31 Sentences With "symphonists" | Random Sentence Generator

One of the greatest of American symphonists is hardly ever performed in her home country.

He used unusual tuning systems, Minimalist repetition techniques, complex rhythmic and contrapuntal figures, and structural elements borrowed from the Romantic symphonists.

In the first movement, "Prophecy," you hear a brilliantly gifted composer under the thrall of Copland, Piston and other 20th-century American symphonists.

Al Trace and His Silly Symphonists was one of several comedy ensembles in the early 1940s. Others included Spike Jones and His City Slickers, the Hoosier Hot Shots, and the Korn Kobblers. In February 1945, radio stations introduced "Sioux City Sue," performed by Al Trace and His Silly Symphonists (National Records 5007). The song became a hit.

The most important symphonists of the latter part of the 18th century are Haydn, who wrote at least 107 symphonies over the course of 36 years, and Mozart, with at least 47 symphonies in 24 years.

Manuel Alejandro was born in 1933 in Jerez de la Frontera-Cádiz. He is the son of one of Spain's most renowned contemporary symphonists, Germán Álvarez Beigbeder. It was his father, an accomplished musician, professor, and composer, who inspired Manuel Alejandro to pursue music and become a composer.

This completeness hindered their use as structural elements in combination with one another. This challenge was why the Romantics "were never natural symphonists".Cooper, 24. All a composer like Tchaikovsky could do with them was to essentially repeat them, even when he modified them to generate tension, maintain interest and satisfy listeners.

The Australian Youth Orchestra (AYO) is an Australian organisation for young musicians. It operates the flagship Youth Orchestra as well as Camerata Australia, Young Australian Concert Artists and Young Symphonists. It also runs several other activities including master classes, outreach programmes and a generous scholarship scheme. It is a member of the "Australian Roundtable for Arts Training Excellence".

He found that the symphony said what he meant it to.Ursula Vaughan Williams, p. 255 Vaughan Williams dedicated the symphony to Jean Sibelius. The musicologist J. P. E. Harper-Scott has called Sibelius "the influence of choice" among British symphonists in the years between the two World Wars, citing Walton's First Symphony, all seven of Bax's and the first five of Havergal Brian.

The Oulu Music Center, home of the Oulu Symphony Orchestra, in 2007. The main performance hall is named in Madetoja's memory. Acclaimed during his lifetime, Madetoja is today seldom heard outside the Nordic countries (the Elegia perhaps excepted). A few commentators, however, have described such neglect as unfortunate and undeserved, as Madetoja is one of the most important post-Sibelian Finnish symphonists.

The Fourth Symphony is where Tchaikovsky's struggles with Western sonata form came to a head. In some ways he was not alone. The Romantics in general were never natural symphonists because music was to them primarily evocative and biographical. Western musical form, as developed primarily by Germanic composers, was analytical and architectural; it simply was not designed to handle the personal emotions the Romantics wished to express.

Portrait of Miloslav Kabeláč Miloslav Kabeláč (1 August 1908 – 17 September 1979) was a prominent Czech composer and conductor. Miloslav Kabeláč belongs to the foremost Czech symphonists, whose work is sometimes compared with Antonín Dvořák's and Bohuslav Martinů's. In the communist period Kabeláč's work found itself on the periphery of official attention and was performed only sporadically and in a limited choice of compositions.

It is as a symphonist that Vaughan Williams is best known. The composer and academic Elliott Schwartz wrote (1964), "It may be said with truth that Vaughan Williams, Sibelius and Prokofieff are the symphonists of this century".Schwartz, p. 201 Although Vaughan Williams did not complete the first of them until he was thirty-eight years old, the nine symphonies span nearly half a century of his creative life.

Ludvig Norman (28 August 183128 March 1885) was a Swedish composer, conductor, pianist, and music teacher. Together with Franz Berwald and Adolf Fredrik Lindblad, he ranks among the most important Swedish symphonists of the 19th century. Norman was born Fredrik Vilhelm Ludvig Norman in Stockholm. Norman began his musical training with Lindblad and later studied at the Leipzig Conservatory from 1848 to 1852, where he also made the acquaintance of Robert Schumann.

Vaughan Williams is among the best-known British symphonists, noted for his very wide range of moods, from stormy and impassioned to tranquil, from mysterious to exuberant. Among the most familiar of his other concert works are Fantasia on a Theme by Thomas Tallis (1910) and The Lark Ascending (1914). His vocal works include hymns, folk-song arrangements and large-scale choral pieces. He wrote eight works for stage performance between 1919 and 1951.

120, No. 1639. (September 1979), pp. 729–732 In this work and his Concerto for Orchestra (1968–1970), he had quickly and fluently absorbed the influences of modernist composers Britten and Berg as well as many mid-century (largely American) symphonists, while displaying an unusual flair for pacing and orchestration. It was as early as the Second Symphony (1970–1971), in the words of Julian Anderson, that "Knussen's compositional personality abruptly appeared, fully formed".

Louis A. Mitchell (December 17, 1885 - September 12, 1957) was an American jazz drummer and bandleader. Mitchell began performing in vaudeville revues and minstrel shows from around the turn of the century, playing drums and bandoline. After moving to New York City in 1912, he founded his own group, the Southern Symphonists' Quartet. Mitchell sang and drummed for James Reese Europe in 1918, and the following year founded a new group, which he called Louis Mitchell's Jazz Kings.

All significant Italian composers of the century wrote opera almost to the exclusion of other forms, such as the symphony. There are no Italian symphonists in this century, the way one might speak of Brahms in Germany, for example. Many Italian composers, however, did write significant sacred music, such as Rossini a Stabat Mater and his late Petite messe solennelle and Verdi Messa da Requiem and Quattro pezzi sacri. Romanticism in all European music certainly held on through the start of the 20th century.

The well-known division of that family into strings, woodwind, and brass, with percussion as required, he inherited from the great classical symphonists such changes as he made were in the direction of splitting up these groups still further.” Latham gives as an example, the sonority of the opening of the opera Lohengrin, where “the ethereal quality of the music” is due to the violins being “divided up into four, five, or even eight parts instead of the customary two.”Latham, P. (1926) “Wagner: Aesthetics and Orchestration.” Gramophone, June 1926.

Another brother – Jāzeps –became another notable figure in Latvian music of the first half of the 20th century, and one of the country's first symphonists. Jānis studied the violin, ‘cello and piano at the Emīls Zigerts Institute (later renamed the First Riga Musical Institute). On Zigerts’s death, Jāzeps took over as director and soon the whole Mediņš family installed themselves in the premises, their mother becoming housekeeper. Jānis was introduced to German opera, and acquainted himself with a library of some 50,000 scores that Jāzeps had obtained for the Institute.

Sauguet's longest work is traditional in form, but whereas earlier works had been characterized by clear textures, limpid harmonies and relatively straightforward melodies, his music now takes on a more complex harmonic language, suggesting influence of contemporary Russian symphonists. Darius Milhaud (who attended seven consecutive performances) claimed that he knew nothing of the quality of Chartreuse de Parme since Pelléas et Mélisande or Pénélope. Stravinsky situated the opera "in the line of Bizet, Delibes, Milhaud, Poulenc", while Charles Koechlin summed up his thoughts on the work in three words: "", and made a comparison with Chabrier. The work was broadcast by French radio.

Cape Verde has also symphonic music along with instrumental music, the most famous being Vasco Martins, he made Cape Verde's first symphonies, also it was one of westernmost Africa's first symphonists. He made eight symphonies including the fourth symphony titled Buddha Dharma, the sixth relating to Monte Verde, São Vicente's tallest point. Most of the symphonies have African elements. Other artists include Johnny Rodrigues, an immigrant to the Netherlands, he was the first Cape Verdean artist to have his single reaching number one in another country, it was a hit in both the Netherlands and Belgium's Flanders.

An American composer born in Lake City, Minnesota, Mark McKenzie received his undergraduate degree in music composition from the University of Wisconsin-Eau Claire Studying with David and Nancy Baker, Michael Cunningham and Ivar Lunde. He received his Masters and Doctorate in music composition from the USC Thornton School of Music in Los Angeles where he studied with Pierre Boulez, Morten Lauridsen, Witold Lutoslawski, Anthony Vazzana and Frederick Lesemann. The Hollywood trade magazine Variety declares: "Mark McKenzie's commanding orchestral prowess puts him among the foremost symphonists in Hollywood." The 125 Motion pictures that McKenzie has orchestrated or composed have grossed over 13 billion dollars at the box office.

Sven Einar Englund was born at Ljugarn in Gotland, Sweden, on June 17, 1916; he died June 27, 1999 in Visby, Sweden. He married twice: in 1941 to Meri Mirjam Gyllenbögel, who died 1956 (they had one son and two daughters including the ballerina and choreographer Sorella Englund); and in 1958 he married Maynie Sirén, a singer, with whom he had one son. One of the most important Finnish symphonists since Jean Sibelius, Englund was a native Swedish speaker who often felt that his career was sidelined from the mainstream of Finnish music. He was 17 when he began studies at the Helsinki Conservatory (now the Sibelius Academy) in 1933.

Brown writes that while Tchaikovsky "was not without a certain measure of the true symphonist's gift for organic thematic growth," he concurs that for him "to create the sort of complex organic experience" that would allow him to meld lyric expression with sonata form "lay beyond his abilities." Nor, again, was this solely Tchaikovsky's dilemma. "The Romantics were never natural symphonists," Cooper writes, for basically the same reason as Tchaikovsky—"because music was to them primarily evocative and biographical—generally autobiographical—and the dramatic phrase, the highly [colored] melody and the 'atmospheric' harmony which they loved are in direct opposition to the nature of the symphony, which is primarily an architectural form."Cooper, 24–5.

The young Joseph Haydn, taking up his first job as a music director in 1757 for the Morzin family, found that when the Morzin household was in Vienna, his own orchestra was only part of a lively and competitive musical scene, with multiple aristocrats sponsoring concerts with their own ensembles. LaRue, Bonds, Walsh, and Wilson's article traces the gradual expansion of the symphonic orchestra through the 18th century. At first, symphonies were string symphonies, written in just four parts: first violin, second violin, viola, and bass (the bass line was taken by cello(s), double bass(es) playing the part an octave below, and perhaps also a bassoon). Occasionally the early symphonists even dispensed with the viola part, thus creating three-part symphonies.

The fact that the largest number of his works by far were created in the GDR is explainable above all in that he now made it one of his responsibilities to also write "everyday music", which was supposed to fulfill the state demand for a popular, easy-to-understand art. He started from some works he had already written especially for the radio at the end of the 1920s, which are stylistically close to sophisticated light music. In the center of Butting's works are the ten symphonies, which identify him as one of the most important German symphonists of his generation. In addition to these, he wrote a chamber symphony for thirteen solo instruments, two symphoniettas ("little symphonies") and a triptychon for large orchestra.

Murphy's discography includes world première presentations of works of 18th century symphonists Stamitz, Richter, Abel, Reichardt, Schmitt ("The Dutch Haydn"), , and Zappa. His CD of Corelli's Concerti Grossi, made during the 2003 Utrecht Early Music Festival, was the first disc to ever present Corelli's own large scale, authentic orchestral soundscape, featuring Corelli's preferred instrumentation with lost of continuo instruments (cello, bass, organs, harpsichords, baroque lutes, baroque guitars, archlutes and theorbos) and improvisation and extemporisation. It was voted by Dutch national radio as one of the top 5 highlights in the 30-year history of the festival and was reviewed by the BBC Music Magazine as "the best of both worlds ... the NDA is a big band playing on period instruments". Murphy's CD albums for PENTATONE include Early Mannheim String Symphonies by Stamitz and Richter Vol.

The NDA's discography includes world première presentations of works of 18th century symphonists Stamitz, Richter, Schmitt ("The Dutch Haydn"), Graaf, Schwindl and Zappa. The groundbreaking NDA recording of Corelli's Concerti Grossi, made during the 2003 Festival of Early Music Utrecht, was the first disc to ever present Corelli's own large-scale, authentic orchestral soundscape, featuring Corelli's preferred instrumentation with a large variety and amount of basso continuo instruments (cello, bass, organs, harpsichords, baroque lutes, baroque guitars, archlutes and theorbos), together with improvisation and extemporisation. It was voted by Dutch national radio as one of the top 5 highlights in the 30-year history of the festival and was reviewed by the BBC Music Magazine as "the best of both worlds ... the NDA is a big band playing on period instruments". The NDA's CDs for PENTATONE include Early Mannheim String Symphonies by Stamitz and Richter Vol.

But Toscanini's repertory was wide, and it was in his interpretations of the German symphonists Beethoven and Brahms that he was particularly renowned and influential, favoring stricter and faster tempi than a conductor like Bülow or, before him, Wagner. Still, his style shows more inflection than his reputation may suggest, and he was particularly gifted at revealing detail and getting orchestras to play in a singing manner. Furtwängler, whom many regard as the greatest interpreter of Wagner (although Toscanini was also admired in this composer) and Bruckner, conducted Beethoven and Brahms with a good deal of inflection of tempo – but generally in a manner that revealed the structure and direction of the music particularly clearly. He was an accomplished composer as well as performer, and a disciple of the theorist Heinrich Schenker, who emphasized concern for underlying long-range harmonic tensions and resolutions in a piece, a strength of Furtwängler's conducting.

At the beginning of the 19th century, Beethoven elevated the symphony from an everyday genre produced in large quantities to a supreme form in which composers strove to reach the highest potential of music in just a few works. Beethoven began with two works directly emulating his models Mozart and Haydn, then seven more symphonies, starting with the Third Symphony ("Eroica") that expanded the scope and ambition of the genre. His Symphony No. 5 is perhaps the most famous symphony ever written; its transition from the emotionally stormy C minor opening movement to a triumphant major-key finale provided a model adopted by later symphonists such as Brahms and Mahler. His Symphony No. 6 is a programmatic work, featuring instrumental imitations of bird calls and a storm; and, unconventionally, a fifth movement (symphonies usually had at most four movements). His Symphony No. 9 includes parts for vocal soloists and choir in the last movement, making it a choral symphony.