Bach Ausgabe edition. Another proposed instrument has been the viola d'amore, first suggested by Wilhelm Mohr in 1972; additional reasons for choosing the viola d'amore as a possible melody instrument were later given by Hans Schoop in 1985 and Kai Köpp in 2000, but in 2008 Pieter Dirksen gave reasons why he considered it unlikely to have been the original melody instrument.
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Portrait, by Thomas Gainsborough, Fischer's father-in-law, 1780, the year he married Mary GainsboroughGeoffrey Burgess (oboist) and Bruce Haynes, The Oboe, 2004:87 (Royal Collection) Johann Christian Fischer (c. 1733 – 29 April 1800) was a German composer and oboist, one of the best-known oboe soloists in Europe during the 1770s."The two best-known hautboy soloists in Europe in the 1770s were probably Johann Christian Fischer (1733–1800) and Carlo Besozzi (1738–1791)" (Burgess and Haynes 2004:87). Employed as a music copyist and theatre director for the Duke of Mecklenburg-Schwerin at Ludwigslust, Fischer is now credited with the unique Symphony with Eight Obbligato Timpani, formerly attributed to Johann Wilhelm Hertel, court composer at Schwerin.Naxos.com: Composers He spent some time in Dresden, but left after the Prussian occupation in the Seven Years' War for extensive concertizing tours,He met the nine-year-old Mozart at The Hague in 1765 and again in Vienna in 1787, when Mozart was less impressed (Letter, 4 April 1787).. ending in London, where he was active as a performer, composer, and a teacher, and introduced the Continental narrow-bore model of oboe that replaced the bright and penetrating straight-topped English type.
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The first and second violins weave curly parallel melodic lines, a tenth apart, underpinned by a pedal point in the double basses and a sustained octave in the horns. Wind instruments respond in bars 104-5, accompanied by a spidery ascending chromatic line in the cellos.Symphony 39, first movement, bars 102-119 Symphony 39, first movement, bars 102-105A graceful continuation to this features clarinets and bassoons with the lower strings supplying the bass notes.Symphony 39, first movement, bars 106-109Next, a phrase for strings alone blends pizzicato cellos and basses with bowed violins and violas, playing mostly in thirds:Symphony 39, first movement, bars 110-114The woodwind repeat these four bars with the violins adding a counter-melody against the cellos and basses playing arco. The violas add crucial harmonic colouring here with their D flat in bar 115. In 1792, an early listener marvelled at the dazzling orchestration of this movement “ineffably grand and rich in ideas, with striking variety in almost all obbligato parts.”Symphony 39, first movement, bars 115-119“The main feature in [his] orchestration is Mozart’s density, which is of course part of his density of thought.” Robbins Landon, H. (1989, p.137), Mozart, the Golden Years.
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Gavin Bryars playing the double bass, the instrument for which he includes an improvising part in Doctor Ox and which he played in performances of Doctor Ox's Experiment (Epilogue) The opera is scored for 2 flutes, the second doubling piccolo, 2 oboes, 1 doubling oboe d'amore, and the other doubling cor anglais, a clarinet and bass clarinet, a bassoon and contrabassoon, 4 horns, a flugelhorn, 4 trombones, a bass trombone, 1 timpanist, 3 percussionists, harp, electronic keyboard doubling piano and a string section consisting of at least six each first and second violins, 5 violas, four cellos and 3 double basses, including at least one bass with a 5th string or low extension, plus an improvising jazz player on amplified bass. The percussion consists of marimba, vibraphone, glockenspiel, crotales, tubular bells, cow bells, bass drum, tam-tam, sizzle cymbal, suspended cymbal, mark-tree, Chinese bell-tree and wind-machine. Bryars wanted the scenes with the lovers to "have something of the purity of early music" and pointed to the obbligato oboe d'amore and the "relatively light orchestral textures" as means by which he achieved this. The improvisation by the amplified jazz bass is confined to the scene by the Vaar though the instrument is also used in the epilogue.
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