776 Sentences With "cellos" | Random Sentence Generator

Members of the Thai Blind Orchestra practice with their cellos.

Let your heartbreaks align with the great crescendos of cellos.

It's like a cello playing for an audience of cellos .

It sounds like a weird cross between basses and cellos.

Cellos and basses: I'm a lot about what they need to do.

Mr. Martin responded with a hard-driven chamber score for brass and cellos.

This wily, offbeat group features four woodwinds, two cellos, viola, bass and drums.

Members of the youth orchestra Ghetto Classics practices cellos next to a huge dumpsite.

The violins were lined up in glass cases, cellos upright by the front window.

BENJAMIN WALLFISCH We had 14 cellos who were always uncomfortable, always playing too high.

Some cellos spend enough time in the air to have their own frequent-flyer accounts.

My father struck up a conversation with the man about the brilliance of the cellos.

If you're planning on taking the subway this weekend, you might notice something unusual. Cellos.

When the violins and cellos enter, those instruments at first also play high, scratchy sounds.

P.S. 11 in Brooklyn received 15 instruments form Stephen s collection, including cellos, violins and flutes.

The opening march's headlong momentum was frighteningly articulated, with the bows of cellos crunching against strings.

The only two bands I was familiar with when we started that had cellos were Godspeed You!

The cellos played with burnished sound in the opening measures and Mr. Eschenbach teased out alluring details throughout.

As I spoke, the basses and cellos were still rumbling the evocative arpeggios of Wagner's first 136 bars.

Wielding cellos like mallets, he transports you directly into scenes from the film and ones from real life.

"Fidelio," too, has been reduced to ninety minutes, and transcribed for two horns, two cellos, two pianos, and percussion.

Federal regulations allow musicians to carry instruments like cellos in the cabin if passengers purchase a seat for the item.

References to "luminous matter turned dark" elicited predictable orchestration from Ms. Prestini: chocolaty cellos; a high tinkling of metallic percussion.

The violas and cellos have a run of 16th notes full of accidentals that break free from the key signature.

We had session players from the New York Philharmonic applying these Houston, Texas, hip-hop principles to their cellos, their violins.

A heavy-hearted prelude for cellos, Mr. Lang's "depart," welcomed audience members as they filed into the Board of Officers Room.

First came a bow to Pierre Boulez, who died in January, in the form of his skittering "Messagesquisse," for seven cellos.

Scores of French horns, cellos, flutes and violins once filled the shelves of Stephen Melvin's beloved music store in Millburn, New Jersey.

Above, there's a wooden cello, and three canvas banners painted with cellos in blue, yellow, and green, each created by Moorman herself.

It's a sad scenario, but played out over a backdrop of slowly moving cellos (watch a trailer below), the scene is devastating.

And on Saturday there, for the reincarnation of his unruly "Trumpet" and the intense "Holy Presence of Joan D'Arc," for 10 cellos.

The brass have this chord that indicates something solemn, but then the cellos intervene with this beautiful C sharp, which creates a dissonance.

On her 1997 single "Jóga," she bellows "emotional landscapes" amidst deep, windswept cellos and beats that threaten to crack open the earth's crust.

After that, it crescendos to a single sforzando, and then still there is a sforzando in the cellos twice in the final bars.

That rumbling is actually the sound of cellos when you first see Tish Rivers (KiKi Layne) and Fonny making love for the first time.

In the first four bars, bassoons, cellos, and double basses make a stark, columnar sound that conjures the forest in which the drama begins.

Cremona was once home to Antonio Stradivari, who in the 17th and 18th centuries produced some of the finest violins and cellos ever made.

The opera, scored for two voices and four cellos, is based on an incident that took place in the Pskov region of Russia, in 2016.

I meet her in a classroom in Kabul, where she sits behind a grand piano surrounded by young women and girls clutching violins, clarinets, and cellos.

Indeed, "Quarrel" makes the most of its near seven-minute length and traverses electronic burbles, yawning cellos, and a jazz-fusion outro complete with synth solo.

The album gets whimsical and shoegazey at times, incorporating trumpets, cellos, and a glockenspiel (a fucking glockenspiel!), but these interludes crash head-on into earsplitting screams.

Her latest venture is Tina Guo Strings, which sells custom acoustic cellos, carbon fiber cases, and colorful "unicorn hair" bows for the violin, viola, and cello.

Deeply reverberant on its own, Hilton pulls back on the pedals that marked Blouse's gazey aesthetic and opts instead for simple arrangements of cellos and strings.

That work for six dancers unfolds to a pulsing score for two cellos and piano by the recent Juilliard graduate Nathan Prillaman, to be played live.

So we had to look online to see what the range was for violins and cellos and played it on keyboard to put it on sheet music.

It is a test for the musicians too, as they play percussion with their gloves on and see their breath freeze on their violins, cellos and guitars.

Mr. Boulez was acknowledged with a performance of "Messagesquisse" for Solo Cello and Six Cellos, music of wondrous precision and vibrant colors, featuring the cellist Eric Bartlett.

It's a behemoth of a piece, with electric guitars, saxophones, violins, cellos, flutes, synthesizers, and percussion instruments all seemingly jockeying for position, interlocked in inscrutable rhythmic structures.

Click here to view original GIFWhen you see a 15-piece orchestra full of trumpets, violins, and cellos, you're probably expecting to hear a little Chopin, or Mozart.

Guitars, cellos, flutes, saxophones and trumpets will be in the "Instrument Petting Zoo" at this free open house at the community arts school at the Kaufman Music Center.

"So I had no choice," she joked during a recent interview in her spacious and comfortable Bern apartment, where multiple cellos share space with Orthodox icon paintings and portraits.

On Monday, the two siblings, wearing a suit and a dress, took their cellos and headed to their neighbor's porch where they held a classical concert just for Schlam.

J.P. Well, sooner or later someone had to realize that traditional minor-mode "Carol of the Bells" could align neatly with the cellos in the "Game of Thrones" theme.

So, amid the cakes, the cellos, and the maybe-Spice Girls music (they were rumored to be playing at the reception), there may be some awkward post-relationship run-ins.

Sousa's band crisscrossed the United States, playing his marches and arrangements of pieces by composers that included Grieg, Dvorak and Wagner (meaning: no violins, no violas, no cellos, no basses).

There were cellos and accordions scoring slow-motion black and white close-ups, fluctuating with aerial shots of cityscapes to freeze-frames, first-person sequences of children racing on sidewalks.

It has continually updated the rhythmic core of songs from its 1980s heyday that still provided the concert's peaks; "Temptation" echoed the cellos of Lou Reed's "Street Hassle" for its intro.

Or rather, he multi-tracked 44 different cellos for the Bowie track "Everyone Says 'Hi'," which seems laughable until you realize how many instruments go into making a grand piece of music.

These players know how to form impromptu combinations when the music requires it, as when the cellos and horns made a hybrid of oaky mellowness in the first movement of the Bruckner.

In the "Succession" theme song the 808 baseline plays over the duration of the song leaving you in a surreal situation where you&aposre bobbing your head to orchestral strings and cellos.

He stopped them quite a bit, at one point asking the cellos to shape one of its most familiar phrases differently, and he continued fine-tuning the piece until he was happy.

There's a lot of room to play in the verses of this song, and Polyphonic Spree's unique instrumentation — violins, cellos, a harp, more than 12 singers at a time — affords them ample opportunity.

Both the power in a digital world of live performance — all those cellos and violins and violas united in song — and a desire these days for what can only be termed swaddling chic.

The orchestration is at once luminous and shadowy: in the prelude to Act III, groping music for cellos, double basses, and harp suggests Debussy's "Pelléas et Mélisande," which had yet to be finished.

This was a military operation, cloaked in secrecy, to insert not only the journalists but three stand-up basses, cellos and other instruments and musicians from St. Petersburg into the Syrian front-line city.

He liked to tell of his first experience there, a late assignment to play Strauss's "Salome," with its difficult parts for the cellos, which he had never seen, under the redoubtable conductor Karl Bohm.

Cremona is home to the workshops of some of the world's finest instrument makers, including Antonio Stradivari, who in the 17th and 18th centuries produced some of the finest violins and cellos ever made.

Méhul's overture to "Les Amazones," which had its premiere in front of the emperor in 1811, sneakily hides a second introduction that's sung out on the cellos, and has an endearing sense of humor.

It runs the listener ragged before offering up the closer, "Petite," a stark and troublingly fragile acoustic track, Stewart's voice moving from a warble to a breathless baritone as cellos swirl and meander around him.

He sold one of his two prized cellos (for $75,000, the cheaper one) to raise the funds to cover start-up franchise costs for Home Instead, which provides non-medical caregiving to elderly Americans in need.

The group's performance style mixes the virtuosic silliness perfected by the duo Igudesman & Joo with the high-octane performance style of the rock-cover specialists Two Cellos, but adds lavish doses of whimsy and sex appeal.

They opened with Schumann's Andante and Variations in B flat — a lovely work that is not often heard, though Schumann gave it a chance at continued life by eliminating the original two cellos and French horn.

When they heard their 78-year-old neighbor Helena Schlam, a big classical music fan, was self-isolating, they put on some nice clothes, took their cellos to her front porch and gave an impromptu concert.

In the study, done in collaboration with the Chimei Museum in Taiwan, Dr. Tai and his colleagues used five analytical techniques to assess wood shavings from two Stradivari violins, two Stradivari cellos and one Guarneri violin.

The album's premise is simple: using man-made instruments like cellos and synths, Teie evokes the sonic staples of kittenhood (a mother cat's purrs, for instance, or chattering birds), transporting the non-human listener back to simpler times.

This year's drive is now underway, with hopes of collecting 6,000 instruments for students in N.Y.C. and Newark, N.J. Ethan Chase, a P.S. 11 fifth grader, is a beneficiary of one of Melvin's cellos, which he "loves" to play.

As it played against the sound of the machines, it seemed to grow more prominent, like a flute solo emerging in fits from within a symphony to float above the roar of the cellos and trombones and timpani drums.

With a TV on mute providing cues, he and his 8-Bit Big Band were recording the music from Mario Kart 64, blown way out with 36 instruments, including saxophones, trumpets, trombones, 133 violins, three cellos and a harp.

And, in what is becoming a Beatle tradition, George Harrison unveils his latest excursion into curry and karma, to the saucy accompaniment of three tambouras, a dilruba, a tabla, a sitar, a table harp, three cellos and eight violins.

Dr. Tai's team also found a property in the Stradivari violin samples but not the cellos: When they heated the wood shavings of the violins, they found an extra peak in oxidation, which implies a detachment between wood fibers.

Some of the opera's smaller roles have been excised, and Mr. Schlosberg has arranged Beethoven's score for two pianos, two cellos, two horns and percussion — a chamber ensemble intended to emphasize musically the opera's story of heroism amid darkness.

The Mendelssohn octet was high on Sun's list of musical goals, and he contacted the members of the group he was assigned, encouraging them to choose the piece, which requires eight skilled string players—four violins, two violas, and two cellos.

Finnegan Shanahan, a professional violinist and the assistant to the shop manager, went back and forth from Mr. Shrout to the workshop, where violins are tucked in rug-cushioned cubbies, cellos lean against the walls and violas hang from the ceiling.

Meanwhile, the harpsichord-turned-piano is bursting with orientalism, from its red-and-black color scheme to vaguely East Asian-inspired landscapes painted onto the inside of its lid — strangely populated by people playing violas, cellos, and other Western instruments.

Listening to Dvorak's Cello Concerto by YoYo Ma and the Berlin Philharmonic at absolute full volume (which exceeds 80 decibels and will hurt your ears a bit, by the way), the cellos and horns just barely start to crackle at the low end.

In the finale, he gave particular prominence in the blend to the brasses; similarly, the strong profile of the cellos near the end suggested Mr. van Zweden was at pains to make the orchestra's layers visible, to create textures simultaneously dense and transparent.

The show they created, as Mr. Whittle put it, "is bananas," a neo-noir head trip mashing up mythology, science fiction and stylized gore — think slow-motion splashes of blood set to brooding cellos — as it reveals the specifics of Mr. Wednesday's quest.

In April, Farhoud, who is seventy-six, packed a U-Haul with a grand piano, two hundred violins, ten cellos, and some furniture and paintings, and moved across the country, to a town called Mountain Center, an hour from Luke Goebel's place in the desert.

When a neighbor in Columbus, Ohio, began self-isolating to protect herself from coronavirus, Taran Tien, 9, and his sister, Calliope, 6, sat on 78-year-old Helena Schlam's porch -- in a suit and a dress -- and played a classical concert on their cellos.

Of course, occasionally you see kids who make the whole thing a little bit more fun by posing for photos that include some of their favorite activities like throwing a football or playing their cellos, but what if one of your main interests isn't considered an extracurricular?

Sergei Parkhomenko, a journalist, wrote on Facebook that at $6 million each, the $2 billion reported to have been stashed offshore was enough to buy more than 300 of the rare violins, cellos and other stringed instruments made in the 17th and 18th centuries by Antonio Stradivari.

But still, if our lives must be fucked, then please can we have Philip Sheppard's beautiful compositions playing in the background—all the cellos moving in wonder together as the final sequence of our life plays out in slow motion like a scene from a science fiction film.

His lyrical compositions layer the ghostly frayed voices of his ancestors with jazzy arpeggios on the piano, keening cellos lines and arching phrases sung in his own voice, which is powered by classical training and colored here and there by the tremor and guttural catch of traditional chant.

Almost every piece on the program included an element of staging: Instrumental solos were subtly choreographed; musicians burst into wild song while playing; the entire ensemble — save the cellos — rose to its feet for the breathless "Le Corsaire" Overture and for the final movement of "Harold," which depicts a debauch of brigands.

Written for two singers and four cellos, and performed on a nearly bare stage, "Denis & Katya" was a stark yet sensitive study of the voices surrounding a real-life tragedy: the death (possibly at the hands of Russian security forces) of two teenage lovers holed up with weapons in a cabin in 2016.

The first minute consists of the placid Take 2400, cushioned by synthetic flutes and airy electric guitar, before fading into the significantly more forceful Take 2000, which rushes by at breakneck speed, powered by furiously pummeled drums, blaring trumpets and chugging cellos (similar to the rhythmic strings employed by the Beatles' creative rival, Brian Wilson of the Beach Boys, on his then-recent smash, "Good Vibrations").

Bach employed the first movement from the First "Brandenburg" — doubtless on account of its riotously flamboyant horn parts — as the Sinfonia for "False world, I do not trust you" (BWV 52); and he arranged a souped-up version of the first movement from the Third Concerto — with its triadic trinity of three violins, three violas and three cellos — as the Sinfonia for "I love [God] the most high with all my mind" (BWV 174).

His works include a trio for three cellos and a quartet for four cellos besides a string quartet and the piano quintet with double bass.

Compositions include Rigoletto Fantasy for cello and orchestra on Verdi's opera, Interlude for string quartet and orchestra, Maze of Love for voice, piano and orchestra, ' for two pianos and percussion (GSO 2012 Commission), Carnival in Venice for violin and two cellos, René Descartes in Stockholm, for solo recorder, Christmas Cookies for mezzo-soprano and 3 cellos, Pigalle divertimento for two cellos.

Other examples are Offenbach's cello duets, quartet, and sextet, Pärt's Fratres for eight cellos and Boulez' Messagesquisse for seven cellos, or even Villa-Lobos' rarely played Fantasia Concertante (1958) for 32 cellos. The 12 cellists of the Berlin Philharmonic Orchestra (or "the Twelve" as they have since taken to being called) specialize in this repertoire and have commissioned many works, including arrangements of well- known popular songs.

Commissioned by the Chamber Music Festival of the East. Premiered August 11, 2001 at Bennington College, Bennington, VT. Lover Calls (2001) for seven cellos (also transcribed for six cellos and bass), dur. 7 min. Commissioned by the Tarab Cello Ensemble.

3), for cello and double bass and for two cellos (Op. 5 and 6).

Thomas Kennedy (1784–1870 in London) was a luthier, best known for his cellos.

Laminated cellos are widely used in elementary and secondary school orchestras and youth orchestras, because they are much more durable than carved wood cellos (i.e., they are less likely to crack if bumped or dropped) and they are much less expensive. The top and back are traditionally hand-carved, though less expensive cellos are often machine- produced. The sides, or ribs, are made by heating the wood and bending it around forms.

300x300px Charles Mennégand (19 June 1822 – 9 January 1885) was an eminent French luthier and a distinguished repairer of violins, violas, and cellos. He is considered a superb 19th century French maker of cellos and is consistently counted among the handful of great French makers.

Namely violins, cellos and harpsichords which are often played during sections of ambience and spoken interludes.

Les Danaïdes was orchestrated for first violins, second violins, violas, cellos, double-basses, timpani and harpsichord.

The Duport is one of Stradivari's 'B Form' cellos. This form, which Stradivari first used in 1709, arose from requests by patrons for a smaller cello that was more versatile. In addition to its smaller dimensions, the B Form cellos took advantage of recent advancements in string technology and production.

Cut back, and the three women sit in their laps. Then it shows the men playing the women like cellos. The following scene shows Gontier, rejecting a woman as she attempts to dance with him. In a cutaway scene continuing from the dance sequence, the women take their cellos away.

The work is scored for a conventional string orchestra of violins I and II, violas, cellos, and double basses.

He owned two Stradivarius cellos: the 1700 Cristiani and another one built in 1719 now known as the Becker.

Modern cellos have an endpin at the bottom to support the instrument (and transmit some of the sound through the floor), while Baroque cellos are held only by the calves of the player. Modern bows curve in and are held at the frog; Baroque bows curve out and are held closer to the bow's point of balance. Modern strings normally have a metal core, although some use a synthetic core; Baroque strings are made of gut, with the G and C strings wire-wound. Modern cellos often have fine-tuners connecting the strings to the tailpiece, which make it much easier to tune the instrument, but such pins are rendered ineffective by the flexibility of the gut strings used on Baroque cellos.

In the late 1920s and early 1930s, the Aluminum Company of America (Alcoa) as well as German luthier G.A. Pfretzschner produced an unknown number of aluminum cellos (in addition to aluminum double basses and violins). Cello manufacturer Luis & Clark constructs cellos from carbon fibre. Carbon fibre instruments are particularly suitable for outdoor playing because of the strength of the material and its resistance to humidity and temperature fluctuations. Luis & Clark has produced over 1000 cellos, some of which are owned by cellists such as Yo-Yo Ma and Josephine van Lier.

Balanas plays a Charles-Adolphe Gand ‘Auguste Tolbecque 1849 cello. Her former instruments include Nicolo Gagliano and Giovanni Battista Rogeri cellos.

He wrote three books of duets for two cellos. His son, Luigi, born in Piacenza in 1789, was a noted violinist.

The symphony is scored for string orchestra (minimum 6 first violins, 5 second violins, 4 violas, 4 cellos, and 2 basses).

The work is scored for solo piano and a string orchestra comprising first and second violins, violas, cellos, and double basses.

Yale Cellos, South Korea, 2005 Yale Cellos is an ensemble at the Yale School of Music consisting of 15 or so cellists. Previously, all were students of the famed cello teacher Aldo Parisot. Currently, the cellists study with Paul Watkins. Since its formation in 1983 the group has produced several CDs, one of which earned a Grammy nomination.

String-only nonets have also been composed, notably by Nicolai von Wilm (Nonet op. 150, 1911, 4 Violins, 2 violas, 2 cellos, and double bass) and Aaron Copland (1960, 3 Violins, 3 violas, 3 cellos) . Iannis Xenakis's Analogique A (1958) is also a string nonet, but must be performed with a companion tape work, Analogique B .

The exposition begins with the cellos introducing the first theme. By the fifth bar of the melody (m. 7), a chromatic note (C) is introduced, thus introducing the harmonic tension of the work. The melody is finished by the first violins, with a syncopated series of Gs (which forms a tritone with C of the cellos).

This design is particularly common on string basses and beginning-level cellos. The former often require these because of their greater weight.

The opening of Beethoven's Symphony No. 5, third movement is often used as an orchestral excerpt during bass auditions. In classical music, the bassline is always written out for the performers in musical notation. In orchestral repertoire, the basslines are played by the double basses and cellos in the string section, by bassoons, contrabassoons, and bass clarinets in the woodwinds and by bass trombones, tubas and a variety of other low brass instruments. In symphonies from the Classical period, a single bassline was often written for the cellos and basses; however, since the bass is a transposing instrument, and it is notated an octave higher than it sounds, when cellos and basses play the same bassline, the line is performed in octaves, with the basses an octave below the cellos.

Michael Haydn's Symphony No. 39 in C major, Perger 31, Sherman 39, MH 478, written in Salzburg in 1788, is the last C major symphony he wrote, the sixth of his final set of six symphonies. The symphony is scored for 2 oboes, 2 bassoons, 2 horns, 2 trumpets, timpani and strings. The edition by H. C. Robbins Landon for Verlag Doblinger has the cellos and basses on the same staff for most of the work even though the cellos occasionally are independent of the bassoons and basses in the first movement. Close to the beginning of the third movement it becomes necessary to split the cellos and basses on to different staves as the cellos switch to tenor clef and double the violas, leaving the bass to the bassoons and basses.

Franco- Mendès composed pieces for cello and piano, and a Grand Duo for two cellos; also two string quintets and a string quartet.

Nr 2 is scored for flute (doubling piccolo), two oboes, two bass clarinets, piano, two violins, two violas, two cellos, and double bass.

'State/Jam/Reflect' - for two cellos, clarinet, Bass Clarinet and French Horn. Premiered at Shoreditch House. '12 graphic scores for 12 solo instruments.

The Chandos Anthems were written at a time when the musical establishment at Cannons was still being expanded. The scoring of the anthems varies, with strings predominating including first and second violins (but only occasionally violas), cellos and basses. There is usually a separate part for an oboe, and one for organ.Original full score Bassoons occasionally join the cellos and basses.

The concerto is scored for two natural horns (soloists) and an orchestra composed of violins, violas, cellos, double bass, flute, clarinets, bassoons and horns.

In recapitulation the second theme is reworked for the cellos and contrabasses over a timpani pedal point. The work ends with a lively coda.

I Musici consists of a group of string instruments and one harpsichord. The strings include six violins, two violas, two cellos, and one double bass.

The symphony is scored for a chamber orchestra of a flute, oboe, clarinet, bassoon, two horns, trombone, bells, and strings (violins, violas, cellos, and double basses).

Pietro Capodieci's production includes violins, violas, cellos and double basses. He uses woods of the highest quality, in particular the rare and sought-after “Birdseye Maple”.

At least 15 Metallica tribute albums have been released. On September 10, 2006, Metallica guest starred on The Simpsons eighteenth-season premiere, "The Mook, the Chef, the Wife and Her Homer". Hammett's and Hetfield's voices were used in three episodes of the animated television series Metalocalypse. Finnish cello metal band Apocalyptica released a tribute album titled Plays Metallica by Four Cellos, which features eight Metallica songs played on cellos.

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.

This quintet allegedly inspired Schubert to write his own string quintet in the same key (his scoring involves two cellos rather than two violas as in Beethoven's quintet).

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 work is scored for a large orchestra divided into three ensembles. The first ensemble comprises three horns, two trumpets, two trombones, bass trombone, tuba, timpani, and strings (violins, violas, cellos, and basses). The second ensemble comprises two clarinets (doubling bass clarinet), E-flat clarinet, percussion, and strings (violins, cellos, and basses). The third ensemble comprises two flutes, piccolo, two oboes, cor anglais, two bassoons, contrabassoon, two horns, percussion, and strings (violins, violas, and basses).

Francesco Rugeri was the first to make an important contribution to cello making in the development of a smaller version of the cello that is now the standard. His cello is smaller from the cellos made by other Cremonese luthiers of the same period, namely, Amati and Stradivari. Cellos made by other luthiers of the period are often quite massive and fairly unmanageable for modern players' usage unless severely cut down in size.

Such extremely long instruments may be humorously referred to as "chin cellos." Occasionally, a violin may be strung with viola strings in order to serve as a 35 cm viola.

Schönebeck composed light operas, quartets, duets for two cellos and for cello and viola, as well as concertos for cello, flute, horn and clarinet. Most of his works are lost.

Lisbon Soloists. Deux Elles Limited, 2003 DXL 1084, The Galliard Ensemble. 1986 – Sextet - To Alberto Lysy 2 Violins, 2 Violas, 2 Cellos Premiere (original score): Lisbon, 1989 Strings Orchestra score,1986.

Composed for two violins, a viola, and two cellos, the Night Music of the Streets of Madrid quintet is in the C major key, and is approximately 13 minutes in duration.

The principal cellist is the section leader, determining bowings for the section in conjunction with other string principals, playing solos and leading entrances (when the section begins to play its part). Principal players always sit closest to the audience. The cellos are a critical part of orchestral music; all symphonic works involve the cello section, and many pieces require cello soli or solos. Much of the time, cellos provide part of the low-register harmony for the orchestra.

But unlike an actual symphony with its distinct movements, the overture's parts transition from one to the next without a break. Prelude: Dawn The prelude is a slow passage in E major, scored for five solo cellos accompanied by double basses. It begins in E minor with a solo cello which is in turn 'answered' by the remaining cellos and the double basses. An impending storm is hinted at by two very quiet timpani rolls resembling distant thunder.

These three combinations were proposed during the planning of the re-organisation but were never implemented. The E1 (7 players) was to comprise 4 trumpets, an electric organ, bass and drums. The E2 (29 players) was the largest combination, with 10 violins, 4 violas, 4 cellos, 2 flutes, oboe, 4 trombones, percussion, harp, guitar and piano, with the addition of a bass. The E3 (20 players) would have 10 violins, 2 violas, 2 cellos, bass and 5 saxes.

A Tale of Two Cellos is a recording of twenty-one duets for two cellos and piano (or harp) ranging from the sixteenth century, Monteverdi, to the twenty- first century, Arvo Pärt. The recording features cellists Julian Lloyd Webber and his wife Jiaxin Cheng as well as pianist John Lenehan, harpist Catrin Finch and two former BBC Young Musician of the Year winners Guy Johnston and Laura van der Heijden. It was released by Naxos Records in September 2013.

Along with Kościelec 1909, Hoary Fog and Krzesany, Orawa is a kind of "Kilarian Tatra polyptych". There are arrangements for a string quartet, twelve saxophones, an accordion trio, eight cellos and others.

Instrument He owned two Stradivarius cellos, the "Batta" and the "Baudiot". From 1939 to 1951 Piatigorsky also owned the famous modern Italian Montagnana cello (by Jago Peternella) known as the "Sleeping Beauty".

The score of this work calls for 4 French horns in F, 4 trumpets in C, 3 trombones, bass tuba and a four- section string orchestra of violins, violas, cellos and double basses.

It is scored for 1st violins (sometimes in two parts), 2nd violins (in two parts), violas (in two parts), cellos and double basses. The many parts allow for a thick texture when required.

The cellos present an imitative motif to introduce the bass. John Eliot Gardiner, who conducted the Bach Cantata Pilgrimage in 2000, comments that Bach "conjures up an irresistible picture of two coin-polishers at work, a sort of eighteenth-century sorcerer goading his apprentice", observing that "two cellos polish away in contrary motion with wide intervalic leaps". Bach was interested in coins and precious metals. The conductor Craig Smith compares the dark texture to the "descent into the earth in Wagner's Das Rheingold".

2 flutes, 2 oboes, cor anglais (English horn), 2 (soprano) clarinets in B, 3 bassoons; 4 valve (French) horns in F; 2 timpani in B & D, harp; (strings): 1st & 2nd violins, violas, cellos, contrabasses.

These include quartets for one violin, two violas, and one cello, notably by Carl Stamitz (6 compositions) and others; and for one violin, one viola, and two cellos, by Johann Georg Albrechtsberger and others.

Commissioned by the Minister of Culture. 13 min, Edition FUZEAU. ;Concertare :For twelve string players: 3 first violins, 3 second violins, 3 violas, 2 cellos, 1 double bass. 13 min, Rome 1976, Edition LEMOINE collection.

By the end of the Classical period, with Beethoven's symphonies, cellos and double basses were often given separate parts. In general, the more complex passages and rapid note sequences are given to the cellos, while the basses play a simpler bassline. The timpani (or kettledrums) also play a role in orchestral basslines, albeit confined in 17th and early 18th century works to a few notes, often the tonic and the dominant below it. In a small number of symphonies, the pipe organ is used to play basslines.

Charles Mennégand was a prolific instrument maker during his years in Amsterdam. He returned to Paris in 1857 and established his shop at 26 rue de Trevise, just north of the Conservatoire de Paris. In Paris, his work was largely concerned with making cellos and with repairs and restoration for which he gained renown and won premier place. Like Rambaux, Mennegand was known for cutting down Golden Age Italian cellos which were viewed as too large to meet the demands of the then modern technical standards.

The cellos and double basses introduce the Adagio section in a serene, unison cantabile, before the rest of the string section joins. Again, however, the cellos and double basses descend before the piano joins, in una corda. The piano uses the string theme and develops it further, playing in a nocturne-like style with soft, flowing left hand arpeggios and a cantabile melody in the right hand. The section reaches a climax where a strong fortissimo is played followed by a descending diminuendo scale.

Stravinsky scored the Danses concertantes for a chamber orchestra consisting of flute, oboe, clarinet, bassoon, two horns, trumpet, trombone, timpani, and a string section specified as six violins, four violas, three cellos, and two double basses .

Live is the first official Apocalyptica DVD which consists of a recorded show in Munich, on 24 October 2001. It only includes tracks from the first 3 albums: Plays Metallica by Four Cellos, Inquisition Symphony and Cult.

This instrument had disadvantages as well, however. The cello's light sound was not as suitable for church and ensemble playing, so it had to be doubled by organ, theorbo or violone. Around 1700, Italian players popularized the cello in northern Europe, although the bass violin (basse de violon) continued to be used for another two decades in France. Many existing bass violins were literally cut down in size to convert them into cellos according to the smaller pattern developed by Stradivarius, who also made a number of old pattern large cellos (the 'Servais').

It is unclear what influenced Badkin in his design, perhaps a similar instrument called a bumbass (boombas, boomba, or boom bass) also known as a stump fiddle (or stumpf fiddle). Perry manufactured pogo cellos in Brooklyn and Far Rockaway, New York and in New Jersey. The pogo cello was sold across the United States for decades as a musical instrument for children, but many adults also bought them for themselves. Pogo cellos have been seen in marching bands in Iowa and in the Mummers' parade in Philadelphia, PA on New Year's Day.

The full-orchestra version is scored for 3 flutes (2nd and 3rd doubling piccolo), 2 oboes (2nd doubling 2nd English horn), English horn, 2 clarinets, bass clarinet, 2 bassoons, 4 French horns, 3 trumpets, 3 trombones, tuba, timpani, cymbals, bass drum, tamtam, celesta, harp, organ, and strings (violins, violas, cellos, and double basses). The reduced-orchestra version is scored for 3 trumpets, timpani, harp, organ, and strings (violins, violas, cellos, and double basses). The organ part used in the reduced version is different from the organ part used in the version for choir and organ.

Stravinsky began composing Apollo on 16 July 1927 and completed the score on 9 January 1928. He composed for a refined instrumental force, a string orchestra of 34 instrumentalists: 8 first violins, 8 second violins, 6 violas, 4 first cellos, 4 second cellos and 4 double basses. The commission from the Library of Congress and underwritten by Mrs. Elizabeth Sprague Coolidge paid him $1,000 for the piece, which was required to use only six dancers, require a small orchestra, and last no more than half an hour, but allowed him free choice of subject.

Recorded in San Francisco in the winter of 1997. An entirely acoustic record, the instrumentation is mostly acoustic guitar with some accordion, cellos and percussion. This record was mixed at Toast Studios in San Francisco, by Jaquire King.

3 flutes, oboe, cor anglais (English horn), clarinets in A, 3 bassoons; 4 valve (French) horns in F, 3 trumpets in F; 2 harps; (female chorus): 8 sopranos, 8 mezzo-sopranos; (strings): 1st & 2nd violins, violas, cellos, contrabasses.

Though the bassoon is for the most part doubling the cellos, towards the end Haydn has them imitate the twirls of the first violins a bar after, lending a hint of wit redolent of Joseph Haydn's rondo finales.

Royce pointed out the inclusion of instruments on the song such as violins and cellos, noting that such instruments are not normally used in bachata music. The final ten seconds of the track transition into heavier urban beats.

In 1892 he was one of the three cellists who played in the premiere of Popper's Requiem for Three Cellos and Orchestra (Op. 66) along with the composer and Jules Delsart. His cello was a Montagnana made in 1747.

Manufactured in Elk Grove Village, Illinois, Engelhardt basses and cellos are sturdy instruments, widely used by students and touring professionals. The ES9 Swingmaster bass (formerly the Kay S9 Swingmaster), is highly thought-of by jazz, swing, and bluegrass musicians.

They began making pickups for other music instruments: banjos, mandolins, violins, cellos, basses. The Fishman company has produced amplifiers and other guitar-related equipment since its beginning in 1981. They have been known for producing high-quality acoustic amplifiers.

Penderecki arranged the Agnus Dei for eight cellos, first performed in the memorial service for Mstislav Rostropovich on 3 October 2007, in St. John's Church in Kronberg (Germany) by teachers and students of the Kronberg Academy, conducted by Frans Helmerson.

The texture is now more contrapuntal and polyphonic, and a fortissimo dynamic is maintained for several minutes, after reaching a final crushing dissonance, the music fades away to a single mysterious line doubled in the cellos and basses, which acts a transition into Part Two of the symphony, a central Adagio. The Adagio is the central heart of the whole work, and acts as reflective contemplation in the midst of violence and unrest. After a sonority presented in pianissimo in the woodwinds and cellos, the first and second violins enter, marked ppp in the high register.

The cellos and double-basses start the first-movement sonata form in a tranquil mood by introducing the first phrase of the principal theme, which is continued by the horns. The woodwinds develop the section and other instruments join in gradually progressing to a full-bodied forte (at bar 58). At bar 82, the violas and cellos introduce the movement's second "Lullaby" theme in F-sharp minor, which eventually moves to A major. After a development section based mostly on motives of the principal theme group, the recapitulation begins at bar 302, with the second theme returning at bar 350.

The symphony is scored for ten violins, four violas, three cellos and two basses. An arrangement of the third movement, titled Symphony for Eight, by Cello Octet Amsterdam (formerly known as Cello Octet Conjunto Ibérico) for cello ensemble was produced in 1999.

When Kress's duets with Dick McDonough were published, they were transposed from his fifths tuning to standard tuning. All-fifths tuning is used by other instruments besides tenor banjos. For example, it is used by mandolins, violins, mandolas, violas, mandocellos, and cellos.

Compositions include a concerto for cello and strings, which he premiered in 1984, a fugue for six cellos, and Elegy for cello and piano. He wrote "A Portfolio of Cello Exercises", and in 1982 he wrote "Essay on the Craft of Cello Playing".

92 for 4 cellos/Fantasy Op. 94 for horn in F and piano/Măiastra op. 95 for instrumental ensemble/Hymn II op.93 – four Lieders for soprano and piano/Îngerul a strigat op. 96 – three Lieders for soprano and piano 2003 – Legandă op.

William Paxton (1737-1781) was an English composer and cellist. He composed several sets of duets and solos for the cello, including six duos for two cellos (Op. 1), eight duos for violin and cello (Op. 2), six solos for violin (Op.

Musically, the song is pop-influenced, with Europop beats. However, the song features strong strings accompaniment, including violins, violas and cellos. ScandiPop.co.uk said the song sounded like Coldplay's Viva la Vida. Song Music said the song was "more personal and sad than before".

A baroque cello strung with gut strings. Note the absence of fine-tuning pins on the tailpiece. Baroque-era cellos differed from the modern instrument in several ways. The neck has a different form and angle, which matches the baroque bass-bar and stringing.

Sofia Talvik (born 24 November 1978 in Gothenburg, Västra Götaland County) is a Swedish musician and singer-songwriter. Her music often blends elements of folk and pop; she also uses a lot of acoustic instruments in her songs, including violins, cellos, trombones, and acoustic guitar.

2 doubling clarinet in E, no. 3 doubling bass clarinet), 3 bassoons (no. 3 doubling contrabassoon), 4 horns, 4 trumpets, 4 trombones, tuba, timpani, percussion (2 players), harp, celesta, harpsichord, piano, and 8 each of violas, cellos and double basses. Note that violins are absent.

Lane Tech offered a four- year music program and required each student to study an orchestral instrument. He later said of his choice: "They happened to need cellos. If they had needed a French horn player, I’d be a French horn player".McCrary, interview, p.

Ensemble layout In classical music, a string sextet is a composition written for six string instruments, or a group of six musicians who perform such a composition. Most string sextets have been written for an ensemble consisting of two violins, two violas, and two cellos.

"Make for This City" features cellos and details living in a metropolitan reality. "Lookaway" is an electronica song with strings and steel-string guitar work. It discusses growing old, and alienation. "Fear" is the inner monologue feeling that a person has lived too long.

The key signature reverts to D major. The triplets, now played legato on the violins, are accompanied by passionate figures in the woodwind (gemendo, dolente ed appassionato) and muted chords in the horns. The music fades away and the cellos bring things to a standstill.

The text, written by the court poet Salomon Franck, is based on the prescribed gospel reading for the Sunday, "Render unto Caesar...", and includes several allusions to money and gold. The cantata has six movements, beginning with an aria for tenor, followed by two pairs of recitatives and arias, one for bass and the other for the duet of soprano and alto, and a concluding chorale. Similar to other cantatas on words by Franck, the work is scored for a small Baroque chamber ensemble of two violins, viola, two cellos and continuo. Bach composed a unique aria with a dark texture of a bass voice and two obbligato cellos.

Songs of Yore is the fifth studio album by the worldwide musical project Folkearth. It is Folkearth's first acoustic album. Some instruments used were acoustic guitars, cellos, Celtic harps, violins, accordions, whistles, flutes, bodrans, mandolins, banjos, clarinets, galician bagpipes, soprano recorders, and recorders.Songs of Yore @ imperiumi.

The Low Anthem is the debut release by American indie folk band The Low Anthem, self-released in 2006. The album is currently out of print, and is noted for its varied instrumentation including saxophones, tabla drums, cellos, and organs combined with more traditional folk instruments.

Camillo Camilli (c. 1704 – 1754)Cozio.com: Violins, violas, cellos & double basses made by Camillo Camilli was a notable master luthier of the 18th century. The instruments of Camilli, most of which he made in Mantua, in northern Italy, are prized by string musicians to this day.

The Surprise Symphony is scored for a Classical-era orchestra consisting of two each of flutes, oboes, bassoons, horns, trumpets, plus timpani, and the usual string section consisting of violins (first and second), violas, cellos, and double basses. Performances of the Surprise Symphony last about 23 minutes.

John Edward Betts (1755–1823) was an English luthier, a crafter of stringed instruments such as violins, cellos, guitars and harps. Betts, the leading instrument dealer of his time in London, was one of the first to import Italian instruments. He is buried at Cripplegate Church.

3 flutes, 2 oboes, cor anglais (English horn), 2 (soprano) clarinets in B, 3 bassoons; 4 valve (French) horns in F, 3 valve trumpets in F, 3 trombones, tuba; 2 harps, 3 timpani in D, A, & E, cymbals, snare drum; (strings): 1st & 2nd violins, violas, cellos, contrabasses.

The piece is orchestrated for two flutes, two oboes d'amore (doubling on oboes), two bassoons, one natural horn (in D), three natural trumpets (in D), timpani, violins I and II, violas and basso continuo (cellos, basses, bassoons, organ and harpsichord). A third oboe is required for the Sanctus.

The violin family, including cello-sized instruments, emerged c. 1500 as family of instruments distinct from the viola da gamba family. The earliest depictions of the violin family, from northern Italy c. 1530, show three sizes of instruments, roughly corresponding to what we now call violins, violas, and cellos.

Mittenwald is famous for the manufacture of violins, violas and cellos which began in the mid-17th century by the Klotz family of violin makers, and has been a popular stop with tourists and student luthiers since the 1930s. You can also visit the museum for violin lutherie.

Democracy Abroad, Lynching At Home: Racial Violence In Florida is a 2015 history book by Tameka Hobbs. In it, Hobbs discusses the national and international implications of mid 20th century Florida lynchings, concentrating on the lynchings of Arthur C. Williams, Cellos Harrison, Willie James Howard, and Jesse James Payne.

However, given that the Romberg work in question, his Sonata in e minor, op. 38, was originally published as a trio for viola and 2 cellos in 1826 and later arranged as a sonata for cello and piano by Friedrich Gustav Jensen c. 1877, this theory is untenable.

In 1947, he recorded the first cello solos known in jazz music, with the Dodo Marmarosa Trio. In order to do so, he tuned his strings in fourths. In later cello ensembles he added a bass player. He and Oscar Pettiford did a session together with two cellos.

This performance was recorded and released as an album. Casals was also a composer. Perhaps his most effective work is La Sardana, for an ensemble of cellos, which he composed in 1926. His oratorio El Pessebre was performed for the first time in Acapulco, Mexico, on 17 December 1960.

Today, the band now uses traditional instruments such as the Mridangam, the Tabla, and the Carnatic. The band also has made enhancements in recent years to include the addition adding a large string section comprising violins, violas, cellos and double basses to make it a complete symphonic orchestra.

The composition, which is written for a violin soloist and an accompanying group made up of violins, violas & cellos, is structured as a single multi-tempo movement divided into two sections, the Introduction (Marked: Adagio) and the Rondo (Marked: Allegro giusto). It takes around 13 - 15 minutes to perform.

The work is scored for a chamber orchestra of piccolo, E clarinet, two trumpets, trombone, tuba, tamtam, xylophone, piano, two violins, and double bass. The absence of low woodwinds, violas, and cellos produces a sound meant to evoke a Mexican village band, or the sound of Indian music .

The Violin Society of America (VSA) is an American organization devoted to makers and dealers of violins, violas, and cellos. It is also open to players of these instruments. It was founded in 1973, and formerly based in Poughkeepsie, New York. It is now based in Dallas, Texas.

Henri-Joseph de Lannoy (also Henricus Josephus de Lannoy; 1712 – ) was a Flemish luthier and a crafter of string instruments such as violins, violas and cellos. His instruments are recognized as key examples of 18th century violin making in Flanders, characterized by their fine work and golden-yellow varnish.

The Soulful Strings' repertoire consisted mainly of cover versions, often given a musical interpretation that combined soul, jazz, funk and psychedelia. Speaking to an interviewer from Berklee College of Music, where he later worked as a professor teaching jazz arrangements, Evans attributed the ensemble's distinctive sound to his use of violas (rather than any violins) as lead string instruments, beside the cellos. He described the combination of two violas and four cellos as "a very dark sound". In a 2009 interview with Wax Poetics magazine, Evans credited Chess co-founder Leonard Chess with initiating the strings-based concept; however, he added that the flute and guitar parts became a "driving force" as much as the string section.

If an instrument has a range too high or too low for composers to easily write its music on bass or treble clef, the music may be written either an octave higher or an octave lower than it sounds, in order to reduce the use of ledger lines. Instruments that "transpose at the octave" are not playing in a different key from concert pitch instruments, but sound an octave higher or lower than written. Music for the double bass is written an octave higher than it sounds. Thus, when cellos and basses are reading exactly the same part (a common practice by composers from the early Classical period), the basses' line is an octave below the cellos'.

Paramaecium (sometimes typeset as Paramæcium) was an Australian death/doom metal band formed in 1991. There is use of instrumentation like flutes, cellos and violins on some albums. Paramaecium is one of the few doom metal bands that focus on Christian lyrical themes and Christian concepts. According to Doom-metal.

Nelson performs a variety of musical styles, including classical, folk, new age, and inspirational. He is considered a pioneer in "cello- percussion", which enhances traditional cello playing with pizzicato and percussive techniques. He owns 29 cellos, which he says produce different sounds and have different "personalities". He also plays kick drum.

Billboard's Phyllis Stark and the Associated Press' Jim Patterson identified pop influences on the album; Patterson remarked that the album's instrumentals used "jangly pop guitars". The songs' productions also featured steel guitars and cellos. Some critics compared Cook's vocals to those of Loretta Lynn, Deana Carter, Kelly Willis, and Dolly Parton.; ; ; .

In those of the live shows that Apocalyptica was the support act, they played the cellos in the song. The song wasn't played in the Liebe ist für alle da tour, but it reappeared for the Made In Germany 1995–2011 tour, Download festival 2013 and the European Stadium Tour 2019.

The concerto is scored for piano solo, 2 flutes, 2 oboes, 2 clarinets in A, 2 bassoons, 2 horns in A, 2 trumpets in C, trombone, timpani in A & E, violins I & II, violas, cellos, and basses. With this instrumentation Clara Schumann chose the usual orchestration typical of early Romantic music.

Grancino's workshops were all located on Contrada Larga, now Via Larga in Milan. His instruments bear the characteristic segno della corona (mark of the crown). See German source in Bibliography. Although the luthiers of Milan created instruments of varying quality, Grancino's violins, violas, cellos and double basses are considered superior.

The Wire wrote that Björk's voice "oscillates between steely-edged determination and uncontained freedom". Björk incorporated elements of traditional Icelandic culture. She uses the interval of the fifth throughout the song, such as in the cellos; fifths were common in Icelandic folk songs. Elements of Maurice Ravel's Boléro were also noted.

Stefano Scarampella (1843 - ) was an Italian violin and cello maker. He is considered to be one of the best 20th century violin makers. The tonal quality of his instruments have been compared to those of Giovanni Battista Guadagnini. He did not start making violins and cellos until he was in his forties.

Books III and IV are for two solo cellos without a figured bass. Masse indicates that they may be played by bassoons, viols or violins. He also composed a Premier Suite de Menuets nouveaux à 2 violoncelles. The Masse sonatas are some of the first virtuoso pieces written for cello and basso continuo.

Many of Tristan Keuris works were written on commission, like the Saxophone Quartet Concerto (1986) on commission from the Dutch Government, Catena (1988), for the 100th anniversary of the Royal Concertgebouw Orchestra, Symphonic transformations (1987) for the Houston Symphony Orchestra and the Concerto for two cellos (1992) for the BBC (Manchester Cello Festival).

Some instruments used for the early rondalla were influenced by the Mozarab musical instruments of the time, including the guitars, flutes and vihuelas. Mandolins, castanets and tambourines were also used and today a full range of instruments can be heard, such as the Mexican vihuela, violins and cellos, marimbas, xylophones, harps, and timbales.

The melody features ambient sounds, layers of cellos and violincellos, a backing chorus, and drums. "Lento e Largo" is extracted from Henryk Górecki's Symphony No. 3 and "A Song of India" is a cover of Rimsky-Korsakov's song. Brightman also covers Sia's "Breathe Me", Cocteau Twins' "Eperdu" and Paul McCartney's "Venus and Mars".

It was recorded and dubbed in. The score, by Lars Johan Werle, uses four cellos, three violins and other instruments. Werle described his effort to meet Bergman's requests without a description of the scenes Werle would score: In addition to Werle's score, the filmmakers sampled Johann Sebastian Bach's Violin Concerto in E major.

Music as luminous and intimate as a Monet painting has become the standard from pianist Kevin Kern, whose In the Enchanted Garden has become a cherished favorite in over 40 countries. Subtle colorings, including violins, cellos and clarinet, combine with gentle and eloquent piano songs to evoke a setting for Summer Daydreams.

Interview with Nigel Kennedy on his album of Jimi Hendrix compositions from the BBC News website On the recording, Kennedy is accompanied by seven other musicians, and the lineup includes two cellos, an oboe, two guitars, a Dobro, flute, and double bass. With cellist Lynn Harrell, he has recorded an album of duets.

Janos Spiegel (1876-1956) was a Hungarian violin maker. He was born in Sopron, Hungary in 1876 and died in Budapest in 1956. Spiegel worked for W.J Schunda from 1896 to 1896 and worked for R.Lumman from 1896 to 1900. He made several types of string instruments including cellos, violas, and violins.

486 The full tally of instruments, apart from the piano, comprises piccolo, flute, oboe, cor anglais, E clarinet, clarinet in B and A, 2 bassoons, 2 horns in F, trumpet in C, trombone, timpani, triangle, snare drum, cymbals, bass drum, tamtam, wood block, whip, harp, 16 violins, 6 violas, 6 cellos, and 4 double basses.

Frances Brent, The Lost Cellos of Lev Aronson (New York: Atlas & Co., 2009), p. 55. It was also in Leningrad, in 1936, that he conducted the first performance outside Germany of Paul Hindemith's Mathis der Maler symphony. After serving as music director of the Tbilisi State Symphony Orchestra, he lived in Vienna, Riga, and Stockholm.

Melody Maker wrote: "The Rapture is a fascinating, transcontinental journey through danger and exotica". Describing the arrangements, they added, "it's a vivid cornucopia of lush instrumentation, mandolins vying with cellos and bells, sweeping strings describing starlit oceans and sirens calling from jagged rocks, and attics that hide secret worlds".Unsworth, Cathi. "Baby, Come back".

The Chorąży's country manor. A melancholy polonaise melody played by four cellos evokes the serene and patriotic atmosphere of this house. The Podczaszyc, who is a guest in this house, is out hunting (Pojedziemy na łów - Hunters' song). Bronia misses Kazimierz who after the unfortunate incident at the ball has set off to war.

Four cellists, Eicca Toppinen, Paavo Lötjönen, Max Lilja, and Antero Manninen formed Apocalyptica in 1993 at Sibelius Academy. The band released their debut studio album, Plays Metallica by Four Cellos, in 1996. The album consisted of only Metallica covers. The band was featured on two songs on the Waltari album Space Avenue in 1997.

He also shared his expertise and knowledge with younger guitar makers. His creations included guitars, lutes, harpsichords, theorbos, vihuelas, citterns, panduras, and finally also violins, violas and cellos. His instruments were prized during his lifetime by many fine musicians, including the English lutenist and guitarist Julian Bream. The Rubio Quartet named themselves in his honour.

In 2010, they hiked Wainwright's famous Coast to Coast Walk across northern England, playing as they went. In April 2012, the three Extreme Cellists ran the London Marathon with cellos on their backs, playing occasionally along the way. In 2016 they performed on all 58 surviving seaside piers in Great Britain in just 14 days.

This was also the full line up of the BBC Scottish Radio Orchestra. The B2 Orchestra, with a complement of 26, used the components of the A Orchestra not required for the B1, which resulted in a line-up of 10 violins, 4 violas, 4 cellos, 2 basses, 2 flutes, oboe, percussion, harp and guitar.

Flying Colors expanded their instrumental palette on this release. On four songs, they employed violins, violas, and cellos performed by Chris Carmichael and Shane Borth. On another song, "One Love Forever", Eric Darken performed 14 different hand percussion instruments. On "Peaceful Harbor" and "Cosmic Symphony", Neal Morse recorded a gospel choir (The McCrary Sisters).

The concert suite ends at this point. In the complete ballet, the minor second returns again as the tramps rob the Mandarin. The attempted suffocation and stabbing are illustrated with great force in the orchestra. As the tramps hang the Mandarin from the lamp, the texture is blurred with glissandi on trombones, timpani, piano and cellos.

First page of the autograph manuscript score of Mendelssohn's Octet, Op. 20 One possible ensemble layout A string octet is a piece of music written for eight string instruments, or sometimes the group of eight players. It usually consists of four violins, two violas and two cellos, or four violins, two violas, a cello and a double bass.

An entire orchestral sound library was recorded for the Birotron. These sounds included violin and viola sections, brass, cellos, various flutes, organs, recorders, choirs etc. The London Symphony Orchestra, and Nottingham Town Choirs were involved in making these recordings. Rick Wakeman himself recorded the organ sounds from a church organ both The Rolling Stones and The Who had used.

Antonín Dvořák´s String Sextet in A major, Op. 48, (B. 80) for two violins, two violas and two cellos was composed for the most part in May 1878. It was Dvořák's first work to be premiered outside Bohemia.sleeve note of the Supraphon recording (11 1461-2 131) The period 1875-1879 was very important in Dvořák's life.

53 According to David Cairns, this marks the first reference to Romanticism in music.David Cairns, Berlioz: the Making of an Artist (André Deutsch, 1989), p. 220 The overture musically depicts the two main characters: unaccompanied flutes represent the wise young man and cellos, trombones and basses the old fool. Variations on these themes recur throughout the score.

The symphony is scored for 3 flutes (third doubling piccolo), 2 oboes, cor anglais, E clarinet, 2 clarinets, bass clarinet, 3 bassoons, contrabassoon, 4 horns, 2 trumpets, 2 cornets, 3 trombones, tuba, timpani, percussion (triangle, tambourine, cymbals, bass drum), 2 harps, 20 first violins, 18 or 20 second violins, 14 violas, 12 cellos, and 12 contrabasses.

Example 9: Chromatic bass line (mm. 10–13) The familiar chromatic scale and the interval of a half step are immediately emphasized, as seen in the rising chromatic figure in the cellos and basses in mm. 10–13, and in the half step "tremolo" figure in the violins in m. 7. Example 9b: Half step tremolo figure, m.

A complete list of music credits is available on the official HBO website. Jeff Beal's score is primarily acoustic sounding electronics, but mixes themes of bluegrass as well as atmospheric rhythmic sounds. Bigger groups of strings support smaller ensembles of guitars, pianos, violins, cellos, and trumpets. The music sometimes uses ethnic instruments such as banjos, harmonicas, ukuleles, and duduks.

The string section consisted of Elliot Rosoff, David Sackson, Irving Spice, Louise Stone, Louis Gaborwitz, and Deborah Idol on violins; Seymour Berman on viola; and Seymour Barab and Sally Rosoff on cellos. The single's B-side, "No Help from Me," featured lead vocal by keyboardist Bob Nave and did not appear on either of the group's two albums.

Giannini is a Brazilian musical instruments manufacturing company, based in Salto, São Paulo. Products currently manufactured by Giannini include electric, steel-string acoustic, nylon-string acoustic and bass guitars. Other string instruments include craviolas, cavaquinhos, viola caipiras and mandolins. Giannini also manufactures bowed string instruments such as violins, cellos and double basses, and strings for those instruments.

COYO is a full symphonic orchestra ensemble. The group typically consists of violins, violas, cellos, string bass, flutes, oboes, clarinets, bassoons, French horns, trumpets, trombones, tuba, and percussion. Auxiliary instruments are used according to the instrumentation of the concert repertoire. Common auxiliary instruments are harp, piccolo, E-flat clarinet and bass clarinet, English horn, and organ.

While only about 650 original Stradivari instruments (harps, guitars, violas, cellos, violins) survive, thousands of violins have been made in tribute to Stradivari, copying his model and bearing labels that read "Stradivarius" on them. The presence of a Stradivarius label does not confirm that the instrument is a genuine work of Stradivari.Stradivarius Violins – Encyclopedia Smithsonian. Retrieved 26 June 2013.

The strings were recorded at RAK Studios in London. For "Burn the Witch", the players used guitar plectrums rather than bows, creating a percussive effect. For "Daydreaming", Greenwood had the cellists detune their cellos, creating a "growling" sound. The song, which Yorke described as a "breakthrough" for the album, was finished early in the La Fabrique sessions.

Goffredo Cappa (1644-1717), also known as Gioffredo Cappa or Jofredus Cappa, was an Italian luthier, known for his violins and cellos. Cappa was born in Saluzzo. After working with the Amati family in Cremona he set up his own workshop in Saluzzo.Index of violin and bow makersGeschichte der GeigenbauerDictionary of violin and bowmakers He died in Turin.

A variation of the first theme reasserts itself. This is followed up by a third theme, thirty-second notes in the violas and cellos with a counterphrase running in the flute, oboe, and bassoon. Following an interlude, the whole orchestra participates in a fortissimo, leading to a series of crescendos and a coda to close the movement.

Inquisition Symphony is the second studio album by the Finnish metal band Apocalyptica. The album branches from their previous effort, containing only four Metallica covers. The remainder of the compositions are by Faith No More, Pantera, and Sepultura, as well as three originals by Apocalyptica bandleader Eicca Toppinen. In this album, some songs add percussive beats on the cellos.

Spiegel also made 80 cellos with assistance from craftsman in his workshop in Hungary. Over his lifetime he produced about 600 string instruments. Spiegel's instruments are distinguished by having reddish varnish and one or two piece backs (depending on the type of instrument). He changed his varnish colours to a bright orange or gold colour around in 1920.

Charles Louis Buthod (1810–1889) was a French luthier, best known for his violins and cellos. Based in Paris, he worked in his early career for the legendary French luthier Jean-Baptiste Vuillaume, rising to become foreman of his workshop. He later set up his own business nearby, producing violins and cellos, based like many of Vuillaume's, on those of Antonius Stradivarius, probably using the dimensions he had access to while working under his former employer, who owned and copied a number of the works from the master of Cremona. Buthod's violins, dating from circa 1850 to 1870 are notable for their distinctive red varnish and robust and durable construction, and were awarded a number of medals for their workmanship and tone, although later works attributable to his name vary in quality.

She made her debut with the Berliner Philharmoniker in 1968 playing Dvořák's Cello Concerto in B minor with Zubin Mehta. She regularly performed with such conductors as Barbirolli, Sargent, Sir Adrian Boult, Daniel Barenboim, and Leonard Bernstein. Du Pré primarily played on two Stradivarius cellos, one from 1673 and the Davidov Stradivarius of 1712. Both instruments were gifts from her godmother, Ismena Holland.

A synopsis by Ketèlbey mentions solo bells beginning the music, followed by a quiet melody in strings and woodwinds. When repeated, a "chimes effect" provides the illusion of being "heard from a distant belfry across the meadows". Bells accompany a middle section. In a reprise of the first part, the melody is given to the cellos, accompanied by soft chimes.

Scholes, plate 73. Lower-pitched orchestral instruments such as cellos and double basses were often doubled (or replaced) by louder instruments, such as tubas. Standard violins in orchestral ensembles were commonly replaced by Stroh violins, which became popular with recording studios. Even drums, if planned and placed properly, could be effectively recorded and heard on even the earliest jazz and military band recordings.

In 1950 he taught himself to play the viola da gamba. In 1958 Richard Klemm was appointed professor at the West Berlin Academy of Music. Several of his pupils became cellists with the Berlin Philharmonic Orchestra (Wolfgang Boettcher, Christoph Kapler, Jörg Baumann, Alexander Wedow). Klemm's compositional work for four cellos contributed to the founding of The 12 Cellists of the Berlin Philharmonic.

He wrote arrangements of Johann Sebastian Bach's Art of Fugue for string quartet, as well as arrangements for four cellos of the cello concertos of Joseph Haydn, Robert Schumann and Camille Saint-Saëns. In recognition of his service to music Richard Klemm was awarded a medal: the Bundesverdienstkreuz (German Service Cross with ribbon). He was married to Ilse Ebermann and had three sons.

After the cadenza, the orchestra bursts in and returns to the minor home key. Then the music calms down, and the cellos prepare for the entrance the clarinet will make. When the clarinet enters, it brings back the same emotions as when the soloist entered for the first time. It seems like the clarinet yearns to play the light, innocent theme heard before.

In 1882 he became a member of the Royal Swedish Academy of Music (Kungliga Musikaliska Akademien).Andersen, Anton Jörgen (Nordisk familjebok) His compositions include a cello sonata (1877), a concert piece for cello and double bass, and five symphonies (one of which was scored for 14 cellos and 3 double basses), as well as pieces for piano and songs for male choir.

The opening measures of the first movement. The lower stave is the orchestral part at the pitch played by the violins, oboes and horns; the violas, cellos and basses play an octave lower. The upper stave is the right hand of the piano part. The first movement opens, unusually for the time, with interventions by the soloist, anticipating Beethoven's Fourth and Fifth Concertos.

The original score is for a double string quartet with four violins and pairs of violas and cellos. The composer also transcribed the piece for string orchestra, so it often played by full string sections using more players for each part as well as an added double bass part which usually (but not always) doubles the second cello part an octave lower.

With an arrangement of eleven violins, three cellos and three violas, conducted by Daniele Luppi, the orchestra recorded music for "Leave It Alone", "The Changing Lights", "Lazy Wonderland", "The Angel and the Fool" and "The Remains of Rock and Roll". Additional musicians, respectively playing tenor saxophone, trombone and trumpet, were also recorded for the ninth track "No Matter What You're Told".

XV/26, transposed from F major to F major. The repeats in the trio are written out in the symphony, allowing for changes in the orchestration the second time through. The orchestral version also features a rolling triplet accompaniment in the cellos where in the trio the cello simply doubles the piano's bass line.Brown, A. Peter, The Symphonic Repertoire (Volume 2).

Luis and Clark, or L&C;, is a small, family run company that sells carbon fiber stringed instruments invented and designed by cellist Luis Leguía (Louie) of the Boston Symphony Orchestra. Their line consists of a violin, viola, cello and double bass, and they have recently started producing half- sized cellos, with plans for a classical guitar currently in development.

One particularly notable pre–World War II quintuple-meter composition is the popular first movement, "Aria (Cantilena)" (1938), of the Bachianas Brasileiras no. 5 by Heitor Villa- Lobos (the second movement was added only in 1945). The opening and closing parts of this aria for soprano and orchestra of cellos is predominantly in , and the middle section is entirely in that meter.

It deals with the issues of rape and abortion, but incest and mystical possession may also be possible meanings of this song. The music is throbbing, moving and melancholy, with a musical background from the Romany folklore using many violins and cellos. Farmer said in an interview that she had cried a lot when she recorded the song.Chuberre, 2007, p. 42.

The company also relocated at this time to 7 Leith Street in Edinburgh, with that location being renumbered to 13 Leith Street in 1811. The firm's manufacturing facility was located at Calton Hill. In addition to pianos, the firm made organs (church, chamber and barrel), harps, violins, cellos, tambourines, triangles, drums and serpents. The firm continued until John Muir's death in 1818.

Montagnana was born in Lendinara, Italy in 1686. His father, Paolo, was a shoemaker. He made stringed musical instruments (violins, violas, cellos and double basses) in Venice. He was apprenticed in Matteo Sella's workshop (probably also associated with Matteo Goffriller) and after that he opened his own shop, active from 1712, located in Calle degli Stagneri, with insignia "Alla Cremona".

The cello repeats it, then presents a new theme. The cellos of the orchestra repeat this, accompanied by the solo cello playing fast sixteenth notes. At bar 105, a distorted version of Suliko, a song favoured by Stalin and used by Shostakovich in Rayok, his satire on the Soviet system, is played. Then, the flutes play the first theme again.

Gaetano Sgarabotto (1878–1959) was born in Vicenza, Italy. He devoted his entire career to violin making. He was a very prolific violin maker, making more than 700 instruments including violas and cellos. His son, Pietro Sgarabotto (1903–1990), born in Milan, retired 1971, still produced masterworks as late as 1979; both worked for their entire lives in Italy as master violin makers.

With the painter Étienne Yver, they create the duets "d'Yver" by Nicolas Bacri, Philippe Forget and Régis Campo. In March 2009, she recorded Philippe Forget's duets and suites for solo cello. In April 2010, she recorded Olivier Greif's Sonata for two cellos La Bataille d'Azincourt. For the past two years, she has also been playing sonata with pianist Jean-François Bouvery.

Its grimness can perhaps be explained as a reaction from his (temporary) decision to give up drinking. The opening bars, with cellos, basses and bassoons, convey a new approach to timing. It then develops into melancholic sketches based on the composer's setting of Poe's The Raven. The waning finale is perhaps a premonition of the silence Sibelius would experience twenty years later.

In 1856, Rocca married a fifth time to Filomena DeFranchi. Rocca was found dead one night in January 1865 in a well in the gardens of Pila, Genoa, near the Bisagno river. His work became celebrated and well appreciated a few decades after his death. His production was consistent on the violins, violas, cellos, double basses, and guitars he made.

Atmosphères is scored for 4 flutes (all double piccolo), 4 oboes, 4 clarinets (4th also E clarinet), 3 bassoons, contrabassoon, 6 horns, 4 trumpets, 4 trombones, tuba, piano (played by 2 percussionists), and strings (14 first violins, 14 second violins, 10 violas, 10 cellos, 8 double basses).The score is published by Universal Edition. Ligeti's homepage also gives the instrumentation.

Wilhelm Altmann, writing in his Handbuch für Streichquartettspieler (Handbook for String Quartet Players) about Cherubini's six string quartets, stated that they are first rate and regarded Nos. 1 and 3 as masterworks. His String Quintet for two violins, viola and two cellos is also considered a first-rate work. During his lifetime, Cherubini received France's highest and most prestigious honors.

The second movement is a secco bass recitative, "" (You are, my God, the Giver of all gifts). It has been described as "operatic in its intensity and subtle adjustments of character". The recitative is remarkable for its "aggressive, even belligerent" conclusion. The following bass aria, "" (Let my heart be the coin), has an unusual and unique accompaniment of two obbligato cellos with continuo.

The work is scored for: 2 flutes (1 doubling on piccolo), 2 oboes (1 doubling on English horn), 2 clarinets (1 doubling on bass clarinet), 2 bassoons (1 doubling on contrabassoon), 4 horns, 3 trumpets, 3 trombones, 1 tuba, 1 timpani, 3 percussion, 1 harp, 1 qin, 39 strings (12 first violins, 9 second violins, 7 viola, 6 cellos, 5 basses); 64 total.

"Antagony - Days of Night" by Erik Thomas, Teethofthedivine.com This was to be their most eclectic recording to date. The album required use of cellos, broken pianos, choirs, different simultaneous metronome markings, and several layers of overdubbing. Musically, this album was a lot more "classically" structured as well; previously Antagony depended on the use of constant sectional changes to catch listeners off guard.

Soprano, contralto, and baritone soloists; SATB choir; and orchestra consisting of 2 flutes, 2 oboes (2nd doubling cor anglais), 2 clarinets in A, two bassoons (2nd doubling contrabassoon), 4 horns, 2 trumpets, timpani, bass drum, triangle, suspended cymbal, tam-tam, tubular bells, harp, organ (ad lib), and strings consisting of 8 first violins, 8 second violins, 6 violas, 6 cellos, and 4 contrabasses.

The concerto was published by Breitkopf & Härtel, Wiesbaden, in 1987, edited by Larry Sitsky. The editor recommends, based on markings of tutti and divisi, to use a string orchestra, with double bass reinforcing the cellos, which was a common practise at composition time. It was first recorded in 1999 by Carlo Grante and the ensemble I Pomeriggi Musicali, conducted by Marco Zuccarini.

The company was established in 1861 in Markneukirchen as a violin manufacturer. The owner was Dietmar Harry Joachim Machold, born in 1949 and resident at Schloss Eichbüchl bei Katzelsdorf. Of the surviving 600 violins, 60 cellos and 12 violas crafted by Antonio Stradivari in Cremona, Italy, around half have passed through Machold's. The company also sold Guarneri del Gesù violins.

This movement is characterised by the use of developing variation. A brooding theme introduced by the cellos from bars 1 to 12, with a counter-melody in the bassoons, begins the second movement. A second theme, marked ', appears in bar 33. After a brief development section, the recapitulation of the first theme (the second theme is absent) is highly modified.

Bartles genre was varied in style as he grew up. He was considered in classical and jazz spheres for earlier compositions. Later works he showed strengths in jazz more in writing and ensembles works for bands and orchestras and different works for cellos as well. In the United States, he had several pieces for tuba that he had through influence of others there.

Ewen Thomson is a Scottish luthier, specialising in violins, violas and cellos. Thomson was born in Fair Isle, Shetland, on 10 October 1971 and grew up in a musical family. At the age of 16 he began studying at the Newark School of Violin Making, graduating with merit. He was the youngest ever student to be accepted onto the course.

Violins, violas and cellos are tuned in perfect fifths (G – D – A – E, for violins, and C – G – D – A, for violas and cellos), which suggests that their semi-tone ratio is slightly higher than in the conventional twelve-tone equal temperament. Because a perfect fifth is in 3:2 relation with its base tone, and this interval is covered in 7 steps, each tone is in the ratio of to the next (100.28 cents), which provides for a perfect fifth with ratio of 3:2 but a slightly widened octave with a ratio of ≈ 517:258 or ≈ 2.00388:1 rather than the usual 2:1 ratio, because twelve perfect fifths do not equal seven octaves. During actual play, however, the violinist chooses pitches by ear, and only the four unstopped pitches of the strings are guaranteed to exhibit this 3:2 ratio.

Waltz 3A starts with a brief intrada and is decorated with trills whereas waltz 3B's principal melody is carried by cellos and double basses. Waltz 4A is livelier than the previous waltz part and waltz 4B is dominated by the flute. Waltz 5B has a timpani beat and waltz 5B reconciles the earlier cheerful sections. A brief coda is introduced and waltz 1B is repeated.

The ten-bar theme stated by the soloist is repeated by the orchestra. In the B section, elements from the first theme are reassembled into new motives. The first theme is shared between cellos and violins on its return, with the harpsichord playing accompanying arpeggios. The last movement is in 6/8 and abounds in cross- rhythms; a number of short themes succeed each other rapidly.

In November 2013, Johnson String Instrument acquired Carriage House Violins. Founded by Christopher Reuning of Reuning & Sons Violins, Carriage House is known for its high-end modern and antique violins, violas and cellos. The location houses a 50-seat rehearsal hall and the company’s sales staff is composed entirely of professionally trained musicians. Carriage House developed and staged the first annual Cello Month, held in 2015.

Cello close-up Cello open strings. Cellos are tuned in fifths, starting with C2 (two octaves below middle C), followed by G2, D3, and then A3. It is tuned in the same intervals as the viola, but an octave lower. Unlike the violin or viola but similar to the double bass, the cello has an endpin that rests on the floor to support the instrument's weight.

By the time Velasco began composing its music, ZombiU was playable; its audio director sent him game footage to help him understand the type of music needed. He spent 10 days composing the music, and assembled a string quintet of two violins, a viola, and two cellos to record it. Known as the Apocalypse Ensemble, it played "rawer sound" which makes the soundtrack menacing.

Although the song had originally been an uptempo number, Douglas first demonstrated it for the Turtles' vocalists Howard Kaylan and Mark Volman on a harmonium with a broken bellows, requiring him to play the song slowly. The slower tempo impressed Kaylan and Volman and consequently, the Turtles' recording of the song uses this slower arrangement.This version featured an accompaniment of strings, including violins, violas, and cellos.

Gramophone CD Review, David Allen, January 6, 2017 It follows the traditional three-movement concerto structure and lasts about 30 minutes. The piece starts with the violin playing in the extremely high register, in striking contrast with the accompanying low cellos and double basses. Tension increasingly grows as the music progresses and more instruments intervene. The second movement is the longest of the three.

It contains a quirky and eclectic collection of songs and spoken-word narration. It is also known for introducing the band's pioneering use of distortion effects pedals on their cellos, single-handedly launching the underground genre known as cello rock. Upon its release, Thanks for the Ether has received very high ratings, including a four and a half out of five star rating from Allmusic.

The librettist, Giulio Rospigliosi, became Pope Clement IX in 1667. The part of Sant'Alessio lies extremely high and was meant to be sung by a castrato. The accompanying orchestra is up-to-date, dispensing with the archaic viols and using violins, cellos, harps, lutes, theorbos, and harpsichords. The opera includes introductory canzonas which function as overtures; indeed they are the first overtures in the history of opera.

He drew his arguments and inspiration from his own diverse knowledge of the Bible, the Quran, and the Torah. That same year, he sang in Hebrew during a concert in Morocco. At this point, he was continuously touring. His new album Revolution had a lighter, gentler sound; this album featured cellos in the instrumentation, and the line-up included veteran Ivory Coast singer Aicha Kone.

Schenker considered Furtwängler as the greatest conductor in the world and as the "only conductor who truly understood Beethoven".CD Furtwängler, Beethoven's Choral Symphony, Tahra FURT 1101–1104, p. 19. Furtwängler's recordings are characterized by an "extraordinary sound wealth ", special emphasis being placed on cellos, double basses, percussion and woodwind instruments.David Cairns, CD Beethoven's 5th and 6th Symphonies, 427 775-2, DG, 1989, p. 16.

All instrumentalists are welcome. Trumpets, trombones, and saxophones participate as well as flutes, clarinets, violins, cellos and, at one point, a bassoon and a harp. Jazz students play a variety of music styles, including swing, Latin jazz, Afro-Cuban, reggae, jazz-rock fusion, pop and jump-swing. The Studio Jazz Orchestra has received more major awards than any other comprehensive high school jazz group in the country.

Born in Washington, D.C., Leavitt moved to Los Angeles in 1965. There, he shuns the spotlight—living and working with his wife, also a painter, in two small cabins near Silver Lake, atop a hill accessible only by foot. In addition to painting, photography, and installation work, the multi-talented Leavitt writes plays, builds theatrical sets, and handcrafts cellos on which he performs with local groups.

Domenico Montagnana (24 June 1686 – 6 March 1750) was an Italian master luthier based in Venice, Italy. He is regarded as one of the finest violin and cello makers of his time. His pieces, particularly his cellos, are sought after by orchestras, notable musicians or collectors, and many form parts of collections in museums. Prices for authentic pieces can reach millions of US dollars at auction.

All parts of the orchestra were original Baroque instruments. There were used: 17 violins, 7 viols, 5 cellos, 3 double basses, 4 oboes, 3 flutes, 2 bassoons, 2 recorders, 2 trumpets, 1 chalumeau and theorbo, timpani, harpsichord and positive organ. Vocal casting included 2 sopranos, 2 tenors, countertenor, bass and boy's choir. The tradition of Jesuits did not allow the use of female figures in the play.

He also gave master classes in various countries. He passed on his knowledge and experience in textbook form. In 1998 he published 25 self-composed pieces for two cellos, which he called "Duettüden". In 1994, together with the pianist Sibylle Cada, Mantel founded the "Research Institute for Instrumental and Vocal Pedagogy" in his place of work in Frankfurt and acted as its director from then on.

Retrieved 26 September 2014.Meacham, Steve (29 November 2006). "Cellist faces her toughest workout yet". The Sydney Morning Herald. Retrieved 26 September 2014. In addition to her orchestral and chamber work, she has served as an adjudicator for the inaugural Australian Cello Awards and has given masterclasses at the Australian National Academy of Music.Galvin, Nick (2 July 2013). "Bows poised for battle of cellos".

The instrumentation consisted of a violin, two cellos, bass, and a variety of Chinese instruments. Soon after the performance, Trent and strings were in the studio recording the 6 tracks. In 2009 she returned to perform at the Bridge School Benefit, this time putting a string group together with the band No Doubt. She is the sister of Paz Lenchantin and Luciano Lenchantin who died in 2003.

The fifth movement is a lively, offbeat finale, conveying the spirit of a Bohemian village dance. The principal theme is a descending figure based on thirds with accents on weak beats. More thematic material enters at bar 32 as the violins and cellos trade calls and responses over running eighths in the violas. A third theme based primarily on sixteenth-note upbeats appears at bar 87.

Some bands include violins or even cellos. Many larger show choirs typically have a larger combo to accompany them. The band is usually not visually featured, however occasionally a show will bring out members of the band onstage at certain points. A "tech crew" or "stage crew" is standard with most show choirs, as they assist with and handle the lighting, sound, and stage setup.

Various types of rosin for violins, violas and cellos A piece of rosin for violins, violas and cellos Rosin is the resinous constituent of the oleo-resin exuded by various species of pine, known in commerce as crude turpentine. The separation of the oleo-resin into the essential oil (spirit of turpentine) and common rosin is accomplished by distillation in large copper stills. The essential oil is carried off at a temperature of between ° and , leaving fluid rosin, which is run off through a tap at the bottom of the still, and purified by passing through straining wadding. Rosin varies in color, according to the age of the tree from which the turpentine is drawn and the degree of heat applied in distillation, from an opaque, almost pitch-black substance through grades of brown and yellow to an almost perfectly transparent colorless glassy mass.

With fretless string instruments such as violins or cellos, intonation depends on the exact places the musician's fingers press the strings against the instrument's fingerboard, as well as any pull or push the musician exerts on the string, either along the string's length or perpendicular to it. The pleasantly "alive" sound of a large string section results from the amount by which each stringed instrument is slightly out of tune.

In musical terminology, divisi, or as typically printed “div.,” is an instruction to divide a single section of instruments into multiple subsections. This usually applies to the violins of the string section in an orchestra, although violas, cellos, and double basses can also be divided. Typically, 4-part French Horn sections include divided sections if Horns 1/2 and/or 3/4 are not playing the same music ("a2").

Orchestra: 2 flutes (both doubling piccolo), 2 oboes (2nd doubling English horn), 2 clarinets (2nd doubling bass clarinet in C), 2 bassoons (2nd doubling contrabassoon); 3 horns, 2 trumpets, 3 trombones; timpani, 3 percussion (glockenspiel, triangle, tambourine, military drum, bass drum, cymbals, tam-tam, celesta); strings (8 violins I, 8 violins II, 6 violas, 6 cellos, 6 double basses). Stage music: 2 trumpets, timpani.Beaumont (1985), p. 219.Busoni (1918), pp.

Maple is considered a tonewood, or a wood that carries sound waves well, and is used in numerous musical instruments. Maple is harder and has a brighter sound than mahogany, which is another major tonewood used in instrument manufacture. The back, sides, and neck of most violins, violas, cellos, and double basses are made from maple. Electric guitar necks are commonly made from maple, having good dimensional stability.

He numbered all his violins and is known to have made more than 4,000.Molony (2013); as above. As well as making first-class violins, Perry also made violas, cellos and at least one double- bass, some of which are in the collection of the National Museum of Ireland. He invented the cither-viol or sultana in the 1760s and was renowned for the quality and beauty of his instruments.

Dominique Lemaitre's Circé for soprano and eight cellos (1998) is equally programmatic. In it the singer's voice floats over the instruments, creating much the same the successive emotional effects as those in settings of Rousseau's poem.Available on YouTube. Thea Musgrave's "Circe" for three flutes (1996) was eventually to become the fourth piece in her six-part Voices from the Ancient World for various combinations of flute and percussion (1998).

He also composed pieces for the viola da gamba and passed on the playing technique of this instrument to his pupils. Later, his colleague wrote for him a concerto for viola da gamba and orchestra. For many years Klemm was a member of the Richard Wagner Festival Orchestra in Bayreuth. His best-remembered compositions are the pieces he wrote for four cellos ("Bolero", "Habanera", "España" and "Concert Waltz").

The cello ( ; plural celli or cellos) or violoncello ( ; ) is a bowed (and occasionally plucked) string instrument of the violin family. Its four strings are usually tuned in perfect fifths: from low to high, C2, G2, D3 and A3. Each string is an octave lower than the viola's four strings. Music for the cello is generally written in the bass clef, with tenor clef and treble clef used for higher-range passages.

The cello section of the orchestra of the Munich University of Applied Sciences is shown here. Cellos are part of the standard symphony orchestra, which usually includes eight to twelve cellists. The cello section, in standard orchestral seating, is located on stage left (the audience's right) in the front, opposite the first violin section. However, some orchestras and conductors prefer switching the positioning of the viola and cello sections.

Sharpe also held the following positions as an orchestral player (with approximate dates where known): principal cello for the New Symphony Orchestra (1930s and 1940s), director and principal cello for the London Symphony Orchestra (1930s and 1940s), principal cello with the Royal Albert Hall orchestra and principal cello with the Royal Opera House Covent Garden orchestra (1940s). He played cellos by David Tecchler (dated 1701) and Charles Buthod (dated 1897).

Woodwinds: 2 flutes (2nd doubling piccolo), 2 oboes (2nd doubling cor anglais), 3 clarinets (2nd doubling Eb clarinet, 3rd doubling bass clarinet), 2 saxophones doubling on soprano and tenor, 2 bassoons (2nd doubling double bassoon). Brass: 4 French horns, 3 trumpets, 3 trombones, euphonium, tuba. Percussion: timpani, triangle, woodblock, tambourine, flexatone, ratchet, snare drums, cymbals, bass drum, tam-tam, xylophone, bayan, harmonium. Strings: violins, violas, cellos, double basses, banjo.

The section principal in an orchestra, as well as any large musical ensemble, is the lead player for each respective section of instruments. For example, there are multiple sections in an orchestra. The strings, woodwinds, brass, and percussion sections all have subsections. The first violins, second violins, violas, cellos, double basses, flutes, clarinets, oboes, bassoons, trumpets, trombones, French horns, tubas, and percussion are all subsections, each led by a principal player.

A host of instruments are taught, including violas, violins, cellos, basses, flutes, saxophones, and drums. Both middle schools have robust award-winning music programs that include bands, Jazz Band, and orchestras. On December 5, 2009, Moreland Middle School made its debut as a marching band at the Los Gatos Holiday Parade. The middle school's music program consists of three bands, two orchestras, a percussion ensemble, and a jazz band.

Stichbury set up the pottery department at Ardmore Teachers College. His pottery was given to Queen Elizabeth II during her 1974 royal tour to New Zealand. While Stichbury is mostly known for his pottery he also built musical string instruments (cellos, violas) in his later years. The work of Stichbury was honoured by exhibitions at the Auckland Museum in 2004 and the New Zealand National Museum Te Papa in 2011/12.

George Martin's arrangement is lush, and intentionally so. Lennon is said to have wanted the song to sound "real cheesy", like a Gordon Jenkins- esque Old Hollywood production number. The orchestra consisted of 12 violins, three violas, three cellos, one harp, three flutes, one clarinet, one horn, one vibraphone, and one string bass, played by 26 musicians. The Mike Sammes Singers also took part in the recording, providing backing vocals.

Besides the soloists, the symphony is scored for a chamber orchestra consisting only of strings and percussion. The strings consist of ten violins, four violas, three cellos, and two double basses, and the percussion section (three players) includes wood block, castanets, whip, soprano, alto and tenor tom-toms, xylophone, Tubular bells, vibraphone, and celesta. The percussion section does not include common instruments such as timpani, bass drum, cymbals, or triangle.

As with the band's previous single, the choir providing backing vocals was The Pink Singers. Cellos were played by Beverly Lauridsen, Jesse Levy and Mark Shuman. "I Feel Love (Medley)" was released in April 1985, with sleeve cover art by Gill Whisson. It became a big hit in the UK, entering the Top 10 in its second week on chart and peaking at number 3 for two weeks.

Richard Tobin (1766 – 1847) was an Irish luthier who crafted violins, violas, cellos and pochettes. He was an exceptionally talented craftsman and was considered the finest scroll carver of his time. Despite his talent, his work was largely uncredited, often branded under the names of his employers and other shops that enlisted him for his sought-after workmanship. Today, his rare instruments command the highest prices of any Irish luthier.

The Bells is scored for soprano, tenor, and baritone soloists, mixed choir, and an orchestra of piccolo, 3 flutes, 3 oboes, cor anglais, 3 soprano clarinets, bass clarinet, 3 bassoons, contrabassoon, 6 horns, 3 trumpets, 3 trombones, tuba, timpani, 4 tubular bells, glockenspiel, triangle, tambourine, snare drum, cymbals, bass drum, tamtam, piano, celesta, harp, organ (ad lib), and the standard strings of I & II violins, violas, cellos, and double basses.

Both AllMusic's Maginnis and Trouser Press' Robbins praise Tom Petersson's strong bass line, which Ultimate Classic Rock critic Dave Swanson described as "infectious." The song contains an interlude for violins and cellos that was scored by Rick and Jai Winding. According to drummer Bun E. Carlos, producer Tom Werman enhanced the snare drum sound on the recording by overdubbing the sound of two wooden boards hitting each other.

Of these 38 instruments ordered, Amati created violins of two sizes, violas of two sizes and large-sized cellos. They were in use until the French revolution of 1789 and only 14 of these instruments survived. His work is marked by selection of the finest materials, great elegance in execution, soft clear amber, soft translucent varnish, and an in depth use of acoustic and geometrical principles in design. Dilworth, John.

The album was a major shift in direction from previous album Troublegum, moving away from punk-metal to create a broad epic cinematic soundscape, with the songs being linked by ambient music pieces from Belfast D.J. David Holmes. The album also contains a vocals-and-cellos version of "Diane" by American punk band Hüsker Dü, which also became a single. The cellist, Martin McCarrick, later joined Therapy? for several albums.

The orchestral version is scored for solo violin with an orchestra of two flutes, one oboe, two clarinets, two bassoons, two horns, triangle and strings.Vaughan Williams (1925), p. 1 Vaughan Williams also provided a version for chamber orchestra, with one each of flute, oboe, clarinet, bassoon, horn and triangle, with three or four first violins, the same of second violins, two violas, two cellos and one double bass.

Spruce is the standard material used in soundboards for many musical instruments, including guitars, mandolins, cellos, violins, and the soundboard at the heart of a piano and the harp. Wood used for this purpose is referred to as tonewood. Spruce, along with cedar, is often used for the soundboard/top of an acoustic guitar. The main types of spruce used for this purpose are Sitka, Engelmann, Adirondack and European spruces.

On 4 October 1957 their car left the road near Risan and fell into the sea. Aberdare, aged 72, drowned and Griselda, his wife, aged 56, was injured. Cricinfo page on Clarence Bruce The repatriation of Lord Aberdare's body was arranged by Sir John Lambert at the UK embassy in Belgrade: as coffins were not permitted on passenger flights, Lambert concealed Aberdare's body among the cellos of the Minneapolis Symphony Orchestra.

By 1926 Fiorini had built 500 violins, 10 violas, and 10 cellos in the Stradivarian style, but with the individuality not to be simple replicas. He carefully examined the violins of Stradivari, using both the original diagrams and tools. He received medals at Exhibitions in Europe and America. He enjoyed personal friendships with Royalty, patrons of art, and eminent virtuosi in Italy, France, Germany, and Russia, plus contributed articles to journals.

"Corazón Sin Cara" (English: "Love is Blind," literally "Heart Without a Face") is a bachata song by American singer-songwriter Prince Royce. It was written and composed by Prince Royce, and produced by Andrés Hidalgo and Sergio George. The song's lyrical content deals with the self-esteem of girls and their appearance. The song also includes violins and cellos, which Royce notes aren't normally used in bachata music.

Grancino used a varnish which was a finely textured clear yellow to pale brown color. Grancino's early instrument patterns and designs were influenced by Niccolò Amati of Cremona, whose impressive works influenced many Italian luthiers of the period. However, Grancino's later productions show flatter arching and narrower form under the influence of Stradivari. Grancino's cellos tend to be larger than others, yet with a clear sound characteristic of the Italian luthiers.

The Traditional violin craftsmanship in Cremona (official name in Italian: Saperi e saper fare liutario della tradizione cremonese) was declared an intangible cultural heritage by UNESCO in 2012, during the 7th session of the Intergovernmental Committee in Paris. The Cremona's traditional violin making is an ancient form of handicraft typical of Cremona (Italy) where bowed string instruments like violins, violas, cellos and double basses have been made since the 16th century.

"Speak to Me" was completely recorded in two weeks. "Speak to Me" is a piano-led ballad which features Lee's vocals which were described as "haunting". Besides piano, its instrumentation is also provided by subtle strings as well as low-sounding drums and cellos which according to Billboards Gil Kaufman "amp up the track's tension". According to Kaufman, the "chilling" song marked a return "into the spooky zone" for Lee.

The first movement starts off the Serenade in the key of E major. The second violins and cellos introduce the lyrical main theme over an eighth note pulse in the violas. The theme is traded back and forth, and the second violins reprise it under a soaring passage in the firsts. At measure 31, the movement modulates into G major and presents a new, dancelike theme, based on a dotted rhythm.

The symphony is in a single movement divided into five sections, reflecting the five movements of Vaughan Williams's Seventh . It is constructed symmetrically around a central scherzo, preceded and followed by slow sections, and faster music at the beginning and end . A brief introduction is followed by an allegro exposition featuring sharply contrasting dynamics. The first slow section begins with a simple clarinet melody accompanied by pizzicato cellos.

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.

Phaidon Press Limited. . Landowska was responsible for the composition of several other new pieces of music for the instrument, notably Manuel de Falla's harpsichord concerto and his El retablo de Maese Pedro (at the premiere of which, at the salon of Winnaretta Singer, Poulenc and Landowska met for the first time). After a private performance in which Poulenc played the orchestral parts on the piano, the piece's public premiere was on May 3, 1929 at the Salle Pleyel in Paris, with Landowska playing the solo part and the Orchestre Symphonique de Paris conducted by Pierre Monteux. The work is scored for an orchestra of two flutes, piccolo, two oboes, cor anglais, two clarinets, two bassoons, four horns, two trumpets, trombone, tuba, timpani, side drums (with and without snares), tambourine, triangle, bass drum, cymbals, xylophone, and strings (the usual two sections of violins, violas, cellos and double basses—Poulenc stipulates eight each of first and second violins, and four each of violas, cellos and basses).

From the autumn of 2006 until February 2008, Rossi's career focussed mainly on studio work and string arranging. At the time of writing this is once again his focus. He uses his acoustic violins, violas, cellos and contrabass to re-create a whole orchestra. His work is featured in six songs of the Coldplay album Viva la Vida or Death and All His Friends, produced by Brian Eno, Markus Dravs and Rik Simpson.

Lief Java was established in 1918 by Soewardi as the Rukun Anggawe Santoso Orchestra before changing its name to Lief Java in 1923. The orchestra used a variety of instruments, including cellos, flutes, guitars, and violins. Most of the artists were amateurs, with little previous experience. The orchestra practiced in Kampung Kepuh, Kemayoran, Batavia (now Jakarta), in the home of musician S. Abdullah, and played a variety of songs, both originals and arrangements or adaptations.

He was partly inspired by two LSD trips and Lewis Carroll's 1871 poem "The Walrus and the Carpenter". Compositionally, every musical letter of the alphabet is invoked and every chord is a major or a seventh. Producer George Martin arranged and added orchestral accompaniment that included violins, cellos, horns, and clarinet. The Mike Sammes Singers, a 16-voice choir of professional studio vocalists, also joined the recording, variously singing nonsense lines and shrill whooping noises.

Egon Sassmannshaus (19 March 1928, in Wuppertal - 7 August 2010, in Munich) was a violinist and string pedagogue. His Early Start on the Violin was first published in German in 1976, followed by three more volumes, and is widely used. The work has been translated into Italian, Chinese, and (in 2008) into English; adaptations for viola and cellos have also been published. Sassmannshaus grew up in Wuppertal and was largely self-taught on the violin.

After his "release" from the sharashka in 1947, Theremin volunteered to remain working with the KGB until 1966. By 1947 Theremin had remarried, to Maria Guschina, his third wife, and they had two children: Lena and Natalia. Theremin worked at the Moscow Conservatory of MusicGlinsky p. 341, "where Lev Sergeyevich had constructed musical instruments" for 10 years where he taught, and built theremins, electronic cellos and some terpsitones (another invention of Theremin).

Portrait of Thomas Meuwissen by Charlie Dekeersmaecker Thomas Meuwissen (Leuven, 25 March 1966) is a Belgian violinmaker. Since 1987 he has been working exclusively on the production of modern and baroque violins, violas and cellos. His work includes antiqued copies of instruments by old Italian masters (Antonio Stradivari, Guarneri del Gesù, Matteo Goffriller amongst others). His many years of experience as violin maker, enable him to make effective adjustments to the sound of clients’ instruments.

A brief break comes in the form of a transition passage with repetitive three-note figures played by high strings, accented by slap pizzicati in the cellos and basses. A slower and sharply accented section follows. Several minutes of quiet foreboding occur from this point, with themes from earlier movements, particularly the first. Woodwinds build on one of these until violins take over with another familiar theme that builds to the ferocious climax.

The earliest surviving cellos are made by Andrea Amati, the first known member of the celebrated Amati family of luthiers. The direct ancestor to the violoncello was the bass violin. Monteverdi referred to the instrument as "basso de viola da braccio" in Orfeo (1607). Although the first bass violin, possibly invented as early as 1538, was most likely inspired by the viol, it was created to be used in consort with the violin.

The grand tune is repeated, as we expect, by the full orchestra; the opening march section returns; the grand tune is repeated once more, in the "home" key of G major; and the last word is had by a re-statement of the opening rhythmic patterns. The march prepares the audience for its end as surely as a train pulling into a station, with the violins, violas, and cellos ending on their resonant "open" G.

David Tecchler, sometimes also written Techler, Tekler, Deckler, Dechler,Willibald Leo Freiherr von Lütgendorff, Die Geigen und Lautenmacher vom Mittelalter bis zur Gegenwart, Frankfurt am Main : Frankfurter Verlags- Anstalt a. g., 1922, p. 507 (de) Decler, TecclerRené Vannes, Dictionnaire universel des luthiers, Bruxelles : Les Amis de la musique, 1951, p. 356 or Teckler,Les Spectacles, September 21, 1923 (1666–1748) was a German luthier, best known for his cellos and double basses.

Carlo Tononi moved to Venice between 1713 and 1716, where he became one of the foremost makers of the new Venetian School. Before his death, Tononi modified his will to provide for his funeral. He requested that the proceeds from the sale of one of his cellos be used to pay for a mass to be said for his soul. On 21 April 1730, his executors published his will after his death.

The opening section is for orchestra only and features muted strings. The first violins play with a dreamlike melody over an accompaniment consisting of second violins and violas playing repeated-note triplets and the cellos and bass playing pizzicato arpeggios. All of the main melodic material of the movement is contained in this orchestral introduction, in either F major or F minor. The second section introduces the solo piano and starts off in F major.

The bow-played dilruba features prominently throughout the song. The first of two overdubbing sessions for "Within You Without You" took place at Abbey Road on 22 March. Two more dilruba parts were added that day, after which a reduction mix was carried out, to allow for further overdubs onto the four-track recording. Producer George Martin then arranged the string orchestration, for eight violins and three cellos, based on Harrison's instructions.

All the > Goffriller cellos that I have tried are not easy to play. For each note you > need to know how much bow pressure, how much vibrato and how much bow speed > you can put on it. It is an instrument that you really need to know to be > able to play; it is not like a Montagnana or a Stradivarius. Montagnana, for > example - most of them are really easy to play.

In his spare time, Herman was known to ponder the physics of musical instruments, such as the mechanics of a cello bow and the acoustics of the English flute. He played and collected antique cellos. In the mid 1980s, he began creating small sculptures from exotic woods and metals. For the next decade, he pursued this creative and meaningful quest to find the least-mediated, least-quantifiable relation between matter and the imagination.

Extra curricular activities include a number of sports such as football, rugby, fitness, cricket, netball, rounders (in summer) and swimming. There are also numerous musical activities such as Cantamus (Girl's choir), Boy's choir, Chamber Choir, Folk Band, String Orchestra, Senior Strings, Modern Jazz Quartet, Big Band, Senior Girls Choir, Acapella Choir and Rock Experience. It also is the location of "Violins Together", "Cellos Together" and "Voices Together", which are groups open to all nearby schools.

He copied some instrument models so perfectly that his unbranded and unlabeled instruments were often in circulation as genuine del Gesù's and other famous Italian makers. Due to this, only a small number of instruments are known to be made by him. Genuine violins and cellos made by Nemessànyi himself are outstanding instruments and compare favourably with the best of 18th and 19th century instruments. William Henley had this to say about Nemessànyi's instruments.

The song features drums, violins, violas, cellos, keyboards and strings in its instrumentation. According to the sheet music published at Musicnotes.com by Kobalt Music Group, the song is written in the key of F major with a tempo of 60 beats per minute in common time. The song follows a chord progression of F – A7 – B – D - B, and Clarkson's vocals span from the low-note of B3 to the high note of F5.

Yamaha Music London is an English musical instrument and sheet music retail store owned and operated by Yamaha Music Europe GmbH's UK branch. It is located on Soho's Wardour Street and the majority of the building has Grade II Listed status. Musical instruments offered include pianos (acoustic and electric), guitars (acoustic, electric, basses), drums & percussion, brass (horns, cornets, trombones, trumpets, tubas), woodwinds (oboes, bassoons, clarinets, flutes, saxophones), bowed (cellos, violas, violins), and accessories.

The name was later changed to Epica, inspired by Kamelot's album of the same name. Epica then assembled a choir (made up of two men and four women) and a string orchestra (three violins, two violas, two cellos and an upright bass) to play along with them. Still under the name Sahara Dust, they produced a two-song demo entitled Cry for the Moon in 2002. As a result, they were signed to Transmission Records.

He left in 1994 to concentrate on composition and performance. He lives in England, and, for part of the year, on the west coast of Canada. Since 1986 Bryars has run The Gavin Bryars Ensemble with his preferred musicians, consisting chiefly of low strings. Now, in addition, this regularly includes his children (2 cellos, piano and double bass) He was born on the same day (16 January 1943) as another prominent English composer, Brian Ferneyhough.

Suddenly, the music reaches a more lyrical melody in the horns and cellos, although the tempo remains the same. Shostakovich develops this material in his typical style, using both themes in counterpoint, before the fanfare returns and leads to a rousing coda. The work is a standard piece of the orchestral repertoire. A transcription for concert band was prepared by Donald Hunsberger in 1965, and is played by many bands all over the world.

Karl Höfner GmbH & Co. KG is a German (originally Austro-Bohemian) manufacturer of musical instruments, with one division that manufactures guitars and basses, and another that manufactures other string instruments, such as violins, violas, cellos, double basses and bows for stringed instruments. Much of Höfner's popularity is attributed to Sir Paul McCartney's use of the Höfner 500/1 bass throughout his career. This violin-shaped model is commonly referred to as the "Beatle bass".

In particular, the later concertos have a wind band that is absolutely integral to the music. An extant theatre almanac from 1782, from the Burgtheater in Vienna, suggests that, for the theatre, there were 35 members of the orchestra, e.g., six first and six second violins; four violas; three cellos; three basses; pairs of flutes, clarinets, oboes, and bassoons; horns; and trumpets, with a timpanist.See comments in Grayson (in references), p. 114.

Antonio Stradivari (, also ,"Stradivari, Antonio" (US) and ; 1644 – 18 December 1737) was an Italian luthier and a craftsman of string instruments such as violins, cellos, guitars, violas and harps. The Latinized form of his surname, Stradivarius, as well as the colloquial Strad are terms often used to refer to his instruments. It is estimated that Stradivari produced 1,116 instruments, of which 960 were violins. Around 650 instruments survived, including 450 to 512 violins.

Occasionally he copied Guarneri del Gesù, whose violins were rapidly achieving fame in the first two decades of the 19th century. Lupot's production was almost entirely of violins; violas and cellos are a rarity. The aristocratic tonal qualities of his instruments have always been well appreciated by players. Lupot's most important pupil was Charles François Gand, who also became his successor through having married a young girl that Lupot considered as his adopted daughter.

The second movement is in 5/4 time and marked andante, un poco mosso. The slow movement features solos by the English horn, flute, and E-flat clarinet. The piece, which tries to emulate a flier at night, is based on a slow ostinato 5/4 rhythm that is first played by the muted cellos and basses. The English horn enters over the accompaniment to perform a "lonely" melody in 4/4 time.

The company was eventually sold to Gibson in 1987, although Steinberger remained part of the company for some time. Gibson still retains rights over the "Steinberger" name, precluding Ned Steinberger from calling his new instruments "Steinbergers". Ned Steinberger has operated a company called "NS Design" since 1990 and produces electric violin family instruments: double basses, cellos, viola, violin. All of these instruments have a number of interesting innovations in materials and design.

Pari intervallo is a composition by Estonian composer Arvo Pärt, written in 1976 in four parts without fixed instrumentation. The composer later made versions for organ (1980), four recorders (1980), clarinet, trombone and string orchestra (1995), saxophone quartet (2002), two pianos or piano duet (2008), and eight or four cellos (2010). Pari intervallo was one of seven works premiered in 1976 under the title tintinnabuli, the name of compositional style created by the composer.

The tone is louder at harmonic relations of the bridge string length. On violins the tone can be very high, even above human hearing range. Depending on the instrument the pitch of the tones may or may not be perceived (cellos and double basses are more likely to produce recognizable pitches because of the longer length of their strings). This technique is used extensively in Krzysztof Penderecki's Threnody to the Victims of Hiroshima.

Douglas C. Cox (born 1948) is a contemporary American violinmaker. He has been building instruments since 1981, and has made over 1000 violins, violas and cellos. Cox received his early training at the State Violin Making School in Mittenwald, Germany. He spent ten years as head of the repair department and chief restorer for the firm of J. Bradley Taylor, Inc. in Boston before establishing his own studio in Brattleboro, Vermont in 1985.

Hill violins, cellos and cases are also highly regarded. Their other products included varnish cleaner, violin e-strings, rosin, peg paste, music stands, chinrests, and specialist tools. Over the years many of the most celebrated instruments by Stradivari, Amati, and Guarneri passed through Hill & Sons. They built up one of the most notable collections of stringed instruments which can be seen at the Ashmolean Museum in Oxford, including the "Messiah" Stradivari from 1716.

Pop singer Ai provided lyrics to music by Hisaishi for the image song ""; performed by Ai with an arrangement for cellos and orchestra, the single was released by on 10 September 2008 along with a promotional video. Sheet music for the film's soundtrack was published by KMP in 2008 (for cello and piano) and Onkyō in 2009 (for cello, violin, and piano).; . Shinobu Momose, a writer specializing in novelizations, adapted Departures as a novel.

Arcane Rain Fell is the second full-length album released by the band Draconian through Napalm Records on 24 January 2005. It was recorded and produced at Studio Underground. The album is a concept album that details the fall of Lucifer from Heaven and the creation of Hell. The album is often cited as a classic of the doom/death genre and features slow guitar riffs, soprano vocals, keyboards/piano, violins, cellos and growling vocals.

The following two albums, Where at Night the Wood Grouse Plays and Weiland are acoustic, display a constantly heavier neofolk influence. Instead of keyboards, the band switched to acoustic instruments such as acoustic guitars, violins, cellos and the flute. Operatic male vocals are still used, and in Weiland the band uses choir vocals and the piano. Though the music remains dark and melancholic, Empyrium's music has largely moved away from heavy metal.

Born in Ibănești, Mureș County, Gliga is the owner of a Romanian enterprise manufacturing violins, violas and cellos in Reghin, Romania called the Gliga Group that has been operating since the 1990s. His son, Cristian, opened a US branch of the company in Pasadena, CA around 2001. The Gliga Group makes an estimated $5,000,000+ a year. Gliga also serves as the member of presidium of the World Dancesport Federation and its vice-president for marketing.

Auguste-Joseph Franchomme set a price record by purchasing it for FRF25,000 in 1843 from Duport's son. The instrument maker Jean Baptiste Vuillaume used the Duport as the primary model for his cellos. Prior to its acquisition in 1974 by Mstislav Rostropovich, cellist Gerald Warburg was the owner. He died in 1971 and reportedly told violin dealer Etienne Vatelot that the cello should be sold only to Rostropovich and no one else.

To promote the album, Allman embarked on a nationwide tour with the musicians who helped record the album as his band. Long inspired by Joe Cocker's Mad Dogs & Englishmen (1970), Allman hired a string orchestra to accompany the group. Drawn from the New York Philharmonic, it consisted of three cellos, six violins, and seven violas. The tour lasted one month and performed exclusively in upscale theaters, which Allman requested for the best sound quality possible.

Beyoncé's vocal range in the song spans nearly two and a half octaves, from B2 to E5. While most of the songs on the album are aggressive and uptempo, her voice on "Irreplaceable" is toned down. "Irreplaceable" uses a gently strummed acoustic guitar, following the B5–F5–Cm7–E6/9 chord series. Hermansen and Eriksen combined the classic chord progression on an acoustic guitar, a modern- sounding 808 drum beat and cellos.

Strings, pianos and flute: the high strings take on a background role, providing a buzz in the background that is reminiscent of the background noise of a jungle. The cellos and basses play a pickup cadence to lead into most of the measures. The flute takes the part of the bird, with a trilling tune that spans much of its range. The pianos provide occasional pings and trills of other birds in the background.

The two > outriggers, again, one in front of the first violins, that's facing the > whole orchestra, and one over the cellos. We used to have two mikes on the > woodwind section – they were directional mikes, 56's in the early days. > You'd see a mike on the tympani, just to give it that little bit of clarity, > and one behind the horns. If we had a harp, we'd have a mike trained on the > harp.

Wes Swing was born in Fairfax, Virginia, and lived there through high school. At age 4, he began to play the violin, and was performing in orchestras in the second grade. After dabbling with rock in high school, he returned to classical music studies, especially the cello, at the College of William and Mary, while pursuing a major in Latin. Upon graduation he briefly moved to Boston, where he completed a piece for eight cellos.

Morton Feldman in Amsterdam, 1976 This article presents a complete list of compositions by American composer Morton Feldman, organized by instrumentation. There are about 184 compositions in total. Within each category, the works are arranged chronologically by year of composition. Note that works for piano solo (or, for example, cello solo) are in the solo instrumental category, however, works for 2 or more pianos (2 or more cellos, etc.) are in the chamber category.

All personnel as listed on the Bing Crosby Enterprises and Universal Music deluxe, 22-track CD version: Buddy Cole (piano); Vince Terri (guitar); Don Whitaker (bass); Nick Fatool (drums); Skeets Herfurt, Harry Klee, Ted Nash (alto saxophones); Jules Jacob (tenor saxophone); Robert Lawson (baritone saxophone); Lou Raderman, Henry Hill, Ben Gill, Victor Arno, Toscha Seidel, Sam Cytron, Saul Steinberg, Nick Pisani, Jack Pepper (violins); Abe Hochstein, Milt Thomas, Raymond Menhennick (violas); Armand Koproff, Ossip Giskin (cellos).

The third movement, "Quid sum miser", is short, depicting after Judgement Day, featuring an orchestration of TTB chorus, two cors anglais, eight bassoons, cellos, and double basses. The "Rex tremendae" features the second entry of the brass choirs, and contains contrasting dynamics from the choir. "Quaerens me" is a quiet a cappella movement. The sixth movement, "Lacrimosa", is in 9/8 time signature, concluding the Sequence section of the Mass, is the only movement written in recognizable sonata form.

In each movement, the same basic configurations return, but each time their colouring or viewpoint is different, so that the overall form only really emerges when one listens to all five movements in context.Plaistow n.d., 3. Ramifications (1968–69), completed a year before the Chamber Concerto, is scored for an ensemble of strings in twelve parts—seven violins, two violas, two cellos and a double bass—each of which may be taken by one player or several.

Rietzel was an excellent sight reader on piano and other instruments alike. As a child he learned to play many orchestral instruments; among them was the flute, which he learned secretly as a surprise for his father. Thereafter, he sometimes substituted for his father in the theater. On one occasion Rietzel at sight fluently transposed and performed on the viola the first part of a trio for three cellos by Félix Battanchon, written in three clefs.

Watkin 1996 It has been surmised that an early centre of these innovations lay in musical circles of Bologna, and that it was made possible by the invention of the new technique of composite strings of gut wound with metal.Bonta 1977, 1990 The new type found its ultimate consolidation and standardisation in works of the famous violin builder Antonio Stradivari around 1700. Luthiers cut many existing bass violins down in size to convert them into cellos.

This movement was very innovative for its time, with some stylistic aspects characteristic of later composers like Felix Mendelssohn. The normal output for this time was material such as Beethoven's Piano Concerto No. 5 from exactly the same year as this composition, 1811. Weber starts with the cellos playing the main theme, followed with an explosion by the whole orchestra. The violins pick up the melody which eventually progresses, subsides, and clears the stage for the solo clarinet.

The soloist begins with a painful song marked "con duolo". The clarinetist performs variants on that source, which later results in a determined run played by the solo instrument. After that climax, the music dies off with the clarinet mourning a line marked "morendo". Then there is a grand pause, which provides the transition for the return of the cellos stating the main theme, but this time in the key of D-flat major rather than F minor.

The oratorio is scored for 2 sections of violins, violas, cellos, double basses, 2 flutes, 2 oboes, 2 bassoons, 1 contrabassoon, 2 horns, 2 trumpets, timpani, harpsichord, and organ. A harpsichord and violoncello play the continuo. Handel's music gives the choruses of Roman pagans, presented in the libretto as evil people gloating over the torture of Christians, "immense verve and charm". This is contrasted with the quiet, deep conviction of the music for the choruses of Christians.

Other major works have included shimmer for eight spatially arrayed cellos written for and recorded by Ashley Bathgate as a companion piece to Steve Reich's Cello Counterpoint, and water hollows stone for piano four hands, written for HOCKET. In addition to his work as a composer and at YIVO, Weiser is co-founder and artistic director of Kettle Corn New Music, and worked for about five years as the Director of Operations and Development at the MATA Festival.

Wolfgang Amadeus Mozart's Piano Concerto No. 12 in A major, K. 414 (385p), was written in the autumn of 1782 in Vienna. It is scored for solo piano (or harpsichord), two oboes, two bassoons (optional), two horns, and strings (consisting of violins, violas, cellos, and double basses). Like all three of the early Vienna concertos that Mozart wrote, it is a modest work that can be performed with only string quartet and keyboard (i.e., "a quattro").

It opens with a lyrical G minor theme in the cellos, horns, clarinets and bassoon with trombones, violas and double basses pizzicato. This gives way to a "bird call" flute melody, reaching the symphony's key G major. Writing about a performance by the National Symphony Orchestra, Peter Laki notes that the development section "works up quite a storm." In the recapitulation, the second main theme is played by the English horn, two octaves lower than in the exposition.

9 Six of the channels recorded different sections of the orchestra which provided a "close-up" of the instruments – cellos and basses, violins, violas, brass, woodwinds and tympani – while the seventh channel recorded a mixture of the first six and the eighth captured the overall sound of the orchestra at a distance. A ninth channel provided the click-track function to help the animators time their drawings to the music.Shepherd, pp. 3–6.Plumb (1942), p.

The association brings together luthiers, donors and young virtuosos: it supports both the creation of cellos from the great tradition of French lutherie and the young musicians too often deprived of good instruments. This initiative has been welcomed by the music press. L'article de Victor Tribot Laspière sur L'association Talents & Violoncelles, France Musique.] In 2010, he created the Biennale "VioloncellEnSeine", VioloncellEnSeine website of which he is the artistic director, organized by the "Association française du Violoncelle".

This is an allusion to the ending of the work, discussed below. This gives way to a section of calm, ethereal string writing against a quietly sustained woodwind background, marked ‘Meno Mosso’, which introduces the more lyrical material, based on the flow of thirds, foreshadowing the tranquillity of the central Adagio. A cyclical rhythm figure is presented in the cellos and basses, based on the notes G, F#, E which are formed into a repeating pattern.

Much though not all of the material in the symphony is based on the ascending (and later descending) chromatic scale motif heard at the very beginning, played by bassoons, violas and cellos. Additional material is a repeated-note figure. Pettersson juxaposes innocent, diatonic melodies with passages of great contrapuntal ferocity. There are sections of tango and canon and also a quotation of Song No. 10 "Jungfrun och Ljugarpust" (The Maiden and the Lying Wind) from his Barefoot Songs.

Sur un sommet (On the Top), for wind trio (2016), 13 min. (published by Gérard Billaudot) Citadelle (Citadel), for piano and cello (2015), 7'30 min. (published by Gérard Billaudot) Chant de l'âme, for piano and C Trumpet (2015), 6'30 min. (published by Gérard Billaudot) Tick-Tock, for piano and violin (2015), 4 min. Trois nuits, for 2 cellos (2013), 12 min. (published by Gérard Billaudot) Récits Héroïques (Heroic Tales), for trumpet and organ (2013), 12'30 min.

John Entwistle plays "Ivor the Engine Driver" in that section. Then comes "Soon Be Home", another harmonised section. Finally, "You Are Forgiven" is sung by Pete Townshend — his only lead vocal on the album (except, on most versions of the album, a small part of "Heat Wave"). The Who wanted cellos at the final "mini"-movement, "You Are Forgiven", but producer and manager Kit Lambert could not afford it so they ended up saying "Cello, cello, cello".

The scoring > is striking and memorable, especially in the use of spare, unadorned > harpsichord figures to impart a sense of fragility and lost innocence. > Anyone who (as I do) responds to Berg's Lulu Suite should hear this > remarkable composition, which is drawn from the same well.Shchedrin: Lolita > Serenade; Anna Karenina; Orchestra Concerto 1; 2 Tangos goliath.ecnext.com 1 > January 2003 The opera begins with only flutes and cellos playing, symbolizing the difference in age of the protagonists.

Although the album was released on November 4, 2004, Defiant Imagination was written much earlier. By 2002, the song structures had been finalized and the drums were recorded in September 2002, and the bass in August 2003 at Wildsound Studios with Pierre Rémillard as the sound engineer. Cellos were recorded in October 2003 by POJPOWJ. The guitars were recorded sporadically between September 2002 and January 2004 and the choir and the vocals were recorded in January 2004.

The work is composed for solo oboe and orchestra and comprises four movements: #Moderato con moto #Allegretto alla pavana #Lento rapsodico #Allegro agitato The third movement was added in 1973 and is in the style of an unaccompanied cadenza which adds to the soloistic display of the piece. The piece is scored for solo oboe, 2 french horns, 2 trumpets, 3 trombones, percussion (including triangle, glockenspiel, celesta and tubular bells), harp, and strings (violins, violas, cellos, and double-bass).

Beltrami made use of a detuned piano with violins, violas, and cellos. Cullen from SciFiPulse thought the score was dark and haunting, hoping the movie would live up to the soundtrack. He rated the album an eight out of ten, saying "the detuned piano really adds that sense of depth to the proceedings and makes every single track on the CD stand out." The song featured in the trailer is "If I Was Your Vampire" by Marilyn Manson.

A performer who recorded too strongly or not strongly enough would be moved away from or nearer to the mouth of the cone. The number and kind of instruments that could be recorded were limited. Brass instruments, which recorded well, often substituted instruments such as cellos and bass fiddles, which did not. In some early jazz recordings, a block of wood was used in place of the snare drum, which could easily overload the recording diaphragm.

Beecham persuaded the veteran bassoonist Archie Camden, who had been pursuing a solo career, to return to orchestral work. The cellos were led by Raymond Clark, enlisted from the BBC Symphony Orchestra. The principal horn player was Dennis Brain, who already held the same post in Legge's Philharmonia, but managed to play for both orchestras. Jenkins speculates that as Beecham knew all Britain's orchestral leaders at first hand he decided not to try to lure any of them away.

" The band tried to do the albums without a "middle ground" sound, with "the acoustic record far more delicate and beautiful and atmospheric", and "the rock CD far more brutal and aggressive" than their previous work. The arrangements were aiming for complexity: "This record is much more elaborate than just an acoustic guitar and a vocal. And the songs were written to hold more orchestration. We've never had accordions and pump organs and cellos and stand up bass.

In this composition, Dutilleux attempted to translate into musical terms the opposition between emptiness and movement conveyed by the painting. The work employs a string section of only lower-register instruments: cellos and double basses, no violins or violas. In 1985, Isaac Stern premiered L'arbre des songes [The Tree of Dreams], a violin concerto that he had commissioned Dutilleux to write. Like its cello counterpart, it is an important addition to the instrument's 20th century repertoire.

Dransfield has composed music for several films for TV and the wide screen: S.O.S. Titanic, Adelaide Harris, Play Away, Samson an Delilah (1985), Ballymena Opera House and The Wreck of the Julie Plante (1985). He acted the part of the blind fiddler in The Bounty (1984) (with Mel Gibson and Anthony Hopkins). In 1986, he changed career to become a so-called "Fiddle Doctor", repairing violins and cellos. In 1994, he joined the Steeleye Span UK tour.

He saw Teofane by Antonio Lotti, composed for the wedding of August III of Poland, and engaged leading members of the cast on behalf of the Royal Academy of Music. In April 1720 the Academy began producing operas. The orchestra consisted of seventeen violins, two violas, four cellos, two double basses, four oboes, three bassoons, a theorbo and a trumpet. The brothers Prospero and Pietro Castrucci as well as Johan Helmich Roman and John Jones were violinists.

The orchestra is basically a chamber orchestra (a form of which is sometimes also called a "Mozart orchestra"), meaning that it has fewer musicians than a full-sized symphony orchestra (especially in the strings, since the number of woodwind, horn players and other musicians is less flexible), producing lighter, chamber-music-like sound. However, the number of musicians sometimes exceed this format: in its June 2012 concerts, for example, the orchestra played Ludwig van Beethoven's Egmont Overture and Robert Schumann's Piano Concerto and Second Symphony with 14 first violins, 12 second violins, 10 violas, 8 cellos and 5 double-basses (typical numbers in a symphony orchestra being 16 first violins, 14 second violins, 12 violas, 10 cellos and 8 double-basses). The orchestra acts as a meeting-place for young musicians from many countries, partly selected through the Orchestra Mozart Academy within the Philharmonic Academy, and experienced musicians. The latter have included violinist Giuliano Carmignola, violists Wolfram Christ and Diemut Poppen, double-bass player Alois Posch, oboist Lucas Macias Navarro, flautist Jacques Zoon, horn player Alessio Allegrini.

This suite for orchestra is divided into four movements and takes around 14 minutes to perform. The scoring can be divided into three groups: first, a full orchestra (two flutes, two piccolos, two clarinets in B-flat, a bassoon, two horns, a trumpet in C, a large percussion section consisting of a xylophone, a glockenspiel, a side drum, a woodblock, a tambourine, four tom-toms, claves, two suspended cymbals, a hi-hat, two large tam-tams and two very large tam- tam, and a string section consisting of twelve first violins, twelve second violins, eight violas, eight cellos, and four double basses); then, an amplified solo group consisting of an oboe, a cor anglais, a trumpet in B-flat, a harp, a celesta, and a piano; finally, an off-stage string quintet consisting of two violins, a viola, and two cellos. The movement list is as follows: The general tone of the suite is sensual and atmospheric. Tempo variations are frequent in the dances, but the tempo is generally slow and calm in the first and third movements.

"I Am the Walrus" was the first studio recording made by the Beatles after the death of their manager, Brian Epstein, in August 1967. The basic backing track featuring the Beatles was released in 1996 on Anthology 2. George Martin arranged and added orchestral accompaniment that included violins, cellos, horns, and clarinet. Paul McCartney said that Lennon gave instructions to Martin as to how he wished the orchestration to be scored, including singing most of the parts as a guide.

At 18, Stevens signed to Capitol Records' Prep Records division in 1957, and produced the singles "Silver Bracelet" and a cover of "Rang Tang Ding Dong", which met with a positive review from Billboard. The latter was originally recorded by doo-wop group The Cellos in 1957. In 1958, Bill Lowery created the National Recording Corporation (NRC), and hired Stevens to play numerous instruments, arrange music, and perform background vocals for its band. Stevens signed with Mercury Records in 1961.

They have recorded for Universal Classics and Naxos and they made further recordings in 2013 as well as touring together with the European Union Chamber Orchestra and English Chamber Orchestra. Cheng married Julian Lloyd Webber in July 2009 (the couple's daughter was born on 14 June 2011). Their first recording together, released in March 2011, was Menotti's Arioso for two cellos and strings, featured on the album The Art of Julian Lloyd Webber. Cheng also features on Lloyd Webber's 2011 album Evening Songs.

The Washington Post headlined its review "Ott's Brilliant Premiere" and wrote "...the audience gave it a five-minute standing ovation." The Washington Times reported, "It was a case of love at first hearing. Mr. Rostropovich hugged and kissed the composer and his cellists as the packed house roared its approval." A champion of the work, Rostropovich subsequently programmed the "Concerto for Two Cellos" on the NSO's 1989 and 1994 U.S. tours. The cellists have played the work 30 times with numerous orchestras.

"The Drug in Me Is Reimagined" is a song by American rock band Falling in Reverse. It is the orchestral rock version of the song "The Drug in Me Is You". It was released on February 13, 2020 and has more than 10 million views on YouTube and Spotify. The music video was directed by Jensen Noen, it shows Ronnie Radke playing the piano featuring an orchestra of cellos and dancers as well as the girl on the album cover.

The second movement is another sonata-form movement, this time in and in the key of B major, the subdominant of the main key of the work. It begins with the strings playing a motif that imitates flowing water. The cello section is divided, with just two players playing the flowing-water notes on muted instruments, and the remaining cellos playing mostly pizzicato notes together with the double basses. Toward the end is a cadenza for woodwind instruments that imitates bird calls.

In the summer of 1897, Le Beau finished her work on the score of the symphonic poem "Hohenbaden," which premiered on February 25, 1898 in Baden-Baden. In 1900, her mother died. The last major chamber work of Luise Adolpha Le Beau, "String Quintet, Op.54 for 2 violins, viola and two cellos" was listed in 1901, but was not published. In 1902, Le Beau composed the fairy-tale opera "The Enchanted Caliph, Op.55," which she dedicated to her parents.

Music for a Large Ensemble is a piece of music written by Steve Reich in 1978. It is scored for violin 1, violin 2, cellos, 2 flutes, 2 clarinets, 2 soprano saxophones, 4 trumpets, 4 pianos, 2 marimbas, vibraphone, 2 xylophones and two female voices. It had its first performance in Utrecht on June 14, 1979. It was a commissioned work by the Holland Festival and it was first performed by Reich's musicians as well as members of the Netherlands Wind Ensemble.

Stern traveled to Prague to prepare his performance under Dvořák's supervision. By early March, all was agreed, and the premiere took place on 19 March in Queen's Hall, London, with Dvořák conducting. The cello played by Stern was the 1684 "General Kyd", one of only about 60 cellos made by Stradivarius. After the London performance, Stern again played the solo part in what may have been the second public performance, in Prague on 11 April 1896, and later again in London.

After the third time this is played, the horn plays the theme again in longer notes. Then, the cello plays a passage from the first movement, which is followed by the first theme of this movement played by the woodwinds. This is followed by the first theme of the first movement played by the cellos of the orchestra, accompanied by scales in the solo cello. Then, a modified form of the first theme of this movement is played in the cello.

After a brief episode in C minor devoted to the night, based on figuration in staccato, a connected and expressive melody in E minor, played by cellos, introduces the morning. A new pathetic melody in A minor extends to a broad phrase with initial tone in E minor. A brief diminuendo precedes the attacca of the final coda in A major, a vigorous can-can in the manner of Romualdo Marenco's ' (1881), introduced by an abrupt change of tempo to allegro vivacissimo.

Supernatural features a synthesized orchestral score, although traditional acoustic instruments such as guitars and cellos are used at times. Special instruments have also been used in specific episodes, such as "bluesy gospel music" played on a broken-down piano in the faith-healing episode "Faith". Unlike other television shows, the series features two composers: Christopher Lennertz and Jay Gruska. Each composer scores every other episode, giving them extra time to write the scores, which usually end up being around 30 minutes per episode.

The Ninth can be described as an extended struggle in which harmony is the ultimate winner. The concluding bars of the symphony consist of a long final melody (in Peter Ruzicka's terms: a "Canto") played by violins and cellos and later by the violas in unison, and ends in a slow peaceful plagal cadence into F major. Paul Rapoport uses adjectives like vast, nightmarish and delirious to characterize the symphony. The symphony is a natural, organic unity and demanding for musicians and listeners.

He demonstrated a kind of originality, scoring his Second Cello Concerto for 48 cellos, 12 double-basses and percussion (1969). Ten years later, however, he re-orchestrated it for a more practical combination. He was honored by Shostakovich's orchestration of his First Cello Concerto, and repaid his master by the orchestration, editing and transcription of a few scores by Shostakovich. Tishchenko's Requiem, to the forbidden poem by Anna Akhmatova, written in the period of political stagnation in 1966, was a courageous cultural gesture.

"Nimrod" from Edward Elgar's Enigma Variations is part of the theme, which was slowed down to six beats per minute with added bass notes to avoid it sounding sentimental. Instrumentation included a double bass and fourteen cellos played in high register. King relayed to Zimmer the sound of a boat engine, which served as a reference for the tempo. Zimmer visited the Dunkirk set for inspiration, taking back a jar of sand, and chose not to view raw footage whilst composing.

Erlkönig, arrangement by Berlioz There are subtle differences between this and the arrangement of the song by Franz Liszt. The upper string sound is thicker, with violins and violas playing the fierce repeated octaves in unison and bassoons compensating for this by doubling the cellos and basses. There are no timpani, but trumpets and horns add a small jolt to the rhythm of the opening bar, reinforcing the bare octaves of the strings by playing on the second main beat.

Lennon liked the string arrangement he wrote for Harry Nilsson's rendition of "Many Rivers to Cross," originally by Jimmy Cliff, from the album Pussy Cats so much that he decided to incorporate it into the song. The backing vocal is provided by May Pang, Lennon's partner at the time. Lennon wrote and arranged the song around his dream, hence the title and atmospheric, dreamlike feel, including the use of cellos in the chorus. The song's extensive production is reminiscent of Strawberry Fields Forever.

"Burn the Witch" was described by The Atlantic as an orchestral pop song and by The Guardian as an art rock song. According to Pitchfork, the string section "alternates between sumptuous flourishes and the darkest corners of The Shining's score". Atlantic critic Spencer Kornhaber likened the strings to heavy metal, "chugga- chugga-chugga-ing the entire time". In the second half, the strings "gradually disintegrate"; while the cellos and basses adhere to a conventional chord progression, the higher strings become "deathly" and "horrid".

It is repeated again with an orchestral counter-melody played by the cellos and strings at the same time, followed by pentatonic runs in the piano and continuing accompaniment in the orchestra. It climaxes to a chromatic scale run in the piano and resolves with Spanish-sounding syncopation in the orchestra. Piano Charleston syncopation reintroduces the sultry theme heard at the beginning of the piece. This time the piano plays the counter-melody while the orchestra plays the sultry theme.

In 2007, Newman devised a new method of composing based on the way some types of trees grow new branches using the golden ratio. Some notable compositions he wrote using this method include Juxt-Opposition (piano trio), From Method to Madness (cello and piano), and Palindromicanon (two cellos). In 2019, he released the first of a series of lecture videos explaining how this method works, and he has appeared as a guest lecturer at various schools and institutions talking about this method.

In 1968, the group Sestetto Chigiano d'Archi (Riccardo Brengola, Giovanni Guglielmo, violins; Tito Riccardi, Mario Benvenuti, violas; Alain Meunier, Franco Petracchi, cellos) performed Sestetto n. 3, op. 25 by Georgetti (dedicated to Rossini and printed in Florence by Guidi in 1845; autograph conserved in Conservatoire de Musique de Bruxelles) in the concert hall of Palazzo Chigi-Saracini in Siena, during the local Musical Week. Performance was recorded and the original tape is conserved in the Italian National Discography Institute in Rome.

The Beatles in 1965 "Eleanor Rigby" does not have a standard pop backing. None of the Beatles played instruments on it, though Lennon and Harrison did contribute harmony vocals. Like the earlier song "Yesterday", "Eleanor Rigby" employs a classical string ensemble—in this case an octet of studio musicians, comprising four violins, two violas, and two cellos, all performing a score composed by producer George Martin. Whereas "Yesterday" is played legato, "Eleanor Rigby" is played mainly in staccato chords with melodic embellishments.

Music Theatre International offers two orchestrations for Beauty and the Beast. The principal, larger orchestration is based on the original Broadway orchestration. It is scored for three synthesizers, a drum kit, a percussion section, double bass, three woodwind players, three French horns in F, two trumpets in B-flat, trombone, divided violins, cellos, and harp. The first woodwind player doubles on flute and piccolo, the second on English horn and oboe, and the third on clarinet, bass clarinet, and flute.

Zimmer wanted to avoid composing a film score that had been done before, so the score became an amalgamation of orchestra and electronic music. The film's ninety-piece orchestra was developed from members of various London orchestras, and Zimmer chose to use more than the normal number of cellos. Zimmer enlisted a choir boy to help reflect the music in the film's scene where Bruce Wayne's parents are killed. "He's singing a fairly pretty tune and then he gets stuck, it's like froze, arrested development", Zimmer said.

With regard to the main piano part, he describes it as the Mellotron's "'piano riff' tape", rather than a genuine instrumental contribution. The session for Martin's brass and cello arrangement took place on 15 December. Another mix down was then carried out, reducing all the contributions to two tape tracks. Author Ian MacDonald comments that Martin's contribution heightens the song's Indian qualities, as represented first by the swarmandal, through his scoring of the cellos to "[weave] exotically" around McCartney's "sitar-like" guitar figures before the coda.

"Search Klotz Violin Illinois" His instruments were the most sought-after throughout Europe until the late 18th century, when changing performance conditions led musicians to seek a different sound. The instruments of Antonio Stradivari are flatter and broader and produce a more powerful sound than others. This became the sound preferred by musicians as orchestras in large concert halls gradually replaced baroque chamber ensembles in intimate settings. Stainer’s violins are comparatively rare today and few of his violas, cellos, and basses are known to exist.

Benning Violins is a California-based luthier business, crafting, restoring and repairing violins, violas and cellos since its opening in 1950 as Studio City Music. In 1953, it moved to its current location on Ventura Boulevard. Learning the craft from his brother-in-law, Carl Becker Sr., Paul Toenniges worked in William Lewis & Son in Chicago, and later under Rudolf Wurlitzer, finally opening his first studio in Los Angeles. Crafting up to five instruments a year, they sell for approximately 30-42 thousand dollars.

Canticum Sacrum is scored for tenor and baritone soloists, mixed chorus, and an orchestra of 1 flute (which plays only in the second movement), 2 oboes, cor anglais, 2 bassoons, contrabassoon, 3 trumpets in C, bass trumpet in C, 2 tenor trombones, bass trombone, contrabass trombone, organ, harp, violas, and double basses. Clarinets, horns, violins, and cellos are all absent. Canticum Sacrum is Stravinsky's only piece to make use of the organ. Its use represents one of many tributes to the traditions of Saint Mark's Basilica.

Orlande de Lassus employed the tenor cornett in various broken consort combinations of instruments in performances under his direction at the Munich court. Trojano, a singer at the Munich court, lists the instrumentations of a number of works under the direction of Lassus in 1569. One work included: eight viols, eight viole da braccio (violins, violas, cellos, etc.), eight mixed wind; fagotto, corna-musa, mute cornett, cornett, tenor cornett, flute, dolzaina and a bass trombone. It was also a popular instrument with Renaissance Waits.

Two types of compound – bearing surfaces of peg are visible as shiny bands "Peg dope" (also peg paste, peg stick, peg compound) is a substance used to coat the bearing surfaces of the tapered tuning pegs of string instruments (mainly violins, violas, cellos, viols and lutes ). Manufactured varieties are generally sold in either a small stick (resembling lipstick), a block, or as a liquid in a bottle. Commonly used home expedient treatments may include soap, graphite, or talc. Peg dope serves two different (and almost conflicting) purposes.

His Third Symphony (1971) appeared 23 years after his second and signalled his return to composition; he had written only a few works during the 1960s. There soon followed his Fourth (1976) and Fifth Symphonies (1977) and the Concerto for Twelve Cellos (1981). Englund’s Sixth Symphony (1984), subtitled Aphorisms, is in six movements for chorus and orchestra; his last symphony, the Seventh, was composed in 1988, coinciding with the onset of the heart disease that signalled a decline in health and would ultimately lead to his death.

It is written for an orchestra consisting of two oboes, four horns (two in B alto and two in G), and strings (violins divided into two, violas, cellos and double basses). There are four movements: #Allegro assai, #Andante, in E major #Menuet & Trio, #Finale: Allegro di molto, File:Haydn-39-1-theme.png The opening movement features a nervously exciting main theme interrupted by frequent pauses. Felix Diergarten has specifically analysed the pauses in the first movement in the symphony, with respect to symphonic form of the time.

London Symphony Orchestra, Barbican Hall A concert band. Classical chamber ensembles of six (sextet), seven (septet), or eight musicians (octet) are fairly common; use of latinate terms for larger groups is rare, except for the nonet (nine musicians). In most cases, a larger classical group is referred to as an orchestra of some type or a concert band. A small orchestra with fifteen to thirty members (violins, violas, four cellos, two or three double basses, and several woodwind or brass instruments) is called a chamber orchestra.

In musical compositions, such as songs and pieces, these are the lowest-pitched parts of the harmony. In choral music without instrumental accompaniment, the bass is supplied by adult male bass singers. For an accompanied choir, the bass is typically provided by pipe organ or piano (or if a choir can afford to hire one, by orchestra). In an orchestra, the basslines are played by the double bass and cellos, bassoon or contrabassoon, low brass such as the tuba and bass trombone, and the timpani (kettledrums).

Violectra is the name of a range of electric violins, violas and cellos designed, developed and hand made by David Bruce Johnson, a Canadian violin maker settled in Birmingham, England. These instruments are played by Nigel Kennedy, Richard Tognetti, Stephen Nachmanovitch, Leila Josefowicz and many more professional players worldwide. Previously, Violectra was the trade name of an electric violin produced by Barcus-Berry with the pitch equivalent of an acoustic tenor violin, sometimes called baritone violin. It is tuned an octave below normal violin, i.e.

Antonio Stradivari, by Edgar Bundy, 1893: a romanticized image of a craftsman- hero Maker's label from Stradivari A Stradivarius is one of the violins, violas, cellos and other string instruments built by members of the Italian family Stradivari, particularly Antonio Stradivari (Latin: Antonius Stradivarius), during the 17th and 18th centuries. According to their reputation, the quality of their sound has defied attempts to explain or equal it, though this belief is disputed. The fame of Stradivarius instruments is widespread, appearing in numerous works of fiction.

"Wellington's Victory" is something of a musical novelty. The full orchestration calls for two flutes, a piccolo, two oboes, two clarinets, two bassoons, four horns, six trumpets, three trombones, timpani, a large percussion battery (including muskets and other artillery sound effects), and a usual string section of violins I and II, violas, cellos, and double basses. There are more trumpets than horns, and more brass and percussion. In the orchestral percussion section one player plays the timpani, the other three play the cymbals, bass drum and triangle.

The work is scored for two solo violins, a string chamber orchestra consisting of 6 first violins, 6 second violins, 4 violas, 4 cellos and 2 double bass, a harpsichord and a prepared piano. The two keyboard instruments are meant to be played by one player. The piano is prepared by inserted coins between the strings in its upper register as well as being electrically amplified creating a ‘church bell’ sound. The piece consists of six movements: A typical performance lasts for approximately 28 minutes.

The work comprises five sections which correspond to the structure of the poem on which it is based, with themes in each section being direct musical metaphors for the narrative and discourse found in the poem. As such, the piece is one of the earliest examples of program music written for a chamber ensemble. The original score calls for two violins, two violas and two cellos. In 1917, Schoenberg produced an arrangement for string orchestra (a common practice at the time), and revised this version in 1943.

Special purpose wire is however made from other metals (e.g. tungsten wire for light bulb and vacuum tube filaments, because of its high melting temperature). Copper wires are also plated with other metals, such as tin, nickel, and silver to handle different temperatures, provide lubrication, and provide easier stripping of rubber insulation from copper. Metallic wires are often used for the lower-pitched sound-producing "strings" in stringed instruments, such as violins, cellos, and guitars, and percussive string instruments such as pianos, dulcimers, dobros, and cimbaloms.

Stagg music is a Belgian musical instrument company headquartered in Brussels, currently a subsidiary of EMD Music.Distributed brands on EMD Music, 15 Oct 2019 The company produce a wide range of musical instruments, which includes string instruments (electric, acoustic and classical guitars, bass guitars, banjos, mandolins, ukuleles, double basses, violins, violas, cellos, bows), percussion instruments (drum kits and pads, cymbals, drum sticks), tuned metal (xylophone, metallophones), free reed (harmonicas, melodicas) and brass instruments (flugelhornes, euphoniums, saxophones) as well as effects units and other accessories.

The piece is in only one movement and takes around 12 minutes to perform. It is scored for four first violins, three second violins, two violas, two cellos and one double bass, even though it is clarified by Xenakis that it can also be performed by a larger string orchestra or ensemble. Aroura makes an extensive use of glissandos, jagged chords, sound clusters and other techniques exploited in avant-garde movements. The piece has a tempo of 𝅗𝅥 = 60 (which means two beats per second).

It began on April 25, 2014, in Costa Mesa, California, and continued in Mexico, Russia, Germany, France, United Kingdom, China, Thailand, Taiwan, and Japan, for a total of 13 shows in 10 countries. Due to scheduling issues, the concert at Toronto, Canada, on May 10 was postponed indefinitely. The tour setup featured Yoshiki on piano, several strings as cellos and viola, and vocalist Katie Fitzgerald from Violet UK. Performances included classical versions of songs composed by Yoshiki and other famous composers such as Beethoven and Tchaikovsky.

Throughout the work the composer explores resonances inherent in a ‘cluster’ harmony which is introduced in horizontal form at the very outset of the work – a very dramatic opening from the bassoons, cellos and double basses, characterised by a heavy, accented dotted rhythm and the upward leap of a fifth and descent by a sixth. The notes of this theme, if spaced out in a single octave, contained every semitone from A up to D. The top three notes (C, C sharp, and D) are of great importance to the work, and each dominates in turn – C at the beginning, D in the middle, and C sharp at the end. The cluster is unravelled and explored in various ways, and a characteristic sonority results: spaced out over several octaves through the orchestra, a major third glitters over the top of a dissonant cluster. The careful scoring and conflicting registers of the sonority presented near the opening including a major third high in the winds (B flat-D) which holds within its span a whole tone (B natural-C sharp) presented low in the basses and cellos.

Her musical style is based on incorporation and "manipulation of string sounds from real acoustic violins and cellos along with purely electronic beats." She has released five solo albums. Each album has a concept: Transmigration is about reincarnation, Driftwood is about the cycle of life, Indra's Web is about the interconnectedness of reality, and Echoes is about duality, drawing inspiration from Rumi's poetry. Along with running her own record labels Cartesian Binary Recordings and Pok Pok Records, Jones has composed for film and video games such as Dance Dance Revolution under the name Jena Rose.

"Essai sur le doigté du violoncelle et sur la conduite de l'archet" ("Essay on the fingering of the violoncello and on the conduct of the bow") is a seminal work of cello technique, by Duport, published by Imbault in Paris in 1806. The French text of 175 pages discusses in detail a wide range of aspects of cello technique, and is followed by 21 Etudes for two cellos, of various difficulty levels. The work has been translated into English and German, and is widely accepted as the most influential pedagogical work for the instrument.

In 2002, Frou Frou signed a record deal with Universal Records on the Island Records imprint in the UK and Europe, and MCA Records in the USA. They released their first and only album, Details in June 2002. An album of electronic music with elements of trip hop, pop and rock, the eclectic, intricately produced tracks use a wide range of traditional instruments including cellos, autoharps, guitars, keyboards, and Indian drums, with layered vocals from Heap. The album received critical acclaim, but this did not translate into mass sales the duo had hoped for.

He originally stayed in San Francisco where a violin dealer suggested that he should study repairing older instruments under a master luthier. His mentors included eminent violin makers such as Louiz Bellini, Hans Weisshaar, and Roland Feller. In 1990, Scott partnered with Hideo Kamimoto to start a violin shop and returned to China, where he founded a company which makes affordable instruments and bows, including violas, cellos, basses, guitars and established Scott Cao Violins. Three years later Scott was able to open his own shop in the United States in Campbell, California.

The movements are: #Prelude #Air #Dance The first movement, the Prelude, is based on the C major scale, with the cellos covering 2 octaves of the scale. The composer used music resembling English folk melody with harmony in the second movement, the Air, but it is not based on a traditional folk piece. The structure is reminiscent of the counterpoint of Lyric Movement, also written in 1933, which has full enharmonic relations but remains austere. The final movement, the Dance, is based on a melody heard by Holst while in Sicily.

During the writing sessions, Asher and Wilson regularly introduced different albums and types of music to each other. In particular, Asher said that Wilson "was blown away" after being played jazz records including Duke Ellington's "Sophisticated Lady" and Lionel Hampton's rendition of "All the Things You Are". He remembered that Wilson had minimal awareness of Tin Pan Alley and "hadn't given much thought to the structure or instrumentation orchestral jazz compositions." Having had experience with recording orchestra, Asher encouraged Wilson to employ instruments such as violins, cellos, and bass flutes.

The baryton can be viewed as a sort of augmented bass viol. It is similar in size to the latter instrument and likewise has six or sevenGartrell (2003: 117) discusses the evidence for four-string barytons. Evidently all such cases either are barytons that were converted into cellos, or (in one instance) show evidence in the form of filled-in peg holes of an original form with six strings. strings of gut (typically D G C E A D, although scordatura was used), arranged over a fretted fingerboard and played with a bow.

He also released a children's CD, Spooky Songs for Creepy Kids, containing his previous works for Cartoon Network, as well as other age-appropriate songs. On September 2, 2011, Voltaire released his eighth studio album: Riding a Black Unicorn Down the Side of an Erupting Volcano While Drinking from a Chalice Filled with the Laughter of Small Children. Participating musicians include Rasputina frontwoman Melora Creager on cellos, Brian Viglione on drums, former Bauhaus bassist David J on bass and Franz Nicolay on accordion. On September 2, 2012, Voltaire released his ninth studio album, BiTrektual.

The piece begins with a series of cadenzas for the soloist, all in free time (senza misura). Under each cadenza, violins and violas hold a soft chord containing many fourths and half-steps, and the basses and cellos are given a series of notes on which they are instructed to improvise until a cutoff. In between each cadenza, oboes and flutes play a dissonant glissando pattern all in free time until another cutoff. The concerto develops into an eerie slow adagio, with shimmering chords in the string section and ending with another cadenza.

Sound collages could be made by combining tapes of various flutes, cellos, choirs, sound effects etc. This use of tape loops from 8-track cartridges also allows a Birotron owner to record their own tapes, and have a series of multiple instruments across the keyboard in the register they wished. Another improvement is a separate attack and decay envelope for each note (like a VCA on analogue synthesizers) that allowed each note on the keyboard to independently begin and sustain. Notes could come in instantly or gradually over time — swelling in volume over a minute.

Cellos are constructed and repaired using hide glue, which is strong but reversible, allowing for disassembly when needed. Tops may be glued on with diluted glue, since some repairs call for the removal of the top. Theoretically, hide glue is weaker than the body's wood, so as the top or back shrinks side-to-side, the glue holding it lets go and the plate does not crack. Cellists repairing cracks in their cello do not use regular wood glue, because it cannot be steamed open when a repair has to be made by a luthier.

The cello's versatility made it popular with many composers in this era, such as Sergei Prokofiev, Dmitri Shostakovich, Benjamin Britten, György Ligeti, Witold Lutoslawski and Henri Dutilleux. Polish composer Grażyna Bacewicz (1909–1969) was writing for cello in the mid 20th century with Concerto No. 1 for Cello and Orchestra (1951), Concerto No. 2 for Cello and Orchestra (1963) and in 1964 composed her Quartet for four cellos. Well-known cellists from the 20th century include Jacqueline du Pré, Pablo Casals, Yo-Yo Ma, Emanuel Feuermann, Guilhermina Suggia, Mstislav Rostropovich and Beatrice Harrison.

"Girls Talk" is a stand-alone single released by alternative rock band Garbage for Record Store Day 2014. Developed from a long gestating song idea, written by the band for inclusion on their 2007 greatest hits set Absolute Garbage, "Girls Talk" features Brody Dalle (ex-The Distillers/Spinnerette). Butch Vig described the original sessions for the song (then known as "Girls Talk Shit") as "pretty cool sounding, lots of fast pizzicato guitars and cellos". The newly recorded take of "Girls Talk" features Eric Avery on bass guitar and was engineered and mixed by Billy Bush.

The piece is scored for: :Solo piano :Ondes Martenot Woodwinds : 1 piccolo : 2 flutes : 2 oboes : 1 cor anglais : 2 clarinets : 1 bass clarinet : 3 bassoons Brass : 4 horns : 3 trumpets : 1 trumpet in D : 1 cornet : 3 trombones : 1 tuba Percussion (8 to 11 percussionists) : Vibraphone : Keyed or mallet glockenspiels : Triangle : Temple blocks : Wood block : Cymbals (crash and three types of suspended) : Tam tam : Tambourine : Maracas : Snare drum : Provençal tabor : Bass drum : Tubular bells : Celesta Strings : 32 violins : 14 violas : 12 cellos : 10 double basses The demanding piano part includes several solo cadenzas.

Dresden's Stahlquartett ("Steel Quartet") playing steel cellos at the 2018 Rudolstadt Festival Rutman's training of other musicians has also spawned new generations of steel cellists and bow chimers, many of whom have gone on to compose and perform on the instruments. Among these are Klaus Wiese's Nono Orchestra, Wolfram Spyra and Pete Namlook as the duo Virtual Vices, Mathias Grassow and Adrian Palka. Other sculptor-musicians have designed and constructed their own variations of Rutman's instruments, such as the Dresden- based steel cello ensemble Stahlquartett. Rutman's instruments are in the collection of the Smithsonian Institution.

Yo-Yo Ma accidentally left this cello in a taxicab in New York City in 1999, but it was quickly returned undamaged. That same year, when Petunia's neck was damaged during X-ray baggage inspection, he borrowed the Pawle Stradivarius cello from the Chimei Museum for a concert in Taiwan. The damage was repaired in time, but Ma played both Petunia and Pawle during the concert nonetheless. Another of Ma's cellos, the Davidov Stradivarius, was previously owned by Jacqueline du Pré, who passed it to him upon her death.

Most of the music was reconstructed in 1965 by Kalevi Kuosa, from the original parts that had survived. The parts that hadn't survived were those of the violas, cellos, and double basses. Based on Kuosa's transcription, the Finnish composers Kalevi Aho and Jouni Kaipainen have individually reconstructed the complete music to Karelia Music. A recording of Kalevi Aho's completion was released in 1997 in a recording with the Lahti Symphony Orchestra conducted by Osmo Vänskä, and Jouni Kaipainen's completion was recorded for a 1998 release with the Tampere Philharmonic Orchestra, conducted by Tuomas Ollila.

Stainer's production can be divided into three distinct periods: the first, including the stay in Italy, from the beginning until 1620, the second until 1667 and the third until his death. The first and the third periods are considered the best, especially for the quality of the instruments produced. Stainer produced a few violas, including a viola di bordone and a viola bastarda, and only a few cellos that are a rarity. Encyclopaedia Smithsonian Several of his instruments are preserved in museums, including the Tiroler Landesmuseum in Innsbruck and the Lobkowicz Palace in Prague.

The Wessex Youth Orchestra's first rehearsal took place back in January 1971, in Poole College main hall in North Road. Originally known as the Poole College Youth Orchestra, its membership consisted of a handful of violins, two cellos, many flutes and clarinets, one trumpet and one horn. Activities included choral singing, and there were two opera performances and a concert with dance and movement, as well as chamber music coaching. When the Bournemouth and Poole Colleges merged, the orchestra's name was changed to reflect the entire community of Wessex.

Vyvienne Long is a musician from Co. Dublin, Ireland. A classically trained cellist from the College of Music, Dublin and the Escola de Musica in Barcelona, she also sings and plays piano and writes music for her quintet which comprises 2 cellos, piano, doublebass and drums. After touring for many years with Damien Rice she released an EP entitled Birdtalk in 2006. Her well-known cello heavy cover version of Seven Nation Army appeared on Even Better than the Real Thing vol 2, a compilation of Irish artists.

The original score is for a double string quartet with four violins and pairs of violas and cellos. Mendelssohn instructed in the public score, "This Octet must be played by all the instruments in symphonic orchestral style. Pianos and fortes must be strictly observed and more strongly emphasized than is usual in pieces of this character." The piece is sometimes played by full string sections using more players for each part as well as an added double bass part which usually (but not always) doubles the second cello part an octave lower.

He has been the conductor of orchestras in Budapest, Hungary and San Leandro, California, as well as Festivals in Aspen, Colorado and Shreveport, Louisiana. He not only conducted the Virtuosi of New York and the Virtuosi of San Francisco but he was founder of both of them. He has arranged many works of music which are published by MusiCelli Publications. Groups such as the Yale Cellos, the Saito Cello Ensemble, CELLO for Sony/Philips, MusiCelli, the Los Angeles I Cellisti, as well as his own New York Philharmonic Cello Quartet have recorded his arrangements.

For "Eleanor Rigby," he scored and conducted a strings-only accompaniment inspired by Bernard Herrmann. On a Canadian speaking tour in 2007, Martin said that his "Eleanor Rigby" score was influenced by Herrmann's score for the Alfred Hitchcock thriller Psycho.MacDonald (1994) p163 For "Strawberry Fields Forever", he and recording engineer Geoff Emerick turned two very different takes into a single master through careful use of vari-speed and editing. For "I Am the Walrus", he provided a quirky and original arrangement for brass, violins, cellos, and the Mike Sammes Singers vocal ensemble.

This melody, growing more and more passionate, is broken by a strong passage in the horns which finally give out in unison a joyous measure, the basses sounding the trumpet call inverted, leading to the Finale. Over a lively movement in the strings, the trumpets sound a variation of their call. A second melody follows in the oboes and cellos against the harmony of woodwinds and horns, which is suddenly interrupted by the return of the first melody. After development the episode of the unison horns and inverted trumpet call returns.

During his life he has made a large number of instruments (violins, violas, cellos and also double basses) according to his model. Almost 100 of them are being played by orchestra members and soloists not only in the Czech Republic, but also in Germany, Switzerland, United States, Japan, Austria, and other countries. He was a member of Kruh umelcu houslaru, which is an organization unifying the best Czech violinmakers. He was also very close to the Czech Philharmonic Orchestra and he accompanied them for many years around the world as their doctor.

Zimmer and Howard sought inspiration for shaping the score by visiting the Batman Begins sets. Zimmer wanted to avoid writing music that had been done in earlier Batman films, so the score became an amalgamation of orchestra and electronic music. The film's ninety-piece orchestra was developed from members of various London orchestras, and Zimmer chose to use more than the normal number of cellos. Zimmer enlisted a boy soprano to help reflect the music in some of the film's scenes where tragic memories of Bruce Wayne's parents are involved.

In the late 60's he made his first classical guitar, participating in a local contest in Bagnacavallo where he ranked third. In the 1970s, he began constructing violins and other instruments. In the last five decades, he has made guitars, violins, violas and cellos, with the methods of old luthiers as described in The secrets of Stradivari. He maintained and followed ancient techniques, with a no-compromise approach in the respect of timing schedules for each phase of the manufacturing process and following the original execution methods.

The symphony is scored for the following instruments: ;Woodwind: :Piccolo :2 Flutes :2 Oboes :2 Clarinets in A :2 Bassoons ;Brass: :4 Horns :2 Trumpets :3 Trombones : Tuba ;Percussion: :4 Timpani :Bass drum :Snare drum :Soprano tom-tom drum :Cymbals :Tam-tam :Triangle :Castanets :Wood block :Whip :Xylophone :Glockenspiel :Vibraphone ;Keyboard :Celesta ;Strings: :16 1st Violins :14 2nd Violins :12 Violas :12 Cellos :10 Double basses Though composed for a conventional orchestra with augmented percussion, the symphony is sparingly scored, making use of various chamber music-style groupings.

The six white vigilantes who led the lynching remain unidentified. Historic Chipola Hotel, Downtown Marianna In 1943 Cellos Harrison was taken from the county jail at Marianna by a white mob and hanged (lynched) near Greenwood. His case had been in the courts for two years in appeals after the African-American man was arrested and twice convicted by all-white juries and sentenced to death for the 1940 murder of a white man. He had confessed without benefit of counsel, and his convictions were overturned by the Florida Supreme Court as a result.

"How those people livened up when we started to ferret them out of their dark apartments. We were moved to tears when they brought out their concert clothes, their violins and cellos and flutes, and rehearsals began under the icy canopy of the studio." A plane carrying supplies from Kuybyshev airlifted the symphony's 252-page conductor's score into Leningrad. The first rehearsal in March 1942 was intended to be three hours long, but had to be stopped after 15 minutes because the 30 musicians present were too weak to play their instruments.

Commemorative plate to Samuel Nemessányi in Budapest Sámuel Nemessányi (Nemessànyi), (January 12, 1837, in Verbicz-Hušták, Liptószentmiklós, Liptó County – March 5, 1881, Budapest) was a Hungarian luthier, a maker of stringed instruments, such as: violins, violas, and cellos. Nemessányi is considered the most talented and important maker in the Hungarian violin-making school. During his lifetime, he was already acknowledged as the most outstanding craftsmen of stringed instruments in all of Hungary and his instruments are of great importance to Hungarians. His life and work strikingly parallels that of Italian luthier Giuseppe Guarneri del Gesù.

In the recording sessions, thirty-three microphones were placed around the orchestra that captured the music onto eight optical sound recording machines placed in the hall's basement. Each one represented an audio channel that focused on a different section of instruments: cellos and basses, violins, brass, violas, and woodwinds and tympani. The seventh channel was a combination of the first six while the eighth provided an overall sound of the orchestra at a distance. A ninth channel provided a click track function for the animators to time their drawings to the music.

The musicologist Alfred Einstein believed that the piece was intended as either the original or a replacement finale for his Piano Concerto No. 12 in A. Both pieces are in the same key, and both were composed at similar times. However, there are considerable differences. The three concertos were composed by Mozart to be a quattro (with just four strings in accompaniment), whilst the Rondo cannot be, as the cellos have an independent line from the basses.Philips Digital Classics 'Complete Mozart Edition- Piano Concertos'; Label Number 464 800-2.

"Review of Requiem, Op. 48, pour soli, choeur et orchestre symphonique. Version de concert, 1900 by Gabriel Fauré, ed Jean-Michel Nectoux", Notes, Second Series, Vol. 57, No. 4 (June 2001), pp. 1018–1020 The orchestration of the final version comprises mixed choir, solo soprano, solo baritone, two flutes, two clarinets (only in the ), two bassoons, four horns, two trumpets (only in the Kyrie and ), three trombones, timpani (only in the ), harp, organ, strings (with only a single section of violins, but divided violas and cellos, as before).

Acoustic instruments can also be made out of artificial materials, such as carbon fiber and fiberglass (particularly the larger, lower-pitched instruments, such as cellos and basses). In the early 20th century, the Stroh violin used a diaphragm-type resonator and a metal horn to project the string sound, much like early mechanical gramophones. Its use declined beginning about 1920, as electronic amplification through power amplifiers and loudspeakers was developed and came into use. String instrument players can electronically amplify their instruments by connecting them to a PA system or a guitar amplifier.

Another song, "Fire Escape", grew out of conversation with a friend, when she learned that the friend's father had recently died. The album has sounds of earlier musical times, with the feel of Joni Mitchell, Carole King, Laura Nyro, and Carly Simon threaded throughout the 13 tracks. Birch employed an orchestra of violins, violas and cellos for "Fire Escape" and "Photograph", under the direction of concert master Sandy Park. She preferred the sound of the Wurlitzer piano because it has a "richness that's hard to replicate on a modern instrument".

This is known as snap pizzicato or Bartók pizzicato, after one of the first composers to use it extensively (e.g. in the 4th movement of his Fourth String Quartet, 1928). Gustav Mahler famously employs this kind of pizzicato in the third movement of his Seventh Symphony, in which he provides the cellos and double basses with the footnote 'pluck so hard that the strings hit the wood' (bar 401). On the double bass, this style of snap pizzicato, or "slapping", was used in jazz since the 1920s and later used in rockabilly.

It is estimated that there are 38 violins, 15 cellos, and five or fewer violas made by Vincenzo Rugeri still in existence. For example: The violin collector David L. Fulton owns a 1697 viola by Vincenzo. A violin dated 1697 and a cello dated 1693 by Vincenzo are in the collections of the Chimei Museum. "Baron Knoop" violin by Vincenzo Rugeri 1700c—Once thought by the Hills to be one of the finest existing Francesco Rugeri violins, it is now known to be a very fine violin by Vincenzo.

The tone is louder at harmonic relations of the bridge string length. On violins the tone can be very high, even above our hearing capacity. Depending on the instrument, the pitch of the tones may or may not be perceived (cellos and double basses are more likely to produce recognizable pitches because of their longer strings). This technique is used extensively in Krzysztof Penderecki's Threnody to the Victims of Hiroshima. Another example is found in Ferde Grofé’s Grand Canyon Suite where bowing behind the bridge in a violin cadenza represents a donkey’s braying.

In 1986, Barczyk founded the International Cello Festival at Towson University. As Director of this festival, she has organized this festival on an annual basis, inviting renowned guest artists as well as talented young cellists. Recent festivals have had themed concerts, such as “Music for the Mind, Feet, and Soul,” “Music from Vietnam,” “Music from Iceland,” and “Music for Peace in the Middle East.” The 2006 festival included the world premiere of a composition by the American composer Jody Nagel for two cellos and orchestra (performed together with her daughter, Frances Borowsky).

She was a recipient of the Mae L. Wein Award in 2012, joining the New York City Ballet as an apprentice that same year. In December 2013, she became a member of the company's corps de ballet, becoming the first black dancer to join the company in a decade. Her repertoire at New York City Ballet has included roles in George Balanchine's ballets such as Prayer in Coppélia, Coffee in The Nutcracker, Chaconne, and The Four Temperaments. She has also danced as a princess in Peter Martins' Swan Lake and Cellos in Jerome Robbins' Fanfare.

In 1908 Charles Warwick-Evans !1885-1974) was leader of the Queen's Hall cellos and Warner was first viola in Thomas Beecham's New Symphony Orchestra. Warwick-Evans formed the idea of a string quartet worked up to the standard of a solo virtuoso, and approached Warner.'British Players and Singers – vii: The London String Quartet, Musical Times 1 August 1922 He was enthusiastic, and then Thomas W. Petre (second violin) was found and finally Albert Sammons, the new Concertmaster of Beecham's orchestra, was asked to lead the quartet.

It features a slow tempo, with Wood singing with acoustic guitar, French horns and bass, alongside sporadic usage of Wood's multitracked choir, in addition to as many overdubbed cellos as was possible. Side two opens with a medley of "All the Way Over the Hill" and "Irish Loafer (And His Hen)", an upbeat recording with Beach Boys-style backing vocals. The "Irish Loafer" section incorporates a jig. Among Wood's favourite songs on Boulders is "Miss Clarke and the Computer", a "pseudo-madrigal" that concerns a computer falling in love with a female technician.

The group's YouTube videos show the musicians performing in a variety of settings. These include locations in the Utah desert, at the edge of a 1,000-foot cliff, atop a speeding train, in an ice cave, and at Iguazu Falls, among others. Anderson's goal was "to put pianos and cellos in places nobody would ever expect to see them", thereby generating marketing buzz for his store. In the videos, Schmidt is seen playing a variety of Yamaha grand and baby grand pianos, while Nelson plays custom acoustic and electric cello.

In between comes a contrasting pentatonic middle section. Although it bears the markings of inspiration of Romanticism, its essentially dissonant character, produced by the superposition of different harmonic levels and a strong percussive background, show the emergence of a personal style of composition . An rudimentary example of superposed harmonic levels occurs at rehearsal 45, where the winds and xylophone play a memorable gentle melody in E major, accompanied by the cellos in G major . The work is simple in overall form, but complex in the organization of its component sections .

Having returned from his extended holiday, Martin wrote a string arrangement for four violins, two violas and two cellos. These parts were recorded during the same orchestral overdubbing session as for Lennon's track "Glass Onion". Towards the end of "Piggies", Harrison added the spoken words "One more time", before the orchestra played the last two chords. In his overview of the recording, author and critic Tim Riley interprets the "thick scouse" delivery of this introduction to the "final grand cadence" as Harrison "smearing social elitists with their own symbols of 'high' culture".

The Servais Stradivarius is preserved in the Smithsonian Institution's National Museum of American History The Servais Stradivarius is an antique cello crafted in 1701 by Italian luthier Antonio Stradivari of Cremona (1644–1737). One of only sixty-three extant cellos attributed to Stradivari, it was crafted from exceptional wood reserved by the luthier for large instruments. Its varnish has been described as "unusually rich" and the color a reddish-orange with golden transparency. The cello takes its name from the nineteenth-century Belgian cellist, Adrien Francois Servais (1807–1866), who played this cello.

Doolittle features an eclectic mix of musical styles. While tracks such as "Tame" and "Crackity Jones" are fast and aggressive, and incorporate the band's trademark loud–quiet dynamic, other songs such as "Silver", "I Bleed", and "Here Comes Your Man" reveal a quieter, slower and more melodic temperament. With Doolittle, the band began to incorporate further instruments into their sound; for instance, "Monkey Gone to Heaven" features two violins and two cellos. "Tame" is based on a three chord formula; including Joey Santiago's playing a "Hendrix chord" over the main bass progression.

It had just stopped snowing and the clouds had given way to reveal a beautiful star-filled sky when suddenly the cellos player's music abruptly ceases. Fearing the worst, Serdjan and Katrina both do something quite foolish and from their respectives sides, start to make their ways across no man's land toward the town square. Arriving at exactly the same moment, they see one another. Instinctively realizing that they are both there for the same reason, they do not start to fight, but instead, together walk slowly to the fountain.

The second theme with "trio" feeling is in A minor, played by the winds. Schumann uses a pedal point C throughout this section which is highly unusual, not because it is a pedal point, but rather because C is the third note instead of the root of A minor. After this middle section the rustic theme returns scored for full orchestra and thins out until only the cellos and bassoons are playing the theme, ending with soft pizzicato. In a typical performance this movement lasts approximately 6 minutes.

The opera begins with a brief orchestral prelude, the principal theme of which prefigures Leila's entrance. The opening chorus is punctuated by a lively dance—the critic John W. Klein describes it as "electrifying". Nadir's first significant contribution is his aria "", sung to an accompaniment of cellos and bassoons under a string tremolo that indicates the possible influence of Meyerbeer. Flutes and harps are used to introduce the main theme of the celebrated "Pearl Fishers Duet", in what the opera historian Hervé Lacombe identifies as "the most highly developed poetic scene in the opera".

175–77 Nadir's aria "Je crois entendre encore", towards the end of act 1, is written on a barcarole rhythm, with a dominant cor anglais whereby, says Lacombe, "[t]he listener has the impression that the horn is singing". In act 2 a short orchestral introduction is followed by an off-stage chorus, notable for its sparse accompaniment—a tambourine and two piccolos. After Nourabad reminds Leila of her oath and leaves her alone she sings her cavatina "". Two French horns introduce the theme, supported by the cellos.

The pedal point for trombones in the "Hostias" section of the Requiem is often cited; some musicians such as Gordon Jacob have found the effect unpleasant. Macdonald has questioned Berlioz's fondness for divided cellos and basses in dense, low chords, but he emphasises that such contentious points are rare compared with "the felicities and masterstrokes" abounding in the scores.Macdonald (1969), pp. 256–257 Berlioz took instruments hitherto used for special purposes and introduced them into his regular orchestra: Macdonald mentions the harp, the cor anglais, the bass clarinet and the valve trumpet.

The concerto is scored for piccolo, two flutes, three oboes (third doubling oboe d'amore), piccolo clarinet in E-flat, two clarinets in A, bass clarinet, two bassoons, contrabassoon, three horns, three trumpets in C (with normal and Robinson mutes), three trombones (with normal and Robinson mutes), tuba, five timpani, two suspended cymbals (high and medium), two tam-tams (medium and low), crotales, tubular bells, glockenspiel, vibraphone, three bongos, three tom- toms, snare drum, cymbalum, piano, celesta, harp, solo violin, sixteen first violins, fourteen second violins, twelve violas, ten cellos and eight double basses.

The strings introduce the Adagio, its mood contemplative and introspective (reminiscent of some of the slow string writing in Simpson's Ninth Symphony and later string quartets). The flute and woodwinds take over this theme in turn. After a passage accompanied by divided cellos, the work reaches its final, extended climax as the flautist is instructed to sit with the string soloists for the very final part of the piece where the conductor is required to sit out. The last five minutes are essentially chamber music - the flute and string soloists forming a quintet, closing peacefully.

Primitivity was originally formed in July 2000 and debuted on the NPR show From the Top while performing a cello arrangement of "Skin O My Teeth" by Megadeth. Primitivity recorded Plays Megadeth For Cello and performed with different lineups from 2002–2009 with lead cellist Loren Westbrook-Fritts. The band performed as a quintet from 2009–2010 until reforming in 2010 as a quartet with three cellos and a drummer. The latest lineup has performed covers of the Beatles, Led Zeppelin, AC/DC, Muse, Metallica, and System of a Down.

This is in all likelihood because of the way the sound is intended to be directed towards the stage rather than directly on the audience. This way the sound has a more direct line from the first violins to the back of the stage where it can be then reflected to the audience. # Double basses, cellos and harps (when more than one used, e.g. Ring) are split into groups and placed on either side of the pit # The rest of the orchestra is located directly under the stage.

Kent, p. 42. A clearer and more grounded tune appears later in the cellos, commanding this section until the transformation into what appears to be a super- development. Elgar quickly thickens out the score and fills it with punctuating accents and six bars of downward leaps into the main theme, thus beginning the transition back into the primary material. This bridging section contains a break after the first bar of rehearsal 42 which gives the audience a chance to catch its breath before plunging into the recapitulation, which follows the standard outline.

The second movement, in A major, the subdominant key of C minor's relative key (E major), is a lyrical work in double variation form, which means that two themes are presented and varied in alternation. Following the variations there is a long coda. The movement opens with an announcement of its theme, a melody in unison by violas and cellos, with accompaniment by the double basses. A second theme soon follows, with a harmony provided by clarinets, bassoons, and violins, with a triplet arpeggio in the violas and bass.

The work is written for oboe solo and symphonic orchestra composed of two flutes (one doubling piccolo), two oboes, two clarinets, two bassoons, four horns, three trumpets, two trombones, bass trombone, tuba, timpani, glockenspiel, xilophone, percussion (suspended cymbal, claves, snare drum, castanets, tambourine, zills, wood block, bass drum, cymbals, triangle), harp, piano and strings. There is an arrangement made by the composer himself for wind band (the bass are reinforced through cellos and double basses, with no violins and violas). A typical performance lasts 22 minutes. It has only one movement.

On October 29, 2016, a recent commission "whatever lies ahead" for 12 cellos was premiered in Amsterdam by the 12 Cellists of the Berlin Philharmonic with great success. In 2017, McLean received a grant from FPK Holland for a new commission by Meijering for 12 bassoons and strings "the reed which bends in the wind" to be premiered in Bloomington Indiana on March 31, 2018 and later in Granada, Spain at the International Double Reed Society Conference, August 29, 2018 with McLean and a group of celebrated international bassoon artists.

Rostropovich used a number of cellos including instruments by Goffriller and Storioni. The Duport, however, was reported to be his favorite, especially in his later years. After Rostropovich's death the cello was initially reported in the press as purchased by the Nippon Music Foundation for $20 US million, but Mstislav Rostropovich's heirs later commented that they remained the owners of the famous cello, according to a legal representative for the family. Its exact whereabouts remain unknown, and very little if any new information has appeared about it since the disputed article in 2008.

The group's repertoire is varied. They perform arrangements of classical pieces such as Bach's Wachet Auf, Mozart's Eine Kleine Nachtmusik and the Adagio cantabile from Beethoven's trio for 3 cellos. They also perform more popular pieces such as "Up on the Roof", originally sung by The Drifters, "Climb Every Mountain" from The Sound of Music (Rodgers and Hammerstein), "Hi Ho Silver Lining", originally sung by Jeff Beck; "I'm Forever Blowing Bubbles"; and "Hey Jude" (Lennon & McCartney). Many of the pieces were arranged for cello trio performance by group member Jeremy Dawson.

Live instruments such as guitars and cellos were then added. The two-halves of the track came to represent "the duality of man", as Logic rapped from the perspectives of both his hip hop persona and his everyday identity as well as those of his sister and his father. The resultant song would "set the tone for the rest of the album", according to Logic. Opening track "Intro" was initially based on a sample from the song "Aeroplane (Reprise)" by Wee, which Logic and 6ix had heard in Kanye West's "Bound 2".

Górecki specifies exact complements for the string forces: 16 first violins, 16 second violins, 12 violas, 12 cellos, and 8 double basses. For most of the score, these are in turn divided into two parts, each notated on a separate staff. Thus the string writing is mainly in ten different parts, on ten separate staves. In some sections some of these parts are divided even further into separate parts, which are written on the same staff, so that ten staves are still used for a greater number of parts.

The D1 orchestra was identical to the C1, and the D2 was the same combination as the B2 but less one bass and plus a piano. This left the D3 comprising the string section of the B1 orchestra (10 violins, 2 violas and 2 cellos) plus a bass - not a particularly useful combination. In practice, BBC producers moved four of the violins into the D2 to match the arrangements used by Semprini, and the "leftover" strings were utilised by pianist/arranger Ken Moule, with the addition of a drummer.

Cantor, and responsible for the music in the church) since 1723. In this version the Passion was written for two choruses and orchestras. Choir I consists of a soprano in ripieno voice, a soprano solo, an alto solo, a tenor solo, SATB chorus, two traversos, two oboes, two oboes d'amore, two oboes da caccia, lute, strings (two violin sections, violas and cellos), and continuo (at least organ). Choir II consists of SATB voices, violin I, violin II, viola, viola da gamba, cello, two traversos, two oboes (d'amore) and possibly continuo.

This orchestra was very large, numbering around 125 members, and consisted of a wide variety of instruments. Among the instruments included the normal orchestral instruments of violins, violas, cellos, basses, and the normal wind and brass instruments, but also included mandolins, guitars, banjos, ukuleles, and a large bass drum. These “strummed” instruments were not in small amounts either. According to one account the orchestra included “thirty strummers- ten each of mandolins, guitars and a rare harp guitar, and banjos.” The orchestra was also frequently joined by a men's chorus, eight pianists, and various soloists.

The first and second violins weave curly parallel melodic lines, a tenth apart, underpinned by a pedal point in the double basses and a sustained octave in the horns. Wind instruments respond in bars 104-5, accompanied by a spidery ascending chromatic line in the cellos.Symphony 39, first movement, bars 102-119 Symphony 39, first movement, bars 102-105A graceful continuation to this features clarinets and bassoons with the lower strings supplying the bass notes.Symphony 39, first movement, bars 106-109Next, a phrase for strings alone blends pizzicato cellos and basses with bowed violins and violas, playing mostly in thirds:Symphony 39, first movement, bars 110-114The woodwind repeat these four bars with the violins adding a counter-melody against the cellos and basses playing arco. The violas add crucial harmonic colouring here with their D flat in bar 115. In 1792, an early listener marvelled at the dazzling orchestration of this movement “ineffably grand and rich in ideas, with striking variety in almost all obbligato parts.”Symphony 39, first movement, bars 115-119“The main feature in [his] orchestration is Mozart’s density, which is of course part of his density of thought.” Robbins Landon, H. (1989, p.137), Mozart, the Golden Years.

Thieriot's chamber music constitutes a great part of his total output and is judged to be among his finest compositions. He is known to have composed 4 piano trios: Opp.14, 45, 47 & 90, 13 string quartets, only two of which have been published, 2 Octets (Op.78 for 4 violins, 2 violas and 2 cellos and Op.62 for 2 violins, viola, cello, bass, clarinet, horn, and bassoon) a quartet for flute and string trio Op.84, a quintet for piano and winds Op.80, a quintet for piano and string quartet Op.20 and several instrumental sonatas.

He also used the same technique on his 1965 song "If I Needed Someone", which shares a similar melodic pattern. The following day he taped his lead vocals, and he and McCartney recorded their backing vocals twice to give a fuller sound. Moog 3-series synthesizer used on the song A harmonium and handclaps were added on 16 July. Harrison overdubbed an electric guitar run through a Leslie speaker on 6 August, and the orchestral parts (George Martin's score for four violas, four cellos, double bass, two piccolos, two flutes, two alto flutes and two clarinets) were added on 15 August.

Since the early 1970s, Jarrett's success as a jazz musician has enabled him to maintain a parallel career as a classical composer and pianist, recording almost exclusively for ECM Records. In The Light, an album made in 1973, consists of short pieces for solo piano, strings, and various chamber ensembles, including a string quartet and a brass quintet, and a piece for cellos and trombones. This collection demonstrates a young composer's affinity for a variety of classical styles. Luminessence (1974) and Arbour Zena (1975) both combine composed pieces for strings with improvising jazz musicians, including Jan Garbarek and Charlie Haden.

Also in October 2007, Tara began work on songs for her debut album with co-producer Briony Luttrell. Recording in the apartment they share, Tara and Briony began work on a track called 'You And Me', which is commonly referred to as "that song with the three cellos" when they perform it live. In August 2008, a new song from Tara's recent recording sessions called Shake was nominated for a Q Song Award in the Pop Category. On Valentine's Day 2009, Tara once again sold out the Judith Wright Centre for the launch of her debut album Spilt Milk.

They play mostly classical instruments, including wind and string instruments, such as violin, cello, harp, trumpet, trombone, clarinet, flute, and timpani, with the occasional piano, accordion, and saxophone. Although titled a "band", "[i]t would have been fair to call the Samjiyon Band an orchestra because the band [includes] cellos, violins, and other orchestral instruments", according to a defector. It sometimes performs together with foreign performers as part of cultural exchange, including a 2011 concert conducted by Pavel Ovsyannikov. Live performances of the Samjiyon Band are numerous, including a recent performance during 2017 New Year's celebration.

Leading musicians joined in the criticism of MTR's unreasonable stance on large instruments; some citizens invited players of cellos and other large instruments to congregate on 3 October 2015 with their equipment at Tai Wai station, where the majority of these instances occurred. Following the public uproar, MTR issued a press release in the early hours acknowledging discontent and announcing a one-month review of the policy on oversized items to see whether there was room for fine-tuning that would not compromise on passenger safety. The corporation said that staff would continue executing existing policy until any revisions are made.

Selected this season as principal cellist of the European Union Baroque Orchestra, he has played under Lars Ulrich Mortensen (Concerto Copenhagen), Cristina Pluhar (L'Arpeggiata) and Maggie Faultless with great success, also appearing as soloist of Vivaldi concerto for 2 cellos in concerts in 13 countries. He performs with ensembles as Orchestra of the Age of Enlightenment (UK), Arte dei Suonatori (PL), Rotterdams Baroque Ensemble, Esterhazy Trio, Aldiviva and Bach Ensemble. He is the Artistic Leader of the ensemble La Ritirata. As a soloist he performed both Haydn Cello Concertos and several Boccherini Cello Concertos with orchestras in Spain, Portugal and Netherlands.

After graduating from the Accademia Nazionale di Santa Cecilia in Rome (1948), Trovajoli was entrusted by RAI with the direction of a pop music orchestra, set with 12 violins, 4 violas, 4 cellos, 1 flute, 1 oboe, 1 clarinet, 1 horn, harp, vibraphone, electric guitar, bass, drums and the piano (played by Trovajoli himself). In 1952–53 he collaborated with Piero Piccioni in Eclipse, a weekly musical broadcast in which the orchestra is directed alternately by the two composers, in a style extremely refined and sophisticated, very different from the music of radio orchestras at that time.

The score was recorded with a 40-piece orchestra. Jones formatted the orchestra to generate a bigger sound than normally heard on television soundtracks to make it sound more like Goldsmith's The Motion Picture score. Keyboards were used to make the cellos more prominent, and other changes included an increase in the midrange of the string section. The soundtrack to "Where No One Has Gone Before" was released (as part of The Ron Jones Project box set of Star Trek: The Next Generation scores) in a limited run of 5,000 copies in 2010 by Film Score Monthly.

Negotiation with the musical past was an element in Morrow’s compositional thinking, along with a taste for musical pranks. His "Very Slow Gabrieli" (1957) is a dramatically slowed down realization of Giovanni Gabrieli’s “Sonata Pian’ e Forte” for double brass ensemble. A later collage work, “Book of Hours of Catherine of Cleves” (1992), shows a mature late twentieth-century imagination engaging in unexpected ways with late medieval style. Morrow’s conceptualist orientation has led him to write a series of Wave pieces, which involve “herds” of a single instrument, such as “Wave Music I” for 40 cellos or “Wave Music VII” for 30 harps.

Cell-0 was prepared after a lengthy tour in celebration of the 20th anniversary of their debut album, the instrumental Metallica tribute release Plays Metallica by Four Cellos (1996). Such performances inspired them to go back to all- instrumental music, which they hadn't done in 17 years. The audience's positive response to instrumental songs was also taken into account. It wasn't intended for the tour to be so long, but the positive fan reaction to the announcement of the first shows resulted in more dates being added, increasing the total number of performances from the originally planned 30 to a total of 230.

The songbook cover states that the music was "founded on an old Cornish air". Katie introduces the original Furry Dance tune in the piano part just as the singer is describing the sound of the band, with its "cornet, clarinet and big trombone; fiddle, cello, big bass drum; bassoon, flute and euphonium". This is not strictly accurate as the Helston Town Band is a brass band and does not include clarinets, fiddles, cellos, bassoons or flutes. "The Floral Dance" was first recorded in 1912 by the Australian bass/baritone Peter Dawson, and many other versions have appeared since.

Retrieved 13 December 2009. Turnage's musical language is modernist but influenced by jazz,Valorie Dick, "The Winnipeg New Music Fest", La Scena musicale, Volume 3, No. 6, 1 April 1998. Retrieved 13 December 2009. an area of musical interest he shared with Kay. The instrumental scoring is for flute (doubling alto flute), oboe (doubling cor anglais), 2 clarinets (one doubling bass clarinet), horn, trumpet, trombone, one percussionist, harp, piano (doubling celeste), violin, 2 violas, 2 cellos and double bass. The percussion consists of 8 crotales, vibraphone, marimba, suspended cymbal, 3 gongs, tam-tam, bass drum, pedal bass drum, ratchet, claves and whip.

At the beginning of the illustrated page from the score, for instance, the woodwinds and brass (notated at the top of the page) are playing short repeated passages. The composer specifies completely the music for each player, leaving the interpretation to the individuals: only the co-ordination between the parts is unspecified. The strings (notated at the bottom of the page) join the texture by sections: first the violins, then the violas, the cellos and lastly the basses, all playing rapid repeating figures. The string players do not coordinate their playing (even within sections) except for their entries.

"Si Tu No Existieras" is a Latin pop song written and produced by Arjona, alongside longtime collaborators Dan Warner and Lee Levin under their production name Los Gringos. Roger Hudson provided additional background vocals for the song, and Matt Rollings, Carlos "Cabral" Junior and Isaías García served as recording engineers, along with Warner and Levin. Rollings also provided the piano, Levin played the drums, and Warner the bass, with the help of Craig Nelson. A group of nine personnel led by Pamela Sixfin provided the violins; James Grosjean and Monisa Angell played the violas; and Anthony LaMarchina, along with Julia Tanner, the cellos.

Metamorphosen, study for 23 solo strings (TrV 290, AV 142) is a composition by Richard Strauss for ten violins, five violas, five cellos, and three double basses, typically lasting 25 to 30 minutes. It was composed during the closing months of the Second World War, from August 1944 to March 1945. The piece was commissioned by Paul Sacher, the founder and director of the Basler Kammerorchester and Collegium Musicum Zürich, to whom Strauss dedicated it. It was first performed on 25 January 1946 by Sacher and the Collegium Musicum Zürich, with Strauss conducting the final rehearsal.

It is dedicated to his cousin Alexander Siloti, and it was intended to be part of a larger work because it is headed "Third movement". The model for the work is the Scherzo from Felix Mendelssohn's incidental music for Shakespeare's A Midsummer Night's Dream. Rachmaninoff had earlier transcribed Pyotr Ilyich Tchaikovsky's Manfred Symphony for two pianos, and the Scherzo also has echoes of that work. The piece is scored for 2 flutes, 2 oboes, 2 clarinets (B♭), 2 bassoons, horn (F), trumpet (B♭), 2 timpani, violins I, violins II, violas, cellos and double basses.

The symphony was composed in 1992 and scored for full orchestra with 2 flutes, piccolo, 2 oboes, 2 clarinets, E clarinet, bass clarinet, 2 bassoons, 4 horns, 3 trumpets, 3 trombones, tuba, percussion, harp, piano and strings (including 8 first violins, 6 second violins, 4 violas, 4 cellos and 2 double basses). The symphony has three movements: "Some Are", the David Bowie song on which the second movement was based, didn't feature on the original release of Low but was recorded during the Low recording sessions. The song would later be released on the Rykodisc reissue of the album in 1991.

He suggested that half-size and 3/4 size cellos should be designed to make it easier for young children to play the instrument. Romberg is responsible for simplifying cello notation to only three clefs, the bass clef, the tenor clef and the treble clef. Until his time, it was common to use many clefs for multiple uses - the 18th century cellist-composer Luigi Boccherini used as many as six clefs in his compositions. Romberg is thought to be among the first cellists to perform from memory, which was a skill praised highly in his day.

Pini remained in the position for the rest of Beecham's life. In 1964 he took his final orchestral post, leading the cellos in the orchestra of the Royal Opera House, Covent Garden, retiring in 1976. Pini was a member of several chamber ensembles during his career, including the Brosa and Philharmonia string quartets. Grove's Dictionary of Music and Musicians rates the Philharmonia recordings of Schubert's Death and the Maiden and Mozart's Hunt quartets as classics, and similarly rates Pini's recordings of Elgar's Cello Concerto (with the London Philharmonic and Eduard van Beinum) and Beethoven's Archduke Trio with Solomon and Henry Holst.

The String Sextet No. 1 in B major, Op. 18, was composed in 1860 by Johannes Brahms and premiered in Hanover by an ensemble led by Joseph Joachim.L. Auer, My Long Life in Music, New York, Stokes, 1923 It was published in 1862 by the firm of Fritz Simrock. The sextet is scored for two violins, two violas, and two cellos. The sextet has four movements:For instance, see pages 1–44 of the 1968-published Dover Publications reprint of the Vienna Gesellschaft der Musikfreunde Edition: Complete chamber music for strings and clarinet quintet (originally edited by Hans Gál). .

The orchestra at the Bouffes-Parisiens was small – probably about thirty players. The 1858 version of Orphée aux enfers is scored for two flutes (the second doubling piccolo), one oboe, two clarinets, one bassoon, two horns, two cornets, one trombone, timpani, percussion (bass drum/cymbals, triangle), and strings. The Offenbach scholar Jean-Christophe Keck speculates that the string sections consisted of at most six first violins, four second violins, three violas, four cellos, and one double bass.Offenbach-Keck, p. 7 The 1874 score calls for considerably greater orchestral forces: Offenbach added additional parts for woodwind, brass and percussion sections.

David Diamond's Quintet for clarinet, 2 violas and 2 cellos (1950) was written for Oppenheim and was first performed in 1952. Throughout the 1950s, Oppenheim directed the Masterworks division of Columbia Records, a position he held until 1959. He recorded Leonard Bernstein's Clarinet Sonata, which was dedicated to him. Other recordings include the Brahms Clarinet Trio, Op. 114 with Casals and Eugene Istomin at the 1955 Prades Festival,Music & Arts CD-689 and both the Brahms Clarinet Quintet, Op. 115,CBS MPK-45553 and the Mozart Clarinet Quintet, K. 581,Sony SM3K-46527 with the Budapest String Quartet in 1959.

The score is Shostakovich's 39th opus. It includes references to Tchaikovski and other former ballet composers. Woodwinds: piccolo, 2 flutes (flute II = piccolo II), 2 oboes, cor anglais, Eb clarinet, 2 Bb clarinets, bass clarinet (= clarinet III), 2 bassoons, contra-bassoon (= bassoon III) Brass: 6 French horns, 3 trumpets, 3 trombones, tuba, Brass Band (1 Eb Cornet, 2 Bb Cornets, 2 Bb Trumpets, 2 Eb Altos, 2 Bb Tenors, 2 Bb Baritones, 2 Bb Basses) Percussion: timpani, triangle, tambourine, snare drums, cymbals, glockenspiel, xylophone, bass drum, gong, wood blocks Strings: violins, violas, cellos, double basses, harp 2 flute.picc. 2 oboe.corA.

A part of it was recorded at the PolyGram studios, with 40 session musicians hired to play 12 violins, four violas and four cellos. "A Ordem dos Templários", which includes a section of "Douce Dame Jolie", by Guillaume de Machaut, from the 14th century, pays tribute to the knights who protected Chrsitians during the Crusades. On Acústico MTV, Russo explains that the song "O Teatro dos Vampiros" should speak about television. On the same live album, he said he had found out that the Italian city of Venice was known as "Sereníssima" only after he composed the song of same name.

The music moves virtually unnoticed into the final part of the work, an Allegro. The Allegro begins very softly, with the cellos and basses attempting to consolidate the note C, but being conflicted by a sustained C# and D in the trumpets. A growing sense of expectancy is built up as violent interjections from the woodwind become more frequent and the dynamic gradually increases, culminating in a huge dissonance which sets off the mood for the remainder of the finale. The music proceeds with considerable violence, with relentlessly clashing dissonances in the woodwind and a plethora of racing string semiquavers.

The String Sextet in D minor "Souvenir de Florence", Op. 70, is a string sextet scored for 2 violins, 2 violas, and 2 cellos composed in the summer of 1890 by Pyotr Ilyich Tchaikovsky. Tchaikovsky dedicated the work to the St. Petersburg Chamber Music Society in response to his becoming an Honorary Member. The work, in the traditional four-movement form, was titled "Souvenir de Florence" because the composer sketched one of the work's principal themes while visiting Florence, Italy, where he composed The Queen of Spades. The work was revised between December 1891 and January 1892, before being premiered in 1892.

Its culmination, a restatement of the chorale, is a moment of such transcendence that the usually austere Brahms permits himself the use of a triangle. Just before the end of the piece, in the coda of the finale, Brahms quotes a passage that really is by Haydn. In measures 463–464, the violas and cellos echo the cello line from measure 148 of the second movement of the latter's "Clock" Symphony, one of the finest examples of Haydn's pioneering work in the symphonic variation form. The reader may compare the two passages by following these links: Brahms, Haydn (see below for link credits).

The concerto is scored for solo piano and an orchestra consisting of flute (doubling piccolo), oboe, clarinet (doubling alto ocarina), bassoon, horn, trumpet, tenor trombone, percussion, and strings. For balance, Ligeti recommends the strings to be 6–8 violin I's, 6–8 violin II's, 4–6 violas, 4–6 cellos, and 3–4 double basses. The percussion consists of triangle, crotales (in pairs), 2 suspended cymbals (small/normal size), 4 woodblocks, 5 templeblocks, tambourine, snare drum, 3 bongos, 4 tomtoms, bass drum, guero, castanets, whip, siren whistle, signal whistle, slide whistle, flexatone, chromatic harmonica (Chromonica in C, 270 by Hohner), glockenspiel, and xylophone.

He composed and recorded with other unusual instruments, such as a flute quartet (Flute Force Four, a one- time project from 1990); and combinations of four cellos and four acoustic guitars (on Makin' a Move). He was signed by Columbia Records for three albums. Since the dissolution of Very Very Circus, Threadgill has continued in his iconoclastic ways with ensembles such as Make a Move and Zooid. Zooid, currently a sextet with tuba (Jose Davila), acoustic guitar (Liberty Ellman), cello (Christopher Hoffman), drums (Elliot Kavee) and bass guitar (Stomu Takeishi), has been the primary vehicle for Threadgill's compositions in the 2000s.

Fürststift Kempten (Modern view) On April 2, 1740 Richter was appointed deputy Kapellmeister (Vize- Kapellmeister) to the Prince-Abbot Anselm von Reichlin-Meldeg of Kempten in Allgäu. Reichlin Meldeg as Prince Abbot presided over the Fürststift Kempten, a large Benedictine Monastery in what is now south-western Bavaria. The monastery certainly would have had a choir and probably a small orchestra (rather a band, as it was called then),Probably: 4–8 violins, 2 violas, 2 cellos, 2 oboes and 2 horns. On festival occasions trumpets and kettle drums would have been provided by a town or regimental band.

For example, the Italian version was called "Tu non lo sai" ("You Don't Know") and was recorded by Sedaka himself. On this version, background vocals on the song are performed by the female group The Cookies. The personnel on the original recording session included: Al Casamenti, Art Ryerson, and Charles Macy on guitar; Ernie Hayes on piano; George Duvivier on bass; Gary Chester on drums; Artie Kaplan on saxophone; George Devens and Phil Kraus on percussion; Seymour Barab and Morris Stonzek on cellos; and David Gulliet, Joseph H. Haber, Harry Kohon, David Sackson, and Louis Stone on violins.

A luthier ( )Oxford Dictionaries is a craftsperson who builds and repairs string instruments that have a neck and a sound box. The word "luthier" is originally French and comes from the French word for lute. The term was originally used for makers of lutes, but it came to be used already in French for makers of most bowed and plucked stringed instruments such as members of the violin family (including violas, cellos, and double basses) and guitars. Luthiers, however, do not make harps or pianos; these require different skills and construction methods because their strings are secured to a frame.

The song is perhaps best known in the UK as the theme to The Joe Franklin Show; the version most associated with the program was Big Tiny Little's 1959 recording from his album Honky Tonk Piano (Brunswick BL (7)54049). A brief excerpt of the song can also be heard about 37 minutes into the 1996 film The English Patient. Since 1999, a ukulele version has been featured as background music on the U.S. TV cartoon series by Nickelodeon, SpongeBob SquarePants. The Rastrelli Cello Quartet recorded a version for four cellos in 2006, on the album Vol.

Four-string instruments may feature the C extension extending the range of the E string downwards to C1 (sometimes B0). Traditionally, the double bass is a transposing instrument. Since much of the double bass's range lies below the standard bass clef, it is notated an octave higher than it sounds to avoid having to use excessive ledger lines below the staff. Thus, when double bass players and cellists are playing from a combined bass-cello part, as used in many Mozart and Haydn symphonies, they will play in octaves, with the basses one octave below the cellos.

Apocalyptica made the music for the episode "On Finn Ice" of Rovio Entertainment's video game Angry Birds Seasons. Apocalyptica celebrated their 20th anniversary of the first album Plays Metallica by Four Cellos in 2016 and it was re-released with 3 brand new bonus tracks. The band toured with Antero Manninen, who returned after eight years to play on the tour. Following Manninen's departure from the band in late 2018, they brought in a new touring member, Lauri Kankkunen, the first cellist of the Helsinki Chamber Orchestra, to continue on the 20th anniversary tour in April 2019.

These additions included McCartney's lead vocal and bass guitar; backing vocals from Lennon, McCartney and Harrison; and tambourine, played by Starr. McCartney's vocal over the long coda, starting at around three minutes into the song, included a series of improvised shrieks that he later described as "Cary Grant on heat!" They then added a 36-piece orchestra over the coda, scored by Martin. The orchestra consisted of ten violins, three violas, three cellos, two flutes, one contra bassoon, one bassoon, two clarinets, one contra bass clarinet, four trumpets, four trombones, two horns, percussion and two string basses.

This concerto is divided into five movements and has a typical duration of 24 minutes. The titles of each movement are taken from the tempo indications marked at the beginning. The movement list is as follows: The concerto is scored for two solo violins, four first violins, four second violins, three violas, two cellos, a double bass, a harpsichord, a celesta, a piano, and a set of four church bells tuned to play B-flat, A, C, and B. This concerto is a great example of the style Schnittke developed over the years, which he coined polystylism.

Adams composed two versions of Dark Waves: one for two pianos and another for orchestra. The orchestral version calls for an ensemble comprising: ;Woodwinds :2 piccolos :2 oboes :2 clarinets in B :contrabass clarinet in B or E :2 bassoons :contrabassoon ;Brass :2 horns in F :2 trumpets in C :2 trombones :bass trombone :tuba ;Percussion, 2 players :bass drum :cymbal, suspended :tubular bells :2 vibraphones ;Keyboards :celesta :piano ;Strings :violins I (minimum of 12 players) :violins II (minimum of 12 players) :violas (minimum of 9 players) :cellos (minimum of 9 players) :double basses (minimum of 6 players) and electronics.

The Society was unusual in the sheer size of the orchestras and choruses that performed in their concerts. For the concerts of 1 and 3 April 1781, where Mozart made his first appearance with the Society (see below), there were 40 violins, 8 violas, 9 cellos, 11 contrabasses, 2 flutes, 7 oboes, 6 bassoons, 2 English horns, 4 horns, 2 trumpets, and 1 timpanist, a total of 92. The chorus had a combined total of 28 sopranos and altos (all boys), 13 tenors, and 13 basses; thus overall a total of 146 performers. Comparable numbers were employed in other years.

Scored for two oboes, two bassoons, two horns, two trumpets, timpani,Michael Downey, "Review" Musical Times 114 1559 (1973): 39. "Perger includes timpani in the instrumentation, but Jenö Vécsey, who edited the score (Editio Musica), states that 'there are no kettle drums in the original'." and strings. The bassoons are almost always in unison with the cellos. The Jenő Vecsey edition of 1960 does not show a timpani part, but this is easily enough reconstructed from the trumpet part by tuning the timpani to A and D a fourth apart and using the same rhythms and pitch classes as the trumpets.

He used no trumpets and no high woodwinds when recording, but used up to eight french horns, five trombones, two piano, one harp, thirty-two violins, sixteen violas twelve cellos and eight basses. British performers UNKLE recorded a new version of the theme music for the end credits to the movie. Some of the unusual sounds were created by a variation of silly putty and dimes tucked in between and over the strings of the piano. Mark Snow also comments that the fast percussion featured in some tracks was inspired by the track 'Prospectors Quartet' from the There Will Be Blood soundtrack.

Both Liszt and Berlioz greatly admired the instrumentation of the opera. Liszt wrote that "the orchestral effects are so cleverly combined and diversified that we have never been able to attend a performance of the Huguenots without a new feeling of surprise and admiration for the art of the master who has managed to dye in a thousand shades, almost ungraspable in their delicacy, the rich fabric of his musical poem". Meyerbeer used a variety of novel and unusual orchestral effects in the opera. Marcel's utterances are usually accompanied by two cellos and a double bass.

These colourations are made in the lower instruments (horns, violas, cellos) by overtone glissandos, in the middle register by natural- harmonic glissandos in the violins, and in the highest register by arpeggios on five triangles and a set of glass chimes . Each note of this melody is accompanied by a chord, and these chords fluctuate in density between two and five notes according to a serial distribution: 2 3 4 5 5 4 3 2 3 4 5 5 4 3 2 notes per chord. These chords collectively form a harmonic double "wave", whose chord densities rise and fall twice.

The destruction of musical instruments, often by fire, was a recurrent theme in Arman's work. Two of his most notable works involving piano burning were his 1965 Piano de Néron (Nero's Piano) and his 1966 Piano Flamboyant (Flaming Piano). The burning for Piano Flamboyant took place on the roof of Arman's atelier in Nice and was filmed for a documentary by Gérard Patris which was later broadcast on French national television. As with his other burnt instrument works, which also included violins, cellos, and guitars, the charred remains were then mounted on panels or enclosed in plexiglas.

The 84-bar long work in A-flat major is scored for double choir, and 2 tenor and a baritone soloists. Similarly to , the first part (44 bars) is sung by the soloists with an accompaniment of humming voices, figuring the rustling mill. From "", the melody is taken over by the double choir. Because of the performance difficulties (humming voices) encountered during the rehearsals, Bruckner added in 1879 an accompaniment of strings (2 violas, 2 cellos and double bass) to enhance the humming voices, and of brass instruments (4 horns, 3 trombones and a tuba) to accompany the double choir.

J Rabbit has a unique style focusing on creating music for everyone no matter their age and aiming to console people with their music. Their songs are light hearted, relaxing, and up-beat while using unique instruments like bells, xylophones, violins, cellos, and melodeon accordions. An editor working with Seoulbeats, Leslie Tumbaco mentions "They have such a keen understanding of the basics of music, which makes their stripped-down melodies so magnetic". Along with the light hearted songs their performances are very light hearted and fun as well, drawing in audiences and attention with their personalities.

The third movement minuet opens with pizzicato cellos accompanying a lilting oboe melody in G major. A contrasting section in time marked Presto ma non assai begins in the strings, and this theme is soon taken over by the full orchestra (minus trumpets). Bar 107 returns to the main tempo and gentle mood, but the idyll setting is again disrupted in bar 126 when the earlier Presto marking makes a re-entry, this time in a variation. Brahms yet again diverts the movement back into its principal tempo (bar 194) and thereafter to its peaceful close.

In 1962 he moved to Fender, where he was responsible for the development of archtop and semi-acoustic guitars in the style of the Gibson ES-335, such as the Fender Coronado. Characteristic of his designs for Rickenbacker and Fender is the distinctive form of the guitar top: While traditional archtops have a uniform curvature similar to violins and cellos, Rossmeisl's designs have a strong bead on the slab edge and an almost flat surface in the center of the ceiling. This design feature is in English referred to as the "German Carve".May. Vintage guitars and their stories, S .

The aria is notated in D-flat major with time signatures of 3/4 for the verse and common time (4/4) for the refrain (""); the tempo indication is andantino (=66) for the verses and un poco più lento (a little slower) for the refrain. The vocal range extends from B-flat3 to G-flat5, with a tessitura from E-flat4 to E-flat5."Mon cœur s'ouvre à ta voix" at The Aria Database The instrumentation calls for flute, oboe, English horn, clarinet, horns, harp and strings. All instrument lines, except the harp, make intensive use of divisi (cellos play in four divisi).

At the initial performance, half of the singers were from the papal choir, and there were several soprano parts sung by other castrati. The accompanying orchestra is up-to-date, dispensing with the archaic viols and using violins, cellos, harps, lutes, theorbos, and harpsichords. The opera includes introductory canzonas which function as overtures; indeed they are the first overtures in the history of opera. Dances and comic sections mix with serious arias, recitatives, and even a madrigalian lament, for an overall dramatic variety which was extremely effective, as attested by the frequent performances of the opera at the time.

The captain's voice is tinged with a sense of hopeless longing, perhaps even indicating that it is his ghost now singing: > I'm getting closer to my home ... I'm getting closer to my home ... Again the bass line carries the music, with now a flute line accompanying it. Soon the strings from the orchestra, make their entrance, featuring violins, violas, cellos, and basses. The second movement starts at a fairly slow tempo, then launches into a relatively upbeat guitar break before the captain resumes singing. The significant chord progression in this part is from C to B♭add9.

However, Dean insists that "[t]his is a French, not a Spanish opera"; the "foreign bodies", while they undoubtedly contribute to the unique atmosphere of the opera, form only a small ingredient of the complete music. The prelude to act 1 combines three recurrent themes: the entry of the bullfighters from act 4, the refrain from the Toreador Song from act 2, and the motif that, in two slightly differing forms, represents both Carmen herself and the fate that she personifies. This motif, played on clarinet, bassoon, cornet and cellos over tremolo strings, concludes the prelude with an abrupt crescendo.Newman, p.

The album received generally positive reviews; many praising Apocalyptica's constantly evolving blend of classic and metal, as well as the new lead singer, Franky Perez. Samantha Wu of Lithium magazine wrote the following in her review of the album, with regards to the new lead singer; "It appears the perfect balance: the lyrics don't take away from the orchestral instrumentation nor the cellos take away from the lyrics." MusicReviewRadar stated "you can feel the good old Apocalyptica in a perfect connection with Franky […] dazzle us with rich, heavy and soulful tracks where the powerful chords fuse seamlessly with the menacing drum beat and grow in intensity until Apocalyptica burst into flames".

His earliest compositions, from his days in Edinburgh, include a set of Duos for two 'cellos, Opus 2, and Variations on Famous Scots Tunes, published in Glasgow and later in Philadelphia. He also composed Twenty-four Short and Easy Lessons, a series of teaching pieces for keyboard, which he later used in his teaching in Philadelphia. Once in America, Reinagle continued to compose short pieces for special occasions, often with titles alluding to American personalities and ideas. Pieces such as his Federal March, President Madison’s March and Mrs. Madison’s Minuet are usually short and in the binary form associated with dance music of the time.

In addition to Field Music's usual intricate guitar work and powerful drumming, the songs on Plumb included a wide variety of instrument combinations, including horns, clarinets, and string instruments like violins and cellos. The album also includes more synthesizers and keyboards than past Field Music albums, in part because the band was able to set up a greater number of keyboards in their new studio. "From Hide And Seek To Heartache" in particular makes prominent use of string insturments, as well as driving piano and rhythmic percussion parts. Plumb includes a great deal of falsetto vocals, and lush, sophisticated harmonies, with David Brewis singing the higher parts.

Concerto in E-flat, inscribed Dumbarton Oaks, 8.v.38 (1937–38) is a chamber concerto by Igor Stravinsky, named for the Dumbarton Oaks estate of Robert Woods Bliss and Mildred Barnes Bliss in Washington, DC, who commissioned it for their thirtieth wedding anniversary. Composed in Stravinsky's neoclassical period, the piece is one of Stravinsky's two chamber concertos (the other being the Concerto in D, for strings, 1946) and is scored for a chamber orchestra of flute, B clarinet, bassoon, two horns, three violins, three violas, two cellos, and two double basses. The three movements, Tempo giusto, Allegretto, and Con moto, performed without a break, total roughly twelve minutes.

In 2004, Kammerorchester Basel played Handel's opera Lotario both in Basel and at the Handel Festival Halle. They recorded all of Beethoven's symphonies, led by conductor Giovanni Antonini. A review of Symphony No. 5 noted the "period practice lightness, despite the use of modern instrument", "refinement and delicacy", "fleet- footedness in the scherzo – particular from the running basses and cellos at the start of the trio", and the finale "thrillingly and refreshingly done, remarkable, once again, for the care and attention to details". In 2011, the orchestra accompanied Andreas Scholl in a recording of Bach cantatas including Ich habe genug, BWV 82 and Gott soll allein mein Herze haben, BWV 169.

The ballet starts with a majordomo on stage reading Britten's explanatory text from the score, then proceeds to an ensemble performance with dancers representing different instruments, including three women as a piccolo and two flutes, a woman as the oboe, a man and a woman as the clarinets, two men as the bassoons, a man and a woman as the violas, three women as the cellos, a men as the double bass, a woman as the harp, two men as trumpets, four men as a tuba and three trombones and three men as the percussion instruments. There are no major solos in the ballet.

However, this was before Bearden was named the bandleader on George Lopez's ill-fated TBS talk show, Lopez Tonight. For the April 6, 2001, show, the band expanded to 50 players to become the CBS Giant Orchestra with 16 violins, 8 violas, 4 cellos, 3 trumpets, 2 trombones, 1 bass trombone, 4 saxophones, 2 harps, 1 keyboard and 1 percussionist. Alt URL Phil Collins played drums with Steve Jordan in the band when he was a guest on the Letterman show on March 26, 1985. Drummer Shawn Pelton of the Saturday Night Live Band sits in on the drums when Anton Fig is absent.

Gabala Music Festival He is an academician of the Independent Academy of Aesthetics and Liberal Arts in Moscow, and also teaches cello at the Baku Academy of Music, since 2012 he is the Principal Guest Conductor of State Symphony Orchestra.Novaya Rossiya Dmitry has two cellos, which he uses for his cello concerts, a Joseph Filius Andrea Guarneri and a Matteo Goffriller. He lives on the border of France and Spain in a beautiful Catalan Village in the mountains, Angoustrine-Villeneuve- des-Escaldes. On March 1, 2015 he will perform with Jerusalem Symphony Orchestra with which he will play music from baroque, classical, and romantic periods.

The college's first intake of scholarship students included 28 who studied an orchestral instrument. The potential strength of the college orchestra, including fee-paying instrumental students, was 33 violins, five violas, six cellos, one double bass, one flute, one oboe and two horns. Grove appointed 12 professors of orchestral instruments, in addition to distinguished teachers in other musical disciplines including Jenny Lind (singing), Hubert Parry (composition), Ernst Pauer (piano), Arabella Goddard (piano) and Walter Parratt (organ). Front façade of the Royal College of Music The old premises proved restrictive and a new building was commissioned in the early 1890s on a new site in Prince Consort Road, South Kensington.

The symphony is scored for 4 flutes (3rd and 4th doubling 1st and 2nd piccolo), 4 oboes (3rd and 4th doubling 1st and 2nd cor anglais), 3 clarinets (3rd doubling E-flat clarinet and bass clarinet), 4 bassoons (4th doubling contrabassoon), 6 horns, piccolo trumpet in D, 3 trumpets in C, 2 cornets in B flat, valve trombone, 3 tenor trombones, bass trombone, 3 tubas, 2 sets of timpani, 6 percussionists (snare drum, tambourine, triangle, ratchet, hand bell, cymbals, tam-tam, bass drum, castanets, xylophone, bell (F), thunder sheet, glockenspiel), celesta, piano, organ, wordless chorus, 2 harps, 20 first violins, 20 second violins, 14 violas, 12 cellos and 12 double basses .

As in the original, this short ballet consists of four movements: Bluebird Pas de Deux is scored for a large ensemble consisting of a flute, an oboe, two clarinets, a bassoon, a French horn, two trumpets, two trombones, timpani, and a string section consisting of five violins, four violas, three cellos and two double basses. As an original addition, Stravinsky did not actually reduce the orchestra, but rather chose to include a piano to provide a new element to help articulation and sonority. According to Stravinsky himself, "the prominent piano part [...] helps to conceal the small number of strings" in Bluebird Pas de Deux.

They begin playing very quietly (pianississimo) but gradually over the piece build up until they are playing very loudly (fortississimo). The second violins play exactly the same but an octave lower and at half the speed, which means they play 6 beats (one bar) of silence to begin, and appear to enter at the beginning of the second bar. Then the violas, which are the only voice not doubled, join in at quarter speed and another octave lower, the cellos at one eighth, and finally the contrabasses as one sixteenth. The basses are then playing each long note for 32 beats, and each short note for 16.

The arrangement is by Jimmy Wisner.Discographical details at 45cat.com. Retrieved July 2, 2019 As with most of the band’s hit singles, producer Jerry Ross used a group of session musicians to provide the instrumental backing track while the rest of the group members provided lead and background vocals. Session personnel on this record included Vinnie Bell, Al Gorgoni, Hugh McCracken, Charles Macey on guitar, Paul Griffin on piano, Artie Butler on harpsichord, Joe Macho on bass, Bobby Gregg and Al Rogers on drums, Joe Macho, Irving Spice, Louis Stone, Ray Free, Matthew Raimondi, Lou Haber on violins, Artie Kaplan on flute, and Seymour Barab and Maurice Bialkin on cellos.

The PlayStation 3 system software (XrossMediaBar) is the updatable firmware and operating system of the PlayStation 3. The base operating used by Sony for the PlayStation 3 is a fork of both FreeBSD and NetBSD called CellOS. The process of updating is almost identical to that of the PlayStation Portable, PlayStation Vita, and PlayStation 4. The software may be updated by downloading the update directly on the PlayStation 3, downloading it from the user's local Official PlayStation website to a PC and using a USB storage device to transfer it to the PlayStation 3, or installing the update from game discs containing update data.

The pieces evolved over the period rather than being conceived as a whole, some of them being revised or added to. They contain some of his most popular music, such as No.5 for soprano and eight cellos (19381945), and No.2 for orchestra of 1930 (the Tocata movement of which is Otrenzinho do caipira, "The little train of the Caipira"). They also show the composer's love for the tonal qualities of the cello, both No.1 and No.5 being scored for no other instruments. In these works the often harsh dissonances of his earlier music are less evident: or, as Simon Wright puts it, they are "sweetened".

The side drums were instructed when to play in La Réjouissance and the second Menuet, but very likely also played in the Ouverture. Handel re-scored the suite for full orchestra for a performance on 27 May in the Foundling Hospital. Handel noted in the score that the violins were to play the oboe parts, the cellos and double basses the bassoon part, and the violas either a lower wind or bass part. The instruments from the original band instrumentation play all the movements in the revised orchestral edition except the Bourrée and the first Menuet, which are played by the oboes, bassoons, and strings alone.

Steinhardt remarked on the difficulty of their work, and added "We all had the sense that we're still playing pretty well, and it's better to quit at that point than to go past our time. We had surprisingly little discussion; everybody came to that conclusion rather quickly." Critics agreed that it was time to bow out; while still praising the Guarneri's tone and style, they perceived increasing technical imperfections and a decrease in the intensity of the group's emotional connection with the music. For some of the final concerts, David Soyer rejoined the Guarneri as the group once again played the Schubert Quintet in C, which is scored for two cellos.

In 1995, Max Lilja joined the future members of Apocalyptica in their experimentation with playing rock and metal music on the cello, which led to their first gig playing in a rock club. Within a year, Apocalyptica was founded and signed to Finnish indie label Zen Garden, and released their debut album Plays Metallica by Four Cellos in 1996. In 1997, this first album began worldwide sales, and Apocalyptica began touring and performing so frequently that Lilja dropped out of the Sibelius Academy to devote himself full-time to the band. Within the next three years, Lilja recorded two more albums with Apocalyptica, Inquisition Symphony and Cult.

Writing in The All-Music Guide to Rock (1995), William Ruhlmann described Walls and Bridges as "craftsmanlike pop-rock" with "some lovely album tracks". Uncut gave it four stars and asserted that "Whatever Gets You Through the Night" "remains one of Lennon's best post-Beatles achievements". AllMusic senior editor Stephen Thomas Erlewine finds the album "decidedly uneven", "containing equal amounts of brilliance and nonsense", with the lesser tracks "weighed down by weak melodies and heavy over-production". In The New Rolling Stone Album Guide of 2004, "#9 Dream" was singled out for praise as "a heavily atmospheric number boasting cool cellos and fine singing".

The symphony is approximately 28 minutes in length and is divided into two movements of approximately equal length: # Andante #:The symphony opens with a lyrical line given out by the first violins, which rises up from the note D before descending through widely-leaping intervals. The musical material for the entire symphony grows out of this line. Passages of quietly intense string writing alternate with moments of reflection, where there is often only two or three lines moving at any one time. There is much lyrical writing for divided cellos in the middle of the movement, before a tightening of note values that gives the illusion of an increase in tempo.

The symphony is scored for the following instrumentation ;Woodwind: :2 Flutes :2 Oboes :2 Clarinets in C :2 Bassoons ;Brass: :2 Horns in C and F :2 Trumpets in C ;Percussion: :2 Timpani in C and G ;Strings: :1st Violins :2nd Violins :Violas :Cellos :Contrabasses The clarinet parts are commonly played on B clarinet, as C and D clarinets are no longer widely used. However, there is some controversy over whether they should be played on E instruments instead. The E clarinet's timbre is much closer to that of the C and D clarinets than that of the warmer-sounding B clarinet.Del Mar, Norman.

It is often said to be the first independent set of variations for orchestra in the history of music,McCorkle, Donald M., p. 5 in the Norton Scores edition of the Variations () although there is at least one earlier piece in the same form, Antonio Salieri's Twenty-six Variations on 'La folia di Spagna' written in 1815. Brahms's orchestral variations are scored for piccolo, 2 flutes, 2 oboes, 2 clarinets, 2 bassoons, contrabassoon, 4 horns (2 in E, 2 in B), 2 trumpets, timpani, triangle, and the normal string section of first and second violins, violas, cellos and double basses. The piece usually takes about 18 minutes to perform.

Montserrat Pablo Casals Museum, in San Juan, Puerto Rico The southern part of the highway C-32 in Catalonia, Spain, is named Autopista de Pau Casals. The International Pau Casals Cello Competition is held in Kronberg and Frankfurt am Main, Germany, under the auspices of the Kronberg Academy once every four years, starting in 2000, to discover and further the careers of the future cello elite, and is supported by the Pau Casals Foundation, under the patronage of his widow, Marta Casals Istomin. One of the prizes is the use of one of the Gofriller cellos owned by Casals. The first top prize was awarded in 2000 to Claudio Bohórquez.

Most of the Wilkanowski guitars would look not like regular jazz guitars, but very much like oversized and slightly squished violins or small cellos with an added guitar neck. Some of his guitars did not have the cello shape, but rather a more conventional archtop shape, without the cello-like points above the waist. The Wilkanowski headstock is thought to have been the main influence in the headstock for the current Ovation Guitar. Many of his guitars have the unique flattened oval Wilkanowski headstock, although some featured a violin like scroll of aluminium, and some of his headstocks would just be like conventional guitar headstock.

John Juzek (né Janek Jůzek, aka Jan, aka Johann;1892 Písek, Czech Republic – approx 1965 Luby, Czech Republic) was a Czechoslovak merchant, widely known in North America as an exporter of violins, violas, cellos, and double basses made and labeled under his anglicized name, "John Juzek," crafted mostly by guilds and various independent makers in the Bohemia region of the Czechoslovakia and Germany border. The John Juzek trademark, brand, and line of orchestral string instruments endures today through the original -year-old family-owned wholesaler, Metropolitan Music Co., currently owned and managed by the heirs of Robert Juzek (1894–1975), a founding partner and sibling of John Juzek.

Matthew Barley was born in London and trained at the Guildhall School of Music and Drama in London and the Moscow Conservatoire. He made his London concerto debut playing the Shostakovich cello concerto in the Barbican Hall with the London Symphony Orchestra, as finalist of the LSO-Shell competition. His first CD, in 2003, was The Silver Swan for Black Box was a compilation of pieces for multitracked cellos, all of which he recorded himself using pioneering techniques of layering voices without an electronic click. His next CD, Reminding, featured Soviet music for cello and piano, and was released on Quartz in September 2005.

He would then teach, in turn, at the conservatories in Venice, Bologna, Naples and Rome. In 1946 Count Chigi selected him as course director of the ensemble music course at the Accademia Chigiana, where he would teach until 1997. In 1966, the year after Guido Chigi’s death, the Quintetto became the Sestetto Chigiano d’Archi: this was composed of, alongside Brengola, Giovanni Guglielmo (second violin), Mario Benvenuti e Tito Riccardi (violas), Alain Meunier and Adriano Vendramelli (cellos). Brengola taught chamber music for many years, facilitating training courses at the Accademia di Santa Cecilia in Rome, where he was an academic and a member of the Board of Directors.

At 130 measures, the Recordare is the work's longest movement, as well as the first in triple meter (); the movement is a setting of no fewer than seven stanzas of the Dies irae. The form of this piece is somewhat similar to sonata form, with an exposition around two themes ( 1–37), a development of two themes (mm. 38–92) and a recapitulation (mm. 93–98). In the first 13 measures, the basset horns are the first the present the first theme, clearly inspired by Wilhelm Friedemann Bach's Sinfonia in D Minor, the theme is enriched by a magnificent counterpoint by cellos in descending scales that are reprised throughout the movement.

The Choral Fantasy, which lasts about 20 minutes, is divided into two movements, played without a break: The piece is scored for solo piano, mixed choir, two soprano soloists, an alto soloist, two tenor soloists, a bass soloist, and an orchestra consisting of two flutes, two oboes, two clarinets, two bassoons, two horns, two trumpets, timpani and strings. The Fantasy opens with a slow but virtuosic 26-bar piano introduction, modulating from C minor to C major and back again. The main part of the piece, marked "Finale", begins with an Allegro theme played by the cellos and basses. Next, the solo piano introduces the choral theme in an ornamented version.

"Psycho Killer" is a song by the American band Talking Heads, released on their 1977 debut album Talking Heads: 77. The group first performed it as the Artistics in 1974. In the liner notes for Once in a Lifetime: The Best of Talking Heads (1992), Jerry Harrison wrote of the B-side of the single, an acoustic version of the song that featured Arthur Russell on cello, "I'm glad we persuaded Tony [Bongiovi] and Lance [Quinn] that the version with the cellos shouldn't be the only one." The band's "signature debut hit" features lyrics which seem to represent the thoughts of a serial killer.

On 12 July 1970, when Wood added multiple cellos to a Lynne-penned song intended to be a Move B-side, the new concept became a reality and "10538 Overture" became the first Electric Light Orchestra song. The original plan was to end The Move following the release of the Looking On album at the end of 1970, crossing over to the new unit in the new year, but to help finance the fledgling band, one further Move album, Message from the Country, was also recorded during the lengthy ELO recordings and released in mid-1971. The resulting debut album The Electric Light Orchestra was released in December 1971.

At La Scala, which had what was then the most modern stage lighting system installed in 1901 and an orchestral pit installed in 1907, Toscanini pushed through reforms in the performance of opera. He insisted on dimming the house-lights during performances. As his biographer Harvey Sachs wrote: "He believed that a performance could not be artistically successful unless unity of intention was first established among all the components: singers, orchestra, chorus, staging, sets, and costumes." Toscanini favored the traditional orchestral seating plan with the first violins and cellos on the left, the violas on the near right, and the second violins on the far right.

Rimbaud is also mentioned in the CocoRosie song "Terrible Angels", from their album La maison de mon rêve (2004). In his 1939 composition Les Illuminations British composer Benjamin Britten set selections of Rimbaud's work of the same name to music for soprano or tenor soloist and string orchestra. Hans Werner Henze set one of the poems in Illuminations, "Being Beauteous", as a cantata for coloratura soprano, harp and four cellos in 1963. In a scene in I'm Not There (2007), a young Bob Dylan (played by Ben Whishaw) is portrayed identifying himself as Arthur Rimbaud by spelling Rimbaud's name and giving 20 October as his birthday.

Despite being French, he advised his students to avoid French music and concentrate on Beethoven and Mozart - music the public more likely wanted to hear. Although he was a Catholic, Tortelier was inspired by the ideals of the founders of the newly formed state of Israel in 1948, and in the years 1955–1956 spent some time living with his wife and two children in the kibbutz Maabarot, near Netanya. His compositions include a concerto for two cellos and orchestra (1950), a solo cello suite in D, and two sonatas for cello and piano. He also wrote a set of variations for cello and orchestra ( 'May Music Save Peace' ).

Steven Isserlis is the author of two books for children on the lives of famous composers: the first is Why Beethoven Threw the Stew (Faber & Faber, 2001), and the second is Why Handel Waggled His Wig (Faber & Faber, 2006). He has also written three stories that have been set to music by Oscar- winning composer Anne Dudley. The first of the series Little Red Violin (and the Big, Bad Cello) received its first performance in New York in March 2007, followed by Goldipegs and the Three Cellos, and Cindercella (published by Universal Edition, Vienna). He has also made several additions for Faber Music and sheetmusicnow.com.

But Weber also learned from Méhul's use of the orchestra to evoke atmosphere. As John Warrack writes: "Much of the opera is set by night or in underground rooms and labyrinthine passages or a thick forest and Méhul responds with some of the swarthiest orchestration he can contrive, setting the tone at once with an overture (brief, irregular in form, and ending in harmonic mid-air) beginning on three solo cellos and ending on unison double basses."Warrack p.199 The opera also makes use of a "reminiscence motif" (the forerunner of the Leitmotiv), descending discords symbolising Othon's jealousy and anger which recur throughout the work.

There are a number of musical pieces reused from earlier episodes in "The City on the Edge of Forever", including sufficient use of the scores from "The Cage", "Where No Man Has Gone Before" and "The Naked Time" that Alexander Courage received an "additional music by" credit. Further pieces came from "Shore Leave", "Charlie X" and "The Enemy Within". A partial score was created by Fred Steiner, his final work of the first season. His work on Star Trek tended to focus on the use of violins and cellos to highlight romantic moments, and he did not use violas in any of his works on the series.

The song contains some of the most elaborate orchestral arrangements on Late Registration. The composition begins with a vocal sample of "It's Too Late" by Otis Redding and a two-chord piano ostinato, followed by a simplistic funk beat. The string section is composed of ten violins, four violas and four cellos which alternate between rhythmically punctuating the verses with staccato bursts, and accentuating the chorus with a more fully formed melody. After the third verse, the song enters an instrumental passage before returning with a fourth and final verse from West, where the rise of the vocals is reflected by the increased complexity in the string arrangement.

The group formed as a power trio with Hammond organ as the main instrument. Their first and only album sold itself through "...compactness, wealth of ideas, forceful lead vocals and complicated arrangements, enriched by pianist Robinson's tasteful use of classical strings which are on display along with spacious keyboard passages at their height in the mold of The Nice."Graf, Christian "Rock Musik Lexikon" (Taurus Press, Hamburg) One track, "Laughin' Tackle", includes 16 violins, 6 violas, 6 cellos, and 3 double bass, arranged by Robinson, and a drum solo by Underwood. Underwood remained in close contact with Blackmore, and visited Deep Purple in the studio while they were recording In Rock.

"At My Most Beautiful" is performed in the key of F major. There are several main chord progressions in the song: the introduction is Fmaj7–D–G minor, while the verse follows a I–III–IV–II chord sequence and the chorus ascends using a II–III–IV–V progression. In the mix, tubular and sleigh bells are heard in the right channel (with their reverberation reaching into the left), piano and bass guitar (both played in quarter note patterns) as well as bass harmonica are heard in the left, and guitar and Mike Mills' backing vocals are centered. Additional instrumentation includes organ in the chorus and cellos in the song's coda.

Downes also collaborated (on a range of acoustic and electronic instruments) with composers Matt Rogers and Mica Levi, electronic musician Leafcutter John, drummer Seb Rochford, filmmaker Ashley Pegg, artist Dave McKean, animator Lesley Barnes and geneticist Adam Rutherford (for the Wellcome Trust). In 2016, Downes was commissioned to compose a work for organ and four cellos for ‘Tre Voci’ to be performed in Oslo in 2016, as well as a new work for ‘Stavanger Organ Day 2016’. He later adapted ‘Vyamanikal’ for Manchester Jazz Festival 2016 and co-curated a music technology instillation at Cheltenham Jazz Festival 2016. 52 Studies for Right Hand Downes wrote 52 piano pieces for right-hand only in 2017 (having injured his left hand).

After recording the second version of the song, Lennon wanted to do something different with it, as Martin remembered: "He'd wanted it as a gentle dreaming song, but he said it had come out too raucous. He asked me if I could write him a new line- up with the strings. So I wrote a new score (with four trumpets and three cellos) ..." For this purpose, another basic track was recorded on 8 and 9 December, with the group attempting the song at a faster tempo than before. At the start of the first session, recording was overseen by Dave Harries, an EMI technical engineer, in the temporary absence of Martin and Geoff Emerick, the Beatles' usual recording engineer.

Unlike some episodes of the show that were accompanied by pre-composed stock music cues, Walking Distance was underscored with music specially written for it. As for other Twilight Zone episodes, Bernard Herrmann—also composer of the first season's main title music and most of its stock music—wrote the music for this one. The very intimate and tuneful score has an isolated running time of about 19 minutes and is played by a 19-piece-orchestra consisting of strings (violins, violas, cellos, basses) and one harp. The park in this episode is said to be inspired by Recreation Park in Binghamton, New York, which is located about five blocks away from Rod Serling's childhood home.

As Beethoven, in his last quartets, went off in his own direction, Franz Schubert carried on and established the emerging romantic style. In his 31 years, Schubert devoted much of his life to chamber music, composing 15 string quartets, two piano trios, string trios, a piano quintet commonly known as the Trout Quintet, an octet for strings and winds, and his famous quintet for two violins, viola, and two cellos. Schubert's music, as his life, exemplified the contrasts and contradictions of his time. On the one hand, he was the darling of Viennese society: he starred in soirées that became known as Schubertiaden, where he played his light, mannered compositions that expressed the gemütlichkeit of Vienna of the 1820s.

Played by a cellist or violoncellist, it enjoys a large solo repertoire with and without accompaniment, as well as numerous concerti. As a solo instrument, the cello uses its whole range, from bass to soprano, and in chamber music such as string quartets and the orchestra's string section, it often plays the bass part, where it may be reinforced an octave lower by the double basses. Figured bass music of the Baroque-era typically assumes a cello, viola da gamba or bassoon as part of the basso continuo group alongside chordal instruments such as organ, harpsichord, lute or theorbo. Cellos are found in many other ensembles, from modern Chinese orchestras to cello rock bands.

Fred Katz (who was not a bassist) was one of the first notable jazz cellists to use the instrument's standard tuning and arco technique. Contemporary jazz cellists include Abdul Wadud, Diedre Murray, Ron Carter, Dave Holland, David Darling, Lucio Amanti, Akua Dixon, Ernst Reijseger, Fred Lonberg-Holm, Tom Cora and Erik Friedlander. Modern musical theatre pieces like Jason Robert Brown's The Last Five Years, Duncan Sheik's Spring Awakening, Adam Guettel's Floyd Collins, and Ricky Ian Gordon's My Life with Albertine use small string ensembles (including solo cellos) to a prominent extent. In Indian Classical music Saskia Rao-de Haas is a well established soloist as well as playing duets with her sitarist husband Pt. Shubhendra Rao.

The march has an opening section consisting mainly of two-bar rhythmic phrases which are repeated in various forms, and a lyrical Trio constructed like the famous "Land of Hope and Glory" trio of March No. 1. The first eight bars of the march is played by the full orchestra with the melody played by the violasOne might expect the tune from the violins, with the violas playing a lower part and upper woodwind. Both harps play from the beginning, while the cellos, double basses and timpani contribute a simple bass figure. The bass clarinet, contrabassoon, trombones and tuba are held "in reserve" for the repeat, when the first violins join the violas with the tune.

Geoffrey Simon was born on 3 July 1946 in Adelaide.Answers.com He was a student of Herbert von Karajan, Rudolf Kempe, Hans Swarowsky and Igor Markevitch, and a major prize-winner at the first John Player International Conductors' Award. He has made 45 recordings for a number of labels, combining familiar works with world premieres of rediscovered obscure works by Tchaikovsky, Respighi, Borodin, Mussorgsky, Smetana, Grainger, Debussy, Ravel, Saint-Saëns and Les Six. For his own label, Cala Records, Geoffrey Simon has a series of records where he has brought together ensembles of single instruments—all violins, violas, cellos, double basses, horns, trumpets, trombones and harps—drawn from London's leading solo and orchestral musicians.

"Ode to Billie Joe" was originally intended as the B-side of Gentry's first single recording, a blues number called "Mississippi Delta", on Capitol Records. The original recording of "Ode to Billie Joe", with no other musicians backing Gentry's guitar according to some reports, had eleven verses lasting eight minutes, telling more of Billie Joe's story. The executives realized that this song would work best as a single, so they cut the length by almost half and added background music, strings, two cellos and four violins, according to Gentry. The only surviving draft of the seven-minute version of "Ode to Billie Joe", which consists of two handwritten pages, is located in the archive of the University of Mississippi.

Cantaor flamenco singer Jose Montealegre, who sings in the quintet came to enrich a suite written around the oud. The Saadna brothers (Los Rumberos Catalans), with whom he played for many years, joined him to end the disc in gypsy festivities. During the composing of the soundtrack of Manuel Boursinhac's film, for the first time, there was a string orchestra, mainly consisting of composed of violas, cellos and basses (based on the arrangements of Renaud Gabriel Pion). Titi Robin has extended this present experience thanks to arrangements of Francis Varis on three themes. That same year, the formation "En famille" appeared, gathering around Gulabi Sapera and Titi Robin a new generation: Maria, Colombe “La Coque” and Dino Banjara.

Yonderboi wanted the second album to be substantially different from its predecessor both in content and on the surface. There were more resources available this time, yet his basic approach to recording remained simple, he recorded almost everything at home, from electric guitars through male vocals to cellos and brass. Only one day was spent in a proper studio, to record the children's choir for the opening track All We Go To Hell, which obviously needed a bigger space than Yonderboi's bedroom. The post-production of the material ended up surprisingly in Los Angeles, thanks to the lucky meeting with Dutch producer Tom Holkenborg, who helped Yonderboi to finish up the record.

Agri toured with the Conjunto internationally, though he left to accept a commission as a company violinist in the prestigious Teatro Colón opera house, in Buenos Aires (Agri later admitted regretting this move).Clarín: Murió el violinista Antonio Agri He formed his own string ensemble (violins, violas, cellos and double bass), in 1973. His Mosalini/Agri Quintet, based in Paris and co-directed by Juan José Mosalini, also featured Agri's son, Pablo, with whom the violinist often performed as a duo. He later co-founded the Nuevo Quinteto Real with pianist Horacio Salgán, bandoneonist Leopoldo Federico (later replaced by Néstor Marconi), guitarist Ubaldo De Lío, and drummers Omar Murtagh and Oscar Giunta.

Variations on a Theme by Tchaikovsky, Op. 35a, a piece for string orchestra by Anton Arensky, started out as the slow movement of his String Quartet No. 2 in A minor, Op. 35, for the unusual scoring of violin, viola, and 2 cellos. It was written in 1894, the year after the death of Pyotr Ilyich Tchaikovsky, in a tribute to that composer.Classical Archives It was based on the theme from the song "Legend", the fifth of Tchaikovsky's Sixteen Children's Songs, Op. 54.Spokane Symphony Tchaikovsky's song was originally set to a Russian translation by Aleksey Pleshcheyev of an English poem called "Roses and Thorns" by the American poet Richard Henry Stoddard.

Shostakovich uses an immense orchestra in this work, requiring well over one hundred musicians. It is scored for the following instruments: ;Woodwind: :2 Piccolos :4 Flutes :4 Oboes (4th doubling on Cor anglais) :1 E-flat clarinet :4 Clarinets :1 Bass clarinet :3 Bassoons :1 Contrabassoon ;Strings :2 Harps :16–20 1st Violins :14–18 2nd Violins :12–16 Violas :12–16 cellos :10–14 Double basses ;Keyboard :Celesta ;Brass: :8 Horns :4 Trumpets :3 Trombones :2 Tubas ;Percussion: :6 Timpani (two players) :Bass drum :Snare drum :Cymbals (crash and suspended) :Triangle :Wood block :Castanets :Tam-tam :Xylophone :Glockenspiel The symphony has three movements: Most performances of the symphony last a little over an hour.

The concerto is structured in three movements, after the model of solo concertos of the classical period: # Adagio – Allegro moderato # Andante tranquillo # Allegro con brio The first movement has a slow introduction, with the soloist entering freely like in a cadenza over long chords of the winds. A dotted motif is first played by cellos and basses, connects introduction and the Allegro in sonata form, is part of the main theme and dominates as an ostinato part of the development. The second movement is in song form. A motif of a downward tritone appears in a theme played first by the oboe, also in the first entrance of the cello which resembles improvisation, and in the cello's following cantilena.

It was classified a "symphonic band" because it used extensive woodwinds such as flutes, clarinets, oboes and bassoons to replicate the sound of violins and cellos. During the 1960s, sometimes known as the "Golden Age of popular music," Laurentian was filled with music and drama. Memories of Vienna, one of the many concerts staged during this decade, was commended by Elisabeth Strauss, matriarch of the Strauss musical dynasty of Vienna. The Laurentian Symphonic Band travelled extensively to perform during the 1960s and 1970s, occasionally entertaining Canadian Servicemen in Europe. LHS toured Europe for 26 days in 1969 playing on Radio Nederlands and in the bandshell where the "Blue Danube" was first performed.

Ignacio Fleta Pescador Huesa del Común -Teruel-(31 July 1897))Barcelona – 11 August 1977) was a Spanish luthier and a crafter of string instruments such as guitars, violins, cellos, violas, as well as historical instruments. Fleta is widely regarded as one of the foremost guitar makers in the history of the instrument and sometimes described as the Stradivarius, or Steinway, of the guitar. Born into a family of cabinet makers, he initially built string- and historical instruments, and was inspired by Andrés Segovia to focus his efforts on the guitar. During Ignacio Fleta's Golden Age, from the 1960s to the 1970s, he revolutionized the cedar top and is considered the greatest maker in that material.

The composition is in one movement and takes approximately 16 minutes to perform. It is scored for a solo piano and a large orchestra consisting of four flutes, four oboes, four clarinets in B-flat, four bassoons, four French horns in F, four trumpets in C, four trombones, one tuba, one harp, timpani, a percussion section consisting of two bongos, three tom-toms and one bass drum and a large string section consisting of sixteen first violins, fourteen second violins, twelve violas, ten cellos and eight double basses. The instruments are not allowed to play vibrato along the whole composition. The tempo of the composition is ♩ ≙ 48 mm, as marked in the score.

Rhino Records released Fully Loaded, a two-CD reissue of Loaded, on February 18, 1997. It contains numerous alternate takes, alternate mixes, and demo versions of Loaded songs and outtakes, including performances by Maureen Tucker (the demos of "I'm Sticking with You", vocals, and "I Found a Reason", drums). There is also an "orchestral" alternate-take recording of "Ocean" for which the liner notes erroneously credit John Cale on organ. According to a 1995 interview with Doug Yule, who played organ on the recording, the strings used on the track were two cellos and double bass provided by session musicians who followed Yule's musical chart and instructions, and he couldn't recall Cale ever coming to the sessions.

The string section is a body of instruments composed of various bowed stringed instruments. By the 19th century orchestral music in Europe had standardized the string section into the following homogeneous instrumental groups: first violins, second violins (the same instrument as the first violins, but typically playing an accompaniment or harmony part to the first violins, and often at a lower pitch range), violas, cellos, and double basses. The string section in a multi- sectioned orchestra is referred sometimes to as the "string choir." The harp is also a stringed instrument, but is not a member of nor homogeneous with the violin family and is not considered part of the string choir.

ELO's debut concert took place on 16 April 1972 at the Greyhound Pub in Croydon, Surrey, with a line-up of Wood, Lynne, Bevan, Bill Hunt (keyboards/French horn), Andy Craig (cello), Mike Edwards (cello), Wilfred Gibson (violin), Hugh McDowell (cello), and Richard Tandy (bass). However, this line-up did not last for long. First Craig departed, and then Wood, during the recordings for the band's second LP. Taking Hunt and McDowell with him, Wood left the band to form Wizzard. Both cited problems with their manager, Don Arden, whom Wood felt failed in his role, and an unsatisfactory tour of Italy, where the cellos and violins could not be heard over the electric instruments.

The first movement has two contrasting themes, the first in dotted rhythm and initially hesitant and the second in B major (begun by the cellos), wide-ranging and expressive. These are, in turn, dissected and ornamented by the soloist with formidable virtuosity, using multiple-stopping and harmonics and, notably in the cadenza, the extreme upper register of the violin. The second movement, Preghiera (Prayer), is a short lyrical interlude in A major, with the orchestra woodwinds and horns given much prominence. It leads into the concluding Rondo, a colourful and vivacious piece with a contrasting episode in B major and demanding bravura playing, but without the first movement's extreme pyrotechnics (suggesting that it was composed earlier).

On the musical side, Stokowski nurtured the orchestra and shaped the "Stokowski" sound, or what became known as the "Philadelphia Sound". He encouraged "free bowing" from the string section, "free breathing" from the brass section, and continually altered the seating arrangements of the orchestra's sections, as well as the acoustics of the hall, in response to his urge to create a better sound. Stokowski is credited as the first conductor to adopt the seating plan that is used by most orchestras today, with first and second violins together on the conductor's left, and the violas and cellos to the right.Preben Opperby, Leopold Stokowski, Great Performers, Tunbridge Wells, Kent: Midas / New York: Hippocrene, 1982, , p.

Due to the pans within the Steel Orchestra needing to act as guitars, cellos and bass, sometimes along with instruments like maracas, cowbells and tambourines in the rhythm section, a broad array of players, specialities and skills are required. Although the band was understandably initially composed mainly of British Afro-Caribbeans, particularly those with strong links to Trinidad and Tobago, the band has always been welcoming and contained a diverse spectrum of people. Indeed, the scope of ages (from 12-60), races and backgrounds of players associated with the band today are unprecedented and the band has managed to retain its loyal British Trinidadian and Tobagonian membership, whilst attracting ensemble members united in their appreciation for Trinidadian culture.

The LSO at the Barbican, 2011. Front, left to right, Roman Simović, Carmine Lauri (violins), Alastair Blayden, Tim Hugh (cellos), Bernard Haitink (conductor), Gillianne Haddow, Edward Vanderspar (violas), Tom Norris, Evgeny Grach (violins). Players to the rear include David Pyatt (horn), Andrew Marriner (clarinet), Rachel Gough (bassoon) LSO concert of film music at the Barbican, 2003. Left to right: Gordan Nikolitch and Lennox Mackenzie (violins), Jerry Goldsmith (conductor), Paul Silverthorne (viola), Moray Welsh (cello) The LSO has made recordings since the early days of recording, beginning with acoustic versions under Nikisch of Beethoven's Egmont Overture, Weber's Oberon Overture, and Liszt's Hungarian Rhapsody in F minor, followed soon after by the overtures to Der Freischütz and The Marriage of Figaro.

The composer was a deep lover of ancient music; he transcribed many works by such composers as Girolamo Frescobaldi, Claudio Monteverdi, and Andrea and Giovanni Gabrieli. Ghedini's works are often inspired by music from the Renaissance and Baroque eras, but combined with a very personal language which combines ancient and modern styles. Among his masterworks are a Concerto for orchestra (in memory of Guido Cantelli), two violin concertos Il Belprato and Concentus Basiliensis, and a concerto for two cellos L'Olmeneta (The Elm Grove) and Musica Notturna (Night Music). Ghedini's most celebrated concert piece is Concerto dell'Albatro (Albatross Concerto) for violin, cello, piano, narrator and orchestra, which includes fragments from Herman Melville's novel Moby-Dick in its final movement.

The rest of the orchestra attempts to stir the music back into motion, but The Chord quietly persists, unperturbed. This sets the scene for the second section, the first Canone. Undoubtedly the most tranquil of the five sections, the first Canone begins with a piccolo theme, acting as the first canonic entry, on the topmost note of The Chord, C. Subsequent canonic entries begin on the next note down on The Chord – on clarinet, oboe, bassoon, bass clarinet and cellos and basses respectively. By this series of canonic entries, The Chord has gradually been dismantled, and the atmosphere is not unlike that of birds, breaking the silence of night at the glimmers of dawn.

The Baron Knoop, ex-Bevan Stradivarius is a violin made by the celebrated luthier Antonio Stradivari in Cremona, Italy in 1715. The instrument is named for Baron Johann Knoop (1846–1918), a collector of dozens of great violins, violas, and cellos at one time or another including four violas representing more than a third of extant Stradivari violas. Upon the sale of the instrument to J.E. Greiner through the agency of Wurlitzer in New York, the W. E. Hill firm in London, proposed that the violin be named for their customer, Baron Knoop. Several instruments by the great master luthiers bear the sobriquet Baron Knoop, including another Stradivari of 1715, the Alard-Knoop.

Smith personally trained his craftsmen in the production of violins, violas and cellos. His workshop established the careers of many other leading Australian violin makers such as Charles Clarke, Guy Aubrey Griffin, William Dolphin, Harry Vatiliotis and his own daughter, Kitty Smith. His presence as a luthier in Australia encouraged the development of local orchestras and violin teaching, as well as foreign virtuoso violinists through giving the confidence to accept Australian concert engagements and subject their precious instruments to long sea-voyages. During World War II when German strings were unavailable, Smith, trading under the trade name 'Paganini', designed and built machines to manufacture strings and fittings locally, rather than requiring import.

Following his graduation from the Paris Conservatoire, Delsart embarked on several successful tours throughout Europe. On 26 February 1881 he premiered in the Salle Pleyel the cello sonata of Marie Jaëll, with the composer playing the piano. In 1882 she dedicated her cello concerto to him. He made numerous appearances in London, including performing in the world premiere of David Popper's Requiem for three cellos and orchestra alongside the composer and Edward Howell as his fellow cellists at St James's Hall on 25 November 1891. In 1892, at La Trompette, accompanied by Louis Breitner, he premiered Chant saphique, Op. 91, a piece for cello and piano by Camille Saint-Saëns, which was dedicated to him.

The ornaments throughout the theater were gold on a white ground, and the fronts of the boxes represented a chase beginning on the lowest front, and continuing on the other two, turning alternately from right to left and from left to right. The top of the stage was adorned with portraits of Washington and Lafayette with the arms of New York State and the United States. The orchestra pit, surrounded by an open balustrade, was twelve feet by twenty-seven, with a double floor and a sounding chamber to increase the body of tone, especially of the cellos and basses. The stage was ninety-five feet wide by eighty-seven deep, and forty-seven feet across the proscenium.

The tempo then changes to Più lento and the key signature reverts to D major. The cellos introduce a new theme, which is quickly passed to the first violins: center As it too dies away like the opening theme, it gradually metamorphoses into a chorale-like theme in F minor, which is solemnly intoned by horns and woodwind in a slower tempo (un poco meno mosso): center This is developed at length, being joined in counterpoint with a variant of the second theme. The music finally dies away and silence ensues, bringing this opening section to a close in B minor. The second terrace of Ante-Purgatory is inhabited by the late repentant.

She established herself as a performer throughout the 1950s, winning the prestigious Queen's Prize in 1952, making her debut the following year at The Proms, the annual classical music series at London's Royal Albert Hall, and playing with notable musicians throughout Europe. Her career was overshadowed by the rise of Jacqueline du Pré in the 1960s and she concentrated on chamber music, being especially known for the Fleming Trio with pianist Bernard Roberts and violinist Manoug Parikian. She also became a pioneer of baroque cello music and "ground-breakingly, she became the first person this century to play Bach's Sixth suite in the manner its composer had intended." At times she owned cellos by Amati, Guarneri and Stradivari.Cozio.

Ranged behind the Malay ensemble is the Chinese ensemble of violins and double basses on high harmonics, plucked ‘cellos, piccolos, oboes, clarinets and piccolo clarinet, muted trumpet, harp, and various percussion. After a crescendo bass drum summons, these play a sequence of six slow hymns, such as would have accompanied the bi-annual sacrifices performed at the Temple of Confucius by the emperors of China since 195 B.C. Ching's version is drawn from the "Thirty-one Ceremonial Airs" by the Song dynasty composer Xiong Penglai (ca. 1246 – ca. 1323), who used a wider gamut (a heptatonic scale) and more interesting intervals than were to be allowed in the later Ming and Qing hymns.

Musically, "Speak to Me" is a piano ballad instrumentally complete with strings, booming drums and cellos and features lyrics in which the protagonist pleads for love. Upon its release, the song received critical acclaim from music critics most of whom praised its haunting and cinematic sound accompanied by the singer's trademark vocals. A music video for the song for which Lee collaborated with Howell was filmed at the same location as the movie, in Siena. It serves as a backstory to the movie and it features Lee singing the song and playing the piano in a gothic castle setting; shots of her walking at a garden with a boy are present throughout.

The strings > have some ticklish passages which would need to be worked on but written > with complete understanding and knowledge of the capabilities of the > instruments. The rhythmical structure offers no problems, the tunes are > catchy and pleasant and the orchestra players themselves would enjoy playing > the work—an impression I distinctly received from the orchestra at Asilomar > when we recorded it. On March 20, 1962, the Sacramento Symphony performed Comedy, with conductor Fritz Berens.Program of the Sacramento Symphony Orchestra, Season 1961-62, March 20, 1962 Leplin wrote four more orchestral works in the 1940s: Galaxy, for two solo cellos and orchestra (1942), Cosmos for violin and orchestra (1947), Incidental Music for Iphegenia of Sophocles, and Birdland (1948).

For three years (1961–1964) he also held a post in the Utah Symphony, which at the time consisted of part-time musicians. He also served an enlistment in the United States Army before marriage and his 1965 founding of a violinmaking shop, the Violin Making School of America, in which he made violins, cellos and violas. In 1972 he began accepting students, transforming the violinmaking shop into a true instructional laboratory. He later expanded this instruction to the fabrication of violin bows (1998), with the founding of the Bow Making School of America. He continued in these endeavors until his 2006 retirement, at which time he sold the school to a former student (graduated 1991), Charles Woolf.

In the Minuet, Haydn writes the movement as a canon between the higher voices (violins and oboes) and lower voices (violas and cellos) at an interval of a single bar. Haydn had written such a canon in the minuet of his third symphony and similar canons would be later be written into G major minuets by Michael Haydn and Mozart.HC Robbins Landon, _Haydn: Chronicle and Works_ , 5 vols, (Bloomington and London: Indiana University Press, 1976-) v. 1, _Haydn: the Early Years, 1732-1765_ Haydn himself would later develop this technique into the "Canones in Diapason" of the minuet of his Trauer Symphony and the "Witches Minuet" of his D minor string quartet from Op. 76.

The movement then unwinds, via a > cadenza-like passage for piano and harp alone to its end. > The finale is a fantasia in that its four sections do not relate to each > other, like the four sections of the first movement sonata allegro, but go > their own way. Section 1 is short and entirely introductory; section 2 is > the longest and is a close-knit set of variations on a ground; section 3 is > a very long melody which begins high up on violins and goes over at half-way > to cellos who take the line down to their bottom note, the C of the original > pounding C's'; section 4 is a coda of five gestures of farewell.

The B1 Orchestra, with a complement of 30, was effectively a big band with strings in the Billy May/Nelson Riddle style, with 5 saxes, 4 trumpets, 4 trombones, piano, guitar, bass, drums, 10 violins, 2 violas and 2 cellos. All the players in the sax section played one or more other instruments including flutes, piccolo, clarinets and different varieties of saxophones, and the pianist was surrounded by a celeste, an upright "jangle" piano and often an electric organ. This totals 31, as the guitar was an official "augmentation". This lineup was unofficially titled the Radio Showband by radio producers and music staff, as it had the same instrumentation as the BBC Showband of the late 1950s.

Arriving at Sha-ka-ree, the planet's five-note theme bears resemblance to Goldsmith's unicorn theme from Legend; "...the two melodies represent very similar ideas: lost innocence and the tragic impossibility of recapturing paradise," writes Bond. The music features cellos conveying a pious quality, while the appearance of "God" begins with string glissandos but turns to a dark rendition of Sybok's theme as its true nature is exposed. As the creature attacks Kirk, Spock and McCoy, the more aggressive Sybok theme takes on an attacking rhythm. When Spock appeals to the Klingons for help, the theme takes on a sensitive character before returning to a powerful sequence as the ship destroys the god-creature.

Since then, six other albums have been made, either with the entire collective or with individuals with collective support, such as Luciano Supervielle's solo album in 2004, produced by Santaolalla and Campodónico. This was followed by Bajofondo Remixed in 2005, with reworked versions of songs from Bajofondo Tango Club and Supervielle's album. In 2008, the album Mar Dulce was released and the name of the group shorted to just Bajofondo, as the idea was not just tango music as the base but all styles of Rio de la Plata regional music, such as milonga and candombe. In 2013, the Presente album has no guest vocals and strings play a more major role with eleven violins, four violas, three cellos and three stand-up basses.

According to Robert Palmer of Rolling Stone, "tempos were often slowed down in exchange for slower BPMs, while they expand its music and expressive range". The album was a change in Metallica's direction from the thrash metal style of the band's previous four studio albums towards a more commercial, heavy metal sound, but still had characteristics of thrash metal. Many fans consider the album to be a transition from the often ostentatious compositions of Metallica's previous releases to the slower, divested style of the band's later albums, where "old" and "new" Metallica are distinguished from one another. Instruments not usually used by heavy metal bands, such as the cellos in "The Unforgiven" and the orchestra in "Nothing Else Matters", were added at Rock's insistence.

As on their previous hit single, their new producer, Stuart Scharf, also employed session musicians to create the instrumental backing track while the group members provided lead and background vocals. This was the first hit they recorded in Los Angeles—all of their previous records were cut in New York with Jerry Ross producing. Session players on this recording included Max Bennett on bass; Larry Knechtel on piano; Mike Deasy on guitar; Hal Blaine on drums; Ralph Schaffer, Sid Sharp, Harry Bluestone, Marvin Limonick, Nathan Kaproff, William Hymanson and Mischa Russell on violins; Leonard Selic and David Burk on violas; Paul Bergstrom and Armand Kaproff on cellos; and Jules Chaikin on trumpet. Additional instruments were also played by Stuart Scharf, William Kurasch, and Robert Dorough.

In the 17th century, pieces scored for large instrumental ensemble did not precisely designate which instruments were to play which parts, as is the practice from the 19th century to the current period. When composers from the 17th century wrote pieces, they expected that these works would be performed by whatever group of musicians were available. To give one example, whereas the bassline in a 19th-century work is scored for cellos, double basses and other specific instruments, in a 17th-century work, a basso continuo part for a sinfonia would not specify which instruments would play the part. A performance of the piece might be done with a basso continuo group as small as a single cello and harpsichord.

Various types of wood are used to make a number of musical instruments such as guitars, violins, violas, cellos, contrabasses and large guitars, especially in Paracho, Ahuiran, Aranza, Cheranástico, Nurío and Paracho, which hosts the Feria de la Guitarra. An individual artisan completes the entire task from start to finish. Many of the wood carving activities are related to the making of items for religious purposes. These include images and masks, which are used for processions and dances. The use of masks dates back to the pre Hispanic era and today are used for dances such as Moors and Christians, the Devils, the Little Blacks, Los Viejitos, the Ranchers, the Hermits the Maringuias (men in women's dress) and Cúrpites (which means “eat together”).

MacinTalk 3 introduced a great variety of voices. Apart from the standard adult voices "Ralph", "Fred" and "Kathy", and children's voices like "Princess" and "Junior", various novelty voices were included, like "Whisper", "Zarvox" (a robotic voice with melodic background sounds, with a similar voice called "Trinoids" also included), "Cellos" (a voice that sung its text to an Edvard Grieg tune, with similarly-singing voices like "Good News", "Bad News", "Pipe Organ"), "Albert" (a hoarse- sounding voice), "Bells", "Boing", "Bubbles", and others. Each of these voices came with its own example text, that would be spoken when one hit the "Test" button in the Speech control panel. Some would just say their name, language and the version of MacinTalk they were introduced with.

Max Richter Performs Sleep Live for Eight Hours, Sets Guinness World Record on BBC Radio 3 Instead of chairs to sit in and watch the performance, audience members were given beds to sleep in. Richter played piano, keyboards, and electronics, and was joined by Grace Davidson (soprano), Reiad Chibah (viola), Natalia Bonner and Steve Morris (violins), and Ian Burdge and Chris Worsey (cellos). The album was also performed in its entirety at the Philharmonie de Paris, France, on November 18, 2017 from midnight to 8:00 AMMax Richter - Sleep . Sleep was performed for its first outdoor performance and largest performance to-date in Los Angeles, CA on July 27-28th and July 28-29th, 2018, starting shortly after 10:30pm.

Under the direction of Jamye Robinson, the Alief Taylor Colorguard utilizes dance and equipment such as flags, rifles, and sabres to perform during half-time shows at football games and competitions with the Roaring Lion Band. Alief Taylor has one of the most preeminent colorguards in the district despite its small team of only nine for the 2010 marching season, winning 1st Place Best Colorguard of Group IV A at USSBA Central Texas Regional on October 9, 2010 in Kyle, Texas. After football/marching season, Colorguard becomes Winterguard and performs at several indoor competitions against many other high schools in Texas. The Alief Taylor Orchestra, under the direction of Lester Lopez, consists of string players (violins, violas, cellos, and basses).

The third movement forms the core of the piece, taking the form of a dark, slow-building chaconne beginning with a ground bass in the cellos and violas. The rest of the orchestra joins the pattern with each repeat, setting in place a layered effect before a solo violin introduces a high, keening cantabile melody over the accumulated rhythmical tissue. The melody passes to a different member of the violin section with each repeat, as the other instruments continue to build the underlying structure. The melody is eventually subsumed beneath contrapuntal filigrees and trills from the rest of the violin section, disappearing almost entirely within the texture, and the movement ends abruptly once the theme has reached its peak and all instruments have been included.

The first movement, in B minor, opens in sonata form, softly in the strings, followed by a theme shared by the solo oboe and clarinet. A typically laconic Schubertian transition consists of just four measures for the two horns, effectively modulating to the subdominant parallel key of G major (measures 38–41). The second subject begins with a celebrated lyrical melody in that key, stated first by the cellos and then by the violins (sometimes drolly sung to Sigmund Spaeth's words as "This is ... the sym-phoneee ... that Schubert wrote but never fin-ished") to a gentle syncopated accompaniment. This is interrupted by a dramatic closing group alternating heavy tutti sforzandi interspersed with pauses and developmental variants of the G major melody, ending the exposition.

554 Another is Poppaea's aria "Ingannata", replaced during the run with another of extreme virtuosity, "Pur punir chi m'ha ingannata", either to emphasise Poppaea's new-found resolution at this juncture of the opera or, as is thought more likely, to flatter Scarabelli by giving her an additional opportunity to show off her vocal abilities. The instrumentation for Handel's score follows closely that of all his early operas: two recorders, two oboes, two trumpets, three violins, two cellos, viola, timpani, contrabassoon and harpsichord.Dean & Knapp, Appendix B By the standards of Handel's later London operas this scoring is light, but there are nevertheless what Dean and Knapp describe as "moments of splendour when Handel applies the full concerto grosso treatment".Dean & Knapp, p.

Some music is written in four-part harmony for small groups of four instruments, such as a string quartet, a brass quartet, or a woodwind quartet. For instance, string quartets sometimes feature four part harmonizations, with the violins playing the top two parts, the viola playing the tenor part, and the cello playing the bass part. However, due to most musical instruments covering more pitches than a typical human voice, a quartet might play some harmonies with very high notes or very low notes, rather than using the limited range of choral music. In larger orchestras or musical bands, some sections of instruments, such as violins, cellos, clarinets, flutes, trumpets, or French horns often have music written in four- part harmony.

The first level is Kramer's Music Store, where many instruments coming to life going after Wayne; these includes accordions, trombones, shooting floating bagpipes, clarinets that shoot missiles from off screen, drums, falling guitars, kazoos that charge in swarms, cellos that attack with bows, and saxophones. In the second level, Wayne finds himself shrank at Stan Mikita's Donut Shop, with enemies like donut monsters, coffee cups, grease, steam blasts, and falling sugar cups attacking him. What follows is the third level, Wayne and Garth's favorite nightclub named the Gasworks, where sentient objects continue to serve as enemies; these include darts, bar stools, shooting disco balls, "rock 'n roll boots," gas jets, "six-legged Beatles," and shooting Yellow Submarines. Wayne also faces human bouncers in the level.

If a string player has to play pizzicato for a long period of time, the performer may put down the bow. Violinists and violists may also hold the instrument in the "banjo position" (resting horizontally on the lap), and pluck the strings with the thumb of the right hand. This technique is rarely used, and usually only in movements which are pizzicato throughout. A technique similar to this, where the strings are actually strummed like a guitar, is called for in the 4th movement of Rimsky- Korsakov's Capriccio Espagnol (Scena e canto gitano), where the violins, violas and cellos are instructed to play pizzicato "quasi guitara", the music here consists of three- and four-note chords, which are fingered and strummed much like the instrument being imitated.

27 By dividing the orchestra into two equal and identical sections Tippett is able to play one off against the other, using syncopation and imitation to add further to the rhythmic vitality and propulsion of the music. This antiphonal effect is similar to that found in Renaissance and early Baroque choral music by composers such as Monteverdi and Gabrieli. The first movement (Allegro con brio) is in sonata form and contrasts a vigorous, driving theme in octaves with a more delicate, lightly scored idea on violins and cellos. The slow movement (Adagio cantabile) opens with one of Tippett's most affecting and heartfelt melodies for low solo violin, revealing the composer's deep love of Blues, especially the singing of Bessie Smith.

All About Jazz stated "For this project, he paired his quartet with a modified string quartet (violin, viola and two cellos) for a strong set of compositions. The "double quartet" is thoroughly integrated—this isn't a simple lush-string-backup horn session. As with writing for a singer or arranging well-known pop songs, Parker proves again that he's skilled at gathering the components needed for a project and then making excellent use of them".Gottschalk, K., All About Jazz review, June 8, 2008 Pitchfork's review observed "There are moments of sharp dissonance and unconventional technique-- strings played on the frog or with the back of the bow, saxes overblown and honked, but these are balanced by passages of strong forward momentum and clarity".

Within an oriental setting in high-walled gardens, the Sulamite, at first sad because of the absence of her loved one, soon feels his approach, calls him, sees him running and collapses finally in his arms in the longed-for ecstasy, among the delighted congratulations of her companions, happy with her good fortune. La Sulamite is scored for a large orchestra of piccolo, 2 flutes, oboe, cor anglais, 2 B flat clarinets, bass clarinet, 4 bassoons; 2 horns in F, 2 horns in E flat, 2 pistons in C, 2 trumpets in F, 3 trombones, tuba; timpani, antique cymbals in E flat, triangle, drum, bass drum, cymbals; 2 harps, violins, violas, cellos and double basses. The work lasts around 17 minutes.

Different placements of this tube along the string influence or eliminate the frequency at which the wolf occurs. It is essentially an attenuator that slightly shifts the natural frequency of the string (and/or instrument body) cutting down on the reverberation. An older device on cellos was a fifth string that could be tuned to the wolf frequency; fingering an octave above or below also attenuates the effect somewhat, as does the trick of squeezing with the knees. While it has been said that Lou Harrison wrote a piece (evidently reworked as the second movement of the Suite for Cello and Harp) that exploited the wolf specific to Seymour Barab's new cello, there is no clear evidence that this occurred.

Two further collections, each of six quartets by Telemann and with scorings that differ at least slightly from the quartets associated with Telemann’s 1737–38 visit, were published subsequently in Paris. In approximately 1746 to 1748, Le Clerc issued a collection of Six quatuors ou trios à 2 flûtes traversières ou 2 violons et à 2 violoncells ou 2 bassons, dont le second peut être entierement retranché, ou se joüer sur le clavessin (Six quartets or trios for two flutes or violins and two cellos or bassoon, the second of which may be omitted entirely or replaced with harpsichord). Like the Quadri, these were a reissue of a collection first published in Hamburg in 1733 . This was therefore the third collection of Telemann quartets published in Paris.

The cantata in structured in six movements, beginning with an aria for tenor (T), followed by two pairs of recitative and aria, one for bass (B), the other for the duet of soprano (S) and alto (A), and a concluding chorale when all four parts are united. As with several other cantatas on words by Franck, it is scored for a small Baroque chamber ensemble of two violins (Vl), viola (Va), two cellos (Vc) and basso continuo (Bc). In the following table of the movements, the scoring, keys and time signatures are taken from Alfred Dürr, using the symbol for common time (4/4). The instruments are shown separately for winds and strings, while the continuo, playing throughout, is not shown.

Workbook is the 1989 debut solo album by American guitarist and singer Bob Mould, following the breakup of the influential rock band Hüsker Dü. The album has a strong folk influence and lighter overall sound than he had been known for, although heavy guitar features occasionally. Drummer Anton Fier and bassist Tony Maimone, both of Pere Ubu fame, served as Mould's rhythm section on the album and on the subsequent live shows. The single "See a Little Light" was a hit on the US Modern Rock chart. The album has been influential in the alternative rock community: its acoustic elements would be echoed in R.E.M.'s 1992 album Automatic for the People, while Nirvana's 1993 album In Utero used cellos in a similar way.

The company initially manufactured only traditional folk instruments such as mandolins, tenor guitars and banjos, but eventually grew to make a wide variety of stringed instruments, including violins, cellos, double basses and a variety of different types of guitars, including electric, classical, lap steel and semi-acoustic models. Some of Kay's lower-grade instruments were marketed under the Knox and Kent brand names. In addition to manufacturing instruments for sale under its own brands, Kay was also a prolific manufacturer of "house branded" guitars and folk instruments for other Chicago-based instrument makers and, at times, for major department stores including Sears and Montgomery Ward. Kay also made guitar amplifiers, beginning with designs carried over from the old Stromberg company.

The concerto is in four movements and takes around half an hour to perform. The movement list is as follows: It was scored for three flutes, two oboes, one cor anglais, two clarinets, one bass clarinet, one contrabass clarinet, two bassoons, one contrabassoon, two horns in F, two trumpets in C, two trombones, timpani, a medium-sized percussion group formed by a vibraphone, a bass drum, a glockenspiel, a high-pitched log drum, a marimba, four tom-toms, one tam-tam, tuned gongs, and one large drumset, harp, celesta, and the usual set of strings, made up of twelve first violins, twelve second violins, ten violas, eight cellos, and eight double basses, apart from the main soloist, which is the violin.

The scene of the shooting of the training DVD took place in the Sakata Minato-za, Yamagata's first movie theatre, which had been closed since 2002. The soundtrack to Departures was by Joe Hisaishi, a composer who had gained international recognition for his work with Hayao Miyazaki and Studio Ghibli. Before shooting began, Takita asked him to prepare a soundtrack which would represent the separation between Daigo and his father, as well as the mortician's love for his wife. Owing to the importance of cellos and cello music in the narrative, Hisaishi emphasized the instrument in his soundtrack; he described the challenge of centring a score around the cello as one of the most difficult things he had ever done.

In 1929, Nicolas Slonimsky, conductor of the Boston Chamber Orchestra at that time, contacted Ives about the possibility of performing Three Places. Slonimsky had been urged by American composer Henry Cowell, Ives' contemporary, to program an Ives piece for some time and Three Places caught his attention. The thorough reworking required to transform Three Places from an orchestral score to one that could be performed by a much smaller chamber orchestra renewed Ives' interest in the work. Slonimsky required that the piece be rescored for 1 flute, 1 oboe, 1 English horn, 1 clarinet, 1 bassoon, 2 horns, 2 trumpets, 1 trombone, 1 percussionist, 1 piano, 7 violins, 2 violas, 2 cellos and 1 string bass, a much smaller orchestra than the original.

A collaboration between Victor Rasgaitis (guitar, vocals) and Talor Smith (cello, vocals), The Ridges formed at Ohio University in Athens, Ohio. The duo is supported live by a rotating cast of musicians adding classical and folk rock instruments ranging from cellos, violins, upright bass, and horns to banjo, mandolin, accordion, and drums. By augmenting their aggressive, high-energy performances with haunting, all- acoustic instrumentation, The Ridges craft their own unique brand of indie rock compositions. It’s a distinct sound that overflows with the dark romanticism of their ominous namesake — Athens' abandoned Victorian-style insane asylum where the band recorded their self-titled EP. Known for bringing an electrifying energy to acoustic music, MidPoint Music Festival called them "a rootsier, catchier Arcade Fire," while Daytrotter.

The woodwind add their pleas (dolente), and the music becomes louder and more agitated (gemendo). The horns join the fugue as it reaches its climax, at which point the music disintegrates into fragments and grows softer; but it soon finds its voice again and is worked up into a huge climax in F minor for full orchestra (grandioso) that is strikingly reminiscent of the opening movement of Berlioz's Requiem: center This liberatingJean-Pierre Barracelli (1982), p. 162. climax takes us through a series of sequences from F minor through G minor and G minor to E major. A brief transition ensues in which staccato triplets in the cellos and double basses are answered by static chords in the stopped horns and woodwind.

At the end of the development, new lyrical melodic material leads to a return of the main theme and a modulation back to E major. Thus, the recapitulation follows in fairly standard fashion at rehearsal 157; it brings back the same themes and firmly establishes E major. The coda at rehearsal 167, marked più tranquillo, again puts the main theme of the movement in the cellos and brings back the "Spirit of Delight" motive from the first movement, now heard in the woodwinds at a slower tempo at rehearsal 168. The movement ends peacefully, and Elgar, who had premiered his First Symphony and his Violin Concerto to "endless ovations", is said to have been disappointed by the less generous reception of the Second Symphony.

The dynamic markings added by Wilhelmj are more in line with a romantic interpretation than with the baroque original. As a violin can't play very loudly in its lowest register, all the other parts of Bach's music were firmly reduced in Wilhelmj's version: the keyboard part is to be played staccato and pianissimo, causing the effects of interweaving melodies and of drive in the bass part to get lost. The accompanying violins and violas play muted (con sordino), and the bass part for cellos and double basses is to be played pizzicato and , with the same change in effect compared to Bach's original. Later, a spurious story circulated that the melody was always intended to be played on the G string alone.

And then when I'm ready with the chord structure because I knew it would be for strings, I would take it to violins, violas, (and) cellos because I kind of wanted a lot of it to be in the strings. We actually saved it 'til last and I did several days of recording the strings. I had 30 players, and then I would do 2 sets of arrangements so basically there are, in theory, 60 because it needed that sort of panoramic feeling to have that sort of smooth, cream-like perfection." She described how the music needed to feel cyclical, "that it could go on forever" as a way to create "equilibrium, like the person who's singing this song is showing some sort of harmony to someone as an example.

In the development section of the opening movement of Beethoven's Piano Sonata in E minor, Beethoven demonstrates this influence by adding "a wonderful counterpoint" to one of the main themes.Schiff, A. (2006) "Guardian Lecture on Beethoven Piano Sonata in E minor, Op. 90, accessed 8 August 2019 Beethoven Piano Sonata Op. 90, first movement bars 110–113 Beethoven Piano Sonata Op. 90, first movement bars 110–113 A further example of fluid counterpoint in late Beethoven may be found in the first orchestral variation on the "Ode to Joy" theme in the last movement of Beethoven's Symphony No. 9, bars 116–123. The famous theme is heard on the violas and cellos, while "the basses add a bass-line whose sheer unpredictability gives the impression that it is being spontaneously improvised.

In awarding the recording 5 stars out of five, Robert Hugill praised the vocal writing, use of text, "daring" first-person approach, "striking and often colourful orchestrations" and the dramatic characterization of the chorus. He concluded that the piece "is easily overlooked ... there is much of interest in the piece and repeated listening has made me come to appreciate it rather more". Andrew Achenbach, in Gramophone, agreed: > The Light of the World … emerges after many decades of unjust neglect as a > splendidly distinctive, unstuffy achievement, brimful of captivating melodic > charm, communicative flair and technical confidence, always displaying an > enviably sure dramatic instinct. … Especially imaginative is Sullivan’s > deployment of an inner-orchestra to accompany the words of Jesus, the mellow > timbre of violas, cellos, cor anglais, bass clarinet and contrabassoon > registering to frequently ear-pricking effect.

There is an overlapping alteration of "Mist": a block chord of G-A-C-D around middle C, going up and down in semitones; and an unaccompanied "lonely" "Melody" from "the external world": a mostly pentatonic (Hungarian Old style(!)) melody with pitch inventory G-A-C-D-F (F once changed to leading tone F), unaccompanied and sometimes doubled at a distance of one or two octaves. At the end the block chord of G-A-C-D and that very chord but a semitone up (G-A-C-D) sound simultaneously. One of Bartók's most performed pieces is his Concerto for Orchestra. The opening bars present a theme of rising fourths in cellos and basses, answered by tremolando strings and fluttering flutes in Bartók's characteristic "Night music" style.

Little is known of his life other than the publication dates of his first three volumes of sonatas and the appearance of his name on the payroll of the Comédie Française in 1752 as cellist and bass player. According to Jules Bonnassies (La Musique à la Comédie Française (1774)) the same musicians were employed from 1752 until 1758 when Masse's name no longer appears on the record; given these dates and the dedication of Book I of the sonatas it is probable that he was employed there between at least 1736 and 1757. Masse published five volumes of sonatas. Book I (1736), dedicated to Messieurs les Comédiens Français, Book II (1739), dedicated to Monsieur Gaudion de le Grange Conseiller du Parlement, and Book V are for two cellos and basso continuo.

The Latin term itself—"harsh" or "difficult" (duriusculus) "step" or "passage" (passus)—originates in Christoph Bernhard's 17th century Tractatus compositionis augmentatus (1648–49), where it appears to refer to repeated melodic motion by semitone creating consecutive semitones. The term may also relate to the pianto associated with weeping. In the Baroque, Johann Sebastian Bach used it in his choral as well as his instrumental music, in the Well-Tempered Clavier, for example (the chromatic fourth is indicated by a red bracket), : 400px In operas of the Baroque and Classical, the chromatic fourth was often used in the bass and for woeful arias, often being called a "lament bass". In the penultimate pages of the first movement of Beethoven's Ninth Symphony, the chromatic fourth appears in the cellos and basses.

The conservatory of the Pietà hospital was the only hospital to remain active until approximately 1830. All the other hospitals completely closed their musical activity during the first years of the nineteenth century. From an instrument inventoryPio Stefano book dated 1790 we learn that during that year the Pietà hospital had still “four violins with used bows, four cellos, seventeen violins, two marine trumpets [this may in fact refer to violino in tromba marina, six small violas, two viola d’amore, two mandolines, two lutes, one theorbo, four hunting horns with accessories, two psalteries with harmonic box, two cymbals, three flutes, two big cymbals with spinets, six spinets. Jean-Jacques Rousseau's account of 1770 conveys his impressions but has been over-generalized as a description of the institution over an entire century.

Often taking advantage of their naïveté by fooling them into believing unrealistic things, she at one time convinced Haley and Luke that they could charge electronics by rubbing the battery on their heads (Haley) and putting it in their mouths (Luke). She also convinced Luke that he was actually Phil's old girlfriend's son and that Jay was dying. Ariel Winter portrays Alex Dunphy, one of the daughters As a stereotypical precocious kid, Alex displays a sense of superiority due to her intelligence, constantly putting her accomplishments on display and demanding recognition for them. An overachiever, she plays the cello; she chose to play the cello because she would have a better chance at being in a university orchestra than if she played the violin as cellos are more in demand.

In the mid 1990s Swan moved to the Scottish Borders and developed a second career as a woodworker (carpenter, cabinet maker and violin restorer).World Beat Music interview with Martin Swan (2001) , retrieved 7 December 2008Hinges pop-up on Mouth Music homepage, retrieved 7 December 2008 After cutting off the top of a finger with a woodworking machine in 2008, he decided to give up the large- scale carpentry and concentrate on restoring old violins. He soon became fascinated and exasperated by the variations in tonal quality of old violins and started researching the methods of Eastern European violin makers. This led to him designing a range of handmade violins, violas and cellos, travelling to Transylvania to choose tonewood and developing friendships with the Hungarian luthiers who now make the instruments for him.

In 2009 Icarus transferred their tour of Vincent in Brixton to three number one touring houses including the Yvonne Arnaud Theatre, Devonshire Park Theatre, and Theatre Royal Windsor. They also produced their first Shakespeare piece, a mid-scale tour of Othello using actor-musicians playing violins, violas, and cellos. Both these projects marked the beginning of our collaboration with Original Theatre Company with whom we later toured Journey’s End (Runner-Up, The Guide Awards, four stars in The Times, Manchester Evening News, and The Scotsman). In 2010 the company began with a highly sexual piece of new writing about a gay teenager in 1981 Northern Ireland, Rip Her to Shreds, and followed with over 100 performances of the second Shakespeare play, Hamlet, done in the style of Greek Chorus.

On a later occasion in Parma, he won another valuable violin (also by Guarneri) after a difficult sight-reading challenge from a man named Pasini. Il Cannone Guarnerius on exhibit at the Palazzo Doria-Tursi in Genoa, Italy Other instruments associated with Paganini include the Antonio Amati 1600, the Nicolò Amati 1657, the Paganini-Desaint 1680 Stradivari, the Guarneri-filius Andrea 1706, the Le Brun 1712 Stradivari, the Vuillaume c. 1720 Bergonzi, the Hubay 1726 Stradivari, and the Comte Cozio di Salabue 1727 violins; the Countess of Flanders 1582 da Salò-di Bertolotti, and the Mendelssohn 1731 Stradivari violas; the Piatti 1700 Goffriller, the Stanlein 1707 Stradivari, and the Ladenburg 1736 Stradivari cellos; and the Grobert of Mirecourt 1820 (guitar). Four of these instruments were played by the Tokyo String Quartet.

Stephen Thompson at NPR said of Half-Made Man that it "positively soars, with cellos used to feed the drama and fuel Sollee's ruminations in the pursuit of meaning in modern life." During the period March 3–23, 2012, Sollee conducted his first solo tour of Australia, which included individual shows as well as performances in the Port Fairy Folk Festival (Victoria, March 10–12), the Brunswick Music Festival (Brunswick, March 16), the Mossvale Music Festival (Victoria, March 17), and the Blue Mountains Music Festival (Katoomba, March 18). On May 7, in one of his many collaborations, Sollee performed as a guest of the Portland Cello Project in a show at Centre College in Danville, Kentucky. In June he served on the faculty at the 2012 Mark O'Connor Summer String Program in Boston.

The Violin Forms of Antonio Stradivari (1992) contains life-size photographs of all of the extant wood forms and patterns used by Stradivari in the construction of his violins, violas, and cellos, and includes an analysis of their geometry. It was described by one reviewer as "the standard work on the evolution of Stradivarius's designs."Giles Whittell, The Times, October 27, 2000 Giuseppe Guarneri del Gesù (1994) features 200 life-size color photographs taken by Pollens and complete technical documentation of the twenty-five Guarneri violins that were displayed in the "Masterpieces of Giuseppe Guarneri del Gesù" exhibition held at The Metropolitan Museum of Art in 1994. Containing newly discovered biographical and historical information, this is the most thorough study to date of this great maker and his work.

The works performed included two works by Contreras (the Sonata for Violin and Cello and Danza for piano) and two by Moncayo (the Sonatina for piano and Amatzinac, for flute and string quartet) (; ; ; ; ). A newspaper review of this concert, published two days later, referred them as the "Grupo de los Cuatro", with deliberate reference to the Russian "Mighty Five" and French "Les Six" , and they adopted this as their name for their following concert on 26 March 1936 at the Teatro de Orientación (; ). Their next program was a workers' concert, given on 17 June 1936, followed by their second "official" concert under the new name, on 15 October 1936. This included the Quartet for four cellos by Galindo and two works by Moncayo: the Sonatina for violin and piano, and Romanza for piano trio (; ; ).

The work commences with an extended introduction in the key of A major with shimmering (tremolo) violins and a horn spelling out the familiar waltz theme, answered by staccato wind chords, in a subdued mood. It rises briefly into a loud passage but quickly dies down into the same restful nature of the opening bars. A contrasting and quick phrase in D major anticipates the waltz before three quiet downward-moving bass notes "usher in" the first principal waltz melody. The first waltz theme is a familiar gently rising triad motif played by cellos and horns in the tonic (D major), accompanied by the harp; the Viennese waltz beat is accentuated at the end of each 3-note phrase. The Waltz 1A triumphantly ends its rounds of the motif, and waltz 1B follows in the same key; the genial mood is still apparent.

On March 14, 2014, at the South by Southwest festival in Austin, Texas, Yoshiki performed a duet piano piece during his concert at the Qui Restaurant; one part played by him, and the other played by a hologram of himself. On April 25, Yoshiki started his first classical world tour in Costa Mesa, California, and continued throughout the world, visiting San Francisco, Mexico City, Moscow, Berlin, Paris, London, Shanghai, Beijing, Bangkok, Taipei, Tokyo and Osaka. The tour setup featured Yoshiki on piano, several strings as cellos and viola, and vocalist Katie Fitzgerald from Violet UK. Performances included classical versions of songs he composed, as well depending on the venue, some famous composers like Tchaikovsky. For an upcoming Japanese 3D CG animated film Saint Seiya: Legend of Sanctuary, Yoshiki contributed theme song "Hero" and it was unveiled on the tour.

Initial sketch for the theme, found in a letter dated 7 August 1829 to his sister Fanny (original in the Music Division of the New York Public Library for the Performing Arts) The music, though labelled as an overture, is intended to stand as a complete work. Although programme music, it does not tell a specific story and is not "about" anything; instead, the piece depicts a mood and "sets a scene", making it an early example of such musical tone poems. The overture consists of two primary themes; the opening notes of the overture state the theme Mendelssohn wrote while visiting the cave, and is played initially by the violas, cellos, and bassoons. This lyrical theme, suggestive of the power and stunning beauty of the cave, is intended to develop feelings of loneliness and solitude.

The overture, often played outside the context of the complete work in orchestral concerts, mostly consists of themes from the opera, including the Chorus of Hebrew Slaves and the warlike music when the Israelites curse Ismaele for his betrayal. A stage band is used extensively in the opera, both for the march accompanying Nabucco on his arrival and for Fenena's funeral march. Propulsive energetic rhythms are a notable feature of much of the music, contrasted with more lyrical moments, providing dramatic pace. Both the bass Zaccaria in his prayer "Vieni o Levita", a quiet piece with the unusual accompaniment of six cellos, and the baritone Nabucco in his mad scene and other passages, are given music of great expressiveness, providing outstanding opportunities for the singers, but the tenor role of Ismaele is comparatively minor, unusual for a Verdi opera.

Elgar quotes Polish patriotic songs, the Polish National Anthem, and themes by Chopin and Paderewski, integrating with them a theme of his own, said to be the motive of his admiration for the Polish people. The first theme that Elgar uses is heard, after an introductory flourish, played by the bassoons. It is a quote from the Warszawianka, which has the words "Śmiało podnieśmy sztandar nasz w górę" ("Bravely let us raise our flag"). This is immediately followed by a Nobilmente theme (Elgar's own), broadly stated then dying away to lead to the second national theme which is the dignified "Chorał" or "Z dymem pożarów" ("With the smoke of fires"), first played simply by the cellos (with a cor anglais) and a harp, later by the woodwind with a violin countermelody, before being played by the full orchestra.

The Pythian Temple Sessions. superoldies.com. The musicians were Al Caiola (guitar); Sanford Block (bass); Ernie Hayes (piano); Doris Johnson (harp); Abraham Richman (saxophone); Clifford Leeman (drums); Sylvan Shulman, Leo Kruczek, Leonard Posner, Irving Spice, Ray Free, Herbert Bourne, Julius Held and Paul Winter (violins); David Schwartz and Howard Kay (violas); and Maurice Brown and Maurice Bialkin (cellos). Although Holly's widow, Maria Elena Holly, claims that the song was written for her as a wedding gift, a listing of producer Norman Petty's productions claims that Vi Petty, Norman's wife, recorded the first version of this song on June 4, 1958—two weeks prior to Buddy's first meeting with Maria. Holly biographer Bill Griggs points out that the melody borrows heavily from the gospel song "I'll Be All Right," a favorite of Holly's, and one that would be played at his funeral in 1959.

The group's first tour was as main support for Buckethead on his west coast USA tour in December 2008.Campbell, Brett, Eugene Weekly, December 27, 2008 In spring 2009, the group toured as main support for Alexi Murdoch, also on the west coast.VanDragt, Braden, Seattle Weekly, "Alexi Murdoch at The Vera Project", April 5, 2009 The group's first national US and Canadian tour was with Thao with the Get Down Stay Down in fall 2009. Since 2009 the group has gone on numerous headlining tours, and played a wide variety of venues, from punk clubs like Dempsey's in Fargo, North Dakota, to the Bowery Ballroom in New York City, to concert halls like the Alaska Center for the Performing ArtsDunham, Mike, The Anchorage Daily News, "Chillin' with Cellos", March 12, 2011 and Millennium Park in Chicago.

The album began as a demonstration record for the 'Gizmotron', or Gizmo. This was an electric guitar effect device that Godley and Creme had invented a few years earlier as a means of providing orchestral textures, because the band at that stage could not afford to hire orchestral players to augment their recordings. The Gizmo was an electro-mechanical device which was clamped over the bridge of an electric guitar; it contained six small motor-driven toothed plastic wheels that, when pushed into contact with the strings, created a 'bowing' effect, producing notes and chords with endless sustain that, with additional audio effects treatment and overdubbing, could emulate violins, violas, cellos and basses. Godley and Creme had begun work on songs for the Gizmo before leaving 10cc, but quit the band when they realised the songs could not comfortably appear on 10cc albums.

After the whole orchestra has been effectively taken to pieces in this way, it is reassembled using an original fugue which starts with the piccolo, followed by all the woodwinds, strings, brass and percussion in turn. Once everyone has entered, the brass are re-introduced (with a strike on the tamtam) with Purcell's original melody. The sections of the piece and instruments introduced by the variations are as follows. ;Theme: Allegro maestoso e largamente :Tutti (D minor), woodwinds (F major), brass (E♭ major), strings (G minor), then percussion (written in A major) ;Variation A: Presto :Flutes and Piccolo ;Variation B: Lento :Oboes ;Variation C: Moderato :Clarinets ;Variation D: Allegro alla marcia :Bassoons ;Variation E: Brillante: alla polacca :Violins ;Variation F: Meno mosso :Violas ;Variation G: Lusingando :Cellos ;Variation H: Cominciando lento ma poco a poco accel.

At length, the dynamic suddenly softens to pianissimo and a new mood is created, where small motivic fragments are quietly passed between instruments in the orchestra above low string pizzicato – the effect is of mysterious, pulsating energy (the tempo remains Allegro). Intensity and urgency is gradually built up again, though the dynamic feels suppressed. A crescendo is built up until a new passage of energy is released, where a fast motive based on the note D is obsessively repeated, initially in the first violins and later passed to the woodwinds, above a dramatic tremolo from the violas and cellos. The woodwinds and brass play harmonic fragments, often juxtaposing major thirds in a high register above the darkly dissonant harmonic texture. All this energy culminates in a huge fugato (based on material already present), marked ‘Intensivo’, which breaks away from the harmonic field.

In 1972, as part of a revamp of the light orchestras, the BBC changed the structure of the orchestra, to match its London counterpart, the BBC Radio Orchestra, a large studio orchestra of around 65 players which included a full Big Band and symphonic sized wind and strings. This was a grouping that could be used in its entirety or broken down into a series of flexible ensembles prefixed A-E. The New Scottish Radio Orchestra's instrumentation, classified B1, B2 and C1 to match its London counterparts, had a full complement of 32, and was a big band with strings in the Billy May/Nelson Riddle style. The full ensemble was classified as the B1 Orchestra, comprising 5 saxes, flute, 4 trumpets, 4 trombones, piano, guitar, bass, drums, percussion, 10 violins, 2 violas and 2 cellos.

The piece is written for two oboes, bassoon, two horns (in A and E), and strings (violins in two sections (four in the final Adagio), violas, cellos and double basses). The turbulent first movement of the work opens in a manner typical of Haydn's Sturm und Drang period, with descending minor arpeggios in the first violins against syncopated notes in the second violins and held chords in the winds. The movement can be explained structurally in terms of sonata form, but it departs from the standard model in a number of ways (just before the recapitulation, for example, new material is introduced, which might have been used as the second subject in the exposition in a more conventional work). Also, the exposition moves to C minor, the dominant minor, rather than the more usual relative major.

Star-Child was commissioned by the Ford Foundation and written in 1977. It is Crumb’s largest work and requires 47 instrumentalists as well as many vocalists. It calls for soprano, antiphonal children’s voices, male speaking choir, bell ringers, and large orchestra.Bruns Originally, the orchestra members spoke as well as played, and the children’s choir also played the handbells, but this was later revised in 1979 to the current personnel list.Borroff The current personnel lists calls for 4 flutes (also playing 4 piccolos), 4 oboes (1 doubling on English horn), 3 clarinets in Bb, 1 clarinet in Eb, 3 bassoons, 1 contrabassoon, 6 french horns, 5 trumpets in C, 2 trumpets in D, 3 trombones, 1 tuba, 8 percussionists, 1 organ, 1 solo soprano, children's voices I and II (SASA), male speaking choir playing handbells, violins I, violins II, violas, cellos, and contrabasses.

Haydn's musical setting stems from a suggestion of van Swieten's that the words should be sung by the bass soloist over an unadorned bass line. However, he only partly followed this suggestion, and after pondering, added to his bass line a rich layer of four-part harmony for divided cellos and violas, crucial to the final result.Of the passage, Rosemary Hughes writes (1970, 135), "Only a profoundly experienced, as well as profoundly inspired, musician could have endowed the recitative 'Be fruitful all' with the shrouded depth and richness suggested by its accompaniment of divided lower strings alone." The premieres of the three oratorios The Seven Last Words, The Creation and The Seasons all took place under the auspices of the Gesellschaft der Associierten, who also provided financial guarantees needed for Haydn to undertake long-term projects.

In 1968, Roy Wood — guitarist, vocalist and songwriter of the Move — had an idea to form a new band that would use violins, cellos, string basses, horns and woodwinds to give their music a classical sound, taking rock music in the direction to "pick up where the Beatles left off". The orchestral instruments would be the main focus, rather than the guitars. Jeff Lynne, frontman of fellow Birmingham group the Idle Race, was excited by the concept. When Trevor Burton left the Move in February 1969, Lynne was asked by Wood to join, only to say no, as he was still focused on finding success with his band. But in January 1970, when Carl Wayne quit the band, Lynne accepted Wood's second invitation to join, on the condition that they focus their energy on the new project.

Recorded in 1970–71 at the same time that the Move was also laying down tracks for the first Electric Light Orchestra album (even during some of the same sessions), there are inevitably some similarities in style between the two albums, especially the heavy use of "tracking up" (overdubbing) to capture all of the instruments being played by Roy Wood and Jeff Lynne. Nevertheless, Wood and Lynne were determined to maintain some differentiation between the sound of their two groups (for example, by confining Wood's saxophones to Message and the cellos to ELO debut respectively). The lengthy sessions for this album mostly involved only Wood and Lynne, because of all the overdubbing. As a result, during these sessions, bassist Rick Price quit The Move after he realised he was no longer needed, reducing it to a trio.

Bowed instruments may have originated in the equestrian cultures of Central Asia, an example being the Kobyz (Kazakh: қобыз) or kyl-kobyz is an ancient Turkic, Kazakh string instrument or Mongolian instrument Morin huur:Turkic and Mongolian horsemen from Inner Asia were probably the world’s earliest fiddlers. Their two-stringed upright fiddles were strung with horsehair strings, played with horsehair bows, and often feature a carved horse’s head at the end of the neck. ... The violins, violas, and cellos we play today, and whose bows are still strung with horsehair, are a legacy of the nomads.[3] It is believed that these instruments eventually spread to China, India, the Byzantine Empire and the Middle East, where they developed into instruments such as the erhu in China, the rebab in the Middle East, the lyra in the Byzantine Empire and the esraj in India.

Lydia Kavina, protégée of Leon Theremin and instructor to other thereminists, in 2005 Concert composers who have written for theremin include Bohuslav Martinů, Percy Grainger, Christian Wolff, Joseph Schillinger, Moritz Eggert, Iraida Yusupova, Jorge Antunes, Vladimir Komarov, Anis Fuleihan, and Fazıl Say. Another large-scale theremin concerto is Kalevi Aho's Concerto for Theremin and Chamber Orchestra "Eight Seasons" (2011), written for Carolina Eyck. Edgard Varèse completed the composition ‘’Equatorial’’ for two Theremin Cellos and percussion in 1934. His work was a stated influence throughout the career of Frank Zappa who subsequently composed classical style music for electronic orchestra in his post-rock career. Maverick composer Percy Grainger chose to use ensembles of four or six theremins (in preference to a string quartet) for his two earliest experimental Free Music compositions (1935–37) because of the instrument's complete 'gliding' freedom of pitch.

Kennedy was a prolific maker, working in various grades, from unpurfled instruments with thin dark and cracked varnish to distinguished and superbly finished instruments with a fine transparent spirit varnish.The Brompton's Book of Violin and Bow Makers, John Dilworth, London 2012 He was well known to experiment and built some of his instruments with the bass-bar and the table carved out of a single slab of wood, in opposition to his prime work where the bar was glued on the inside of the table, like the Italian masters did.Willibald Leo Lütgendorff (de), Die Geigen und Lautenmacher vom Mittelalter bis zur Gegenwart, Frankfurt am Main, 1922 (In German) Today, very few instruments still bear the original design however, as most were restored or upgraded. His cellos are best known, and are often prized as soloists instruments.

In his review of the album, Falling James of LA Weekly referred to Creager's "real-life horror of losing much of her life's work to a particularly invasive and controlling stalker" and said that "her new songs might be disguised with typically cryptic titles [...], but an unsettling sense of dread and mystery unfolds with every dark rustle of those feverishly restless cellos". Meanwhile, Geoffrey Plant of Weekly Alibi said that "while [it] doesn't rock as hard as some of the previous Rasputina releases, the durable and more avant-garde Unknown is of the highest cello- rock quality". While lauding the band's 2007 release Oh Perilous World as being their "most essential" album, a writer for New York Music Daily said of Unknown, "this is a masterpiece in its own right – and a strong contender for best release of 2015".

Parker was raised on Long Island, New York and made his first guitar (out of wood and cardboard) at the age of 13. In his early 20s, after studying various aspects of tool-making and woodworking, he worked in a grandfather clock factory in a Rochester, New York and began building stringed instruments while working with the furniture-maker Richard Newman. Guitar lessons further sparked his interest in the instrument and in the 1970s he returned to the New York City area where he began working with a lute maker on Long Island. He then worked at Stuyvesant Music in Manhattan repairing string instruments. From 1983 had his own shop where he worked on the development and construction of violins, cellos, and especially Renaissance lutes.Freeth, Nick (2007). Classic Guitars: Identification and Price Guide, p. 219. Krause PublicationsBaker, Rorick (January 2009).

The mass is scored for a quartet of vocal soloists, a substantial chorus, and the full orchestra, and each at times is used in virtuosic, textural, and melodic capacities. The orchestra consists 2 flutes; 2 oboes, 2 clarinets (in A, C, and B); 2 bassoons; contrabassoon; 4 horns (in D, E, B basso, E, and G); 2 trumpets (D, B, and C); alto, tenor, and bass trombone; timpani; organ continuo; strings (violins I and II, violas, cellos, and basses); soprano, alto, tenor, and bass soloists; and mixed choir. The writing displays Beethoven's characteristic disregard for the performer, and is in several places both technically and physically exacting, with many sudden changes of dynamic, metre and tempo. This is consistent throughout, starting with the opening Kyrie where the syllables Ky-ri are delivered either forte or with sforzando, but the final e is piano.

This brilliant composition opens with what may be taken as its principal theme, inasmuch as it furnishes most of the material for the development, and also reappears in the last movement as a climax to the whole work. The announcement of this resolute subject (by flutes, oboes, clarinets and bassoons accompanied lightly by horns, violas, cellos and contrabasses) is followed by a short solo cadenza, after which the unfolding of the musical picture begins. As this proceeds, several subsidiary melodies come to notice, prominent among them being one which (while hinted at before) does not assume its formal shape until given out, grazioso, by the pianoforte alone following a short upward chromatic scale passage. This graceful subject also figures conspicuously in the development which, after passing through a succession of interesting stages, culminates finally in a rousing climax.

In October 1998, the band released the second studio album, Polyester, composed of material written during the decade- spanning band career, the musical orientation from the previous release, with a special accent given to string arrangements. The album was produced by Đorđe Petrović, and guest appearances on the album featured Galina Kuzmanović, who played violin on the track "La petit folie" ("A Tiny Madness"), and did vocals and backing vocals, and Kristali trumpet player Nenad Potje. A promotional video was recorded for the track "Sjaj" ("Glow"), once again directed by Ivan Markov, becoming a nationwide hit. The album release was followed by a large media promotion and a tour during which the band had performed accompanied by a string section consisting of five violins and two cellos as well as a brass section featuring a saxophone and a trombone.

Polymorphia is a musical composition for 48 string instruments (twenty-four violins and eight each of violas, cellos and basses) composed by the Polish composer Krzysztof Penderecki in 1961. The piece was commissioned by the North German Radio Hamburg. It premiered on April 16, 1962 by the radio orchestra and was conducted by Andrzej Markowski. Polymorphia is dedicated to Hermann Moeck, the first of Penderecki’s editors in the West. At the end of the 1950s and in the early 1960s (Penderecki’s post student years), he sought out new sonic and technical possibilities of instruments, particularly strings,Danuta Mirka, The Sonoristic Structuralism of Krzysztof Penderecki(Katowice: Music Academy in Katowice, 1997), 8 & 318–320 by unconventional means of articulation and peculiar treatment of sound-pitch.Regina Chlopicka, “Stylistic Phrases in the Work of Krzysztof Penderecki.” Studies in Penderecki vol.1, ed.

" Due to his schedule and the style of the score, Paesano ultimately used mostly electronic sounds and music, but did try to add acoustic instruments, such as cellos, where possible to have more of a hybrid sound, often using these in non-traditional ways. Instead of more traditional percussion, Paesano used a low pulse throughout the series, emulating a heartbeat since the titular character often listens to people's heartbeats with his heightened senses. Paesano took inspiration from James Newton Howard's Michael Clayton score for the series' lawyer-oriented scenes. On returning for the series' second season, with new showrunners Douglas Petrie and Marco Ramirez (who had worked with DeKnight on the first season), Paesano felt that the two "really were true to what we were trying to do" with the first season, but the score still changed to reflect the new elements of season two "that we had to acknowledge.

Arda () is a Russian heavy metal band that was formed in 2000 in Moscow, by vocalist Pavel Okunev (ex-Epidemia). Band made its breakthrough releasing their debut album «О скитаниях вечных и о земле» (2004) and mini-album «Экзорцист» (2005), with popular songs Egzorcist, Taet sneg, Mrak, Pervaya zima, Net nikogo, Krilyataya tma, Radi zvezd and Tolyko pilj. In 2007 they released their next studio album called «Море исчезающих времён» followed by EP «В небо» in 2009 and EP «Холод» in 2010. In 2011 Pavel Okunev changed all bandmembers and with new cast released full length albums "Там где земля становится морем" (2014) and "Северный Крест" (2017) and numerous singles and EP's: "Перерождение" (2011), "Полярная Звезда" (2013), "Мёртвая Вода" (2015) and "Экзорцист X" (2016) At october 2017 band released their first acoustic EP "Не угаснет надежда" which consists of 3 songs recorded with violin, cellos and percussion.

The symphony is scored for flute, two oboes, two bassoons, two horns and strings and is in the typical four movements: #Allegro spiritoso #Adagio #Menuetto #Finale: Presto The first movement opens with a theme in the cellos accompanied by tremolos in the strings evoking a strong sense of Sturm und Drang. After the second theme provides a brief respite in the relative major, the music becomes turbulent as it transitions again. What follows is a very striking expositional coda which is a light, dancing theme featuring Lombard rhythms and scored for solo flute and first violin against a pizzicato bass. The development begins with a quirky coda theme in the remote key of D flat major and then slowly works it up the scale until it reaches A major followed by another grand pause and then the theme is repeated again in the relative major of F major.

The native operating system of the PlayStation 3 is CellOS, which is believed to be a fork of FreeBSD; TCP/IP stack fingerprinting identifies a PlayStation 3 as running FreeBSD, and the PlayStation 3 is known to contain code from FreeBSD and NetBSD. The 3D computer graphics API software used in the PlayStation 3 is LibGCM and PSGL, based on OpenGL ES and Nvidia's Cg. LibGCM is a low level API, and PSGL is a higher level API, but most developers preferred to use libGCM due to higher levels of performance. This is similar to the later PlayStation 4 console which also has two APIs, the low level GNM and the higher level GNMX. Unlike the Software Development Kit (SDK) for mobile apps, Sony's PlayStation 3 SDK is only available to registered game development companies and contains software tools and an integrated hardware component.

Many guitar makers are now making a "scalloped cutaway" which was popularized by Irron R. Collins IV. This removes material on the backside of the "horn" allowing extended room for the fretting hand to get extended reach onto the higher notes of the fretboard. Some shred guitarists, such as Scorpions' Ulrich Roth, have used custom-made tremolo bars and developed modified instruments, such as Roth's "Sky Guitar, that would greatly expand his instrumental range, enabling him to reach notes previously reserved in the string world for cellos and violins." Some shred guitar players use seven or eight string guitars to allow a greater range of notes, such as Steve Vai. Most shred guitar players use a range of effects such as distortion and audio compression units, both of which increase sustain and facilitate the performance of shred techniques such as tapping, hammer-ons, and pull-offs.

243 D'Indy, who was among the group, recorded that Chabrier was moved to tears at hearing the music, saying of the prelude, "I have waited ten years of my life to hear that A in the cellos".Prod'homme, p, 453 This event led Chabrier to conclude that he must single-mindedly pursue his vocation as a composer, and after several periods of absence he left the Ministry of the Interior in late 1880. In a 2001 study, Steven Huebner writes that there may have been additional factors in Chabrier's decision: "the growing momentum of his musical career … his high hopes for the Gwendoline project, and the first signs of a nervous disorder, probably the result of a syphilitic condition, that would claim his life 14 years later." The project to which Huebner refers was the operatic tragedy Gwendoline, on which Chabrier had begun working in 1879.

Bloch recounts about the work in 1932, which he describes as ”psychoanalysis” of his unconscious creative process, stating that the solo cello in Schelomo is the incarnation of King Solomon and that the orchestra represents the world around him, as well as his experiences in life. In addition, he also states that sometimes the orchestra reflects the thoughts of Solomon while the solo cello expresses his words. Schelomo is divided into three sections, with each section separated by the use of different textures and themes in cyclic form. Schelomo is scored for three flutes, two oboes, English horn, two clarinets in Bb, bass clarinet, two bassoons, contrabassoon, four horns in F, three trumpets in C, three trombones, tuba, timpani, tambourine, snare-drum, bass-drum, cymbals, tam-tam, celesta, two harps, violins (at least twelve players), violas (at least ten), cellos (at least six), basses (at least four).

London, Secker & Warburg. Later, during the opening scene of the first act of Parsifal, Wagner offsets the bold brass with gentler strings, showing that the same musical material feels very different when passed between contrasting families of instruments:Contrasting orchestral groups from the Prelude to the first Act of ParsifalContrasting orchestral groups from the Prelude to first Act of Parsifal On the other hand, the prelude to the opera Tristan and Isolde exemplifies the variety that Wagner could extract through combining instruments from different orchestral families with his precise markings of dynamics and articulation. In the opening phrase, the cellos are supported by wind instruments: Wagner, Tristan Prelude, openingWagner, Tristan prelude, opening. When this idea returns towards the end of the prelude, the instrumental colors are varied subtly, with sounds that were new to the 19th century orchestra, such as the cor anglais and the bass clarinet.

Also, most of the other major Cremonese luthiers died soon after Stradivari, putting an end to the golden period of Cremona's violin making, which lasted more than 150 years, starting with the Amatis and ending with the Cerutis. The Cremonese maker Vincenzo Rugeri (1663–1719), while staying true to the Grand Amati Pattern by Nicolo Amati, was influenced by Stradivari in that he adopted a somewhat lower arch consistent with Stradivarian ideals. Members of the Gagliano family such as Gennaro and Nicolo made excellent copies of the instruments in the 1740s, though the only similarity to Stradivari's instruments were the execution of the form and arching as well as consistently fine and detailed varnish. Nicolo would usually use the forma B model for his cellos and as the quality of the output steadily declined within the family, the Stradivari models were almost abandoned in Naples.

Even though the music on this recording sounds conventionally written out, Fisher actually wrote the music in graphic notation instead of conventional notation, which means that the players had to learn to read music that was timed by seconds instead of metric beats. Because the music was graphically written, there were many possibilities for interpretation open to the players. As well as composed music, there were places in the score that Fischer left open for Zawinul and other players to improvise.The origins and development of the use of violins, violas, and cellos in jazz in the United States of America / Sonya Ruth Lawson, PhD dissertation 2003 The instrumentation for this album was unique in that Zawinul and Fischer chose to use three violas and one cellist for the string ensemble, thereby straying far from the prototype of a jazz string ensemble, which until this point had always included a violin.

The orchestra consists of 2 flutes, 2 piccolos, 2 oboes, cor anglais, 2 clarinets, bass clarinet, 2 bassoons, contrabassoon, 5 horns, 3 trumpets, 3 trombones, tuba, timpani (five drums in total) with a large percussion section for 3 players as well as 12 first violins, 10 second violins, 8 violas, 6 cellos, 4 double basses. The first percussionist plays glockenspiel, vibraphone (with two double bass bows), triangle, whistle, geophone, whip, tambourine, 1 bodrán, bass drum, 2 Peking gongs. The second percussionist plays the same glockenspiel as the first percussionist, tubular bells, the same geophone as the first percussionist, 5 wood blocks (graded), anvil, snare drum and suspended cymbal. The third percussionist plays 2 chromatic octaves of crotales (with two double bass bows), 5 tuned gongs (one large, three medium and one small), güiro, vibraslap, 1 metal sheet, tenor drum, a pair of crash cymbals and tam-tam.

A typical symphony at this time was written for a pairs of oboes and horns and strings, but the Eisenstadt orchestra had recently taken on two new horn players, and Haydn wrote this symphony for an expanded ensemble of one flute, two oboes, four horns, timpani and strings (violins divided into firsts and seconds, violas, cellos and double basses), with bassoon doubling the bass-line. The timpani part in the autograph score is not in Haydn's hand, but it is quite possibly authentic: he may have written it on a separate sheet, with somebody else adding it to the score at a later date. #Allegro molto, #Adagio cantabile in G major, #Menuet & Trio (Trio in G major), #Finale. Allegro molto, The first movement opens with held chords in the winds and the strings playing a simple figure based on an arpeggio: :Image:Haydn- symph-13-opening.

While he wrote works in several different genres, including symphonies, orchestral overtures, operas, piano works, and chamber music, it is his choral works which received the most attention. However, today he is primarily remembered for his String Sextet in D Major, Op. 68. This string sextet was known as the “Prize Sextet” because Krug won the Stelzner Prize for chamber music with this composition. The Prize Sextet was originally for 2 Violins, Viola, Violotta, Cello and Cellone, but the publisher of the work (Fritz Kistner) wisely hedged his bets and produced an edition for the standard combination of 2 Violins, 2 Violas and 2 Cellos in addition to the so-called Stelzner version. Of this work, Wilhelm Altmann, the famous chamber music critic, has written: > “If not a masterpiece of the highest order from start to finish, Krug’s > Sextet nonetheless comes away with high honors.

For the tribal theme, they experimented with bows on piano wire and resonator guitars (with layered tracks of harmonicas on top of the latter) and playing cellos with plectrums or the back of a bow to convey how contemporary instruments would be played by someone to whom the instruments were unknown; de Man also used a contrabass flute and made synth pads from blowing on a Thai bamboo flute, noting "distant pads and ambiences, and wide, spread out chords seemed to work well". Circuit-bent synthesizers and percussive loops, run through impulse responses of metal and iron being beaten, were devoted to making a thematic identifier for the machines based on technology and metal. Van Tol required that the music be supplied in stems so that different pieces could be combined. The positive response to the first E3 trailer's main theme led it to be included in the main menu.

For the ballroom scene at the end of the first act, Mozart calls for two onstage ensembles to play separate dance music in synchronization with the pit orchestra, each of the three groups playing in its own metre (a 3/4 minuet, a 2/4 contradanse and a fast 3/8 peasant dance), accompanying the dancing of the principal characters. In act 2, Giovanni is seen to play the mandolin, accompanied by pizzicato strings. In the same act, two of the Commendatore's interventions ("" and "") are accompanied by a wind chorale of oboes, clarinets, bassoons, and trombones (with cellos and basses playing from the string section). The opera was first performed on 29 October 1787 in Prague under its full title of Il dissoluto punito ossia il Don Giovanni – Dramma giocoso in due atti (The Rake punished, or Don Giovanni, a dramma giocoso in two acts).

The scoring is generally heavy, and Bartók employs many colorful techniques here, including chromatic scales, trills and tremolos in the woodwinds; glissandi in the horns, trombones and tuba; cluster chords and tremolos on the piano; scales and arpeggios on the piano, harp and celeste; and scales, double stops, trills, tremolos, and glissandi in the strings. Other special effects include fluttertonguing in the flutes; muting the brasses and strings, a cymbal roll a deux (a cymbal crash followed by scraping the plates together); playing the bass drum with the wooden part of a timpani mallet; a roll on the gong; rolled timpani glissandi; string harmonics; col legno and sul ponticello playing in the strings; scordatura in the cellos; and, at one point, quarter-tones in the violins. In 2000 a new edition edited by Peter Bartók, the composer's son, was published. Based on the composer's written manuscripts, corrections, and the concurrently written score for piano with four hands, it restored a considerable amount of previously lost music.

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.

As described by Stephen Hill, the predominant defining element of spacemusic is its contemplative nature. Within that overview, Hill's definition of space music includes a wide variety of styles, instrumentation and influences – both acoustic or electronic. Many space music recording artists specialize in electronic forms, evolving out of the traditional Kosmische musik of the Berlin School (also known as Krautrock). Author and classical music critic David Hurwitz describes Joseph Haydn's choral and chamber orchestra piece, The Creation, composed in 1798, as space music, both in the sense of the sound of the music, ("a genuine piece of 'space music' featuring softly pulsating high violins and winds above low cellos and basses, with nothing at all in the middle ... The space music gradually drifts towards a return to the movement's opening gesture ... "); and in the manner of its composition, relating that Haydn conceived The Creation after discussing music and astronomy with William Herschel, oboist and astronomer (discoverer of the planet Uranus).

The work is scored for a large orchestra consisting of the following instrumentation. The movements vary in the combinations of instruments used. Woodwinds :4 flutes (third doubling first piccolo and fourth doubling second piccolo and "bass flute in G", actually an alto flute) :3 oboes (third doubling bass oboe) :1 cor anglais :3 clarinets in B and A :1 bass clarinet in B :3 bassoons :1 contrabassoon Brass :6 horns in F :4 trumpets in C :2 trombones :1 bass trombone :1 tenor tuba in B (often played on a euphonium) :1 tuba ;Percussion :7 timpani (2 players) :Bass drum :Snare drum :Cymbals :Triangle :Tam-tam :Tambourine :Glockenspiel :Xylophone :Tubular bells ;Keyboards :Celesta :Organ ;Strings :2 harps :Violins I, II :Violas :Cellos :Double basses In "Neptune", two three-part women's choruses (each comprising two soprano sections and one alto section) located in an adjoining room which is to be screened from the audience are added.

The longest running point of contention is the refusal by the Opera House Trust to allow the orchestra to drill small holes into the concert hall stage to allow proper seating of the endpins (spikes on the bottom) of their cellos and double basses, which is believed to give a better resonance to these instruments. The orchestra seats their endpins in planks of wood placed on the stage, as the Opera House Trust maintains that the entire building is heritage-listed under Australian law and that such work would therefore be illegal. Edo de Waart was particularly critical of this during his tenure as Chief Conductor in the 1990s, arguing in the press that the building had been specifically constructed for the orchestra and that it was a scandal that the orchestra was being forced to accept a reduced sound quality. However, the Opera House Trust has refused to bend and as of 2012 the orchestra was still using the planks of wood.

This unusual composition takes 10 minutes to perform. It is score for a very large and powerful set of instruments. The list of instruments used in this piece is as follows: ;Woodwinds :4 flutes :4 oboes :3 clarinets in B :baritone saxophone :contrabass clarinet in B :3 bassoons :contrabassoon ;Brass :6 horns in F :4 trumpets in B :4 trombones :tuba ;Percussion :musical saw :vibraphone :bells I :bells II :4 timpani :2 bongos :bass drum :claves :5 wood blocks :ratchet :guiro :whip :4 cowbells :triangle :6 cymbals :2 gongs :gong ageng :2 tam-tams ;Other :bass guitar :harp :harmonium :piano ;Strings :solo violin :24 violins :10 violas :10 cellos :8 double basses The composition has no tempo marking at the beginning, even though the last bars are marked as Tempo di Valse. It is mentioned in the score that two or three of the bells from the second bell set should be made of 24-karat gold.

Lawson was a friend of Bennett, and when asked why he chose to perform Bothy Culture, he said: The bulk of the music was the result of two separate string sections, with numerous Scottish fiddlers leading the traditional melodies in one string section while accompanying soundscapes were provided by classical violins, double bass and cellos in the other. The voice of "Aye?" was provided by Innes Watson of the Treacherous Orchestra. David Hayman read Sorley MacLean's English translation of "Hallaig," while in a break from the album, Fiano Hunter and the Glasgow Chapel Choir recreated the Grit song "Blackbird", accompanied by Danny MacAskill's stunt cycle work. "Shputnik in Glenshiel" was accompanied by whistle from Fraser Fifeld, while “Ud the Doudouk” featured punches of brass, Innes’ spirited chants and a "perfectly-timed finish." Meanwhile, the “impossibly whacky” intro for "Joik" was translated to strings, brass and percussion, unifying the folk and classical string sections.

Zimmermann structured the work in six movements. Only the first and the last have the titles from the Latin Requiem, the others are titled in Italian: # Prolog, Requiem I # Rappresentazione # Elegia # Tratto # Lamento # Dona nobis pacem The duration is given as a little longer than an hour. Zimmermann scored the work for two speakers, soprano and baritone soloists, three choirs, a jazz combo, organ, tapes and a large orchestra of 4 flutes (all doubling on piccolo), 4 oboes (1–3 also oboe d'amore), 4 clarinets (4 also bass clarinet), alto saxophone (also soprano and tenor saxophone), tenor saxophone (also baritone saxophone), 3 bassoons (3 also contrabassoon), 5 horns (4 and 5 also tenor tuba), 4 trumpets, bass trumpet, 5 trombones, bass tuba, percussion (6 players: triangle, crotales, cymbals, 4 tamtams, 3 tomtoms, small drums, large drums, triangle, 4 marimbas, legnophon, harp, glockenspiel), mandolin, accordion, harp, 2 pianos, and strings (10 cellos and 8 basses).

A standard string orchestra of violins, violas, cellos, double basses is augmented by a percussion battery of one timpanist and four members, who play the following: Player 1: marimba, vibraphone, castanets, three cowbells, four bongos, tubular bells, snare drum, guiro Player 2: vibraphone, marimba, snare drum, tambourine, two woodblocks, claves, triangle, guiro Player 3: glockenspiel, crotales, maracas, whip, snare drum, choclo, guiro, three temple blocks, bass drum, tam-tam, snare drum, triangle Player 4: cymbals, bass drum, tam-tam, hi-hat, triangle, tambourine, five tom-toms Two factors influenced Shchedrin in choosing this instrumentation. The first, he said in an interview with BBC Music Magazine, was that, "to be [as] totally far [as possible]" from Bizet's scoring for the opera, he wanted an ensemble "without brass and woodwind... that gave me many possibilities" for timbral variety. The second was the high level of string and percussion players then available in the Bolshoi orchestra.Duchen, BBC Music Magazine.

Surprised and gratified that he remained a live draw popular enough to sell out venues, Dunnery returned soon afterwards for a much larger tour and support slots with Hootie and the Blowfish. The Grass Virgins continued as his back-up band over the next few years, despite changes in the line-up (John Dunnery would replace Colquhoun, John Williams and Wayne Wilkinson joined on keyboards and laptop respectively, and Dorie Jackson replaced Erin Moran). The first Aquarian Nation release was Dunnery's comeback album, Man, released in 2001. Recorded in Vermont (USA) and Oswestry (UK), the album's music developed some of the electronic aspects of Let's Go Do What Happens (via keyboards and programming by Dunnery and his brother-in-law Dave McCracken, but featured much more acoustic instrumentation (guitars and cellos), a strong vocal interplay between Dunnery and Moran, and pared-down percussion (with almost no drums and with the rhythmic drive provided primarily by Matt Pegg's bass guitar).

In 2000, at the age of thirteen, Fernández-Nieto won First Prize in the Ciudad de Linares National Piano Competition. Fernández-Nieto made his debut as a soloist in 2003 at the age of sixteen with the Orquesta Ciudad de Granada performing Mozart’s Piano Concerto in D minor under the baton of Lutz Köhler to critical acclaim in a live broadcast on Radio Nacional de España. In the period of 2003-2010 he appeared as a soloist of RTVE Symphony Orchestra, Orchestra Sinfonica di Bari, Orquesta de Extremadura, Orquesta Sinfonica de Castilla y León, he performed in Auditorio Manuel de Falla, Auditorio Monumental, Steinway Hall in New York. and also collaborated with Tokyo String Quartet and the Grammy-nominated "Yale Cellos" under the direction of Aldo Parisot. He was featured on the Messiaen Centennial Celebration at Yale performing Vingt Regards sur l’enfant-Jésus and appeared in Norfolk Music at Yale in 2010 and in The Holland Music Sessions in 2007.

The work is scored for a large orchestra: ;Woodwinds :piccolo :3 flutes :3 oboes :English horn :2 clarinets in B :D clarinet1 :bass clarinet :3 bassoons :contrabassoon ;Brass :4 horns in F and E :4 horns in D (ad libitum)2 :3 trumpets in F and C :3 trumpets in D (ad libitum)2 :3 trombones :tuba ;Percussion :timpani :bass drum :snare drum :cymbals :triangle :large ratchet ;Strings :violins I, II :violas :cellos :double basses 1Although the original score calls for a clarinet in D, the part is usually played on an E clarinet as the D clarinet is now rarely played. 2Strauss indicates four extra horns and three extra trumpets to be added ad libitum. The parts are to be played by separate players from the original four horns and three trumpets. There also exists a version for piano four-hands, which has been recorded by Percy Grainger and Ralph Leopold.

Title on autograph score: Concerto 3zo a tre Violini, tre Viole, è tre Violoncelli col Basso per il Cembalo. Instrumentation: three violins, three violas, three cellos, and harpsichord (as basso continuo) Duration: about 10 minutes The second movement consists of a single measure with the two chords that make up a 'Phrygian half cadence'wikt:Phrygian cadence and—although there is no direct evidence to support it—it was likely that these chords are meant to surround or follow a cadenza improvised by a harpsichord or violin player. Modern performance approaches range from simply playing the cadence with minimal ornamentation (treating it as a sort of "musical semicolon"), to inserting movements from other works, to cadenzas varying in length from under a minute to over two minutes. Wendy Carlos's three electronic performances (from Switched-On Bach, Switched-On Brandenburgs, and Switched-On Bach 2000) have second movements that are completely different from each other.

In the Romantic and later styles, the versatility of the bassoon's range of character meant that it would be scored in diverse styles, often particular to a composer or national culture and their notion of how to use it. It has been used for lyrical roles such as Maurice Ravel's Boléro, vocal (and often plaintive or melancholy) ones such as the symphonies of Tchaikovsky, anguished wailing as in Shostakovich's 9th, more comical characters, like the grandfather's theme in Peter and the Wolf, or sinister and dark ones, as in the later movements of Symphonie Fantastique. Its agility suits it for passages such as the famous running line (doubled in the violas and cellos) in the overture to The Marriage of Figaro. The bassoons' role in the orchestra has changed little since the Romantic; with frequent bass and tenor roles common, and, with the expanded tessitura of the 20th century, occasionally alto (or countertenor) too.

The trio has been very active on the international jazz scene. Numerous concerts at international festivals in places like Wilisau, Paris, Vienne, Rome, London, Portland, Montreal, in addition to tours in Europe, Canada, the United States, Japan, South Korea. Vallon has also composed much music like the music of the choregraphical piece Hallo by Martin Zimmermann. He was part of the creation of Gossenreiter, a documentary Film. In 2015 the «Bee-Flat» jazz and world music venue in Bern, gives him a Carte Blanche to present three new projects, Ocre, a psychedelic rock oriented quartet with trumpeter Matthieu Michel, bassist Flo Götte, and drummer Domi Chansorn, Coriolis, a minimal improvisation quartet with vocalist and electronica artist Joy Frempong and clarinetist Hans Koch, and Fauna, a composition for cellos, harps, saxophones and drums, inspired by the strangeness of the animal world. Vallon was awarded the Fridl-Wald Foundation Prize, the 1st Prize in the Competition Nescafé Let’s Jazz Together, and the 3rd Prize in the Montreux International Jazz Piano Solo Competition.

The work is scored for four soloists (piano solo, horn solo, xylorimba solo and glockenspiel solo) and orchestra. The string section consists of only 6 violins, 3 violas, 3 cellos, and 1 double bass with fifth-string lower extension. The woodwind requires 1 piccolo, 2 flutes, 1 alto flute, 2 oboes, 1 cor anglais, 1 E-flat clarinet, 2 B-flat clarinets, 1 bass clarinet, 2 bassoons, and 1 contrabassoon. Messiaen remarks: "all of the woodwind parts are difficult." In addition to the sixth movement's horn solo, the brass section also consists of 2 horns, 2 trumpets in c, 1 trumpet in d, 2 trombones, and 1 bass trombone. The unusually large percussion section, divided for 5 percussionists, consists of Messiaen's own invented instrument the geophone, 1 wind machine, 1 thunder sheet, 1 gong, 1 set of tuned gongs, 1 set of tubular bells, 1 pair of maracas, 1 whip, 1 bass drum, 1 triangle, 1 wood block, 1 set of wooden wind chimes, 1 set of crotales, 1 reco reco, and 1 tumba, among other percussion instruments.

He worked on over 100 titles in his home country, including internationally recognised titles such as Bilans Kwartalny (1975), Spirala (1978), Constans (1980), Imperativ (1982), Rok Spokojnego Słońca (1984), and Życie za Życie (1991), plus several others in France and across other parts of Europe. He made his English-language debut with Francis Ford Coppola's adaptation of Dracula. His other English language features — Roman Polanski's trio Death and the Maiden (1994), The Ninth Gate (1999) and The Pianist (2002), and Jane Campion's The Portrait of a Lady (1996) — were typified by his trademark grinding basses and cellos, deeply romantic themes and minimalist chord progressions. In addition to his film work, Kilar continued to write and publish purely classical works, which have included a horn sonata, a piece for a wind quintet, several pieces for chamber orchestra and choir, the acclaimed Baltic Canticles, the epic Exodus (famous as the trailer music from Schindler's List and the main theme of Terrence Malick's Knight of Cups), a Concerto for Piano and Orchestra dedicated to Peter Jablonski, and his major work, the September Symphony (2003).

Eschewing the Midwestern location of their Wisconsin-based Smart Studios, Garbage chose to record new material for the album at GrungeIsDead, Vig's California-located home recording studio. The band members had been sharing ideas over the internet prior to the sessions, and were keen to record them; vocalist Shirley Manson had come up with the song title "Tell Me Where It Hurts" a few years previously, and had matched newly written lyrics with a Burt Bacharach-style string arrangement that the band had created via email correspondence. After producing an electric guitar-heavy version of "Tell Me Where It Hurts", Garbage recorded a second mix of the track with more emphasis on the strings and recruited their former touring bassist, Daniel Shulman, to perform bass guitar on the song. The band completed another three songs during the sessions, including "Betcha" (Vig: "it's fuzzed up"), "Girls Talk Shit" ("pretty cool sounding, lots of fast pizzicato guitars and cellos"), and "All the Good in This Life", which Vig described as "kinda Pink Floyd-y".

His early theatre compositions included incidental music for Shakespeare's The Two Gentlemen of Verona, additional songs for Leo Fall's operetta The Merry Farmer (1907) and the children's opera King Goldemar (1902). But Holland composed in almost all major classical forms. For orchestra he wrote Gavotte Pastorale, the tone poem Evening on the Lake (1908), a violin concerto in one movement, Ellingham Marshes for viola and orchestra, the Spring Sinfonietta (1943) and the Threnody for cello and orchestra (1945), which was not performed until three years after the composer's death, at a concert in Watford.Radio Times, 25 March 1952 String quartets in C minor and E minor were published in 1933 and 1938, and piano trios in 1935 and 1943.. He also wrote Cortege for four cellos (1939, published 1941) and a Suite in D for viola and piano (1938). Miniatures for violin and piano included Four Fancies (1923), Fireflies (Op. 18/20), the Variations (1927) and Autumn Voices written just prior to his death.. Holland's music for solo piano, included Variations on a Swedish Air (1906), and Preludes (1944).

Juzek also was the export merchant for independent craftsmen, for whom the instruments were also labeled with the John Juzek name. ; Manufacturing region Schönbach, well known for violinmaking, was once dubbed the "Austrian Cremona" when Bohemia was part of Austria-Hungary. From 1880 to the beginning of World War II, and even through the 1970s, Bohemia was a thriving area in eastern Germany and Czechoslovakia, where student-quality violin making flourished as a supplier to North America. To support the town's industry, Schönbach founded the Violin Making School, founded in 1908 as an addition to the Schönbach Music School founded in 1873. A nearby town, Markneukirchen (5 miles / 8.6 kilometers from Schönbach), produced about seven million violins, violas, cellos, and basses from 1880 to 1914. Markneukirchen, during that era, was the financial center of the German music industry and before 1914, it had more millionaires per capita than any other city in Germany. Markneukirchen, with a population of 7,847 in 1900, produced and exported so many instruments to the United States that it was home to an American Consulate with a trade attaché.

There are two manuscript scores of the symphony, one lacking the third movement and with a somewhat larger instrumentation than the later manuscript (and published) version. It is scored for (1) an orchestra consisting of: piccolo, 2 (or 4) flutes, 2 oboes, cor anglais, 2 (or 4) clarinets, bass clarinet, 3 bassoons, contrabassoon, 4 (or 8) horns, 4 trumpets (or cornets), 4 trombones, tuba, 4 timpani, tam-tam, cymbals, matracas, 2 (or 4) bass drums, 2 (or 4) side drums, (xylophone), celesta, 2 harps, piano, and strings, (2) a small brass band consisting of piccolo bugle in E, 2 bugles in B, 4 cornets, 4 trombones, 2 alto saxhorns, 2 bass saxhorns, 2 contrabass saxhorns in B, and 2 contrabass saxhorns in E, and (3), in the last movement, an optional mixed chorus. The earlier, three- movement version also specified the numbers of stringed instruments: 26 first violins, 24 second violins, 12 violas, 12 cellos, and twelve double basses, bringing the total number of orchestral players to 164, surpassing the gigantic orchestras called for by Richard Strauss in Elektra and Salome .

He also continued another trend—towards larger orchestras—that moved the centre of the sound downwards in the orchestra, to the violas and the lower register of the violins and cellos, giving his music a heavier and darker feel than Haydn or Mozart. Gustav Mahler modified the orchestration of some of Beethoven's music—most notably the 3rd and 9th symphonies—with the idea of more accurately expressing Beethoven's intent in an orchestra that had grown so much larger than the one Beethoven used: for example, doubling woodwind parts to compensate for the fact that a modern orchestra has so many more strings than Beethoven's orchestra did. Needless to say, these efforts remain controversial. Above all, his works distinguish themselves from those of any prior composer through his creation of large, extended architectonic structures characterised by the extensive development of musical material, themes, and motifs, usually by means of "modulation", that is, a change in the feeling of the home key, through a variety of keys or harmonic regions.

In 1996 Bosanquet published "The Secret Life of Cello Strings: Harmonics for Cellists", a method book designed to aid cellists in playing harmonics. In the introduction, Bosanquet stated that she was intrigued by the appearance of harmonics in places such as “the ethereal notes at the end of Bruch’s Kol Nidrei, the bell-like pentatonic notes in Dvorak’s Cello Concerto, the spectacular leaps in the second movement of Elgar’s Cello Concerto, the glissando harmonics in Shostakovich’s Cello Sonata, the march in Britten’s Cello Sonata and the magical sound of four-part cellos playing high-stopped harmonics in Arvo Pärt’s Fratres; glissando stopped harmonics in the March of Britten's cello sonata; and sudden changes of pitch and colour on single notes in Webern's Three Pieces.” She took a logical and scientific approach to categorising the possible harmonics on the cello, possibly inspired by her father's related work in the field of Fourier transforms. The book guides the player progressively through the different harmonics that can be played, including maps of the nodes of the cello string.

To commemorate the 50th anniversary of the moon landing, Julianne Regan and Tim Bricheno of All About Eve, released a video and song called Pale Blue Earth. The filk anthology albums Minus Ten and Counting (1983) and To Touch the Stars (2003) celebrate and promote the exploration of outer space. Author and classical music critic David Hurwitz describes Joseph Haydn's choral and chamber orchestra piece, The Creation, composed in 1798, as space music, both in the sense of the sound of the music, ("a genuine piece of 'space music' featuring softly pulsating high violins and winds above low cellos and basses, with nothing at all in the middle ... The space music gradually drifts towards a return to the movement's opening gesture ... "); and in the manner of its composition, relating that Haydn conceived The Creation after discussing music and astronomy with William Herschel, oboist and astronomer (discoverer of the planet Uranus). In 2016, Avenged Sevenfold released their album, The Stage, a concept album about space, the universe, the human race, and artificial intelligence.

Kennedy and J. Bourne Kennedy (Eds.), The Concise Oxford Dictionary of Music (Oxford University Press, London 2007). a hybrid of the two forms that had occupied most of Mahler's creative life. Das Lied von der Erde is scored for a large orchestra, consisting of the following: ;Woodwinds :piccolo :3 flutes (3rd doubling 2nd piccolo) :3 oboes (3rd doubling cor anglais) :3 B clarinets :E clarinet :bass clarinet :3 bassoons (3rd doubling contrabassoon) ;Brass :4 horns :3 trumpets :3 trombones :tuba ;Percussion :4 timpani (used only in "Von der Schönheit") :bass drum :snare drum :cymbals :triangle :tambourine (used only in "Von der Schönheit") :tam-tam (used only in "Der Abschied") :glockenspiel ;Keyboards :celesta (used only in "Der Abschied") ;Voices :alto solo :tenor solo ;Strings :mandolin :2 harps :1st violins :2nd violins :violas :cellos :double basses (with low C string) Only in the first, fourth and sixth songs does the full orchestra play together. The celesta is only heard at the end of the finale, and only the first movement requires all three trumpets, with two playing in the fourth movement and none playing in the sixth.

That same year, he soloed with the Juilliard Orchestra at Alice Tully Hall in Strauss' Don Quixote, presented his New York Debut recital as a competition winner in Carnegie Recital Hall and was chosen by Mstislav Rostropovich to become a member of the National Symphony Orchestra in Washington, D.C. Published in 2010 and revised in 2013, Mr. Honigberg is author of LEONARD ROSE: AMERICA'S GOLDEN AGE and ITS FIRST CELLIST. As a protege in Rose's final years, Honigberg retains the wealth of knowledge his subject imparted to students, as well as an abiding sympathy for the man. That intimate relationship of the past provided unparalleled access to Rose's living colleagues and classes, from his best known pupils, Yo-Yo Ma, Lynn Harrell and Ronald Leonard, to internationally acclaimed stars with whom the pedagogue collaborated, such as Van Cliburn, Lorin Maazel, Emanuel Ax, Pinchas Zukerman, Itzhak Perlman and more. '' In February, 1988, the great cellist and conductor Mstislav Rostropovich, led the National Symphony Orchestra in the world premiere of the Concerto for Two Cellos, by David Ott, with David Teie and Honigberg, to whom the score is dedicated, as soloists.

In 1998 the trio reformed briefly, giving two live performances and making recordings. Bryars's first compositions owe much to the New York School of John Cage (with whom he briefly studied), Morton Feldman, Earle Brown and minimalism. One of his earliest pieces, The Sinking of the Titanic (1969), is an indeterminist work that allows the performers to take a number of sound sources related to the sinking of the RMS Titanic and make them into a piece of music. The first recording of this piece appeared on Brian Eno's Obscure Records in 1975. The 1994 recording was remixed by Aphex Twin as Raising the Titanic (later collected on the 26 Mixes for Cash album). In 2012, the centenary of the Titanic's sinking, he made a new extended version, with film projections by Bill Morrison and Laurie Olinder, that included his four children as a low- string ensemble (viola, 2 cellos, bass) and turntablist Philip Jeck, subsequently released on GB records (BCGBCD21) A well-known early work is Jesus' Blood Never Failed Me Yet (1971), which has as its basis a recorded loop of a vagrant singing a musical fragment that the old man had improvised.

Individual tuition from specialist staff is available for violin, viola, cello, double bass, flute, clarinet, oboe, bassoon, alto saxophone, tenor saxophone, horn, trumpet, trombone, tuba, piano, harpsichord, recorder, classical singing, jazz singing, guitar, harp, percussion, music theory. ;Choirs and ensembles The ensemble program provides ensemble opportunities from classical to contemporary. The list of ensembles includes choirs, orchestras, concert bands, string, woodwind, brass and percussion ensembles, chamber groups and contemporary groups. The Epstein Singers, àBeckett Strings, Junior Concert Band, Suzuki ‘Cellos, Suzuki Violins, Flute group, Percussion and recorderensemble, Chamber ensembles, The Langley Singers – Prep to Year 2, Heyington Choir – Years 3 and 4 Choir, Barbreck Choir – Years 5 and 6 Choir, Jorgensen Orchestra, Senior School Concert Band, Soul Power, Sherren Singers, Chamber flutes, Years 7–12 choir, Viva Voci, Stage band, Brass ensemble, Percussion ensemble, Years 7 and 8 concert band, Years 7 and 8 flute ensemble, and small chamber ensembles An extensive performance program enables all students to participate in a wide variety of concerts and recitals including the annual gala concert, twilight concert, instrumental recitals, Barbreck Concert, Barbreck recitals, masterclasses, jazz cabaret evenings and music theatre performances.

The two most famous violin makers, Antonio Stradivari (1644–1737) and Giuseppe Guarneri del Gesù (1698–1744), both used an open string length of for their violins, which had already been established a generation before by Jacob Stainer (c. 1617–1683). Later makers have been unwilling to deviate from this. Smaller scale instruments are used extensively to teach younger players. The size of these is described by a "conventional" fraction that has no mathematical significance. For example, a 7/8 violin has a scale of about 317 mm, a 3/4-size instrument a scale of 307 mm, a half-size one 287 mm, and a quarter-size one 267 mm. 1/8, 1/10, 1/16 and 1/32 and even 1/64 violins also exist, becoming progressively smaller, but again in no proportional relationship. (A full-size instrument is described as 4/4.) Cellos exist in a smaller range of sizes than violins, with 4/4, 3/4, 1/2, 1/4, 1/8, and 1/10 being reasonably common. As with the violin, the Stradivarius scale is regarded as standard for orchestral work; This is about .

An Alpine Symphony is scored for a large orchestra consisting of: ;Woodwinds :4 flutes (3rd and 4th doubling piccolos) :3 oboes (3rd doubling English horn) :1 heckelphone :1 clarinet in E :2 clarinets in B :1 bass clarinet (doubling clarinet in C) :4 bassoons (4th doubling contrabassoon) ;Brass :8 French horns (horns 5–8 double Wagner tubas) :4 trumpets :4 trombones :2 tubas :12 offstage horns :2 offstage trumpets :2 offstage trombones ;Percussion : timpani (2 players) :snare drum :bass drum :cymbals :triangle :tam-tam :cowbells :wind machine :thunder machine :glockenspiel ;Keyboard :celesta :organ ;Strings :2 harps :18 violins I :16 violins II :12 violas :10 cellos :8 double basses Strauss further suggested that the harps and some woodwind instruments should be doubled if possible and indicated that the stated number of string players should be regarded as a minimum. The use of "Samuel's Aerophon" is suggested in the instrumentation listing. (Strauss probably misunderstood the name – it was originally called the Aerophor.) This long-extinct device, invented by Dutch flautist Bernard Samuels in 1911 to assist wind players in sustaining long notes without interruption, was a foot-pump with an air-hose stretching to the player's mouth.Del Mar, Richard Strauss, 107.

In keeping with the Beatles' usual philosophy that tracks released on a single should not appear on new albums, both "Strawberry Fields Forever" and "Penny Lane" were left off Sgt. Pepper's Lonely Hearts Club Band. Martin later stated that this was an approach that he had encouraged, and it was a "dreadful mistake". The Beatles were displeased that Capitol then included the two songs, along with the band's other non-album singles tracks from 1967, on the Magical Mystery Tour LP, which the company released as a full-length album, in contrast to the six-track double EP released in the UK and many other countries. The stereo version of the Magical Mystery Tour LP contained a 29 December 1966 mix of "Strawberry Fields Forever", in which the trumpets and cellos pan abruptly from left to right at the point where takes 7 and 26 are joined. By the time the album was released on CD, this mix had been superseded by a stereo remix, originally prepared for a 1971 West German issue of Magical Mystery Tour, which omitted the panning effect at the join point, but added a right-to-left panning to the swarmandal scale introducing the second and third verses.

Gavin Bryars playing the double bass, the instrument for which he includes an improvising part in Doctor Ox and which he played in performances of Doctor Ox's Experiment (Epilogue) The opera is scored for 2 flutes, the second doubling piccolo, 2 oboes, 1 doubling oboe d'amore, and the other doubling cor anglais, a clarinet and bass clarinet, a bassoon and contrabassoon, 4 horns, a flugelhorn, 4 trombones, a bass trombone, 1 timpanist, 3 percussionists, harp, electronic keyboard doubling piano and a string section consisting of at least six each first and second violins, 5 violas, four cellos and 3 double basses, including at least one bass with a 5th string or low extension, plus an improvising jazz player on amplified bass. The percussion consists of marimba, vibraphone, glockenspiel, crotales, tubular bells, cow bells, bass drum, tam-tam, sizzle cymbal, suspended cymbal, mark-tree, Chinese bell-tree and wind-machine. Bryars wanted the scenes with the lovers to "have something of the purity of early music" and pointed to the obbligato oboe d'amore and the "relatively light orchestral textures" as means by which he achieved this. The improvisation by the amplified jazz bass is confined to the scene by the Vaar though the instrument is also used in the epilogue.

Become Ocean is scored for a large orchestra divided into 3 spatially-separated groups: ;First group :upstage right, as far as possible from the strings and brass :3 flutes :3 oboes, 3rd doubling English horn :3 clarinets, 3rd doubling bass clarinet :3 bassoons, 3rd doubling contrabassoon :Percussion I, including ::marimba ::vibraphone ::crotales :harp I ;Second group :upstage left, as far as possible from the strings and woodwind :4 horns :3 trumpets :3 trombones :tuba :Percussion II, including ::marimba ::vibraphone :harp II ;Third group :in a wide as possible arc across the stage :Percussion III, including ::3 bass drums ::tam-tam ::suspended cymbal ::timpani :celesta :piano :violins 1A, 1B, 2A, and 2B :violas 1 and 2 :cellos 1 and 2 :double basses 1 and 2, the E-strings tuned down a whole-tone to D Each group is given slowly moving sequences of sound, often in the form of arpeggios for the strings, and each block has its own rise and fall. Thus the groups overlap in an ever-changing pattern. Harmonies are fundamentally tonal; simple diatonic intervals form the basis of the wind instruments' staggered chords. The phrase lengths are constructed so that there are three moments when all the groups reach a climax together; the first is early on, and the second represents the greatest surge of sound.

Steven Honigberg (born 1962) is an American cellist. He is a member of the National Symphony Orchestra and the Potomac String Quartet, and solos frequently; he is also known as a well-reviewed performer from David Ott's premier of Concerto for Two Cellos. From 1994-2002, Honigberg served as chamber music series director at the United States Holocaust Memorial Museum. Forty concerts and 4 CDs entitled "Darkness and Light," a CD of Ernst Toch's (1887–1964) cello compositions and a CD of Erich Wolfgang Korngold's (1897–1957) chamber music were produced under his artistry and leadership. A native of Chicago, Honigberg studied there with Karl Fruh (1914–1999) at the Roosevelt University from the age of 13 to 17. In Chicago, Honigberg presented eight performances of Tchaikovsky's "Variations on a Rococo Theme" with the Chicago Symphony Orchestra as a 16-year-old winner of Chicago's Youth Competition. The summer before, while at Interlochen's Summer Music Camp, Honigberg, as a result of winning the 1978 Concerto Competition, performed with the World Youth Symphony as soloist in Bloch's "Schelomo", a performance that was recorded and released by the National Music Camp. A student of famed American cellist Leonard Rose (1918–1984) and Channing Robbins (1922–1992), Honigberg graduated from the Juilliard School with a Master's Degree in 1984.

The symphony is scored for a very large orchestra: Distant choir ensemble, offstage : harp : 5 violins Woodwinds : piccolo : 3 flutes : 2 oboes : 3 clarinets in B (the 1st clarinet optionally playing A in the first movement) : tenor saxophone in B : baritone saxophone in B : 2 bassoons Brass : 4 horns in F : 6 trumpets in C : cornet in C (played by 5th trumpet) : 4 trombones : tuba Percussion : xylophone (optional) : 2 bells, high and low : timpani : triangle : Indian drum : piccolo timpano : snare drum : bass drum : cymbals : 2 tam-tams, light and heavy : B.U. Ensemble (spatially separated from the main orchestra): :: snare drum :: Indian drum :: bass drum :: cymbals :: tam-tam Chorus : sopranos : altos : tenors : basses Keyboards : celesta : Ether organ (optional) : quarter-tone piano : orchestral piano (4-hands) : solo piano : organ Strings : violins I, 12 to 18 players : violins II, 12 to 16 players : violas, 12 to 14 players : cellos, 10 to 12 players : double basses, 8 to 10 players : "extra" strings, on or off stage: :: violins, 2 players :: viola, 1 player The mixed chorus performs a setting of the hymn "Watchman" in the first movement and a wordless intonation of the hymn "Bethany" in the last movement. The first and last movements employ a spatially-separated ensemble of 5 violins and harp. The last movement employs a spatially-separated group of percussion.