The Terzetto in C, Op. 74 (B. 148), is a chamber work for two violins and viola by the Czech composer Antonín Dvořák, published in 1887.
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For a brief period he played in his father's orchestra. He became a military band conductor, performed as a solo violinist in chamber ensembles, and taught music. Among his pupils was Jan Kubelík.Jan Kubelík: Violinist, Artist of the past, operamusica.com, accessed 21 May 2018 He was involved in premiere performances of several pieces by Antonin Dvořák, including the String Quartet No. 1, the Terzetto in C,Program notes 7 March 2014, for a concert including Dvorak's Terzetto. chambermusicsociety.
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In Arnoldo's apartments of the ducal palace, Amelia suggests to Estella that she is about to become Duchess of Burgundy. When Carlo arrives, however, it is to announce the news of his betrothal to Leonora (Terzetto, Ad un’altra). Arnoldo is outraged by this and denounces Carlo as a seducer, promising his vengeance will be quick. Leonora arrives in Burgundy (Cavatina, Vago ciel del caro sposo) and is not exactly pleased when Carlo is late for their immediate wedding ceremony. When he does arrive, he is at first distant with her but decides to get on with it when Estella appears, mad with rage, claiming Carlo for herself (Terzetto, ‘Mira un dio).
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74 LA Phil, accessed 12 February 2015.Terzetto in C major antonin- dvorak.cz, accessed 12 February 2015. The music proved to be too difficult for Josef Kruis, so Dvořák wrote an easier work for the same instruments, now known as Miniatures (in Czech: Drobnosti), Op. 75a (B. 149).
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He also arranged this as a work for violin and piano, entitled Romantic Pieces. The first public performance of the Terzetto in C was on 30 March 1887 in Prague, given by Karel Ondříček (brother of the virtuoso violinist František Ondříček), Jan Buchal and Jaroslav Šťastný. It was published in 1887 by Simrock.Terzetto, Op.74 (Dvořák, Antonín) IMSLP, accessed 12 February 2015.
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His recordings of concerti of Bach and Vivaldi have been critically acclaimed, as well as chamber recordings of Copland and Dvořák. His recordings of the Terzetto and Octet Serenade on the Dvorak Discoveries CD were recognized by The New York Times as one of their "Five Favorite CDs" for the 2004 Dvorak Centennial. Rood received an Honorary Doctorate from Case Western Reserve University in 2010 as a member of Orpheus Chamber Orchestra.
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Dvořák, a viola player, heard them and got the idea to compose a new chamber work for two violins and viola in order to play with them. The resulting composition was the Terzetto in C major, Op. 74, B. 148, composed from 7 to 14 January 1887. It was, however, too difficult for Kruis, and Dvořák therefore composed another trio, but considerably simpler. The second trio, Miniatures, was written in four movements, which he titled: "Cavatina", "Capriccio", "Romance" and "Elegy" ("Ballad").
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Dvořák wrote the terzetto in a few days in January 1887. Two violins and viola is an unusual combination of instruments: it was written to be played by violinists Josef Kruis and Jan Pelikán, with the composer playing viola. Josef Kruis was a chemistry student who rented a room in the same house where the Dvořák family lived; he was taking violin lessons from Jan Pelikán, who was a member of the National Theatre Orchestra.Terzetto in C for two violins and viola op.
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As Basilio, the music teacher, arrives, the Count, not wanting to be caught alone with Susanna, hides behind the chair. Cherubino leaves that hiding place just in time, and jumps onto the chair while Susanna scrambles to cover him with a dress. When Basilio starts to gossip about Cherubino's obvious attraction to the Countess, the Count angrily leaps from his hiding place (terzetto: "" – "What do I hear!"). He disparages the "absent" page's incessant flirting and describes how he caught him with Barbarina under the kitchen table.
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Górecki's unpublished works prior to 1956 include: Legenda for orchestra, five mazurkas for piano, a prelude for violin and piano, ten preludes for piano, two songs ("Przez te łąki. przez te pola" and "Kiedy Polska"), a Terzetto quasi una fantasia for oboe, violin and piano, a romance for piano, a string quartet, Obratzki poetyckie for piano and a piano concerto. These don't have opus numbers. One scholar assigns Op. number 9a to a suite for piano titled "Z ptasiego gniazda" ("From the Bird's Nest") which Górecki wrote November 1956.
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He was also appointed concertmaster of the Bournemouth Symphony Orchestra in 1994 and the Basque National Orchestra in 1996. Recent solo performances have included concertos by Bruch, Korngold, Khatchaturian, Sibelius, Nielsen, the Brahms Double Concerto and Vaughan Williams' The Lark Ascending, which was featured as a live BBC broadcast from London's Barbican Hall. He has made a number of recordings, including concertos by Mozart, Vivaldi and Nielsen, sonatas by Brahms, Beethoven and Franck, and a disc of virtuoso works of by Sarasate and Kreisler with his mother Gloria Carney as pianist. New releases include Beethoven’s Archduke and Ghost trios, the cello quintet of Schubert and a Dvorak disc with the Terzetto and four Romantic pieces for violin.
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Late attention to Zenetti also explains the fate of his work. The number of compositions formally attributed to Zenetti is small: the Pastoralmesse in C for choir, soloists, orchestra and organ (1851), the Festmesse in B-flat for men's choir a cappella (written in 1883 for the inauguration of the pavilion of the Ennser Männergesangverein 'Concordia') and the Terzetto for violon, viola and cello (1882). However, many unsigned manuscripts can be attributed to Zenetti: orchestral scores, vocal music, songs, masses, Vespers, Requiems and instrumental music. The bulk of his music library is lost or is scattered in various collections (including the Austrian National Library, the Museum of the city of Enns, the Museum of the Church of Enns, and the musical archives of the city of Linz).
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"Boar's Head" scene from Henry IV Part I (1853 outline) Before his enforced rest in 1924, Holst demonstrated a new interest in counterpoint, in his Fugal Overture of 1922 for full orchestra and the neo-classical Fugal Concerto of 1923, for flute, oboe and strings. In his final decade he mixed song settings and minor pieces with major works and occasional new departures; the 1925 Terzetto for flute, violin and oboe, each instrument playing in a different key, is cited by Imogen as Holst's only successful chamber work. Of the Choral Symphony completed in 1924, Matthews writes that, after several movements of real quality, the finale is a rambling anticlimax. Holst's penultimate opera, At the Boar's Head (1924), is based on tavern scenes from Shakespeare's Henry IV, Parts 1 and 2.
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A furiant is a rapid and fiery Bohemian dance in alternating 2/4 and 3/4 time, with frequently shifting accents; or, in "art music", in 3/4 time "with strong accents forming pairs of beats".Randel, D. M., Ed., The New Harvard Dictionary of Music, Harvard University Press, 1986. The stylised form of the dance was often used by Czech composers such as Antonín Dvořák in the eighth dance from his Slavonic Dances; in his 6th Symphony; in his Terzetto for Two Violins and Viola, third movement; and by Bedřich Smetana in The Bartered Bride and in his second volume for piano of Czech Dances (České tance 2), published in 1879 (Op. 21). It was also used by Brahms in the middle section of the second movement of his Sextet No. 2 in G Major.
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Sir George Smart, conductor of the symphony The first part of the concert on 21 March 1825 consisted of a symphony ("Sinfonia Letter T") by Joseph Haydn; the terzetto "Tutte le mie speranze" from Davide penitente by Mozart; an unspecified string quartet by Mozart; the song "Why does the God of Israel sleep" from Samson by Handel; a wind quintet by Anton Reicha; the aria "Per pietà" from Cosi fan tutte by Mozart; and an overture Les deux journées by Luigi Cherubini. The second part consisted of the new symphony by Beethoven. The programme described the work: "New Grand Characteristic Sinfonia, MS., with Vocal Finale, the principal parts of which to be sung by Madame Caradori, Miss Goodall, Mr Vaughan and Mr Phillips (composed expressly for this Society)." The leader of the orchestra was Franz Cramer, and the conductor was Sir George Smart.
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Don Carlos is an opera in five acts with ballet: if nevertheless the management of Italian theatres would like to pair it with a different ballet, this must be placed either before or after the uncut opera, never in the middle, following the barbarous custom of our day.Quoted and translated in Budden, p. 27 However, the Italian translation was first performed not in Italy but in London at the Royal Opera House, Covent Garden on 4 June 1867 (now the Royal Opera House), where it was produced and conducted by Michael Costa. However, it was not as Verdi desired; the opera was given in a cut and altered form, with the first act being removed, the ballet in Act 3 being omitted, and Carlo's aria Io la vidi (originally in Act 1) being moved to Act 3, just before the terzetto.
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In 1782 he was appointed principal viola and the leader of the Ducale Orchestra in Parma, playing violin and viola until 1802.This was the most profitable period of Rolla's life, his most serene and creative years, in a very stimulating cultural and intellectual atmosphere; he was allowed to travel to conduct and perform as a soloist, became known also abroad and his works were published in Paris and Vienna. In 1795 he received a visit by the father of the young Paganini, wishing him to teach his son.From Paganini's later letters there is evidence that they remained in contact and even played a quartet together. This relationship must have had an influence on Paganini, as far as his love for the viola is concerned, which in his maturity led him to compose works of great interest for the instrument, such as the concert piece Sonata per la Grand Viola e Orchestra, the Serenata and Terzetto concertante, besides the Quartet No. 15 for Viola Concertante, violin, guitar and cello.
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Victor Hugo resented his play, which had been banned in France, being transformed into an Italian opera and considered it plagiarism (there were no copyright restrictions against this at the time). When Hugo attended a performance of the opera in Paris, however, he marveled at the way Verdi's music in the quartet allowed the emotions of the four different characters to be heard together and yet distinguished clearly from each other at the same time and wished that he could achieve such an effect in a spoken drama. The section following the quartet, marked "Scena e Terzetto Tempesta" (scene and storm trio) is also, as Julian Budden has written,"without any antecedent". Very different from the storm music that can be heard in Rossini's Il barbiere di Siviglia or La Cenerentola , that of the storm in Rigoletto is not an interlude between acts or scenes, but is totally integrated into the unfolding of the plot, with its strings in the bass register, its interventions of oboe and piccolo,and especially the male chorus behind the scenes humming through closed mouths to create the sound of the wind, a completely original effect.
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