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"divertimento" Definitions
  1. a piece of music that is meant to be fun rather than serious, especially one written for a small orchestraTopics Musicc2
"divertimento" Synonyms
serenade ballad song carol tune strain air hymn lay anthem lyric nocturne waiata love song ditty melody jingle vocal shanty canzone

234 Sentences With "divertimento"

How to use divertimento in a sentence? Find typical usage patterns (collocations)/phrases/context for "divertimento" and check conjugation/comparative form for "divertimento". Mastering all the usages of "divertimento" from sentence examples published by news publications.

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For that reason, "Divertimento No. 15" is seldom perfectly delivered.
The ending of this "Baiser" Divertimento always confirms my conviction.
There's also Bartok's homage to the same form, his Divertimento for String Orchestra.
Works include "Serenade" (Miami); "Divertimento No. 20163" (San Francisco); and "The Four Temperaments" (Joffrey). Oct.
Or that this rendition adds an improvised divertimento about border walls midway through the first act.
"Divertimento," itself a ballet term, is her way of drawing from her career to create something new.
Why on earth were the season's four performances of Balanchine's "Divertimento No. 15" the first since 2011?
When he started writing his symphony, he thought it was going to be a divertimento of maybe 20 minutes.
Elena Kunikova's "Divertimento" (new this year) was a tight-packed anthology of prettily spectacular effects from the classical ballet lexicon.
Also on one of three City Center programs is Balanchine's 1967 "Divertimento Brillante," a little gem that's just as seldom seen.
Wednesday's account of "Divertimento No. 15" (1956), a celestial work featuring five ballerinas and three cavaliers, was both bold and clear.
Its music comes not from the "Divertimento" but from Stravinsky's complete "Le Baiser de la Fée" (1928), a narrative work in four scenes.
" To underline continuity, directors will have operas from four centuries to interpret, starting with Jean-Philippe Rameau's exotic 21669th-century divertimento, "Les Indes Galantes.
Ms. McIntyre's currently untitled work and Ms. Kunikova's "Divertimento" will have their premieres at the troupe's City Center season, which runs April 6 through 9.
Ms. Fairchild and Mr. De Luz, longtime City Ballet principals, have been dancing "Divertimento From 'Le Baiser de la Fée'" for a number of years.
Balanchine's "Divertimento Brillante," rarely performed since its 1967 premiere, proved to be accurately titled, a brilliant little gem brilliantly danced by Ms. Peck and Joseph Gordon.
But "Divertimento No. 15" was the only one that, having made, he kept reviving — the one in which he did justice to the composer he most admired.
Mr. Smith's pieces for other bandleaders, like Red Norvo ("Divertimento," 1957) and Shelly Manne ("Concerto for Clarinet and Combo," 1957), also showed his affinity for the style.
In 1974, the year Ellington died, Shirley presented an orchestral homage of his own, "Divertimento for Duke by Don," with the Hamilton Philharmonic Orchestra of Ontario, Canada.
A phenomenal example of this happens in George Balanchine's "Divertimento From 'Le Baiser de la Fée'" (1972), which returns to repertory at New York City Ballet on Saturday.
It was Mr. Stafford, as leader of the interim team running the company, who brought in Ms. McBride to coach dancers in Balanchine's "Divertimento from 'Le Baiser de la Fée'" earlier this year.
That dozens of one-act Balanchine ballets, like "Divertimento No. 15" and "Symphony in Three Movements," are now regularly danced from Phoenix to Miami, from Vienna to Vancouver, is a victory of superlative modernism.
But sure enough in the concert on Friday, which opened an Americas Tour with the Philharmonic, there was a Bernstein trifle to start off a rich slate of encores: the Waltz from his Divertimento for Orchestra.
As soloist, he is featured in concertos by Bach and Schumann, but before that he takes the rostrum for two less frequently heard pieces: Bartok's Divertimento for String Orchestra and Haydn's Symphony No. 80.212-875-5656, nyphil.
The clean, classical way that San Francisco Ballet captured the bubbling Mozartean grace of the 1956 "Divertimento No. 15" (which is top-shelf) was a welcome challenge to an eye accustomed to City Ballet's more headlong drive.
Along comes the right debut in the right role — Russell Janzen as Phlegmatic in "The Four Temperaments," Unity Phelan as the third ballerina in "Divertimento No. 15" — and the sense of rightness is immense: the harmony of the spheres.
Among much else, she'll dance a new work by the tap choreographer Michelle Dorrance and two items by Balanchine, the "Tchaikovsky Pas de Deux," with Mr. Cirio, and the coloratura show piece "Divertimento Brillante," with Joseph Gordon (City Ballet).
A more obvious challenge was Balanchine's "Divertimento from 'Le Baiser de la Fée,' " which begins as a sunny ballet, yet in the end is full of secrets as its lead couple slowly part on a darkened stage with outstretched arms.
Then the company introduces two programs that it believes best represent its identity: "Classic NYCB I," on Tuesday, consists of "Haieff Divertimento" and "Episodes" by George Balanchine, "Concertino" by Jerome Robbins and the lovely "Rodeo: Four Dance Episodes" by Justin Peck.
Five lead women, three lead men: this odd formula — as seen in this photograph — is the nucleus of George Balanchine's "Divertimento No. 153" (1956), a classic set to Mozart that returns to the New York City Ballet repertory on Thursday after more than five years.
What there is of a modernist strain here — Bartok's "Music for Strings, Percussion and Celesta" and Divertimento for String Orchestra — is just enough to make you wish there were more: "Wozzeck" itself, say, or Berg's "Lulu," which Mr. Harnoncourt is also said to have liked.
Set to Glinka's "Divertimento Brillante" (a chamber score, with variations on arias from Bellini's opera "La Sonnambula") and costumed (by Ms. Kunikova) with the tutus and tunics of ballet tradition, it gave its dancers opportunities to shine in both adagio and allegro, with appealing touches for both upper and lower body.
"Divertimento Brillante," an exquisite high-classical pas de deux created by Balanchine in 1967 to Glinka's variations on love music from Act One of Bellini's "La Sonnambula" and danced here by Ms. Peck and Mr. Fairchild, is a piece of lyrical dance coloratura made for Patricia McBride and Edward Villella.
The program ranged from three Balanchine rarities (the uncut Stravinsky "Apollo" with prologue and apotheosis; the Glinka-Bellini "Divertimento Brillante" pas de deux; and the 1982 Stravinsky "Élégie") to a Michelle Dorrance number, "1-2-20123-4-5-6," in which Ms. Dorrance, the breakthrough tap exemplar, joined forces with New York City Ballet (and Broadway) star Robert Fairchild, the modern dancer Melissa Toogood and the Memphis jooker Lil Buck.
The bulk of the divertimento was written to complement the earlier 1923 Dance Suite after Keyboard Pieces by Couperin for a ballet Verklungene Feste: Tanzvisionen aus zwei Jahrhunderten (Bygone Celebrations: Dance Visions from Two Centuries) premiered in Munich on May 20, 1941. The divertimento was then published in 1942 with two additional movements (III and VIII) as an orchestral suite and given an opus number. The premiere was given on 31 January 1943 by the Vienna Philharmonic conducted by Clemens Krauss. Although much of the music for the divertimento was written for the ballet, Strauss wrote it with the end product of the divertimento in mind. In his note books he wrote on September 17, 1940 that he had completed "movements 1-3 of the Divertimento"; December 27 movements 4 and 5; September 12, 1941 the Divertimento was finished.
As a separate genre, it appears to have no specific form, although most of the divertimenti of the second half of the 18th century go either back to a dance suite approach (derived from the 'ballet' type of theatrical divertimento), or take the form of other chamber music genres of their century (as a continuation of the merely instrumental theatrical divertimento). There are many other terms which describe music similar to the divertimento, including serenade, cassation, notturno, Nachtmusik; after about 1780, the divertimento was the term most commonly applied to this light, "after-dinner" and often outdoor music. Divertimenti have from one to nine movements, and there is at least one example with thirteen. The earliest publication to use the name "divertimento" is by Carlo Grossi in 1681 in Venice (Il divertimento de' grandi: musiche da camera, ò per servizio di tavola) and the hint that the divertimento is to accompany "table service" applies to later ages as well, since this light music was often used to accompany banquets and other social events.
Béla Bartók, Divertimento for String Orchestra, 1940, (Boosey & Hawkes Ltd, 1940), p. 1-17.
This divertimento is scored for 2 violins, viola, basso (double bass) and 2 horns.
The work is in six movements: Recorded performances of the Divertimento range from 41 to 50 minutes.
The Divertimento in G major, Hob. XVI/8, L. 1, was written in 1766 by Joseph Haydn.
The word "babiole" has not caught on in music circles, and later composers preferred the word Divertimento.
Later, Prokofiev incorporated the ballet music into two pieces: Quintet, Op. 39 (1924) and Divertimento, Op. 43 (1925–29).
Later, Prokofiev incorporated the ballet music into two pieces: Quintet, Op. 39 (1924) and Divertimento Op. 43 (1925–29).
CD. Masuko Ushioda, Tadashi Mori, ABC Symphony Orchestra, Glazunov Violin Concerto; Bartok Sonata for Solo Violi;, Stravinsky Divertimento, Stephen Drury. Fontec, 2015. CD.
Bartók's Divertimento is scored for string orchestra: Violin I, II, Viola, Violoncello, and Double Bass, all of which contain divisi sections. Unlike the majority of orchestral scores, the minimum number of players in each string section is specified: 6 1st Violins, 6 2nd Violins, 4 Violas, 4 Violoncellos, 2 Double Basses.Béla Bartók, Divertimento for String Orchestra, 1940, (Boosey & Hawkes Ltd, 1940), p. 0.
The Romanza and Divertimento are each in their own way varied in character, the Divertimento particularly rich in inspiration. Piano Concerto No. 3 in E minor "Ballade", Op. 60, 1940–43. The factors which led to the creation of this work are closely connected to the circumstances of his final years. It is dedicated to his generous patron, the Maharajah of Mysore.
Divertimento No. 11 or Divertimento in D, K. 251, is a composition by Wolfgang Amadeus Mozart. It was written in July 1776 in Salzburg, possibly for the name day of Mozart's sister, Nannerl on July 26th or her birthday on July 30th.Zaslaw, Neal and William Cowdery (1990) The Compleat Mozart: A Guide to the Musical Works of Wolfgang Amadeus Mozart, p. 242, Norton.
Richard Strauss 1938 The Divertimento for Chamber Orchestra after Keyboard Pieces by Couperin, Op. 86 (German: Divertimento aus Klavierstücken von François Couperin für kleines Orchester) is an orchestral suite composed by Richard Strauss published in 1942 which consists of eight movements, each one based on a selection of pieces from François Couperin's Pièces de Clavecin written for the solo harpsichord over the period 1713 to 1730.
Divertimento for Five Trumpets (1985) Music for Harp and Clarinet (1985) 3 Pezzi per Piano e Marimba (1986) Concerto per cinque Nr. 1 (cl., tr., vl., vc.
Divertimento for String Orchestra Sz.113 BB.118 is a three-movement work composed by Béla Bartók in 1939, scored for full orchestral strings. Paul Sacher, a Swiss conductor, patron, impresario, and the founder of the chamber orchestra Basler Kammerorchester, commissioned Bartók to compose the Divertimento, which is now known to be the pair's last collaborative work.Malcolm Gillies, The Bartók Companion. (London: Faber and Faber, 1995), p. 3-4.
K 186/159b and 166/159d display a considerably lighter, more recreational and perhaps even more casual spirit than the later works, true to the interpretation of the term divertimento.
Francisco Museti (violin), Celia Roca (piano) ARCA FH007 Divertimento for bassoon and orchestra. Gerhard Hasse (bassoon), SODRE orchestra. Montevideo. ARCA FH 007 Symphonic movement for the victims of Buchemwald. Leipzig Symphonic orchestra.
The Encyclopedia of Ireland, ed. by B. Lalor (Dublin: Gill & Macmillan, 2005), p. 681. McNulty's secular or middle period compositions include Divertimento (for orchestra), three sinfoniettas (no. 1: The Four Provinces, 1957; no.
The Divertimento No. 15, K. 287 was composed by Wolfgang Amadeus Mozart in 1777 to commemorate the name day of Countess Maria Antonia Lodron, a family friend and member of the Salzburg aristocracy.
Complicating matters was that, in August 1879, after P. Jurgenson had already started engraving the printing plates for the suite, Tchaikovsky realized all the movements were in duple meter—in other words, two beats per measure. He quickly penned a Divertimento in triple meter, which he called a minuet but is actually a waltz, to break up this potential metric monotony. Tchaikovsky suggested replacing the March with the Divertimento. Jurgenson liked the March and suggested letting the suite expand to six movements.
He made this version due to contractual obligations to the film's producers and used different takes than the original film. This version is an entirely new film and not just a shorter version of the original work. The word Divertimento is both a reference to Igor Stravinsky's Divertimento from Le baiser de la fée and translates to a "not too serious work." This shorter version changes the film's focus from the process of creating art to the evaluation of the finished product.
The movement's end, however, is quiet.Brown, Man and Music, 191. #Divertimento: Allegro moderato #:This movement could have just as easily been titled Valse. Tchaikovsky gives the clarinet the task of "discovering" the opening tune.
The Divertimento is a 1994 composition for solo cello by Polish composer Krzysztof Penderecki. The piece is well known for its typical chromatic melodies and for its recurrent use of pizzicati and col legno.
The Piano Sonata No. 15 in C major, Hob. XVI/15, is an arrangement for Solo Keyboard of the Divertimento in C (Hob. II/11) by Joseph Haydn. This Sonata is now considered spurious.
Rivette used alternative takes from the film and made changes in the scene order to produce a shorter, 125-minute version, La Belle Noiseuse: Divertimento, for television. It was also released theatrically in some countries.
Romantic Cello Concertos is a 2009 CD by Julian Lloyd Webber released by Sony Classics. It contains the world premiere recording of Joaquin Rodrigo's Concierto como un divertimento which was dedicated to Julian Lloyd Webber.
Divertimento (; from the Italian divertire "to amuse") is a musical genre, with most of its examples from the 18th century. The mood of the divertimento is most often lighthearted (as a result of being played at social functions) and it is generally composed for a small ensemble. The term is used to describe a wide variety of secular (non-religious) instrumental works for soloist or chamber ensemble. It is usually a kind of music entertainment, although it could also be applied to a more serious genre.
1 and op. 2 string quartets "cassations". Instrumental and orchestral cassations seem to be stylistically linked to the divertimento and serenade, respectively. By the end of the eighteenth century, the term had fallen out of fashion.
He also wrote chamber music, such as the First String Quartet of 1966 and the Raleigh Divertimento of 1985. His work has been championed by such conductors as Igor Buketoff, who recorded the 3rd and 6th symphonies.
Choreography by George Balanchine Balanchine's Don Quixote (1965) Company Premiere: June 22, 2005 (Pas de Deux Mauresque premiered December 5, 2003) Music by Nicolas Nabokov. Choreography by George Balanchine Haieff Divertimento (1947) Company Premiere: March 3, 2010 Music by Alexei Haieff.
This two-fold occurrence of adjacent keys in the circle of fifths suitable for wind instruments may have been conceived with something of a pedagogical intention, most likely by Leopold Mozart. The apparent absence of an additional divertimento in E-flat major to complete a set of six (the usual number needed for publication) led early musicologists, including Alfred Einstein,A. Einstein in KV3, p. 344 footnote (Leipzig, 1937). to believe that the Divertimento in E-flat major K 289/271g was also part of the set, but the latter's authenticity is now in considerable doubt (see below).
On the back of the fourth page of the autograph of the Wind Divertimento in B major, K. 186/159b, there are 16 crossed-out bars for strings, 2 oboes and 2 horns. Alfred Einstein, in his edition of the Köchel catalogue, thought this was an Andante in E major belonging to a symphony written much earlier, perhaps to the (then undiscovered) K. 16a. The sixth edition of the Köchel catalogue largely repeated this, but reworded it to imply that the association remained uncertain. Wolfgang Plath dated the divertimento to 1772, but the 16 bars to 1765 or 1766 based on the handwriting.
3 for flute and piano in publishing Universal Edition. Müller-Doppler transmuted, among Mozart's five Divertimento KV 439b, in the original cast for two clarinets (basset horns) and bassoon, for flute and piano.Noten-Tipps 2012/02 in: Music Newspaper. Version 2/12.
As the disease progressed, his equilibrium, eyesight, and hearing deteriorated. By 1982, he was incapacitated. The night of his death, the company went on with its scheduled performance, which included Divertimento No. 15 and Symphony in C at Lincoln Center.Encyclopædia Britannica; retrieved May 27, 2008.
"I Saltimbanchi" (1960) for flute, oboe, clarinet, harp and string orchestra, (version of chamber work) Concerto for piano and orchestra, (1980) "Divertimento" (1982) "Three Ladies beside the Sea" (1984) for speaker and small orchestra (text by Rhoda Levine) "Concerto Lirico" (1991) for violin and orchestra.
The Divertimento in E major, K. 563, is a string trio, written by Wolfgang Amadeus Mozart in 1788, the year in which he completed his last three symphonies and his "Coronation" Piano Concerto. It is widely regarded as separate from his other divertimenti. The work was completed in Vienna on September 27, 1788, and is dedicated to Michael Puchberg, a fellow Freemason, who lent money to Mozart.Notes to a concert containing the Divertimento at the Kennedy Center by Richard Freed The premiere was in Dresden on April 13, 1789, with Anton Teyber taking the violin part, Mozart playing viola and Antonín Kraft playing cello.
He is especially known worldwide for his compositions for the harp, including "Music for Violin and Harp", "Sonatina for Harp", "Prayer for Harp", "Divertimento for Harp flute and Strings orchestra", "Music for Nicanor", "Commentaires Sentimentaux", "Ode To The Harp" and "Trio in One Movement no. 3".
Adagio, B flat. 2 Allegro, B flat. 10 mins The origins of the Divertimento are not known, but the combination of formality and warmth at the outset suggests at least an element in common with Mozart. This is probably the first chamber work featuring a clarinet.
Tributary is a ballet made by Robert La Fosse and Robert Garland to Mozart's Divertimento No. 11 in D, K. 251 (1776). The premiere took place on Thursday, 25 May 2000, as part of New York City Ballet's Diamond Project at the New York State Theater, Lincoln Center.
He is believed to have been the first composer to use the term "divertimento", in his 1681 composition Il divertimento de' grandi musiche da camera, ò per servizio di tavola. He was the organist at the church of SS. Giovanni e Paolo. He is also known for setting Hebrew religious texts to recitative in the style of Claudio Monteverdi, such as in his Cantata Ebraica in Dialogo, a work commissioned from Grossi (himself a Gentile) by the relatively free and well- off Jewish community of Modena. This work was likely intended for performance by an amateur choir (the choral parts are relatively simple, suggesting deliberate tailoring to the capabilities of less advanced musicians) with professional-standard operatic soloists.
In 1987, the ensemble was sent on a 9-concert tour of Latin America by the US Department of State. The ensemble’s range of programming includes the 1993 world premiere of Stravinsky’s A Soldier's Tale, with Kurt Vonnegut’s new text; the 1999 American premiere of Beethoven’s Concerto No. 4, for piano and string quintet; and numerous collaborations with the late jazz pianist Sir Roland Hanna. The ensemble produced the first American recording of Messiaen’s Quartet for the End of Time, and is the first group to record the entire Mozart divertimento catalogue. The divertimento recordings were originally released by VoxBox Productions in 1975, and were followed by a release of Mozart wind serenades.
The Divertimento No. 17 in D major, K. 334/320b was composed by Wolfgang Amadeus Mozart between 1779 and 1780 and was probably for commemorating the graduation of a close friend of Mozart's, Georg Sigismund Robinig, from his law studies at the University of Salzburg in 1780. Lasting about 42 minutes, it takes the longest to perform among the divertimenti by Mozart. The third movement (the first Menuetto) from the divertimento remains so popular that it is often referred to as Mozart's Minuet, although this is clearly not the only minuet by Mozart. An excerpt from this movement was used in the animated film Yellow Submarine (1968) when the string quartet was being annihilated by the Blue Meanies.
Further premieres that year included a performance of his Divertimento for Orchestra by the Berlin Philharmonic under the direction of Heinz Unger on April 10, 1923, and the Hindemith-Amar Quartet's rendering of Weill's String Quartet, Op. 8, on June 24, 1923. In December 1923, Weill finished his studies with Busoni.
She starred in Hallmark Channel's television film Write Before Christmas (2019) alongside Chad Michael Murray. The film centers around Jessica, portrayed by DeVitto, who sends Christmas cards to five people who have impacted her life. She will play Cathy in the thriller film Divertimento (2020) alongside Kellan Lutz and Ola Rapace.
Strauss returned to Couperin and wrote a second suite Divertimento for Chamber Orchestra after Keyboard Pieces by Couperin, Op. 86 which was published in 1942. This contained additional material Strauss had written for a ballet Verklungene Feste: Tanzvisionen aus zwei Jahrhunderten (Bygone Celebrations: Dance Visions from Two Centuries) in 1940.
Six, to Tchaikovsky, was one movement too many. He suggested that Sergei Taneyev be asked his opinion of the March. If Taneyev thought it worthwhile, then Tchaikovsky wanted to drop the Andante and reorder the movements as Introduction and Fugue, Divertimento, Scherzo, March, Gavotte. The Andante's case was then pleaded to the composer.
He worked for Charles Franklin David Legge at the Legge Organ Co., Ltd. in Toronto, Ontario from 1970 to 1977 building, tuning and repairing pipe organs. In 1987, he was appointed music director of Divertimento Orchestra, an amateur community orchestra based in Ottawa, Ontario. Slater also composes for and teaches the carillon.
His work was influenced by Alois Hába, Arnold Schoenberg, Alban Berg, and particularly Leoš Janáček. He used melody from Janáček's Zápisník zmizelého as a theme in his Divertimento (1940). Recordings on Northeastern and on Koch International Classics, for example, have allowed modern listeners to evaluate the quality of his compositions of the 1940s.
The term was also sporadically adopted in the twentieth century. Malcolm Williamson composed a series of ten mini-operas involving audience participation (especially aimed at children), which he called "cassations". Cassazione is the title of a divertimento-like orchestral piece in a single movement by Jean Sibelius, and of a string sextet by Riccardo Malipiero.
The variations of the divertimento are reworked into sonata form for the symphony. The trio of the Minuet features an oboe solo accompanied by violins and cello. The finale is highly contrapuntal and is based on a descending scale.A. Peter Brown, The Symphonic Repertoire (Volume 2) (Bloomington and London: Indiana University Press, 2002): 66–67. .
Among them are Dmitri Shostakovich's score to the ballet The Golden Age, Leonard Bernstein's Divertimento for Orchestra, and several symphonies by the British composer Havergal Brian, the American Roy Harris, and the still-living Finnish composer Kalevi Aho. ¹This is not same as the English "tenor horn," but rather closer to the baritone horn.
Fantastic Voyage by North Wind Quintet. Kibbe is Oboist and arranger of the pieces. Fantasy for Wizards performed by Wizards! Kibbe is composer of Divertimento Op. 39 Trio Indiana Kibbe is composer for Ebony Suite for 3 clarinets Opus 116 String of Pearls by LuminArias includes a 3 movement piece by Kibbe called Malibu Music for violin and viola.
Galais transcribed works such as Handel's concerto in B flat by reorchestrating it and giving it a cadence for Marielle Nordmann. He also transcribed sonatas by François-Joseph Naderman the Divertimento No 2 by Paul Arma, the Nocturne in E major by Glinka and he composed cadenzas for the concertos in G minor and B flat major by Krumpholz.
Emmanuelle Béart and Michel Piccoli at the 1991 Cannes Film Festival. Rivette cut a shorter version of La Belle Noiseuse called La Belle noiseuse: Divertimento. Rivette edited shorter versions of several of his films with long running times. When L'Amour fou was released in January 1969 the 127 minute alternate version was simultaneously released at the production company's request.
The game will be re-released once again for iOS and Android in 2017. A soundtrack album for the game, titled Divertimento Hanjuku Hero, was released by NTT Publishing on January 21, 1993. It features four orchestral renderings of songs from the soundtrack, and 42 tracks from the original soundtrack, composed by Dragon Quest series composer, Koichi Sugiyama.
The influence of popular music of the 1930s can be seen in Weinzweig's work, especially his Divertimentos No.2 and 3, which mimic the quirky rhythms of this music. His Divertimento No. 8 and Out of the Blue exhibit elements of both blues and ragtime. Even his Violin Concerto and Wind Quartet show characteristics of blues in their melodies.
Persichetti was an accomplished pianist. He wrote many pieces suitable for less mature performers, considering them to have serious artistic merit. Persichetti is also one of the major composers for the concert wind band repertoire, with his 14 works for the ensemble. In 1950, Persichetti composed his first work for band, which was the Divertimento for Band.
The following year she was promoted to coryphée. In 1978 she became sujet and danced her first soloist roles in ballets by George Balanchine, Divertimento No. 15 and The Four Temperaments. In 1979, at nineteen, she was appointed première danseuse. In 1981 Platel started to prepare her first great classical ballet, La Sylphide with Pierre Lacotte, her former teacher.
Cassation is a minor musical genre related to the serenade and divertimento. In the mid-to-late 18th century, cassations commonly comprised loosely assembled sets of short movements intended for outdoor performance by orchestral or chamber ensembles. The genre was popular in southern German- speaking lands. Other synonymous titles used by German-speaking composers and cataloguers included Cassatio, Cassatione and Kassation.
His chamber music includes Divertimento, oboe and bassoon, 1956 ; String Trio, 1956; Quartet for Stings, 1957; Quintet for Oboe and Strings, 1958, Four Two-Bit Contraptions, flute and horn, 1964, Skizzen, wind quintet, 1967, Laudes, brass quintet, 1971, Concert Variations, double-belled euphonium or euphonium and piano, 1977, and Triple Play for brass trio, commissioned by the Zephyr Brass Trio in 2006.
23 Simpatie pel Rigoletto op. 27 Duo concertante sui motivi de “I due Foscari” op. 29 Fantasia “L’eco dell’Arno” op. 34 Fantasia sui motivi del “Trovatore” op. 38 Fantasia sui motivi verdiani op. 40 Divertimento sui motivi del “Trovatore” op. 41 Il lamento dell’abbandonato op. 43 Fantasia “La Capricciosa” op. 44 Fantasia “Le Rossignol du Nord” op. 45 Polka “Di chi?” op.
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.
His reputation as a composer was established in 1925 with a Divertimento (or Cassation) for four wind instruments. With this work, based on Classical forms, he became known as a Czech representative of neoclassicism . He wrote the operas Antigone ("Antigona", after Sophocles, 1934) and An Uproar in Efes ("Pozdvižení v Efesu", after Shakespeare, 1943) as well as four symphonies. He died in Prague.
He also wrote chamber music: two string quartets, a duo for horn and viola, a Divertimento for violoncello, a oncertino for piano. His main field of work as a composer was film and television music. He composed film and television scores like Laramie for example. He also wrote for MGM Musicals like Peter Pan (New York 1954) and New Faces of 1956.
He taught at the Royal College of Music and performed at the Aldeburgh Festival. His Fanfare was included in Gerard Hoffnung's first Music Festival Concert along with works by the better-known British composers Malcolm Arnold and William Walton. His compositions include two symphonies (from 1953 and 1957), a Divertimento, and a set of Comic Variations. Francis Founded Mary Ward Settlement in London.
They have five movements and take the form: fast movement, minuet and trio I, slow movement, minuet and trio II, and fast finale. As Ludwig Finscher notes, they draw stylistically on the Austrian divertimento tradition. After these early efforts Haydn did not return to the string quartet for several years, but when he did so, it was to make a significant step in the genre's development.
Radić's oeuvre consists of stage works—opera Love, that’s the main thing and ballet The Ballad of the vagabond moon; vocal-instrumental compositions The Scull-Tower, The Standup country, Awaiting Maria, Scenes from the countryside, The Name list, Landscapes, and The Besieged gaiety; orchestral pieces a Symphony, Sinfonietta, Two Symphonic images, Divertimento, Concertino, and Variations on a folk theme; as well as chamber and solo pieces.
This technique creates a dissonant, foreboding sound that is furthered by sharp dynamic contrasts. Bartók requests some extended techniques in this movement, writing many double stops and several instances of harmonics. The texture is once again varied by contrasts of soloists with the full orchestra, although to a lesser extent than in the previous movement.Béla Bartók, Divertimento for String Orchestra, 1940, (Boosey & Hawkes Ltd, 1940).
By the middle of the 18th century, a divertimento had become a separate genre of light music as well. These divertimenti could be used as interludes in stage works, many of the divertimenti composed in the last half of the 18th century appears to have lost the relation to the theatre, the music in character only having to be a "diversion" in one or another way.
While there, he continued his piano studies under Max Pirani and organ under G. D. Cunningham. Brain debuted in performance on 6 October 1938, playing second horn under his father with the Busch Chamber Players at the Queen's Hall. They performed Johann Sebastian Bach's Brandenburg Concerto No. 1. Brain's first recording was of Mozart's Divertimento in D major, K.334 in February 1939 with the Léner Quartet.
Simultaneously with the symphonies, Mokranjac wrote some more modest orchestral works. These are mostly neoclassical and inspired by the likes of Stravinsky (Ouverture for orchestra, 1962) or Hindemith (Divertimento, 1967; Symphonietta, 1969; both works scored for string orchestra). At the same time, Mokranjac wrote a substantial number of film and theatre music scores. It is remarkable that, in this stage of his career, Mokranjac did not write piano music at all.
These shifts serve to heighten the lively, spontaneous character of the movement. Bartók is also well known for his tempo markings, “…meticulous in the precise timings of his works, down to seconds, often showing the duration of each section of a movement.”Neil Butterworth, “Bartók’s Tempos,” The Musical Times, 127 (January 1986): 12. The exact timings are given in the Divertimento score, and tempo markings are precisely given.
Piano Concerto No. 2 in C minor, Op. 50 (1920–27). Dedicated to Rachmaninoff, who dedicated his own Fourth Concerto to Medtner. In three movements: Toccata, and a Romanza from which follows a Divertimento. The first movement is propulsive with kinetic energy, and there is much dialogue between piano and orchestra (a subsidiary theme resembles the Fairy Tale from the Op. 14 (1906–07) pair, the March of the Paladin).
He wrote extensively for the clarinet, including educational material and works that are still common repertoire. His most famous educational pieces are the two volumes which comprise 48 Studies. His Divertimento for Three Clarinets and Bass Clarinet is one of the most performed works for the medium. Written in 1942 for clarinettists from the Vienna Philharmonic, it is a demanding three-movement work structured similarly to a conventional concerto.
A Musical Joke (in German: ') K. 522, (Divertimento for two horns and string quartet) is a composition by Wolfgang Amadeus Mozart; the composer entered it in his ' (Catalogue of All My Works) on June 14, 1787. Commentators have opined that the piece's purpose is satirical – that "[its] harmonic and rhythmic gaffes serve to parody the work of incompetent composers" – though Mozart himself is not known to have revealed his actual intentions.
The 1957 Dave Brubeck's album Reunion was a quintet session featuring eight Van Kriedt compositions: "Strolling", "Shouts", "Prelude", "Divertimento", "Chorale", "Leo's Place", "Darien Mode" and "Pieta". Reunion features a full–voiced Van Kriedt on Tenor (with hand towel in sax bell, to mute his huge sound). Paul Desmond – alto; Brubeck – piano; Norman Bates – bass and Joe Morello – drums. Reunion displays Van Kriedt's great skills both as soloist and composer.
In 2011, "Hommage à la Méditerranée" by Divertimento at the Cité de la Musique and festival "Label Sorbonne" in Paris. In 2012, "Ice Breacker VI" in Seattle and the opening of the 2012–13 concert season at the Cité de la Musique of Paris for celebration of the fiftieth anniversary of the independence of Algeria. His works have been played by orchestras and ensembles such as the Orchestre Symphonique National Algérien, Arab Youth Philharmonic Orchestra, Euro- Mediterranean Youth Orchestra, Cairo Symphony Orchestra, Qatar Philharmonic Orchestra, Orchestre Symphonique Divertimento, Orquestra Terrassa48 de Cataluña, Calefax Reed Quintet of the Netherlands, Seattle Chamber Players, Ensemble Conductus di Merano, Xenia Ensemble and the Fiarì Ensemble from Torino, plus the Orchestra del Perinaldo Festival, Orchestra Internacional “Pequeñas Huellas” di Niños para la Paze, and Conservatorio di Torino. Considered by the press as a bridge between the West and the East, the music of Salim Dada was often referred to as message of peace and dialogue between the Arab-Muslim world and Europe.
Naxos Records The Divertimento is a lyrical and light- hearted work in the vein of French neoclassicism reflecting Abe's adscription to cosmopolitanism rather than to the primitivistic nationalism that was on the rise in Japanese music at the time. It consists of three movements, marked Andante sostenuto, Adagietto and Allegro lasting for about 20 minutes in total, and it was premiered by saxophonist Arata Sakaguchi. The orchestral version was first recorded by Aleksey Volkov and the Russian Philharmonic conducted by Dmitry Yablonsky in 2005. Following the release the Divertimento was rated as "an enjoyable work, though not overly distinctive" by Jonathan Woolf from Musicweb International, while Steve Hicken from Sequenza21 found that it showed to good effect Abe's "straight-forwardly tonal, melodic, [...] lighter than air" style and Uncle Dave Lewis from AllMusic praised it as "sort of the kind of sax concerto that Richard Strauss might have written", deserving to be added into the instrument's concert repertoire.
The finale, by its carefree quality and specific expressive elements, contributes significantly to the divertimento character of the work. At the same time, its structure is "one of the strangest sonata forms one might encounter and includes some of the most virtuosic contrapuntal textures in the whole piece" . The exposition is straightforward enough. A first theme in the tonic key of D major is built of a chain of motives offering rich opportunities for development.
She was invited by George Balanchine to join New York City Ballet in 1961. She was promoted to Soloist in 1964, and danced principal roles in many works, including Western Symphony, Jewels, Who Cares?, Divertimento #15 and The Nutcracker. During her 11 years with the New York City Ballet, she performed in numerous productions all over the world and received critical acclaim as the "Wife" in Jerome Robbins' 1972 revival of The Concert.
The String Trio in E-flat major, Op. 3 is a composition by Ludwig van Beethoven, his first for string trio (violin, viola and cello). It is a divertimento consisting of six movements, including two minuets. It may have been first sketched while Beethoven was still living in Bonn. It was published in 1797 by Artaria in Vienna, and dedicated to the Countess of Browne, wife of his patron Count Johann Georg von Browne.
Just three years later, Sacher commissioned a new work, one less demanding and for an ensemble of twenty-two players. Bartók's previous commissioned work was found to be extremely challenging and Sacher was now looking for something in the spirit of the eighteenth century, something simpler. The result of Sacher's request was the Divertimento for String Orchestra, BB 118. Bartók composed the piece within an astonishing fifteen days, from August 2–17.
Cotticelli, Francesco and Maione, Paolo Giovanni (1996). Onesto divertimento, ed allegria de' popoli, p. 139. Ricordi. Comic operas dominated the theatre's repertoire throughout the 18th century, but it also presented prose comedies during that time, which like the operas were mainly written in Neapolitan dialect. Over the 137 years of its existence, the Teatro Nuovo presented hundreds of world premieres, including fifteen operas by Cimarosa, eleven by Piccinni, and seven by Donizetti.
The company made its debut in the fall of 1999 during the Kennedy Center's Balanchine Celebration, performing Divertimento No. 15. Later, in the fall of 1999, Ms. Farrell received critical acclaim for the successful Kennedy Center engagement and East Coast tour of Suzanne Farrell Stages the Masters of 20th Century Ballet. Following the Kennedy Center's debut, the newly named Suzanne Farrell Ballet, a group of professional dancers hand selected by Ms. Farrell,.
According to Rivette, "We tried truly to make a film that did not talk about painting, but approached it". The film earned him the Grand Prix at the 1991 Cannes Film Festival and the Prix Méliès from the French Syndicate of Cinema Critics. It received five César Award nominations, including Best Picture and Best Director (Rivette's only nomination in that category). Shortly after its Cannes success, a two-hour version, La Belle Noiseuse: Divertimento, was theatrically released.
13 mins 2 fl, 2 ob, 2 bn, strings, cembalo This is a chamber concerto, which could be played with a single person per part. The solo part is well integrated into the whole, and the music has an effervescent bounce. The slow movement is mainly orchestral and the finale is something of a Minuet with a Trio featuring wind solos. Published by Edition Tonger, Köln - Rodenkirchen, Germany Divertimento pour Pianoforte, Clarinetto, Viola et Violoncello, c1780 1\.
To support his family in Leipzig, he also worked as a pianist in a Bierkeller tavern. In 1922, Weill joined the November Group's music faction. That year he composed a psalm, a divertimento for orchestra, and Sinfonia Sacra: Fantasia, Passacaglia, and Hymnus for Orchestra. On November 18, 1922, his children's pantomime Die Zaubernacht (The Magic Night) premiered at the Theater am Kurfürstendamm; it was the first public performance of any of Weill's works in the field of musical theatre.
His last recording on LP, released in 1980, includes the difficult sonatas of C.H. and H.I.F. Biber and Mozart's Divertimento KV 188. Smithers’ style of playing has often been described as "singing." The similarities in sound production of singing to brass instrument playing have been crucial for his performing from the very beginning. Smithers is nearing the completion of a comprehensive work on the history of trumpets and related instruments from antiquity until the era of Beethoven.
Formed in 1904 as Società Studio e Divertimento (Society for Study and Entertainment), as a sports club characterised by a black and white striped jersey which was derived from the city of Siena coat of arms. It founded its football club, named Società Sportiva Robur in 1908. Today, the name "Robur" is widely used by the local supporters to distinguish itself from the two basketball teams, "Mens Sana" and "". The team finally became known as Associazione Calcio Siena (A.
He next wrote his two violin sonatas (written in 1921 and 1922, respectively), which are harmonically and structurally some of his most complex pieces. In 1927–28, Bartók wrote his Third and Fourth String Quartets, after which his compositions demonstrated his mature style. Notable examples of this period are Music for Strings, Percussion and Celesta (1936) and Divertimento for String Orchestra (1939). The Fifth String Quartet was composed in 1934, and the Sixth String Quartet (his last) in 1939.
Still other composers have sought to explore the timbres created by including instruments which are not often associated with a typical orchestral ensemble. For example, Robert Davine explores the orchestral timbres of the accordion when it is included in a traditional wind trio in his Divertimento for accordion, flute, clarinet and bassoon. What do these changes mean for the future of chamber music? "With the technological advances have come questions of aesthetics and sociological changes in music", writes analyst Baron.
Graziano began his professional career in 2003 with the Tulsa Ballet in Oklahoma where he spent five years, becoming a demi- soloist. He performed roles in Jewels, The Sleeping Beauty, Romeo and Juliet as well as in a variety of contemporary works. In 2010, he joined Sarasota Ballet where he was quickly promoted to a principal dancer. There he has performed in Christopher Wheeldon's The American, George Balanchine's Divertimento No. 15 and The Prodigal Son, and Frederick Ashton's Les Rendezvous.
Dushkin cooperated closely with Igor Stravinsky in the composition of the latter's first work for the violin, the Violin Concerto. He played at the concerto's world and US premieres and on the debut Vox recording (VLP 6340) with Stravinsky conducting Lamoureux Orchestra. Stravinsky also composed his Duo Concertante and his Divertimento, both for violin and piano, to play with Dushkin in concert tours. They also worked together in violin transcriptions of other works, such as the Suite Italienne from Pulcinella.
The first impulse to compose a woodwind sextet came into Janáček's mind during his visit of the festival of the International Society of Contemporary Music in Salzburg in August 1923. Albert Roussel´s Divertimento for Wind Quintet and Piano was performed here, and it is possible that this composition motivated Janáček's interest to create a similar work.Score, p. IX. Another important impulse came to Janáček with a short piece called March of the Blue-Boys for piccolo, bells and tambourine (or piano).
Kōmei Abe's Divertimento for Alto Saxophone was originally written in 1951 for alto saxophone and piano and subsequently orchestrated in 1960. It is a result of his interest in woodwind instruments in the postwar years, which led him to learn to play the clarinet in addition to his previous training as a cellist. His interest can be traced back to his schoolyears when he was moved by its use in Maurice Ravel's orchestration of Pictures at an Exhibition.Notes by Morihide Katayama.
William Waterhouse died suddenly in Florence on 5 November 2007, age 76. His son composed Epitaphium as an Epitaph to be performed at a memorial service in London, "In Memoriam W.R.W.". Instead, the trio was premiered on 19 July 2009 in the Kleiner Konzertsaal of the Gasteig, performed by the players of the Münchner Philharmoniker Clément Courtin (violin) and Gunter Pretzel (viola), and the composer (cello). The program included Wilhelm Killmayer's Trio (1984), Arnold Schoenberg's string trio and Mozart's Divertimento K. 563.
From the Classical era, the two concertos by Joseph Haydn in C major and D major stand out, as do the five sonatas for cello and pianoforte of Ludwig van Beethoven, which span the important three periods of his compositional evolution. Other outstanding examples include the three Concerti by Carl Philipp Emanuel Bach, Capricci by dall'Abaco, and Sonatas by Flackton, Boismortier, and Luigi Boccherini. A Divertimento for Piano, Clarinet, Viola and Cello is among the surviving works by Duchess Anna Amalia of Brunswick- Wolfenbüttel (1739–1807).
He is co-author of The Beatles in Cuba, Havana (February 1998). He has published numerous articles in journals such as the Journal of country WAVE Marti Studies Center. Write (weekly) the notes to the programs of the National Symphony Orchestra of Cuba. In April 1993 his "Divertimento" was performed by the Guitar Orchestra of the Conservatory of Shenandoah (Virginia), USA. His Symphony of Gilgamesh was released in Cuba at the Teatro Amadeo Roldán for Guitar Orchestra Rheine (Germany) and the Habanera Sonantas Orchestra (July 26, 2009).
"Die Schlittenfahrt" ("Sleigh Ride") is also the popular name of one of Wolfgang Amadeus Mozart's Three German Dances. It is sometimes mistakenly attributed to Wolfgang's father, Leopold Mozart, whose own Divertimento in F major is popularly known as "Musical Sleigh Ride". The "Winter Night" segment of Frederick Delius's Three Small Tonepoems is also commonly known as "Sleigh Ride". The "Troika" movement of Lieutenant Kijé by Sergei Prokofiev is also a musical sleigh ride, referring to a three-horse team drawing a carriage (troika means "group of three").
As a composer, Testi's music has been strongly influenced by the works of Stravinsky along with his own dramatic sensibility. This is particularly evident in his earlier orchestral works such as Concerto (1954) and Divertimento (1956). His La crocifissione premièred at La Scala in 1954 to great acclaim. The expressiveness of work was particularly admired and the composer followed similar style in his Stabat mater (1957) and New York oficina y denuncia (1964), the latter of which denounced the dehumanizing environment of the modern metropolis.
In 1870, Brahms's friend Carl Ferdinand Pohl, the librarian of the Vienna Philharmonic Society, who was working on a Haydn biography at the time, showed Brahms a transcription he had made of a piece attributed to Haydn titled Divertimento No. 1. The second movement bore the heading "St. Anthony Chorale", and it is this movement which, in its entirety, forms the theme on which the variations are based. Brahms's statement of the theme varies in small but significant ways from the original, principally with regard to instrumentation.
Apparently at some point he lived and worked in England, where in London he met Czech singer and composer Josef Theodor Krov, who called Šťastný, the "Beethoven of the violoncello". Traces of Šťastný disappear after 1826. Šťastný's cello and basso continuo composition is regarded, in the opinion of violinist, conductor, and cello music historian Wilhelm Joseph von Wasielewski, as one of the best examples of antique cello compositions. He composed cello pieces (11 opus numbers), duets, variations, sonatas, divertimento, instructive pieces, concertino, Grand Trio.
He was the President of the Rochdale Youth Orchestra until his death in September 2006. The Leicestershire Schools Symphony Orchestra made the first commercial recording of Arnold's Divertimento for the Pye label in July 1967 and regularly performed many of his works in the UK and abroad. Arnold also conducted the orchestra in a 1963 De Montfort Hall concert that included his own English Dances and Tam O'Shanter. Malcolm Arnold wrote the Trevelyan Suite to mark the opening of Trevelyan College, University of Durham.
It seems likely that the term cassation was used to refer to the intended social function of the music as outdoor entertainment rather than any particular structural features. Breitkopf's thematic catalogues of the time tended to apply titles such as "cassation" and "divertimento" rather interchangeably, as did the composers themselves. This terminological overlap makes it difficult to distinguish formal characteristics of the cassation as a musical genre. Both Wolfgang Amadeus Mozart and Michael Haydn seem to have used the term only to refer to orchestral pieces, whereas Joseph Haydn called his op.
The usage of sonata as the standard term for such works began somewhere in the 1770s. Haydn labels his first piano sonata as such in 1771, after which the term divertimento is used sparingly in his output. The term sonata was increasingly applied to either a work for keyboard alone (see piano sonata), or for keyboard and one other instrument, often the violin or cello. It was less and less frequently applied to works with more than two instrumentalists; for example, piano trios were not often labelled sonata for piano, violin, and cello.
In March 2012, the forensics team took home their first state championship trophy. The school has a Concert Band, a Symphonic Band, a Wind Ensemble and a jazz band Each year, the Wind Ensemble prepares a repertoire in preparation for a performance at the All- District Festival, usually held in March. In 2008, the players were awarded a "1" or a "Superior" rating with a repertoire consisting of Grade 6 pieces Mannin Veen, Divertimento, and the Grade 5 March Lucky Two and also achieved perfect individual category scores for the first time in its history.
Of the ensemble types named according to the number of musicians in the group, the decet, undecet, duodecet, tredecet, etc., are names less common in music than smaller groupings (quartet, quintet, etc., up to nonet). In the eighteenth century, twelve-part ensembles were most often encountered in the genre of the wind serenade, divertimento, nocturne, or partita—for example, Josef Reicha's Parthia ex D, for 2 flutes, 2 oboes, 2 clarinets, 3 horns, 2 bassoons, and double bass, and the partitas for the same instrumentation by Reicha's colleague Johann Georg Feldmayr .
Joseph Haydn's Symphony No. 14 in A major, Hoboken I/14, may have been written between 1761 and 1763.H. C. Robbins Landon, The Symphonies of Joseph Haydn. London: Universal Edition & Rockliff (1955): 636 Symphony No. 14 is scored for 2 oboes, bassoon, 2 horns, strings and continuo. As was becoming more common for Haydn, this symphony has four movements: #Allegro molto, #Andante in D major, #Menuetto e Trio: Allegretto, with the Trio in A minor, both #Allegro, The Andante was originally the finale of an early divertimento "Der Geburtstag" (en.
The Divertimento for String Orchestra is Bartók's last work composed just before he fled Hungary and immigrated to the United States during the outbreak of World War II. Due to Bartók's disdain for the Nazi regime and Hungary's unpopular political stance, Bartók discontinued his concert performing and terminated his publishing contract in Germany. In 1938, Bartók began slowly sending away his most treasured manuscripts and in 1940, Bartók and his wife, Ditta Pásztory, relocated to New York City.Malcolm Gillies, Bartók Remembered. (London: Faber and Faber, 1990), p. 167.
Love on the Ground was released as a 120-minute version after Rivette was forced to cut 50 minutes by the film's distributor. He said that the longer version was more complex and "structured similarly to Raymond Roussel's New Impressions of Africa, where there is a phrase, and then a parenthesis, which is tied to yet another phrase, and another parenthesis, ad infinitum." In order to cut 50 minutes out he simply "lifted the parentheses." The shorter cut of La Belle noiseuse (called La Belle noiseuse: Divertimento) was 120 minutes.
The Divertimento from Le Baiser de la fée is a concert suite for orchestra based on music from the ballet. Stravinsky arranged it in collaboration with Samuel Dushkin in 1934 and revised it in 1949. It has four movements: In 1932 Samuel Dushkin and the composer produced a version for violin and piano, using the same title. Another episode from the ballet was arranged for violin and piano by Dushkin with the title Ballad. However, the latter only received the composer’s assent in 1947 after the French violinist Jeanne Gautier put forward an arrangement.
Balanchine created a solo for him in Divertimento from Le Baiser de la Fée for the 1972 Stravinsky Festival. Tomasson, at age 42, performed this piece in his January 1985 farewell performance at the New York State Theater with ballerina and longtime partner Patricia McBride. When reviewing this last performance, the New York Times wrote, “With his outstanding technique and elegance, Mr. Tomasson was the epitome of the classical male dancer. As the quintessential Robbins dancer, he knew how to filter the emotional through a crystal-clear classical prism.
If Duo is the anti-concerto (which it is) - then the Oboe Concerto in F Major is the "real" concerto. The objectivism of it, the serenity undisturbed by any subjectivist engagement, the image of one "perfect world" unshaken by the human and the too-human, is perhaps (neo)classical, with all the recognisable topography of the four- movement sonata cycle. However, a certain James Bondian activism of the even movements.....as well as the Ravelian and the Gershwinian soul of the odd ones, point this concerto-divertimento in a specific and distinctly modern direction.
Ballade (1980) Company Premiere: November 23, 2007. Music by Gabriel Faure. Choreography by George Balanchine Adagio from Concierto de Mozart (1942) Company Premiere: June 6, 2007 Music by Wolfgang Amadeus Mozart. Choreography by George Balanchine Contrapuntal Blues pas de deux from Clarinade (1964) Company Premiere: November 22, 2005 Music by Morton Gould. Choreography by George Balanchine Danses Concertantes (1972) Company Premiere: November 7, 2012 Music by Igor Stravinsky. Choreography by George Balanchine Divertimento Brillante (1967) (from Balanchine’s Glinkiana) Company Premiere: June 8, 2007 Music by Mikhail Ivanovich Glinka.
In addition to performing as an orchestral flautist, Laucella composed several orchestral works during this period, including Sunday at the Village (1914), Divertimento for Flute, Oboe and English Horn (1914), Prelude and Temple Dance (1915), and Whitehouse – Impressions of Norfolk (1917). Laucella premiered his Whitehouse - Impressions of Norfolk at the annual Litchfield County Norfolk Music Festival in Norfolk, Connecticut in 1917. The composition embodies Laucella's impressions of the festival's events and was dedicated to the gracious patrons of the festival Mr. and Mrs. Carl Stoeckel, whose residence was mentioned in the title of the work.
Sergiu Natra Sergiu Natra (born 12 April 1924) is an Israeli composer. (Print version: Sadie, Stanley (ed.), The New Grove Dictionary of Music and Musicians, Macmillan, 1980, Vol. 13 p. 76. ) Natra compositions include, among others, "Symphony in Red, Blue, Yellow and Green for symphony orchestra", "Horizons Symphony for symphony string orchestra", "Invincible Symphony for symphony orchestra", "Memories Symphony for symphony string orchestra", "Earth and Water symphony for symphony orchestra", "Spacetime symphony for string orchestra", "March and Choral for symphonic orchestra", "Divertimento in Ancient Style for string orchestra with piano", "Festive Overture - Toccata and Fuge for orchestra", "Variations for Piano and Orchestra".
The practice of the Classical period would become decisive for the sonata; the term moved from being one of many terms indicating genres or forms, to designating the fundamental form of organization for large-scale works. This evolution stretched over fifty years. The term came to apply both to the structure of individual movements (see Sonata form and History of sonata form) and to the layout of the movements in a multi-movement work. In the transition to the Classical period there were several names given to multimovement works, including divertimento, serenade, and partita, many of which are now regarded effectively as sonatas.
Bernstein received the Kennedy Center Honors award in 1980. For the rest of the 1980s he continued to conduct, teach, compose, and produce the occasional TV documentary. His most significant compositions of the decade were probably his opera A Quiet Place, which he wrote with Stephen Wadsworth and which premiered (in its original version) in Houston in 1983; his Divertimento for Orchestra; his Ḥalil for flute and orchestra; his Concerto for Orchestra "Jubilee Games"; and his song cycle Arias and Barcarolles, which was named after a comment President Dwight D. Eisenhower had made to him in 1960.
In his early career in New York City, he was a staff pianist with the New York City Ballet where he was influenced by Balanchine and Stravinsky. During that period he studied composition with Alexei Haieff. Ramsier's output includes orchestral, opera, choral, instrumental and chamber works, but his best known contribution to contemporary music is his body of work for the double bass, which has established him as a major figure in the development of the instrument. His renowned double bass compositions include four works with orchestra beginning with the landmark Divertimento Concertante on a Theme of Couperin.
She also performed in other Balanchine works, including Ballo della Regina, the Waltz in Coppélia, Divertimento No. 15, Stars and Stripes, Scotch Symphony, La valse, and Western Symphony. While Christopher Wheeldon was working with NYCB, Morgan performed in three of his ballets; Carousel (A Dance) and Scènes de ballet in 2006, and Mercurial Manoeuvres in 2009. Also in 2009, Morgan performed in Jerome Robbins' 2 and 3 Part Inventions, Dances at a Gathering, The Four Seasons as Winter, Les Noces, and West Side Story Suite as Maria. Morgan performed the pas de deux from August Bournonville's Flower Festival in Genzano.
This is the 2nd movement of his Divertimento in E-flat major, K. 113. The "normal" orchestra ensemble—a body of strings supplemented by winds—and movements of particular rhythmic character were established by the late 1750s in Vienna. However, the length and weight of pieces was still set with some Baroque characteristics: individual movements still focused on one "affect" (musical mood) or had only one sharply contrasting middle section, and their length was not significantly greater than Baroque movements. There was not yet a clearly enunciated theory of how to compose in the new style.
Lubor Bárta (August 8, 1928 in Lubná near Litomyšl – November 5, 1972 in Prague) was a Czech composer. Bárta studied musicology and aesthetics from 1946 to 1948 at Charles University in Prague and was a pupil of Jaroslav Řídký at the Academy of Performing Arts until 1952. While he was still a student he composed his first chamber works: Piano Variations, Three Polka Studies, Violin Sonata, Divertimento for Wind Quintet and String Quartet.Pokora (1986), preface His early compositions were influenced by Stravinsky and Bartók, but he gradually came into his own compositional style, especially apparent in his instrumental works.
His early works were fairly original and some of his pieces have enduring popularity. His output includes three operas, four symphonies, a divertimento (which is a symphony in all but name), six piano concertos, works for ballet, choral music, alto saxophone solo, and a large amount of solo piano music. His Symphony No. 1 (1927) is remarkable for including the first symphonic movement ever written completely for unpitched percussion; this preceded by four years Edgard Varèse's Ionisation of 1931 (Benjamin Folkman, cited in Wender 1999, 6). One of two symphonies left incomplete at his death would have been for percussion alone (Arias 2001).
Gebhard composed music for piano, chamber orchestra and symphony orchestra. His Fantasy for Piano and Orchestra was given its first performance by the New York Philharmonic on November 12, 1925, with the composer at the piano. Among Gebhard's other works are the symphonic poem, Across the Hills (1940), Divertimento for Piano and Chamber Orchestra (1927), Waltz Suite for two pianos, the song cycle, The Sun, Cloud and the Flower and numerous works for piano.Baker's Biographical Dictionary of Musicians, Seventh Edition, Revised by Nicolas Slonimsky, Schirmer Books, New York, 1984, page 807 Gebhard's book, The Art of Pedaling, was published posthumously in 1963.
Brock's concert works include three symphonies, three concertos, a cantata, two operas, and a number of individual orchestral pieces. In 1995 he received a composer fellowship from the Artist Trust Foundation, during which he composed his first opera Billy (1995, libretto by Bryan Willis), the Divertimento: Five Picture-Postcards for Orchestra, and his second opera, Mudhoney (1998, adaptation of the original Friday Locke screenplay by the composer and Bryan Willis). In 1999, he was commissioned to compose an orchestral song cycle for soprano Cyndia Sieden: The Funeral of Youth, four orchestral settings to four poems of the English poet Rupert Brooke.
Il Trionfo d'Amore is a scherzo pastorale by Francisco António de Almeida written to celebrate one of the two Saint name-days of King João V. The serenata was first performed on 27 December 1729 at the Ribeira Palace, on the feast of St John the Baptist.Daniela Di Pasquale -Metastasio al gusto portoghese 8854814954 - 2007 -"Rientrato a Lisbona nel 1729, eseguì al Paco da Ribeira il divertimento pastorale intitolato Il trionfo d'amore, mettendo in pratica tutti gli insegnamenti appresi in Italia." The plot concerns the wedding arrangements for Nerina to Adraste, which the gods’ frustrate because of her greater love for Arsindo.
Adams was married to Hugh Laing from 1947 to 1953. She later married Ronald Bates. Adams had one child, Georgina Bates. Diana Adams was one of George Balanchine’s “muses” at New York City Ballet and he created roles for her in a series of ballets: Western Symphony, Ivesiana, Divertimento #15, Agon, Stars and Stripes, Episodes, Monumentum Pro Gesualdo, and Liebeslieder Walzer. According to Jacques D’Amboise’s memoirs, Balanchine also created roles on her in Tchaikovsky Pas de Deux, Figure in the Carpet, Midsummer Night’s Dream, and Movements for Piano and Orchestra, although she did not dance in the premieres due to illness or injury.
The most important and prevalent type of serenade in music history is a work for large instrumental ensemble in multiple movements, related to the divertimento, and mainly being composed in the Classical and Romantic periods, though a few examples exist from the 20th century. Usually the character of the work is lighter than other multiple- movement works for large ensemble (for example the symphony), with tunefulness being more important than thematic development or dramatic intensity. Most of these works are from Italy, Germany, Austria and Bohemia. Among the most famous examples of the serenade from the 18th century are those by Mozart, whose serenades typically comprise between four and ten movements.
The designation divertimento found on each of the autographs is in Leopold Mozart's hand. This and the fact that he numbered the pieces from I to V is a strong indication that he wanted to have the pieces printed. The five divertimenti were, however, never published during the Mozarts' lifetimes, perhaps due to the missing sixth piece. After Mozart’s death, Nissen changed the numbering fixed by Leopold and placed one of the divertimenti for ten winds, K 166/159d, in front of the sextets. Apparently, Johann Anton André was not misled by this and he published a very carefully prepared set of parts in the original order in 1801.
As a violinist, Fusi has been a member of the Lucerne Festival Academy from 2007 till 2011, working with Pierre Boulez, Alan Gilbert, Péter Eötvös and Susanna Mälkki. Between 2009 and 2013 Fusi recorded and frequently performed the complete cycle of John Cage’s Freeman Etudes for solo violin. In 2014, Fusi uncovered an unperformed work for violin and piano by Giacinto Scelsi, Divertimento N. 1, preserved within the archives of the Scelsi Foundation of Rome. This rediscovered work was premiered by Fusi, together with pianist Anna D’Errico, at the Royal Conservatoire of Antwerp in January 2019, and their recording is included in the Scelsi Collection, edited by the Scelsi Foundation.
After completing his studies he became the maestro di cappella at the Santa Maria della Salute, a position he held until 1745. He then worked in the same capacity at the court in Modena, where his divertimento da camera La pace fra la virtù e la bellezza premiered in 1746. Around the same time he composed some songs and arias for Johann Adolph Hasse's Lo starnuto di Ercole, which was given at the Teatro San Girolamo (a small theatre located in the Palazzo Labia) in 1745 and during Carnival 1746. In 1748 Adolfati became maestro di cappella at the Basilica della Santissima Annunziata del Vastato in Genoa.
As a result, ballets like Ragtime (Balanchine/Stravinsky), Pithoprakta (Balanchine/Xenakis) and Divertimento Brillante (Balanchine/Glinka) were recreated and performed. Despite positive reviews and an annual budget ranging from $1-$1.4 million, the Center announced in September 2016 that the Company would be disbanding at the end of the 2017 performance season. Deborah Rutter, President of the John F. Kennedy Center for the Performing Arts, noted that the Center would be undergoing a new expansion project to include additional performance and rehearsal space. Farrell's new role in the organization remains unclear, however, Rutter emphasized that Farrell would continue to be an "artistic partner" at the Center.
Tcherepnin's Symphony No. 3 was written while in Chicago during this time, commissioned in 1951 by Patricia and M. Martin Gordon who were the founders of Princess Pat, a Chicago-based cosmetic company. The work was dedicated to Patricia Gordon and premiered in 1955 with Fabien Sevitzky conducting the Indianapolis Symphony Orchestra. Meanwhile, his Symphony No. 2 had its world premiere with the Chicago Symphony Orchestra in 1952 under the direction of Rafael Kubelík. In 1957, Tcherepnin completed two major American orchestral commissions: the Divertimento, Op. 90 (for Fritz Reiner and the Chicago Symphony Orchestra) and his Symphony No. 4, Op. 91 (for Charles Munch and the Boston Symphony Orchestra).
Perhaps the greatest challenge faced by the conductor and ensemble who undertakes to perform this work is one of understanding this work within Bartók's oeuvre. Bartók's music has now attained the “serious” stature and consideration that it deserves, and yet with this respect comes a focus on the music's structure, its rhetorical strengths, its highly evolved tonal and rhythmic elements. A quick look at the score demonstrates that even though Bartók wrote the Divertimento very quickly, he still provided his customary highly detailed instructions for performance. The first 24 measures contain two highly coordinated allargandi, which serve to exaggerate the slightly off- kilter rhythm and sense of melodic propulsion.
Don Chisciotte alle nozze di Gamace (Don Quixote at Camacho's Wedding) composed by Antonio Salieri (1750–1825), is an Italian-language opera the libretto presents the opera as in one act (five scenes), and the musical score includes a mid-point division, both score, and libretto originally denoted the work a divertimento treatrale. The libretto was written by , dancer, poet and stage manager, brother of the composer Luigi Boccherini. The work is loosely adapted from chapters 19 and 21 of Part II of the novel Don Quixote by Miguel de Cervantes. The work was a hybrid opera buffa and ballet with the ballet's choreographed by Jean-Georges Noverre.
He provides examples of such possible borrowings from Rodrigo Caro, Baudelaire, Luis de León and Quevedo. He also suggests that Lope de Vega and George Herbert were the sources for another 2 poems, "Divertimento" and "La poesía". Eliot's influence is also suggested in an essay by Octavio Paz - "La palabra edificante".Cernuda's Debts in Studies in Modern Spanish Literature and Art presented to Helen Grant p 252One significant borrowing from Eliot is the title of his last collection of poetry, Desolación de la Quimera, which alludes to a line from "Burnt Norton" > The loud lament of the disconsolate chimera in itself an allusion to a sermon by John Donne.
She made her début at the Paris Opera in 1894 with Faust and triumphed the following year in the Hellé divertimento, impressing the Parisians with her Italian technique and her fouettés. When Rosita Mauri retired in 1898, Zambelli took her place, earning the distinction of prima ballerina. She was the last foreigner to be designated prima ballerina at the Mariinsky Theatre in St Petersburg where she was a great success during the year she spent there in 1901 performing the leading roles in Coppélia, Giselle and Paquita. She then returned to Paris where she was the reigning ballerina at the Opéra until her retirement in 1930.
Percussion forms another strand of his work, including a Percussion Concerto (1968) and several works for percussion ensemble. After 1986 he had more time to work on larger scale pieces such as the Requiem Sine Voxibus ("Requiem Without Voices") for large orchestra (1989), the Stabat Mater (1991), the Violin Concerto (1992) and the Piano Concerto (1994), which was written for Leslie Howard. The fanfare which forms the first six bars of Salzedo's Divertimento for three trumpets and three trombones, opus 49 (1959), was used as the theme tune for the Open University's educational programmes on BBC television and radio from the 1970s to the 1990s.
Attended by the Queen Mother, Princess Margaret and Princess Marina, the production was an immediate success. It became a signature work for the duo, sealing their partnership. In 1964, Fonteyn and Nureyev toured from Sydney to Melbourne, performing in Giselle and Swan Lake with The Australian Ballet. After a brief break, they resumed their performances in Stuttgart. On 8 June that year, while the duo were performing in Bath, they were advised that a rival Panamanian politician had shot Fonteyn's husband Arias, but it was unclear if he was in imminent danger. Fonteyn, though shaken, danced in MacMillan's new pas de deux, Divertimento, on 9 June, before flying home to Panama.
Hollmann premiered the Capriccio in Prague on 2 March 1928, with members of the Czech Philharmonic under Jaroslav Řídký.Nigel Simeone et al, Janacek’s worksJanáček for Piano and Wind Ensemble Meanwhile, Erwin Schulhoff had written his Suite No. 3 for piano left-hand, in five movements, for Hollmann, who premiered it in Belgrade, Yugoslavia, in November 1927.Donald L Patterson, One handed; A Guide to Piano Music for One Hand Bohuslav Martinů's Divertimento (Concertino) in G for piano left-hand and small orchestra was written for Hollmann in 1926-28. Josef Bohuslav Foerster wrote his Notturno and Fantastico, Op. 142 for Hollmann (written 1930s, published 1945).
The Heist is a quirky crime-drama about two first-time jewel thieves who stage a bizarre diamond heist with seemingly disastrous results, written and directed by short-film director Campbell Cooley and presented in 2008. With The Heist Campbell Cooley wanted to tell a character-driven story without dialogue and, to add to the complexity of the challenge, he also underscored the entire story to a minuet by Wolfgang Amadeus Mozart, writing the story to the music. Consistent with his style, the film is full of twists and surprises. The action flows in harmony with Mozart's Minuet movement from Divertimento in D Major.
It has also been pointed out that the unusual scoring, most importantly the use of two English horns (Mozart had used them before only in the second version of the Divertimento K 113, also composed in Milan, and in La finta semplice, and after only in Il rè pastoreM. Flothuis, "Mozart's Adagio für Englishhorn", Mitteilungen der Internationalen Stiftung Mozarteum 1967, 15, pp. 1-3.), strongly suggests a commission conceived for an already existing ensemble outside Salzburg.R. Hellyer, "Mozart's Harmoniemusik", The Music Review 1973, 34, pp. 146–156. Unfortunately, the fact that the autograph of K 166/159d explicitly mentions Salzburg does not make unravelling the genesis of these works easier.
In Vienna, he began writing chamber music. His Trio for Violin, Cello and Piano was followed by a Divertimento for Flute and String Trio, and by his first String Quartet, which was the only American prize-winner at the fourth International Concourse for Composition in Monaco. Mechem's first major orchestral success was the 1965 San Francisco Symphony premiere of his Symphony No. 1 under Josef Krips, who called the work "one of the world's great pieces of music" (Associated Press). Krips commissioned Mechem to write a Second Symphony, which he premiered in 1967 with such success that he repeated it two years later. Mechem wrote many commissioned choral suites, cantatas and other vocal works during the early 1970s.
SDT adds five or six new works in each season coming from choreographers such as Val Caniparoli, Edwaard Liang, Nils Christe, Kinsun Chan plus the children's ballet Peter and Blue's series created especially for young audiences by the company's Artistic Director, Janek Schergen. SDT presented company premieres of George Balanchine's ballets Concerto Barocco, Serenade, Allegro Brillante, Divertimento #15, Theme and Variations, Rubies and The Four Temperaments between 2009-2017. The 2011 season's began with Choo San Goh's Romeo and Juliet performed at The Esplanade in March. Masterpiece in Motion 2011 programme was Stanon Welch's Maninyas, Nils Christe's Fearful Symmetries and a new work made for SDT by Edwaard Laing entitled The Winds of Zephyrus.
As a soloist and principal dancer with New York City Ballet, she danced for two legends of the art form, George Balanchine and Jerome Robbins, performing countless featured roles, including Violin Concerto, Firebird, Serenade, Liebeslieder Walzer, Divertimento No. 15, and Agon. Lopez's great interest in children also found her writing and contributing to many of the company's family matinee series. Upon retirement in 1997, Lopez joined WNBC-TV in New York as a cultural arts reporter, writing and producing feature segments on the arts, artists and arts education. She was also a full-time senior faculty member and director of student placement, student evaluation and curriculum planning at New York's Ballet Academy East.
1929 Denmark - Tage Nielsen, a mainstream composer who has worked for Danish Radio, is a professor at the Danish Academy of Music. For organ he has published Toccata 1951 and Divertimento "Marker og enge" 1971 [DAN]."John David White, Jean Christensen New Music of the Nordic Countries 2002 Page 31 "Tage Nielsen (1929- ) During all of the changes in the post-1960s music, a number of composers and musicologists were instrumental in restructuring laws, implementing programs and building audiences. Tage Nielsen was a model example "John H. Yoell The Nordic sound: explorations into the music of Denmark, Norway, 1974 Page 49 "Some composers more or less identified with the Maegaard camp include: Poul Rovsing Olsen (b.
Of the ensemble types named according to the number of musicians in the group, the decet and the larger undecet, duodecet, etc., are names less common in music than smaller groupings. In the eighteenth century, ten-part ensembles were most often encountered in the genre of the wind serenade, or divertimento (for example, Mozart, K. 186 and 166, both for 2 oboes, 2 clarinets, 2 English horns, 2 horns, and 2 bassoons). Because the wind- serenade tradition was carried on during the 19th century primarily in France, the term dixtuor is somewhat more widely used in French than is its English equivalent, and French works figure most prominently in this ten-instrument configuration—most commonly the double wind quintet.
This composition takes approximately 20 minutes to perform. The movement list is as follows: # Serenade # Scherzo # Notturno # Sarabande (Johann Sebastian Bach in memoriam) # Tempo di valse # Aria There is one recording of the complete cello suite contaneing the prelude commissioned by cellist Arto Noras for the 2013 Paulo cello-competition, the recording was made by cellist Jakob Spahn released on december 14 2018 by Dux Records. Most typically, recordings tend to omit at least one movement. Penderecki wrote this divertimento for solo cello as part of a musical collaboration with fellow cellist Mstislav Rostropovich, a musical collaboration which started with the Cello Concerto No. 2 and which went on for more than twenty years.
He attended the Schola Cantorum de Paris where he studied composition with Vincent d'Indy, theory and counterpoint with Eugène Borrel, organ with Édouard Souberbielle and Gregorian chant with Amédée Gastoué. He was further introduced to late-romantic music and French impressionism. During this time his imagination flourished, enabling him to write his first large work for orchestra: Divertimento. This piece won him an award in 1931 in Paris and was performed with great success the same year in Poland and former USSR. In 1931 he returned to Turkey as a music teacher for a new establishment found by Mustafa Kemal Atatürk that aimed to train music teachers with respect to the new law of arts.
He consequently quit New York City Ballet and, later in 1966, rejoined London Festival Ballet,Renée Renouf (July 2002) "Galina Samsova," interview, Ballet Magazine. where he continued his partnership with Samsova to great acclaim for some years. Prokovsky and Samsova married in 1972 and soon thereafter left London Festival Ballet to form their own company, the New London Ballet. A small troupe of only fourteen dancers, it toured Britain, Europe, Asia, South America, and the United States with a repertory including Prokovsky's first choreographic works. Among them were Bagatelles (1972; music, Beethoven), Vespri (1973; music, Verdi), Folk Songs (1974; music, Berio), Soft Blue Shadows (1975; music, Fauré), and Faust Divertimento (1976; music, Gounod), created in collaboration with Samsova.
The Andante with variations in F minor (Hoboken 17/6), also known as Un piccolo divertimento, was composed for piano by Joseph Haydn in 1793, and is among his most popular piano works. (The late British composer and pianist John McCabe, in his booklet note accompanying his boxed set of recordings of Haydn's complete solo keyboard music, was of the opinion that it was possibly inspired by the death of Maria Anna von Genzinger (1754-93, called "Marianne") [p. 23]. McCabe also says that this piece is Haydn's "most extended and most resourceful such work for the keyboard" [p. 22].) The variations here are a set of double variations, the first theme is in F minor and the second theme in F major.
He began composing at an early age and his work titled "March and Choral" for symphony orchestra, earned him the status of a modernist in Romania. The Israel Philharmonic Orchestra performed this work in 1947 under the direction of Edward Lindenberg. NATRA had received many composition awards in for his creations, among which, for "March and Choral" for symphony orchestra and "Divertimento in ancient style" for symphony string orchestra, the George Enescu award for composition in 1945 (for works composed at the age of 19) and for "Suite for symphony orchestra" he received in 1951 the National prize for composition (for works composed at the age of 25). In 1961, Natra and his wife, Sonia, a sculptor and multidisciplinary artist, emigrated to Israel.
Works titled cassation were especially common in southern Germany, Austria and Bohemia in the mid-to-later part of the eighteenth century. Some early works by Joseph Haydn and Wolfgang Amadeus Mozart bear the title cassation; other composers of the classical and pre-classical era who produced cassations include Franz Joseph Aumann, Carl Ditters von Dittersdorf, Michael Haydn, Leopold Hofmann, Antonio Rosetti, Joseph Schmitt, Johannes Sperger and Johann Baptist Wanhal. Leopold Mozart's Toy symphony was a reduction of his earlier Cassation in G. The Italianized term, cassazione, appears to have been used by Antonio Salieri. It is hard to discern any substantive formal characteristic that could distinguish cassations from other serenade-like genres, such as the divertimento, notturno, or Finalmusik.
Most were commissioned and premiered by major ensembles (the symphonies by the Philharmonia and Cleveland orchestras, with conductors Lorin Maazel and Vladimir Ashkenazy, respectively); however none have been commercially recorded as of 2007 and only the Trumpet and Tuba concertos remain in print (also as of 2007). Perhaps his most lasting legacy is in his chamber works for brass, several of which remain available in print and on recordings, including: the Concertino for trombone and woodwind quartet (1954); Music from Harter Fell (1973) and the nine-movement Divertimento (1976), both for the Philip Jones Brass Ensemble; the Brass Quartet of 1960; Two Pieces for three trombones (1951); and In Memoriam (1956) and the Tissington Variations (1970), both for trombone quartet.
He subsequently divided his career between composing and conducting. Husa's String Quartet No. 1 received its premiere in June 1950, and won him international attention, as well as the 1950 Lili Boulanger Award and the 1951 Bilthoven Festival Prize. Other performances in the aftermath of these prizes included the International Society for Contemporary Music in Brussels (1950), festivals in Salzburg (1950), Darmstadt (1951), and the Netherlands (1952) as well as at various concerts in Germany, France, Sweden, England, Switzerland, Australia and the United States. Other compositions written by Karel Husa during his time in Paris include Divertimento for String Orchestra, Concertino for Piano and Orchestra, Évocations de Slovaquie, Musique d'amateurs, Portrait for String Orchestra, First Symphony, First Sonata for Piano, and Second String Quartet.
The Chief also examines the boys' luggage and burns a cookbook, which he claims to be bourgeois. He is about to throw Ma's violin into the fire as well before he is stopped by Luo, who lies that the Mozart's Divertimento KV 334 Ma plays is a "mountain song" titled Mozart is Thinking of Chairman Mao. The two boys are allocated a house and immediately join in the labours of the locals, which include transporting buckets of human waste used for fertilizer as well as working in the coal mine. One day, a young girl, granddaughter of a tailor from the neighbouring village and known to everyone as the Little Seamstress (Zhou Xun), comes by with her grandfather to listen to Ma play violin.
When the insert was intended only to shift the mood before returning to the main action, without a change of scene being necessary, authors could revert to a "play within a play" technique, or have some accidental guests in a ballroom perform a dance, etc. In this case the insert is a divertimento (the term is Italian; the French divertissement is also used) rather than an entr'acte. In the French opera tradition of the end of the 17th century and early 18th century (Jean-Philippe Rameau, for example) such divertissements would become compulsory in the form of an inserted ballet passage, a tradition that continued until well into the 19th century. This was eventually parodied by Jacques Offenbach: for example, the cancan ending Orpheus in the Underworld.
The success of this concerto led to commissions from a number of prominent soloists, including Nicanor Zabaleta, for whom Rodrigo dedicated his Concierto serenata for Harp and Orchestra, Julian Lloyd Webber, for whom Rodrigo composed his Concierto como un divertimento for cello and orchestra, and James Galway, for whom Rodrigo composed his Concierto pastoral for flute and orchestra. In 1954 Rodrigo composed Fantasía para un gentilhombre at the request of Andrés Segovia. His Concierto Andaluz, for four guitars and orchestra, was commissioned by Celedonio Romero for himself and his three sons. Monument in Aranjuez, SpainArms of the 1st Marquess of the Gardens of Aranjuez None of Rodrigo's works, however, achieved the popular and critical success of the Concierto de Aranjuez and the Fantasia para un gentilhombre.
Wolfgang Amadeus Mozart is known for having composed different types of divertimenti, sometimes even taking the form of a small symphony (or, more exactly: sinfonia), for example, the Salzburg Symphonies K. 136, K. 137 and K. 138. Even more unusual is his six movement string trio, the Divertimento in E-flat, K. 563, which is a serious work belonging with his string quartets and quintets. Other composers of divertimenti include Leopold Mozart, Carl Stamitz, Haydn and Boccherini. Several examples exist from the 20th century, including works by Alfred Reed, Nikolai Medtner, Ferruccio Busoni, Vincent Persichetti, Charles Wuorinen, Sergei Prokofiev, Béla Bartók, Benjamin Britten, Leonard Bernstein, Paul Graener, Gordon Jacob, Lennox Berkeley, Gareth Walters, Malcolm Arnold, Lars-Erik Larsson, Saint-Preux, Bohuslav Martinů and Joe Hisaishi.
The company returns to the Kennedy Center Opera House in June 2007 with two programs, which include Balanchine's Scotch Symphony (Mendelssohn), Slaughter on Tenth Avenue (Rodgers, orch. Kay), and Mozartiana (Tchaikovsky), and Béjart's Scène d'amour from Romeo and Juliet (Berlioz), as well as the Washington, D.C. premieres of two newly re-staged works which have not been seen in forty years: Balanchine's Divertimento Brillante (Glinka) and the Adagio from Concierto de Mozart (Balanchine). Committed to carrying forth the legacy of George Balanchine through performances of his classic ballets, The Suzanne Farrell Ballet announced the formal creation of the Balanchine Preservation Initiative in February 2007. This initiative serves to introduce rarely seen or "lost" Balanchine works to audiences around the world.
In recent years, Terranova has won several national and international competitions, including: first prize at the international competition Gianni Bergamo Classic Music Award, Special Mention for Italian Music, premio SIAE (Rome, Competition Valentino Bucchi - Parco della Musica Contest), the prize Monte dei Paschi di Siena (Accademia Chigiana, Siena), first prize at the international competition contest Musica e Arte (Rome), first prize at the national competition Kinderszenen (Rome), II prize at the International competition ICOMS (Turin). In 2014, she won the international competition for the third edition of the Franco Donatoni International Meeting for Young Composers in Milan, and was as a result commissioned to write new composition for ensemble and dance by the Divertimento Ensemble with the support of the Ernst von Siemens Music Foundation.
This divertimento consists of 6 movements: #Allegro (in D major and in sonata form) #Tema con variazioni (Andante) (in D minor, theme and 6 variations, fourth variation in D major) #Menuetto - Trio (in D major and in compound ternary form, trio in G major) #Adagio (in A major and in sonata form) #Menuetto - Trio I - Trio II (in D major and in rondo form, where the first trio is in D minor and the second trio is in B minor) #Rondo (Allegro) (in D major and in sonata rondo form) In Kurt Sanderling's recording of this piece, both the Adagio and the second Menuetto are omitted. In the recording with Florian Heyerick conducting the Kurpfälzisches Kammerorchester Mannheim, part of the Rondo is omitted.
As Alfred Einstein writes in Mozart: His Character, His Work (and as excerpted in the notes to a Kennedy Center performance), his only completed string trio (there are fragments) shares with most divertimenti this six-movement format, but from that no lightness of tone should be understood – rather, "it is a true chamber-music work, and grew to such large proportions only because it was intended to offer ... something special in the way of art, invention, and good spirits. ... Each instrument is primus inter pares, every note is significant, every note is a contribution to spiritual and sensuous fulfillment in sound." Einstein called it "one of his noblest works." Mozart's Divertimento in E major is "one of a kind," according to the notes to an Emerson Quartet performance.
Hauer was able to instruct Steinbauer on the basis of his Divertimento for smnall orchestra Op.61 which he dedicated to him. Based on the insights provided by Hauer, Steinbauer went on to develop his own "twelve tone theory" which he first summarised in a (never finished) manuscript as a "doctrine of sound and melody" (') in 1934. The years from 1930 to 1935 he devoted, primarily, to composition and other work around his new doctrine, most of which was developed during this period even though it was not till the end of the 1950s that it acquired the soubriquet ' (commonly translated as "twelve tone technique"). In 1935 Steinbauer again relocated to Berlin where he took a small job as artistic research assistant (') in the National Institute for Music Research.
He also wrote four string quartets between 1942-1978 which have been performed by such notable ensembles as the NBC Quartet, the Gordon Quartet, the Piastro Quartet, and the New Hungarian Quartet. Other notable works include a violin sonata (1947) and a piano quintet (1956). Throughout his life he wrote a considerable number of choral pieces which are still being programmed, including a Te Deum written on the occasion of Oberlin's sesquicentennial for the Oberlin College Choir and Robert Fountain. His symphony orchestra compositions include a Concerto for Chamber Orchestra, a Poem for Orchestra (1950), a Concerto for Viola and Piano with orchestra in 1970 premiered by the Cleveland Philharmonic Orchestra conducted by José Serebrier, a Violin Concerto and a Divertimento for Piano and small orchestra from 1959.
The Divertimento Concertante and three subsequent works—Road to Hamelin, Eusebius Revisited, , and Silent Movie—have since become bass standards, and are regarded as the most performed compositions for bass and orchestra since 1965. His one-act opera, The Man on the Bearskin Rug, is also well-known and frequently performed. There have been well over 150 performances of Ramsier's bass works with orchestral ensembles including the: Chicago Symphony, Toronto Symphony, London Symphony Orchestra, Hong Kong Philharmonic, Melbourne (Australia) Symphony, Rotterdam Philharmonic, Puerto Rico Symphony, Montevideo Symphony, Minnesota Orchestra, Indianapolis Symphony, Kansas City Symphony, Columbus Symphony, Atlanta Symphony, Israel Sinfonia, Louisville Orchestra, Istanbul State Symphony, Florida Symphony, Atlantic Symphony, Basel Symphony, Zurich Chamber Orchestra, McGill Chamber Orchestra, and I Musici de Montreal. Ramsier taught composition at New York University and the Ohio State University.
The differences between the economical concept of liberismI sostenitori dell'esistenza di una dottrina liberista la attribuiscono ad Adam Smith e al suo saggio La Ricchezza delle Nazioni, laddove questi utilizzò il termine "liberal policy" un paio di volte per indicare il commercio privo di dazi. Smith non vedeva di buon occhio l'assenza di regolamentazione statale, infatti dichiarò: «Raramente la gente dello stesso mestiere si ritrova insieme, anche se per motivi di svago e di divertimento, senza che la conversazione risulti in una cospirazione contro i profani o in un qualche espediente per far alzare i prezzi». and the economical consequences of the liberalismLa lingua francese parla di libéralisme politique e libéralisme économique (quest'ultimo chiamato anche laissez-faire, lett. lasciate fare), lo spagnolo di liberalismo social e liberalismo económico.
Tafelmusik (German: literally, "table-music") is a term used since the mid-16th century for music played at feasts and banquets. Often the term was also used as a title for collections of music, some of which was intended to be so used. The function was displaced in the late 18th century by the divertimento, and its importance soon diminished, but it was revived and partially restored in the vocal genre of the Liedertafel by Carl Friedrich Zelter beginning in 1809, and male-voice choral societies describing themselves by this name continued the practice until the mid-20th century. Some of the most significant composers of Tafelmusik included Johann Hermann Schein, whose Banchetto musicale of 1617 acquired considerable fame, and Michael Praetorius, who wrote about the phenomenon of Tafelmusik in his Syntagma musicum of 1619.
Stravinsky in 1921 The Octet for wind instruments is a chamber music composition by Igor Stravinsky, completed in 1923. Stravinsky’s Octet is scored for an unusual combination of woodwind and brass instruments: flute, clarinet in B and A, two bassoons, trumpet in C, trumpet in A, tenor trombone, and bass trombone. Because of its dry wind sonorities, divertimento character, and open and self-conscious adoption of "classical" forms of the German tradition (sonata, variation, fugue), as well as the fact that the composer published an article asserting his formalist ideas about it shortly after the Octet's first performance, it has been generally regarded as the beginning of neoclassicism in Stravinsky's music, even though his opera Mavra (1921–22) already displayed most of the traits associated with this phase of his career .
H. C. Robbins Landon notes that while Haydn's autograph manuscript of the symphony contains no reference to this title, the work has been known by this name since the early nineteenth century. Landon suggests that the dotted rhythm of the second movement calls to mind the wagging finger of a schoolmaster, and points out that in the catalog of his works that Haydn helped prepare in the final years of his life, there is a fragment of a lost Divertimento in D containing a similar dotted rhythm entitled "Der verliebte Schulmeister" (the schoolmaster in love). Landon goes on to propose a program for the symphony's second movement in which the sections marked semplice represent the "strict, pedantic" teacher and the dolce sections depict the same teacher overwhelmed by love.
285 They are early examples of Poulenc's many and varied influences, with echoes of rococo divertissements alongside unconventional harmonies, some influenced by jazz. All four are characterised by their brevity – less than ten minutes each – their mischievousness and their wit, which Nichols describes as acid. Other chamber works from this period are the Rapsodie nègre, FP 3, from 1917 (mainly instrumental, with brief vocal episodes) and the Trio for oboe, bassoon and piano (1926). The chamber works of Poulenc's middle period were written in the 1930s and 1940s. The best known is the Sextet for Piano and Wind (1932), in Poulenc's light-hearted vein, consisting of two lively outer movements and a central divertimento; this was one of several chamber works that the composer became dissatisfied with and revised extensively some years after their first performance (in this case in 1939–40).
After leaving New York City Ballet and recovering from her under- functioning thyroid, Morgan has toured and performed with various ballet companies as a guest artist. With Mobile Ballet in Alabama, Morgan performed as Aurora in Sleeping Beauty, Odette and Odile in Swan Lake, Sugar Plum Fairy in The Nutcracker, and Snow White in Snow White and the Seven Dwarfs. She performed in George Balanchine's Who Cares? at the Odeon of Herodes Atticus in Athens, Greece, in Divertimento No. 15 and Carousel (A Dance) at the Opéra Bastille in Paris, in Les Noces at Santander & Majorca in Spain, in Carousel (A Dance) and West Side Story Suite as Maria at the Orchard Hall at Bunkamura in Tokyo, and in The Red Shoes, Kitri in Don Quixote, and Odile in Swan Lake at the Playhouse Square in Cleveland, Ohio.
In the 30 years she spent dancing with the company she had numerous roles created for her by George Balanchine such as: Hermia in A Midsummer Night's Dream; Tarantella; Colombine in Harlequinade; the ballerina role in the Intermezzo of the Brahms–Schoenberg Quartet; Rubies; Who Cares? ("The Man I Love" pas de deux and "Fascinatin' Rhythm" solo); Divertimento from Le Baiser de la Fée; Swanilda in Coppélia; Pavane; the paper ballerina in The Steadfast Tin Soldier; the Pearly Queen in Union Jack and the "Voices of Spring" section of Vienna Waltzes. Jerome Robbins created roles for McBride in Dances at a Gathering (pink), In the Night (third nocturne), The Goldberg Variations, The Four Seasons (fall) and Opus 19/The Dreamer, among other ballets. In 1979, she danced in Le Bourgeois Gentilhomme (ballet), a ballet based on the 1670 play by Molière.
The period of travel and the time he devoted to conducting provided him with what he described as a useful period of rest, decisive for the evolution of his musical style toward increased chromaticism and less traditional form. To this period belong the works Three Symphonic Sketches, Sinfonietta, the Requiem, his 5th and 6th Symphonies, and Divertimento no. 2. Joly Braga Santos also wrote three operas, chamber music for a wide variety of instruments and ensembles, film scores, and several choral works based on poems from the great classical and modern Portuguese and Spanish poets such as Camões, Antero de Quental, Teixeira de Pascoaes, Fernando Pessoa, Garcilaso de la Vega, Antonio Machado and Rosalía de Castro. Joly Braga Santos lectured on composition at the National Conservatoire of Lisbon, where he introduced the chair of Musical Analysis.
Franco Venturini is actively involved in composition. His works have been presented at: Biennale Musica, Venice; Theater La Fenice in Venice; Angelica Festival, Bologna; Milan Music Festival; MITO Festival, Milan; Festival Traiettorie, Parma; Musikprotokoll Festival, Graz; Pharos Arts Foundation, Cyprus; Radio Suisse Romande, Geneva; Parco della Musica, Rome; Istituto Cervantés, Paris; Musica para el tercer milenio, Madrid; Festival Mixtur, Barcelona; Nanyang Academy of Fine Arts, Singapore, Central Conservatory of Music, Beijing. Among the performers of his music are Proxima Centauri ensemble, Klangforum Wien, Trío Arbós, Prometheus Quartet, Das Neue Ensemble of Hannover, Quartet New Generation in Berlin, Imaginaire in Strasbourg, Italian ensembles Divertimento, Icarus, Ex novo and FontanaMIX, Orchestre National de Lorraine. He has received commissions from Venice Biennale Musica, Arena di Verona Foundation, Milan EXPO, Parma Traiettorie Festival, Ensemble Imaginaire of Strasbourg, Ex Novo, FontanaMIX, Icarus.
The reference is based on the original in Spanish: [c] "Pintar flores no tiene por qué ser un anacronismo o un divertimento puramente decorativista. Es perfectamente posible proseguir esa línea plástica y temática desde una sensibilidad contemporánea." [d] "La formación de la artista – en Ciencias y Artes – hace que su obra surja de un doble influjo de curiosidad científica y estética." showing watercolours of orchids, hibiscos, irises and tulips, painted from life. Olga Spiegel described them as "worked with a modern sensitivity that makes use of the expressive and tactile values of the paper"[a] and said: J. J. Navarro Arisa in El Mundo considered her work to be proof that flower painting does not have to be an anachronism or merely decorative pastime, but can demonstrate a contemporary sensitivity,[c] and that she exemplified a combination of scientific and aesthetic inquiry.
She rose from corps de ballet to soloist, performed principal roles in Balanchine's one-act Swan Lake and in Frederick Ashton's Illuminations (as "Profane Love", an erotic role originally choreographed for Melissa Hayden), and danced in the premières of Balanchine ballets still in repertory today. She also danced in ballets by Balanchine that are only occasionally performed now, including his 1948 Orpheus (where she was first a Fury then promoted to Bacchante) and, when not dancing, was a page-turner for Balanchine's rehearsal pianist Nicholas Kopeikine. She performed in the 1954 Arnold Schönberg ballet Opus 34 and, as a soloist, in the 1955 Georges Bizet ballet Roma. She was one of the principal dancers in the 1956 Divertimento No. 15, one of Balanchine's rare Mozart works, and in the 1957 Stravinsky- Balanchine collaboration Agon, she danced the Gailliard duet with Barbara Walczak.
Her designs for Ulysses Dove's Red Angels at New York City Ballet, George Balanchine's Divertimento No. 15 for Suzanne Farrell Ballet at the Kennedy Center and Kaleidoscope for Peter Quanz at American Ballet Theater were featured on covers of Dance Magazine. Four of her costume renderings remain as part of the permanent collection of the Theatre Wing of the Museum of the City of New York. She has exhibited renderings and watercolors in two gallery shows at Avery Fisher Hall at Lincoln Center for the Performing Arts and has had six of her costumes featured on covers of the 1994-95 New York State Theater Playbills, also at Lincoln Center. Hynes' designs for six miniature ballerina dolls were featured in the 1996 Christmas decorations at the White House and will remain in the permanent collection of the President William Jefferson Clinton Library in Little Rock, Arkansas.
Beecham, HMV DB 6369-71 (78rpm), ALP 1890 (LP) (Delius Centenary vol. 2), rec. 1946. He performed the concerto at a Prom concert in August 1951 with the LSO.BBC Promenade Concerts, Prospectus, 57th Season 1951, p.28. Many of Pougnet's recordings were made in the late 1940s and early 1950s, during the shift from 78rpm to LP records, with the result that classic performances were often replaced by versions by other performers as the newer technology settled down, and have only recently become more widely available again. His recording of the Bach double concerto with Arthur Grumiaux (Philharmonia Orchestra under Walter SusskindColumbia 78rpm Records DX 1276–1277) had a restricted life. The Pougnet, Riddle and Pini trio continued to broadcast, and recorded trios by Beethoven (several volumes), Haydn (op 53 nos 1, 2, and 3),Westminster W-9033. Mozart Divertimento in E flat major K 563,Westminster.
Opera buffa (; "comic opera", plural: opere buffe) is a genre of opera. It was first used as an informal description of Italian comic operas variously classified by their authors as commedia in musica, commedia per musica, dramma bernesco, dramma comico, divertimento giocoso. Especially associated with developments in Naples in the first half of the 18th century, whence its popularity spread to Rome and northern Italy, buffa was at first characterized by everyday settings, local dialects, and simple vocal writing (the basso buffo is the associated voice type), the main requirement being clear diction and facility with patter. The New Grove Dictionary of Opera considers La Cilla (music by Michelangelo Faggioli, text by , 1706) and Luigi and Federico Ricci's Crispino e la comare (1850) to be the first and last appearances of the genre, although the term is still occasionally applied to newer work (for example Ernst Krenek's Zeitoper Schwergewicht).
Greco Casadesus composed soundtracks for very diverse productions, such as Divertimento, with Kellan Lutz, Torrey DeVitto, Ola Rapace, Götz Otto by Keyvan Sheikhalishahi, The Climb, a fiction movie by the American director Bob Swaim, the animated film Babar,King of the elephants, adapted from the classic French comic by Jean de Brunhof, or the TV series Jesus by Serge Moati. He even wrote seven hours of music for the restored version of the 1921 masterpiece Les Trois Mousquetaires, by Henri Diamant- Berger. Fascinated by the genius of Etienne-Jules Marey (1830-1904), inventor of the first moving images, he wrote in 2008 the symphonic suite Sept Mouvements de Vie, performed by an orchestra as images by Marey were projected on a film screen. More recently, he composed the music score for several documentary films, such as La Guerre d'Hollywood, Jack London, une aventure américaine, or the TV series Jusqu'au dernier.
The Decet is scored for two flutes, oboe, cor anglais, two clarinets, two bassoons, and two horns—in other words, a double wind quintet, with cor anglais in place of the second oboe. It is both a "sensationally orchestrated chamber work" and a "superb symphony in D" . Although it is easy to associate Enescu’s Octet for Strings and the Decet because of their similar instrumental scheme (a double string quartet and a double wind quintet, respectively), they are very different in structure and style. While the four movements of the Octet are united by cyclic thematic procedures into a single sonata-allegro form, the Decet is more of a relaxed divertimento on the model of wind serenades of the Classical era, with a nod to the serenades of the Romantic period as well . Enescu’s customary cyclic thematic treatment does not appear in this work: Themes do not recur from one movement to another, nor are multiple themes built from the same generating cells .
She performed Morphoses for an educational seminar Works & Process at the Guggenheim Museum. Dance partner Benjamin Millepied, director of the Paris Opera Ballet as of September 2014, created on Ansanelli Triple Duet, performed for Dances Concertantes at Sadler’s Wells, London, in 2002 and We Were Two to music by Philip Glass performed for the French Institute Alliance française at Florence Gould Hall. Ansanelli originated principal roles in Broadway choreographer Susan Stroman’s Makin' Whoopee, Saint Petersburg’s Boris Eifman’s, Musagète in the role of Tanaquil LeClercq, Italy’s Mauro Bigonzetti’s Vespro. Ansanelli’s Balanchine repertory included from the title role in The Firebird and principal roles from Stars and Stripes, Allegro Brillante, The Steadfast Tin Soldier, Dances Concertantes, Symphony in C, Who Cares?, Scotch Symphony, Western Symphony, The Nutcracker, Valse Fantasie, The Four Temperaments, Serenade, Vienna Waltzes, Brahms–Schoenberg Quartet, Liebeslieder Waltzes, “Swanilda” from Coppélia, Stravinsky Violin Concerto, Divertimento No. 15, A Midsummer Night's Dream, "Rubies" in Jewels and “Columbine” in Harlequinade.
Douglas Weiland (born 1954 in Malvern, Worcestershire) is an English modern- classical composer. His works range from the three Sir Neville Marriner commissions: Divertimento for Strings 1992, Clarinet Concerto 2002, Triple Concerto 2006 - and two Piano Trios commissioned for Altenberg Trio Wien, to several commissioned choral works and the series of chamber works produced for the Norfolk & Norwich Music Club as their Composer-in-Residence. Formerly a violinist - Douglas was for 7 years a core player in the Academy of St. Martin in the Fields 16 (1978–85), and 5 years a founder member of the Australian Quartet (1985–1990) - he has been a full-time composer since 1990. Weiland has produced numerous chamber, orchestral and choral works, commissioned for and performed by artists including: Sir Neville Marriner and the Academy of St. Martin in the Fields, Altenberg Trio Wien, Australian String Quartet, Marie- Noëlle Kendall, Andrew Marriner, Kenneth Sillito, Steven Isserlis, Susan Milan, and the young Hamer Quartet.
The suite lasts half an hour and is in nine sections: # Ouverture (Overture) # Menuett (Minuet) # Der Fechtmeister (The Fencing Master) # Auftritt und Tanz der Schneider (Entry and Dance of the Tailors) # Menuett des Lully (Lully's Minuet) # Courante # Auftritt des Cléonte (Entry of Cléonte; after Lully) # Vorspiel (Intermezzo) # Das Diner (The Dinner) Omitted from the suite were ballets added for the 1917 version of the play: one for sylphs, another for pretend-Turks. Strauss's Opus 60 is unusual among his works in having a distinct Baroque flavor. In fact he based sections 5 to 7 on music by Jean-Baptiste Lully, who had provided the original incidental music in 1670 and was as much a collaborator with Molière as Strauss and Hofmannsthal were centuries later. The few other so-called Neo- Classical works by Strauss also found inspiration in the French Baroque: his 1923 Dance suite after keyboard pieces by François Couperin and his 1942 Divertimento for chamber orchestra after keyboard pieces by Couperin, Opus 86.
Rampal gave the first Western performance of Prokofiev's Sonata for Flute and Piano in D, which in the 1940s was in danger of being co- opted for the violin, but which has since become established as a flute favourite. Over his career, he performed all of the flute masterpieces that were composed in the first half of the 20th century, including works by Debussy, Ravel, Roussel, Ibert, Milhaud, Martinů, Hindemith, Honegger, Dukas, Françaix, Damase, and Feld. By the early 1960s, Rampal was established as the first truly international modern flute virtuoso, and was performing with many of the world's leading orchestras. As a chamber musician, he continued to collaborate with numerous other soloists, forming particularly close and long- lasting collaborations with violinist Isaac Stern and cellist Mstislav Rostropovich. A number of composers wrote especially for Rampal, including Henri Tomasi (Sonatine pour flûte seule, 1949), Jean Françaix (Divertimento, 1953), André Jolivet (Concerto, 1949), Jindřich Feld (Sonata, 1957), and Jean Martinon (Sonatine).
Gareth Walters' Divertimento for String Orchestra was his first work to appear on record, in 1970, although he had composed it in 1960. Played by the English Chamber Orchestra, and conducted by David Atherton, the piece has subsequently been recorded on three other occasions: in 2002 by the Royal Ballet Sinfonia for ASV, in 2003 by the Manitoba Chamber Orchestra for CBC, and most recently in 2007 by the Orquestra de Cambra Terrassa in Barcelona. Other works that have been recorded are Sinfonia Breve (1964), Elegy – a poem for string orchestra (1969), Overture: Primavera (1962), Gwent Suite (1959), Little Suite for Harp (recorded on a ‘Classics for Pleasure’ LP and re-issued on CD in 1998), Capriccio for guitar (1980), Two Harpsichord Suites and Two Elizabethan Suites (both of the latter appearing on a KPM LP in 1969). Berceuse for harp, Cân y galon, Little Suite for Flute and Harp, Poésies du soir and Violin Sonata were all recorded by Toccata Classics in 2008.
He also corrected the key to G minor and thought that Mozart later reused this piece of paper for the final version of the Minuet and Trio from the divertimento. Franz Giegling transcribed these bars and his transcription was printed in the critical report to the NMA (Neue Mozart- Ausgabe) volume of wind divertimenti (published in 1987), which he edited.Unbezeichnetes Orchesterstück in gis KV6 deest: Score in the Neue Mozart-Ausgabe By then, the K. 16a symphony had been discovered and Einstein's connection had been disproved (since the Andante was in G minor, any work it belonged to would probably have to be in B major). Neal Zaslaw printed a reconstruction of this "orchestral draft", stating that the draft contained internal inconsistencies and errors and that the reconstruction was based on the assumption that Mozart was hearing the piece in G minor and B major, but could not write it correctly as he had not yet learned some necessary aspects of musical notation, such as double sharps.
The march went through several versions before arriving at the popular orchestral version known today. In September 1888 Chabrier wrote to his publisher that he would be orchestrating six piano pieces: four pieces from his piano suite Pièces pittoresques (which would become his Suite pastorale), as well as La marche française and the Andante in F. Delage proposes that the Andante was originally performed in 1875 at the Cercle de l'Union artistique in Paris, with Jules Danbé conducting his orchestra. However, the pieces are also related to Chabrier's Prélude et marche française for piano 4-hands, completed by May 1885, the Andante having by then become a Prélude. The concert at which the premiere of the Prélude pastoral and Joyeuse marche took place also included the first performance of Chabrier's Suite pastorale and Habañera, España (all conducted by the composer), plus Rossini's William Tell Overture, Mozart's Divertimento No. 2 for two horns and strings and the Adagietto from Bizet's L'Arlésienne.
"Throughout its sinewy length, between upper and lower strings. Here is the superbly logical fulfilment of the two-part octave doubling of Haydn's earliest divertimento minuets" : Haydn Minuet from Quartet in D minor, Op. 76 Minuet from Haydn, String Quartet in D minor, Op. 76, No. 2 Beethoven's works feature a number of passages in canon. The following comes from his Symphony No. 4: Beethoven Symphony No. 4 canonic passage from the 1st movement Beethoven Symphony No. 4, first movement, canonic passage Antony describes the above as "a delightfully naïve canon". More sophisticated and varied in its treatment of intervals and harmonic implications is the canonic passage from the second movement of his Piano Sonata 28 in A major, Op. 101: Beethoven canon from piano sonata in A, Op. 101 Beethoven, canonic passage from the second movement of Piano Sonata Op. 101 Beethoven’s most spectacular and dramatically effective use of canon occurs in the first act of his opera Fidelio.
De Luz then joined New York City Ballet (NYCB) as a soloist in 2003, and in January 2005, he was promoted to the rank of principal dancer. His featured roles since joining New York City Ballet include: George Balanchine's Ballo della Regina, Coppelia (Frantz), "Divertimento" from Le baiser de la fée, Donizetti Variations, The Nutcracker ("Cavalier", "Tea", and "Candy Cane"), Harlequinade (Harlequin and Pierrot), Jewels ("Rubies"), A Midsummer Night's Dream (Oberon), Symphony in C (Third Movement), Tarantella, Theme and Variations, Tschaikovsky Pas de Deux, Valse-Fantaise, Vienna Waltzes, Peter Martins' Jeu de cartes, Octet, The Sleeping Beauty (Bluebird), Swan Lake (Pas de Quatre), Jerome Robbins' Andantino, Brandenburg, Dances at a Gathering, Dybbuk, Fancy Free, Four Bagatelles, The Four Seasons (Fall), The Goldberg Variations, Other Dances, Piano Pieces, and Christopher Wheeldon's Mercurial Manoeuvres. De Luz originated a featured role in, Jorma Elo's Slice To Sharp, Peter Martins' Romeo + Juliet (Tybalt), and Christopher Wheeldon's Shambards and Alexei Ratmansky's Concerto DSCH. In 2003, De Luz became a permanent guest faculty member of The Rock School in Philadelphia.
Her repertory includes the title role in George Balanchine's Coppelia, Florence Clerc's La Bayadere (Nikiya), Sir Frederick Ashton's La Fille Mal Gardée (Lise); August Bournonville's La Sylphide (the Sylphide); Marius Petipa's The Sleeping Beauty (Princess Aurora, Songbird Fairy, Princess Florine, and Jewels), Maina Gielgud's Giselle (Giselle, Peasant Pas de Deux, Lead Wili), Le Corsaire Pas de Deux; Mikko Nissinen's The Nutcracker (Snow Queen, Sugar Plum Fairy, and Clara) and Swan Lake (Pas de Trois, Neapolitan, and Black Swan); Rudolf Nureyev's Don Quixote (Amour/Cupid), and leading solos in his Pas De Dix from Raymonda Act III Divertissements; the Pas de Trois and solo variations from Paquita; James Kudelka's Cinderella; John Cranko's The Taming of the Shrew and Romeo and Juliet; George Balanchine's Divertimento No. 15, Concerto Barocco, Serenade, Ballo Della Regina(lead principal), Jewels, Rubies (lead principal), Who Cares?, La Valse, Stars and Stripes, A Midsummer Night's Dream; Mikhail Fokine's Les Sylphides; Mark Morris' Up and Down; Twyla Tharp's In the Upper Room; and Lucinda Childs' Ten Part Suite, as well as works by Jiri Kylian and Jorma Elo.
Stravinskian neoclassicism was a decisive influence on the French composers Darius Milhaud, Francis Poulenc, and Arthur Honegger, as well as on Bohuslav Martinů, who revived the Baroque concerto grosso form in his works . Pulcinella, as a subcategory of rearrangement of existing Baroque compositions, spawned a number of similar works, including Alfredo Casella's Scarlattiana (1927), Poulenc's Suite Française, Ottorino Respighi's Ancient Airs and Dances and Gli uccelli , and Richard Strauss's Dance Suite from Keyboard Pieces by François Couperin and the related Divertimento after Keyboard Pieces by Couperin, Op. 86 (1923 and 1943, respectively) . Starting around 1926 Béla Bartók's music shows a marked increase in neoclassical traits, and a year or two later acknowledged Stravinsky's "revolutionary" accomplishment in creating novel music by reviving old musical elements while at the same time naming his colleague Zoltán Kodály as another Hungarian adherent of neoclassicism . A German strain of neoclassicism was developed by Paul Hindemith, who produced chamber music, orchestral works, and operas in a heavily contrapuntal, chromatically inflected style, best exemplified by Mathis der Maler.
The orchestra, based in Montgomery, Alabama, consisted of an ever morphing lineup of 13- to 18-year-olds over several years who represented the most talented musicians at the Baldwin Arts and Academic Magnet School as well as talented alumni. The ensemble utilized several unconventional instruments including the mandola, mandocello, classical banjo, tenor banjo, and octave mandolin in addition to the more conventional mandolin and classical guitar. Due to their unique position as a one-of-a-kind ensemble and through the guidance of Back, the group achieved moderate success and notoriety in the mandolin and classical guitar worlds and regularly performed at music festivals around the country. In addition to such performances, Fretworks also recorded a total of three albums over the course of its life including El Cumbanchero, Cathedral Hill, and a self-titled CD released in 2003 featuring a suite composed by the composer John Goodin as well as a "Divertimento for Mandolin Orchestra" composed by Lynette Morse, both of which being specifically written for the group.
Schoenberg also wrote tonal music in this period with the Suite for Strings in G major (1935) and the Chamber Symphony No. 2 in E minor, Op. 38 (begun in 1906, completed in 1939). During this time Hungarian Modernist Béla Bartók (1881–1945) produced a number of major works, including Music for Strings, Percussion and Celesta (1936) and the Divertimento for String Orchestra (1939), String Quartet No. 5 (1934), and No. 6 (his last, 1939). But he too left for the US in 1940, because of the rise of fascism in Hungary. Igor Stravinsky (1882–1971) continued writing in his neoclassical style during the 1930s and 1940s, writing works like the Symphony of Psalms (1930), Symphony in C (1940) and Symphony in Three Movements (1945). He also emigrated to the US because of World War II. Olivier Messiaen (1908–1992), however, served in the French army during the war and was imprisoned at Stalag VIII-A by the Germans, where he composed his famous Quatuor pour la fin du temps ("Quartet for the End of Time"). The quartet was first performed in January 1941 to an audience of prisoners and prison guards.Rebecca Rischin.
Although he made his first attempts at composition when he was six years old, Witt began serious composition while in high school, and was one of the first two male graduates of Ursuline School of Music’s music department, presenting a graduation recital of three compositions: Prelude, Lorelei- Reverie, and Syncaprice. In 1951 and 1952, Witt represented Juilliard in the Symposia of the International Federation of Music Students. In March 1951, his Divertimento for Three Woodwinds was presented at Yale University, and presented again a year later in New York under the auspices of the League of Composers. His Te Deum for Chorus and Brass Quintet was performed at the Symposia in 1952, and later that year was enthusiastically received at Carnegie Hall when performed by the New York Concert Choir, directed by Margaret Hillis. Commissioned by the Youngstown Philharmonic and premiered by them in February 1953, his Concerto Grosso (Concertato for Orchestra) was selected by the Juilliard faculty as the best composition by a graduate student composer, and was played at Juilliard’s commencement exercises in 1953"'Concerto Grosso' by Witt Played at Juilliard Exercises," Youngstown Vindicator, June 1, 1952.
This concert premiered his transcendent Four Motets to the Blessed Virgin Mary, and included the Three Etudes for Piano, performed by Dolores Fitzer, to whom he had dedicated the Etude for Left Hand Only. The program additionally featured his Concertante for Six Instruments, as well as Three Seascapes from the works of Shakespeare and Walt Whitman, Two Songs based on the poetry of James Joyce, Four Lyrics of Carl Sandburg, Five Animal Stories based on the poems of Ogden Nash, Variations for Clarinet and Piano, and Divertimento #2 for Two Equal Wind Instruments. Several of his pieces have been performed posthumously, notably Abstracts in Motion, Music for Dance; Four Lyrics of Carl Sandburg, which was performed by Anthony Hopkins in recital at Dana; the Three Etudes for Piano, performed by Dolores Fitzer; The Youngstown Jambar, 04-25-1969, p. 14, "Dana Holds Artists Series Recital Mon." and the Ave Maria from his Four Motets to the Blessed Virgin Mary was performed in a lecture concert of American choral music at the Dana School of Music by guest conductor and lecturer Greg Smith in 1988.
Radić's cantata Awaiting Maria was premiered on 27 March 1957 by the Belgrade Philharmonic and Radio Belgrade Choir with conductor Oskar Danon, vocal soloist Biserka Cvejić, and narrator Ljuba Tadić. His Divertimento for string orchestra, vibraphone and percussion was performed on 29 November the same year, by the same orchestra and conductor Dragoljub Erić. Radić was active as a freelance composer for 25 years, from 1954-79 when he received a professorial composition position at the Academy of Arts in Novi Sad (University of Novi Sad) where he remained until retirement. He pursued various specialized courses in Kiev, London, Moscow, Paris, Prague, Riga, Rome, and St. Petersburg. He was an active contributor to Yugoslav and Serbian music life for forty five years, among other endeavors, as a member of the Composers’ Association of Serbia (CAS) since 1949, and also occasionally included film scores among his repertoire, notably Siberian Lady Macbeth (1962), directed by Andrzej Wajda, and the epic films The Long Ships (1964) and Genghis Khan (1965). Radić is a recipient of the Composers’ Association of Yugoslavia Award (SOKOJ in Serbian) in 1954, the Belgrade October Award in 1959, and Petar Konjović Award in 1972, among others.
Serge Koussevitzky popularized the double bass in modern times as a solo instrument. In the 1970s, 1980 and 1990s, new concerti included Nino Rota's Divertimento for Double Bass and Orchestra (1973), Alan Ridout's concerto for double bass and strings (1974), Jean Françaix's Concerto (1975), Frank Proto's Concerto No. 2, Einojuhani Rautavaara's Angel Of Dusk (1980), Gian Carlo Menotti's Concerto (1983), Christopher Rouse's Concerto (1985), Henry Brant's Ghost Nets (1988) and Frank Proto's "Carmen Fantasy for Double Bass and Orchestra" (1991) and "Four Scenes after Picasso" Concerto No. 3 (1997). Peter Maxwell Davies' lyrical Strathclyde Concerto No. 7, for double bass and orchestra, dates from 1992. In the first decade of the 21st century, new concerti include Frank Proto's "Nine Variants on Paganini" (2002), Kalevi Aho's Concerto (2005), John Harbison's Concerto for Bass Viol (2006), André Previn's Double Concerto for violin, double bass, and orchestra (2007) and John Woolrich's To the Silver Bow, for double bass, viola and strings (2014). Reinhold Glière wrote an Intermezzo and Tarantella for double bass and piano, Op. 9, No. 1 and No. 2 and a Praeludium and Scherzo for double bass and piano, Op. 32 No. 1 and No. 2\.

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