Miles's quintets set the standard for jazz improvisation for generations to come, in addition to pushing the boundaries of music theory.
|
|
A century separates the clarinet quintets of Mozart and Brahms, but at the emotional heart of each sits a slow movement of rapt, bucolic calm.
|
|
This weekend's offerings include Piotr Damasiewicz and the Gerard Lebik Duo at Happy Lucky No. 1, Tony Malaby/Polish Quintets at the Cornelia Street Café and the Lutoslawski Quartet with Uri Caine at National Sawdust.
|
|
"Let's go get some smoke in our eyes," she writes in her latest collection, "Baby, I Don't Care," a set of nearly 150 single-page poems, most of them untitled double quintets, that play with notions taken from Hollywood's golden era and film noir.
|
|
All 10 dancers — the others are Rachel Hutsell, Claire Kretzschmar, Kristen Segin, Daniel Applebaum, Harrison Coll, Gonzalo Garcia and Aaron Sanz — have individual opportunities, but there are quintets in which the differences between men and women are not paramount, as they usually are in ballet.
|
|
His great quintets—which made stars of now-legendary musicians John Coltrane, Cannonball Adderley, Wayne Shorter, Herbie Hancock, Chick Corea, and Tony Williams just to name a few—recorded albums that are definitive for almost every major subgenre of jazz at the time, including hard bop, post-bop, modal jazz, and fusion.
|
|
On Tuesday, he's in duo with the guitarist Bill Frisell; over the next four days, he will convene various quintets including the likes of Benny Golson, Kenny Barron and Renee Rosnes; and on May 7 he closes the run with his Golden Striker Trio, featuring Russell Malone on guitar and Donald Vega on piano.
|
|
An unusually interesting program from the Chamber Music Society, comprising three quintets, which are all responses, in one way or another, to World War I. Ravel's "Le tombeau de Couperin" is the best known, even when arranged for five winds; it comes with Dohnanyi's Piano Quintet No. 2 and Elgar's Piano Quintet, with its typically sublime slow movement.
|
|
The Quartet's extensive discography includes releases of the piano quartets and quintets of Saint-Saëns and Schumann, the string quartets of Zimbalist and Kreisler, "Harmonies du Soir" by Ysaÿe for quartet and string orchestra, clarinet quintets by Bernard Herrmann and David del Tredici, the two Saint- Saëns string quartets, three Beethoven string quintets, the Franck string quartet and piano quintet, the two Fauré piano quintets, the complete Bruckner chamber music (including his string quartet and quintet), quartets by American composers (Antheil, Herrmann, Glass, Evans), the complete Schumann string quartets, the two Mendelssohn string quintets, chamber music by Glazunov, the complete Dohnányi string quartets and piano quintets, the complete Mozart String Quintets, and the complete Op.18 Beethoven quartets. A complete discography is listed below.
|
|
Piano and String Quartet is a chamber music composition scored for piano, two violins, viola, and cello, following the standard instrumentation used in most piano quintets since the late 19th century. Feldman's piece is regarded among the most innovative piano quintets of late 20th century, alongside quintets by Rochberg and Schnittke. Although the title is a generic reference to the piece's musical form, it is considered. Feldman composed the piece during what is now considered to be his late period, spanning 1977 until his death in 1987.
|
|
Nola Reed Knouse, The Music of the Moravian Church in America (Rochester: University of Rochester Press, 2008), 280. All of Peter's known compositions are sacred concerted vocal works or anthems composed for worship services with the exception of the string quintets. His six string quintets for two violins, two violas, and a violoncello are among the earliest examples of chamber music known by a North American composer. The six string quintets, performed by the American Moravian Chamber Ensemble, were recorded and published in 1997 on New World Records 80507-2.
|
|
They have released their recording of the cycle of Beethoven's quartets, string quintets and quartet fragments for Warner Classics and Jazz.
|
|
It has 40 musicians that consist of a large wind band and various small ensembles (wind quintets, brass, saxophone quartets, clarinets).
|
|
Franco- Mendès composed pieces for cello and piano, and a Grand Duo for two cellos; also two string quintets and a string quartet.
|
|
The Danubius Quartet was formed in Hungary in 1983. Its personnel comprise the violinists Judit Tóth (formerly Mária Szabó) and Adél Miklós, violist Cecilia Bodolai (formerly Agnes Apró) and cellist Ilona Wibli, under the artistic direction of the violinist Vilmos Tátrai. The quartet won a number of awards in the earlier years of its foundation, and has recorded, among other works, the String Quartet No. 1 of Reményi for Hungaroton, the complete String Quartets of Villa-Lobos for Marco Polo and for Naxos the Mozart and Brahms Clarinet Quintets, the Boccherini Guitar Quintets and Spohr's Op. 33 String Quintets.
|
|
The String Quintet No. 2 in C minor, K. 406/516b, was written by Wolfgang Amadeus Mozart in 1787. Like all of Mozart's string quintets, it is a "viola quintet" in that it is scored for string quartet and an extra viola (two violins, two violas and cello) Charles Rosen, "The Classical Style: Haydn, Mozart, Beethoven", 1997, Norton. Unlike his other string quintets, however, the work was not originally written for strings. Having completed the two string quintets K. 515 and K. 516, Mozart created a third by arranging his Serenade No. 12 for Winds in C minor K. 388/384a, written in 1782 or 1783 as a string quintet.
|
|
Perhaps the best known quintets for this combination of instruments are Franz Schubert's "Trout" Quintet in A major (1819) and Johann Nepomuk Hummel's Piano Quintet in E-flat minor, Op.87 (1802). Other piano quintets using this instrumentation were composed by Jan Ladislav Dussek (1799), Ferdinand Ries (1817), Johann Baptist Cramer (1825, 1832), Henri Jean Rigel (1826), Johann Peter Pixis (ca.1827), Franz Limmer (1832), Louise Farrenc (1839, 1840), and George Onslow (1846, 1848, 1849). Mozart (in 1784) and Ludwig van Beethoven (in 1796) each composed a quintet for piano and winds, scored for piano, oboe, clarinet, horn, and bassoon, that are sometimes referred to as piano quintets.
|
|
In October 2000, they also won a Preis der deutschen Schallplattenkritik for a cpo recording of Esquisses Hébraïques: Clarinet Quintets on Jewish Themes, with Dieter Klöcker.
|
|
As they all are trained as classical and not as jazz flutists they soon developed a characteristic sound. From the beginning everything they played had their classical education as basis. Out of lack of literature for flute quintets “Quintessenz” began to arrange their own musical pieces. For that they did not only use music for quintets of different kinds but also adapted symphonic pieces, piano literature, or completely different music.
|
|
69 Aumann's oeuvre also includes instrumental music, such as some of the earliest string quintets.p. vii, Eisen Cliff (1998). Madison, Wisconsin, Four Viennese String Quintets, A-R Editions, Inc.
|
|
The Life Guards' Dragoon Music Corps presents everything from single fanfare trumpet calls, through brass quintets and sextets up to accompanying music and all 30 musicians performing simultaneously in concert.
|
|
While the related chamber music genres of the piano trio and piano quartet were established in the eighteenth century by Mozart and others, the piano quintet did not come into its own as a genre until the nineteenth century.The quintets for piano, oboe, clarinet, horn, and bassoon composed by Mozart and Beethoven are usually described as "quintets for piano and winds" so as to distinguish them from compositions for piano and four strings. Its roots extend into the late Classical period, when piano concertos were sometimes transcribed for piano with string quartet accompaniment. Although Luigi Boccherini composed quintets for piano and string quartet, before 1842 it was more common for the piano to be joined by violin, viola, cello and double bass.
|
|
"Galerie des compositeurs dramatiques modernes" (1844) by Nicolas-Eustache Maurin (d. 1850). The engraving shows (back row left to right): Hector Berlioz, Gaetano Donizetti, Onslow, Daniel Auber, Mendelssohn, Henri-Montan Berton; (front row left to right): Fromental Halévy, Giacomo Meyerbeer, Gaspare Spontini, Gioacchino Rossini Onslow was a prolific composer of chamber music (including 36 string quartets and 34 string quintets). He also wrote 10 piano trios, three performed operas (an early opera, Les deux oncles, remains in manuscript) and four symphonies, apart from various works for solo piano, piano duet, and sonatas for solo strings and piano. Of his string quintets, the first three (Op. 1) were written for two violins, two violas and cello, as with the quintets of Mozart.
|
|
A very approximate chronology of the composition of the four quintets runs as follows: Quintet no. 4 in A flat major (Op. 8) - c. 1888 Quintet no. 1 in B flat minor (Op.
|
|
It is generally agreed amongst brass players that the tuba is the best choice for brass quintets, with the ability to play smaller instruments such as bass trombone or baritone for certain repertoire such as Renaissance. The American Brass Quintet uses bass trombone instead of tuba, and their extensive commissioning has validated use of this instrumentation. It is not uncommon for composers to write interchangeable parts for tuba and bass trombone to enable both types of quintets to perform their work.
|
|
The viola plays an important role in chamber music. Mozart used the viola in more creative ways when he wrote his six string quintets. The viola quintets use two violas, which frees them (especially the first viola) for solo passages and increases the variety of writing that is possible for the ensemble. Mozart also wrote for the viola in his, "Sinfonia Concertante", a set of two duets for violin and viola, and the Kegelstatt Trio for viola, clarinet, and piano.
|
|
1902), is also for string quartet (Simon, pp. 35–6.)), three piano quintets,from 1911 (premiered 2012) (H.35), 1933 (premiered 1934) (H.229) and 1944 (premiered 1945) (H.298). See Simon, pp. 36–38.
|
|
Adieu für Wolfgang Sebastian Meyer is a composition for wind quintet by Karlheinz Stockhausen composed in 1966. It is Number 21 in the composer's catalog of works, and the second of Stockhausen's three wind quintets.
|
|
Heartz, Daniel, "Music in European Capitals: The Galant Style, 1720–1780", p. 984, 2003, Norton, New York, Boccherini’s first set of string quintets, his Op. 10, were also composed in 1771.Heartz, Daniel, "Music in European Capitals: The Galant Style, 1720–1780", p. 980, 2003, Norton, New York, His second set, Op. 11, consisted of six quintets, most notably No. 5 in E Major. This became Boccherini’s most famous work even though, when published, it received no special recognition.Gérard, Yves, "Thematic, Bibliographical, and Critical Catalogue of the Works of Luigi Boccherini", p.
|
|
His most successful and innovative music however, was his chamber music; particularly his collection of art songs for voice and piano and a collection of string quartets and quintets. His chamber music was played throughout Italy and Germany.
|
|
Trumpet players for instance may double on piccolo trumpets and flugelhorns. There can be variation in instrumentation depending on the quintet. In some quintets, the horn is replaced by an additional trombone. Euphonium may also be substituted for the trombone part.
|
|
9, 1941. and made her debut at the age of 12.Perkins, Francis D. Marthe Servine plays at recital of own works: heard with Roth Quartet in program of 2 quintets and violin-piano sonata. New York Tribune, February 10, 1941.
|
|
For many years Ewald’s four quintets (written 1888–1912) were considered to be the first original pieces composed specifically for an ensemble which is recognisable today as essentially the modern brass quintet - consisting of two treble, valved instruments, one alto, one tenor and one bass. The French composer Jean-François Bellon wrote 12 four-movement brass quintets published in 1848-50,Simpson, Stacy L. (2016) Music for brass quintet with orchestral accompaniment: commissioned works, the Annapolis brass quintet, and a survey of literature for brass quintet and orchestra. Doctoral thesis, University of Kentucky. p. 2 [12].
|
|
Mysliveček and Gluck were the first Czechs to become famous as operatic composers, but their output exhibits few, if any, Czech characteristics. Mysliveček's operas were very much rooted in a style of Italian opera seria that prized above all the vocal artistry to be found in elaborate arias. Among his other pieces were oratorios, symphonies, concertos, and chamber music, including the Op. 2 string quintets which were almost certainly the earliest string quintets with two violas ever published. Additionally, he was a pioneer in the composition of music for wind ensemble, the outstanding examples of which are his three wind octets.
|
|
A virtuoso cellist, Boccherini often played violin repertoire on the cello, at pitch, a skill he developed by substituting for ailing violinists while touring. This supreme command of the instrument brought him much praise from his contemporaries (notably Pierre Baillot, Pierre Rode, and Bernhard Romberg), and is evident in the cello parts of his compositions (particularly in the quintets for two cellos, treated often as cello concertos with string-quartet accompaniment). He wrote a large amount of chamber music, including over one hundred string quintets for two violins, viola and two cellos (a type which he pioneered, in contrast with the then common scoring for two violins, two violas and one cello), a dozen guitar quintets, not all of which have survived, nearly a hundred string quartets, and a number of string trios and sonatas (including at least 19 for the cello). His orchestral music includes around 30 symphonies and 12 virtuoso cello concertos.
|
|
Opera numbers may be arias, but also ensemble pieces, such as duets, trios, quartets, quintets, sextets or choruses. They may also be ballets and instrumental pieces, such as marches, sinfonias, or intermezzi.Apel, Willi, ed. (1969). Harvard Dictionary of Music, Second Edition, p. 582.
|
|
In addition to the Coplas Sefardies, Hemsi composed numerous other works for a variety of ensembles including orchestra, string quintets, choir, cello, and piano. He drew inspiration equally from liturgical music of the synagogue as well as music from Egypt, Turkey, and Greece.
|
|
The Piano Quintet in C major, Op. 18, by Henrique Oswald was finished in 1895.Eduardo Monteiro Like most of the piano quintets after the Schumann's, it is scored for piano, 2 violins, viola and cello. A typical performance takes 27–31 minutes.
|
|
He cites as influences Django Reinhardt, Barney Kessell, and René Thomas. Cerri has led quartets and quintets with Tullio De Piscopo, Pino Presti, Gianluigi Trovesi, Flavio Ambrosetti, and Jean-Luc Ponty. On January 1, 2006 he was knighted by President Carlo Azeglio Ciampi.
|
|
Coin has recorded some 50 CDs, both as a soloist and with ensembles. Several of them were awarded prizes. He recorded Purcell's trio sonatas and Haydn's cello concertos with Christopher Hogwood. The Quatuor Mosaïques recorded Luigi Boccherini's quintets with Patrick Cohen playing pianoforte.
|
|
They include and quintets by Gunther Schuller, Ezra Laderman, William Bergsma, Alec Wilder, William Sydeman, Wallingford Riegger, Jon Deak and Yehudi Wyner. The Quintet has featured many of these pieces in recordings for such labels as Boston Skyline, Bridge, New World Records, and Nonesuch.
|
|
By 1778 Lidel had settled in London. His printed compositions include mostly chamber music for string instruments (duos, trios, quartets, quintets, etc.) in the Viennese classical style. Schubart praised Lidel as the inventor (which was not true) and the most perfect virtuoso of baryton.
|
|
Vocals predominated in Hawaiian music until the 20th century, when instrumentation took a lead role. Much of modern slack-key guitar has become entirely instrumental. From about 1895 to 1915, Hawaiian music dance bands became in demand more and more. These were typically string quintets.
|
|
The greatest part of his compositional output, however, consists of chamber music for a wide variety of ensembles, including four string quartets, two wind quintets, and a concerted work for solo double bass with double wind quintet. The two wind quintets (Chants en contrepoints from 1962 and Réflexions sur le jour où Pérotin le Grand ressuscitera from 1969) were both written for the Danzi Quintet, and Bois also wrote solo pieces for some of the members of this well-known ensemble: flutist Frans Vester (Muziek for solo flute, 1961), oboist Koen van Slogteren (Beams, for oboe and piano, 1979), and clarinetist Piet Honingh (Vertiges, 1987).
|
|
The genre particularly flourished during the nineteenth century. Until the middle of the nineteenth century, most piano quintets were scored for piano, violin, viola, cello, and double bass. Following the success of Robert Schumann's Piano Quintet in E major, Op. 44 in 1842, which paired the piano with a string quartet, composers increasingly adopted Schumann's instrumentation, and it was this form of the piano quintet that dominated during the second half of the nineteenth century and into the twentieth century. Among the best known and most frequently performed piano quintets, aside from Schumann's, are those by Franz Schubert, Johannes Brahms, César Franck, Antonín Dvořák and Dmitri Shostakovich.
|
|
The String Quintet No. 5 in D major, K. 593 was written by Wolfgang Amadeus Mozart in 1790. Like all of Mozart's string quintets, it is a "viola quintet" in that it is scored for string quartet and an extra viola (two violins, two violas and cello).
|
|
Since 1989, Delbecq has participated in nearly a hundred discs. He performs solo piano and solo electronics ("MadMacs"), leads or co-leads a number of bands from duos to quintets, and is involved in many multi-disciplinary productions of theater, dance, the visual arts, cinema etc.
|
|
In 1932 she founded the Elly Ney Trio with Wilhelm Stross (violin) and Ludwig Hoelscher (cello): in quintets the group recorded with Florizel von Reuter (violin) and Walter Trampler (viola). She traveled to many parts of the world, including the USA, playing in Carnegie Hall in New York City.
|
|
Pitou 1985, p. 121. Porta also composed masses, motets, oratorios and some instrumental music: 6 duo's for two cello's, 2 trio's, 3 quartets for flute, violin, alto and bass, and quintets. Most of this instrumental music was intended for beginners. He died on 11 June 1829 due to cholera.
|
|
Besides the popular Minuet, Bolzoni composed the operas Il matrimonio civile (premiered in Parma, 1870), La stella delle Alpi (Savona, 1876), and Jella (Piacenza, 1881). He also wrote Tema con variazioni for string orchestra, Al castello medioevale for small orchestra, a string quartet, quartets, quintets, and violin pieces.
|
|
Adolf Gerhard Brune (1870–1935) was an American composer, born in Germany; he came to the United States in 1870. His output was mainly orchestral, and included three symphonies, two piano concertos, and four overtures. He also wrote five string quartets and two string quintets, among other chamber works.
|
|
Along with a concerted effort to commission new works for brass quintet since 1967 the bulk of any brass quintet's repertoire consists of arrangements of pre-existing music. Victor Ewald's four brass quintets are the first serious attempts at establishing a repertoire for the ensemble, though they do not stand up to typical string quartet repertoire of the same and preceding eras. The Chicago and New York Brass Quintets made sustained efforts to commission new works, and much of the original repertoire for brass quintet from the mid-20th century derives from their groundbreaking work. In the 1960s the mantle of creating a repertoire for brass quintet was taken up by the American Brass Quintet.
|
|
The influence of Haydn's chamber writing suggested similar possibilities for winds, and advancements in the building of these instruments in that period made them more useful in small ensemble settings, leading composers to attempt smaller combinations. It was Anton Reicha's twenty-four quintets, begun in 1811, and the nine quintets of Franz Danzi that established the genre, and their pieces are still standards of the repertoire. Though the form fell out of favor in the latter half of the 19th century, there has been renewed interest in the form by leading composers in the 20th century, and today the wind quintet is a standard chamber ensemble, valued for its versatility and variety of tone color.
|
|
2×5 is a composition by Steve Reich written in 2008. It is scored for five musicians and pre-recorded tape, or two identical quintets on rock instruments, in total: 2 drum sets, 2 pianos, 4 electric guitars, 2 bass guitars. It is described as a "rock and roll piece".
|
|
He taught piano, and became a significant figure in Moscow's musical life, teaching notable figures such as Nikolai Rubinstein and Alexander Villoing, and organizing string quartet performances from 1829 to 1835. He wrote operas, a mass, four symphonies, overtures, string quintets and quartets, and many piano pieces, among other works.
|
|
While the great bulk of Farrenc's compositions were for the piano alone, her chamber music is generally regarded as her best work. Throughout her life, chamber music remained of great interest. She wrote works for various combinations of winds and or strings and piano. These include two piano quintets Opp.
|
|
A friend of Dionisio Aguado, he cooperated in his guitar method, also arranging its publication in Paris. He was also the copyist of Luigi Boccherini's well-known guitar quintets. In 1826, the Paris firm of Richault published de Fossa's three guitar quartets, opus 19. He died in Paris, aged 73.
|
|
She collaborated extensively with a series of Oslo-based musicians, like within the quartets and quintets including Einar Iversen and Egil Kapstad. Peter Gullin dedicated the album Far, Far Away Where Longing Live to her. Later she worked for Opera Mobile, then as the "mother" in The Tales of Hoffmann by Offenbach.
|
|
Nichols could read music and easily gained studio work. In 1926, he and Mole began recording with a variety of bands as Red Nichols and His Five Pennies. Few of these groups were quintets; the name was a pun on "nickel". With the Five Pennies, he recorded more than 100 sides for Brunswick.
|
|
These trios have been published by the Moravian Music Foundation in a scholarly edition. Also by a Moravian composer are the six string quintets (two violins, two violas, and cello) by Johann Friedrich Peter. These were written in Salem, NC in 1789. Peter was probably the most gifted and accomplished Moravian composer.
|
|
Seconds before, Puruco Latimer, had to leave the party injured left shoulder. In the second half of the offensive game was rather slow for both quintets. Arecibo was the first to wake up with two triples and a field goal from Larry Ayuso. After that, Quebradillas answered with a push of 6-0.
|
|
Some other quintets in classical music are the wind quintet, usually consisting of flute, oboe, clarinet, bassoon and horn; the brass quintet, consisting of two trumpets, one horn, a trombone and a tuba; and the reed quintet, consisting of an oboe, a soprano clarinet, a saxophone, a bass clarinet, and a bassoon.
|
|
The Danzi Quintet was a Dutch wind quintet, one of the most highly regarded quintets active in the 1960s and 1970s The quintet took its name from the 18th/19th-century composer Franz Danzi (a notable early composer of wind quintets), and was founded in 1956 or 1957 by the flutist Frans Vester. It was composed of members of the Concertgebouw and Dutch Opera Orchestras, and was initially formed in order to perform the Dutch premiere of Arnold Schoenberg's Wind Quintet, op. 26, which they did—after 107 rehearsals over the course of a year—at the 1958 Holland Festival (; ). The other founding members of the quintet were Leo Driehuys (oboe), Pem Godri (clarinet), Brian Pollard (bassoon), and Adriaan van Woudenberg (horn) .
|
|
Monk (Prestige PRLP 7053)Sheridan, Chris, Brilliant Corners: A Bio-discography of Thelonious Monk, p 295-296, Westport and London: Greenwood Press, 2001 is a 1956 compilation album by jazz pianist and composer Thelonious Monk, featuring material recorded from 1953 to 1954 for the Prestige label and performed by Monk with two quintets, one featuring Julius Watkins, Sonny Rollins, Percy Heath, and Willie Jones and one featuring Ray Copeland, Frank Foster, Curly Russell, and Art Blakey.Thelonious Monk discography accessed 9 October 2009 It was originally titled both Thelonious Monk [on its 1956 cover]"Prestige Alternative Covers", londonjazzcollector.wordpress.com Retrieved October 17, 2019 / and Thelonious Monk Quintets [on its labels]"PRESTIGE: the Complete NYC Label Reference Set (7000 – 7141)", londonjazzcollector.wordpress.com. Retrieved October 17, 2019 (PRLP 7053).
|
|
His output was prolific, with at least three hundred published compositions in at least 110 opus numbers including at least 9 symphonies, seventy string quartets and many others for winds and strings, about fifteen string quintets and much sonorous, idiomatic and at times powerful music for wind ensemble, for which he is best known today.
|
|
The Musique militaire grand-ducale is the sole military band of the small country of Luxembourg, based in Conservatoire de Luxembourg. The band performs close to 50 concerts per year, mostly in Luxembourg City. The band is divided into a chamber orchestra, brass band, bugles and drums, an instrumental ensemble, as well as several quintets.
|
|
They have performed at festivals including Ravinia, Tanglewood, Aspen, Verbier, Schleswig-Holstein, Tivoli, and the BBC Proms. They have released a recording of the Mozart String Quintet in C Major, K.515, and the Brahms String Quintet in G Major, Opus 111 (Altara). An album (Altara) featuring Mozart and Dvořák Quintets was released in 2007.
|
|
202–205 Throughout his career Fauré had composed for chamber forces. His works by 1923 included two piano quartets, two piano quintets, a piano trio, two violin sonatas, two cello sonatas and numerous smaller-scale chamber pieces.Jones, pp. 32, 60, 112, 190, 200, 32, 164, 164 and 191 He had, however, always declined to attempt a string quartet.
|
|
The music especially resonated with youth which worked in fields and on ranches. The first formal norteño group from Sonora was Los Cuatreros de Sonora, formed by the Carvajal brothers. In contrast to bands from other states, which were duets, Sonoran bands were trios before becoming quartets and quintets with the addition of more musical instruments.
|
|
In addition Philip Catelinet arranged all three movements of the concerto for concert band and symphony orchestra. He performed it several times during his tenure at the Carnegie Mellon University in Pittsburgh, PA. His students also performed this piece. The parts may be obtained from Barry Catelinet. Several of Capuzzi's string quintets are also performed by chamber groups.
|
|
At the time Brahms started composing his Clarinet Quintet, only a few works had been composed for this type of ensemble. Examples of clarinet quintets include those by Wolfgang Amadeus Mozart, Anton Reicha, Giacomo Meyerbeer, Sigismund von Neukomm, Carl Maria von Weber, Franz Krommer, Alexander Glazunov, Heinrich Baermann, and Thomas Täglichsbeck. Brahms modeled his composition after Mozart's.
|
|
Henri Brod (June 13, 1799 - April 6, 1839) was a French oboist, instrument builder and composer of the early Romantic Era. Brod was considered a virtuosoPätzig, Gerhard. Henri Brod - Wind Quintets op. 2, Deutschland Radio (cpo 999 498-2) and introduced his own innovations in both oboe design and playing style that are still in use today.
|
|
Argo HDNL 49-51 Album insert, 1973. In 1977 they planned to tour Australia and New Zealand with Kenneth Essex (viola), with whom they recorded Mozart's viola quintets. They held an international summer school in northern Italy, and established a similar course for chamber music players at the 1976 York Festival.Argo HDNV 82-84 Album insert, 1977, p. 5.
|
|
Chiara Quartet Meet the Composer grant page The Chiara Quartet's recording of the Brahms and Mozart Clarinet Quintets was a Hot Pick of October 2006 for NET Radio.NET Radio October 2006 Hot Picks The Chiara Quartet's performance at Meany Hall in December 2007 was selected as one of the highlights of the year by Seattle Post-Intelligencer's R.M. Campbell.
|
|
Navy Band Southwest is one of the Navy's oldest continuing musical organizations. The band serves as the musical ambassador for Navy Region Southwest. The 45-member band's other performing ensembles include the Wind Ensemble, the contemporary music ensemble, the Destroyers, the Show Band West, the Brass and Woodwind Quintets, and SeaBreeze. The latter is the band's VIP reception combo.
|
|
Dennerlein modified a Hammond's pedalboard to trigger samples of an acoustic bass, and, impressed with results, decided to modify the manuals to play samplers too. Her performances include solo performances as well as quintets (e.g. her "Bebab" band). In both, she uses MIDI technology and triggers built into pedals and manuals to trigger synthesizers and samples to her sound.
|
|
Woodcock composed a total of five instrumental pieces of music (quintets for viols), four of which are dated 1578, in Chichester. They are pioneer compositions in the style later cultivated by William Byrd and other Tudor and Jacobean composers. He wrote three settings of In Nomine,ChoralWiki profile of Woodcock one of which is found in the Dow Partbooks.
|
|
The Busch Quartet commanded a vast repertoire. Although its members shared a conservative taste in music, they included virtually all the Classical masterpieces in their repertoire, including at least 30 Haydn works, more Mozart than any of their contemporaries, and all of the Beethoven quartets. With pianist Rudolf Serkin adding a 'perfect fifth' to their group, they were able to expand their programmes even further: for instance, the ensemble's only interwar appearance at the Salzburg Festival was an all-Mozart programme consisting of a violin sonata, a piano quartet and a string quartet. Other concerts might include works for solo violin or piano, duos, trios or piano quintets; and if extra players were recruited, string quintets, sextets, or even the Beethoven Septet and Schubert Octet might be played.
|
|
His other works include 25 String quartets which are an important contribution to the history of the genre. Each (except one of opus 9) being a two-movement cut- out: one in sonata form, followed by a rondo or presto. His other chamber music pieces consist of six duets, six trios and four quintets. He also wrote symphonies, arias and a violin concerto.
|
|
Eybler's main compositions were sacred music, including oratorios, masses, cantatas, offertories, graduals, and his requiem. His other works include an opera, instrumental music (especially his string quintets), and songs. Of special note may be the Clarinet Concerto (HV160) he wrote most probably for "Mozart's" clarinetist Anton Stadler. A recording of this concerto by Dieter Klöcker is available on the Novalis music label.
|
|
A number opera (; ) is an opera consisting of individual pieces of music ('numbers') which can be easily extracted from the larger work."Number opera" in New Grove. They may be numbered consecutively in the score, and may be interspersed with recitative or spoken dialogue. Opera numbers may be arias, but also ensemble pieces, such as duets, trios, quartets, quintets, sextets or choruses.
|
|
Many leading contemporary composers have produced wind quintets which have become standard chamber repertoire. Much has been done to promote wind music through organisations, institutions, music retailers and passionate individuals but this would fall largely into the concert band genre. Indeed it is the development of the concert band which procured an environment whereby music for the woodwind section was required.
|
|
After this exchange, both quintets baskets managed to finish the third set. The score reflected a clear advantage for the Captains of 62 by 52. The last ten minutes of action began with five goals of the Captains, but the Pirates were able to respond with their offense. Quebradillas was a "rally" of 8-0 and approached 66 to 60 on the scoreboard.
|
|
Vol 1, pp. 314-315. Libraire de Firmin-Didot et Cie, Paris 1878 Farrenc died in Paris. For several decades after her death, her reputation as a performer survived and her name continued to appear in such books as Antoine François Marmontel’s Pianistes célèbres. Her nonet had achieved around 1850 some popularity, as did her two piano quintets and her trios.
|
|
After learning as much as he could from Haydn he then traveled to Paris where he lived from 1802 to 1803, later returning to Vienna. He created a comprehensive volume of 58 string quartets, 6 string trios, 4 quintets, 3 quartets with flute and clarinet, 9 violin duets, also Variations, Polonaises, Rondos, Marches and numerous other musical pieces for keyboard and strings.
|
|
Plans are underway to expand the program to all LISD elementary schools. The LSO also brings music to the schools through the Chamber Ensemble Outreach Program. The educational brass and woodwind quintets and string quartet are composed of LSO musicians and Texas Tech University graduate students. They perform for local third and fourth graders and provide an informative and interactive musical experience.
|
|
Paetsch's first daughter Raphaela, born in Lugano in 1996, also plays the cello. His daughter Valentina, born in 1998 plays the violin and his son Dominic plays the cello. Raphaela, Valentina and Dominic have performed string quintets in public with their father and mother. Since 1992 Paetsch has served as First Solo Cellist of the Orchestra della Svizzera Italiana in Lugano, Switzerland.
|
|
J. J. Johnson's Jazz Quintets is a studio album by jazz trombonist J. J. Johnson, released by Savoy Records, containing material from three different recording sessions in 1946, 1947 and 1949. Material from the first two sessions had been previously released on two Savoy EPs, New Trends In Jazz, Vol. 11 (Savoy XP 8047) and Birth of Bop, Vol. 3 (Savoy XP 8086).
|
|
Founded in 2001, the Dartmouth Brass Society is a student-run organization with a membership of over twenty brass instrumentalists. It has several component groups, including brass quintets and trombone quartets. Certain groups receive professional coaching in conjunction with the Music Department's for-credit chamber music program. The DBS has played original compositions by Dartmouth students and often collaborates with the Dartmouth Chamber Orchestra.
|
|
Russell has been commissioned by, worked with, and written for ensembles including the San Francisco Symphony, Prism Quartet, Symphony Number One, Empyrian Ensemble, Wild Rumpus, Woodstock Chamber Orchestra, and the JACK Quartet. The Imani Winds has a long term relationship with Mr. Russell through the wind quintets Legacy Commissioning Project, which has led to three large scale arrangements of orchestral works for woodwind quintet.
|
|
He moved to Europe to become leader of the Orlando Quartet (1985–1990) with whom he performed more than 700 concerts and recorded many major chamber works including the complete Mozart String Quintets for BIS. He also recorded with Philips and Ottavo. He worked with Murray Perahia, Arnold Steinhardt, Malcolm Frager, Nobuko Imai and Norbert Brainin playing frequently in Japan, the United States, Australia and throughout Europe.
|
|
Masks, Selected Chamber Works, a compilation of chamber music works composed by Kibbe for winds, string and mixed ensembles. Includes, Six Preludes for Solo Cello, Wind Quintets #1 and #7, a string duo and the atmospheric "Death in the Backyard" for soprano and small ensemble. 2017. Debussy Trio Plays Harp, Flute, and Viola Trios. Michael Kibbe is composer of one piece entitled, Trio Op. 99.
|
|
Many of her compositions feature the violin. Among them are seven violin concertos, five sonatas for violin with piano, three for violin solo (including an early, unnumbered one from 1929), a Quartet for four violins, seven string quartets, and two piano quintets. Her orchestral works include four numbered symphonies (1945, 1951, 1952, and 1953), a Symphony for Strings (1946), and two early symphonies, now lost.
|
|
The composition of two quintets is also noteworthy – three flutes, cello and piano (1984), flute, oboe, clarinet, bassoon and horn (1988), etc. In the 1990s Melikyan composed an octet for oboe, two clarinets (A, B), two trombones, and piano. The variety of compositions of the composer is indicative of his special interest to bring to light the different tones of instrumental timbres that complement one another.
|
|
The work was completed in Vienna on 18 May 1787, at the same time as the demanding string quintets K. 515 and K. 516. The song features a dramatic musical portrait of an old woman reminiscing of the Good old days. The Great Comet of 1744 is mentioned in the lyrics. Mozart found the text in the composer Anton Steffan's Sammlung Deutscher Lieder, nr.
|
|
Their list of commissions includes works by Peter Seabourne, Sally Beamish, Edward Cowie, Joe Cutler, David Matthews, Nicholas Maw, and Robert Simpson. These include string quartets, quintets with piano or wind player, works with solo voice or choir, and even a piece for quartet and table tennis players! The Quartet regularly plays in the Great Comp Music Festival in Kent during summer classical music festivals.
|
|
A further nine years of investigation was necessary to authenticate the manuscripts, before the pieces were given their first modern performance during the 1974-75 season in a series of concerts by the American Brass Quintet at Carnegie Hall. Recently, Canadian Brass published critical editions all of the Victor Ewald quintets edited by Tony Rickard, taking into account, and benefiting from, all recent scholarship surrounding these works.
|
|
1912 The apparent confusion between the numbering and approximate date of composition of the quintets arises from another long-held misconception, also corrected by the studies of Mr. Smith. For some time it was considered that Quintet no. 4 (Op. 8) was merely a transcription by the composer of a string quartet written in the late 1880s and not an original composition for brass.
|
|
The musical form commonly known as adungu music, is tuned to the diatonic major scale of classic European music and bears the influence of the British presence in Uganda. The a'dungu may be played alone, in an ensemble, or as vocal accompaniment. The instrument appears in various sizes that can be loosely categorized into soprano, alto, tenor, and bass. A'dungus are often played in quartets or quintets.
|
|
Orpheus Winds was formed in the 1970s at Brigham Young University by one of its charter members, Glenn Willams, a BYU music professor. The ensemble is one of the most renowned woodwind quintets in Western North America. The ensemble performs nationally and internationally including tours in Canada, the United Kingdom, Mexico, and Brazil. They regularly perform at BYU in the Franklin S. Harris Fine Arts Center.
|
|
2 opus 43 in C minor. This does not preclude more, of course. string trio (1928), a flute sonata, four woodwind quintets, a string quartet (in G minor, his opus 51), \- description of Blumer's string quartet in G minor, Op.51 (composed 1923-24). a comic opera Die Fünfuhrthee (The Five-o'Clock Tea) (produced in Berlin and in Bremen in 1912); and a symphonic poem Erlösung.
|
|
Sonny Clark Quintets is an album by jazz pianist Sonny Clark, recorded for the Blue Note label, featuring performances by Clark with Clifford Jordan, Kenny Burrell, Paul Chambers, and Pete LaRoca and two with Art Farmer, Jackie McLean, and Philly Joe Jones replacing Jordan, Burrell and LaRoca. In 1957, Clark and his quintet recorded three pieces for a scheduled album (BLP 1592): "Minor Meeting", "Eastern Incident" and "Little Sonny" (said tracks would be later issued on the CD release of My Conception). Said album, however, never saw the light of the day in its complete form. Said tracks, in fact, would remain the only recorded material which could be used; not enough for an LP. So, Blue Note decided to put these tracks together with two compositions already featured on Cool Struttin' (BLP 1588) and title the project Sonny Clark Quintets, released only in Japan as LNJ 70093.
|
|
In 2007 Lorenza Borrani was one of the co-founder of Spira Mirabilis, a musical laboratory "to continue to study, to meet, to learn and to rehearse together, and then to share music with an audience" . Thanks to this project and to the meeting with italian clarinetist Lorenzo Coppola, Lorenza Borrani developed curiosity and passion for the execution of the classical repertoire on period instruments. Spira Mirabilis was appointed Cultural Ambassadors for the European Union in March 2012, is still a living project today and has enjoyed great success all over in Europe , with appearances including Musikfest Bremen, London’s Southbank Centre, Essen’s Philharmonie, and Paris’ Cité de la Musique and Salle Pleyel. In 2018 Lorenza Borrani debuted at Schloss Elmau the ‘Mozart Quintets’ project, a collaboration with her close chamber music partners dedicated to the study and period performance of Mozart’s rarely performed string quintets .
|
|
The Quintetto Chigiano was founded in Siena, Italy, in 1939 and took its name from the Accademia Musicale Chigiana, which was founded by Count Chigi- Saracini. It was one of the rare permanent quintets in the world. The Quintet had the use of the four best instruments from Count Chigi-Saracini's private collection, namely a Camillo Camilli and a Guadagnini violin, an Amati viola and a Stradivarius violoncello.
|
|
Bratislav "Bata" Anastasijević (April 18, 1936, Niš, Serbia – October 12, 1992, Niš) was a university music professor, pianist, composer, conductor, ethnomusicologist, leader of vocal quartets, quintets, sextets, octets. He also conducted the Naissus Big Band Orchestra. His innovations in music style and genre contributed significantly and permanently to the development of jazz music, stage music and Serbian ethno music in Yugoslavia. He is the grandfather of actress and singer Várvara.
|
|
In jazz music, a quintet is group of five players, usually consisting of two of any of the following instruments, guitar, trumpet, saxophone, clarinet, flute or trombone in addition to traditional jazz trio – piano, double bass, drums. In some modern bands there are quintets formed from the same family of instruments with various voices, as an all-brass ensemble, or all saxophones, in soprano, alto, baritone, and bass, and sometimes contrabass.
|
|
From 1981 to 1986 he toured with Lionel Hampton as lead saxophonist and musical director. He performed with Chico Hamilton's band from 1988 to 1989. In the late 1980s he formed quartets, quintets, and a band and album devoted to Brazilian music, Spirits Rebellious (Alacra). He founded Machine Gun with guitarist Robert Musso and a trio with bassist Mario Pavone and drummers Steve Johns and later Michael Sarin.
|
|
Many of the farming scenes featured live animals – horses, sheep, cows, ducks, chickens, etc. Ivor Emmanuel led the big set-pieces, and in between were scenes for other soloists, duets or quintets. The music performed encompassed the full range of the rich musical tradition of Wales, from roistering choral numbers to gentle folk ballads, from humorous songs to stirring anthems. Each programme normally ended with a Welsh hymn tune.
|
|
The remainder were nearly all written for two violins, one viola, and two cellos. After hearing the virtuoso double-bassist Domenico Dragonetti step in to play in a performance of his tenth quintet, Onslow began to provide in his subsequent quintets the option of replacing one of the cellos with a double-bass."String Quintet No.19 in c minor, Op.44" on Silvertrust Editions website, accessed 15 September 2014.
|
|
Throughout the 1820s, Onslow's reputation continued to grow both in France and abroad as a series of trios, quartets and quintets were published. Onslow's publishers in Paris were Ignaz and Camille Pleyel. In 1818 his works began to be published in Germany by Breitkopf und Härtel and in Austria by C. F. Peters; the same year saw the first writings about his works by German music critics.Hagels (2009), pp. 3–5.
|
|
The trombone can be found in symphony orchestras, concert bands, marching bands, military bands, brass bands, and brass choirs. In chamber music, it is used in brass quintets, quartets, or trios, or trombone trios, quartets, or choirs. The size of a trombone choir can vary from five or six to twenty or more members. Trombones are also common in swing, jazz, merengue, salsa, R&B;, ska, and New Orleans brass bands.
|
|
The piece is written for a then-common combination of instruments in a piano quintet; namely, the piano is joined by violin, viola, cello and double bass (the double bass is replaced with another violin, much like a string quartet, in later piano quintets). Perhaps, along with Schubert's Trout Quintet, the two are the most famous pieces written for such a combination. Hummel later transcribed his septet for this combination of instrument as well.
|
|
Jazz quartets typically add a horn (the generic jazz name for saxophones, trombones, trumpets, or any other wind or brass instrument commonly associated with jazz) to one of the jazz trios described above. Slightly larger jazz ensembles, such as quintets (five instruments) or sextets (six instruments) typically add other soloing instruments to the basic quartet formation, such as different types of saxophones (e.g., alto saxophone, tenor saxophone, etc.) or an additional chordal instrument.
|
|
She received the silver medal of the Musicians' Company. In 1894 she gave a recital in Vienna, but reappeared in London in 1895. Following marriage to Alfred Hobday, she became known as Ethel Hobday, and took part in early recordings of full-length chamber-works (Brahms and Elgar Quintets) with the London Quartet and the Spencer Dyke Quartet. She is the accompanist to violinist Albert Sammons and violist Lionel Tertis in many early recordings.
|
|
For concerts as well as recordings of string quintets (Mozart, Franz Schubert, Johannes Brahms, Anton Bruckner) and string sextets (Brahms) they regularly invited Cecil Aronowitz as second viola and William Pleeth as second cello. Though they emphasized a standard Classical and Romantic repertory, they also performed works by such 20th-century composers as Béla Bartók, and Benjamin Britten who wrote his last string quartet expressly for them, which they premiered after his death.
|
|
Michaelson was a professional clarinettist and on the Musical Fidelity label recorded a number of CDs of major works for the clarinet . 2004 Musical Fidelity CD - Mozart Clarinet Concerto K622 In A Major. Antony Michaelson, Michelangelo Chamber Orchestra, Leader Adrian Levine, Conducted by Robert Bailey 2002 Musical Fidelity CD - Mozart and Brahms Clarinet Quintets. Antony Michaelson, Adrian Levine, Kathy Andrew, Stephen Tees, Judith Serkin 2001 Musical Fidelity CD - Mozart And Brahms Clarinet Trios.
|
|
In 2019 the quintet played the complete Mozart's string and wind quintets for the Amici della Musica (Friends of Music) of Florence at the theatre "La Pergola". In 2020 the quintet was named Spunicunifait and in winter 2021, it will perform in Salzburg at the Mozart Week (the Salzburg's festival for classical music, around the time of Wolfgang Amadeus Mozart's birthday, organized by the International Mozarteum Foundation) and at the Wigmore Hall in London.
|
|
The String Quintet No. 1 in B flat major, K. 174, was written by Wolfgang Amadeus Mozart in December 1773. Unlike Mozart's other viola quintets, which are scored for two violins, two violas and cello, this early work is scored for two violins, two violas and basso. Mozart composed this quintet a few months following the composition of the Viennese Quartets, K. 168-173 – indeed this work immediately follows that set in the first edition of the Köchel catalogue.
|
|
He has published several sheet music ensembles for cello trios, quartets and quintets. He is a founding member and composer for The Portland Cello Project and Caravan Gogh. The short film, Denmark, based on his composition of the same name has won numerous international awards. Freudmann performs live soundtracks for classic silent films with a focus on Buster Keaton comedies and German Expressionist films such as The Cabinet of Dr Caligari and Phantom of the Opera.
|
|
30, commissioned by the Detroit Symphony Orchestra in 1967. Tone row techniques are employed by Egge in works such as Symphony No. 5, Piano Concerto and Wind Quintet composed in 1976. Egge's list of major works includes five symphonies, three piano concertos, one violin concerto and a cello concerto. His chamber music works also constitute a major part of his output: a string quartet, a piano trio, two woodwind quintets, a violin sonata and a number of piano works.
|
|
He is known today chiefly for his woodwind quintets, in which he took justifiable pride for the idiomatic treatment of the individual instruments. He composed in most major genres of the time, including opera, church music, orchestral works, and many varieties of chamber music. He was a first-rate cellist as well as a conscientious and—by all reports—effective orchestra leader and conductor. Francesca Lebrun (1756–91), a singer and composer, was Franz Danzi's sister.
|
|
They recorded a performance of the Schubert String Quintet with Mstislav Rostropovich as the second cellist on the Deutsche Grammophon label. They recorded a 3-CD set of Mozart's Haydn-Quartette, the complete Mendelssohn, Luigi Cherubini and Schubert String Quartets and the complete Beethoven Quartet Cycle for their 25th Anniversary as a Limited Edition Set for DGG label. With violists Franz Beyer and Piero Farulli, they recorded Mozart's complete String Quintets, again for the yellow label.
|
|
Known principally as a composer of large-scale works, Aho had composed seventeen symphonies, thirty-four concertos, five operas and several vocal works. His chamber music includes several quintets, quartets, sonatas and solo works. He first came to fame with his first symphony (1969) and second string quartet (1970). His works of this time showed such neo-classical traits as a preoccupation with counterpoint (particularly fugues), and stylized renderings of older forms, such as the waltz.
|
|
David Werner Amram III (born November 17, 1930) is an American composer, arranger, and conductor of orchestral, chamber, and choral works, many with jazz flavorings.Chagollan, Steve, "The Extraordinary Career of David Amram", MusicWorld, posted at BMI.com He plays piano, French horn, Spanish guitar, and pennywhistle, and sings.David Amram biography by Richard Ginell at AllMusic Amram has also composed scores for films, and has led quartets, quintets and larger ensembles who perform and record under his name.
|
|
Allmusic reviewer Scott Yanow stated: " He is paired in two 1954 quintets with either Freddie Redd (who plays conventional bop) and Wade Legge (sounding at his most eccentric) on piano. However the most memorable set is from 1950 for Roland is joined by guitar (Joe Puma), bass, drums and a string quartet. The writing for the strings (which is uncredited) is quite inventive and, although the strings do not solo, they sound very much like a jazz ensemble".
|
|
The piano is also prominent in a number of chamber music works: seven sonatas for violin and piano, three for cello and piano, and one each for viola, horn, oboe and clarinet plus piano, as well as two piano quintets and two piano trios. Ryelandt also composed four string quartets. Ryelandt was a major composer of art songs, some 65 in all,By Ryelandt's own count, in Notices, p. 45. to texts in French and Dutch.
|
|
Composition date of the quintet is unknown. It was reconstructed into integrity by Portuguese composer Filipe Pires (1934–2015) and received its first contemporary performance in 1992, during the celebrations of 150 years of Bomtempo's death. The musicians were and the Lisbon String Quartet. Like his other quintets, Bomtempo arranged this one for piano sextet (with double bass), of which version only one sheet survived (the first movement of the double bass part; P-Ln C.I.C. 50).
|
|
Although this account was printed in the New York Times, Franz declared it was "entirely untrue". In addition to songs, he set the 117th Psalm for double choir and wrote and a four-part Kyrie; he also edited Emanuele d'Astorga's Stabat Mater and Francesco Durante's Magnificat. He also transcribed Schubert's String Quartet in D minor ("Death and the Maiden") for piano duet (1878) and made arrangements of Mozart's Quintets in C minor and C major. He died in Halle.
|
|
He performed the "Concierto de Aranjuez" with this orchestra conducted by British conductor Mark Fitz-Gerald on a special "Last Night of the Proms" concert in Cracow, Poland. He has also performed Vivaldi Concerti and Boccherini Quintets with several string quartets. He has collaborated with musicians from Poland, Los Angeles Symphony Orchestra, Cleveland Orchestra and San Antonio Symphony Orchestra. Lukasz also maintains a duo partnership with a virtuoso flutist Anastasia Petanova and the Baltimore Symphony Assistant Concertmaster Igor Yuzefovich.
|
|
Mozart's last year was, until his final illness struck, a time of high productivity—and by some accounts, one of personal recovery. He composed a great deal, including some of his most admired works: the opera The Magic Flute; the final piano concerto (K. 595 in B); the Clarinet Concerto K. 622; the last in his series of string quintets (K. 614 in E); the motet Ave verum corpus K. 618; and the unfinished Requiem K. 626\.
|
|
In the quintets, as he describes in his preface, Reicha wanted to expand the technical limits of the five still evolving wind instruments (hand horn, 'un- rationalised' flute and clarinet, double reeds with fewer keys), and thereby also the ambitions of amateur wind players, by establishing a nucleus for a corpus of substantial work like that available to string players (and consciously more serious than the Harmoniemusik of the last century). His writing combines virtuoso display (often still very challenging today, yet idiomatic for each instrument), popular elements (from the comic opera his soloists played, from his Bohemian folk heritage, from the military background to his life – many marches, 'walking' themes and fanfares), and his lifelong more academic interests in variation form and counterpoint. Four of the quintets have trios in passacaglia form, the repeating theme however being on different instruments in each case so not necessarily in the bass. The earlier Beethoven connection, now severed, is revisited in the scherzo of the quintet in E-flat Op. 100 no.
|
|
Jerry Zigmont (born Gerald George Zigmont on February 24, 1958) is a New Orleans-style jazz trombonist. While growing up in Connecticut, Jerry began his musical studies at the age of 12. He performed in a variety of marching bands, drum corps, jazz bands, brass quintets, classical orchestras, and later earned degrees in Performance and Music Education at the University Of Connecticut. Beginning in the early 1980s, Zigmont "cut his teeth" playing club dates and concerts in regional jazz groups throughout New England.
|
|
Contemporary settings include those by Igor Stravinsky (his Threni), Edward Bairstow, Alberto Ginastera, Ernst Krenek and Leonard Bernstein (his Jeremiah Symphony, which contains Hebrew text in the final movement). Matthew Hunter, a viola soloist at the Berlin Philarmonic, set the Tallis Lamentations to be played by an ensemble of Stradivari violins, violas and violoncellos. The arrangement is for two antiphonally set string quintets. The group plays this piece only a couple of times every two years, when they can get the instruments together.
|
|
The Cry of My People is an album by avant-garde jazz saxophonist Archie Shepp released in 1972 on the Impulse! label. The album features performances by Shepp with gospel singers, big bands, quintets, sextets, and chamber orchestras. The Allmusic review by Thom Jurek states "Shepp worked with many larger ensembles as a leader, but never did he achieve such a perfect balance as he did on The Cry of My People".Jurek, T. [ Allmusic Review] accessed 25 June 2009.
|
|
The most important part of Wolf's surviving oeuvre is his instrumental music. He composed at least thirty-five symphonies, of which twenty-six survive, some twenty-five harpsichord/piano concertos, more than 60 keyboard sonatas, and numerous chamber works, including string quartets, piano quintets, and other music. Stylistically these works are close to those of the composers of the Mannheim school. Particularly interesting are the harpsichord sonatas, which reflect the influence of C.P.E. Bach, and generally use more forward-looking structures.
|
|
Subsequently, with Berman, they made recordings of works by Brahms, Dohnanyi, Dvorak, Mendelssohn, Schumann, and Smetana as well as piano quintets of Dohnanyi and Franck with their longtime colleague and classmate, Vladimir "Billy" Sokoloff. Louis Berman was succeeded as second violinist first by Enrique Serratos, in the mid-1950s. Conductor Zubin Mehta's family moved to the United States when his father Mehli Mehta joined the quartet as second violinist in 1959. In the late 1960s, the second violinist was Geoffrey Michaels.
|
|
A clarinet choir is a musical ensemble consisting entirely of instruments from the clarinet family. It will typically include E, B, alto, bass, and contra- alto or contrabass clarinets, although sometimes not all of these are included, and sometimes other varieties may be present. The size of the ensemble varies; it may have between 10 and 40 members. There are also clarinet trios, clarinet quartets, and clarinet quintets, usually consisting of two to four B clarinets and one bass clarinet.
|
|
A string quintet is a musical composition for five string players. As an extension to the string quartet (two violins, a viola, and a cello), a string quintet includes a fifth string instrument, usually a second viola (a so- called "viola quintet") or a second cello (a "cello quintet"), or occasionally a double bass. Notable examples of classic "viola quintets", in four movement form include those of Wolfgang Amadeus Mozart. Other examples were written by composers including Johannes Brahms and Felix Mendelssohn.
|
|
Kahn composed prolifically for the chamber repertoire, writing in an intimate, lyrical style that is reminiscent of Felix Mendelssohn, Robert Schumann, and Johannes Brahms. Like his friend Brahms, Kahn eschewed the emotional extravagance of the late Romantics. His output included 2 piano quintets (besides the Quintet in C minor op.54 there is a Quintet in D Major from 1926), 2 string quartets, 3 piano quartets, 4 piano trios, 3 violin sonatas, 2 cello sonatas, several choral pieces, and numerous lieder.
|
|
Raffaele Calace made three long-playing phonograph records on which he plays mandolin and liuto cantabile. Raffaele Calace wrote about 200 compositions for mandolin. These include concert works for mandolin solo and compositions for mandolin and other instruments—duets with piano, trio combinations with mandola and guitar, the Romantic Mandolin Quartet (two mandolins, mandola, and guitar), and quintets. Calace also wrote pedagogical works, including a mandolin method, Schule für Mandoline,Schule für Mandoline, Released 1902 and a method for playing the liuto cantabile.
|
|
He began on trombone at age nine, and played in the Midland Youth Jazz Orchestra and the National Youth Jazz Orchestra in his teens. He attended Trinity College of Music from 1985 to 1988. His first band as leader was a trombone quintet called Bonestructure and he has gone on to front various sized groups from quartets and quintets to a Big Band featuring his own compositions and arrangements. Nightingale toured and recorded with James Morrison in Europe from 1994 to 1997.
|
|
In 1985 his composition "Cacharel" won second prize in the same competition. In 1977 he was awarded a year's scholarship to study composition and arrangement with Herb Pomeroy at Berklee College of Music in Boston. He then continued his composition studies with Jarmo Sermila, George Crumb and Václav Kučera. Since returning to Prague, he has led his own ensembles (primarily quartets and quintets), composed and arranged, and - after the death of Karel Velebný - worked as director of the Summer Jazz Workshops in Frýdlant.
|
|
From the early 1980s Binder led quartets and quintets that appeared at festivals in Europe. He performed and recorded with the free-jazz musician György Szabados in the middle of that decade and near its end played in duos with Theo Jörgensmann, Laszlo Sűle and others. Many of his frequent recordings from the early 1980s and into the 1990s have been reissued on Binder Music Manufactory, his own label. He is the head of the jazz department at the Liszt Ferenc Academy of Music in Budapest.
|
|
The Dells were an American R&B; vocal group, vocal quintets. Formed in high school in 1953 by founding members Marvin Junior, Verne Allison, Johnny Funches, Chuck Barksdale, and Mickey and Lucius McGill, under the name the El- Rays. They released their first recording in 1954 and two years later had their first R&B; hit with "Oh What a Night". After disbanding due to a near- fatal car crash in 1958, the band reformed in 1960 with Funches being replaced by Johnny Carter.
|
|
117 It also appears in unusual choices of instrumentation, as in the Sonata in A minor for arpeggione and piano (D. 821), or the unconventional scoring of the Trout Quintet (D. 667), which is scored for piano, violin, viola, cello, and double bass, whereas conventional piano quintets are scored for piano and string quartet. Although Schubert was clearly influenced by the Classical sonata forms of Beethoven and Mozart, his formal structures and his developments tend to give the impression more of melodic development than of harmonic drama.
|
|
The Quartet's Schumann CD was called "one of the very finest chamber music recordings of the year" by the American Record Guide in 2007, and its box set of the complete Mozart string quintets, released by Lyrinx in SACD format, was named a "Critic's Choice 2003" by the American Record Guide. Special recognition was given for the Quartet's commitment to contemporary music: a 2003-2004 national CMA/ASCAP Award for Adventurous Programming, given jointly by Chamber Music America and the American Society of Composers, Authors, and Publishers.
|
|
The same for Chamber music works that were previously unpublished like the Septet and several string quartets and string quintets. In the years 2010, close relationship has also been established with the German record label cpo, in particular for the symphonies and the cantatas Oedipus in Colonna Op．75 and Iphigénie en Tauride Op．76. With the later, the Institute also worked closely with the German musicologist and conductor Joachim Fontaine. During the year 2013, a close cooperation has been run with the Palazetto Bru Zan.
|
|
Following his tenure with Gillespie, Legge moved to New York City and freelanced there. He played in Johnny Richards's orchestra, and did sessions with Charles Mingus, Sonny Rollins, Joe Roland, Bill Hardman, Pepper Adams, Jimmy Knepper, and Jimmy Cleveland. Legge was one of three pianists recording as a member of the variously staffed Gryce/Byrd Jazz Lab Quintets in 1957 and appeared on more than 50 recordings before returning to Buffalo in 1959. In August 1963 Wade Legge died of a bleeding stomach ulcer.
|
|
Since 1989 Harrell has led his own groups, usually quintets but occasionally expanded ensembles such as chamber orchestras with strings, and big bands. He has appeared at most major jazz clubs and festival venues, and recorded under his own name for such record labels as RCA, Contemporary, Pinnacle, Blackhawk, Criss Cross, SteepleChase, Chesky, and HighNote. From 1994 to 1996, the quintet contained Don Braden, Kenny Werner, Larry Grenadier, and Billy Hart. From 2000 to 2005, it contained Jimmy Greene, Xavier Davis, Ugonna Okegwo, and Quincy Davis.
|
|
I was there, and a greater treat, or a more remarkable one, > cannot be imagined. Both Dittersdorf and Vanhal, though little-remembered now, were well-known composers (particularly of symphonies) of the time. (Many, if not most, now believe that Dittersdorf actually played first violin, given his world-class technique, and Haydn second.) The composer Maximilian Stadler also remembered chamber music performances in which Haydn and Mozart participated: the two of them took the viola parts in performances of Mozart's string quintets, K. 515, 516, and 593.
|
|
The North Sea Radio Orchestra is an ensemble of varying size, drawing on a pool of up to twenty members. It performs compositions which range from single-instrument solos and voice-and- guitar duos up to full chamber-orchestra-and-choir pieces (and all points in between, including assorted trios, quartets, quintets etc.). The instrumentation within the ensemble features woodwind, strings, orchestral and electronic percussion, nylon-string guitar, chamber organ, piano and the human voice. Between six and ten members sing as "the North Sea Chorus".
|
|
In 1827, he founded a "Société Philharmonique" in Niort, from which the "Association musicale de l'Ouest" was born in collaboration with the violinist and conductor Jules Norès. This was the first symphonic association in the region to organise concerts in Niort, La Rochelle, Angoulème, Rochefort, Poitiers and Limoges and to organise an annual musical congress. The society was active until 1879 and led among other things Mendelssohns' oratorios Paulus and Elias, Händels Alexander's Feast, Ludwig Wilhelm Maurers Symphonie concertante and Antonin Reicha's wind quintets.
|
|
Schofield performs with an organ trio (guitar, organ, and drums). Organ trios are mostly associated with the 1950s and 1960s US soul jazz groups led by organists such as Jimmy Smith. Blues bands more commonly use trios of guitar, bass and drums, quartets (guitar, keyboards, bass, and drums) or quintets (guitar, rhythm guitar, keyboards, bass, and drums). In Schofield's organ trio, organist Jonny Henderson plays a Hammond organ, performing basslines using his left hand, and playing chords and lead lines with his right hand.
|
|
As double-bass player Niebergall became co-founder of several of the first and most influential Free Jazz formations of Germany during the mid-1960s. Gunter Hampels quintet "Heartplants" and "Voices" by the Manfred Schoof quintet are two excellent examples of this independent European free jazz development. A founding member of the Globe Unity Orchestra since 1966, Niebergall collaborated with many musicians playing freely improvised music, including Peter Brötzmann, Don Cherry, Alfred Harth, Evan Parker, Alexander von Schlippenbach, Irène Schweizer, John Tchicai. During the early 1970s he played in Albert Mangelsdorff's various quartets and quintets.
|
|
The School Choir averages 170 members a year,St Peter's School York but there is also a more selective Chapel Choir as well as an elite Chamber Choir. Highlights of the choral calendar include the Carol Service at York Minster, as well as visits to the Minster and further afield to sing Evensong. The school has Barbershop Quartets, a Brass Group, Chamber Groups, a Choral Society, a Close Harmony Group, String Orchestras, String Quartets, Swing Band/Traditional Jazz, a Symphony Orchestra, Senior Wind Band, Woodwind, Quintets and Quartets.
|
|
His achievement was so remarkable that he was invited to join the Quartet in presenting a series of Mozart quintets at London's Wigmore Hall. From then on, Paul Doktor stuck to the instrument fate had chosen for him, and became the first violist ever to have been awarded unanimously the First Prize at the International Music Competition in Geneva. He left Vienna in 1938 and from 1939 to 1947 was solo violist with the Lucerne Symphony Orchestra. He moved to the United States in 1947 and became an American citizen in 1952.
|
|
Arnold Schoenberg began to arrange Das Lied von der Erde for chamber orchestra, reducing the orchestral forces to string and wind quintets, and calling for piano, celesta and harmonium to supplement the harmonic texture. Three percussionists are also employed. Schoenberg never finished this project, but the arrangement was completed by Rainer Riehn in 1980. In 2004, the Octavian Society commissioned Glen Cortese to create two reductions of the work, one for a chamber ensemble of twenty instruments and one for a small orchestra with woodwinds and brass in pairs.
|
|
In addition to these string quintets, he wrote nearly 100 vocal works. "Secular" groups—chamber ensembles and concert bands—developed along a parallel stream to the "trombone choirs". While the trombone choirs and church bands focus their attention primarily on chorales, the community bands and chamber ensembles play primarily what we would now call "secular" music -- chamber music, marches, dances, arrangements of popular music of various sorts. These groups provide not only entertainment for player and audience alike but also enable the players to improve through playing more challenging music.
|
|
The Quartet's Fauré quintets CD on Naxos with pianist Cristina Ortiz was among the five recordings for which music producer Steven Epstein won a Grammy Award in 2010 ("Producer of the Year, Classical"). It was also named a "Gramophone award-winner and recording of legendary status" in the 2012 Gramophone Classical Music Guide. Its Glazunov, Mendelssohn, and Fauré CDs were each named a "Recording of the Year" by Musicweb International in 2007, 2008, 2009, respectively. Their "Four American Quartets" album was designated a "BBC Music Magazine Choice" in 2008.
|
|
Recordings have been made of his song cycle Willowwood and his piano quintet From the seventh Realm; of the latter, Percy Grainger wrote, "While I am a reverent admirer of the piano and string quintets by Bach, César Franck, Brahms, Cyril Scott and others, I must confess that this American work by Fickenscher out-soars them all, for my ears, in point of spiritual rapture and sensuous loveliness." Fickenscher also invented the Polytone, a keyboard instrument that could produce sixty distinct tones within the scope of an octave.
|
|
Padre Soler's most celebrated works are his keyboard sonatas, which are comparable to those composed by Domenico Scarlatti (with whom he may have studied) but are more varied in form than those of Scarlatti, with some pieces in three or four movements; Scarlatti's pieces are in one (mostly) or two movements. Soler's sonatas were cataloged in the early twentieth century by Fr. Samuel Rubio and so all have 'R' numbers assigned. Soler also composed concertos, quintets for organ and strings, motets,edited by Ediciones Escurialenses, Editorial Patrimonio Nacional, 1983. masses and pieces for solo organ.
|
|
Strosser first studied with Hélène Boschi then at the Conservatoire de Paris with Jean-Claude Pennetier and Christian Ivaldi.Biographie commentée on Pianobleu.com (accessdate 17 June 2017) He is a piano teacher at the Conservatoire de Paris and a professor of chamber music at the Conservatoire national supérieur de musique et de danse de Lyon. Emmanuel Strosser is the author of an important discography, particularly in chamber music: Gabriel Fauré's two quintets with the Rosamonde Quartet, and the Slavonic Dances by Antonín Dvořák for piano four hands with Claire Désert among others.
|
|
The Piano Quintet in G Minor, opus 57, by Dmitri Shostakovich is one of his best-known chamber works. Like most piano quintets, it is written for piano and string quartet (two violins, viola and cello). Shostakovich began work on the piece in the summer of 1940 and completed it on September 14. It was written for the Beethoven Quartet, as were most of his string quartets, and premiered by them with Shostakovich himself at the piano on November 23, 1940 at the Moscow Conservatory, to great success.
|
|
Smoky Mountain Brass Quintet is a brass quintet founded in 1993 and currently Quintet in Residence at Western Carolina University. Since its founding in 1993, the Smoky Mountain Brass Quintet has entertained audiences around the world in nine countries on three continents in venues such as Weill Recital Hall at Carnegie Hall, and Shostakovich Philharmonia Hall. The Quintet performs a wide variety of music ranging from Early Renaissance to Jazz. In addition, works commissioned from regional composers such as Bruce Frazier, Michael Kallstrom and Robert Kehrberg have expanded the repertoire for all brass quintets.
|
|
In Onslow's own later words: "On hearing this piece, I experienced so lively an emotion in the depths of my soul that I sensed myself at once penetrated by feelings previously unknown to me; even today this moment is present in my thought. After this, I saw music with other eyes; the veil which had hidden its beauties from me was rent; it became the source of my most intimate joy, and the faithful companion of my life."Fétis (1841), p. 90. This led him to compose his first string quintets (Op.
|
|
Paganini composed his own works to play exclusively in his concerts, all of which profoundly influenced the evolution of violin technique. His 24 Caprices were likely composed in the period between 1805 and 1809, while he was in the service of the Baciocchi court. Also during this period, he composed the majority of the solo pieces, duo-sonatas, trios and quartets for the guitar, either as a solo instrument or with strings. These chamber works may have been inspired by the publication, in Lucca, of the guitar quintets of Boccherini.
|
|
Getz's reputation was greatly enhanced by his featured performance on Johnny Smith's 1952 album Moonlight in Vermont, that year's top jazz album. The single of the title tune became a hit that stayed on the charts for months. In the mid to late 1950s working from Scandinavia, Getz became popular playing cool jazz with Horace Silver, Johnny Smith, Oscar Peterson, and many others. His first two quintets were notable for their personnel, including Charlie Parker's rhythm section of drummer Roy Haynes, pianist Al Haig and bassist Tommy Potter.
|
|
1 & 2 DCA 510 :Nos. 3 & 4 DCA 509 :Nos. 5 & 6 DCA 504 BORODIN: String Quartets Nos. 1+2, String Sextet (with L. Williams, R. Wallfisch) CD DCA 1143 BRAHMS / SCHUMANN: Piano Quintets (with P. Frankl) CD DCA 728 MENDELSSOHN : String Quartet No. 6 & BRAHMS : String Quartet No. 2 CD QS 6173 HAYDN: The Seven Last Words CD DCA 853 HAYDN: String Quartets “Sun” Op.20 - Nos.1, 3 & 4 CD DCA 1027 HAYDN: String Quartets “Sun” Op.20 - Nos.2, 5 & 6 CD DCA 1057 HAYDN: String Quartets Op.33 - Nos.
|
|
261), including keyboard and multiple concertos. His earlier close acquaintance with the operas of Gluck and Mozart, and his later keyboard arrangements (published by his friend Simrock) of Haydn's symphonies, Mozart's string quintets and Beethoven's Trios op. 9 enabled him to produce instrumental music notable for contrapuntal and textural ingenuity, combined with an imaginative, if sometimes overladen, instrumentation. As a composer for the theatre, Stegmann has attracted attention for his harmonic and tonal organisation and for using antecedent forms of leitmotif, showing an early interest in dramatic and psychological continuity.
|
|
She later published his love poems to her as a book. In 1908 she was billed as "Louis von Heinrich", and performed in concerts of her own compositions, in Paris, and in London with the London Symphony Orchestra and vocalist Tilly Koenen. "Her compositions include every conceivable form," explained one newspaper in 1908, "sonatas for piano, violin, and cello; songs; string quartets, trios, quintets, church music and orchestral works such as overtures, suits and symphonies." As "Miss Louis von Heinrich" she returned to teaching post-secondary music classes.
|
|
Kuerti is the artistic director emeritus of Mooredale Concerts, and of the Mooredale Youth Orchestras, a small Toronto-based set of three orchestras for children and teen-agers founded by his late wife, cellist Kristine Bogyo. In 2002, Kuerti directed The Czerny Music Festival in Edmonton, to showcase the work of Austrian composer Carl Czerny (1791-1857). The festival featured symphonies, masses, string quartets and quintets, works for piano and strings, songs and miscellaneous chamber works, composed by Czerny. On October 17, 2013, Kuerti was overcome by a stroke while playing a concert in Miami.
|
|
All three movements of the work are strongly reminiscent of the corresponding movements in Beethoven's work, making it a musical pastiche. In addition to the above-mentioned piano concerto were a string quartet and several works for piano that included all the current genres of the day: sonatas, sonatinas, waltzes, rondos and variations. He also created several works for strings with piano (three quartets and two quintets, and several violin sonatas), works of incidental music and several operas. However, his most-often recorded and played works are several piano sonatinas and numerous works for flute.
|
|
The most recent were a new concerto 'River of Crystal Light' by Peter Lieuwen, which he played and recorded in the Texas Festival in June 2005 and a clarinet quintet, 'The Sun and the Moon' by Michael Stimpson which received its premiere in Aberystwyth with the RTÉ Vanbrugh Quartet in July 2005. In February 2006 David played concertos by Mozart and Charles Fitts (World Premiere) in the USA with the Houston Chamber Orchestra. As well as numerous broadcasts over the past thirty years, David has made many CDs including two versions of the Mozart Clarinet Concerto with the City of London Sinfonia and Royal Philharmonic Orchestra, two versions of the Βrahms Clarinet Sonatas as well as the Mozart and Brahms Quintets, Messiaen Quartet for the End of Time, two albums of music by Charles Camilleri, the Bliss Clarinet Quintet, Philip Cannon's Quintet, Logos and works by Martinu, Peter Maxwell Davies and Carey Blyton. His recording of Peter Lieuwen's 'River of Crystal Light' was released in May 2007 and future projects include recording a third CD of works by Charles Camilleri and an album of English clarinet quintets, and concertos by Carl Davis, Gerald Finzi and Graham Fitkin in Estonia with the Tallinn Chamber Orchestra.
|
|
The String Quintet No. 3 in C major, K. 515 was written by Wolfgang Amadeus Mozart. Like all of Mozart's string quintets, it is a "viola quintet" in that it is scored for string quartet and an extra viola (two violins, two violas and cello). The work was completed on April 19, 1787, less than a month before the completion of his stormy G Minor Quintet, K. 516. This would not be the last time that a great pair of C major/G minor works of the same form would be published in close proximity and assigned consecutive Köchel numbers.
|
|
Ottorino Respighi's Ancient Airs and Dances Suite and one of Giovanni Gabrieli's triple brass quintets were among his opening themes. The show closed with Mozart's Sinfonia Concertante for oboe, clarinet, bassoon, horn, and orchestra (K. 297b). In addition to his calm manner, Lurtsema had a subtle sense of humor. He played the birdsong recording unaccompanied for the first part of his program, before fading in his classical opening piece for the day. On at least one occasion, on April 1, 1982, he celebrated April Fools' Day by giving the birds "the morning off" and substituting for them himself.
|
|
Rosenkranz (1902), (New York: Novello, Ewer & Co.), p. 51. . including nine symphonies, as well as overtures and variations. Chamber music comprises a large portion of Gouvy's work and accounts in particular for four sonatas in duet form, five trios, eleven quartets, seven quintets, an enormous piano repertoire, several scores for wind ensembles, as well as many melodies and Lieder. There are also five dramatic cantatas: Aslega, Œdipe à Colone, Iphigénie en Tauride, Électre, and Polyxène; two operas: Le Cid and Mateo Falcone; as well as some large religious works, including a Requiem, a Stabat Mater, a Messe brève, and the cantata Golgotha.
|
|
There are two double-violin concertos as well. Better known today, however, are the four clarinet concertos, all written for the virtuoso Johann Simon Hermstedt, which have established a secure place in clarinettists' repertoire. Among Spohr's chamber music is a series of no fewer than 36 string quartets, as well as four double quartets for two string quartets. He also wrote an assortment of other quartets, duos, trios, quintets and sextets, an octet and a nonet, works for solo violin and for solo harp, and works for violin and harp to be played by him and his wife together.
|
|
The final movement of the Fourth Symphony, Op. 98, is formally a passacaglia. His chamber works include three string quartets, two string quintets, two string sextets, a clarinet quintet, a clarinet trio, a horn trio, a piano quintet, three piano quartets, and four piano trios (the fourth being published posthumously). He composed several instrumental sonatas with piano, including three for violin, two for cello, and two for clarinet (which were subsequently arranged for viola by the composer). His solo piano works range from his early piano sonatas and ballades to his late sets of character pieces.
|
|
Emanuel Hurwitz, leader of the Ensemble, said, "When you walk on to a platform with someone of his artistic integrity, you feel nothing but total confidence". His recordings with the Melos Ensemble include the Beethoven as well as the Mozart quintets for piano and wind, Johann Nepomuk Hummel's quintet and septet, Leoš Janáček's Concertino, which earned the Edison Award and Schubert's "Trout" Quintet. The New York Times praised his recording of the Fauré Piano Quartet with the Pro Arte Quartet. He played and recorded with the Pro Arte Piano Quartet, Kenneth Sillito (violin), Cecil Aronowitz (viola) and Terence Weil (cello).
|
|
The Academy of St Martin in the Fields Chamber Ensemble was created in 1967 to perform the larger chamber works with players who customarily worked together, instead of the usual string quartet with additional guests. Drawn from the principal players of the Academy and led by violinist Tomo Keller, the Chamber Ensemble performs in all shapes and sizes, from string quintets to octets, and in various other configurations featuring winds. Its touring commitments are extensive and include regular tours of Europe and North America, whilst recording contracts with Philips Classics, Hyperion, and Chandos have led to the release of over thirty CDs.
|
|
My Conception is an album by jazz pianist Sonny Clark, recorded for the Blue Note label and performed by Clark with Donald Byrd, Hank Mobley, Paul Chambers, and Art Blakey. It was originally released in 1979 in Japan, as GXF 3056, featuring six tracks recorded in 1959 including an alternate take of "Royal Flush", appeared on Cool Struttin'. The 2000 limited CD reissue also comprised the three additional tracks originally recorded for Sonny Clark Quintets, an album which never saw the light of the day until being released later only in Japan.Sonny Clark discography accessed December 22, 2009.
|
|
Title page of the Notice sur la vie et les ouvrages de Luigi Boccherini, suivie du catalogue raisonné de toutes ses œuvres, tant publiées qu'inédites, Paris, 1851. Although Picquot had a job far from music - he was a tax collector in Bar-le-Duc - his work reached a general recognition. among musicologists, musicians, music historians, publishers etc. In his patient compilation effort, Picquot contacted all those who may have information and documents about the composer, particularly François de Fossa (who played the Quintets with guitar), or the son, Josef Mariano and grandson Fernando, as well as his widow.
|
|
Lane's recording of Ernest Bloch Piano Quintets Nos. 1 and 2 with the Goldner Quartet (Hyperion) was nominated for BBC Music Magazine Awards in 2009."Festival artists: Piers Lane" , Australian Festival of Chamber Music On 11 June 2012, Lane was named an Officer of the Order of Australia for "distinguished service to the performing arts as an internationally renowned classical pianist, to professional and cultural organisations, and to the development of emerging musicians." In April 2015, following the death of the inaugural Artistic Director Warren Thomson in February, Piers Lane was announced as the Artistic Director of the 2016 Sydney International Piano Competition.
|
|
Other works for this instrumentation written from roughly the same period include those by Johann Nepomuk Hummel, George Onslow, Jan Ladislav Dussek, Louise Farrenc, Ferdinand Ries, Franz Limmer, Johann Baptist Cramer, and Hermann Goetz. Later composers who wrote chamber works for this quintet include Ralph Vaughan Williams, Colin Matthews, Jon Deak, Frank Proto, and John Woolrich. Slightly larger sextets written for piano, string quartet, and double bass have been written by Felix Mendelssohn, Mikhail Glinka, Richard Wernick, and Charles Ives. In the genre of string quintets, there are a few works for string quartet with double bass.
|
|
The Quintet is notable for its 1979 founding of the International Brass Quintet Festival in Baltimore, Maryland, which became recognized as a major forum for brass chamber music. A major highlight of the 1989 festival was the combined appearance of both the East Berlin and West Berlin Brass Quintets with the ABQ two months before the Berlin Wall toppled, a historic collaboration both musically and politically. The festival presented over 200 free public concerts and conducted workshops and seminars for students and professional brass players. In 1985, the ABQ first performed with the Charlie Byrd Trio as Byrd and Brass.
|
|
Panchadasi or Panchadashi ( Devanagari: पंचदशी IAST paṃcadaśī) is a simple yet comprehensive manual of Advaita Vedanta (अद्वैत वेदान्त, advaita vedānta) written in the fourteenth century A.D (1386-1391) by Vidyaranya (विद्यारण्य), previously known as Madhavacharya (माधवाचार्य). Pancha (पंच) is five and dasi (दशी) is ten, are the total fifteen chapters divided into three quintets the three aspects of Brahman, Sat (सत, Truth), Chit (चित, Consciousness) and Ananda (आनंद, Bliss) aspects of Reality. It elaborates Advaita (अद्वैत,non dual), Consciousness, Jiva, Maya, Prakriti (प्रकृति, prakṛti, Nature), Mahat (universal mind), Buddhi (Intellect), Ahamkara (Ego), Avidya (Ignorance), and ananda (Bliss).
|
|
Stowell, Robin. The Cambridge Companion to the String Quartet, p. 324. The Piano Quintet in F minor, Op. 34 of Johannes Brahms, reworked from an earlier sonata for two pianos (itself a reworking of an earlier string quintet) at the urging of Clara Schumann, was one of many significant Romantic piano quintets that show Schumann's influence and adopt his choice of instrumentation. Schumann's Piano Quintet failed to please at least one discriminating listener: Franz Liszt heard the piece performed at Schumann's home and dismissed it as "too Leipzigerisch," a reference to the conservative music of composers from Leipzig, especially Felix Mendelssohn.
|
|
Shortly afterwards, in 1886, he moved to London with his elder brother, Baron Emile Beaumont d'Erlanger, to work as a banker, for the private banking firm that his father owned. Both d'Erlanger and his brother became naturalised Englishmen. A millionaire, d'Erlanger was described as a "genuine Renaissance man"; he was a noted patron of the arts in London, promoting and financing opera at Covent Garden and acting as a trustee of the London Philharmonic Orchestra.Foreman, Lewis: Notes to Dunhill & Erlanger: Piano Quintets, Hyperion CDA68296 (2020) He also invested in developing countries, financing department store chains in South America and railways in South Africa.
|
|
The objective of the Navy Band Support is to coordinate Navy musical groups in support of Navy Weeks and related community outreach events throughout the United States. Band support is also coordinated for recruiting efforts through the Music for Recruiting Program. Navy bands across the United States are composed of top rated musicians who perform in various musical units including Ceremonial and Parade Bands, Pop/Rock Bands, Brass and Woodwind Quintets and Jazz Ensembles. Navy Bands may be authorized to perform concerts, patriotic ceremonies and parades for the general public and school concerts in support of Navy Recruiting.
|
|
The Vermeer Quartet performed well over two hundred works, including nearly all the "standard" string quartets, many lesser-known compositions, a number of contemporary scores, and various other works with guests. Their discography includes the complete string quartets of Beethoven, Tchaikovsky, and Bartók, plus various other works by Haydn, Schubert, Mendelssohn, Brahms, Dvořák, Verdi, Tchaikovsky, Shostakovich, and Schnittke. In 2003 they received their second Grammy nomination for their CD of the Shostakovich and Schnittke piano quintets with Boris Berman on the Naxos label. Their recording of the six Bartók quartets was released by Naxos in May 2005, and received a 3rd Grammy nomination.
|
|
He made his debut as a solo pianist at the age of 13 with the Philadelphia Orchestra. Returning to the United States from Jerusalem in 1963, he made his debut with the New York Philharmonic, playing Bartók's Piano Concerto No. 2. Since then, he has performed with famous conductors such as Daniel Barenboim, Seiji Ozawa, Michael Tilson Thomas, Yuri Temirkanov, Leonard Slatkin, Leonard Bernstein, Eugene Ormandy, Pierre Monteux, Josef Krips, and Leopold Stokowski. He has played sonatas with Itzhak Perlman, piano duos with Ronit Amir, and with Ursula Oppens, as well as quintets with the Lark Quartet, Avalon Quartet, and Shanghai Quartet.
|
|
The DeFranco Family recorded at United Western Recorders studios in Hollywood with accompaniment by Wrecking Crew veterans Hal Blaine on drums, Larry Carlton on guitar, and Max Bennett on bass. They appeared on Dick Clark's American Bandstand nine times. With their lighthearted approach to music, the DeFranco Family became a successful pop music act in the mid-1970s. They benefited from two major factors: the imposition of Canadian content regulations that encouraged Canadian radio stations to broadcast songs by artists from their home country, and the early 1970s popularity of two other family quintets often led by preteens, The Osmonds and The Jackson 5.
|
|
This venture tugged at Terry's greatest love: involving youth in the perpetuation of jazz. From 2000 onwards, he hosted Clark Terry Jazz Festivals on land and sea, held his own jazz camps, and appeared in more than fifty jazz festivals on six continents. Terry composed more than two hundred jazz songs and performed for eight U.S. Presidents. He also had several recordings with major groups including the London Symphony Orchestra, the Dutch Metropole Orchestra, and the Chicago Jazz Orchestra, hundreds of high school and college ensembles, his own duos, trios, quartets, quintets, sextets, octets, and two big bands: Clark Terry's Big Bad Band and Clark Terry's Young Titans of Jazz.
|
|
Sebastian Manz was the recipient in 2012 of yet another ECHO Klassik award, this time in the "Chamber Music Recording of the Year" category, for his recording of the Mozart and Beethoven quintets together with Ramón Ortega Quero, Marc Trénel, David Alonso and Herbert Schuch. Just one year earlier, he received the coveted award in the "Newcomer of the Year" category for his excellent recording of Mozart's Clarinet Concerto. He studied under Sabine Meyer and Rainer Wehle. In his debut at the Tonhalle Zürich on 4 May 2010 he played Mozart's clarinet concerto with the Nordwestdeutsche Philharmonie conducted by their designated chief conductor Eugene Tzigane.
|
|
On AllMusic, Scott Yanow called it an "erratically recorded but very interesting release" and states, "Although Hawkins's studio recordings from this era were few and generally found him restricted to playing commercial mood music, his concert and club appearances showed him to still be in prime form. This enjoyable LP has the great tenor leading two different quintets at Birdland on broadcasts that were aired just a week apart. The rhythm section features the then-unknown pianist Horace Silver, bassist Curly Russell and either Art Blakey or Connie Kay on drums. More importantly, trumpeters Roy Eldridge and Howard McGhee (heard separately) inspire the competitive Hawkins to play at his best".
|
|
Daellenbach moved to Toronto and taught music at the Faculty of Music at the University of Toronto. The Canadian Brass was formed in 1970 by Daellenbach and trombonist Gene Watts, enlisting trumpeter Stuart Laughton and University of Toronto Business School graduate Graeme Page. At this point, 2020, Daellenbach has performed fifty years in the ensemble and has not missed a single performance. Daellenbach's contributions to the brass world include over 600 standard repertoire works for brass quintets, more than 30 best-selling concert band versions of the most popular Canadian Brass repertoire, and an educational series that has sold nearly one million copies worldwide.
|
|
Melharmonic compositions employ a diverse forms, some of which are original. They also employ musical forms of Western classical such as daprice,Capriccio (music) étude and concerto for various instruments and also forms like geetam and krti (also spelt as kriti), which are used in Indian Carnatic music. They often showcase ragas novel to Western audiences and often feature inventive rhythmic cadences,cadence (music) mathematical codas and embedded sequences suggestive of melodic improvisation. Melharmonic arrangements of traditional Indian composers including Tyagaraja, Oottukkadu Venkata Kavi and Muthuswami Dikshitar have been performed by various professional symphonies & chamber orchestras, string orchestras, quartets and quintets ensembles as well as Jazz, Rock & world music groups.
|
|
Golson reported that he wanted to form a sextet, because "there were so many quintets around, and I wanted to hear one more voice in the band. When I called Art with the idea, he just started laughing, because he was ready to leave Gerry Mulligan and had been about to call me to be the tenor saxophonist in his new sextet." The pair decided to choose two additional members each; Farmer selected Addison Farmer (bass) and Dave Bailey (drums), and Golson picked Curtis Fuller (trombone), and McCoy Tyner (piano). All agreed to join, so these six formed the original sextet.New York Amsterdam News (November 7, 1959) p. 15.
|
|
After the death of his father in 1885, Belaïev set about encouraging the development of new music in a number of practical ways, such as: the founding of a publishing house (Edition M.P. Belaïeff); the promotion of orchestral concerts; and the aforementioned Friday Evenings. It was at these evenings that one of the regular performing ensembles was a string quartet in which Belaïev played the viola and Ewald the cello. As well as providing opportunities for music making, these gatherings allowed Belaïev to audition potential publications and it is almost certain that it was for performance by, and amongst his friends and musical contemporaries, that Ewald’s four quintets were written.
|
|
Musson also appeared as Guest Principal with such orchestras as London's Royal Philharmonic Orchestra, the Gurzenich Orchestra of Cologne, the Australian Chamber Orchestra,the Tasmanian Symphony Orchestra and the Sydney Symphony Orchestra. He has also performed widely as a soloist and as a member of chamber music ensembles.for example, "An evening of music from Pacific Winds", Waikato Time, 24 Mar 2003, Edn 2, p. 8: at this concert Musson appeared with five other soloists of various other instruments and they played works including: Mozart and Beethoven's Quintets and Ludwig Thuille's Sextet for piano and winds, Francis Poulenc's sextet and Jean-Michel Damase's 17 Variations.
|
|
In New York, Silver and Blakey co-founded the Jazz Messengers, a cooperatively-run group that initially recorded under various leaders and names. Their first two studio recordings, with Hank Mobley on tenor saxophone, Kenny Dorham on trumpet, and Doug Watkins on bass, were made in late 1954 and early 1955 and were released as two 10-inch albums under Silver's name, then soon thereafter as the 12-inch Horace Silver and the Jazz Messengers. This album contained Silver's first hit, "The Preacher". Unusually in Silver's career, recordings of concert performances were also released at this time, involving quintets at Birdland (1954) and the Café Bohemia (1955).
|
|
Jan Gall (1901) Jan Karol Gall (August 18, 1856 – October 30, 1912) was a Polish vocal composer and music teacher. Gall was born in Warsaw, and studied under Franz Krenn in Vienna, Josef Rheinberger in Munich, and Francesco Lamperti in Milan. In 1880, he became conductor of the Galician Music Society in Lemberg (modern-day Lviv, Ukraine); in 1886, professor of singing at the Kraków Conservatory; and from 1892, conductor of a choral society, "Echo", in Lwów [Lemberg]. He wrote about 400 songs, choruses, quintets, and so on, and his compositions were quite popular at the time, including a popular version of Mizerna cicha.
|
|
Hailed as "the high priests of brass" by Newsweek, "positively breathtaking", by The New York Times, and "of all the brass quintets, this country's most distinguished" by the American Record Guide, the American Brass Quintet has clearly defined itself among the elite chamber music ensembles of our time. The American Brass Quintet is the 2013 recipient of Chamber Music America's highest honor, the Richard J. Bogomolny National Service Award for significant and lasting contributions to the field. The current ABQ consists of Louis Hanzlik and Kevin Cobb on trumpet, Eric Reed on French horn, Michael Powell on tenor trombone, and John Rojak on bass trombone.
|
|
The album was recorded in three sessions in late 1956 with two different quintets. "Ba-lue Bolivar Ba-lues-Are" and "Pannonica", on which Monk played the celeste, were recorded on October 9 with saxophonists Ernie Henry and Sonny Rollins, bassist Oscar Pettiford, and drummer Max Roach. The former composition was titled as a phonetic rendering of Monk's exaggerated pronunciation of "Blue Bolivar Blues", which referred to the Bolivar Hotel where Pannonica de Koenigswarter resided; Monk had met her during his first trip to Europe in 1954. On October 15, Monk attempted to record the title track with the same band during a four-hour session.
|
|
Berendt was the first and only global player of the jazz critics and producers of the German jazz scene, who introduced jazz from Germany abroad. The best-known jazz groups in West Germany were the quintets of Albert Mangelsdorff (with Heinz Sauer and Günter Kronberg), Michael Naura (with Wolfgang Schlüter), and the quartet of Klaus Doldinger (with Ingfried Hoffmann.) Innovators were also the Lauth Wolfgang quartet (with Fritz Hartschuh) and the trio of Wolfgang Dauner (with Eberhard Weber and Fred Braceful). Musically there was a deliberate but careful delineation of the American model. With their growing popularity, Doldinger and Mangelsdorff could also perform abroad and publish records.
|
|
The concert band appear regularly at military events, civic parades, church services and charity concerts, largely in the East of England, although the band have also performed in London and Birmingham, and toured in Cyprus.RAF WAVB website, URL accessed 3 December 2009 The band also have a big band, "Rhythm in Blue", and can also provide a fanfare team, and clarinet or brass quintets. Under bandmaster Graham Sheldon, they have produced a number of widely available CDs.iTunes, URL accessed 3 December 2009 On 28 February 2015 RAF Wyton Area Voluntary Band became the first of the RAF Voluntary Bands to ever perform alongside the Central Band of the Royal Air Force.
|
|
Carolina Brass is the name chosen by two different brass quintets based in North Carolina. Carolina Brass in Charlotte Carolina Brass was founded in 1980 by four principal brass musicians of the Charlotte Symphony and a professor of music at Davidson College. Since its founding, Carolina Brass has given hundreds of performances throughout the Southeast, including the Piccolo Spoleto festival in Charleston, SC. Over the years, Carolina Brass has performed many educational concerts, church services, weddings, and recitals. Due to the demanding schedule of the Charlotte Symphony, this group has, in recent years, chosen to serve Charlotte and the surrounding area, despite opportunities to tour nationally.
|
|
The String Quintet No. 4 in G minor, K. 516, written by Wolfgang Amadeus Mozart, is like all of Mozart's string quintets a "viola quintet" in that it is scored for string quartet and an extra viola (that is, two violins, two violas and cello). The mood of the piece is dark and melancholic, typical of Mozart's G minor works. The work was completed on May 16, 1787, less than a month after the completion of his grand C major Quintet, K. 515. This would not be the last time that a great pair of C major/G minor works of the same form would be published in close proximity and assigned consecutive Köchel numbers.
|
|
Two members of the Chicago Brass Quintet can be credited with helping plant the seed for the commercial and musical success of the contemporary brass quintet: Arnold Jacobs, a tuba player, and Renold Schilke, a trumpet player. Canadian Brass established both the style and popularity of the quintet medium throughout the world, having performed more than five thousand concerts, selling more than 500,000 quintet music books, and creating a library of over 600 compositions and arrangements for brass quintet. They continue to be one of the most popular and recognizable contemporary brass quintets. The brass quintet has accrued a sizable amount of literature for an ensemble that was only firmly established halfway through the 20th century.
|
|
In 14 string quartets, three string quintets, two piano quartets, a string sextet, four piano trios, and numerous other chamber compositions, Dvořák incorporates folk music and modes as an integral part of his compositions. For example, in the piano quintet in A major, Op. 81, the slow movement is a Dumka, a Slavic folk ballad that alternates between a slow expressive song and a fast dance. Dvořák's fame in establishing a national art music was so great that the New York philanthropist and music connoisseur Jeannette Thurber invited him to America, to head a conservatory that would establish an American style of music. There, Dvořák wrote his string quartet in F major, Op. 96, nicknamed "The American".
|
|
The cello is a member of the traditional string quartet as well as string quintets, sextet or trios and other mixed ensembles. There are also pieces written for two, three, four or more cellos; this type of ensemble is also called a "cello choir" and its sound is familiar from the introduction to Rossini's William Tell Overture as well as Zaccharia's prayer scene in Verdi's Nabucco. Tchaikovsky's 1812 Overture also starts with a cello ensemble, with four cellos playing the top lines and two violas playing the bass lines. As a self-sufficient ensemble, its most famous repertoire is Heitor Villa-Lobos' first of his Bachianas Brasileiras for cello ensemble (the fifth is for soprano and 8 cellos).
|
|
The quartet was active until the early 1940s. In 1924 Sharpe founded the Virtuoso Quartet with Marjorie Hayward (1st violin), Edwin Virgo (2nd violin) and Raymond Jeremy (viola). They made frequent tours of the British Isles sometimes forming quintets with other well-known players of the day, for example Leon Goossens (oboe), William Murdoch (piano), Harriet Cohen (piano) or Arnold Bax. In 1926 with Dale Smith (baritone) and Sidonie Goossens (harp) they performed in a BBC concert of contemporary music which included "Ode to a Nightingale" by Eric Fogg and Aquarelles for string quartet by John Foulds; this was broadcast from the New Chenil Galleries studios in Chelsea over the radio station 2LO.
|
|
Back in Buenos Aires later that year he put together the first, and perhaps most famous, of his quintets, the first Quinteto, initially comprising bandoneon (Piazzolla), piano (Jaime Gosis), violin (Simón Bajour), electric guitar (Horacio Malvicino ) and double bass (Kicho Díaz). Of the many ensembles that Piazzolla set up during his career it was the quintet formation which best expressed his approach to tango. Canal13 in 1963. (AGN) In 1963 he set up his Nuevo Octeto and the same year premiered his Tres Tangos Sinfónicos, under the direction of Paul Klecky, for which he was awarded the Hirsch Prize. In 1965 he released El Tango, an album for which he collaborated with the Argentine writer Jorge Luis Borges.
|
|
Luigi Sagrati (Rome, 10 November 1921 – Rome 20 March 2008) was an Italian violist. Luigi Sagrati He began studying the violin very young, and graduated cum laude from the Accademia Nazionale di Santa Cecilia. In the immediate postwar period he began an intensive concert activity in Italy and abroad. He began to study the viola in the early 1950s and switched to this instrument on a full-time basis when was invited by Pina Carmirelli and Arturo Bonucci to replace Renzo Sabatini in the Quintetto Boccherini. Bonucci and Carmirelli had just bought in Paris a complete collection of the 141 string quintets by Luigi Boccherini, and set about to promote this long forgotten music.
|
|
Though neglected as a composer, Thuille his posthumously-published Harmonielehre (written in collaboration with Rudolf Louis) went through many editions and was highly influential. Widely employed as part of the conservatory curriculum in German speaking countries through the 1960s, the Harmonielehre in two volumes is an important theoretical formulation devoted innovatively to the practices of the Munich School of composers, and remains one of few existing records providing examples of this music. While Thuille's Sextet has always retained a certain following, several of his other compositions have become commercially available on CD only in recent years — his two Piano Quintets, the Piano Trio in E-flat, the Piano Concerto in D and the Symphony in F among them.
|
|
Dvořák wrote in a variety of forms: his nine symphonies generally stick to classical models, but he also worked in the newly developed form of symphonic poem. Many of his works show the influence of Czech folk music, both in terms of elements such as rhythms and melodic shapes; amongst these are the two sets of Slavonic Dances, the Symphonic Variations, and the overwhelming majority of his songs, but echoes of such influence are also found in his major choral works. Dvořák also wrote operas (of which the best known is Rusalka); serenades for string orchestra and wind ensemble; chamber music (including a number of string quartets and quintets); and piano music.
|
|
Mendelssohn's mature output contains numerous chamber works, many of which display an emotional intensity lacking in some of his larger works. In particular, his String Quartet No. 6, the last of his string quartets and his last major work – written following the death of his sister Fanny – is, in the opinion of the historian Peter Mercer-Taylor, exceptionally powerful and eloquent. Other mature works include two string quintets; sonatas for the clarinet, cello, viola and violin; and two piano trios. For the Piano Trio No. 1 in D minor, Mendelssohn uncharacteristically took the advice of his fellow composer, Ferdinand Hiller, and rewrote the piano part in a more Romantic, "Schumannesque" style, considerably heightening its effect.
|
|
Despite his lifelong career as a conductor, Weingartner regarded himself as equally, if not more importantly, a composer. Besides numerous operas, Weingartner wrote seven symphonies which have all been recorded, with his other orchestral music, by cpo - classic production osnabrück, in Osnabrück, Germany. A sinfonietta, violin concerto, cello concerto, orchestral works, at least five string quartets, quintets for strings and for piano with clarinet and other pieces including a great many Lieder for voice and piano, one of which, "Liebesfeier" (text: Lenau) achieved a status as his most famous short work, in effect a "hit". Weingartner's choice of verse for his songs mirrors that of his contemporary composers: Max Reger, Joseph Marx, Richard Trunk and Richard Strauss.
|
|
The overture was performed by the George Mason University Orchestra in July 1982 with Taubenberger as conductor. In 1984 he wrote a "Symphony in D minor", from which he performed two movements with the Richmond Community Orchestra in the same year with Taubenberger conducting. Further work includes two lieder for tenor and piano on poems by Goethe (1985-6), two woodwind quintets (1987& 1988), and a string quartet in G major (1990), which was performed the same year by Columbia String Ensemble and in 1995 again by the Gallery Quartet. Next came eight two-part inventions for solo piano (1994), a string quartet in E minor (1997), and "Daydreams", a symphonic tone poem for large orchestra (2000).
|
|
Brass players however are indebted to him for something very different – a series of quintets which have become a staple of the repertoire and which represent almost the only, and certainly the most extended examples of original literature in the Romantic style. Ewald’s formal musical training began in 1872 when he enrolled at the St Petersburg Conservatory at the age of twelve. Founded in 1861 by Anton Rubenstein, this institution was the first of its kind in Russia and it was here that Ewald received lessons in cornet, piano, horn, cello, harmony and composition. Ewald’s cello teacher Karl Davydov encouraged him to immerse himself in practical music making of any sort whenever the opportunity arose.
|
|
Dolphy and John Coltrane knew each other long before they formally played together, having met when Coltrane was in Los Angeles with Johnny Hodges in 1954. They would often exchange ideas and learn from each other, and eventually, after many nights sitting in with Coltrane's band, Dolphy was asked to become a full member in early 1961. Coltrane had gained an audience and critical notice with Miles Davis's quintet, but alienated some jazz critics when he began to move away from hard bop. Although Coltrane's quintets with Dolphy (including the Village Vanguard and Africa/Brass sessions) are now well regarded, they originally provoked Down Beat magazine to brand Coltrane and Dolphy's music as 'anti-jazz'.
|
|
Waterhouse's 50th birthday was celebrated with concerts dedicated to his works in London, Munich and Frankfurt, featuring performances of chamber music by members of the Munich Philharmonic. Peter Grahame Woolf wrote about the Graham Waterhouse Portrait Concert at Highgate School on 9 October 2012, focussing on the string quartet Prophetiae Sibyllarum and Rhapsodie Macabre. A review in the ' of the concert at the Gasteig on 4 November 2012 was titled "" (Highly expressive) and covered additionally Praeludium, Bassoon Quintet and Piccolo Quintet. Reinhard Palmer wrote in the magazine ' about the concert in Munich, under the title "" (Popular outsider), comparing the quintets to concertos, noting the influence of Karol Szymanowski and Witold Lutoslawski and the qualities of musical story-telling.
|
|
When Taft presented live depictions of his sculptures with quintets of women, he faced complaints that three of his five sculptural compositions had nude upper torsos, while his live representations were fully clothed. The degree to which nudity in public art was more for the "sake of nudity than for the sake of art." was a contemporary issue involving confiscated Paul Chabas fully nude painting, the Roman Catholic Church, critics, art dealers and collectors. All this led to a 1913 amendment to the Chicago municipal obscenity laws proposed by Mayor of Chicago Carter Harrison, Jr. to the Chicago City Council, which passed three months before the dedication of Taft's partially nude fountain.Garvey, p. 158.
|
|
The quintet has performed at Carnegie Hall, Weill Recital Hall, the Santa Fe Chamber Music Festival, the Fleet Boston Celebrity Series, Tanglewood, and the White House, and has been the resident brass quintet of Boston University, the Boston University Tanglewood Institute, and the Boston Conservatory. The quintet hosts the Atlantic Brass Quintet Summer Seminar each year. Established in 1993, the Summer Seminar is a 2-week immersive brass quintet camp with 55 participants (ranging from high school through college, post-grad, pre-professional, and adults) and 10 faculty, including the members of the Atlantic and Triton brass quintets. Members of the group have, and continue to compose and arrange music for brass quintet.
|
|
David Maslanka (August 30, 1943 – August 6, 2017) was a U.S. composer who wrote in a variety of genres, including works for choir, wind ensemble, chamber music, and orchestra. Best known for his wind ensemble compositions, Maslanka published nearly 100 pieces, including nine symphonies (seven of them for concert band), nine concertos, and a full mass. Maslanka's works for winds and percussion have become especially well known. They include (among others) A Child's Garden of Dreams, for symphonic wind ensemble; concertos for alto saxophone, flute, clarinet, solo percussion, tenor trombone; a concerto for two horns; two concertos for piano (with winds and percussion); seven symphonies; a mass for soloists, chorus, boys' chorus, wind orchestra, and organ; and three quintets.
|
|
The program ended with his wind quintet Op. 31. Jörg Widmann, Composer and Artist in Residence in 2014, appeared four times, as a clarinet soloist in two chamber music concerts playing the clarinet quintets by Mozart and Brahms with the Arcanto Quartet and works by Stravinsky, Schumann and Bartók with his sister, Carolin Widmann, and Dénes Várjon, in a ' and a ' with students of the . In the workshop, he presented four of his chamber music works, playing in two of them, Fieberphantasie for string quartet, clarinet and piano, and a quintet for piano and winds, the scoring of Mozart's quintet K. 452. The other works were Air for horn solo, and the String Quartet No. 3 Jagdquartett.
|
|
It also produced three top-twenty Regional Mexican Airplay tracks; "Enséñame", "Se Murió De Amor", and "La Rosa". The album earned Pulido a nomination for the Tejano Music Award for Male Entertainer of the Year and the Lo Nuestro Award for Regional Mexican New Artist of the Year. Pulido along with Mexican singer Graciela Beltrán, American urban quintets the Barrio Boyzz, Tejano musicians Emilio Navaira, Pete Astudillo, and Jennifer Peña recorded "Viviras Selena" for the 1997 soundtrack to the biopic film about Selena, who was called the Queen of Tejano music and was killed in March 1995. By 1997, Pulido was being credited for introducing Tejano music to a much younger audience in the U.S., among other Tejano novitiates.
|
|
Hyperion released two Vanbrugh Quartet CDs of chamber music by Charles Villiers Stanford. The Quartet's recent recording of three of Boccherini’s cello quintets on Hyperion was featured as Editor's Choice in Gramophone Magazine. Other recent CDs include Metronome's second CD devoted to the music of Belfast composer Piers Hellawell, a Black Box release of Ian Wilson's three quartets and a recording for Hyperion of works for quartet and soprano by John Tavener. These recordings join a discography of twenty-one releases which includes the complete Beethoven Quartets and works by Haydn, Schubert, Dvořák, Janáček, Dohnányi, E.J. Moeran, Robert Simpson, John Tavener, John McCabe, John Kinsella, Raymond Deane, Brian Boydell and Walter Beckett.
|
|
Princess Theatre and Earl Arts Centre, Launceston Tasmania has a varied musical scene, ranging from the Tasmanian Symphony Orchestra whose home is the Federation Concert Hall, to a substantial number of small bands, orchestras, string quintets, saxophone ensembles and individual artists who perform at a variety of venues around the state. Tasmania is also home to a vibrant community of composers including Constantine Koukias, Maria Grenfell and Don Kay, who is the patron of the Tasmanian Composers Collective, the representative body for composers in Tasmania. Tasmania is also home to one of Australia's leading new music institutions, IHOS Music Theatre and Opera and gospel choirs, the Southern Gospel Choir. Prominent Australian metal bands Psycroptic and Striborg hail from Tasmania.
|
|
Smaller ensembles are featured in the Chamber Music Series, a variety of recitals planned and presented by individual band members. The Electric Brigade, the Navy’s premier Top 40 Band, aids recruiting by acquainting young Americans with the Navy and the United States Armed Forces, in addition to performances for the Brigade of Midshipmen in functions ranging from formal occasions such as the Graduation Ball during Commissioning Week to informal dances, pep rallies, and company picnics. From its 66 members, the band has two jazz groups, brass and woodwind quintets, trombone and clarinet quartets, tuba and percussion ensembles, and two reception combos. A succession of 26 leaders and hundreds of instrumentalists have been members of the band.
|
|
Much of their success in 1973 came at the expense of the Osmonds, who (themselves making an attempt at proselytizing with their music that year) declined in popularity for that year, though they would slightly recover in 1974. The DeFranco Family's active career reached a roadblock after that point. Family quintets were beginning to fall out of favor in the mid-1970s as disco began ascending (the Osmonds similarly saw a drop in popularity at the same time, while the Jackson 5 quickly adapted to disco), which coincided with Tony's voice changing because of puberty. A rock version of their tune "Write Me a Letter" failed to generate much attention and reached no higher than the 104th slot on the charts.
|
|
Antonio Besozzi (1714-1781) was an Italian oboist and composer and also member of an extensive family of musicians from the eighteenth-century Naples. He composed several concertos for oboe and a few quintets, which he called "sonatas", for two oboes, two horns and a bassoon. Besozzi was born in Parma, the son of oboist Giuseppe Besozzi and brother of Girolamo Besozzi. He was from 8 October 1727 to 1731 a member of the Ducal Guardia Irlandese, a hautboy band created in 1702 by Antonio Farnese, Duke of Parma. From 1734 he was active in Naples until the birth of his son Carlo Besozzi in 1738, when he left for Dresden to join the orchestra of the Royal Chapel and become its first oboist in 1739.
|
|
Pencil drawing of Luigi Boccherini by Etienne Mazas after a portrait bust Ridolfo Luigi Boccherini (, also , ; 19 February 1743 – 28 May 1805) was an Italian, later Spanish, composer and cellist of the Classical era whose music retained a courtly and galante style even while he matured somewhat apart from the major European musical centers. He is best known for a minuet from his String Quintet in E, Op. 11, No. 5 (G 275), and the Cello Concerto in B flat major (G 482). The latter work was long known in the heavily altered version by German cellist and prolific arranger Friedrich Grützmacher, but has recently been restored to its original version. Boccherini also composed several guitar quintets, including the "Fandango", which was influenced by Spanish music.
|
|
Mozart recorded the completion of the Rondo in his personal thematic catalog on 11 March 1787;The autograph manuscript is also dated 11 March; Scheideler (2009). he was 31 at the time and had only recently returned from a triumphant journey to Prague, where he witnessed great success for a new production of his 1786 opera The Marriage of Figaro, for his Symphony No. 38, and for his own solo piano performances.See Preface to Scheideler (2009). Abert (2007) notes some other major works of this stage in Mozart's life: the Rondo shortly preceded the beginning of work on Don Giovanni; and instrumental pieces from 1787 include the Third and Fourth String Quintets as well as the string serenade Eine kleine Nachtmusik.
|
|
Worth has played in trios and quartets led by Pete King, Jim Mullen, Don Weller, Brian Dee, Simon Spillett, Geoff Eales, Derek Nash, Alan Barnes and Digby Fairweather, and many other leading names of the British jazz scene, as well as backing several visiting American artists, including Buddy Greco, Charlie Byrd, Buddy Tate, Bob Wilber, and Kenny Davern. Worth cites his inspiration from drummers Mel Lewis and Joe Morello. He has also led his own line-ups, and his quartets and quintets have included saxophonists Ben Castle and Simon Allen, Paul Morgan on double bass, and pianists John Pearce or Robin Aspland. As of 2013, his quintet comprises Gareth Williams on keyboards, bassist Dave Green, Simon Allen on sax, and trumpeter Paul Jordanous.
|
|
Kroeger also describes the string parts of Antes's anthems as displaying, "subtle expression, contrapuntal interplay of motive, and idiomatic string writing." Antes's vocal works often used texts that illustrated his individual and sometimes painful relationship with God. This was often displayed through a "harmonic polarity between the tonic and the dominant." Antes was also fond of "dotted rhythms, melodic thirds, long vocal lines, high tessituras, and wide ranges," as well as equal importance to each instrument as in his string trios.Robert Emmet, "Classical Hall of Fame: ‘Antes-Trios In E flat; In d; In C' Peter-Quintets In D; In A; In G; In C; In B flat; In E flat," Fanfare-The Magazine for Serious Record Collectors 24, no.
|
|
The horn is a standard member of the wind quintet and brass quintet, and often appears in other configurations. Notable works from the late-eighteenth and early nineteenth centuries include two quintets by Mozart, one in E major for horn, violin, two violas, and cello (KV407/386c) and the other for piano, oboe, clarinet, bassoon and horn (KV452). Beethoven also wrote a Quintet for piano and winds, Op. 16, as well as a Sextet for two horns and strings, Op. 81b, and a Septet in E major, Op. 20, for clarinet, horn, bassoon, violin, viola, cello, and double bass. One of Schubert's last works is the Octet (D803), written in 1824, which adds a second violin to Beethoven's Septet scoring.
|
|
The horn is a standard member of the wind quintet and brass quintet, and often appears in other configurations. Notable works from the late-eighteenth and early nineteenth centuries include two quintets by Mozart, one in E major for horn, violin, two violas, and cello (KV407/386c) and the other for piano, oboe, clarinet, bassoon and horn (KV452). Beethoven also wrote a Quintet for piano and winds, Op. 16, as well as a Sextet for two horns and strings, Op. 81b, and a Septet in E major, Op. 20, for clarinet, horn, bassoon, violin, viola, cello, and double bass. One of Schubert’s last works is the Octet (D803), written in 1824, which adds a second violin to Beethoven's Septet scoring.
|
|
Portrait of Giovanni Sgambati by Vespasiano Bignami (1888) Born in Rome, to an Italian father and an English mother, Sgambati, who lost his father early, received his early education at Trevi, in Umbria, where he wrote some church music and obtained experience as a singer and conductor. In 1860 he settled in Rome, and took up the work of winning acceptance for the best German music, then little known in Italy. The influence and support of Franz Liszt, who was in Rome from 1861, was naturally of the greatest advantage to him, and concerts were given in which Sgambati conducted as well as played the piano. His compositions at this period (1864–1865) included a quartet, two piano quintets, an octet, and an overture.
|
|
Dedicated as he was to renewing the classical tradition of a dynamic musical architecture built on the gravitational power of tonality, Simpson wrote very few small or occasional works and concentrated on large-scale genres. He wrote 11 symphonies as well as concertos for violin, piano, flute and cello. (The Violin Concerto was subsequently withdrawn.) His extensive output of chamber music comprised 15 string quartets, two string quintets, a clarinet quintet, piano trio, clarinet trio, horn trio, violin sonata and a number of non- standard chamber ensemble works as well as works for piano, a sonata for two pianos, and a major organ work entitled (after the famous remark attributed to Galileo). He tended to avoid vocal music but his output includes two motets.
|
|
Wolfgang Amadeus Mozart is known for having composed different types of divertimenti, sometimes even taking the form of a small symphony (or, more exactly: sinfonia), for example, the Salzburg Symphonies K. 136, K. 137 and K. 138. Even more unusual is his six movement string trio, the Divertimento in E-flat, K. 563, which is a serious work belonging with his string quartets and quintets. Other composers of divertimenti include Leopold Mozart, Carl Stamitz, Haydn and Boccherini. Several examples exist from the 20th century, including works by Alfred Reed, Nikolai Medtner, Ferruccio Busoni, Vincent Persichetti, Charles Wuorinen, Sergei Prokofiev, Béla Bartók, Benjamin Britten, Leonard Bernstein, Paul Graener, Gordon Jacob, Lennox Berkeley, Gareth Walters, Malcolm Arnold, Lars-Erik Larsson, Saint-Preux, Bohuslav Martinů and Joe Hisaishi.
|
|
In 1908, Scott founded her own string quartet, The Marion Scott Quartet, mainly to introduce contemporary British music to London audiences. Their programs at Aeolian Hall featured new works by Stanford, Frank Bridge, James Friskin, Hubert Parry, William Hurlstone and others, as well as occasional early music by Purcell and Arne and their contemporaries. In her innovative programming Scott featured trios, quintets, songs, and vocal ensembles to provide musical diversity. Although she was a gifted violinist, frequent ill health prevented Scott from pursuing a career as a solo concert artist, but she continued to work as a musician giving recitals and playing in orchestras, often serving as leader under conductors including Charles Stanford, Gustav Holst, Walter Parratt and Samuel Coleridge- Taylor.
|
|
At the core of his creative output are the 14 wind quintets, several works for solo woodwind with strings, and numerous other chamber music pieces for winds, strings, keyboards and percussion. Three Sonatas for bass clarinet and piano have also proven popular with clarinetists. His work also encompasses larger forms: over a dozen concertos and works for band, orchestra and chorus. As a testament to his versatility, his Humboldt Currents Brass Octet (3 trumpets in B flat, horn, three trombones, and tuba), is a substantial work in three movements proving his ability to produce pieces other than for woodwinds and strings. Sophisticated and idiomatically written, Michael Kibbe’s octet is an accessible contemporary work perfectly suited to collegiate or professional recitals and concerts, and is a welcome addition to the brass chamber repertoire.
|
|
The Musical Times said of Luard-Selby's work, "We failed to discover any originality of thought, but the writing throughout shows that its composer is an accomplished musician.""The Gloucester Musical Festival", The Musical Times, October 1877, p. 479. He composed two school cantatas, The Waits of Bremen and A Castle in Spain; chamber music including two piano quintets; a piano quartet; three sonatas for violin and piano; and many songs and part-songs. His church music includes two settings of the Magnificat and Nunc dimittis, 16 anthems, and a number of pieces for the organ.Recordings of Luard-Selby's music available at June 2010 were A Christmas Pastoral for organ (Martin Souter, organ – The Gift of Music CCLCDG1029) and a piece for small instrumental group and chamber choir, A Voice from Ramah (Challenge Classics, CC72135).
|
|
The Band of the Odessa Military Academy () was established in December 2012 and has its origin from the 9th Military Band of the Soviet Army (established in 1964) and the local Song and Dance Ensemble (established in 1939). In 1988, the former won first place at a Moscow competition of small military bands of the Soviet Armed Forces. The choir group of the ensemble showed their art in 1993 at the Leontovich Choir Competition, where it won the 1st place, and in 1995 the dance group became the Laureate of the International Folk Dance Competition in Samsun, Turkey. Today, the small ensembles that are part of the band include a parade band, a jazz band, a ballet group, brass and chamber quintets as well as a concert band.
|
|
He was a regular guest artist with the Lincoln Center Chamber Players, the Mostly Mozart Festival and the chamber music concerts at the 92nd Street Y in New York City. A partial list of his recordings as a chamber musician include the Mozart, Brahms, Weber and Coleridge-Taylor Clarinet Quintets, Schubert's Shepherd on the Rock (with Benita Valente and Rudolf Serkin), Bruch Pieces for clarinet, viola and piano, Mozart Trio, Schumann Fairy Tales and Fantasy Pieces, Brahms Trio, Beethoven Septet and Octet, Dvořák Serenade, Schubert Octet, Stravinsky's L'Histoire du Soldat, Mozart Serenades in Cm and Bb (Gran Partita). As a soloist, he recorded the Mozart Concerto with the Boston Symphony Orchestra and Seiji Ozawa conducting. Wright taught at the Tanglewood Music Center, New England Conservatory and at Boston University.
|
|
Crucial in developing Dunwich sound is the encounter with the singer Katya Sanna, who joined the project in 1992, remaining there until 1999. The elements of Dunwich inspiration becomes medieval and gothic literary elements, but also research on fairy tales and legends from around the world.For example, in their 2nd album, Il chiarore sorge due volte, the track La rivalsa di Aki Gahuk is inspired from a Dusun people legend, in which an old man transform itself in a crocodile The first production is divided into three demo tapes, Il tavolo di smeraldo (1992), Sul monte è il tuono and Sopra il lago il vento, both of 1993. In these demos appear all the elements that build the symphonic sound of Duwnich: brass, quintets, orchestras and medieval polyphonic choirs.
|
|
Though largely ignored since Reicha's death, they were highly influential during his lifetime and left their mark on the quartets of Beethoven and Schubert,Ron Drummond: "The String Quartets of Anton Reicha – Introduction" much as Bach's Well-Tempered Clavier was ignored by the public but well known to Beethoven and Chopin. Reicha also wrote prolifically for various kinds of ensembles other than wind quintets and string quartets, including violin sonatas, piano trios, horn trios, flute quartets, various works for solo wind or string instruments accompanied by strings, and works for voice. He also wrote in larger-scale genres, including at least eight known symphonies, seven operas, and choral works such as a Requiem. Much of Reicha's music remained unpublished and/or unperformed during his life, and virtually all of it fell into obscurity after his death.
|
|
Lane has an extensive discography on the Hyperion label and has also recorded for EMI, Decca, BMG, Lyrita and Unicorn-Khanchana. Recent releases from Hyperion include concertos by Eyvind Alnæs and Christian Sinding, a Delius song disc with Yvonne Kenny and a recording of Ernest Bloch's Piano Quintets with the Goldner String Quartet, which was an Editor's Choice in the December 2007 Gramophone magazine and BBC Music Magazine's Record of the Month for February 2008. He is one of the few pianists to have recorded John Ireland's Piano Concerto in E-flat major. In 2014 Hyperion released his recording of the complete piano concertos of Malcolm Williamson, including the world premiere recording of the 4th Piano Concerto. Lane is a well-known voice on BBC Radio 3, having written and presented more than 100 programs, including a 54-part series called The Piano.
|
|
His recordings include sonatas by Brahms, Bax, Debussy, Lluís Benejam, Felipe de los Rios, Juan Oliver Astorga, Mendelssohn, Naumann, Glinka, Schubert, Gerhard, and concerti by Hoffmeister, Mozart, Leonardo Balada and Josep Soler. Among Pillai's notable recordings are The Viola Sonatas from the Royal Palace in Madrid, The Virtuoso Viola in Spain, the Hoffmeister Works for Viola, and the string quintets recorded with Zukerman. Pillai edited the 12 Estudios o caprichos de mediana dificultad (12 Studies or Capriccios of Medium Difficulty) for viola solo (1881) by José María Beltrán Fernández (1827–1907), published by Clivis Publications.Clivis Publications: 12 Studies or Capriccios of Medium Difficulty by José María Beltrán Fernández In 2016 he edited the first edition of the 11 sonatas from the Royal Palace in Madrid (1770-1819) for Boileau Publications and released the first recording of this monumental collection of works for viola.
|
|
Antonín Dvořák's String Quintet in G major, Op.77 and Wolfgang Amadeus Mozart's Serenade in G major, K.525 ("Eine kleine Nachtmusik") are the most popular pieces in this repertoire, along with works by Miguel del Aguila (Nostalgica for string quartet and bass), Darius Milhaud, Luigi Boccherini (3 quintets), Harold Shapero, and Paul Hindemith. Another example is Alistair Hinton's String Quintet (1969–77), which also includes a major part for solo soprano; at almost 170 minutes in duration, it is almost certainly the largest such work in the repertoire. Slightly smaller string works with the double bass include six string sonatas by Gioachino Rossini, for two violins, cello, and double bass written at the age of twelve over the course of three days in 1804. These remain his most famous instrumental works and have also been adapted for wind quartet.
|
|
When the American Brass Quintet gave its first public performance on December 11, 1960, brass chamber music was still relatively young to concert audiences. The Chicago Brass Quintet had originated the concept of a brass quintet in 1948, followed by the New York Brass Quintet in 1954. To delineate itself from these other two groundbreaking ensembles American Brass Quintet dedicated itself to "music originally written for brass," and substituted a bass trombone for the conventional tuba voice. That debut concert for them in 1960 marked the beginning of an international career for the ensemble that includes performances in Europe, Central and South America, the Middle East, Asia, Australia and all fifty of the United States; a discography now numbering fifty-one recordings; the premieres of over one hundred new brass works, and the inspiration to a whole new generation of brass quintets worldwide.
|
|
The members of the Quartet in this first foray into the public arena were Samuel Kutcher, Julius Rosenthal (2nd violin), Frank Howard (viola), Giovanni Barbirolli, (and at later concerts) Ambrose Gauntlett (cello). For the next year and a half they practiced in private. The Quartet re-emerged onto the London music scene in March 1924 with a concert for the South London Philharmonic Society, playing a Mozart String Quartet, and piano quintets by Schuman and Dvorak, accompanied by the pianist Lily Henkel. It was a concert in June the same year at the Aeolian Hall, London when they fully came to the public's attention and critical acclaim, being likened to the Joachim Quartet by the Times music critic,Times Newspaper June 27th 1924 and from this point in time were to be one of the foremost String Quartets in the United Kingdom until 1940.
|
|
They had a broad repertoire of Chamber music compositions. In 1934 they listed all the String Quartets of Haydn, Mozart, Schubert, Brahms, Dittersdorf, Beethoven, Schumann and Dvorak; Quartets of Borodin, Dohnanyi, Grieg, Tchaiskowsky, Debussy, Franck, Ravel and Smetana; Quartets by British Composers, Bax, Goossens, Moeran, Ethel Smyth, Delius, Holbrooke, Imogen Holst, Vaughan Williams, and by French-American composer Marthe Servine; Piano Quintets of Schumann, Brahms, Franck, Dvorak & d’Erlanger; Quintet for Oboe and String Quartet by Bax, and works for larger Combinations including the Septet of Beethoven, Nonet of Bax, and the Septet of Ravel. They performed with some of the most well known musicians of the day, pianists Harriet Cohen, Malcolm Sargent, Myra Hess, & William Murdoch; Leon Goossens (oboe), Frederick Thurston (clarinet), and accompanied singers such as Dorothy Helmrich, Peggy Stack, Pouishnoff and Anne Thursfield. The Kutcher String Quartet championed modern composers and their music .
|
|
It was also in Paris that Reicha started composing the 25 wind quintets which proved to be his most enduring works: far more conservative musically than the experimental fugues he had written in Vienna, but exploiting the skill of his virtuosi from the Opéra Comique to extend significantly the technique and musical ambitions of future players of the still evolving wind instruments. In 1818 he married Virginie Enaust, who bore him two daughters. Around this time he taught composition to the future pioneer of the modern oboe Henri Brod, and in 1819 he began teaching harmony and music theory to Louise Farrenc; after interrupting her studies for her own marriage, she completed studies at the Paris Conservatory with Reicha in 1825. Reicha stayed in Paris for the rest of his life. He became a naturalized citizen of his adopted country in 1829 and Chevalier of the Légion d'honneur in 1835.
|
|
Linda Strommen is an American oboist. She is Professor of Oboe at Indiana University and has been a regular visiting Oboe Instructor at the Juilliard School of Music for more than ten years. A former member of the Metropolitan Opera Orchestra and the Santa Fe Opera, she has held principal and assistant principal position with Milwaukee, Honolulu, New Heaven, Wichita, and Baton Rouge Symphonies and acting principal oboe positions with the Rochester Philharmonic and the St. Paul Chamber Orchestra. In addition to being a former member of the Timm and Lieurance Woodwind Quintets, she has been a regular participant in summer festivals such as the Marlboro, Bellingham, Bard and Masterworks Festivals. Ms. Strommen commissioned and premiered the oboe concerto for oboe and string orchestra “Down a River of Time” by Eric Ewazen. Her recording of this work with the International Sejong Soloists, “Sejong Plays Ewazen,” has been released by Albany records.
|
|
His works include sonatas for viola, cello, winds, and three for violin (the third was recorded on a multi-LP set called Musik zwischen den Kriegen : eine Berliner Dokumentation), four symphonies (including one in manuscript) and also a chamber symphony, four string quartets, several piano trios, piano quartets and piano quintets as well as one sextet for piano and strings from 1902 and a wind quintet, a number of concerted works including three violin concerti and a triple concerto with piano trio, many piano works and lieder, and a number of stage works including an opera Aleko. Several of these works have been recorded on compact disc, including some of the sonatas, two of the concertos, two of the symphonies, all four string quartets and all of the piano trios. He is known to have orchestrated Johannes Brahms' Hungarian Dance No. 4. He also translated Arensky's 'Practical Studies in Harmony' into German.
|
|
As a consequence Taneyev took an intellectual approach in his characterization of the music of his teacher, Tchaikovsky. Nevertheless, Taneyev's compositions reveal his mastery of classical composition technique, so that his style could be said to reflect the European, and especially German, orientation of the Moscow Conservatory, rather than the Russian nationalist outlook of the school of Mily Balakirev. His compositions include nine complete string quartets (plus two partially completed), a piano quintet, two string quintets and other chamber works, including a piano prelude and fugue in G-sharp minor; four symphonies (only the last one published during his lifetime, and at least one incomplete), a concert suite with violin and a piano concerto, and other orchestral works; an organ composition Chorale with variations; choral and vocal music. Among the choral works are two cantatas, St. John of Damascus, Op. 1 (also known as A Russian Requiem), and At the Reading of a Psalm (Op.
|
|
The Boccherini Quintet (Quintetto Boccherini) was a string quintet founded in Rome in 1949 when two of its original members, Arturo Bonucci (cello) and Pina Carmirelli (violin), discovered and bought, in Paris, a complete collection of the first edition of Luigi Boccherini's 141 string quintets, and set about to promote this long neglected music.See Tully Potter, "The Players" in the booklet included in the Testament CDs "Quintetto Boccherini", vol 1, 2 and 3, 2002) Since then, they performed all over Italy and Europe and in many parts of the world, including thirteen tours of North America. After the death of the two founders, the violist Luigi Sagrati became the main organizer of the quintet's recording and performing activities until the mid-nineties, when he had to quit public performances because of old age. The group toured Southern Africa in 1959 as Quintetto Boccherini, and were again in demand in 1960 as Quartetto Carmirelli di Roma.
|
|
Boccherini's works have been gaining more recognition since the late 20th century, in print, record, and concert hall. His "celebrated minuet" (String Quintet in E, Op. 11, No. 5 (G 275)) was popularized through its use in the film The Ladykillers. His famous Musica notturna delle strade di Madrid (String Quintet in C major, Op. 30 No. 6, G324) became popular through its frequent use in films such as Master and Commander: The Far Side of the World, and its use during the opening of the Barcelona 1992 Summer Olympic Games. His distinctive compositions for string quintet (two violins, one viola, two cellos), long neglected after his death, have been brought back to life by the quintet that bears his name in the second half of the 20th century, when two of its founding members discovered a complete collection of the first edition of the 141 string quintets in Paris and began playing and recording them around the world.
|
|
3, which contains clear musical quotations (most obvious in the horn part) from both the scherzo of his Eroica (also in E-flat major) and the first movement of his 5th symphonies. Berlioz says the quintets "enjoyed a certain vogue in Paris for a number of years. They are interesting pieces but a little cold", while Louis Spohr, who was visiting Paris in 1820-21 and reserved judgment until he had heard several performed, assessed them in a letter home (which he included in his autobiography) as having too many ideas linked carelessly or not at all ("were he less rich, he would be richer"), "yet the minuets and scherzi, as short pieces, are less open to this objection, and some of them are real masterpieces in form and contents". Spohr was generally impressed by the virtuosity of the wind soloists and was very pleased with their performance of his own piano and wind quintet.
|
|
From this confrontation with the occupation emerged the movement of the poetry of the resistance, and with it emerged national Palestinian song against the occupation. During the occupation, Palestinian classical music continued to rise, with new names in the realm of classical music along with the founding of many symphony orchestras (such as the Palestinian Youth Orchestra PYO, and West-Eastern Divan, founded by Daniel Barenboim and Edward Said) as well as string quartets and quintets, which gave the Palestinian Territories the highest number of orchestras among Arab countries. Names of Palestinian composers: Salvador Arnita (1914-1985), Habib Hasan Touma (born in Nazareth, 1934, died in Berlin 1998), Nasri Fernando Dueri (born 1932), François Nicodeme (born in Jerusalem 1935) and his brother William Nicodeme (born Amin Nasser in Ramleh 1935), Patrick Lama, Abdel-Hamid Hamam, Mounir Anastas, Samir Odeh-Tamimi (1970) and Wisam Gibran (born in Nazareth 1970) dominated the Palestinian classical music scene.
|
|
The Jimi Hendrix Experience A power trio is a rock and roll band format having a lineup of electric guitar, bass guitar and drum kit (drums and cymbals), leaving out the second rhythm guitar or keyboard instrument that are used in other rock music bands that are quartets and quintets. Larger rock bands use one or more additional rhythm section to fill out the sound with chords and harmony parts. Most power trios in hard rock and heavy metal music use the electric guitar player in two roles; during much of the song, they play rhythm guitar, playing the chord progression for the song and performing the song's important riffs, and then switching to a lead guitar role during the guitar solo. While one or more band members typically sing while they play their instruments, power trios in hard rock and heavy metal music generally emphasize instrumental performance and overall sonic impact over vocals and lyrics.
|
|
ABQ commissions by Samuel Adler, Bruce Adolphe, Daniel Asia, Jan Bach, Robert Beaser, William Bolcom, Elliott Carter, Billy Childs, Robert Dennis, Jacob Druckman, Eric Ewazen, Anthony Plog, Huang Ruo, David Sampson, Gunther Schuller, William Schuman, Ralph Shapey, Joan Tower, Melinda Wagner, and Charles Whittenberg are considered among the most significant contributions to the brass quintet repertoire. In the past fifteen years alone, the ABQ has released recordings of over twenty-five major new brass quintets. The presentation of challenging contemporary brass music alongside earlier eras carefully edited by ABQ members for modern performance, has become a trademark of ABQ programming, and has helped establish the American Brass Quintet as the leader in the field of serious brass chamber music today. Equally committed to the promotion of its brand of brass music through education, the American Brass Quintet has been in residence at The Juilliard School since 1987 and at the Aspen Music Festival since 1970.
|
|
In his early mature works, Láng adopted the serial techniques that had become fashionable in the early 1960s, showing the influence of Boulez and Schoenberg, but still managing a clever and effective synthesis of these styles with traditional Hungarian elements derived from Bartók in all areas: melody, harmony, rhythm, and texture—a synthesis perhaps best demonstrated in his Variations and Allegro (1965), which is an arrangement of an earlier symphony . His music from this period is marked by an absorption with the theatre, even in chamber and solo instrumental works, such as Monodia for clarinet, which is intended for stage or concert performance (Boronkay and Willson 2001). Other important works from the sixties are the first two Wind Quintets (1963 and 1966), a ballet on Thomas Mann's Mario and the Magician (1962), and a Chamber Cantata to words by Attila József (1962) . Another feature of Láng’s style is the use of cyclic form, and his later music tends to consist of sequences of short movements constructed from small motifs, which he calls "micro-organisms".
|
|
But > when you are seventy-five and your generation has overlapped with four > younger ones, it behooves you not to decide in advance "how far composers > can go", but to try to discover whatever new thing it is makes the new > generation new. Amongst British composers, Sir Harrison Birtwistle readily acknowledges the influence of Stockhausen's Zeitmaße (especially on his two wind quintets, Refrains and Choruses and Five Distances) and Gruppen on his work more generally. Brian Ferneyhough says that, although the "technical and speculative innovations" of Klavierstücke I–IV, Kreuzspiel and Kontra-Punkte escaped him on first encounter, they nevertheless produced a "sharp emotion, the result of a beneficial shock engendered by their boldness" and provided "an important source of motivation (rather than of imitation) for my own investigations". While still in school, he became fascinated upon hearing the British première of Gruppen, and > listened many times to the recording of this performance, while trying to > penetrate its secrets—how it always seemed to be about to explode, but > managed nevertheless to escape unscathed in its core—but scarcely managed to > grasp it.
|
|
Among them was—following their original studio Beethoven cycle from the late 70s and early 80s—a new Beethoven String Quartet cycle recorded live at the Konzerthaus during the Vienna Festival in 1989 and released on CD, video, and DVD.Opinions quoted are from Die Zeit (Hamburg), France Soir (Paris), Die Presse (Vienna), The Observer (London) and San Francisco Chronicle. (Mozart Quartets, Telefunken LP insert, 1979: item ref 6.35485-00-501.) The Alban Berg Quartet recorded chamber music with some of the finest soloists of their time, including the piano quintets of Robert Schumann (with Philippe Entremont), Schubert and Brahms (with Elisabeth Leonskaja) and Dvoràk (with Rudolf Buchbinder), the Schubert string quintet (with Heinrich Schiff), the Brahms clarinet quintet (with Sabine Meyer), and the Mozart piano quartets and the piano quintet arrangement of the concerto KV 414 (with Alfred Brendel). For their recordings, the ABQ received more than 30 international awards, among them the Grand Prix du Disque, the Deutscher Schallplattenpreis, the Japanese Grand Prix, the Edison Award, and the Gramophone Award.
|
|
Memorial for Bruch and in the pedestrian zone of Bergisch Gladbach city centre In 1918, toward the end of his life, Bruch once more considered smaller ensembles with the composition of two string quintets, of which one served as the basis for a string octet, written in 1920 for four violins, two violas, cello, and a double bass. This octet is somewhat at odds with the innovative style of the decade. While composers such as Schönberg and Stravinsky were part of the forward-looking modern trend, Bruch and others tried to keep composing within the Romantic tradition, effectively glorifying a form of Late Romanticism and avoiding the revolutionary spirit that was engulfing the then- defeated Germany. All three of these late chamber works exhibit a 'concertante' style in which the first violin part is predominant and contains much of the musical interest. By the time they came to be performed professionally for the first time, in the 1930s, Bruch's reputation had deteriorated and he was known only for the famous Concerto.
|
|
Some Other Time in 1981, with bassist Walter Booker and drummer Idris Muhammad, revealed more of Hicks as a composer, and included his best- known song, "Naima's Love Song". "Hicks led bands from the mid-1970s. His small groups included a quartet of Sonny Fortune, Walter Booker, and Jimmy Cobb (1975–82, from 1990); a trio, without Fortune (from 1981); a quartet or trio, with the flutist Elise Wood added or replacing the drummer; another quartet, with the addition of Gary Bartz; a different trio with Curtis Lundy or Ray Drummond on double bass and Idris Muhammad on drums; quartets involving various of these musicians, as well as Watson, Blythe, Murray, Herring, or Craig Handy, and with Victor Lewis added to the pool of drummers; quintets and sextets whose members have also involved Robin Eubanks and Tolliver (both from 1982), Branford Marsalis (1982–4), Hannibal Peterson (from 1983), Wynton Marsalis (1983–4), Craig Harris (1985–6), Eddie Henderson (1985–6, 1988–90), and Freeman (1985–8); and a big band (formed in autumn 1982 and revived on occasion into the late 1990s)". He played in the UK with Freeman's band in 1989.
|
|
Patrick Defossez began his musical career in 1985, moving to France at a time when Belgian jazz was going through a very challenging period. Over the years, he put his creative talents as a pianist to work in the contemporary music scene, composing and improvising; played with several jazz bands (trios, quintets) and directed an ensemble featuring a wide range of different instruments which was part of the jazz fusion movement. It was after being taught by Claude Ballif in mid-1994 that he really embarked on musical composition. He produced a whole series of pieces designed to be played in situ, which were often the result of commissions and personal meetings. These saw him perform in Reims CathedralClovis, Jeanne d’Arc au bûcher, Déambulation méditative, Puisse la lumière, four pieces written for the launch of the cathedral’s new system of illumination, with the singer Armelle Orieux (1997), on the banks of the River Meuse (Cascades immobiles with the Septuor de Namureauphones, 2000) and in formats where he could enjoy the experience of blending genres and experiences, as in Rêves, ragas et raves (2001) performed in Nantes with the town’s University Choir.
|
|
It is seen to consist of two piston-valved cornets, rather than the modern choice of trumpets; a rotary-valved alto horn, rather than the French horn; a rotary-valved tenor horn, rather than the trombone; and a rotary-valved tuba (played by Ewald himself). Of these instruments, it is the alto and tenor horns that are most strikingly different from their modern quintet counterparts. There is no documented evidence of exactly for whom Ewald composed his quintets, or the exact instruments on which he envisaged them being performed. Therefore, one can only speculate that, for instance, cornets might have been preferred to trumpets, because of the latter’s association with the more strident demands made of it in symphonic settings, rather than the intimacy of a chamber setting for which the former was perhaps more suited. Similarly, the likely preference of a tenor horn (similar to today’s euphonium and an instrument occasionally transposed as a soloist to the symphony orchestra, as in the first movement of Mahler's 7th Symphony), may have been the result of a wish on Ewald’s part to maintain the virtuosic potential, as well as tonal characteristics throughout his ensemble by sticking entirely to valved, conical-bored instruments.
|
|
This work was never given an opus number, and only the scherzo seems to have ever been published.) Memorial for Goldmark in Vienna. Goldmark's chamber music, in which the influences of Schumann and Mendelssohn are paramount, although critically well received in his lifetime, is now rarely heard. It includes the String Quintet in A minor Op. 9 that made his first reputation in Vienna, the Violin Sonata in D major Op. 25, two Piano Quintets in B-flat major, Op. 30 and C-sharp minor, Op. 54, the Cello Sonata Op. 39, and the work that first brought Goldmark's name into prominence in the Viennese musical world, the String Quartet in B-flat Op. 8 (his only work in that genre). He also composed choral music, two Suites for Violin and Piano (in D major, Op. 11, and in E-flat major, Op. 43), and numerous concert overtures, such as the Sakuntala Overture Op. 13 (a work which cemented his fame after his String Quartet), the Penthesilea Overture Op. 31, the In the Spring Overture Op. 36, the Prometheus Bound Overture Op. 38, the Sappho Overture Op. 44, the In Italy Overture Op. 49, and the Aus Jugendtagen Overture, Op. 53.
|
|