Two violas, with cello, are pitted against two viols, with violone.
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It begins with the two violas sort of enmeshed, playing nervous, accented figures, teeming yet contained.
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At the time, violas were customarily low-rent, undemanding orchestral instruments, while viols were high-end, virtuoso solo instruments.
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The violas and cellos have a run of 16th notes full of accidentals that break free from the key signature.
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Bach reversed these roles, such that the violas perform virtuosic solo lines while the viols amble along in repeated eighth notes.
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She cuts off the "morto," leaving you hanging as hushed violas, playing an eerily steady sustained tone, wait in the background.
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The second viola does what violas normally do in music of the Classical period, filling out harmonies and juicing up the texture.
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Shareholders said the meeting was suspended for 45 days after Portuguese shareholder Violas Ferreira, who has a 2.7 percent stake, presented an injunction blocking the vote.
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Sousa's band crisscrossed the United States, playing his marches and arrangements of pieces by composers that included Grieg, Dvorak and Wagner (meaning: no violins, no violas, no cellos, no basses).
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In front of them, a United Nations of string instruments congregated with violas da gamba, vihuelas, a harp and a potbellied kora from Mali, alongside an oud and a violin.
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He did not name the shareholder who launched the injunction, but shareholders at the meeting said Portuguese shareholder Violas Ferreira, who has a 2.7 percent stake in BPI, had presented it.
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Both the power in a digital world of live performance — all those cellos and violins and violas united in song — and a desire these days for what can only be termed swaddling chic.
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The Mendelssohn octet was high on Sun's list of musical goals, and he contacted the members of the group he was assigned, encouraging them to choose the piece, which requires eight skilled string players—four violins, two violas, and two cellos.
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Finnegan Shanahan, a professional violinist and the assistant to the shop manager, went back and forth from Mr. Shrout to the workshop, where violins are tucked in rug-cushioned cubbies, cellos lean against the walls and violas hang from the ceiling.
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Meanwhile, the harpsichord-turned-piano is bursting with orientalism, from its red-and-black color scheme to vaguely East Asian-inspired landscapes painted onto the inside of its lid — strangely populated by people playing violas, cellos, and other Western instruments.
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Now, imagine your Jennifers, your Violas, and your Olivias acting out the following scenarios to packed Friday night audiences: In one film, the heroine moves to the big city, after years of her father pimping her out to seedy bar patrons, with the express goal of using men to get what she wants.
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Although there are familiar names like National Parks promoter John Muir with his sketches of mountains and trees of the Sierra Nevadas, and even Leonardo da Vinci with an illustration of flowering violas alongside a diagram for a lead roof covering, authors Helen and William Bynum also highlight lesser-known botanical artists.
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Bach employed the first movement from the First "Brandenburg" — doubtless on account of its riotously flamboyant horn parts — as the Sinfonia for "False world, I do not trust you" (BWV 52); and he arranged a souped-up version of the first movement from the Third Concerto — with its triadic trinity of three violins, three violas and three cellos — as the Sinfonia for "I love [God] the most high with all my mind" (BWV 174).
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There were originally two violas of different size in the set (tenor and contralto). Both of the violas went missing at the time of the Napoleonic Wars. Only the smaller one was retrieved.
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Some electric violas are made of materials other than wood. Most electric instruments with lower strings are violin-sized, as they use the amp and speaker to create a big sound, so they don't need a large soundbox. Indeed, some electric violas have little or no soundbox, and thus rely on entirely on amplification. Fewer electric violas are available relative to electric violins.
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Around 80 of his instruments are known to have survived to the present day: violins (small and large), alto and tenor violas, viols, violones and double basses, violas designed with only a pair of corners, and ceteras.
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Amplification of a viola with a pickup, an instrument amplifier (and speaker), and adjusting the tone with a graphic equalizer can make up for the comparatively weaker output of a violin-family instrument string tuned to notes below G3. There are two types of instruments used for electric viola: regular acoustic violas fitted with a piezoelectric pickup and specialized electric violas, which have little or no body. While traditional acoustic violas are typically only available in historically used earth tones (e.g., brown, reddish brown, blonde), electric violas may be traditional colors or they may use bright colors, such as red, blue or green.
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The work is scored for a string quintet comprising two violins, two violas, and cello.
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The work is scored for violins I & II, violas, solo alto or countertenor and basso continuo.
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Les Danaïdes was orchestrated for first violins, second violins, violas, cellos, double-basses, timpani and harpsichord.
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Flagg's violins and violas were mostly patterned after Stradivarius, although he did produce instruments patterned after Guarneri and Amati as well. Flagg used commercial oil varnish, typically orange-red or red-brown in hue. A resident of Rutland, VT, he began to use old wood recovered from local covered bridges beginning in 1933 . Having produced 150 violins and 15 violas by 1940, he ultimately produced over 200 violins and approximately 70 violas in addition to much repair work.
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The work is scored for two clarinets, two bassoons, two horns, strings with divided violas, soprano, piano.
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Farrar, Elizabeth. 2000. On the Subject of Pansies, Violas, and Violettas. The American Violet Society.Pansy. Windy Acres, Inc.
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In early orchestral music, the viola part was usually limited to filling in harmonies, with very little melodic material assigned to it. When the viola was given a melodic part, it was often duplicated (or was in unison with) the melody played by other strings. The concerti grossi, "Brandenburg Concerti", composed by J. S. Bach, were unusual in their use of viola. The third concerto grosso, scored for three violins, three violas, and lower strings with basso continuo, requires occasional virtuosity from the violists. The sixth concerto grosso, "Brandenburg Concerto No. 6", which was scored for 2 violas "concertino", cello, 2 violas da gamba, and continuo, had the two violas playing the primary melodic role.
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Artaserse is scored for 2 trumpets, 2 horns, 2 oboes, first and second violins, violas, timpani and basso continuo.
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The work is scored for a conventional string orchestra of violins I and II, violas, cellos, and double basses.
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The Harley Benton brand also includes banjos, mandolins, ukuleles, diatonic harmonicas, electric violins, electric violas, and lap steel guitars.
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The only aria, "" (My soul’s treasure is God’s word), is set for soprano, accompanied by the four violas in unison.
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Plus "Contrasts for Viola and Cello", "3 Moods for 2 Violas" and "Music for Only One Lonely Viola", also for Peskey.
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The work is scored for an ensemble consisting of violin, piano, and strings (violins I & II, violas, violoncellos, and double basses).
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The symphony is scored for string orchestra (minimum 6 first violins, 5 second violins, 4 violas, 4 cellos, and 2 basses).
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He is particularly well known for his violas. A viola by Valentino Siani is pictured in Italian Violinmakers by Walter Hamma.
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The work is scored for solo piano and a string orchestra comprising first and second violins, violas, cellos, and double basses.
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First page of the autograph manuscript score of Mendelssohn's Octet, Op. 20 One possible ensemble layout A string octet is a piece of music written for eight string instruments, or sometimes the group of eight players. It usually consists of four violins, two violas and two cellos, or four violins, two violas, a cello and a double bass.
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String-only nonets have also been composed, notably by Nicolai von Wilm (Nonet op. 150, 1911, 4 Violins, 2 violas, 2 cellos, and double bass) and Aaron Copland (1960, 3 Violins, 3 violas, 3 cellos) . Iannis Xenakis's Analogique A (1958) is also a string nonet, but must be performed with a companion tape work, Analogique B .
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William Friederich at findagrave.com In addition to violins, Friedrich also made bows, violas, and violoncellos. He received the highest award bestowed for violins, violas, and violoncellos at the World's Columbian Exposition, Chicago, 1893. One of his violins was also granted the highest awards, Grand Prize and Gold Medal, at the St Louis World's Exposition in 1904.
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Viola caipira with fine marquetry work (Braz da Viola) He learned the craft of building viola caipira from Renato Vieira, factory of violas Xadrez. In 1994, deployed two lutenist of viola workshops in Sao Jose dos Campos and São Francisco Xavier. Currently he is building violas de cocho in his own atelier, a typical instrument of the Brazilian Pantanal.
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Nr 2 is scored for flute (doubling piccolo), two oboes, two bass clarinets, piano, two violins, two violas, two cellos, and double bass.
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The two violas start the first movement with a vigorous subject in close canon, and as the movement progresses, the other instruments are gradually drawn into the seemingly uninterrupted steady flow of melodic invention which shows the composer's mastery of polyphony. The two violas da gamba are silent in the second movement, leaving the texture of a trio sonata for two violas and continuo, although the cello has a decorated version of the continuo bass line. In the last movement, the spirit of the gigue underlies everything, as it did in the finale of the fifth concerto.
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The concerto is scored for two natural horns (soloists) and an orchestra composed of violins, violas, cellos, double bass, flute, clarinets, bassoons and horns.
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Tiago Jorge da Silva Violas (born 27 March 1989) is a Portuguese volleyball player who plays for S.L. Benfica and the Portugal national team.
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I Musici consists of a group of string instruments and one harpsichord. The strings include six violins, two violas, two cellos, and one double bass.
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The symphony is scored for a chamber orchestra of a flute, oboe, clarinet, bassoon, two horns, trombone, bells, and strings (violins, violas, cellos, and double basses).
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Pietro Capodieci's production includes violins, violas, cellos and double basses. He uses woods of the highest quality, in particular the rare and sought-after “Birdseye Maple”.
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Ivan Vilela (born August 28, 1962 in Itajubá, Minas Gerais) is a Brazilian composer, arranger, researcher, teacher and viola caipira player. Ivan Vilela is currently a professor at the ECA - School of Communication and Arts of the University of São Paulo. He is the director of the Orquestra Filarmônica de Violas, a Brazilian orchestra composed by Brazilian violas. Ivan Vilela is one of the main ten-string guitarists (viola) nowadays.
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Prior to the eighteenth century, violas had no uniform size. Large violas (tenors) were designed to play the lower register viola lines or second viola in five part harmony depending on instrumentation. A smaller viola, nearer the size of the violin, was called an alto viola. It was more suited to higher register writing, as in the viola 1 parts, as their sound was usually richer in the upper register.
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This quintet allegedly inspired Schubert to write his own string quintet in the same key (his scoring involves two cellos rather than two violas as in Beethoven's quintet).
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The Baron Knoop, ex-Bevan Stradivarius is a violin made by the celebrated luthier Antonio Stradivari in Cremona, Italy in 1715. The instrument is named for Baron Johann Knoop (1846–1918), a collector of dozens of great violins, violas, and cellos at one time or another including four violas representing more than a third of extant Stradivari violas. Upon the sale of the instrument to J.E. Greiner through the agency of Wurlitzer in New York, the W. E. Hill firm in London, proposed that the violin be named for their customer, Baron Knoop. Several instruments by the great master luthiers bear the sobriquet Baron Knoop, including another Stradivari of 1715, the Alard-Knoop.
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The work is scored for a large orchestra divided into three ensembles. The first ensemble comprises three horns, two trumpets, two trombones, bass trombone, tuba, timpani, and strings (violins, violas, cellos, and basses). The second ensemble comprises two clarinets (doubling bass clarinet), E-flat clarinet, percussion, and strings (violins, cellos, and basses). The third ensemble comprises two flutes, piccolo, two oboes, cor anglais, two bassoons, contrabassoon, two horns, percussion, and strings (violins, violas, and basses).
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Prior to the recording, the viola was inspected and was found to have had adjustments of questionable workmanship, which were subsequently repaired. Primrose was also known to have owned two violas by William Moennig Jr. of Philadelphia. Primrose loaned the "MacDonald" Stradivari during the 1940s. His Pierre Vidoudez and Yu lida violas are currently on display in the Primrose International Viola Archive at Brigham Young University's Harold B. Lee Library in Provo, Utah.
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2 Flutes, 2 Oboes, 2 Clarinets, Bass Clarinet, 2 Bassoons; 2 French horns, 2 Trumpets, Timpani, Xylophone, Percussion: triangle, suspended cymbal, cymbals; First violins, Second violins, Violas, Violoncellos, Double Basses.
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Common sizes include , , , , , , and less commonly , smaller than a standard violin; These measurements are nominal and approximate. At least one of the surviving Stradivarius violas has a scale length of .
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Lisbon Soloists. Deux Elles Limited, 2003 DXL 1084, The Galliard Ensemble. 1986 – Sextet - To Alberto Lysy 2 Violins, 2 Violas, 2 Cellos Premiere (original score): Lisbon, 1989 Strings Orchestra score,1986.
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The String Quintet No. 1 in B flat major, K. 174, was written by Wolfgang Amadeus Mozart in December 1773. Unlike Mozart's other viola quintets, which are scored for two violins, two violas and cello, this early work is scored for two violins, two violas and basso. Mozart composed this quintet a few months following the composition of the Viennese Quartets, K. 168-173 – indeed this work immediately follows that set in the first edition of the Köchel catalogue.
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These three combinations were proposed during the planning of the re-organisation but were never implemented. The E1 (7 players) was to comprise 4 trumpets, an electric organ, bass and drums. The E2 (29 players) was the largest combination, with 10 violins, 4 violas, 4 cellos, 2 flutes, oboe, 4 trombones, percussion, harp, guitar and piano, with the addition of a bass. The E3 (20 players) would have 10 violins, 2 violas, 2 cellos, bass and 5 saxes.
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The String Quintet No. 1 in A major, Op. 18, was composed by Felix Mendelssohn in 1826 and revised in 1832. The piece is scored for two violins, two violas and cello.
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Braz da Viola, besides being a virtuoso instrumentalist is also a maker of beautiful violas-de-cocho. Another well known performer of the viola-de-cocho is the Brazilian instrumentalist Roberto Corrêa.
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1: "Haydn: the Early Years, 1732–1765", . The violas in this slow movement double the bass part throughout at an octave above.Landon 1955: 203 (e.g., "col basso," which was common in the period).
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Bruckner's String Quintet in F major is composed for two violins, two violas and one cello. The addition of the second viola particularly emphasizes and enhances the middle range of the string spectrum.
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The score of this work calls for 4 French horns in F, 4 trumpets in C, 3 trombones, bass tuba and a four- section string orchestra of violins, violas, cellos and double basses.
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It is scored for 1st violins (sometimes in two parts), 2nd violins (in two parts), violas (in two parts), cellos and double basses. The many parts allow for a thick texture when required.
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Voigtlander died in the Bronx, New York City on 7 January 1933, and is buried in the Woodlawn Cemetery. Besides leaving a legacy as a professional violinist, violist, and viola d'amore player, he is known for other musical accomplishments, as well. He was an instrument maker in his spare time, and produced a few dozen violins and violas, some of which he sold. One of his violas is now in the National Music Museum at the University of South Dakota.
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2 flutes, 2 oboes, cor anglais (English horn), 2 (soprano) clarinets in B, 3 bassoons; 4 valve (French) horns in F; 2 timpani in B & D, harp; (strings): 1st & 2nd violins, violas, cellos, contrabasses.
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Violas: Dimtri Bovaird, Caroline Buckman, Matt Funes, Jody Rubin, Harry Shirinian, Rodney Wirtz. Celli: Matt Cook, Ira Glansbeek, Laszlo Mezo, Steve Vele. Basses: Tim Eckert, Don Ferrone, Dave Young. Flutes: Heather Clark, Gerry Rotella.
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These include quartets for one violin, two violas, and one cello, notably by Carl Stamitz (6 compositions) and others; and for one violin, one viola, and two cellos, by Johann Georg Albrechtsberger and others.
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Commissioned by the Minister of Culture. 13 min, Edition FUZEAU. ;Concertare :For twelve string players: 3 first violins, 3 second violins, 3 violas, 2 cellos, 1 double bass. 13 min, Rome 1976, Edition LEMOINE collection.
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The role of the violas is more to provide accompaniment, filling in harmonies and sometimes doubling vocal lines. The bassoon sometimes supports the continuo section, doubling its bass line, and sometimes plays an independent line.
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Stravinsky scored the Danses concertantes for a chamber orchestra consisting of flute, oboe, clarinet, bassoon, two horns, trumpet, trombone, timpani, and a string section specified as six violins, four violas, three cellos, and two double basses .
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The String Quintet No. 2 in B flat major, Op. 87, was composed by Felix Mendelssohn in 1845, when Mendelssohn was around 36 years old. The piece is scored for two violins, two violas and cello.
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' (And mercy), a duet for alto and tenor, begins with an undulating movement in 12/8 time, played by violins and violas. In the D major version these strings play con sordino, flutes doubling the violins.
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The quintet is structured in four movements: # Allegro con brio # Andante # Menuetto: Allegretto - Trio I & II # Finale: Presto The work is scored for two violins, two violas and cello. A typical performance lasts for about 30 minutes.
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Bach structured the cantata in five movements, an instrumental sinfonia, a recitative, a recitative with chorale, an aria and a closing chorale. He scored the work, like other cantatas written in Weimar, for a small ensemble of three vocal soloists (soprano (S), tenor (T), bass (B)), a four-part choir only in the chorales, and a Baroque instrumental ensemble of four violas (Va), cello (Vc), bassoon (Fg) and basso continuo. The setting for four violas is unusual. In a similar orchestration, the Brandenburg Concerto No. 6 also omits violins.
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The full-orchestra version is scored for 3 flutes (2nd and 3rd doubling piccolo), 2 oboes (2nd doubling 2nd English horn), English horn, 2 clarinets, bass clarinet, 2 bassoons, 4 French horns, 3 trumpets, 3 trombones, tuba, timpani, cymbals, bass drum, tamtam, celesta, harp, organ, and strings (violins, violas, cellos, and double basses). The reduced-orchestra version is scored for 3 trumpets, timpani, harp, organ, and strings (violins, violas, cellos, and double basses). The organ part used in the reduced version is different from the organ part used in the version for choir and organ.
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Andrea Amati was succeeded by his sons Antonio Amati (–1607) and Girolamo Amati (–1630). "The Brothers Amati", as they were known, implemented far-reaching innovations in design, including the perfection of the shape of the f-holes. They are also thought to have pioneered the modern alto format of viola, in contrast to older tenor violas, but the widespread belief that they were the first ones to do so is incorrect given that Gasparo da Salo made violas ranging from altos of 39 cm to tenors of 44.7 cm.
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The second movement, in A major, the subdominant key of C minor's relative key (E major), is a lyrical work in double variation form, which means that two themes are presented and varied in alternation. Following the variations there is a long coda. The movement opens with an announcement of its theme, a melody in unison by violas and cellos, with accompaniment by the double basses. A second theme soon follows, with a harmony provided by clarinets, bassoons, and violins, with a triplet arpeggio in the violas and bass.
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Thunderstuck is scored for three flutes, three oboes, two clarinets, bass clarinet, two bassoons, contrabassoon, four French horns, three trumpets, three trombones, tuba, harp, timpani, percussion (three players), and strings (violins I & II, violas, violoncellos, and double basses).
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3 flutes, oboe, cor anglais (English horn), clarinets in A, 3 bassoons; 4 valve (French) horns in F, 3 trumpets in F; 2 harps; (female chorus): 8 sopranos, 8 mezzo-sopranos; (strings): 1st & 2nd violins, violas, cellos, contrabasses.
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The work is scored for solo piano and an orchestra consisting of two flutes, two oboes, two clarinets, two bassoons, four French horns, two trumpets, three trombones, timpani, tambour, and strings (violins I & II, violas, violoncellos, and double basses).
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The instruments originally specified were four violas, cello, bassoon and basso continuo. When he performed the work again as Thomaskantor in Leipzig, he added two recorders to double viola I and II an octave higher, thus creating a lighter sound overall.
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Bach transcribed six of Vivaldi's concerti for solo keyboard, three for organ, and one for four harpsichords, strings, and basso continuo (BWV 1065) based upon the concerto for four violins, two violas, cello, and basso continuo (RV 580).Wolff and Emery.
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All the fittings and materials used in the construction of the case are of the highest quality. As well as violin cases, Musafia also build viola cases and double cases (cases for two violins, two violas or violin and viola).
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Shoulder rest for violin. The shoulder rest is an accessory that can be found on violins and violas. The shoulder rest appeared around the middle part of the 20th century. It may be made of wood, aluminium, carbon fiber or plastic.
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Strauss, in his rich and lively orchestration, included parts for a solo string player from each section. The change of key a semitone down from E to E explains why, from bar 34 on the violas are asked to play the note B, a semitone below the lowest note normally possible on the instrument; and at this point Strauss asks half the violas to tune this string down a semitone.Note in the full score: "Die Hälfte nach H unstimmen" For the same reason the full score, bar 39, gives the second flute the note B, a semitone lower than its normal lowest note.
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The Super Bock Group is a company with decision center in Portugal, owned in 56% by Viacer (Carlsberg and Violas) and 44% by the Carlsberg Group. The Holding Viacer congregates two groups – Violas (71.5%) and Carlsberg Group (28.5%). It is the largest Portuguese exporter of beer – an operation that has already reached more than 50 countries, mainly through Super Bock, which is the best-selling Portuguese beer in the world. The company follows a multi-brand and multi-business strategy, focused on beer and bottled water but extends to the segments of soft drinks, cider and wine.
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A quartet of A. E. Smith instruments is held by the National Museum of Australia, Canberra,AE Smith instruments, National Museum of Australia and a violin at the Powerhouse Museum, Sydney. The cello of the quartet held by the National Museum of Australia can be heard played by cellist David Pereira on an audio file.National Museum of Australia, Audio on demand: AE Smith Instruments collection His violas are his most sought after instruments, and their rarity have led to a steady increase in monetary value. His violas favored two models: the Brescian Model and the MacDonald Stradivarius model.
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The symphony is scored for piccolo, two flutes, two oboes, English horn, two clarinets, bass clarinet, three bassoons, four French horns, three trumpets, three trombones, tuba, harp, timpani (two players), percussion (three players), and strings (violins I & II, violas, violoncellos, and double basses).
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The symphony is scored for piccolo, two flutes, two oboes, English horn, two clarinets, contrabass clarinet, two bassoons, contrabassoon, four French horns, three trumpets, four trombones, tuba, timpani, percussion (three players), harp, celesta, and strings (violins I & II, violas, violoncellos, and double basses).
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The symphony is scored for piccolo, two flutes, two oboes, English horn, two clarinets, bass clarinet, two bassoons, contrabassoon, four French horns, four trumpets, four trombones, tuba, two harps, timpani, percussion (three players), and strings (violins I & II, violas, violoncellos, and double basses).
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The symphony is scored for ten violins, four violas, three cellos and two basses. An arrangement of the third movement, titled Symphony for Eight, by Cello Octet Amsterdam (formerly known as Cello Octet Conjunto Ibérico) for cello ensemble was produced in 1999.
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When Kress's duets with Dick McDonough were published, they were transposed from his fifths tuning to standard tuning. All-fifths tuning is used by other instruments besides tenor banjos. For example, it is used by mandolins, violins, mandolas, violas, mandocellos, and cellos.
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All eleven singing parts were performed by girls of the orphanage, both the female and male roles. Many of the arias include parts for solo instruments—recorders, oboes, violas d'amore, and mandolins—that showcased the range of talents of the girls.Landon, p.
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Musically, the song is pop-influenced, with Europop beats. However, the song features strong strings accompaniment, including violins, violas and cellos. ScandiPop.co.uk said the song sounded like Coldplay's Viva la Vida. Song Music said the song was "more personal and sad than before".
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The concerto is scored for solo oboe and an orchestra comprising two flutes, piccolo (doubling alto flute), two clarinets, two bassoons, two French horns, two trumpets, three trombones, percussion (three players), harp, celesta, and strings (violins I & II, violas, violoncellos, and double basses).
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2 doubling clarinet in E, no. 3 doubling bass clarinet), 3 bassoons (no. 3 doubling contrabassoon), 4 horns, 4 trumpets, 4 trombones, tuba, timpani, percussion (2 players), harp, celesta, harpsichord, piano, and 8 each of violas, cellos and double basses. Note that violins are absent.
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The concerto is scored for a solo flute and orchestra comprising three flutes, two oboes, two clarinets, two bassoons (2nd doubling on contrabassoon), four French horns, two trumpets, three trombones, tuba, harp, timpani, percussion (three players), strings (violins I & II, violas, violoncellos, and double basses).
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300x300px Charles Mennégand (19 June 1822 – 9 January 1885) was an eminent French luthier and a distinguished repairer of violins, violas, and cellos. He is considered a superb 19th century French maker of cellos and is consistently counted among the handful of great French makers.
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Ensemble layout In classical music, a string sextet is a composition written for six string instruments, or a group of six musicians who perform such a composition. Most string sextets have been written for an ensemble consisting of two violins, two violas, and two cellos.
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The elder's instruments include an organistrum, guitar, cittern, harp, aulos, and eight violas along with percussion instruments including bells, tambourines, and castanets. One of the instruments is an early vihuela, which is a stringed instrument and one of the earliest incarnations of a guitar.
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Streptocarpus sect. Saintpaulia (African violets) and Erythronium dens-canis (dogtooth violet) are not closely related to the true violas. Viola arborescens Viola chaerophylloides Viola cornuta Viola guestphalica Viola labradorica Viola ocellata Viola orientalis Viola patrinii Viola tricolor Species include:Viola. Germplasm Resources Information Network (GRIN).
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He was born in Montichiari, the son of Zanetto Micheli, and for 65 years he carried out a very long and rich career as a music instrument maker, specializing in strings, learned from Zanetto. He started with violas; then in the 1550s he worked with violins and in the 1570s also in ceteras. The first record of his activity is in 1548, when he was 28 years old. In 1568 he was called "maestro di strumenti da sonar" (master of instrument for playing) a special qualification in common with da Salò that testifies to the variety of the items made by the maker: viols, violas, violones, lyras, double basses, violins, ceteras.
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The first work to actually bear the title of nonet was Louis Spohr's Grand Nonetto in F major, op. 31 (1813), for flute, oboe, clarinet, bassoon, horn, violin, viola, cello, and double bass. Earlier compositions, however, had been composed for nine instruments (Joseph Haydn's four Divertimenti (or Cassations), for 2 oboes, 2 horns, 2 violins, 2 violas, and contrabass, HII:9, 17 [2 clarinets instead of oboes], 20, and G1, Ignaz Pleyel's Nocturne of 1785, for 2 clarinets, 2 horns, 2 violas, contrabass, and 2 hurdy-gurdies, and Franz Schubert's Begräbnis-Feyer (Eine kleine Trauermusik) of 1813 (D 79), for two clarinets, two bassoons, contrabassoon, two horns, and two trombones).
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The opening of the Tempo giusto section of the first movement The first movement begins with violas softly oscillating between the C and A notes; after four bars of the single, minimally-inflected line, a pair of bassoons enters with the initial theme. The beginning has been described by Nielsen scholar Robert Simpson as like being "in outer space"; the subsequent wave-like line "appears from nowhere, as if one were suddenly made aware of time as a dimension". The very first theme ends at b. 20 with a descending scale, followed by a fortissimo interruption from violas and a subsequent horn and flute dialogue.
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The String Quintet No. 5 in D major, K. 593 was written by Wolfgang Amadeus Mozart in 1790. Like all of Mozart's string quintets, it is a "viola quintet" in that it is scored for string quartet and an extra viola (two violins, two violas and cello).
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Camillo Camilli (c. 1704 – 1754)Cozio.com: Violins, violas, cellos & double basses made by Camillo Camilli was a notable master luthier of the 18th century. The instruments of Camilli, most of which he made in Mantua, in northern Italy, are prized by string musicians to this day.
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The Surprise Symphony is scored for a Classical-era orchestra consisting of two each of flutes, oboes, bassoons, horns, trumpets, plus timpani, and the usual string section consisting of violins (first and second), violas, cellos, and double basses. Performances of the Surprise Symphony last about 23 minutes.
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The work is scored for two flutes (one doubling on piccolo), two oboes, two clarinets, two bassoons, contrabassoon, four French horns, two trumpets, three trombones, tuba, timpani, snare drums, rattle, tambourine, triangle, cymbals, tamtam, bass drum, and strings (violins I & II, violas, violoncellos, and double basses).
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3 flutes, 2 oboes, cor anglais (English horn), 2 (soprano) clarinets in B, 3 bassoons; 4 valve (French) horns in F, 3 valve trumpets in F, 3 trombones, tuba; 2 harps, 3 timpani in D, A, & E, cymbals, snare drum; (strings): 1st & 2nd violins, violas, cellos, contrabasses.
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Works by such noted composers as Quincy Porter, Arthur Foote, and Michael Colgrass have been published as well as contributions by less well-known composers. Other publishing priorities include works for multiple violas and movements from the cantatas of J. S. Bach that prominently feature the viola.
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The piece is orchestrated for two flutes, two oboes d'amore (doubling on oboes), two bassoons, one natural horn (in D), three natural trumpets (in D), timpani, violins I and II, violas and basso continuo (cellos, basses, bassoons, organ and harpsichord). A third oboe is required for the Sanctus.
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The violin family, including cello-sized instruments, emerged c. 1500 as family of instruments distinct from the viola da gamba family. The earliest depictions of the violin family, from northern Italy c. 1530, show three sizes of instruments, roughly corresponding to what we now call violins, violas, and cellos.
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Mittenwald is famous for the manufacture of violins, violas and cellos which began in the mid-17th century by the Klotz family of violin makers, and has been a popular stop with tourists and student luthiers since the 1930s. You can also visit the museum for violin lutherie.
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Today, the band now uses traditional instruments such as the Mridangam, the Tabla, and the Carnatic. The band also has made enhancements in recent years to include the addition adding a large string section comprising violins, violas, cellos and double basses to make it a complete symphonic orchestra.
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The composition, which is written for a violin soloist and an accompanying group made up of violins, violas & cellos, is structured as a single multi-tempo movement divided into two sections, the Introduction (Marked: Adagio) and the Rondo (Marked: Allegro giusto). It takes around 13 - 15 minutes to perform.
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The work is scored for a chamber orchestra of piccolo, E clarinet, two trumpets, trombone, tuba, tamtam, xylophone, piano, two violins, and double bass. The absence of low woodwinds, violas, and cellos produces a sound meant to evoke a Mexican village band, or the sound of Indian music .
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The Violin Society of America (VSA) is an American organization devoted to makers and dealers of violins, violas, and cellos. It is also open to players of these instruments. It was founded in 1973, and formerly based in Poughkeepsie, New York. It is now based in Dallas, Texas.
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Canarina, pp. 30–31 As well as leading the violas, Monteux was assistant conductor, taking charge of early rehearsals and acting as chorus master for choral works. In 1910 the orchestra was engaged to play for a Paris season given by Sergei Diaghilev's ballet company, the Ballets Russes.
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Henri-Joseph de Lannoy (also Henricus Josephus de Lannoy; 1712 – ) was a Flemish luthier and a crafter of string instruments such as violins, violas and cellos. His instruments are recognized as key examples of 18th century violin making in Flanders, characterized by their fine work and golden-yellow varnish.
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The suite calls for piccolo, two flutes, two oboes, cor anglais, two clarinets in B-flat, two bassoons, four horns in F, two trumpets in B-flat, three trombones, tuba, three timpani, cymbals, triangle, various Chinese percussion instruments, celeste, harp, first and second violins, violas, celli, and double basses.
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The piece is scored for solo trumpet and orchestra comprising three flutes (third doubling on piccolo), three oboes, three clarinets, three bassoons (third doubling on contrabassoon), four French horns, three trumpets, three trombones, tuba, harp, timpani, percussion (three players), and strings (violins I & II, violas, violoncellos, and double basses).
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Ravel also employs using A0 to begin the third presentation of the rising motive in the opening of the third movement Gaspard de la nuit when the motive is played down the octave. The ending of Bax's 4th Piano Sonata written in the key of G major also ends with a low A0 in the bass voice. In the Finale to Tchaikovsky's Fifth Symphony, the violins begin the initial melody, though do not complete the melody when it descends to the low E, which is sounded by the violas. A similar continuation of the melody by the violas due to the limitations of the violin's range occurs in the final movement of Saint-Saëns' 3rd violin concerto.
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The march has an opening section consisting mainly of two-bar rhythmic phrases which are repeated in various forms, and a lyrical Trio constructed like the famous "Land of Hope and Glory" trio of March No. 1. The first eight bars of the march is played by the full orchestra with the melody played by the violasOne might expect the tune from the violins, with the violas playing a lower part and upper woodwind. Both harps play from the beginning, while the cellos, double basses and timpani contribute a simple bass figure. The bass clarinet, contrabassoon, trombones and tuba are held "in reserve" for the repeat, when the first violins join the violas with the tune.
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The Soulful Strings' repertoire consisted mainly of cover versions, often given a musical interpretation that combined soul, jazz, funk and psychedelia. Speaking to an interviewer from Berklee College of Music, where he later worked as a professor teaching jazz arrangements, Evans attributed the ensemble's distinctive sound to his use of violas (rather than any violins) as lead string instruments, beside the cellos. He described the combination of two violas and four cellos as "a very dark sound". In a 2009 interview with Wax Poetics magazine, Evans credited Chess co-founder Leonard Chess with initiating the strings-based concept; however, he added that the flute and guitar parts became a "driving force" as much as the string section.
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The Tertis model viola, which has wider bouts and deeper ribs to promote a better tone, is another slightly "nonstandard" shape that allows the player to use a larger instrument. Many experiments with the acoustics of a viola, particularly increasing the size of the body, have resulted in a much deeper tone, making it resemble the tone of a cello. Since many composers wrote for a traditional-sized viola, particularly in orchestral music, changes in the tone of a viola can have unintended consequences upon the balance in ensembles. One of the most notable makers of violas of the twentieth century was Englishman A. E. Smith, whose violas are sought after and highly valued.
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The chapel choir met in the middle of the nineteenth century at a chapel-goer's house on Sundays. The chapel also had a band that used instruments such as flutes and violas. Union Chapel remains independent, and as of 2015 is active under the title of Union Chapel Christian Fellowship.
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Like Brahms' earlier string quintet, Opus 88, it is a viola quintet, scored for two violins, two violas and cello. The work has four movements. The first movement is marked Allegro non troppo, ma con brio, and is in . Its opening is dominated by a cello solo in G major.
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Berlioz p. 354 One way in which Méhul increased dramatic expressivity was to experiment with orchestration. For example, in Uthal, an opera set in the Highlands of Scotland, he eliminated violins from the orchestra, replacing them with the darker sounds of violas in order to add local colour.Charlton (1993) p.
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The concerto is scored for piano solo, 2 flutes, 2 oboes, 2 clarinets in A, 2 bassoons, 2 horns in A, 2 trumpets in C, trombone, timpani in A & E, violins I & II, violas, cellos, and basses. With this instrumentation Clara Schumann chose the usual orchestration typical of early Romantic music.
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Grancino's workshops were all located on Contrada Larga, now Via Larga in Milan. His instruments bear the characteristic segno della corona (mark of the crown). See German source in Bibliography. Although the luthiers of Milan created instruments of varying quality, Grancino's violins, violas, cellos and double basses are considered superior.
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Rapture is scored for orchestra comprising three flutes, three oboes, three clarinets, three bassoons, four French horns, four trumpets, four trombones, tuba, harp, timpani (two players), three percussionists (bass drum, five triangles, tam-tam, China cymbal, suspended cymbal, chimes, glockenspiel, and antique cymbals), and strings (violins I & II, violas, violoncellos, and double basses).
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These trios have been published by the Moravian Music Foundation in a scholarly edition. Also by a Moravian composer are the six string quintets (two violins, two violas, and cello) by Johann Friedrich Peter. These were written in Salem, NC in 1789. Peter was probably the most gifted and accomplished Moravian composer.
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Weighing only 1 pound 4 ounces, much kinder to the body than traditional violas. It is 11/32 of an inch narrower on the A string shoulder, making it easier to play in the upper positions. The viola has an amazingly beautiful, dark, yet vibrant resonance. It sings out effortlessly and powerfully.
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The concerto is scored for solo oboe and a small orchestra divided into two groups. The concertino group consists of the oboe, violas, and a percussionist. The larger group comprises flute (doubling piccolo, alto flute), clarinet (doubling bass clarinet), horn, trombone, one additional percussionist, and strings (violins I & II, violoncellos, and double basses).
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The work in sonata form is introduced by the violins and violas, with a main theme developing "like the approach of a distant cortege". He sent the work to the publisher Breitkopf. Reading the proofs, Sibelius was not satisfied, especially with the instrumentation. He revised the piece, completing the work in March 1910.
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Sometimes these works are performed on Stradivari instruments, but Stradivari never heard the type of composition known as a "string quartet", the format emerged after his death. The project to provide instruments for the Spanish court evidently envisaged a different ensemble, as originally there were two violas, not one, in the set.
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Its duration is about three minutes. Storm This dynamic section in E minor is played by the full orchestra. It begins with the violins and violas. Their phrases are punctuated by short wind instrument interventions of three notes each, first by the piccolo, flute and oboes, then by the clarinets and bassoons.
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Janos Spiegel (1876-1956) was a Hungarian violin maker. He was born in Sopron, Hungary in 1876 and died in Budapest in 1956. Spiegel worked for W.J Schunda from 1896 to 1896 and worked for R.Lumman from 1896 to 1900. He made several types of string instruments including cellos, violas, and violins.
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The interaction between the countryside and the cities in the academic sphere contributed to the surge of an individual style. Having violas and guitars disseminated on campuses and student residences, the old sertaneja music ending up joining the violas and guitars with modern instruments such as electric guitars, bass guitars, batteries, brass instruments, and percussion. The initial result was a new twist to the old and classic sertaneja roots, which over the course of the years starting distancing themselves from their earlier styles, and acquiring their own identity. In this new century the musical influences of the youth in the interior also gradually became mixed with other styles, especially with pop, arrocha and carioca funk, styles that are predominantly seen in parties organized by university students.
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The Orchestral Suite No. 3 calls for: 3 flutes (one of them piccolo), 2 oboes, 1 English horn, 2 clarinets (in A), 2 bassoons, 4 horns (in F), 2 trumpets (in F and D), 3 trombones, tuba, timpani, side drum, tambourine, triangle, cymbals, bass drum, harp and strings (violins 1 & 2, violas, celli, double basses).
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486 The full tally of instruments, apart from the piano, comprises piccolo, flute, oboe, cor anglais, E clarinet, clarinet in B and A, 2 bassoons, 2 horns in F, trumpet in C, trombone, timpani, triangle, snare drum, cymbals, bass drum, tamtam, wood block, whip, harp, 16 violins, 6 violas, 6 cellos, and 4 double basses.
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The Broadway orchestrations by Doug Besterman call for a large twenty-four-piece orchestra, including three violins, two violas, two violoncelli, three trumpets, two trombones, two French horns, four woodwinds, three keyboards, one drum set, one percussionist, and one bass. The London orchestrations, also by Besterman, have been scaled down for a ten-piece orchestra.
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The work is scored for the following orchestra: :woodwind: 3 flutes (3rd also piccolo), 2 oboes, 2 clarinets, 4 bassoons :brass: 4 horns, 8 trumpets (4 offstage), 3 trombones, Ophicleidean obsolete instrument usually replaced by a tuba or cimbasso in modern performances :percussion: timpani, bass drum :strings: violins I, II, violas, violoncellos, double basses.
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He owned two violas: a "Tertis model" Capicchioni of 1956 and one made by Roberto Bianchi in the 1980s. For most of his career he played with a bow made by Dominique Peccatte in the 1870s.Tully Potter, "The Players" nel libretto incluso nei CD editi dalla Testament "Quintetto Boccherini", voll. 1, 2 e 3, 2002.
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This is the first opera Nyman has scored with his band in mind. The studio recording includes five violins, two violas, one cello, two double basses, two each soprano and alto saxes (doubled), baritone sax, flute, alto flute, piccolo, trumpet and flugelhorn (doubled), French horn, bass trombone (doubled), tuba (doubled), euphonium (doubled), and electric guitar.
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The Missa solemnis in C minor, K. 139/47a, is a mass composed by Wolfgang Amadeus Mozart in the summer of 1768 in Vienna. It is scored for SATB soloists, SATB choir, violin I and II, 2 violas, 2 oboes, 2 trumpets, 2 clarini (high trumpets), 3 trombones colla parte, timpani and basso continuo.
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The work commemorates the 50th anniversary of Iceland as a republic and was a gift from Britain to Iceland. Much of Kentish's current work (2008) is for the countertenor Sverrir Guðjónsson. His work Prelude and Fugue for 10 violas was premiered in the United Kingdom at the Purcell Room in London on 30 November 2008.
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The cantata opens with a sinfonia in G minor, which illustrates falling rain and snow in descending phrases. In da capo form, it is reminiscent both of a chaconne and a concerto. The four violas and continuo, with bassoon and cello parts specified, create an unusual sound, termed "magically dark-hued sonority" by Gardiner.
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In some violin concertos, especially from the Baroque and modern eras, the violin (or group of violins) is accompanied by a chamber ensemble rather than an orchestra—for instance, in Vivaldi's L'estro armonico, originally scored for four violins, two violas, cello, and continuo, and in Allan Pettersson's first concerto, for violin and string quartet.
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He also shared his expertise and knowledge with younger guitar makers. His creations included guitars, lutes, harpsichords, theorbos, vihuelas, citterns, panduras, and finally also violins, violas and cellos. His instruments were prized during his lifetime by many fine musicians, including the English lutenist and guitarist Julian Bream. The Rubio Quartet named themselves in his honour.
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The orchestral score requires 1 flute, 2 oboes, 3 clarinets, 2 bassoons, 2 horns, 1 trumpet, 1 trombone, timpani, percussion (various instruments), piano and strings (6 violins I, 6 violins II, 4 violas, 3 violoncellos, 2 double basses). Apart from the vocal soloists, a small chorus (or a vocal quartet or quintet) is also required.
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This was also the full line up of the BBC Scottish Radio Orchestra. The B2 Orchestra, with a complement of 26, used the components of the A Orchestra not required for the B1, which resulted in a line-up of 10 violins, 4 violas, 4 cellos, 2 basses, 2 flutes, oboe, percussion, harp and guitar.
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Flying Colors expanded their instrumental palette on this release. On four songs, they employed violins, violas, and cellos performed by Chris Carmichael and Shane Borth. On another song, "One Love Forever", Eric Darken performed 14 different hand percussion instruments. On "Peaceful Harbor" and "Cosmic Symphony", Neal Morse recorded a gospel choir (The McCrary Sisters).
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The traditional Portuguese Chula folkdance has a tempo and rhythm marked by a bass drum, a triangle and cymbals, and is native to the Upper Douro. It incorporates singing accompanied by violins, violas, accordions and percussion. The Portuguese Chula was an important influence on the emergence of samba rhythms and Rio Grande do Sul Gaucho dance in Brazil.
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Cyriacus Wilche worked as a musician at the court of Weimar until 1662. From 1662 until his death in 1667, he was employed as a musician in Jena. The godfather of one of his children was Bernhard II, Duke of Saxe-Jena. He is best known today for his Battalia for 2 violins, 3 violas and continuo.
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Antonín Dvořák´s String Sextet in A major, Op. 48, (B. 80) for two violins, two violas and two cellos was composed for the most part in May 1878. It was Dvořák's first work to be premiered outside Bohemia.sleeve note of the Supraphon recording (11 1461-2 131) The period 1875-1879 was very important in Dvořák's life.
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When he returned to England, he switched to the viola. The Amadeus Quartet asked him regularly to play second viola in the string quintet and the string sextet repertoire. In spring 1949 he joined the violas of the London Philharmonic Orchestra.Concert Programmes, London Philharmonic Orchestra, Central Hall, East Ham, Eduard van Beinum's conductorship, January to May 1949.
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Aronowitz played regularly with the London Mozart Players and was the principal violist with the Goldsbrough Orchestra (later to become the English Chamber Orchestra). He also appeared at the Aldeburgh Festival every year from 1949 until his death in 1978. At Aldeburgh, Aronowitz was a soloist, chamber musician, and leader of the violas in the English Opera Group.
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The symphony is scored for 3 flutes (third doubling piccolo), 2 oboes, cor anglais, E clarinet, 2 clarinets, bass clarinet, 3 bassoons, contrabassoon, 4 horns, 2 trumpets, 2 cornets, 3 trombones, tuba, timpani, percussion (triangle, tambourine, cymbals, bass drum), 2 harps, 20 first violins, 18 or 20 second violins, 14 violas, 12 cellos, and 12 contrabasses.
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The 77-bar long composition in B major is set in Allegro moderato for choir and soloists, and orchestra (2 trumpets in B, timpani, and strings without violas). The organ supplies figured bass. The first verse ("") is sung by the soprano soloist. The next verses are sung as an Arioso alternatingly by the soloists and the choir.
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He was also pleased overall with the orchestration of Antar, which he described as being "full of color and fancy", mentioning especially his use of flutes, clarinets and harp in their lower registers.Rimsky-Korsakov, 95. He scored the initial appearance of the "Antar" theme to violas to please Mussorgsky since he was especially fond of the instrument.Rimsky-Korsakov, 95.
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The contralto viola is dated 1696. It returned to Madrid in the 20th century after having come into the possession of the dealer W.E. Hill & Sons of London. It is one of thirteen known extant violas by Stradivari. It is unusual in being decorated, although the tenor viola in Florence has decorations including the Medici crest on the fingerboard.
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COYO is a full symphonic orchestra ensemble. The group typically consists of violins, violas, cellos, string bass, flutes, oboes, clarinets, bassoons, French horns, trumpets, trombones, tuba, and percussion. Auxiliary instruments are used according to the instrumentation of the concert repertoire. Common auxiliary instruments are harp, piccolo, E-flat clarinet and bass clarinet, English horn, and organ.
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While only about 650 original Stradivari instruments (harps, guitars, violas, cellos, violins) survive, thousands of violins have been made in tribute to Stradivari, copying his model and bearing labels that read "Stradivarius" on them. The presence of a Stradivarius label does not confirm that the instrument is a genuine work of Stradivari.Stradivarius Violins – Encyclopedia Smithsonian. Retrieved 26 June 2013.
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Festina lente (Latin for "make haste slowly") is a 1988 composition by Estonian composer Arvo Pärt. It is scored for string orchestra and harp. It uses layering to explore the musical ideas, by allowing the violas to take the melody, the violins to take it at double the speed and the basses to take the melody at half time.
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Viola close up of bridge The viola is similar in material and construction to the violin. A full-size viola's body is between and longer than the body of a full-size violin (i.e., between ), with an average length of . Small violas typically made for children typically start at , which is equivalent to a half-size violin.
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Johann Sebastian Bach was deeply influenced by Vivaldi's concertos and arias (recalled in his St John Passion, St Matthew Passion, and cantatas). Bach transcribed six of Vivaldi's concerti for solo keyboard, three for organ, and one for four harpsichords, strings, and basso continuo based upon the concerto for four violins, two violas, cello, and basso continuo.
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A variation of the first theme reasserts itself. This is followed up by a third theme, thirty-second notes in the violas and cellos with a counterphrase running in the flute, oboe, and bassoon. Following an interlude, the whole orchestra participates in a fortissimo, leading to a series of crescendos and a coda to close the movement.
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October 26, 2001 "Speechless" was one of only two songs from Invincible to be written solely by Jackson (the second song being "The Lost Children").Taraborrelli, p. 612 Jeremy Lubbock worked with the musician in arranging and conducting an orchestra. Instrumentalists on the track included Brad Buxer on keyboards, and Novi Novog and Thomas Tally on violas.
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The symphony is scored orchestra, a mixed choir and two soloists (mezzo-soprano and baritone). ;Woodwinds: :2 Flutes :2 Oboes :2 Clarinets :2 Bassoons ;Brass: :4 French Horns in F :2 Trumpets :3 Trombones ;Percussion: ;Voices: :Mezzo-Soprano Solo :Baritone :Mixed Chorus ;Strings: :Harp :First and Second Violins :Violas :Violoncellos :Double basses (with low C extension).
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The score calls for a total of over 90 instruments: ;Woodwinds :2 flutes (one doubling piccolo) :2 oboes (one doubling cor anglais) (in movement III, the first oboist plays briefly offstage) :2 clarinets (one doubling E clarinet) :4 bassoons ;Brass :4 horns :2 cornets :2 trumpets :3 trombones :2 ophicleides (modern performances use tubas) ;Percussion :4 timpani (played by two players) :cymbals :snare drum (used in movement IV) :bass drum :bells in C and G ;Strings :2 harps (used in movement II) :Violins I, II :Violas :Celli :Double basses Berlioz specified at least 15 1st violins, 15 2nd violins, 10 violas, 11 celli and 9 basses on the score. Berlioz originally wrote for 1 serpent and one ophicleide, but quickly switched to two ophicleides after the serpent proved to be difficult to use.
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The concerto is scored for a solo trombone and orchestra, comprising two bassoons, contrabassoon, four French horns, three trumpets, three trombones, tuba, harp, timpani, xylophone, glockenspiel, chimes, marimba, two suspended cymbals, snare drum, tenor drum, five tom-toms, two bongo drums, bass drum, a pair of crash cymbals, two tamtams, and strings (violins I & II, violas, violoncellos, and double basses).
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The piece is scored for two flutes (2nd doubling on piccolo), two oboes (2nd doubling on oboe d'amore and English horn), two clarinets (2nd doubling on bass clarinet), two bassoons (2nd doubling on contrabassoon), four French horns (all doubling Wagner Tubas), three trumpets, three trombones, tuba, timpani, percussion (three players), and strings (violins I & II, violas, violoncellos, and double basses).
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The Fugue for String Quintet in D major, Op. 137, was composed by Ludwig van Beethoven. It was composed in 1817, and was the only work he completed for string quintet in his late period. After Beethoven's death in 1827, Breitkopf & Härtel published the work, hence the high opus number. The composition is scored for a string quintet with two violas.
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The orchestral accompaniment consisted of 12 violins, 4 violas, 4 celli, (Strings) and 3 trumpets, 2 tenor trombones and 1 bass trombone (brass). The arrangement was by Campbell himself. "Sweet Illusion" was released on 27 April 1973 on Deram DM 387 entering the UK Singles Chart on 2 June 1973. The record spent nine weeks on the chart reaching number 15 position.
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The body of the Viola Toeira is slender in shape, similar to the baroque guitar. Like most Portuguese violas, it has a typical bridge design in which the bridge and saddle are separate. The strings are first tied round a piece of wood that is glued to the soundboard, and then run over a separate floating bridge that is left unglued.
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The opening measures of the first movement. The lower stave is the orchestral part at the pitch played by the violins, oboes and horns; the violas, cellos and basses play an octave lower. The upper stave is the right hand of the piano part. The first movement opens, unusually for the time, with interventions by the soloist, anticipating Beethoven's Fourth and Fifth Concertos.
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The original score is for a double string quartet with four violins and pairs of violas and cellos. The composer also transcribed the piece for string orchestra, so it often played by full string sections using more players for each part as well as an added double bass part which usually (but not always) doubles the second cello part an octave lower.
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The New Century Chamber Orchestra's repertoire spans both traditional and contemporary repertoire. The ensemble regularly commissions new works and features cross-genre programs transcending jazz, rock, and classical styles. The New Century Chamber Orchestra is a string orchestra of 20 members (10 violins, 5 violas, 4 celli, 1 bass). Sometimes an orchestra that normally performs with a conductor will perform without one.
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Joseph Haydn's Symphony No. 15 in D major, Hoboken I/15, may have been written between 1760 and 1763.H. C. Robbins Landon, The Symphonies of Joseph Haydn. London: Universal Edition & Rockliff (1955): 637 It is scored for 2 oboes, bassoon, 2 horns, strings and continuo, with a solo for 2 violas or cello in the trio of the minuet.Landon (1955): 637.
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With an arrangement of eleven violins, three cellos and three violas, conducted by Daniele Luppi, the orchestra recorded music for "Leave It Alone", "The Changing Lights", "Lazy Wonderland", "The Angel and the Fool" and "The Remains of Rock and Roll". Additional musicians, respectively playing tenor saxophone, trombone and trumpet, were also recorded for the ninth track "No Matter What You're Told".
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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.
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The Chandos Anthems were written at a time when the musical establishment at Cannons was still being expanded. The scoring of the anthems varies, with strings predominating including first and second violins (but only occasionally violas), cellos and basses. There is usually a separate part for an oboe, and one for organ.Original full score Bassoons occasionally join the cellos and basses.
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Montagnana was born in Lendinara, Italy in 1686. His father, Paolo, was a shoemaker. He made stringed musical instruments (violins, violas, cellos and double basses) in Venice. He was apprenticed in Matteo Sella's workshop (probably also associated with Matteo Goffriller) and after that he opened his own shop, active from 1712, located in Calle degli Stagneri, with insignia "Alla Cremona".
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Gaetano Sgarabotto (1878–1959) was born in Vicenza, Italy. He devoted his entire career to violin making. He was a very prolific violin maker, making more than 700 instruments including violas and cellos. His son, Pietro Sgarabotto (1903–1990), born in Milan, retired 1971, still produced masterworks as late as 1979; both worked for their entire lives in Italy as master violin makers.
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The first movement, in sonata form, frequently alternates speed, mood, and key, with the main key being B minor. It opens quietly with a low bassoon melody in E minor. Violas appear with the first theme of the Allegro in B minor, a faster variant of the slow opening melody. This eventually leads to the lyrical secondary theme in D major.
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In 1856, Rocca married a fifth time to Filomena DeFranchi. Rocca was found dead one night in January 1865 in a well in the gardens of Pila, Genoa, near the Bisagno river. His work became celebrated and well appreciated a few decades after his death. His production was consistent on the violins, violas, cellos, double basses, and guitars he made.
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Atmosphères is scored for 4 flutes (all double piccolo), 4 oboes, 4 clarinets (4th also E clarinet), 3 bassoons, contrabassoon, 6 horns, 4 trumpets, 4 trombones, tuba, piano (played by 2 percussionists), and strings (14 first violins, 14 second violins, 10 violas, 10 cellos, 8 double basses).The score is published by Universal Edition. Ligeti's homepage also gives the instrumentation.
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In her performance, Lewis sang the song to the Sports Relief event. Also, there were musicians that played violas, violins, and a piano, and The Tuff Session Singers performed the chorus. Whilst she sang, images of "sadness and desperation" were shown to the public. But, as the Tuff Session Singers began, the third chorus, those images became pictures of "happiness".
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Violins: Bruce Dukov (concertmaster), Charles Bisharat, Darius Campo, Roberto Cani, Ron Clark, Kevin Connolly, Joel Derouin, Nina Evtuhov, Neel Hammond, Natalie Leggett, Robin Olson, Joel Parcman, Sara Parkins, Katia Popov, Neil Samples, Ina Veli. Violas: Brian Dembrow (principal), Robert Brophy, Andrew Duckles, Alma Fernandez, Harry Shirinian, David Walther. Celli: Armen Ksajikian (principal), Alisha Bauer, Tina Soule, John Walz. Flute: Steve Kujala.
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The design for the memorial was produced by Philip Hepworth, the Principal Architect for France for the Imperial War Graves Commission (later the Commonwealth War Graves Commission), while the glass engraving was by New Zealand-born engraver John Hutton. The horticultural design included a holly hedge, and English herbaceous and flowering border plants such as stocks, thymes, primroses, phlox, heathers, and violas.
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Many Viola species contain antioxidants called anthocyanins. Fourteen anthocyanins from V. yedoensis and V. prionantha have been identified. Some anthocyanins show strong antioxidant activities. Most violas tested and many other plants of the family Violaceae contain cyclotides, which have a diverse range of in vitro biological activities when isolated from the plant, including uterotonic, anti-HIV, antimicrobial, and insecticidal activities.
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The names viola (Italy) and vihuela (Spain) were essentially synonymous and interchangeable. According to viol historian Ian Woodfield, there is little evidence that the vihuela de arco was introduced to Italy before the 1490s. The term "viola" was never used exclusively for viols in the 15th or 16th centuries. In 16th century Italy, both "violas",—the early viols and violins—developed somewhat simultaneously.
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Soprano, contralto, and baritone soloists; SATB choir; and orchestra consisting of 2 flutes, 2 oboes (2nd doubling cor anglais), 2 clarinets in A, two bassoons (2nd doubling contrabassoon), 4 horns, 2 trumpets, timpani, bass drum, triangle, suspended cymbal, tam-tam, tubular bells, harp, organ (ad lib), and strings consisting of 8 first violins, 8 second violins, 6 violas, 6 cellos, and 4 contrabasses.
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The company was established in 1861 in Markneukirchen as a violin manufacturer. The owner was Dietmar Harry Joachim Machold, born in 1949 and resident at Schloss Eichbüchl bei Katzelsdorf. Of the surviving 600 violins, 60 cellos and 12 violas crafted by Antonio Stradivari in Cremona, Italy, around half have passed through Machold's. The company also sold Guarneri del Gesù violins.
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Ewen Thomson is a Scottish luthier, specialising in violins, violas and cellos. Thomson was born in Fair Isle, Shetland, on 10 October 1971 and grew up in a musical family. At the age of 16 he began studying at the Newark School of Violin Making, graduating with merit. He was the youngest ever student to be accepted onto the course.
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In 2017, they released a disc of Glass' sixth and seventh quartets, along with an arrangement of his Saxophone Quartet for violin, two violas and cello. In spring 2013 the ensemble announced a new recording partnership with Universal's Mercury Classics label. The first album, A Walking Fire, was released in the US on CD and iTunes on April 30 that year.
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Pachelbel explores a very wide range of styles: psalm settings (Gott ist unser Zuversicht), chorale concertos (Christ lag in Todesbanden), sets of chorale variations (Was Gott tut, das ist wohlgetan), concerted motets, etc. The ensembles for which these works are scored are equally diverse: from the famous D major Magnificat setting written for a 4-part choir, 4 violas and basso continuo, to the Magnificat in C major scored for a five-part chorus, 4 trumpets, timpani, 2 violins, a single viola and two violas da gamba, bassoon, basso continuo and organ. Pachelbel's large-scale vocal works are mostly written in modern style influenced by Italian Catholic music, with only a few non-concerted pieces and old plainchant cantus firmus techniques employed very infrequently. The string ensemble is typical for the time, three viols and two violins.
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Violins, violas and cellos are tuned in perfect fifths (G – D – A – E, for violins, and C – G – D – A, for violas and cellos), which suggests that their semi-tone ratio is slightly higher than in the conventional twelve-tone equal temperament. Because a perfect fifth is in 3:2 relation with its base tone, and this interval is covered in 7 steps, each tone is in the ratio of to the next (100.28 cents), which provides for a perfect fifth with ratio of 3:2 but a slightly widened octave with a ratio of ≈ 517:258 or ≈ 2.00388:1 rather than the usual 2:1 ratio, because twelve perfect fifths do not equal seven octaves. During actual play, however, the violinist chooses pitches by ear, and only the four unstopped pitches of the strings are guaranteed to exhibit this 3:2 ratio.
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"Big Girls Don't Cry" features eighteen violinists, four people on the violas and four people on the celli. The strings were arranged and conducted by Ron Fair, who also produced the additional vocals on the song. They were recorded by Allen Sides at the Signet Sound. The song was mixed at Ocean Way Recordings in Hollywood, California, by Jack Joseph Puig and Dean Nelson.
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One of the combined harpsichord-pianofortes that Merlin manufactured may have been owned by Empress Catherine the Great. A harpsichord-piano from 1779 is in the collection of the Museum of Fine Arts, Boston, and one from 1780 is in Munich's Deutsches Museum. Merlin also experimented with violins and violas. Merlin moved in increasingly illustrious circles, socializing with Londoners from the gentry and nobility.
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Since no model has been found for BWV 646, most scholars assume that the source cantata is one of the 100 or so believed to have been lost. The trio scoring of the movement suggests the original may have been for violin, or possibly violins and violas in unison (right hand), and continuo (left hand), with the chorale (pedal) sung by soprano or alto.
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In November 2013, Johnson String Instrument acquired Carriage House Violins. Founded by Christopher Reuning of Reuning & Sons Violins, Carriage House is known for its high-end modern and antique violins, violas and cellos. The location houses a 50-seat rehearsal hall and the company’s sales staff is composed entirely of professionally trained musicians. Carriage House developed and staged the first annual Cello Month, held in 2015.
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Rabassa took holy orders and in 1713 was appointed maestro de capilla at the Cathedral of Vic, though, perhaps as punishment for Austrian sympathies, he moved on to the Cathedral of Valencia (24 May 1714 – 1724) and Cathedral of Seville (1724–1767). During his long tenure in Seville he enlarged the capilla with addition of 4 violins, 2 violas, 2 oboes and 1 flute (1730–1740).
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A similar process occurred in Italy. Both Spain and Italy experimented with the viol or vihuela which led to bowed viols, violas vielles, and guitars. Other experiments led to the citole and cittern or Portuguese guitar, the gittern and vandola (mandore, mandola) which also led to the guitar, but also to the mandolin family. Spanish instruments that survived in Spanish colonies include the tiple.
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The foreign language terms sometimes appear in musical instructions, such as au talon, indicating to play with the bow near the frog. However, the English term is also used, such as in the Alfred edition of George Gershwin's An American in Paris, in which the violins and violas are instructed to play "near the frog" at bar 32.George Gershwin. "George Gershwin's An American in Paris".
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Although the song had originally been an uptempo number, Douglas first demonstrated it for the Turtles' vocalists Howard Kaylan and Mark Volman on a harmonium with a broken bellows, requiring him to play the song slowly. The slower tempo impressed Kaylan and Volman and consequently, the Turtles' recording of the song uses this slower arrangement.This version featured an accompaniment of strings, including violins, violas, and cellos.
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Another possible distinction is made by the American Violet Society – the International Cultivar Registration Authority for the genus Viola. It divides cultivated varieties (cultivars) in Viola sect. Melanium into four subgroups: B1 – pansies, B2 – violas, B3 – violettas and B4 – cornuta hybrids. On this classification, modern "pansies" differ from the other three subgroups by possessing a well-defined "blotch" or "eye" in the middle of the flower.
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Grand Finale brings both the show and the album to a climatic close. It implements eastern and western classical instruments mainly from the string family. Instruments include the Erhu, a single flute, violas, bass drums, triangles and cymbals. After the show was shut down, it was believed that ECA2 recycled this audio track for the finale of the replacement show, Songs of the Sea.
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"Secret Santa" is a romantic Christmas pop ballad. The song's beat contains overlays of an acoustic guitar and castanets arrangements. The production was handled by Busbee and Eric Valentine, the two producers for the entirety of You Make It Feel Like Christmas. Additional instrumentation for the song was provided by a full orchestra, consisting of instruments such as drums, keyboards, trombones, trumpets, strings, violas, and violins.
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The String Quintet in C minor, Op. 104, written by Ludwig van Beethoven in 1817, performed on 10 December 1818, and published in 1819, is an arrangement of the early C minor Piano Trio, Op. 1 No. 3.beethoven-haus-bonn.de article This work is scored for a string quintet with two violas. Opus 104 is referenced in Vikram Seth's 1999 novel An Equal Music.
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The A string is normally tuned first, to the pitch of the ensemble: generally 400-442hz. The other strings are then tuned to it in intervals of fifths, usually by bowing two strings simultaneously. Most violas also have adjusters—fine tuners, particularly on the A string that make finer changes. These adjust the tension of the string via rotating a small knob above the tailpiece.
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It was later scored for orchestra with violin sections, and published in 1901. Recordings of the older scoring with violas are available. While the viola repertoire is quite large, the amount written by well-known pre-20th-century composers is relatively small. There are many transcriptions of works for other instruments for the viola and the large number of 20th-century compositions is very diverse.
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David Wyn Jones, Oxford University Press, 2002. The movement is in ternary form with central section in the minor. The instrumentation is richer than the other movements of the symphony. It is the only movement that uses divided violas and clarinets, but most importantly is the use of "Turkish" instruments (triangle, cymbals and bass drum) which make their first appearance in the central minor section.
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As a formal development, the 17th-century tenor violin existed as an instrument with a body larger than a viola but with a short neck. In earlier designs, the tenor was played upright in the musician's lap. Tenor violin parts were written in tenor clef. It is known that Antonio Stradivari constructed two different models of tenor violin as well as tenor variations of violas.
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The Central Orchestra is directed by Leslie Fox. The orchestra consists of first and second violins, violas, violoncellos, and string basses. Central has several orchestras; The Freshman Orchestra (exclusive for freshman only), the Concert Orchestra (10-12 grade), the Chamber Orchestra (10-12 grade audition only), and the Pit Orchestra. Many students from the Central Orchestra participate in Wyoming’s All State Orchestra, and the All Northwest Orchestra.
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He was elected superior of this mission in 1931 and re-elected five years later. On October 6, 1936, Barbieri was appointed Coadjutor Bishop of Montevideo and Titular Bishop of Macra. He received his episcopal consecration on the following November 8 from Archbishop Filippo, with Archbishop Giovanni Aragone and Bishop Alfredo Violas serving as co-consecrators. Barbieri succeeded Aragone as Archbishop of Montevideo on November 20, 1940.
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The piece is scored for an orchestra consisting of flute, piccolo, two oboes, clarinet, bass clarinet, two bassoons, two French horns, two trumpets, one percussionist (two latin cowbells; low, medium, and high Agogô bells; ride cymbal; splash cymbal; triangle; wind chimes; low and high bongo drums; maracas; claves; vibraslap; large whip; tambourine; and bell tree), piano, and strings (violins I & II, violas, violoncellos, and double basses).
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The fifth movement is a lively, offbeat finale, conveying the spirit of a Bohemian village dance. The principal theme is a descending figure based on thirds with accents on weak beats. More thematic material enters at bar 32 as the violins and cellos trade calls and responses over running eighths in the violas. A third theme based primarily on sixteenth-note upbeats appears at bar 87.
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Franco Albanelli (25 August 1933 – 1 July 2007) was an Italian luthier, a pupil of Gaetano Pollastri. Albanelli was born in Castel San Pietro Terme, Emilia-Romagna, Italy. His workmanship has always shown a clear inspiration to his teacher Pollastri style and his musical instruments are now all around the world. He made not more than 40 instruments, primarily violins, but included a few violas and violincellos.
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The work is scored for piccolo, two flutes, two oboes, E clarinet, B clarinet, two bassoons, four horns, two trumpets, two trombones, tuba, suspended cymbal, side drum, bass drum, tamtam, and strings. The original 1933 version had only two horns, one trombone, and no violas; the side drum was to be played with the snares off, and the word "gong" appears instead of "tam-tam" .
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Various types of rosin for violins, violas and cellos A piece of rosin for violins, violas and cellos Rosin is the resinous constituent of the oleo-resin exuded by various species of pine, known in commerce as crude turpentine. The separation of the oleo-resin into the essential oil (spirit of turpentine) and common rosin is accomplished by distillation in large copper stills. The essential oil is carried off at a temperature of between ° and , leaving fluid rosin, which is run off through a tap at the bottom of the still, and purified by passing through straining wadding. Rosin varies in color, according to the age of the tree from which the turpentine is drawn and the degree of heat applied in distillation, from an opaque, almost pitch-black substance through grades of brown and yellow to an almost perfectly transparent colorless glassy mass.
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Even though the music on this recording sounds conventionally written out, Fisher actually wrote the music in graphic notation instead of conventional notation, which means that the players had to learn to read music that was timed by seconds instead of metric beats. Because the music was graphically written, there were many possibilities for interpretation open to the players. As well as composed music, there were places in the score that Fischer left open for Zawinul and other players to improvise.The origins and development of the use of violins, violas, and cellos in jazz in the United States of America / Sonya Ruth Lawson, PhD dissertation 2003 The instrumentation for this album was unique in that Zawinul and Fischer chose to use three violas and one cellist for the string ensemble, thereby straying far from the prototype of a jazz string ensemble, which until this point had always included a violin.
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The sound of car horns is imitated by fanfares on the trumpets and trombones. As the curtain rises, the violas play a wide-leaping theme that will be associated both with the tramps and the girl. The 3 lockspiele are scored for the clarinet, each one longer and more florid than the last. The old rake is represented by trombone glissandi spanning a minor third, another very important interval.
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2João Miguel Simões (2008), p.173 In the inside of the entrance doors are two Manueline columns, one on each side, on which are carved various figures framed in little niches. The long procession of figures probably alludes again to the supremacy of Christianity over Islam. One can pick out various musicians (with tambourines, bagpipes, violas, etc.), members of the regular and secular clergies, nobles, simple people, and slaves.
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In musical terminology, divisi, or as typically printed “div.,” is an instruction to divide a single section of instruments into multiple subsections. This usually applies to the violins of the string section in an orchestra, although violas, cellos, and double basses can also be divided. Typically, 4-part French Horn sections include divided sections if Horns 1/2 and/or 3/4 are not playing the same music ("a2").
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Orchestra: 2 flutes (both doubling piccolo), 2 oboes (2nd doubling English horn), 2 clarinets (2nd doubling bass clarinet in C), 2 bassoons (2nd doubling contrabassoon); 3 horns, 2 trumpets, 3 trombones; timpani, 3 percussion (glockenspiel, triangle, tambourine, military drum, bass drum, cymbals, tam-tam, celesta); strings (8 violins I, 8 violins II, 6 violas, 6 cellos, 6 double basses). Stage music: 2 trumpets, timpani.Beaumont (1985), p. 219.Busoni (1918), pp.
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Maple is considered a tonewood, or a wood that carries sound waves well, and is used in numerous musical instruments. Maple is harder and has a brighter sound than mahogany, which is another major tonewood used in instrument manufacture. The back, sides, and neck of most violins, violas, cellos, and double basses are made from maple. Electric guitar necks are commonly made from maple, having good dimensional stability.
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In the ballet, this section would show the Capulets dancing in a very slow and dignified way, as this is the music for the Capulet Ball. The B section provides a stark contrast, as it is in the pianissimo dynamic range and is played by the flutes. Together with the violas, they repeat a glissando throughout the section. It is marked adagio, and is very calm and serene.
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He numbered all his violins and is known to have made more than 4,000.Molony (2013); as above. As well as making first-class violins, Perry also made violas, cellos and at least one double- bass, some of which are in the collection of the National Museum of Ireland. He invented the cither-viol or sultana in the 1760s and was renowned for the quality and beauty of his instruments.
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In 1954, Primrose purchased the 1697 Guarneri viola now known as the ex-Primrose. This viola is one of three known Guarneri family violas. It bears an original label of Andrea Guarneri who died in 1698 but experts believe that the work is that of his son Joseph Guarneri 'filius Andrea' who inherited his father's workshop. The back of the viola is Italian maple and the front is open-grained spruce.
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Uthal is an opéra comique in one act by the French composer Étienne Méhul. The libretto, by Jacques-Benjamin-Maximilien Bins de Saint-Victor is based on the Ossian poems of James Macpherson. It was first performed at the Opéra-Comique, Paris on 17 May 1806. Méhul tried to give the work a dark, "Scottish" atmosphere by eliminating the violins from the orchestra and replacing them with violas.
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Woodwinds: 2 flutes (2nd doubling piccolo), 2 oboes (2nd doubling cor anglais), 3 clarinets (2nd doubling Eb clarinet, 3rd doubling bass clarinet), 2 saxophones doubling on soprano and tenor, 2 bassoons (2nd doubling double bassoon). Brass: 4 French horns, 3 trumpets, 3 trombones, euphonium, tuba. Percussion: timpani, triangle, woodblock, tambourine, flexatone, ratchet, snare drums, cymbals, bass drum, tam-tam, xylophone, bayan, harmonium. Strings: violins, violas, cellos, double basses, banjo.
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The section principal in an orchestra, as well as any large musical ensemble, is the lead player for each respective section of instruments. For example, there are multiple sections in an orchestra. The strings, woodwinds, brass, and percussion sections all have subsections. The first violins, second violins, violas, cellos, double basses, flutes, clarinets, oboes, bassoons, trumpets, trombones, French horns, tubas, and percussion are all subsections, each led by a principal player.
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A host of instruments are taught, including violas, violins, cellos, basses, flutes, saxophones, and drums. Both middle schools have robust award-winning music programs that include bands, Jazz Band, and orchestras. On December 5, 2009, Moreland Middle School made its debut as a marching band at the Los Gatos Holiday Parade. The middle school's music program consists of three bands, two orchestras, a percussion ensemble, and a jazz band.
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Stichbury set up the pottery department at Ardmore Teachers College. His pottery was given to Queen Elizabeth II during her 1974 royal tour to New Zealand. While Stichbury is mostly known for his pottery he also built musical string instruments (cellos, violas) in his later years. The work of Stichbury was honoured by exhibitions at the Auckland Museum in 2004 and the New Zealand National Museum Te Papa in 2011/12.
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Igino Sderci with Leandro Bisiach & sons 1921 Igino (Iginius) Sderci (1884 - 1983) was born in Gaiole/ Chianti, Italy. He devoted his entire career to violin making, studying under master maker Leandro Bisiach. A very prolific maker making more than 700 instruments including many large violas. He won gold medals at the prestigious Stradivarius Exhibition at Cremona in 1937 marking the bicentenary of Stradivari's death (as well as prizes in 1949).
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George Martin's arrangement is lush, and intentionally so. Lennon is said to have wanted the song to sound "real cheesy", like a Gordon Jenkins- esque Old Hollywood production number. The orchestra consisted of 12 violins, three violas, three cellos, one harp, three flutes, one clarinet, one horn, one vibraphone, and one string bass, played by 26 musicians. The Mike Sammes Singers also took part in the recording, providing backing vocals.
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Released in 1974, New Skin for the Old Ceremony is the fourth studio album by Leonard Cohen. On this album he began to move away from the minimal instrumentation of his earlier work, with the use of violas, mandolins, banjos, guitars, percussion and other instruments producing a more orchestrated (but nevertheless spare) sound. The album has been certified silver in the UK, but never entered the Billboard Top 200.
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Besides the soloists, the symphony is scored for a chamber orchestra consisting only of strings and percussion. The strings consist of ten violins, four violas, three cellos, and two double basses, and the percussion section (three players) includes wood block, castanets, whip, soprano, alto and tenor tom-toms, xylophone, Tubular bells, vibraphone, and celesta. The percussion section does not include common instruments such as timpani, bass drum, cymbals, or triangle.
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Closely related to the German schlager genre, many titles stress a Heimat affect, being presented in regional dialects (e.g. Bavarian, Upper Saxon, Low German or Rhinelandic) or colloquial language and invoke local and regional lifestyles and traditions, particularly dances. Brass and Alpine musical instruments, such as Alphorns, Zithers, acoustic guitars, violas, and harmonicas are frequently featured, although most commercial productions nowadays employ drum machines and synthesizers. Yodeling is also common.
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Richard Tobin (1766 – 1847) was an Irish luthier who crafted violins, violas, cellos and pochettes. He was an exceptionally talented craftsman and was considered the finest scroll carver of his time. Despite his talent, his work was largely uncredited, often branded under the names of his employers and other shops that enlisted him for his sought-after workmanship. Today, his rare instruments command the highest prices of any Irish luthier.
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The Bells is scored for soprano, tenor, and baritone soloists, mixed choir, and an orchestra of piccolo, 3 flutes, 3 oboes, cor anglais, 3 soprano clarinets, bass clarinet, 3 bassoons, contrabassoon, 6 horns, 3 trumpets, 3 trombones, tuba, timpani, 4 tubular bells, glockenspiel, triangle, tambourine, snare drum, cymbals, bass drum, tamtam, piano, celesta, harp, organ (ad lib), and the standard strings of I & II violins, violas, cellos, and double basses.
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One of the few living British champions of the viola d'amore, he was a member of Christopher Hogwood's Academy of Ancient Music, was an original member of the Yorkshire Baroque Soloists and continued to play with groups such as the Pennine Chamber Ensemble. Druce continued to perform regularly, either on one of his baroque violins, violas or his viola d'amore in recitals across the country until his death.
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Route 66 is scored for two flutes, piccolo, two oboes, English horn, E-flat clarinet, B-flat clarinet, bass clarinet, two bassoons, contrabassoon, four French horns, four trumpets, three trombones, tuba, timpani, four percussionists (xylophone/glockenspiel; vibraphone; marimba; brake drum/two cowbells/two bongo drums or timbales/sizzle cymbal/medium ride cymbal/splash cymbal/three triangles/three wood blocks), harp, piano, and strings (violins I & II, violas, violoncellos, and double basses).
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The work is scored for piccolo, two flutes, two oboes, three clarinets (second doubling on E-flat clarinet, third doubling on bass clarinet), two bassoons, four French horns, three trumpets, two trombones, bass trombone, tuba, timpani, six percussionists (chimes, glockenspiel, xylophone, marimbas, triangle, anvil, tamtam, clash cymbals, castanets, wood block, snare drum, tenor drum, bass drum), celesta, piano, harp, and strings (violins I & II, violas, violoncellos, and double basses).
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Of these 38 instruments ordered, Amati created violins of two sizes, violas of two sizes and large-sized cellos. They were in use until the French revolution of 1789 and only 14 of these instruments survived. His work is marked by selection of the finest materials, great elegance in execution, soft clear amber, soft translucent varnish, and an in depth use of acoustic and geometrical principles in design. Dilworth, John.
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The orchestral version is scored for solo violin with an orchestra of two flutes, one oboe, two clarinets, two bassoons, two horns, triangle and strings.Vaughan Williams (1925), p. 1 Vaughan Williams also provided a version for chamber orchestra, with one each of flute, oboe, clarinet, bassoon, horn and triangle, with three or four first violins, the same of second violins, two violas, two cellos and one double bass.
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Bach scored the work for four vocal parts and a small ensemble of Baroque instruments, two recorders, two violas da gamba and continuo. The work is opened by an instrumental Sonatina, followed by through-composed sections which have been assigned to four movements. The structure is symmetrical around a turning point, when the lower voices, who contemplate the Old Covenant, are overcome by a soprano calling for Jesus.
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Sleeve notes from Andy Irvine – Abocurragh, Andy Irvine AK-3, 2010. They were joined by Liam O'Flynn (uilleann pipes, tin whistle), Nikola Parov (kaval, nyckelharpa), Máirtín O'Connor (accordion), Bruce Molsky (fiddle), Rens van der Zalm (fiddle), Rick Epping (harmonica), Paul Moore (double bass), Graham Henderson (keyboards), Liam Bradley (percussion), Jacky Molard (violas, violins and string arrangement), Annbjørg Lien (hardanger fiddles), Lillebjørn Nilsen (guitar), plus Kate Burke and Ruth Hazleton (backing vocals).
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By 1926 Fiorini had built 500 violins, 10 violas, and 10 cellos in the Stradivarian style, but with the individuality not to be simple replicas. He carefully examined the violins of Stradivari, using both the original diagrams and tools. He received medals at Exhibitions in Europe and America. He enjoyed personal friendships with Royalty, patrons of art, and eminent virtuosi in Italy, France, Germany, and Russia, plus contributed articles to journals.
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The Traditional violin craftsmanship in Cremona (official name in Italian: Saperi e saper fare liutario della tradizione cremonese) was declared an intangible cultural heritage by UNESCO in 2012, during the 7th session of the Intergovernmental Committee in Paris. The Cremona's traditional violin making is an ancient form of handicraft typical of Cremona (Italy) where bowed string instruments like violins, violas, cellos and double basses have been made since the 16th century.
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The cantata is intimately scored to match the church building. An instrumental Sonata in the rhythm of a French Overture depicts the arrival of the King. (In his cantata , for Advent that same year on the same reading, Bach went further and set a chorus in the form of such an overture). The recorder and a solo violin are accompanied by pizzicato in the divided violas and the continuo.
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The first movement starts off the Serenade in the key of E major. The second violins and cellos introduce the lyrical main theme over an eighth note pulse in the violas. The theme is traded back and forth, and the second violins reprise it under a soaring passage in the firsts. At measure 31, the movement modulates into G major and presents a new, dancelike theme, based on a dotted rhythm.
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Viola jokes are jokes which are directed towards violas and viola players, and are thought to have originated in the 18th century. Violas at the time were mainly used for relatively easy, accompanimental parts, not as solo instruments, and (hence) viola players were lowly paid and of low social standing. A story from Italy in the early 1700s is thought to be the origin of many viola jokes: > The violinist Francesco Geminiani arrived in London in 1714, one of the many > expatriate musicians who settled in England in the late seventeenth and > early eighteenth centuries ... As a young man Geminiani was appointed head > of the orchestra in Naples, where according to English music historian > Charles Burney he was "so wild and unsteady a timist, that instead of > regulating and conducting the band, he threw it into confusion", and was > demoted to playing the viola. Viola jokes take many different forms, some only understandable by musicians and people acquainted with musical terms, others requiring no specialist musical knowledge.
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Phaidon Press Limited. . Landowska was responsible for the composition of several other new pieces of music for the instrument, notably Manuel de Falla's harpsichord concerto and his El retablo de Maese Pedro (at the premiere of which, at the salon of Winnaretta Singer, Poulenc and Landowska met for the first time). After a private performance in which Poulenc played the orchestral parts on the piano, the piece's public premiere was on May 3, 1929 at the Salle Pleyel in Paris, with Landowska playing the solo part and the Orchestre Symphonique de Paris conducted by Pierre Monteux. The work is scored for an orchestra of two flutes, piccolo, two oboes, cor anglais, two clarinets, two bassoons, four horns, two trumpets, trombone, tuba, timpani, side drums (with and without snares), tambourine, triangle, bass drum, cymbals, xylophone, and strings (the usual two sections of violins, violas, cellos and double basses—Poulenc stipulates eight each of first and second violins, and four each of violas, cellos and basses).
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It features credits from about thirty instrumentalists, many of which play the violins, violas and celli on the track. Lyrically, the song talks about moving on from the pain of divorce. The critical reception of "Big Girls Don't Cry" was positive, with many praising the maturity and simplicity displayed on the single as well as the message. The song was a commercial success domestically, attaining the top position on the Billboard Hot 100.
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From the autumn of 2006 until February 2008, Rossi's career focussed mainly on studio work and string arranging. At the time of writing this is once again his focus. He uses his acoustic violins, violas, cellos and contrabass to re-create a whole orchestra. His work is featured in six songs of the Coldplay album Viva la Vida or Death and All His Friends, produced by Brian Eno, Markus Dravs and Rik Simpson.
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Portrait of Thomas Meuwissen by Charlie Dekeersmaecker Thomas Meuwissen (Leuven, 25 March 1966) is a Belgian violinmaker. Since 1987 he has been working exclusively on the production of modern and baroque violins, violas and cellos. His work includes antiqued copies of instruments by old Italian masters (Antonio Stradivari, Guarneri del Gesù, Matteo Goffriller amongst others). His many years of experience as violin maker, enable him to make effective adjustments to the sound of clients’ instruments.
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The Concerto for 2 violas in G major, TWV 52:G3, is a work by Georg Philipp Telemann. Telemann was famous for writing concertos for various combinations of instruments; this concerto is unusual in that at the time the viola was not a popular solo instrument. However, Telemann was a viola player himself, and wrote for the instrument. One of his most famous concertos was viola in G major TWV 51:G9.
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The grand tune is repeated, as we expect, by the full orchestra; the opening march section returns; the grand tune is repeated once more, in the "home" key of G major; and the last word is had by a re-statement of the opening rhythmic patterns. The march prepares the audience for its end as surely as a train pulling into a station, with the violins, violas, and cellos ending on their resonant "open" G.
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The instruments are important as being ancestors to or influential in the development of a wide variety of European instruments, including fiddles, vielles, violas, citoles, guitars. Although not proven to be completely separate from the line of lute-family instruments that dominated Europe (lute, oud, gittern, mandore), arguments have been made that they represent a European-based tradition of instrument building, which was for a time separate from the lute-family instruments.
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The opening section is for orchestra only and features muted strings. The first violins play with a dreamlike melody over an accompaniment consisting of second violins and violas playing repeated-note triplets and the cellos and bass playing pizzicato arpeggios. All of the main melodic material of the movement is contained in this orchestral introduction, in either F major or F minor. The second section introduces the solo piano and starts off in F major.
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Bull also was a clever luthier, after studies in Paris with Jean-Baptiste Vuillaume. He collected many beautiful violins and violas of Amati, Gasparo da Salò, Guarneri, Stradivari and others. He was the owner of one of the finest violins of the world, made by Gasparo da Salò around 1574 for Ferdinand II, Archduke of Austria. The violin, a gift of his widow to Bull's birthplace, is now in the Bergen Vestlandske Kustindustrimuseum.
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The song features drums, violins, violas, cellos, keyboards and strings in its instrumentation. According to the sheet music published at Musicnotes.com by Kobalt Music Group, the song is written in the key of F major with a tempo of 60 beats per minute in common time. The song follows a chord progression of F – A7 – B – D - B, and Clarkson's vocals span from the low-note of B3 to the high note of F5.
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Yamaha Music London is an English musical instrument and sheet music retail store owned and operated by Yamaha Music Europe GmbH's UK branch. It is located on Soho's Wardour Street and the majority of the building has Grade II Listed status. Musical instruments offered include pianos (acoustic and electric), guitars (acoustic, electric, basses), drums & percussion, brass (horns, cornets, trombones, trumpets, tubas), woodwinds (oboes, bassoons, clarinets, flutes, saxophones), bowed (cellos, violas, violins), and accessories.
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The name was later changed to Epica, inspired by Kamelot's album of the same name. Epica then assembled a choir (made up of two men and four women) and a string orchestra (three violins, two violas, two cellos and an upright bass) to play along with them. Still under the name Sahara Dust, they produced a two-song demo entitled Cry for the Moon in 2002. As a result, they were signed to Transmission Records.
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Karl Höfner GmbH & Co. KG is a German (originally Austro-Bohemian) manufacturer of musical instruments, with one division that manufactures guitars and basses, and another that manufactures other string instruments, such as violins, violas, cellos, double basses and bows for stringed instruments. Much of Höfner's popularity is attributed to Sir Paul McCartney's use of the Höfner 500/1 bass throughout his career. This violin-shaped model is commonly referred to as the "Beatle bass".
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In particular, the later concertos have a wind band that is absolutely integral to the music. An extant theatre almanac from 1782, from the Burgtheater in Vienna, suggests that, for the theatre, there were 35 members of the orchestra, e.g., six first and six second violins; four violas; three cellos; three basses; pairs of flutes, clarinets, oboes, and bassoons; horns; and trumpets, with a timpanist.See comments in Grayson (in references), p. 114.
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Ayreon's music is characterized by the use of traditional instruments in rock music (guitars, bass guitar, drums, analogue synthesizers, electric organs) mixed with instruments more native to folk and classical music (e.g. mandolins, violins, violas, celli, flutes, sitars and didgeridoos). Lucassen writes the music and the lyrics, sings and plays most of the instruments on all of the Ayreon albums, alongside many guest musicians. His most regular collaborator is drummer Ed Warby.
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Antonio Stradivari (, also ,"Stradivari, Antonio" (US) and ; 1644 – 18 December 1737) was an Italian luthier and a craftsman of string instruments such as violins, cellos, guitars, violas and harps. The Latinized form of his surname, Stradivarius, as well as the colloquial Strad are terms often used to refer to his instruments. It is estimated that Stradivari produced 1,116 instruments, of which 960 were violins. Around 650 instruments survived, including 450 to 512 violins.
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Occasionally he copied Guarneri del Gesù, whose violins were rapidly achieving fame in the first two decades of the 19th century. Lupot's production was almost entirely of violins; violas and cellos are a rarity. The aristocratic tonal qualities of his instruments have always been well appreciated by players. Lupot's most important pupil was Charles François Gand, who also became his successor through having married a young girl that Lupot considered as his adopted daughter.
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Music for Orchestra is scored for piccolo, two flutes, three oboes (3rd doubling English horn), three clarinets (second doubling E-flat clarinet), three bassoons (3rd doubling contrabassoon), four French horns, four trumpets, four trombones, tuba, timpani, percussion (bass drum, bongo drums, chimes, glockenspiel, maracas, snare drum, suspended cymbals, tamtam, tambourine, timbales, triangle, vibraphone, wind machine, wood block, & xylophone), harp, piano (doubling on celesta), and strings (violins I & II, violas, violoncellos, and double basses).
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Douglas C. Cox (born 1948) is a contemporary American violinmaker. He has been building instruments since 1981, and has made over 1000 violins, violas and cellos. Cox received his early training at the State Violin Making School in Mittenwald, Germany. He spent ten years as head of the repair department and chief restorer for the firm of J. Bradley Taylor, Inc. in Boston before establishing his own studio in Brattleboro, Vermont in 1985.
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In 2005 in the United States, Viola cultivars (including pansies) were one of the top three bedding plant crops and 111 million dollars worth of flats of Viola were produced for the bedding flower market. Pansies and violas used for bedding are generally raised from seed, and F1 hybrid seed strains have been developed which produce compact plants of reasonably consistent flower coloring and appearance. Bedding plants are usually discarded after one growing season.
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The singers are accompanied by an instrumental group consisting of oboe, bassoon, violin, two violas and basso continuo. As in the case of the singers, the question arises as to whether Bach used one or more players per part. The oboe and the violin are given some important solos, suggesting that there may well have been only one of each. Ton Koopman, for example, uses one oboist and one violinist in his recording.
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Born in Ibănești, Mureș County, Gliga is the owner of a Romanian enterprise manufacturing violins, violas and cellos in Reghin, Romania called the Gliga Group that has been operating since the 1990s. His son, Cristian, opened a US branch of the company in Pasadena, CA around 2001. The Gliga Group makes an estimated $5,000,000+ a year. Gliga also serves as the member of presidium of the World Dancesport Federation and its vice-president for marketing.
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To promote the album, Allman embarked on a nationwide tour with the musicians who helped record the album as his band. Long inspired by Joe Cocker's Mad Dogs & Englishmen (1970), Allman hired a string orchestra to accompany the group. Drawn from the New York Philharmonic, it consisted of three cellos, six violins, and seven violas. The tour lasted one month and performed exclusively in upscale theaters, which Allman requested for the best sound quality possible.
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The mood of the album is calm and melancholic. A typical song is "Naming the Rose", a chamber music-like arrangement for lead vocals, keyboards (in Hammond organ sound), violas and background choirs. It is about a gardener who names his last creation – a damask rose – after his wife who died on the very day the best blossom opened. The rose breeder fertilizes the seeds of the variety with the ashes of his wife.
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All personnel as listed on the Bing Crosby Enterprises and Universal Music deluxe, 22-track CD version: Buddy Cole (piano); Vince Terri (guitar); Don Whitaker (bass); Nick Fatool (drums); Skeets Herfurt, Harry Klee, Ted Nash (alto saxophones); Jules Jacob (tenor saxophone); Robert Lawson (baritone saxophone); Lou Raderman, Henry Hill, Ben Gill, Victor Arno, Toscha Seidel, Sam Cytron, Saul Steinberg, Nick Pisani, Jack Pepper (violins); Abe Hochstein, Milt Thomas, Raymond Menhennick (violas); Armand Koproff, Ossip Giskin (cellos).
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The cantata in seven movements is scored for three vocal soloists (alto (A), tenor (T) and bass (B)), a four-part choir SATB, trumpet (Tr), oboe (Ob), bassoon (Fg), two violins (Vl), two violas (Va) and basso continuo (Bc). The duration is given as . In the following table of the movements, the scoring follows the Neue Bach-Ausgabe. The keys and time signatures are taken from Alfred Dürr, using the symbol for common time (4/4).
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In a complete change of mood, Part II begins with a simple four-note phrase for the violas which introduces a gentle, rocking theme for the strings. This section is in triple time, as is much of the second part. The Soul's music expresses wonder at its new surroundings, and when the Angel is heard, he expresses quiet exultation at the climax of his task. They converse in an extended duet, again combining recitative with pure sung sections.
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In each movement, the same basic configurations return, but each time their colouring or viewpoint is different, so that the overall form only really emerges when one listens to all five movements in context.Plaistow n.d., 3. Ramifications (1968–69), completed a year before the Chamber Concerto, is scored for an ensemble of strings in twelve parts—seven violins, two violas, two cellos and a double bass—each of which may be taken by one player or several.
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The piece is scored for two violas, strings, and harpsichord. The work was written soon after Telemann’s only visit to France, from late September/early October 1737 to May 1738 and has some distinctively French characteristics. For example the work bears the title “Concert” rather than the more usual “Concerto” or “Konzert” and the individual movements all have French names. This concerto has four movements: #Lent #Gai #Large #Vif A usual performance lasts about 6 minutes.
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The bridge saddle is a separate piece, which sits on the soundboard of the instrument, in front of the bridge pin plate. Like all Portuguese violas, the number of bridge pins does not match the number of strings, and often there are two or three strings on each pin. Scale length is about 540mm (about 21.3 inches), shorter than the modern classical guitar scale of about 655mm (about 25.8 inches). 22-24 metal frets are set into the fingerboard.
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The chronicler Gaspar Frutuoso, who identified it as just a "Viola", suggested that it first arrived in the Azores in the second half of the 19th century, brought the first settlers.Gaspar Frutuoso (2005), p.120-127 There is little documentation that dates the arrival of the Portuguese Violas de Arame in the islands of the Azores. In the second quarter of the 15th century, Santa Maria and São Miguel were the first islands to be settled.
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The oratorio is scored for 2 sections of violins, violas, cellos, double basses, 2 flutes, 2 oboes, 2 bassoons, 1 contrabassoon, 2 horns, 2 trumpets, timpani, harpsichord, and organ. A harpsichord and violoncello play the continuo. Handel's music gives the choruses of Roman pagans, presented in the libretto as evil people gloating over the torture of Christians, "immense verve and charm". This is contrasted with the quiet, deep conviction of the music for the choruses of Christians.
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Wolfgang Amadeus Mozart's Piano Concerto No. 12 in A major, K. 414 (385p), was written in the autumn of 1782 in Vienna. It is scored for solo piano (or harpsichord), two oboes, two bassoons (optional), two horns, and strings (consisting of violins, violas, cellos, and double basses). Like all three of the early Vienna concertos that Mozart wrote, it is a modest work that can be performed with only string quartet and keyboard (i.e., "a quattro").
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It opens with a lyrical G minor theme in the cellos, horns, clarinets and bassoon with trombones, violas and double basses pizzicato. This gives way to a "bird call" flute melody, reaching the symphony's key G major. Writing about a performance by the National Symphony Orchestra, Peter Laki notes that the development section "works up quite a storm." In the recapitulation, the second main theme is played by the English horn, two octaves lower than in the exposition.
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9 Six of the channels recorded different sections of the orchestra which provided a "close-up" of the instruments – cellos and basses, violins, violas, brass, woodwinds and tympani – while the seventh channel recorded a mixture of the first six and the eighth captured the overall sound of the orchestra at a distance. A ninth channel provided the click-track function to help the animators time their drawings to the music.Shepherd, pp. 3–6.Plumb (1942), p.
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The pre-production of Dimensions was recorded at Trauma Studios, and was produced by The Trauma Team and Ted Hermanson who did the engineering, assisted by the drummer Joey Daub. Wyatt Robertson and David Baddorf left Believer before the band began recording Dimensions. Jim Winters joined as bassist and also played some guitar parts during the recording sessions. On this album, Glenn Fischbach played cello, Scott Laird played violins and violas, and Julianne Laird Hoge performed soprano vocals.
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This legend as a whole is incorporated in the opening movement; the other three depict each of the three joys. As Hector Berlioz did in his Symphonie fantastique, Rimsky- Korsakov employs an idée fixe or motto theme in various guises through all four movements to depict Antar. This theme is played by the violas in the introduction to the opening movement. Later in the same movement, flutes and horns play another important theme, this time depicting the queen.
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Much though not all of the material in the symphony is based on the ascending (and later descending) chromatic scale motif heard at the very beginning, played by bassoons, violas and cellos. Additional material is a repeated-note figure. Pettersson juxaposes innocent, diatonic melodies with passages of great contrapuntal ferocity. There are sections of tango and canon and also a quotation of Song No. 10 "Jungfrun och Ljugarpust" (The Maiden and the Lying Wind) from his Barefoot Songs.
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20 and 26 Returning to Paris after discharge, Monteux resumed his career as a violist. Hans Richter invited him to lead the violas in the Bayreuth Festival orchestra, but Monteux could not afford to leave his regular work in Paris."Unquenchable Mr. Monteux", The Times, 4 May 1961, p. 16 In December 1900 Monteux played the solo viola part in Berlioz's Harold in Italy, rarely heard in Paris at the time, with the Colonne Orchestra conducted by Felix Mottl.
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Even when the violas and cello occasionally play in their upper registers the timbre is still dark and intense. By listening, you can tell that all of the string players use a lot of arm weight in their playing, achieving sound that has a real core to it. The composition "Baptismal" is a good example of how the strings and other instruments interact. Fischer divides the ensemble into three groups that play off of each other.
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The work is composed for solo oboe and orchestra and comprises four movements: #Moderato con moto #Allegretto alla pavana #Lento rapsodico #Allegro agitato The third movement was added in 1973 and is in the style of an unaccompanied cadenza which adds to the soloistic display of the piece. The piece is scored for solo oboe, 2 french horns, 2 trumpets, 3 trombones, percussion (including triangle, glockenspiel, celesta and tubular bells), harp, and strings (violins, violas, cellos, and double-bass).
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Beltrami made use of a detuned piano with violins, violas, and cellos. Cullen from SciFiPulse thought the score was dark and haunting, hoping the movie would live up to the soundtrack. He rated the album an eight out of ten, saying "the detuned piano really adds that sense of depth to the proceedings and makes every single track on the CD stand out." The song featured in the trailer is "If I Was Your Vampire" by Marilyn Manson.
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In this composition, Dutilleux attempted to translate into musical terms the opposition between emptiness and movement conveyed by the painting. The work employs a string section of only lower-register instruments: cellos and double basses, no violins or violas. In 1985, Isaac Stern premiered L'arbre des songes [The Tree of Dreams], a violin concerto that he had commissioned Dutilleux to write. Like its cello counterpart, it is an important addition to the instrument's 20th century repertoire.
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Violas are commonly described in terms of their body length rather than—as with other violin-family instruments—by a fraction. There are two reasons for this. First, unlike that of the violin and the cello, the viola scale length has not standardised, but rather advanced players use whatever scale length best suits them. Secondly, student sizes are not as often required, as most viola players who start learning at a young age start on the violin.
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Don Juan is scored for an orchestra with the following instruments: ;Woodwinds :3 flutes (3rd doubling piccolo) :2 oboes :1 English horn :2 clarinets in A :2 bassoons :1 contrabassoon ;Brass :4 horns in E :3 trumpets in E :3 trombones :1 tuba ;Percussion :timpani :triangle :cymbals :glockenspiel ;Strings :harp :violins I, II :violas :celli :double basses An orchestral score and a score for piano four hands was published by J. Aibl in Leipzig in 1890.
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He saw Teofane by Antonio Lotti, composed for the wedding of August III of Poland, and engaged leading members of the cast on behalf of the Royal Academy of Music. In April 1720 the Academy began producing operas. The orchestra consisted of seventeen violins, two violas, four cellos, two double basses, four oboes, three bassoons, a theorbo and a trumpet. The brothers Prospero and Pietro Castrucci as well as Johan Helmich Roman and John Jones were violinists.
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The orchestra is basically a chamber orchestra (a form of which is sometimes also called a "Mozart orchestra"), meaning that it has fewer musicians than a full-sized symphony orchestra (especially in the strings, since the number of woodwind, horn players and other musicians is less flexible), producing lighter, chamber-music-like sound. However, the number of musicians sometimes exceed this format: in its June 2012 concerts, for example, the orchestra played Ludwig van Beethoven's Egmont Overture and Robert Schumann's Piano Concerto and Second Symphony with 14 first violins, 12 second violins, 10 violas, 8 cellos and 5 double-basses (typical numbers in a symphony orchestra being 16 first violins, 14 second violins, 12 violas, 10 cellos and 8 double-basses). The orchestra acts as a meeting-place for young musicians from many countries, partly selected through the Orchestra Mozart Academy within the Philharmonic Academy, and experienced musicians. The latter have included violinist Giuliano Carmignola, violists Wolfram Christ and Diemut Poppen, double-bass player Alois Posch, oboist Lucas Macias Navarro, flautist Jacques Zoon, horn player Alessio Allegrini.
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Troon concluded in his 'Final Report' that, "To summarise the immediate family of Dr Ouko, I am not satisfied that they have told me everything they know. There appears to be a shroud of fear surrounding the whole family which prevents them fully disclosing what I believe some of them must know". Troon also received testimony from Mrs Ouko and Dr Ouko's mistress Herine Violas Ogembo (see below) that shortly before Dr Ouko was murdered threatening phone calls had been made to Mrs Ouko from a woman claiming to be Dr Ouko's "second wife", and also to Miss Ogembo saying that Mrs Ouko knew of the relationship and wanted to kill her and her daughter. Dr Ouko's relationship with Violas Ogembo, whom he had met in 1982 and who had a daughter by him in 1983, "was apparently open and many of his close friends and colleagues knew of their association" and "at times he would take Miss Ogembo on official visits abroad or arrange her travel to meet him at selected venues".
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American Journey is scored for three flutes (II doubling on Irish flute, III doubling on piccolo), two oboes, English horn, three clarinets (III doubling on bass clarinet), three bassoons (III doubling on contrabassoon), six French horns, four trumpets, four trombones, tuba, timpani, percussion (bass drum, chimes, cymbals, field drum, orchestral bells, small triangle, snare drum, suspended cymbal, tambourine, tamtam, triangle, vibraphone, xylophone), harp, piano, and strings (violins I & II, violas, violoncellos, and double basses) with optional accompaniment by two narrators.
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The trio has an unusual feature to it: after stating a rather simple theme, the fifths held in the bassoons and violas shift down a fourth in parallel, an effect typically avoided by the classical composers. The finale is a sonata-rondo, with the rondo theme first presented in binary form. The first section of this is noteworthy for ending on unusual cadence on the mediant. A "perpetual-motion finale,"Ethan Mordden, A Guide to Orchestral Music: The Handbook for Non- Musicians.
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Contemporary settings include those by Igor Stravinsky (his Threni), Edward Bairstow, Alberto Ginastera, Ernst Krenek and Leonard Bernstein (his Jeremiah Symphony, which contains Hebrew text in the final movement). Matthew Hunter, a viola soloist at the Berlin Philarmonic, set the Tallis Lamentations to be played by an ensemble of Stradivari violins, violas and violoncellos. The arrangement is for two antiphonally set string quintets. The group plays this piece only a couple of times every two years, when they can get the instruments together.
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Title page Harmonia Caelestis is a cycle of 55 sacred cantatas attributed to the Hungarian composer Paul I, 1st Prince Esterházy of Galántha (1635–1713) and published in 1711. They are in the Baroque style and incorporate traditional Hungarian and German melodies. Each of the cantatas consists of one movement. They are composed for solo voices (the majority for one solo voice, although there are some duets), choir, and orchestra (including violas, violone, harp, bassoon, theorba, violins, flutes, trumpets, organ, timpani).
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The work is scored for the following instrumentation: ;Woodwinds: :5 flutes (5th doubling piccolo) :4 oboes :1 cor anglais :3 bassoons :1 contrabassoon ;Brass: :4 horns in F :1 trumpet in D :4 trumpets in C :3 trombones :1 tuba ;Percussion, harp & keyboards: :timpani :bass drum :harp :2 pianos ;(Lower) strings: :celli :contrabassi ;SATB chorus In the score preface, Stravinsky stated a preference for children's voices for the upper two choral parts. Notably, the score omits clarinets, violins, and violas.
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Ghost Ranch is scored for two flutes (doubling piccolo), two oboes, English horn, two clarinets, bass clarinet, two bassoons, contrabassoon, four French horns, three trumpets, two trombones, bass trombone, tuba, timpani, three percussionists (I=chimes/glockenspiel/bass drum/small slapstick/large slapstick/small woodblock; II=vibraphone/African rattle/bongos/crash cymbals/tambourine/small triangle/large woodblock; III=glockenspiel/xylophone/piccolo snare drum/suspended cymbal/medium triangle/metal wind chimes/medium woodblock/vibraslap), and strings (violins I & II, violas, violoncellos, and double basses).
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The Ninth can be described as an extended struggle in which harmony is the ultimate winner. The concluding bars of the symphony consist of a long final melody (in Peter Ruzicka's terms: a "Canto") played by violins and cellos and later by the violas in unison, and ends in a slow peaceful plagal cadence into F major. Paul Rapoport uses adjectives like vast, nightmarish and delirious to characterize the symphony. The symphony is a natural, organic unity and demanding for musicians and listeners.
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She wrote the description of Skene parish in the Third Statistical Account of Scotland and published articles of local interest in the Scots Magazine and the Deeside Field. In 1960 she bought 16th-century Balbithan House near Kintore, Aberdeenshire, a country mansion which she completely restored. She transformed the gardens there into a leading North East Scotland nursery, specialising in alpines, rock plants and old garden flowers. In particular, she cultivated roses, violas, pinks, primulas and other native wild flowers.
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Erlkönig, arrangement by Berlioz There are subtle differences between this and the arrangement of the song by Franz Liszt. The upper string sound is thicker, with violins and violas playing the fierce repeated octaves in unison and bassoons compensating for this by doubling the cellos and basses. There are no timpani, but trumpets and horns add a small jolt to the rhythm of the opening bar, reinforcing the bare octaves of the strings by playing on the second main beat.
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The violists were: Selwart Clarke, Alfred Brown, and Theodore Israel, and the cellist was Kermit Moore. In addition to the strings, the group consists of electric piano, tenor sax, trumpet, percussion, and drums. The music has a dark, rich sound because of the lower frequencies of these instruments. Instead of the high pitched and thin violin sound typically heard on other string jazz recordings (such as the Getz, Adderly, and Parker), the violas, cello, and bass give the music a lush sound.
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2, p. 116 - 117 He is best known for an opera on Greek myths, and for a few symphonies and string trios of his which were attributed to Joseph Haydn at one time. Among the few scholars who have studied his music, there are many differing opinions as to the quality. J. Murray Barbour, for one, deems Asplmayr's 80 minuets "scored mostly for oboes, horns, and strings, without violas," that "all are extremely boring, as if written between beers."J.
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The Academy holds a collection of more than 200 stringed instruments from the violin family. These have been acquired for the benefit of students and recent leavers and they are maintained by the Academy's resident luthier. The collections include several instruments of the Stradivarius family, including the Rutson (1694), Kustendyke (1699), Viotti-ex-bruce (1709), Maurin (1718), and the Habeneck (1734), violas Archinto (1699), cello Marquis de Corberon-ex- Loeb (1726). Other instruments include Nicolo Amati violin (1662), Girolamo II violin (c.
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The viola plays an important role in chamber music. Mozart used the viola in more creative ways when he wrote his six string quintets. The viola quintets use two violas, which frees them (especially the first viola) for solo passages and increases the variety of writing that is possible for the ensemble. Mozart also wrote for the viola in his, "Sinfonia Concertante", a set of two duets for violin and viola, and the Kegelstatt Trio for viola, clarinet, and piano.
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Bach structured the cantata in five movements, three choral movements interspersed by an arioso and an aria. In both solo movements, a chorale stanza sung simultaneously by the soprano intensifies the Psalm text. He scored it for two soloist (tenor and bass), a four-part choir, and a small Baroque instrumental ensemble of oboe (Ob), bassoon (Fg), violin (Vl), two violas (Va), and basso continuo. In the following table of the movements, the scoring follows the New Bach Edition (Neue Bach-Ausgabe).
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In 1968, the group Sestetto Chigiano d'Archi (Riccardo Brengola, Giovanni Guglielmo, violins; Tito Riccardi, Mario Benvenuti, violas; Alain Meunier, Franco Petracchi, cellos) performed Sestetto n. 3, op. 25 by Georgetti (dedicated to Rossini and printed in Florence by Guidi in 1845; autograph conserved in Conservatoire de Musique de Bruxelles) in the concert hall of Palazzo Chigi-Saracini in Siena, during the local Musical Week. Performance was recorded and the original tape is conserved in the Italian National Discography Institute in Rome.
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Elgar was insistent that the first entrance of this new subject be played religiously pianissimo without sacrificing the expression dictated. This subject is formed from the repetition of a two-bar theme through a sequence that builds from pianissimo to fortissimo. This then gives way to a slow, soft cello theme at rehearsal 11, featuring a song-like character. Throughout this section, the violas play a subtle accompaniment figure consisting of a quarter note moving up Diatonic and chromatically to an eighth note.
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The Beatles in 1965 "Eleanor Rigby" does not have a standard pop backing. None of the Beatles played instruments on it, though Lennon and Harrison did contribute harmony vocals. Like the earlier song "Yesterday", "Eleanor Rigby" employs a classical string ensemble—in this case an octet of studio musicians, comprising four violins, two violas, and two cellos, all performing a score composed by producer George Martin. Whereas "Yesterday" is played legato, "Eleanor Rigby" is played mainly in staccato chords with melodic embellishments.
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"Gently rocking siciliano melodies, expressing spiritual tranquillity and compassion" appear in extended ritornellos. The recitative is accompanied by three upper string parts, similar to the original Brandenburg concerto movement. In the second aria, the violins and violas are combined to an obbligato part, "whose 'knocking' motif of repeated notes insistently underlines the urgency of the text". The cantata is closed by a four-part chorale setting of the well-known melody which Bach used to conclude his St John Passion with the third stanza, "".
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Scherchen was born in Berlin. Originally a violist, he played among the violas of the Bluthner Orchestra of Berlin while still in his teens. He conducted in Riga from 1914 to 1916 and in Königsberg from 1928 to 1933, after which he left Germany in protest at the Nazi regime and worked in Switzerland. Along with the philanthropist Werner Reinhart, Scherchen played a leading role in shaping the musical life of Winterthur for many years, with numerous premiere performances, the emphasis being placed on contemporary music.
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Seven people were arrested in connection with the killings of Bultó and the Violas. Two of them were tried in 1980; one was acquitted entirely, whilst Martínez Vendrell, the other, was sentenced to a year and three months in prison, although this was not directly related to the assassinations. However, he had already served this time awaiting trial, so was immediately released. The remaining five were tried in 1982, saying at the time that they "learned of the assassination through the newspapers and television".
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"Search Klotz Violin Illinois" His instruments were the most sought-after throughout Europe until the late 18th century, when changing performance conditions led musicians to seek a different sound. The instruments of Antonio Stradivari are flatter and broader and produce a more powerful sound than others. This became the sound preferred by musicians as orchestras in large concert halls gradually replaced baroque chamber ensembles in intimate settings. Stainer’s violins are comparatively rare today and few of his violas, cellos, and basses are known to exist.
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Robert Ouko was married to Christabel Ouko.The Standard website, 13 February 2009: 19 years on, Ouko killers still at large He had three sons, named Ken, Charlie, Andrew; and four daughters: Winnie, Susan, Lilian, and Carol.The Standard, 8 August 2009: Ouko family to construct a memorial library Robert Ouko also had a daughter (born May 1983) by a Miss Herine Violas Ogembo, a relationship that lasted until his death. In 2010, a fundraiser was held to build the Robert Ouko Memorial Community Library in Koru.
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Benning Violins is a California-based luthier business, crafting, restoring and repairing violins, violas and cellos since its opening in 1950 as Studio City Music. In 1953, it moved to its current location on Ventura Boulevard. Learning the craft from his brother-in-law, Carl Becker Sr., Paul Toenniges worked in William Lewis & Son in Chicago, and later under Rudolf Wurlitzer, finally opening his first studio in Los Angeles. Crafting up to five instruments a year, they sell for approximately 30-42 thousand dollars.
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Besides her occupation with historical violins and violas, she likes to work on new repertoires for the viola d'amore. Since 2002 she also teaches at summer courses and workshops, e.g. at the Academy for ancient music in Bruneck, at the International Summer Course in the Michaelstein Abbey in Blankenburg (Harz) and at Musica viva Musikferien in Tuscany. She also works with many ensembles in projects including , Chursächsische Capelle Leipzig, English Baroque Soloists, Orchestre Révolutionaire et Romantique, Les Amis de Philippe, , La Cesta, Musicalische Schlemmerey and Fürsten-Musik.
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Canticum Sacrum is scored for tenor and baritone soloists, mixed chorus, and an orchestra of 1 flute (which plays only in the second movement), 2 oboes, cor anglais, 2 bassoons, contrabassoon, 3 trumpets in C, bass trumpet in C, 2 tenor trombones, bass trombone, contrabass trombone, organ, harp, violas, and double basses. Clarinets, horns, violins, and cellos are all absent. Canticum Sacrum is Stravinsky's only piece to make use of the organ. Its use represents one of many tributes to the traditions of Saint Mark's Basilica.
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Felix Mendelssohn's Sextet in D major, Op. 110, MWV Q 16, for piano, violin, two violas, cello, and double bass was composed in April-May 1824, when Mendelssohn was only 15, the same time he was working on a comic opera Die Hochzeit des Camacho. Its composition took place between the Viola Sonata and the Piano Quartet No. 3. It also preceded the famous Octet, Op. 20 by about a year. 1824 is also the probable year of the composition of the Clarinet Sonata.
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Orlande de Lassus employed the tenor cornett in various broken consort combinations of instruments in performances under his direction at the Munich court. Trojano, a singer at the Munich court, lists the instrumentations of a number of works under the direction of Lassus in 1569. One work included: eight viols, eight viole da braccio (violins, violas, cellos, etc.), eight mixed wind; fagotto, corna-musa, mute cornett, cornett, tenor cornett, flute, dolzaina and a bass trombone. It was also a popular instrument with Renaissance Waits.
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Early violins and violas were typically held against the left chest, below the shoulder. By the 18th century, the typical position was a little higher, on top of the shoulder, with the chin occasionally making contact with the violin. Chin- rests and shoulder-rests are not used – the chin rest which is universally used on a modern violin was not invented until the early 19th century, though Abbe Fils used some kind of device for a similar purpose. Shoulder rests were absent, being a 20th-century invention.
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Two types of compound – bearing surfaces of peg are visible as shiny bands "Peg dope" (also peg paste, peg stick, peg compound) is a substance used to coat the bearing surfaces of the tapered tuning pegs of string instruments (mainly violins, violas, cellos, viols and lutes ). Manufactured varieties are generally sold in either a small stick (resembling lipstick), a block, or as a liquid in a bottle. Commonly used home expedient treatments may include soap, graphite, or talc. Peg dope serves two different (and almost conflicting) purposes.
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He also imported the Renaissance musical styles from Italy, and recruited the best musicians and composers in France for his court. La Musique de la Grande Écurie ("Music of the Great Stable") was organized in 1515 to perform at royal ceremonies outdoors. It featured haut, or loud instruments, including trumpets, fifes, cornets, drums, and later, violins. A second ensemble, La musique de la Chambre du Roi ("Music of the King's Chamber") was formed in 1530, with bas or quieter instruments, including violas, flutes and lutes.
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It is written for an orchestra consisting of two oboes, four horns (two in B alto and two in G), and strings (violins divided into two, violas, cellos and double basses). There are four movements: #Allegro assai, #Andante, in E major #Menuet & Trio, #Finale: Allegro di molto, File:Haydn-39-1-theme.png The opening movement features a nervously exciting main theme interrupted by frequent pauses. Felix Diergarten has specifically analysed the pauses in the first movement in the symphony, with respect to symphonic form of the time.
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Wilkanowski is thought to have produced 5,000 violins and 100 violas by 1942. Some of the higher quality violins were marked with an inlayed logo of the stylized letter W; these instruments are thought to be entirely of his own making, while many of the others were made in the shops with assistants. The Gretsch Company released the Synchromatic line during the early '40s also, which were also archtop guitars, but shared no other similarities with Wilkanowski guitars. His role in the Synchromatic is not known.
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London Symphony Orchestra, Barbican Hall A concert band. Classical chamber ensembles of six (sextet), seven (septet), or eight musicians (octet) are fairly common; use of latinate terms for larger groups is rare, except for the nonet (nine musicians). In most cases, a larger classical group is referred to as an orchestra of some type or a concert band. A small orchestra with fifteen to thirty members (violins, violas, four cellos, two or three double basses, and several woodwind or brass instruments) is called a chamber orchestra.
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Violectra is the name of a range of electric violins, violas and cellos designed, developed and hand made by David Bruce Johnson, a Canadian violin maker settled in Birmingham, England. These instruments are played by Nigel Kennedy, Richard Tognetti, Stephen Nachmanovitch, Leila Josefowicz and many more professional players worldwide. Previously, Violectra was the trade name of an electric violin produced by Barcus-Berry with the pitch equivalent of an acoustic tenor violin, sometimes called baritone violin. It is tuned an octave below normal violin, i.e.
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Antonio Stradivari, by Edgar Bundy, 1893: a romanticized image of a craftsman- hero Maker's label from Stradivari A Stradivarius is one of the violins, violas, cellos and other string instruments built by members of the Italian family Stradivari, particularly Antonio Stradivari (Latin: Antonius Stradivarius), during the 17th and 18th centuries. According to their reputation, the quality of their sound has defied attempts to explain or equal it, though this belief is disputed. The fame of Stradivarius instruments is widespread, appearing in numerous works of fiction.
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"Wellington's Victory" is something of a musical novelty. The full orchestration calls for two flutes, a piccolo, two oboes, two clarinets, two bassoons, four horns, six trumpets, three trombones, timpani, a large percussion battery (including muskets and other artillery sound effects), and a usual string section of violins I and II, violas, cellos, and double basses. There are more trumpets than horns, and more brass and percussion. In the orchestral percussion section one player plays the timpani, the other three play the cymbals, bass drum and triangle.
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The work is scored for two solo violins, a string chamber orchestra consisting of 6 first violins, 6 second violins, 4 violas, 4 cellos and 2 double bass, a harpsichord and a prepared piano. The two keyboard instruments are meant to be played by one player. The piano is prepared by inserted coins between the strings in its upper register as well as being electrically amplified creating a ‘church bell’ sound. The piece consists of six movements: A typical performance lasts for approximately 28 minutes.
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The work comprises five sections which correspond to the structure of the poem on which it is based, with themes in each section being direct musical metaphors for the narrative and discourse found in the poem. As such, the piece is one of the earliest examples of program music written for a chamber ensemble. The original score calls for two violins, two violas and two cellos. In 1917, Schoenberg produced an arrangement for string orchestra (a common practice at the time), and revised this version in 1943.
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The work is scored for a large orchestra consisting of the following forces: piccolo, 2 flutes, 2 oboes, English horn, 2 clarinets in B (2nd doubling E-flat clarinet), bass clarinet, 3 bassoons, contrabassoon, 6 horns in F, 3 trumpets in D and F, 3 trombones, tenor tuba in B (often performed on euphonium), tuba, timpani, bass drum, snare drum, cymbals, triangle, tambourine, wind machine, and strings: harp, violins i, ii, violas (including an extensive solo viola part), violoncellos (including an extensive solo violoncello part), double basses.
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In addition, his Eight pieces for clarinet, viola, and piano, Op. 83, features the viola in a very prominent, solo aspect throughout. His Concerto for Clarinet, Viola, and Orchestra, Op. 88 has been quite prominent in the repertoire and has been recorded by prominent violists throughout the 20th century. From his earliest works, Brahms wrote music that prominently featured the viola. Among his first published pieces of chamber music, the sextets for strings Op. 18 and Op. 36 contain what amounts to solo parts for both violas.
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Hochbrucker was probably born in Mindelheim.Tremmel (2003), see above. From 1699 he lived and worked in Donauwörth, where he also built lutes and violas. Around 1720 Hochbrucker invented the pedal mechanism to play the harp, adding to the instrument five (later increased to seven) pedals and connecting them to the hooks for the C, D, F, G, and B strings, thus allowing the player to alter the strings sound of a semitone and greatly extend the range of the instrument for the extraction of sounds.
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Maggini's early instruments are now considered very desirable because, despite their apparent naive craftsmanship, they are wonderful instruments. They first tended to be modified copies of his teacher's instruments. But once established on his own around the year 1606, Maggini developed his skills and experimented with his designs until he achieved a level of expertise that is still highly regarded. His violas, like these of his master, are regarded as the best in the world for the rich deep sound and power of tone.
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Stagg music is a Belgian musical instrument company headquartered in Brussels, currently a subsidiary of EMD Music.Distributed brands on EMD Music, 15 Oct 2019 The company produce a wide range of musical instruments, which includes string instruments (electric, acoustic and classical guitars, bass guitars, banjos, mandolins, ukuleles, double basses, violins, violas, cellos, bows), percussion instruments (drum kits and pads, cymbals, drum sticks), tuned metal (xylophone, metallophones), free reed (harmonicas, melodicas) and brass instruments (flugelhornes, euphoniums, saxophones) as well as effects units and other accessories.
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The piece is in only one movement and takes around 12 minutes to perform. It is scored for four first violins, three second violins, two violas, two cellos and one double bass, even though it is clarified by Xenakis that it can also be performed by a larger string orchestra or ensemble. Aroura makes an extensive use of glissandos, jagged chords, sound clusters and other techniques exploited in avant-garde movements. The piece has a tempo of 𝅗𝅥 = 60 (which means two beats per second).
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Significant amounts of energy and time were devoted to support and foster the formal study of the balalaika, from which highly skilled ensemble groups such as the Osipov State Russian Folk Orchestra emerged. Balalaika virtuosi such as Boris Feoktistov and Pavel Necheporenko became stars both inside and outside the Soviet Union. The movement was so powerful that even the renowned Red Army Choir, which initially used a normal symphonic orchestra, changed its instrumentation, replacing violins, violas, and violoncellos with orchestral balalaikas and domras. Schwarz, Boris.
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Still life with baroque instruments, Elias van Nijmegen, first half of eighteenth century Bach scored the cantata for three vocal soloists (soprano (S), alto (A) and bass (B)), a four-part choir SATB, and a Baroque instrumental ensemble of two alto recorders (Fl), two oboes (Ob), first and second violins (Vl), violas (Va) and basso continuo (Bc). There are two sets of continuo parts from 1726: one is a score transposed for positive organ with figuration added by Bach in the first three movements; the other has annotations by the copyist for violoncello and double bass., The Meiningen cantatas of Johann Ludwig Bach were scored for the four vocal parts and a small group of instrumentalists, consisting of two oboes, violins, violas and continuo: at Meiningen, as with many of the smaller courts in Germany, resources were limited; it appears that continuo instruments like bassoons were available only when these works were performed elsewhere. When Bach performed his cousin's cantatas in Leipzig in 1726, he used the same orchestral forces as Meiningen for all but two, adding trumpets with drums in one and piccolo trumpets in another.
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Firmly rooted in the key of F major, the stately theme is first played by the violins. After a short development section, the key changes to the relative major (D major, in this case) in a grand restatement of the original theme. The music returns to the opening key for the coda, where echoes of the theme are heard in the violas, with the slight harmonic alteration of the flatted sixth of the scale (D flat, in this case), a colouration which adds a certain poignancy to the final bars.
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Nola Reed Knouse, The Music of the Moravian Church in America (Rochester: University of Rochester Press, 2008), 280. All of Peter's known compositions are sacred concerted vocal works or anthems composed for worship services with the exception of the string quintets. His six string quintets for two violins, two violas, and a violoncello are among the earliest examples of chamber music known by a North American composer. The six string quintets, performed by the American Moravian Chamber Ensemble, were recorded and published in 1997 on New World Records 80507-2.
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MacKie, "Symbolism and Purpose in an Early Christian Martyr Chapel," pp. 93–95. In the Christian imagination, the blood-death-flower pattern is often transferred from the young men of Classical myth—primarily Adonis and Attis—to female virgin martyrs.Miller, The Corporeal Imagination, p. 205. Eulalia of Mérida is described by Prudentius (d. ca. 413) as a "tender flower" whose death makes her "a flower in the Church's garland of martyrs": the flow of her purple blood produces purple violets and blood-red crocuses (purpureas violas sanguineosque crocos), which will adorn her relics.
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He originally stayed in San Francisco where a violin dealer suggested that he should study repairing older instruments under a master luthier. His mentors included eminent violin makers such as Louiz Bellini, Hans Weisshaar, and Roland Feller. In 1990, Scott partnered with Hideo Kamimoto to start a violin shop and returned to China, where he founded a company which makes affordable instruments and bows, including violas, cellos, basses, guitars and established Scott Cao Violins. Three years later Scott was able to open his own shop in the United States in Campbell, California.
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"Praying" is a pop piano ballad written by Kesha, Ryan Lewis, Ben Abraham, and Andrew Joslyn that features elements of gospel and soul music. The song was produced by Lewis and is written in the key of G minor, with a moderately slow tempo of 74 beats per minute. Vox's Caroline Framke felt that the track was a departure from the "dive bar party anthems" which Kesha has become known for. The song's production is minimal, with Kesha joined on the track by violins, violas, strings, celli, "distant" backing vocals and drums.
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"Listen" is a soul-R&B; ballad, which is written in the key of B major, and set in common time at a moderately slow groove of 62 beats per minute. Beyoncé's vocals range from the note of F3 to G5. The song's music takes its instrumentation from the bass, celli, drums, guitars, keyboards, percussion, violas, and violins. According to Sarah Rodman of The Boston Globe, its lyrics make reference to tenacity, love, and the refusal to defer dreams; Beyoncé, as the female protagonist, sings, "demanding her moment in the sun".
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The piece begins with a series of cadenzas for the soloist, all in free time (senza misura). Under each cadenza, violins and violas hold a soft chord containing many fourths and half-steps, and the basses and cellos are given a series of notes on which they are instructed to improvise until a cutoff. In between each cadenza, oboes and flutes play a dissonant glissando pattern all in free time until another cutoff. The concerto develops into an eerie slow adagio, with shimmering chords in the string section and ending with another cadenza.
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Since the wind serenade used pairs of oboes and clarinets, it was a straightforward matter to map these to the pairs of violins and violas. The arrangement is so successful that Richard Wigmore asserts, in his sleeve notes to the recording by the Nash Ensemble that "without prior knowledge few would guess that the work was not conceived for string quintet, even if the textures (except in the minuet) are generally simpler, less polyphonic than in K515 and 516"Richard Wigmore. Sleeve notes to Hyperion album CDA67861/3.
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1609 score: Monteverdi's listing of instruments is shown on the right. For the purpose of analysis the music scholar Jane Glover has divided Monteverdi's list of instruments into three main groups: strings, brass and continuo, with a few further items not easily classifiable. The strings grouping is formed from ten members of the violin family (viole da brazzo), two double basses (contrabassi de viola), and two kit violins (violini piccoli alla francese). The viole da brazzo are in two five-part ensembles, each comprising two violins, two violas and a cello.
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The piece is scored for: :Solo piano :Ondes Martenot Woodwinds : 1 piccolo : 2 flutes : 2 oboes : 1 cor anglais : 2 clarinets : 1 bass clarinet : 3 bassoons Brass : 4 horns : 3 trumpets : 1 trumpet in D : 1 cornet : 3 trombones : 1 tuba Percussion (8 to 11 percussionists) : Vibraphone : Keyed or mallet glockenspiels : Triangle : Temple blocks : Wood block : Cymbals (crash and three types of suspended) : Tam tam : Tambourine : Maracas : Snare drum : Provençal tabor : Bass drum : Tubular bells : Celesta Strings : 32 violins : 14 violas : 12 cellos : 10 double basses The demanding piano part includes several solo cadenzas.
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Most of the music was reconstructed in 1965 by Kalevi Kuosa, from the original parts that had survived. The parts that hadn't survived were those of the violas, cellos, and double basses. Based on Kuosa's transcription, the Finnish composers Kalevi Aho and Jouni Kaipainen have individually reconstructed the complete music to Karelia Music. A recording of Kalevi Aho's completion was released in 1997 in a recording with the Lahti Symphony Orchestra conducted by Osmo Vänskä, and Jouni Kaipainen's completion was recorded for a 1998 release with the Tampere Philharmonic Orchestra, conducted by Tuomas Ollila.
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Formal Garden, formerly Frances Rhea Berry's garden, is the boxwood parterre in stones and curbings with spraying fountains on the pool. It is unclear if this garden was here before Martha Berry's renovation but some of the curbing and layout could have existed previously. The formal garden showcase is used for annual plantings, changing seasonally with summer annuals in the spring, Crepe Myrtles and Rose of Sharon (athea) in the summer, chrysanthemums in the fall, violas, kale, and ornamental cabbage in the winter. The formal garden's opposite side is the Goldfish Garden.
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The viola and other string instruments were brought during the Portuguese maritime expansion to the Azores, Madeira, Cape Verde, Brazil and other locales, becoming common in the populations.José Wellington do Nascimento (2012), p.18 Due to its importance in Portuguese music it likely arrived in Angola, Goa and Macau, and as far as Hawaii by the 19th century, where it became the forerunner of the ukulele. These early cordophones, the violas, had characteristics identical to the modern instruments, and great importance along the Iberian Peninsula, where it appeared in iconography, poems and diverse literature.
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It is likely natural that these early string instruments arrived in the baggage of its first colonists.José Wellington do Nascimento (2012), p.19 The oldest reference to this instrument appeared in documents associated with the sale of lands around 1479, where the property-owner received in trade four rams and a viola. But, no records show the type or number of instruments that arrived by Azorean colonists, and over time the construction of new Violas based on the originals resulted in a substantial difference between island and continental instruments.
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He composed Erschallet, ihr Lieder as the third cantata in the series, to a text probably written by court poet Salomon Franck. The text reflects different aspects of the Holy Spirit. The librettist included a quotation from the day's prescribed Gospel reading in the only recitative, and for the closing chorale he used a stanza from Philipp Nicolai's hymn "" (1599). The work is in six movements, and scored for four vocal soloists, four-part choir, three trumpets, timpani, oboe, bassoon and a string orchestra of two violins, two violas, and basso continuo.
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Stainer's production can be divided into three distinct periods: the first, including the stay in Italy, from the beginning until 1620, the second until 1667 and the third until his death. The first and the third periods are considered the best, especially for the quality of the instruments produced. Stainer produced a few violas, including a viola di bordone and a viola bastarda, and only a few cellos that are a rarity. Encyclopaedia Smithsonian Several of his instruments are preserved in museums, including the Tiroler Landesmuseum in Innsbruck and the Lobkowicz Palace in Prague.
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The original score is for a double string quartet with four violins and pairs of violas and cellos. Mendelssohn instructed in the public score, "This Octet must be played by all the instruments in symphonic orchestral style. Pianos and fortes must be strictly observed and more strongly emphasized than is usual in pieces of this character." The piece is sometimes played by full string sections using more players for each part as well as an added double bass part which usually (but not always) doubles the second cello part an octave lower.
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Hungaria has no programme and is best considered a Hungarian Rhapsody on an extended scale. After a short introduction, marked Largo con duolo, the main theme of the March in the Hungarian Style appears on clarinets, bassoons and violas. This theme and its continuation dominate the first section of this work, though interrupted at one point by a cadenza for solo violin. This section contains the stylistic characteristics of the verbunkos, with Largo con duolo sections alternating with an Andante marziale in a contrast of lassú and friss, sharply accentuated rhythms and profuse violinistic ornamentation.
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After graduation, Glyde joined the Manhattan String Quartet with her sister, Judith, and Eric and Roy Lewis. Glyde arranged Sergei Rachmaninoff's Cello Sonata in G minor and Johann Sebastian Bach's Six Suites for Unaccompanied Cello and Sonatas for viola da gamba for viola, the latter two of which she performed and recorded. She composed several works for viola, notably a fantasia for solo viola, Whydah, and a suite for four violas, Wei-ji. She performed several works composed specifically for her, including works by composers Richard Lane, Bernard Hoffer, and Judith Shatin.
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During his life he has made a large number of instruments (violins, violas, cellos and also double basses) according to his model. Almost 100 of them are being played by orchestra members and soloists not only in the Czech Republic, but also in Germany, Switzerland, United States, Japan, Austria, and other countries. He was a member of Kruh umelcu houslaru, which is an organization unifying the best Czech violinmakers. He was also very close to the Czech Philharmonic Orchestra and he accompanied them for many years around the world as their doctor.
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In the late 60's he made his first classical guitar, participating in a local contest in Bagnacavallo where he ranked third. In the 1970s, he began constructing violins and other instruments. In the last five decades, he has made guitars, violins, violas and cellos, with the methods of old luthiers as described in The secrets of Stradivari. He maintained and followed ancient techniques, with a no-compromise approach in the respect of timing schedules for each phase of the manufacturing process and following the original execution methods.
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The work is scored for soloists and choir in up to six parts (SSATTB) and orchestra. Carus-Verlag published a critical edition using two violins, two violas da gamba, two recorders, two trumpets, two trombones and basso continuo. It takes about 45 minutes to perform. A late work, composed when Schütz was 75 years old, it shows a "mastery of means", "a work that never feels as eclectic as its influences". Schütz had travelled a lot and experienced the Thirty Years' War, contributing to the "serenity of the composer’s late works".
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The last movement opens with a short orchestral introduction that modulates from E major (the key of the previous movement) to C minor, before a piano solo leads to the statement of the agitated first theme. After the original fast tempo and musical drama ends, a short transition from the piano solo leads to the second theme lyrical theme in B major is introduced by the oboe and violas. This theme maintains the motif of the first movement's second theme. The exposition ends with a suspenseful closing section in B major.
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In cases where a choir is preparing a piece which will be sung with an orchestra, the initial rehearsals may be led by the choir's conductor and the rehearsals closer to the concert by the orchestra's conductor. For works that present a particular challenge for certain sections (e.g., a complex, exposed passage for the violas), orchestras may have sectional rehearsals or sectionals in which a section rehearses on their own under the direction of the principal player or, in some cases, also with the conductor (e.g., in the case of a very rhythmically challenging piece).
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The symphony is scored for the following instruments: ;Woodwind: :Piccolo :2 Flutes :2 Oboes :2 Clarinets in A :2 Bassoons ;Brass: :4 Horns :2 Trumpets :3 Trombones : Tuba ;Percussion: :4 Timpani :Bass drum :Snare drum :Soprano tom-tom drum :Cymbals :Tam-tam :Triangle :Castanets :Wood block :Whip :Xylophone :Glockenspiel :Vibraphone ;Keyboard :Celesta ;Strings: :16 1st Violins :14 2nd Violins :12 Violas :12 Cellos :10 Double basses Though composed for a conventional orchestra with augmented percussion, the symphony is sparingly scored, making use of various chamber music-style groupings.
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Autumn is scenic as the gambel oaks studding the hillsides change color, and spring brings a tide of violas and other flowers, particularly bulbs, from traditional daffodils to native sego lilies. Unlike other communities in the valley and further west on I-70, Glenwood does not primarily serve as a bedroom community. Due to severe geographic constraints, if further population growth is to be accommodated, it must come primarily from multifamily infill development. Bloomberg Business named Glenwood Springs the 7th wealthiest small town in America in 2015, due principally to the influence of Aspen.
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In a Summer Garden is a fantasy for orchestra composed in 1908 by Frederick Delius; it was first performed in London under the composer's baton on 11 December of that year. The piece is built around several distinct themes. The first appears in the woodwinds and strings; the second is presented by the English horn, while the third is scored for violas against figures and chords in the woodwinds and lower strings. This is worked out vigorously before the piece is concluded by a new theme, first from the violins and repeated by the woodwinds.
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Commemorative plate to Samuel Nemessányi in Budapest Sámuel Nemessányi (Nemessànyi), (January 12, 1837, in Verbicz-Hušták, Liptószentmiklós, Liptó County – March 5, 1881, Budapest) was a Hungarian luthier, a maker of stringed instruments, such as: violins, violas, and cellos. Nemessányi is considered the most talented and important maker in the Hungarian violin-making school. During his lifetime, he was already acknowledged as the most outstanding craftsmen of stringed instruments in all of Hungary and his instruments are of great importance to Hungarians. His life and work strikingly parallels that of Italian luthier Giuseppe Guarneri del Gesù.
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In the recording sessions, thirty-three microphones were placed around the orchestra that captured the music onto eight optical sound recording machines placed in the hall's basement. Each one represented an audio channel that focused on a different section of instruments: cellos and basses, violins, brass, violas, and woodwinds and tympani. The seventh channel was a combination of the first six while the eighth provided an overall sound of the orchestra at a distance. A ninth channel provided a click track function for the animators to time their drawings to the music.
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"Review of Requiem, Op. 48, pour soli, choeur et orchestre symphonique. Version de concert, 1900 by Gabriel Fauré, ed Jean-Michel Nectoux", Notes, Second Series, Vol. 57, No. 4 (June 2001), pp. 1018–1020 The orchestration of the final version comprises mixed choir, solo soprano, solo baritone, two flutes, two clarinets (only in the ), two bassoons, four horns, two trumpets (only in the Kyrie and ), three trombones, timpani (only in the ), harp, organ, strings (with only a single section of violins, but divided violas and cellos, as before).
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German baroque violins/violas and viola da amores were still being made by German makers well into the 19th Century; Johann Heinl's workshop in Bohmen produced the traditional old German version of a typical baroque viola in 1886. This traditional style of viola was mainly to be played by local German folk music groups. Another interesting feature of this instrument is that it has tuners similar to the mandolin rather than a pegbox. Heinl's baroque viola plays with good volume and is also well-suited for the orchestra.
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The scoring of the anthems adjusts to the musicians available at the church, resulting, with only few exceptions, in a three-part choir of soprano, tenor and bass, and similarly an orchestra without violas, with oboes playing in unison, two violins and basso continuo. The light texture gives the music the character of chamber music. Handel reused material in some of the anthems that he had composed before, such as Utrecht Jubilate, which had been performed in a thanksgiving service for the Peace of Utrecht at St. Paul's Cathedral.
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Another song, "Fire Escape", grew out of conversation with a friend, when she learned that the friend's father had recently died. The album has sounds of earlier musical times, with the feel of Joni Mitchell, Carole King, Laura Nyro, and Carly Simon threaded throughout the 13 tracks. Birch employed an orchestra of violins, violas and cellos for "Fire Escape" and "Photograph", under the direction of concert master Sandy Park. She preferred the sound of the Wurlitzer piano because it has a "richness that's hard to replicate on a modern instrument".
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It is estimated that there are 38 violins, 15 cellos, and five or fewer violas made by Vincenzo Rugeri still in existence. For example: The violin collector David L. Fulton owns a 1697 viola by Vincenzo. A violin dated 1697 and a cello dated 1693 by Vincenzo are in the collections of the Chimei Museum. "Baron Knoop" violin by Vincenzo Rugeri 1700c—Once thought by the Hills to be one of the finest existing Francesco Rugeri violins, it is now known to be a very fine violin by Vincenzo.
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It was possibly composed for performance on 24 February 1715, but more likely for a year or even two earlier. Sexagesima always falls within January or February, so the title's reference to snowfall would have been relevant to the weather at the time. Bach structured the work in five movements, a sinfonia, a recitative, a recitative with chorale, an aria and a closing chorale. He scored it for three vocal soloists, a four-part choir only in the chorale, and a Baroque instrumental ensemble which is unusual in having violas but no violins.
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Title page of the first edition L'estro armonico (The Harmonic Inspiration), Op. 3, is a set of 12 concertos for stringed instruments by Italian composer Antonio Vivaldi, first published in Amsterdam in 1711. Vivaldi's Twelve Trio Sonatas, Op. 1, and Twelve Violin Sonatas, Op. 2, only contained sonatas, thus L'estro armonico was his first collection of concertos appearing in print. It was also the first time he chose a foreign publisher, Estienne Roger, instead of an Italian. Each concerto was printed in eight parts: four violins, two violas, cello and continuo.
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6-9, adding an independent violone part), sonate a quattro (sonata nos. 10 and 11, adding alto viola) and a sonata a cinque (sonata no. 12, for two violins, alto and tenor violas, violone and organ continuo). The sonatas in Opus 5 are all given individual titles, and these titles are in effect dedications to Bolognese ‘Signori’ or senators. In Vitali’s last book, Sonate da chiesa a due violini, Opus 9 (1684), the twelve sonatas are more consistent in terms of number and type of movements than those of Opera 2 and 5.
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Having returned from his extended holiday, Martin wrote a string arrangement for four violins, two violas and two cellos. These parts were recorded during the same orchestral overdubbing session as for Lennon's track "Glass Onion". Towards the end of "Piggies", Harrison added the spoken words "One more time", before the orchestra played the last two chords. In his overview of the recording, author and critic Tim Riley interprets the "thick scouse" delivery of this introduction to the "final grand cadence" as Harrison "smearing social elitists with their own symbols of 'high' culture".
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The piece is scored for 20 violins, 8 violas, 8 celli, 6 double basses, celesta, harp, piano, and a large percussion section including xylorimba, congas, wooden-drums, vibraphone, bongos, bells, cymbals, glockenspiel, tom-toms, triangle, gong, tam-tam, and timpani to be played by six percussionists. Additionally, the pianist is responsible for playing wooden claves or rumba-sticks. The tempi in the beginning and end of the piece are noted in durations of seconds. The middle section uses more conventional metronome marks which range from quarter note equals 44 to quarter note equals 80.
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Carrillo was admitted to the Leipzig Royal Conservatory, where he studied with Hans Becker (violin), Johann Merkel (piano), and Salomon Jadassohn (composition, harmony and counterpoint). He became first violin in two orchestras: the Conservatory's Orchestra, conducted by Hans Sitt; and the Gewandhaus Orchestra, conducted by Arthur Nikisch. Carrillo composed several works at Leipzig, including Sextet in G Major for two violins, two violas and two violoncellos (1900), and the First Symphony in D Major for Orchestra (1901). Carrillo conducted the Leipzig Royal Conservatory Orchestra in the premiere performance of his First Symphony.
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The concerto is scored for piccolo, two flutes, three oboes (third doubling oboe d'amore), piccolo clarinet in E-flat, two clarinets in A, bass clarinet, two bassoons, contrabassoon, three horns, three trumpets in C (with normal and Robinson mutes), three trombones (with normal and Robinson mutes), tuba, five timpani, two suspended cymbals (high and medium), two tam-tams (medium and low), crotales, tubular bells, glockenspiel, vibraphone, three bongos, three tom- toms, snare drum, cymbalum, piano, celesta, harp, solo violin, sixteen first violins, fourteen second violins, twelve violas, ten cellos and eight double basses.
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The Apollo Junior High Band is the only band in the history of Texas to win the Texas Music Educators Association Honor Band Competition for three consecutive years of eligibility. In 1998 and 2000, teachers at the school were the recipients of the Edyth May Sliffe Award for excellence in mathematics.www.maa.org Awards The Apollo Junior High Symphony Orchestra received straight 1's when they played at UIL which took place in UNT's Performing Arts Center. The 1st Violins, Violas and Harpist received awards for their outstanding performance as well.
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He introduced the ensembles of dikanza (scraper), ngomas (conga drums) and violas, which became popular in the 1950s in urban areas, where audiences liked the politicized messages and early nationalist thought. Dias was imprisoned by the Portuguese for many years. In the years just before the civil war, the Luanda rock music scene sizzled. One member of a top band said that being in a band then was like being in a top football team; when his band walked into a club, all his supporters would cheer (and rival bands' groupies would hiss).
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He also performed under his elder brother, John, at the Royal Opera House's oratorios. As of his father's death in 1805, Ashley was apparently in "a better situation than either of his brothers were placed in", according to the will. In 1817, he was part of the King's Theatre Band. According to the Oxford Dictionary of National Biography, "throughout his life he was in demand at major festivals"; it lists him as leading the violas at the Three Choirs festival in 1811, Oxford in 1813, York in 1823, and Chester in 1829.
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1481–3), and then was later used to describe the first Italian viols as well. Depending on the context, the unmodified viola da braccio most regularly denoted either an instrument from the violin family, or specifically the viola (whose specific name was "alto de viola da braccio"). When Monteverdi called simply for "viole da braccio" in "Orfeo", the composer was requesting violas as well as treble and bass instruments. The full name of the viola, namely "alto de viola da braccio", was finally shortened to "viola" in some languages (e.g.
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Man playing violin on a park bench. The violin is played either seated or standing up. Solo players (whether playing alone, with a piano or with an orchestra) play mostly standing up (unless prevented by a physical disability such as in the case of Itzhak Perlman), while in the orchestra and in chamber music it is usually played seated. In the 2000s and 2010s, some orchestras performing Baroque music (such as the Freiburg Baroque Orchestra) have had all of their violins and violas, solo and ensemble, perform standing up.
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Zanetto Micheli (c. 1489 – after 1560) was the first representative of the oldest known family of string instrument makers from the famous Renaissance Brescian school of strings and violin making, from which many very clear archive documents but (more important) some perhaps 20 original instruments (violins, violas, viols, double basses) seems to survive. Micheli was born in the Italian village of Montichiari, and later moved to the nearby town of Brescia. The birth date is deduced from a document of 1550 in which Zanetto declared to be over 60 years old.
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The shoulder rest is an invention of the middle part of the 20th century. Prior to its invention, violinists and violists employed a number of strategies to hold their instruments: the violin in particular was often depicted in the 16th and 17th centuries being held on or below the collarbone, though this does restrict shifting somewhat. Leopold Mozart is portrayed holding his violin quite low on his shoulder. Large violas were typically played with the aid of straps around the neck, and violins could be attached to the players' cravat.
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The work is written for oboe solo and symphonic orchestra composed of two flutes (one doubling piccolo), two oboes, two clarinets, two bassoons, four horns, three trumpets, two trombones, bass trombone, tuba, timpani, glockenspiel, xilophone, percussion (suspended cymbal, claves, snare drum, castanets, tambourine, zills, wood block, bass drum, cymbals, triangle), harp, piano and strings. There is an arrangement made by the composer himself for wind band (the bass are reinforced through cellos and double basses, with no violins and violas). A typical performance lasts 22 minutes. It has only one movement.
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Górecki specifies exact complements for the string forces: 16 first violins, 16 second violins, 12 violas, 12 cellos, and 8 double basses. For most of the score, these are in turn divided into two parts, each notated on a separate staff. Thus the string writing is mainly in ten different parts, on ten separate staves. In some sections some of these parts are divided even further into separate parts, which are written on the same staff, so that ten staves are still used for a greater number of parts.
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Stravinsky began composing Apollo on 16 July 1927 and completed the score on 9 January 1928. He composed for a refined instrumental force, a string orchestra of 34 instrumentalists: 8 first violins, 8 second violins, 6 violas, 4 first cellos, 4 second cellos and 4 double basses. The commission from the Library of Congress and underwritten by Mrs. Elizabeth Sprague Coolidge paid him $1,000 for the piece, which was required to use only six dancers, require a small orchestra, and last no more than half an hour, but allowed him free choice of subject.
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The D1 orchestra was identical to the C1, and the D2 was the same combination as the B2 but less one bass and plus a piano. This left the D3 comprising the string section of the B1 orchestra (10 violins, 2 violas and 2 cellos) plus a bass - not a particularly useful combination. In practice, BBC producers moved four of the violins into the D2 to match the arrangements used by Semprini, and the "leftover" strings were utilised by pianist/arranger Ken Moule, with the addition of a drummer.
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Cantor, and responsible for the music in the church) since 1723. In this version the Passion was written for two choruses and orchestras. Choir I consists of a soprano in ripieno voice, a soprano solo, an alto solo, a tenor solo, SATB chorus, two traversos, two oboes, two oboes d'amore, two oboes da caccia, lute, strings (two violin sections, violas and cellos), and continuo (at least organ). Choir II consists of SATB voices, violin I, violin II, viola, viola da gamba, cello, two traversos, two oboes (d'amore) and possibly continuo.
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The instruments are important as being ancestors to or influential in the development of a wide variety of European instruments, including fiddles, vielles, violas, citoles and guitars. Although not proven to be completely separate from the line of lute-family instruments that dominated Europe (lute, oud, gittern, mandore), arguments have been made that they represent a European-based tradition of instrument building, which was for a time separate from the lute-family instruments. Paris, France. An instrument from the Stuttgart Psalter (France), early 9th century, labeled "cythara" in that text.
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This orchestra was very large, numbering around 125 members, and consisted of a wide variety of instruments. Among the instruments included the normal orchestral instruments of violins, violas, cellos, basses, and the normal wind and brass instruments, but also included mandolins, guitars, banjos, ukuleles, and a large bass drum. These “strummed” instruments were not in small amounts either. According to one account the orchestra included “thirty strummers- ten each of mandolins, guitars and a rare harp guitar, and banjos.” The orchestra was also frequently joined by a men's chorus, eight pianists, and various soloists.
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The first and second violins weave curly parallel melodic lines, a tenth apart, underpinned by a pedal point in the double basses and a sustained octave in the horns. Wind instruments respond in bars 104-5, accompanied by a spidery ascending chromatic line in the cellos.Symphony 39, first movement, bars 102-119 Symphony 39, first movement, bars 102-105A graceful continuation to this features clarinets and bassoons with the lower strings supplying the bass notes.Symphony 39, first movement, bars 106-109Next, a phrase for strings alone blends pizzicato cellos and basses with bowed violins and violas, playing mostly in thirds:Symphony 39, first movement, bars 110-114The woodwind repeat these four bars with the violins adding a counter-melody against the cellos and basses playing arco. The violas add crucial harmonic colouring here with their D flat in bar 115. In 1792, an early listener marvelled at the dazzling orchestration of this movement “ineffably grand and rich in ideas, with striking variety in almost all obbligato parts.”Symphony 39, first movement, bars 115-119“The main feature in [his] orchestration is Mozart’s density, which is of course part of his density of thought.” Robbins Landon, H. (1989, p.137), Mozart, the Golden Years.
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Loeiz Honoré (born 26 January 1961 at La Guerche de Bretagne, France) is a violin maker living in Cremona, Italy since 1978. Despite his being self- taught, in 1988 he won the "Homage to Stradivari" Violin Making Competition organized by the City of Cremona to celebrate the 250th anniversary of the death of Antonio Stradivari. In 1999 Mr. Honoré placed in the finals in the cello section at the Paris Competition, and in 2000 at the Triennale di Cremona Competition. While specialized in building the cello, he also makes violins and violas, all exclusively following the classic Cremona tradition.
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Thieriot's chamber music constitutes a great part of his total output and is judged to be among his finest compositions. He is known to have composed 4 piano trios: Opp.14, 45, 47 & 90, 13 string quartets, only two of which have been published, 2 Octets (Op.78 for 4 violins, 2 violas and 2 cellos and Op.62 for 2 violins, viola, cello, bass, clarinet, horn, and bassoon) a quartet for flute and string trio Op.84, a quintet for piano and winds Op.80, a quintet for piano and string quartet Op.20 and several instrumental sonatas.
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"Blues fiddle" is a generic term for bowed, stringed instruments played on the arm or shoulder that are used to play blues music. Since no blues artists played violas, the term is synonymous with violin, and blues players referred to their instruments as "fiddle" and "violin". While unequivocally an African- American creation, with the rising popularity of the blues, violinists in the Anglo-American dance fiddling traditions and white country fiddlers, adopted stylistic elements and added songs from the blues to their repertoire. Blues violin features most prominently in rural blues, string-band, jug band and jazz.
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The String Quintet No. 3 in C major, K. 515 was written by Wolfgang Amadeus Mozart. Like all of Mozart's string quintets, it is a "viola quintet" in that it is scored for string quartet and an extra viola (two violins, two violas and cello). The work was completed on April 19, 1787, less than a month before the completion of his stormy G Minor Quintet, K. 516. This would not be the last time that a great pair of C major/G minor works of the same form would be published in close proximity and assigned consecutive Köchel numbers.
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He also used the same technique on his 1965 song "If I Needed Someone", which shares a similar melodic pattern. The following day he taped his lead vocals, and he and McCartney recorded their backing vocals twice to give a fuller sound. Moog 3-series synthesizer used on the song A harmonium and handclaps were added on 16 July. Harrison overdubbed an electric guitar run through a Leslie speaker on 6 August, and the orchestral parts (George Martin's score for four violas, four cellos, double bass, two piccolos, two flutes, two alto flutes and two clarinets) were added on 15 August.
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The work is structured in seven movements, an instrumental Sinfonia, a choral passacaglia, a recitative on a Bible quotation, three arias and, as the closing chorale, the last stanza from Samuel Rodigast's hymn "" (1674). The cantata is scored for three vocal soloists, a four-part choir, trumpet, oboe, bassoon, two violins, two violas, and basso continuo. Bach performed the cantata again in his first year as Thomaskantor – director of church music – in Leipzig, on 30 April 1724. He reworked the first section of the first chorus to form the Crucifixus movement of the Credo in his Mass in B minor.
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After graduating from the Accademia Nazionale di Santa Cecilia in Rome (1948), Trovajoli was entrusted by RAI with the direction of a pop music orchestra, set with 12 violins, 4 violas, 4 cellos, 1 flute, 1 oboe, 1 clarinet, 1 horn, harp, vibraphone, electric guitar, bass, drums and the piano (played by Trovajoli himself). In 1952–53 he collaborated with Piero Piccioni in Eclipse, a weekly musical broadcast in which the orchestra is directed alternately by the two composers, in a style extremely refined and sophisticated, very different from the music of radio orchestras at that time.
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Der gerettete Alberich is scored for a solo percussionist and orchestra comprising piccolo, two flutes, three oboes, three clarinets, three bassoons, six French horns, three trumpets, three trombones, tuba, harp, timpani, three percussionists (chimes, antique cymbals, xylophone, castanets, tam-tam, bass drum, suspended cymbal, four tom-toms, anvil, and thunder sheet), and strings (violins I & II, violas, violoncellos, and double basses). The soloist's percussion battery consists of four wood blocks, four log drums, four tom-toms, two bongo drums, two timbales, snare drum, steel drum, marimba, two güiros, pedal-operated bass drum, and a drum kit.
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Lennon and Starr prepared seven minutes' worth of tape loops as a coda to "Flying", but this was discarded, leaving the track to end with a 30-second burst of Mellotron sounds. Although he recognises Sgt. Pepper as the highpoint of the Beatles' application of sound "colorisation", musicologist Walter Everett says that the band introduced some effective "new touches" during this period. He highlights the slow guitar tremolo on "Flying", the combination of female and male vocal chorus, cello glissandi and found sounds on "I Am the Walrus", and the interplay between the lead vocal and violas on "Hello, Goodbye".
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Retrieved 13 December 2009. Turnage's musical language is modernist but influenced by jazz,Valorie Dick, "The Winnipeg New Music Fest", La Scena musicale, Volume 3, No. 6, 1 April 1998. Retrieved 13 December 2009. an area of musical interest he shared with Kay. The instrumental scoring is for flute (doubling alto flute), oboe (doubling cor anglais), 2 clarinets (one doubling bass clarinet), horn, trumpet, trombone, one percussionist, harp, piano (doubling celeste), violin, 2 violas, 2 cellos and double bass. The percussion consists of 8 crotales, vibraphone, marimba, suspended cymbal, 3 gongs, tam-tam, bass drum, pedal bass drum, ratchet, claves and whip.
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Typical instruments range from alpenhorns to hackbretts, zithers and acoustic guitars, and even violas and harmonicas. Harmonized singing is frequent, but other pieces may require yodeling, while instrumental arrangements are particularly frequent for fast dances or brass pieces. Volksmusik continues to be performed by many local ensembles and bands throughout the European Alps and should not be confused with Volkstümliche Musik, which is largely to be found in broadcasting media and on ancillary merchandise. Since the 1970s, artists of a Neue Volksmusik genre, such as Werner Pirchner or Biermösl Blosn, attempt to combine traditional styles with jazz, folk, hip hop, rock et al.
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At the beginning of the illustrated page from the score, for instance, the woodwinds and brass (notated at the top of the page) are playing short repeated passages. The composer specifies completely the music for each player, leaving the interpretation to the individuals: only the co-ordination between the parts is unspecified. The strings (notated at the bottom of the page) join the texture by sections: first the violins, then the violas, the cellos and lastly the basses, all playing rapid repeating figures. The string players do not coordinate their playing (even within sections) except for their entries.
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"Si Tu No Existieras" is a Latin pop song written and produced by Arjona, alongside longtime collaborators Dan Warner and Lee Levin under their production name Los Gringos. Roger Hudson provided additional background vocals for the song, and Matt Rollings, Carlos "Cabral" Junior and Isaías García served as recording engineers, along with Warner and Levin. Rollings also provided the piano, Levin played the drums, and Warner the bass, with the help of Craig Nelson. A group of nine personnel led by Pamela Sixfin provided the violins; James Grosjean and Monisa Angell played the violas; and Anthony LaMarchina, along with Julia Tanner, the cellos.
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Metamorphosen, study for 23 solo strings (TrV 290, AV 142) is a composition by Richard Strauss for ten violins, five violas, five cellos, and three double basses, typically lasting 25 to 30 minutes. It was composed during the closing months of the Second World War, from August 1944 to March 1945. The piece was commissioned by Paul Sacher, the founder and director of the Basler Kammerorchester and Collegium Musicum Zürich, to whom Strauss dedicated it. It was first performed on 25 January 1946 by Sacher and the Collegium Musicum Zürich, with Strauss conducting the final rehearsal.
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It is dedicated to his cousin Alexander Siloti, and it was intended to be part of a larger work because it is headed "Third movement". The model for the work is the Scherzo from Felix Mendelssohn's incidental music for Shakespeare's A Midsummer Night's Dream. Rachmaninoff had earlier transcribed Pyotr Ilyich Tchaikovsky's Manfred Symphony for two pianos, and the Scherzo also has echoes of that work. The piece is scored for 2 flutes, 2 oboes, 2 clarinets (B♭), 2 bassoons, horn (F), trumpet (B♭), 2 timpani, violins I, violins II, violas, cellos and double basses.
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The symphony was composed in 1992 and scored for full orchestra with 2 flutes, piccolo, 2 oboes, 2 clarinets, E clarinet, bass clarinet, 2 bassoons, 4 horns, 3 trumpets, 3 trombones, tuba, percussion, harp, piano and strings (including 8 first violins, 6 second violins, 4 violas, 4 cellos and 2 double basses). The symphony has three movements: "Some Are", the David Bowie song on which the second movement was based, didn't feature on the original release of Low but was recorded during the Low recording sessions. The song would later be released on the Rykodisc reissue of the album in 1991.
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The String Sextet No. 1 in B major, Op. 18, was composed in 1860 by Johannes Brahms and premiered in Hanover by an ensemble led by Joseph Joachim.L. Auer, My Long Life in Music, New York, Stokes, 1923 It was published in 1862 by the firm of Fritz Simrock. The sextet is scored for two violins, two violas, and two cellos. The sextet has four movements:For instance, see pages 1–44 of the 1968-published Dover Publications reprint of the Vienna Gesellschaft der Musikfreunde Edition: Complete chamber music for strings and clarinet quintet (originally edited by Hans Gál). .
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The orchestra at the Bouffes-Parisiens was small – probably about thirty players. The 1858 version of Orphée aux enfers is scored for two flutes (the second doubling piccolo), one oboe, two clarinets, one bassoon, two horns, two cornets, one trombone, timpani, percussion (bass drum/cymbals, triangle), and strings. The Offenbach scholar Jean-Christophe Keck speculates that the string sections consisted of at most six first violins, four second violins, three violas, four cellos, and one double bass.Offenbach-Keck, p. 7 The 1874 score calls for considerably greater orchestral forces: Offenbach added additional parts for woodwind, brass and percussion sections.
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David Diamond's Quintet for clarinet, 2 violas and 2 cellos (1950) was written for Oppenheim and was first performed in 1952. Throughout the 1950s, Oppenheim directed the Masterworks division of Columbia Records, a position he held until 1959. He recorded Leonard Bernstein's Clarinet Sonata, which was dedicated to him. Other recordings include the Brahms Clarinet Trio, Op. 114 with Casals and Eugene Istomin at the 1955 Prades Festival,Music & Arts CD-689 and both the Brahms Clarinet Quintet, Op. 115,CBS MPK-45553 and the Mozart Clarinet Quintet, K. 581,Sony SM3K-46527 with the Budapest String Quartet in 1959.
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Almost all the music in Drexel 3976 is scored for four parts using treble, alto, tenor and bass clefs. Based on a contemporary document, Holman explained that this scoring would result in six violins, six countertenors, six tenors and six basses. The rationale for this is that scoring for a single violin, two violas and bass is commonly found in seventeenth-century dance music, particularly in the courts of France, Sweden as well as German and Austrian courts. More importantly, this was the scoring used by the violin band of the English court known as the Twenty-Four Violins.
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Vihuela bodies were lightly constructed from thin flat slabs or pieces of wood, bent or curved as required. This construction method distinguished them from some earlier types of string instruments whose bodies (if not the entire instrument including neck) were carved out from a solid single block of wood. The back and sides of common lutes were also made of pieces however, being multiple curved or bent staves joined and glued together to form a bowl, made from cypress with a spruce or cedar top. Vihuela (and violas da gamba) were built in different sizes, large and small, a family of instruments.
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The score is Shostakovich's 39th opus. It includes references to Tchaikovski and other former ballet composers. Woodwinds: piccolo, 2 flutes (flute II = piccolo II), 2 oboes, cor anglais, Eb clarinet, 2 Bb clarinets, bass clarinet (= clarinet III), 2 bassoons, contra-bassoon (= bassoon III) Brass: 6 French horns, 3 trumpets, 3 trombones, tuba, Brass Band (1 Eb Cornet, 2 Bb Cornets, 2 Bb Trumpets, 2 Eb Altos, 2 Bb Tenors, 2 Bb Baritones, 2 Bb Basses) Percussion: timpani, triangle, tambourine, snare drums, cymbals, glockenspiel, xylophone, bass drum, gong, wood blocks Strings: violins, violas, cellos, double basses, harp 2 flute.picc. 2 oboe.corA.
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A part of it was recorded at the PolyGram studios, with 40 session musicians hired to play 12 violins, four violas and four cellos. "A Ordem dos Templários", which includes a section of "Douce Dame Jolie", by Guillaume de Machaut, from the 14th century, pays tribute to the knights who protected Chrsitians during the Crusades. On Acústico MTV, Russo explains that the song "O Teatro dos Vampiros" should speak about television. On the same live album, he said he had found out that the Italian city of Venice was known as "Sereníssima" only after he composed the song of same name.
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The String Sextet in D minor "Souvenir de Florence", Op. 70, is a string sextet scored for 2 violins, 2 violas, and 2 cellos composed in the summer of 1890 by Pyotr Ilyich Tchaikovsky. Tchaikovsky dedicated the work to the St. Petersburg Chamber Music Society in response to his becoming an Honorary Member. The work, in the traditional four-movement form, was titled "Souvenir de Florence" because the composer sketched one of the work's principal themes while visiting Florence, Italy, where he composed The Queen of Spades. The work was revised between December 1891 and January 1892, before being premiered in 1892.
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Its culmination, a restatement of the chorale, is a moment of such transcendence that the usually austere Brahms permits himself the use of a triangle. Just before the end of the piece, in the coda of the finale, Brahms quotes a passage that really is by Haydn. In measures 463–464, the violas and cellos echo the cello line from measure 148 of the second movement of the latter's "Clock" Symphony, one of the finest examples of Haydn's pioneering work in the symphonic variation form. The reader may compare the two passages by following these links: Brahms, Haydn (see below for link credits).
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Mysliveček and Gluck were the first Czechs to become famous as operatic composers, but their output exhibits few, if any, Czech characteristics. Mysliveček's operas were very much rooted in a style of Italian opera seria that prized above all the vocal artistry to be found in elaborate arias. Among his other pieces were oratorios, symphonies, concertos, and chamber music, including the Op. 2 string quintets which were almost certainly the earliest string quintets with two violas ever published. Additionally, he was a pioneer in the composition of music for wind ensemble, the outstanding examples of which are his three wind octets.
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The concerto is scored for solo piano and an orchestra consisting of flute (doubling piccolo), oboe, clarinet (doubling alto ocarina), bassoon, horn, trumpet, tenor trombone, percussion, and strings. For balance, Ligeti recommends the strings to be 6–8 violin I's, 6–8 violin II's, 4–6 violas, 4–6 cellos, and 3–4 double basses. The percussion consists of triangle, crotales (in pairs), 2 suspended cymbals (small/normal size), 4 woodblocks, 5 templeblocks, tambourine, snare drum, 3 bongos, 4 tomtoms, bass drum, guero, castanets, whip, siren whistle, signal whistle, slide whistle, flexatone, chromatic harmonica (Chromonica in C, 270 by Hohner), glockenspiel, and xylophone.
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Fürststift Kempten (Modern view) On April 2, 1740 Richter was appointed deputy Kapellmeister (Vize- Kapellmeister) to the Prince-Abbot Anselm von Reichlin-Meldeg of Kempten in Allgäu. Reichlin Meldeg as Prince Abbot presided over the Fürststift Kempten, a large Benedictine Monastery in what is now south-western Bavaria. The monastery certainly would have had a choir and probably a small orchestra (rather a band, as it was called then),Probably: 4–8 violins, 2 violas, 2 cellos, 2 oboes and 2 horns. On festival occasions trumpets and kettle drums would have been provided by a town or regimental band.
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Poplar was the most common wood used in Italy for panel paintings; the Mona Lisa and most famous early renaissance Italian paintings are on poplar. The wood is generally white, often with a slightly yellowish colour. Some stringed instruments are made with one-piece poplar backs; violas made in this fashion are said to have a particularly resonant tone. Similarly, though typically it is considered to have a less attractive grain than the traditional sitka spruce, poplar is beginning to be targeted by some harp luthiers as a sustainable and even superior alternative for their sound boards: Rees Harps Website, "Harp Myth #8".
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A luthier ( )Oxford Dictionaries is a craftsperson who builds and repairs string instruments that have a neck and a sound box. The word "luthier" is originally French and comes from the French word for lute. The term was originally used for makers of lutes, but it came to be used already in French for makers of most bowed and plucked stringed instruments such as members of the violin family (including violas, cellos, and double basses) and guitars. Luthiers, however, do not make harps or pianos; these require different skills and construction methods because their strings are secured to a frame.
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The second allegro is an energetic fugue, the brief exchanges between concertino and ripieno strictly derived from the unusually long subject. The sombreness of the movement is underlined by the final cadence on the lowest strings of the violins and violas. The largo e piano in F major is one of Handel's most sublime and simple slow movements, a sarabande in the Italian trio sonata style. Above a steady crotchet walking bass, the sustained theme is gently exchanged between the two violin parts, with imitations and suspensions; harmonic colour is added in the discreet viola part.
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These additions included McCartney's lead vocal and bass guitar; backing vocals from Lennon, McCartney and Harrison; and tambourine, played by Starr. McCartney's vocal over the long coda, starting at around three minutes into the song, included a series of improvised shrieks that he later described as "Cary Grant on heat!" They then added a 36-piece orchestra over the coda, scored by Martin. The orchestra consisted of ten violins, three violas, three cellos, two flutes, one contra bassoon, one bassoon, two clarinets, one contra bass clarinet, four trumpets, four trombones, two horns, percussion and two string basses.
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This concerto is divided into five movements and has a typical duration of 24 minutes. The titles of each movement are taken from the tempo indications marked at the beginning. The movement list is as follows: The concerto is scored for two solo violins, four first violins, four second violins, three violas, two cellos, a double bass, a harpsichord, a celesta, a piano, and a set of four church bells tuned to play B-flat, A, C, and B. This concerto is a great example of the style Schnittke developed over the years, which he coined polystylism.
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Adams composed two versions of Dark Waves: one for two pianos and another for orchestra. The orchestral version calls for an ensemble comprising: ;Woodwinds :2 piccolos :2 oboes :2 clarinets in B :contrabass clarinet in B or E :2 bassoons :contrabassoon ;Brass :2 horns in F :2 trumpets in C :2 trombones :bass trombone :tuba ;Percussion, 2 players :bass drum :cymbal, suspended :tubular bells :2 vibraphones ;Keyboards :celesta :piano ;Strings :violins I (minimum of 12 players) :violins II (minimum of 12 players) :violas (minimum of 9 players) :cellos (minimum of 9 players) :double basses (minimum of 6 players) and electronics.
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The Society was unusual in the sheer size of the orchestras and choruses that performed in their concerts. For the concerts of 1 and 3 April 1781, where Mozart made his first appearance with the Society (see below), there were 40 violins, 8 violas, 9 cellos, 11 contrabasses, 2 flutes, 7 oboes, 6 bassoons, 2 English horns, 4 horns, 2 trumpets, and 1 timpanist, a total of 92. The chorus had a combined total of 28 sopranos and altos (all boys), 13 tenors, and 13 basses; thus overall a total of 146 performers. Comparable numbers were employed in other years.
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He used no trumpets and no high woodwinds when recording, but used up to eight french horns, five trombones, two piano, one harp, thirty-two violins, sixteen violas twelve cellos and eight basses. British performers UNKLE recorded a new version of the theme music for the end credits to the movie. Some of the unusual sounds were created by a variation of silly putty and dimes tucked in between and over the strings of the piano. Mark Snow also comments that the fast percussion featured in some tracks was inspired by the track 'Prospectors Quartet' from the There Will Be Blood soundtrack.
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While violins, such as those of Amati, achieved their classic form before the first half of the century, the viol's form standardized later in the century at the hands of instrument makers in England. Viola da gamba, viola cum arculo, and vihuela de arco are some (true) alternative names for viols. Both "vihuela" and "viola" were originally used in a fairly generic way, having included even early violins (viola da braccio) under their umbrella. It is common enough (and justifiable) today for modern players of the viola da gamba to call their instruments violas and likewise to call themselves violists.
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Such tuning is generally easier to learn than using the pegs, and adjusters are usually recommended for younger players and put on smaller violas, though pegs and adjusters are usually used together. Some violists reverse the stringing of the C and G pegs, so that the thicker C string does not turn so severe an angle over the nut, although this is uncommon. Small, temporary tuning adjustments can also be made by stretching a string with the hand. A string may be tuned down by pulling it above the fingerboard, or tuned up by pressing the part of the string in the pegbox.
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The symphony is scored for piccolo, 3 flutes, 2 oboes, English horn, 3 clarinets, bass clarinet, 2 bassoons, double bassoon, 4 horns, 3 trumpets, 3 trombones, tuba, timpani, bass drum, tenor drum, snare drum, cymbals, tambourine, triangle, gong, glockenspiel, celesta, harp, strings. It is in three movements: #Moderato – Allegro con fuoco #Lento molto espressivo #Introduction (Lento moderato) – Scherzo & Trio (Allegro vivace – Andante semplice) – Epilogue (Lento) The first movement opens with a moderato ostinato on bass trombone with the woodwinds on top playing grinding, dissonant chords. The following allegro con fuoco section gives the ostinato to the violas, this time in diminution.
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In 1967, at the initial session for Cream's third album (then still unnamed), recording for "White Room" reportedly began in London. In December, work continued at Atlantic Studios in New York City and was completed during three sessions in February, April and June 1968, also at Atlantic.Felix Pappalardi interview, Hit Parader # 55, February 1969 Jack Bruce sang and played bass on the song, Eric Clapton overdubbed guitar parts, Ginger Baker played drums and timpani, and Felix Pappalardi – the group's producer – contributed violas. Clapton played his guitar through a wah-wah pedal to achieve a "talking-effect".
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The work is scored for SATB soloists and chorus, 2 violins, "Bassi", 2 oboes, 2 horns, 2 trumpets, timpani, 3 trombones (which reinforce the alto, tenor and bass choral parts) and organ. In most modern performances several players are used for some of the orchestral parts. Notable is the lack of violas, typical of music written for Salzburg, and the vague name "basses" for the stave shared by organ, bassoon (specified only in the Credo), cello and double bass. Among the original parts is one for "violone", a slippery term sometimes implying a 16' bass but also used for the 8' bass violin.
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The movie is set in 1966 and intertwines the adventures of an all-girl garage rock band with the legend of the Skunk Ape (the Florida Everglades’ version of Bigfoot). Theodora, Jody and Carol, collectively known as The Violas, are on tour when their van breaks down in a small southern beach town. Meanwhile, the local police are investigating the disappearance of the parents of a little girl who was found walking the beach in a state of shock. But they are also trying to determine the origins of a strange pile of pungent debris that has washed up on the beach.
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These colourations are made in the lower instruments (horns, violas, cellos) by overtone glissandos, in the middle register by natural- harmonic glissandos in the violins, and in the highest register by arpeggios on five triangles and a set of glass chimes . Each note of this melody is accompanied by a chord, and these chords fluctuate in density between two and five notes according to a serial distribution: 2 3 4 5 5 4 3 2 3 4 5 5 4 3 2 notes per chord. These chords collectively form a harmonic double "wave", whose chord densities rise and fall twice.
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The 84-bar long work in A-flat major is scored for double choir, and 2 tenor and a baritone soloists. Similarly to , the first part (44 bars) is sung by the soloists with an accompaniment of humming voices, figuring the rustling mill. From "", the melody is taken over by the double choir. Because of the performance difficulties (humming voices) encountered during the rehearsals, Bruckner added in 1879 an accompaniment of strings (2 violas, 2 cellos and double bass) to enhance the humming voices, and of brass instruments (4 horns, 3 trombones and a tuba) to accompany the double choir.
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The cellos and double-basses start the first-movement sonata form in a tranquil mood by introducing the first phrase of the principal theme, which is continued by the horns. The woodwinds develop the section and other instruments join in gradually progressing to a full-bodied forte (at bar 58). At bar 82, the violas and cellos introduce the movement's second "Lullaby" theme in F-sharp minor, which eventually moves to A major. After a development section based mostly on motives of the principal theme group, the recapitulation begins at bar 302, with the second theme returning at bar 350.
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This anthem is very unusual in being written for a small choir of soprano, tenor and bass, omitting the usual altos, and two violins, two oboes playing in unison, and basso continuo instruments of cello, bassoon, and double bass, omitting the usual violas. The omission of the usual inner parts gives the music a light texture similar to chamber music. Handel, as often throughout his career, recycled music in this anthem that he had already used in other compositions, notably in this instance the Utrecht Te Deum and Jubilate, originally composed for a grand service of thanksgiving in St. Paul's Cathedral.
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The captain's voice is tinged with a sense of hopeless longing, perhaps even indicating that it is his ghost now singing: > I'm getting closer to my home ... I'm getting closer to my home ... Again the bass line carries the music, with now a flute line accompanying it. Soon the strings from the orchestra, make their entrance, featuring violins, violas, cellos, and basses. The second movement starts at a fairly slow tempo, then launches into a relatively upbeat guitar break before the captain resumes singing. The significant chord progression in this part is from C to B♭add9.
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The fidola was the culmination of a research effort aimed at producing an instrument that is equally resonant over all five strings, in contrast to earlier five-string violins and violas, which tended to sound dull at either the low (C) or high (E) end. The instrument became popular among Scottish and Contra dance fiddlers through the 1990s, first in New England and then in northern California. A photograph of a fiddler in concert playing a five-string viola explicitly identified as a fidola appears in the scholarly journal Pragmatics, 11(2):155-192, June 2001.
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Concerto in E-flat, inscribed Dumbarton Oaks, 8.v.38 (1937–38) is a chamber concerto by Igor Stravinsky, named for the Dumbarton Oaks estate of Robert Woods Bliss and Mildred Barnes Bliss in Washington, DC, who commissioned it for their thirtieth wedding anniversary. Composed in Stravinsky's neoclassical period, the piece is one of Stravinsky's two chamber concertos (the other being the Concerto in D, for strings, 1946) and is scored for a chamber orchestra of flute, B clarinet, bassoon, two horns, three violins, three violas, two cellos, and two double basses. The three movements, Tempo giusto, Allegretto, and Con moto, performed without a break, total roughly twelve minutes.
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Musically, the song is a gospel and soul-influenced pop piano ballad that features minimal production and accompaniment from violins, violas, strings, celli, backing vocals and drums. Inspired by suicidal thoughts she has had in the past, Kesha said that "Praying" is about hoping that anyone, even abusers, can heal. "Praying" was written to showcase the singer's vocal range and to represent her as a person, and also features her nearly screaming at the top of her register. Various critics suggested that the song is about Dr. Luke, whom Kesha accused of sexual assault and emotional abuse in a lawsuit, although Luke is never mentioned in the song by name.
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The String Quintet No. 2 in C minor, K. 406/516b, was written by Wolfgang Amadeus Mozart in 1787. Like all of Mozart's string quintets, it is a "viola quintet" in that it is scored for string quartet and an extra viola (two violins, two violas and cello) Charles Rosen, "The Classical Style: Haydn, Mozart, Beethoven", 1997, Norton. Unlike his other string quintets, however, the work was not originally written for strings. Having completed the two string quintets K. 515 and K. 516, Mozart created a third by arranging his Serenade No. 12 for Winds in C minor K. 388/384a, written in 1782 or 1783 as a string quintet.
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The ballet starts with a majordomo on stage reading Britten's explanatory text from the score, then proceeds to an ensemble performance with dancers representing different instruments, including three women as a piccolo and two flutes, a woman as the oboe, a man and a woman as the clarinets, two men as the bassoons, a man and a woman as the violas, three women as the cellos, a men as the double bass, a woman as the harp, two men as trumpets, four men as a tuba and three trombones and three men as the percussion instruments. There are no major solos in the ballet.
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However, this was before Bearden was named the bandleader on George Lopez's ill-fated TBS talk show, Lopez Tonight. For the April 6, 2001, show, the band expanded to 50 players to become the CBS Giant Orchestra with 16 violins, 8 violas, 4 cellos, 3 trumpets, 2 trombones, 1 bass trombone, 4 saxophones, 2 harps, 1 keyboard and 1 percussionist. Alt URL Phil Collins played drums with Steve Jordan in the band when he was a guest on the Letterman show on March 26, 1985. Drummer Shawn Pelton of the Saturday Night Live Band sits in on the drums when Anton Fig is absent.
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The first movement, approximately fourteen minutes, begins with a distinctive main theme that recurs in various manifestations. This theme is developed for about one minute and sets a heavy, uncertain air. After the introductory material concludes, the second, more lyrical theme is presented by violas and expanded by the woodwinds, displaying Dohnányi's talent for rich harmony and engaging orchestration. Although a generally quiet section, it is periodically accented with louder strings; the last accent does not fade and grows in expectation of a passionate high point, but is violently and abruptly interrupted by a burst from the brass and a subsequent use of snares.
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In 2015, Max Richter released his most ambitious project to date, Sleep, an 8.5 hour listening experience targeted to fit a full night's rest. The album itself contains 31 compositions, some reaching 20-30 minutes in duration, all based around variations of 4-5 themes. The music is calm, slow, mellow and composed for Piano, Cello, 2 Violas, 2 Violins, Organ, Soprano vocals, Synthesisers and Electronics. As the album's liner notes, Strings are played by the American Contemporary Music Ensemble (Ben Russell, Yuki Numata Resnik, Caleb Burhans, Clarice Jensen and Brian Snow), Vocals are provided by Grace Davidson and the Piano, Synthesisers and Electronics are played by Richter himself.
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4 and 7, for 13 winds). The word "duodecet" remains rare as a genre title in the 20th century (exceptions are found amongst the works of Polish composers Barbara Buczek and Bogusław Schaeffer), where works for twelve instruments or singers most often are given either a true title, or a genre title describing the form (e.g., "concertino", "suite", "variations"), often followed by a designator such as "for twelve instruments". The three "twelve-part inventions", variations 3 (12 solo violins), 5 (10 violas and 2 double basses), and 11 (12 wind instruments), in Stravinsky's Variations: Aldous Huxley in memoriam (1963–64) have been designated "duodecets" by his biographer Eric Walter White (; ).
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The college's first intake of scholarship students included 28 who studied an orchestral instrument. The potential strength of the college orchestra, including fee-paying instrumental students, was 33 violins, five violas, six cellos, one double bass, one flute, one oboe and two horns. Grove appointed 12 professors of orchestral instruments, in addition to distinguished teachers in other musical disciplines including Jenny Lind (singing), Hubert Parry (composition), Ernst Pauer (piano), Arabella Goddard (piano) and Walter Parratt (organ). Front façade of the Royal College of Music The old premises proved restrictive and a new building was commissioned in the early 1890s on a new site in Prince Consort Road, South Kensington.
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The symphony is scored for 4 flutes (3rd and 4th doubling 1st and 2nd piccolo), 4 oboes (3rd and 4th doubling 1st and 2nd cor anglais), 3 clarinets (3rd doubling E-flat clarinet and bass clarinet), 4 bassoons (4th doubling contrabassoon), 6 horns, piccolo trumpet in D, 3 trumpets in C, 2 cornets in B flat, valve trombone, 3 tenor trombones, bass trombone, 3 tubas, 2 sets of timpani, 6 percussionists (snare drum, tambourine, triangle, ratchet, hand bell, cymbals, tam-tam, bass drum, castanets, xylophone, bell (F), thunder sheet, glockenspiel), celesta, piano, organ, wordless chorus, 2 harps, 20 first violins, 20 second violins, 14 violas, 12 cellos and 12 double basses .
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As in the original, this short ballet consists of four movements: Bluebird Pas de Deux is scored for a large ensemble consisting of a flute, an oboe, two clarinets, a bassoon, a French horn, two trumpets, two trombones, timpani, and a string section consisting of five violins, four violas, three cellos and two double basses. As an original addition, Stravinsky did not actually reduce the orchestra, but rather chose to include a piano to provide a new element to help articulation and sonority. According to Stravinsky himself, "the prominent piano part [...] helps to conceal the small number of strings" in Bluebird Pas de Deux.
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They begin playing very quietly (pianississimo) but gradually over the piece build up until they are playing very loudly (fortississimo). The second violins play exactly the same but an octave lower and at half the speed, which means they play 6 beats (one bar) of silence to begin, and appear to enter at the beginning of the second bar. Then the violas, which are the only voice not doubled, join in at quarter speed and another octave lower, the cellos at one eighth, and finally the contrabasses as one sixteenth. The basses are then playing each long note for 32 beats, and each short note for 16.
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Gilardino with Fiorentina in 2008 On 25 May 2008, Fiorentina sporting director Pantaleo Corvino confirmed a deal to sign Gilardino from Milan had been completed. On 28 May, the deal was confirmed from the official website of the Rossoneri: Gilardino moved for €15 million and signed a five- year deal. At Fiorentina, Gilardino was reunited by former Parma teammates Adrian Mutu, Sébastien Frey and Marco Donadel, as well as his former manager at Parma, Cesare Prandelli. Gilardino's first goal with the Violas was in the first leg of the third qualifying round for the 2008–09 Champions League against Slavia Prague, where he scored the second goal of the match.
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The side drums were instructed when to play in La Réjouissance and the second Menuet, but very likely also played in the Ouverture. Handel re-scored the suite for full orchestra for a performance on 27 May in the Foundling Hospital. Handel noted in the score that the violins were to play the oboe parts, the cellos and double basses the bassoon part, and the violas either a lower wind or bass part. The instruments from the original band instrumentation play all the movements in the revised orchestral edition except the Bourrée and the first Menuet, which are played by the oboes, bassoons, and strings alone.
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The symphony is scored for the following instrumentation ;Woodwind: :2 Flutes :2 Oboes :2 Clarinets in C :2 Bassoons ;Brass: :2 Horns in C and F :2 Trumpets in C ;Percussion: :2 Timpani in C and G ;Strings: :1st Violins :2nd Violins :Violas :Cellos :Contrabasses The clarinet parts are commonly played on B clarinet, as C and D clarinets are no longer widely used. However, there is some controversy over whether they should be played on E instruments instead. The E clarinet's timbre is much closer to that of the C and D clarinets than that of the warmer-sounding B clarinet.Del Mar, Norman.
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In 1929 he permanently established himself in Rimini where he opened his own workshop. He participated in numerous exhibitions and competitions all over Italy and was praised and recognized for his talent: in 1931 he won the gold medal at the Padua Exposition, and in 1937 he received an honorable mention and a silver medal for his quintet exhibited in the Cremona competition during the Stradivari Bicentenary. The Vannes Universal Dictionary of Violinmakers quotes that in 1948 Capicchioni had already made 350 violins, 10 violas and 20 violoncellos. In the middle of the 1940s his son Mario began working with him and shared in his business until the Master's death.
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It is often said to be the first independent set of variations for orchestra in the history of music,McCorkle, Donald M., p. 5 in the Norton Scores edition of the Variations () although there is at least one earlier piece in the same form, Antonio Salieri's Twenty-six Variations on 'La folia di Spagna' written in 1815. Brahms's orchestral variations are scored for piccolo, 2 flutes, 2 oboes, 2 clarinets, 2 bassoons, contrabassoon, 4 horns (2 in E, 2 in B), 2 trumpets, timpani, triangle, and the normal string section of first and second violins, violas, cellos and double basses. The piece usually takes about 18 minutes to perform.
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John Juzek (né Janek Jůzek, aka Jan, aka Johann;1892 Písek, Czech Republic – approx 1965 Luby, Czech Republic) was a Czechoslovak merchant, widely known in North America as an exporter of violins, violas, cellos, and double basses made and labeled under his anglicized name, "John Juzek," crafted mostly by guilds and various independent makers in the Bohemia region of the Czechoslovakia and Germany border. The John Juzek trademark, brand, and line of orchestral string instruments endures today through the original -year-old family-owned wholesaler, Metropolitan Music Co., currently owned and managed by the heirs of Robert Juzek (1894–1975), a founding partner and sibling of John Juzek.
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He would then teach, in turn, at the conservatories in Venice, Bologna, Naples and Rome. In 1946 Count Chigi selected him as course director of the ensemble music course at the Accademia Chigiana, where he would teach until 1997. In 1966, the year after Guido Chigi’s death, the Quintetto became the Sestetto Chigiano d’Archi: this was composed of, alongside Brengola, Giovanni Guglielmo (second violin), Mario Benvenuti e Tito Riccardi (violas), Alain Meunier and Adriano Vendramelli (cellos). Brengola taught chamber music for many years, facilitating training courses at the Accademia di Santa Cecilia in Rome, where he was an academic and a member of the Board of Directors.
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During the time Vitali was at the San Petronio Basilica, the size of the orchestra changed relatively little: typically the records state that the orchestra consisted of three violins, two or three violas, two violoni (Vitali himself and Domenico Vincenzo Colonna) and one to two theorbos Gambassi, op. cit., pp. 132-42. Vitali does not appear in the records for 1674, having resigned that year and left for Modena. There seems not to have been an immediate replacement for him that year, but in 1675 Petronio Franceschini (1651–1680) was appointed and listed separately as ‘Violoncello’ – the first documented use of this term in Bologna.
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At about this same time the horn began to appear as a solo instrument. An anonymous Sonata da caccia con un cornu from before 1680 found in a manuscript in Kroměříž sets a cor à plusieurs tours against two violins, two violas, and basso continuo, and a Sonata venatoria from 1684 by Pavel Josef Vejvanovský calls for two trombae breves, which probably also means spiral horns, though hooped horns are not out of the question. A particularly significant composition is a Concerto à 4 in B by Johann Beer, for corne de chasse, posthorn, two violins, and basso continuo. Ironically, Beer died in a hunting accident in 1700.
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Joseph in the Pit (continuing her fascination with the Genesis saga), Flying Applepickers, Cottages at Long Compton, Woman with a Dog, Violas and Pansies, this last maybe an appreciative nod to Dunbar's mother Florence and her love of floral still lifes, exist as nothing more concrete than mere mentions, until further research reveals their whereabouts and appearance. In 1950 Folley was appointed to the Department of Economics at Wye College, Kent. He and Dunbar left Enstone and took the lease of an isolated house some four miles from Wye. Here Dunbar held informal classes, maintaining her Oxford connections with an annual lecture at the Ruskin School.
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The core instrumentation of the dances is a simplified orchestra in which there are no violas, and the bass instruments (cello and double bass) play the same line. A variety of wind instruments is usually included, and often trumpets and timpani. To these basic instruments a few dances add additional instruments not ordinarily found in the orchestra of Mozart's time: fife and drum, tambourine, tuned sleighbells, the hurdy-gurdy, the post horn, and the flageolet, which was the piccolo of Mozart's day. The later dances, which were commercially successful (see below) were retranscribed for other instruments such as piano so that people could play them at home.
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In tribute to the Emperor Henry II, the second founding saint of the convent, she took the name Maria Rosa Henrica when her novitiate began in 1696. The Mass of Saint Henry is scored for a five-voice choir with two soprano lines and an orchestra of two violins, three violas, two trumpets, timpani and continuo, with optional extra trumpets and sackbuts to double the voice parts. Although Biber is best known for the massive polychoral works, he was also capable of writing for smaller forces. Missa quadragesimalis is a simple a cappella setting (with only a continuo part provided) for four voices, as is the Stabat Mater.
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At La Scala, which had what was then the most modern stage lighting system installed in 1901 and an orchestral pit installed in 1907, Toscanini pushed through reforms in the performance of opera. He insisted on dimming the house-lights during performances. As his biographer Harvey Sachs wrote: "He believed that a performance could not be artistically successful unless unity of intention was first established among all the components: singers, orchestra, chorus, staging, sets, and costumes." Toscanini favored the traditional orchestral seating plan with the first violins and cellos on the left, the violas on the near right, and the second violins on the far right.
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The second section of the movement is marked Lamentoso and its agonizing figurations are in marked contrast to the beatific music of the opening section. The muted violas introduce the principal theme, which comprises a series of agitated fragments in B minor. The music graphically reflects the pleading and suffering of the penitents before it breaks up into flowing triplets:Jean-Pierre Barricelli (1982) suggests that the liturgical music of the first part represents the collective suffering of the penitents, while the "introspective fugue" suggests individual meditation on one's sins. center This theme is taken up by the other strings and a five-part fugue ensues.
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There are a number of musical pieces reused from earlier episodes in "The City on the Edge of Forever", including sufficient use of the scores from "The Cage", "Where No Man Has Gone Before" and "The Naked Time" that Alexander Courage received an "additional music by" credit. Further pieces came from "Shore Leave", "Charlie X" and "The Enemy Within". A partial score was created by Fred Steiner, his final work of the first season. His work on Star Trek tended to focus on the use of violins and cellos to highlight romantic moments, and he did not use violas in any of his works on the series.
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The instrumentation of the three arias turns from the crowd in the Biblical scene to the individual believer, the first accompanied by violin and divided violas, the second by a lone recorder, the last only by the continuo. The chorale is arranged as a chorale fantasia in the manner of Pachelbel; every line is first prepared in the lower voices, then the soprano sings the cantus firmus, while the other voices interpret the words, for example by fast movement on "" (joy). The closing chorus is, according to conductor John Eliot Gardiner, "a sprightly choral dance that could have stepped straight out of a comic opera of the period".
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Authorities from Bon Appétit and Food & Wine magazines to the top chefs of the world have driven and reported on these trends. For instance, Bon Appetit recently released their top 25 food trends for 2013 in their article "The BA 25: What to eat, drink, and cook in 2013", Pinterest and Twitter give links to sites listing what to serve this season. Pinterest is designed to display trends and food is one of their biggest categories. Smaller, blog-style sites have also appeared; examples include Violas Pantry, Mouth from the South, The Daily Meal, and Spiced that recruit smaller numbers of readers and provide entertaining, colloquial content to more targeted audiences.
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The song contains some of the most elaborate orchestral arrangements on Late Registration. The composition begins with a vocal sample of "It's Too Late" by Otis Redding and a two-chord piano ostinato, followed by a simplistic funk beat. The string section is composed of ten violins, four violas and four cellos which alternate between rhythmically punctuating the verses with staccato bursts, and accentuating the chorus with a more fully formed melody. After the third verse, the song enters an instrumental passage before returning with a fourth and final verse from West, where the rise of the vocals is reflected by the increased complexity in the string arrangement.
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The group formed as a power trio with Hammond organ as the main instrument. Their first and only album sold itself through "...compactness, wealth of ideas, forceful lead vocals and complicated arrangements, enriched by pianist Robinson's tasteful use of classical strings which are on display along with spacious keyboard passages at their height in the mold of The Nice."Graf, Christian "Rock Musik Lexikon" (Taurus Press, Hamburg) One track, "Laughin' Tackle", includes 16 violins, 6 violas, 6 cellos, and 3 double bass, arranged by Robinson, and a drum solo by Underwood. Underwood remained in close contact with Blackmore, and visited Deep Purple in the studio while they were recording In Rock.
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Also present on this version is a short guitar solo, which would be replaced on the official release by what Unterberger terms "some inspired Paul scat-tinged singing". Unterberger speculates that the removal of these guitar parts may have caused tension between McCartney and Harrison, anticipating the pair's disagreements regarding the lead guitarist's role on McCartney compositions such as "Hey Jude" and "Two of Us" over 1968–69. Two violas were added to "Hello, Goodbye" at Abbey Road on 20 October. These string parts were played by classical musicians Kenneth Essex and Leo Brinbaum, and scored by Martin, who based the arrangement on a melody McCartney supplied on piano.
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In Britain, the Beatles ran foul of the Musicians Union's ban on miming on television. With the first clip scheduled to premier on the 23 November edition of Top of the Pops, George Martin mixed a version of the track without violas, since no musician was seen to be playing those instruments; the Beatles then allowed the BBC to film them at work editing Magical Mystery Tour on 21 November, in the hope that this new footage would replace any sections that contravened the ban. Instead, Top of the Pops aired the song over scenes from the band's 1964 film A Hard Day's Night.
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The String Quintet No. 4 in G minor, K. 516, written by Wolfgang Amadeus Mozart, is like all of Mozart's string quintets a "viola quintet" in that it is scored for string quartet and an extra viola (that is, two violins, two violas and cello). The mood of the piece is dark and melancholic, typical of Mozart's G minor works. The work was completed on May 16, 1787, less than a month after the completion of his grand C major Quintet, K. 515. This would not be the last time that a great pair of C major/G minor works of the same form would be published in close proximity and assigned consecutive Köchel numbers.
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Downtown Country was a departure from Smith's previous albums, as most of the material was more Pop-oriented and featured cover versions of Pop music material as well. Violins, violas, and other orchestral arrangements were incorporated into the album's material to add a more Pop-sounding style. The album consisted of twelve tracks, many of which were cover versions, including Petula Clark's "Downtown," Elvis Presley's "It's Now or Never," Sandy Posey's "Born a Woman," Lynn Anderson's "Ride, Ride, Ride," and Connie Francis's "My Heart Has a Mind of Its Own." The album was released on a 12-inch vinyl LP record with six songs on each side of the record, and was recorded in Nashville, Tennessee.
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Unlike some episodes of the show that were accompanied by pre-composed stock music cues, Walking Distance was underscored with music specially written for it. As for other Twilight Zone episodes, Bernard Herrmann—also composer of the first season's main title music and most of its stock music—wrote the music for this one. The very intimate and tuneful score has an isolated running time of about 19 minutes and is played by a 19-piece-orchestra consisting of strings (violins, violas, cellos, basses) and one harp. The park in this episode is said to be inspired by Recreation Park in Binghamton, New York, which is located about five blocks away from Rod Serling's childhood home.
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The cello is a member of the traditional string quartet as well as string quintets, sextet or trios and other mixed ensembles. There are also pieces written for two, three, four or more cellos; this type of ensemble is also called a "cello choir" and its sound is familiar from the introduction to Rossini's William Tell Overture as well as Zaccharia's prayer scene in Verdi's Nabucco. Tchaikovsky's 1812 Overture also starts with a cello ensemble, with four cellos playing the top lines and two violas playing the bass lines. As a self-sufficient ensemble, its most famous repertoire is Heitor Villa-Lobos' first of his Bachianas Brasileiras for cello ensemble (the fifth is for soprano and 8 cellos).
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Geoffrey Simon was born on 3 July 1946 in Adelaide.Answers.com He was a student of Herbert von Karajan, Rudolf Kempe, Hans Swarowsky and Igor Markevitch, and a major prize-winner at the first John Player International Conductors' Award. He has made 45 recordings for a number of labels, combining familiar works with world premieres of rediscovered obscure works by Tchaikovsky, Respighi, Borodin, Mussorgsky, Smetana, Grainger, Debussy, Ravel, Saint-Saëns and Les Six. For his own label, Cala Records, Geoffrey Simon has a series of records where he has brought together ensembles of single instruments—all violins, violas, cellos, double basses, horns, trumpets, trombones and harps—drawn from London's leading solo and orchestral musicians.
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In the central duet violins and violas play the melody of the chorale. Bach later arranged this movement for organ as one of the Schübler Chorales, BWV 647. The opening chorus is a concerto of three elements: the orchestra, dominated by the two oboes, playing an introduction and ritornellos, the cantus firmus in the soprano, and the other voices which start each of the three sections and keep singing on the long final notes of the cantus firmus, soprano and alto opening the first section, tenor and bass the second, all four voices the last section. Movements 2 and 5 are composed in the same fashion, alternating the slightly ornamented lines of the chorale with recitative.
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Cantaor flamenco singer Jose Montealegre, who sings in the quintet came to enrich a suite written around the oud. The Saadna brothers (Los Rumberos Catalans), with whom he played for many years, joined him to end the disc in gypsy festivities. During the composing of the soundtrack of Manuel Boursinhac's film, for the first time, there was a string orchestra, mainly consisting of composed of violas, cellos and basses (based on the arrangements of Renaud Gabriel Pion). Titi Robin has extended this present experience thanks to arrangements of Francis Varis on three themes. That same year, the formation "En famille" appeared, gathering around Gulabi Sapera and Titi Robin a new generation: Maria, Colombe “La Coque” and Dino Banjara.
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Agri toured with the Conjunto internationally, though he left to accept a commission as a company violinist in the prestigious Teatro Colón opera house, in Buenos Aires (Agri later admitted regretting this move).Clarín: Murió el violinista Antonio Agri He formed his own string ensemble (violins, violas, cellos and double bass), in 1973. His Mosalini/Agri Quintet, based in Paris and co-directed by Juan José Mosalini, also featured Agri's son, Pablo, with whom the violinist often performed as a duo. He later co-founded the Nuevo Quinteto Real with pianist Horacio Salgán, bandoneonist Leopoldo Federico (later replaced by Néstor Marconi), guitarist Ubaldo De Lío, and drummers Omar Murtagh and Oscar Giunta.
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The symphony is scored for an orchestra with the following instruments: ;Woodwinds :3 flutes (3rd doubling piccolo) :2 oboes :2 clarinets (in A) :2 bassoons ;Brass :4 horns :2 trumpets :3 trombones :1 tuba ;Percussion :timpani :bass drum :cymbals :tam-tam (ad libitum) ;Strings :violins I, II :violas :celli :double basses Although not called for in the score, a bass clarinet is commonly employed to replace the solo bassoon for the four notes immediately preceding the Allegro vivo section of the first movement, which originates from Austrian conductor Hans Richter. This substitution is because it is nearly impossible in practice for a bassoonist to execute the passage at the indicated dynamic of .
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Shostakovich uses an immense orchestra in this work, requiring well over one hundred musicians. It is scored for the following instruments: ;Woodwind: :2 Piccolos :4 Flutes :4 Oboes (4th doubling on Cor anglais) :1 E-flat clarinet :4 Clarinets :1 Bass clarinet :3 Bassoons :1 Contrabassoon ;Strings :2 Harps :16–20 1st Violins :14–18 2nd Violins :12–16 Violas :12–16 cellos :10–14 Double basses ;Keyboard :Celesta ;Brass: :8 Horns :4 Trumpets :3 Trombones :2 Tubas ;Percussion: :6 Timpani (two players) :Bass drum :Snare drum :Cymbals (crash and suspended) :Triangle :Wood block :Castanets :Tam-tam :Xylophone :Glockenspiel The symphony has three movements: Most performances of the symphony last a little over an hour.
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Ignacio Fleta Pescador Huesa del Común -Teruel-(31 July 1897))Barcelona – 11 August 1977) was a Spanish luthier and a crafter of string instruments such as guitars, violins, cellos, violas, as well as historical instruments. Fleta is widely regarded as one of the foremost guitar makers in the history of the instrument and sometimes described as the Stradivarius, or Steinway, of the guitar. Born into a family of cabinet makers, he initially built string- and historical instruments, and was inspired by Andrés Segovia to focus his efforts on the guitar. During Ignacio Fleta's Golden Age, from the 1960s to the 1970s, he revolutionized the cedar top and is considered the greatest maker in that material.
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The composition is in one movement and takes approximately 16 minutes to perform. It is scored for a solo piano and a large orchestra consisting of four flutes, four oboes, four clarinets in B-flat, four bassoons, four French horns in F, four trumpets in C, four trombones, one tuba, one harp, timpani, a percussion section consisting of two bongos, three tom-toms and one bass drum and a large string section consisting of sixteen first violins, fourteen second violins, twelve violas, ten cellos and eight double basses. The instruments are not allowed to play vibrato along the whole composition. The tempo of the composition is ♩ ≙ 48 mm, as marked in the score.
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The string section is a body of instruments composed of various bowed stringed instruments. By the 19th century orchestral music in Europe had standardized the string section into the following homogeneous instrumental groups: first violins, second violins (the same instrument as the first violins, but typically playing an accompaniment or harmony part to the first violins, and often at a lower pitch range), violas, cellos, and double basses. The string section in a multi- sectioned orchestra is referred sometimes to as the "string choir." The harp is also a stringed instrument, but is not a member of nor homogeneous with the violin family and is not considered part of the string choir.
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On the musical side, Stokowski nurtured the orchestra and shaped the "Stokowski" sound, or what became known as the "Philadelphia Sound". He encouraged "free bowing" from the string section, "free breathing" from the brass section, and continually altered the seating arrangements of the orchestra's sections, as well as the acoustics of the hall, in response to his urge to create a better sound. Stokowski is credited as the first conductor to adopt the seating plan that is used by most orchestras today, with first and second violins together on the conductor's left, and the violas and cellos to the right.Preben Opperby, Leopold Stokowski, Great Performers, Tunbridge Wells, Kent: Midas / New York: Hippocrene, 1982, , p.
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The LSO at the Barbican, 2011. Front, left to right, Roman Simović, Carmine Lauri (violins), Alastair Blayden, Tim Hugh (cellos), Bernard Haitink (conductor), Gillianne Haddow, Edward Vanderspar (violas), Tom Norris, Evgeny Grach (violins). Players to the rear include David Pyatt (horn), Andrew Marriner (clarinet), Rachel Gough (bassoon) LSO concert of film music at the Barbican, 2003. Left to right: Gordan Nikolitch and Lennox Mackenzie (violins), Jerry Goldsmith (conductor), Paul Silverthorne (viola), Moray Welsh (cello) The LSO has made recordings since the early days of recording, beginning with acoustic versions under Nikisch of Beethoven's Egmont Overture, Weber's Oberon Overture, and Liszt's Hungarian Rhapsody in F minor, followed soon after by the overtures to Der Freischütz and The Marriage of Figaro.
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The composition is scored for choir (SATB) and 5 soloists (SSATB), accompanied with an instrumental ensemble of 2 alto recorders, 2 oboes, trumpet, low trumpet and timpani (playing the same part), 2 violins, 2 violas ("haute-contres de violon" and "tailles de violon") and basso continuo. The bass part is called "organ, basses de violon and bassoons" in an autograph manuscript. The basse de violon is a cello-like instrument. The orchestral tutti is mostly constricted to 4 parts (all high wind instruments and violins playing the same line), while the vocal soloist sections make use of a lighter three-part instrumental texture including 2 recorders and basso continuo as well as 2 violins and basso continuo.
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This ambitious work stretched the boundaries of viola technique at the time and remains challenging even today: Tertis frequently played it either with Bowen at the piano, or in a later arrangement of the last two movements with orchestral accompaniment (first performed in a 1911 Royal Philharmonic Society concert under Nikisch), which he had encouraged Dale to produce. The Suite was followed by the Phantasy for Viola and Piano (dated 1910) and an Introduction and Andante (1911) for the unusual combination of six independently scored violas, written for performance by Tertis's pupils (one of whom happened to be Eric Coates). A CD of Dale's viola chamber music is available on Dutton Epoch.Cookson, Michael (2008).
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Smith personally trained his craftsmen in the production of violins, violas and cellos. His workshop established the careers of many other leading Australian violin makers such as Charles Clarke, Guy Aubrey Griffin, William Dolphin, Harry Vatiliotis and his own daughter, Kitty Smith. His presence as a luthier in Australia encouraged the development of local orchestras and violin teaching, as well as foreign virtuoso violinists through giving the confidence to accept Australian concert engagements and subject their precious instruments to long sea-voyages. During World War II when German strings were unavailable, Smith, trading under the trade name 'Paganini', designed and built machines to manufacture strings and fittings locally, rather than requiring import.
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For three years (1961–1964) he also held a post in the Utah Symphony, which at the time consisted of part-time musicians. He also served an enlistment in the United States Army before marriage and his 1965 founding of a violinmaking shop, the Violin Making School of America, in which he made violins, cellos and violas. In 1972 he began accepting students, transforming the violinmaking shop into a true instructional laboratory. He later expanded this instruction to the fabrication of violin bows (1998), with the founding of the Bow Making School of America. He continued in these endeavors until his 2006 retirement, at which time he sold the school to a former student (graduated 1991), Charles Woolf.
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In the Minuet, Haydn writes the movement as a canon between the higher voices (violins and oboes) and lower voices (violas and cellos) at an interval of a single bar. Haydn had written such a canon in the minuet of his third symphony and similar canons would be later be written into G major minuets by Michael Haydn and Mozart.HC Robbins Landon, _Haydn: Chronicle and Works_ , 5 vols, (Bloomington and London: Indiana University Press, 1976-) v. 1, _Haydn: the Early Years, 1732-1765_ Haydn himself would later develop this technique into the "Canones in Diapason" of the minuet of his Trauer Symphony and the "Witches Minuet" of his D minor string quartet from Op. 76.
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The finale opens with a short flourishing introductory passage which leads to the statement of a resolute theme by the solo instrument. After this has been developed at considerable length the pianoforte introduces a contrasting theme of flowing character, to which the clarinet attaches itself shortly. Presently the development of the resolute opening theme is resumed, leading to the entrance of still another subject, given out softy but decidedly by the clarinet and the violas, and worked up forthwith in alternation and combination with the resolute opening theme. The flowing second theme returns, the movement mounting thence to a climax, at the pinnacle of which the resolute opening theme of the first movement reappears in enlarged rhythm.
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Catalogue of the international exhibition on Giovanni Paolo Maggini held in Brescia in 2007 Virtuosi have also long recognized the exceptional qualities of da Salò's violins, violas, and double basses. In 1842, the Norwegian virtuoso Ole Bull was willed an unplayed, richly-decorated da Salò violin originally made in 1562. Benvenuto Cellini carved the scroll of this spectacular instrument, which is on permanent display as a part of the exhibition "People and Possessions" at Vestlandske Kunstindustrimuesum in Bergen. One of his finest instruments, a double bass with a rapidity of response similar to that of a violin (owned by the 18th - 19th century virtuoso Domenico Dragonetti), is preserved today in the Basilica of San Marco in Venice.
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The B1 Orchestra, with a complement of 30, was effectively a big band with strings in the Billy May/Nelson Riddle style, with 5 saxes, 4 trumpets, 4 trombones, piano, guitar, bass, drums, 10 violins, 2 violas and 2 cellos. All the players in the sax section played one or more other instruments including flutes, piccolo, clarinets and different varieties of saxophones, and the pianist was surrounded by a celeste, an upright "jangle" piano and often an electric organ. This totals 31, as the guitar was an official "augmentation". This lineup was unofficially titled the Radio Showband by radio producers and music staff, as it had the same instrumentation as the BBC Showband of the late 1950s.
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Since then, six other albums have been made, either with the entire collective or with individuals with collective support, such as Luciano Supervielle's solo album in 2004, produced by Santaolalla and Campodónico. This was followed by Bajofondo Remixed in 2005, with reworked versions of songs from Bajofondo Tango Club and Supervielle's album. In 2008, the album Mar Dulce was released and the name of the group shorted to just Bajofondo, as the idea was not just tango music as the base but all styles of Rio de la Plata regional music, such as milonga and candombe. In 2013, the Presente album has no guest vocals and strings play a more major role with eleven violins, four violas, three cellos and three stand-up basses.
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He later twice performed it as Thomaskantor in Leipzig, beginning in 1724 when he first celebrated Easter there. Only this second version survives. It is scored for four vocal parts and a Baroque instrumental ensemble with two components, an instrumental "choir" of cornetto and three trombones doubling the choral voices (only in the 2nd Leipzig performance in 1725 were these used), and a string section of two violins, two violas, and continuo. While this scoring reflects the resources at Bach's disposal (the cornetto and brass players would have been available because of the city band tradition in Leipzig), it was old-fashioned and exemplifies a 17th-century (chorale concerto) style; the lost scoring of the earlier performances was perhaps similar.
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As on their previous hit single, their new producer, Stuart Scharf, also employed session musicians to create the instrumental backing track while the group members provided lead and background vocals. This was the first hit they recorded in Los Angeles—all of their previous records were cut in New York with Jerry Ross producing. Session players on this recording included Max Bennett on bass; Larry Knechtel on piano; Mike Deasy on guitar; Hal Blaine on drums; Ralph Schaffer, Sid Sharp, Harry Bluestone, Marvin Limonick, Nathan Kaproff, William Hymanson and Mischa Russell on violins; Leonard Selic and David Burk on violas; Paul Bergstrom and Armand Kaproff on cellos; and Jules Chaikin on trumpet. Additional instruments were also played by Stuart Scharf, William Kurasch, and Robert Dorough.
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Various types of wood are used to make a number of musical instruments such as guitars, violins, violas, cellos, contrabasses and large guitars, especially in Paracho, Ahuiran, Aranza, Cheranástico, Nurío and Paracho, which hosts the Feria de la Guitarra. An individual artisan completes the entire task from start to finish. Many of the wood carving activities are related to the making of items for religious purposes. These include images and masks, which are used for processions and dances. The use of masks dates back to the pre Hispanic era and today are used for dances such as Moors and Christians, the Devils, the Little Blacks, Los Viejitos, the Ranchers, the Hermits the Maringuias (men in women's dress) and Cúrpites (which means “eat together”).
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Under the direction of Jamye Robinson, the Alief Taylor Colorguard utilizes dance and equipment such as flags, rifles, and sabres to perform during half-time shows at football games and competitions with the Roaring Lion Band. Alief Taylor has one of the most preeminent colorguards in the district despite its small team of only nine for the 2010 marching season, winning 1st Place Best Colorguard of Group IV A at USSBA Central Texas Regional on October 9, 2010 in Kyle, Texas. After football/marching season, Colorguard becomes Winterguard and performs at several indoor competitions against many other high schools in Texas. The Alief Taylor Orchestra, under the direction of Lester Lopez, consists of string players (violins, violas, cellos, and basses).
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The third movement forms the core of the piece, taking the form of a dark, slow-building chaconne beginning with a ground bass in the cellos and violas. The rest of the orchestra joins the pattern with each repeat, setting in place a layered effect before a solo violin introduces a high, keening cantabile melody over the accumulated rhythmical tissue. The melody passes to a different member of the violin section with each repeat, as the other instruments continue to build the underlying structure. The melody is eventually subsumed beneath contrapuntal filigrees and trills from the rest of the violin section, disappearing almost entirely within the texture, and the movement ends abruptly once the theme has reached its peak and all instruments have been included.
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The prominent feature of instrumental pairing does not lead to any permanent thematic or textural stability, but contrarily grows into a persistent textural sparseness. After an emotionless string passage which encloses another brief warning from violas, woodwinds cry out amid a percussive background.; see also While the monotonous rhythm of snare drum continues, violins respond tortuously, only to be overwhelmed by the mood of the "savage and destructively egotistical" (Simpson’s description) clarinet and flute.; The turmoil continues as the bass struggles to rise from the tonic (C) to the dominant (G), invoking a new clash with the percussion; the attempt at struggle fails as the bass is foiled at G flat when the ominous violin melody is distorted and disintegrates.
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If a string player has to play pizzicato for a long period of time, the performer may put down the bow. Violinists and violists may also hold the instrument in the "banjo position" (resting horizontally on the lap), and pluck the strings with the thumb of the right hand. This technique is rarely used, and usually only in movements which are pizzicato throughout. A technique similar to this, where the strings are actually strummed like a guitar, is called for in the 4th movement of Rimsky- Korsakov's Capriccio Espagnol (Scena e canto gitano), where the violins, violas and cellos are instructed to play pizzicato "quasi guitara", the music here consists of three- and four-note chords, which are fingered and strummed much like the instrument being imitated.
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Władysław William "Willy" Wilkanowski (November 15, 1886 Grave of William Wilkanowski with DOB and date of interment in Działyń,U.S. World War II Draft Registration Cards, 1942 Poland – December 8, 1954, Long Island, USA) William Wilkanowski Obituary, The Brooklyn Daily Eagle, December 11, 1954 was a Polish-American violin-maker, guitar-maker and violinist. He was a very productive luthier, known for making over 5000 violins and 100 violas with his staff at his workshop.Fairfield, John H. (1942) Known Violin Makers He also created 30 unique, high-end archtop guitars, one of which, the Wilkanowski Airway W-4, was famously owned by Johnny Cash since the 1980s, when it also was featured as the centerfold in the Guitar World magazine.
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Within an oriental setting in high-walled gardens, the Sulamite, at first sad because of the absence of her loved one, soon feels his approach, calls him, sees him running and collapses finally in his arms in the longed-for ecstasy, among the delighted congratulations of her companions, happy with her good fortune. La Sulamite is scored for a large orchestra of piccolo, 2 flutes, oboe, cor anglais, 2 B flat clarinets, bass clarinet, 4 bassoons; 2 horns in F, 2 horns in E flat, 2 pistons in C, 2 trumpets in F, 3 trombones, tuba; timpani, antique cymbals in E flat, triangle, drum, bass drum, cymbals; 2 harps, violins, violas, cellos and double basses. The work lasts around 17 minutes.
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The horn is a standard member of the wind quintet and brass quintet, and often appears in other configurations. Notable works from the late-eighteenth and early nineteenth centuries include two quintets by Mozart, one in E major for horn, violin, two violas, and cello (KV407/386c) and the other for piano, oboe, clarinet, bassoon and horn (KV452). Beethoven also wrote a Quintet for piano and winds, Op. 16, as well as a Sextet for two horns and strings, Op. 81b, and a Septet in E major, Op. 20, for clarinet, horn, bassoon, violin, viola, cello, and double bass. One of Schubert's last works is the Octet (D803), written in 1824, which adds a second violin to Beethoven's Septet scoring.
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The horn is a standard member of the wind quintet and brass quintet, and often appears in other configurations. Notable works from the late-eighteenth and early nineteenth centuries include two quintets by Mozart, one in E major for horn, violin, two violas, and cello (KV407/386c) and the other for piano, oboe, clarinet, bassoon and horn (KV452). Beethoven also wrote a Quintet for piano and winds, Op. 16, as well as a Sextet for two horns and strings, Op. 81b, and a Septet in E major, Op. 20, for clarinet, horn, bassoon, violin, viola, cello, and double bass. One of Schubert’s last works is the Octet (D803), written in 1824, which adds a second violin to Beethoven's Septet scoring.
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"Galerie des compositeurs dramatiques modernes" (1844) by Nicolas-Eustache Maurin (d. 1850). The engraving shows (back row left to right): Hector Berlioz, Gaetano Donizetti, Onslow, Daniel Auber, Mendelssohn, Henri-Montan Berton; (front row left to right): Fromental Halévy, Giacomo Meyerbeer, Gaspare Spontini, Gioacchino Rossini Onslow was a prolific composer of chamber music (including 36 string quartets and 34 string quintets). He also wrote 10 piano trios, three performed operas (an early opera, Les deux oncles, remains in manuscript) and four symphonies, apart from various works for solo piano, piano duet, and sonatas for solo strings and piano. Of his string quintets, the first three (Op. 1) were written for two violins, two violas and cello, as with the quintets of Mozart.
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In the recapitulation, Villa-Lobos seeks to create contrasting colouration from the way the thematic material was originally presented in the exposition. For example, in the opening bars, the first theme is given to the woodwinds (later joined by horns and cornet), and the strings accompany with a semiquaver figure; in the recapitulation, the second violins and violas have the theme, accompanied by the semiquaver figure in clarinet and bassoon . The movement can also be seen as a sort of modified rondo form (ABCDA'B' plus coda), in which the D section is essentially episodic. However, the two occurrences of the refrain (A) are in the dominant and supertonic keys of G and D, and the overall tonic key, C, is reached only in the concluding coda .
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The concerto is in four movements and takes around half an hour to perform. The movement list is as follows: It was scored for three flutes, two oboes, one cor anglais, two clarinets, one bass clarinet, one contrabass clarinet, two bassoons, one contrabassoon, two horns in F, two trumpets in C, two trombones, timpani, a medium-sized percussion group formed by a vibraphone, a bass drum, a glockenspiel, a high-pitched log drum, a marimba, four tom-toms, one tam-tam, tuned gongs, and one large drumset, harp, celesta, and the usual set of strings, made up of twelve first violins, twelve second violins, ten violas, eight cellos, and eight double basses, apart from the main soloist, which is the violin.
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This piece was inspired by a walk Ives had taken with his new wife, Harmony, in June 1908 on a honeymoon hiking trip in western Massachusetts and Connecticut, a rural setting they enjoyed so much that they chose to go back to the Berkshires the very next weekend. While there, they took a walk by the Housatonic River near Stockbridge, Massachusetts. Ives recalled, Two days later, on 30 June 1908, Ives sketched some ideas to try to capture the atmosphere of this rustic scene. He used irregular, quasi-isorhythmic ostinatos in the violins to create the image of mist and fog rolling over swirling waters, and an English horn and violas to mimic the sound of singing from a church across the river.
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In 1929, Nicolas Slonimsky, conductor of the Boston Chamber Orchestra at that time, contacted Ives about the possibility of performing Three Places. Slonimsky had been urged by American composer Henry Cowell, Ives' contemporary, to program an Ives piece for some time and Three Places caught his attention. The thorough reworking required to transform Three Places from an orchestral score to one that could be performed by a much smaller chamber orchestra renewed Ives' interest in the work. Slonimsky required that the piece be rescored for 1 flute, 1 oboe, 1 English horn, 1 clarinet, 1 bassoon, 2 horns, 2 trumpets, 1 trombone, 1 percussionist, 1 piano, 7 violins, 2 violas, 2 cellos and 1 string bass, a much smaller orchestra than the original.
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If such a bell is not to be used, then a contrabassoon should be employed. All four parts have a very similar instrumentation. The core ensemble of instruments are one piccolo, three flutes (third doubling second piccolo), three oboes, cor anglais (doubling fourth oboe), three soprano clarinets, one bass clarinet, three bassoons; eight horns (fifth through eight doubling Wagner tubas), three trumpets, one bass trumpet, three tenor trombones, one contrabass trombone (doubling bass trombone), one contrabass tuba; a percussion section with 4 timpani (requiring two players), triangle, cymbals, glockenspiel; six harps and a string section consisting of 16 first and second violins, 12 violas, 12 violoncellos, and 8 double basses. Das Rheingold requires one bass drum, one tam-tam, one onstage harp and 18 onstage anvils.
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The dynamic markings added by Wilhelmj are more in line with a romantic interpretation than with the baroque original. As a violin can't play very loudly in its lowest register, all the other parts of Bach's music were firmly reduced in Wilhelmj's version: the keyboard part is to be played staccato and pianissimo, causing the effects of interweaving melodies and of drive in the bass part to get lost. The accompanying violins and violas play muted (con sordino), and the bass part for cellos and double basses is to be played pizzicato and , with the same change in effect compared to Bach's original. Later, a spurious story circulated that the melody was always intended to be played on the G string alone.
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The pastiche film score was composed largely by Manlio Mazza, who reworked the music of several composers including Mozart, Mendelssohn, Spontini, Donizetti and Gluck. But the film also contained an original composition by Mazza's former teacher Ildebrando Pizzetti, which was composed on D'Annunzio's recommendation: the ten-minute Sinfonia del fuoco. The piece was written to accompany the Invocation to Moloch, in the pivotal Second Episode of the film, when one hundred naked children are sacrificed to the god of Carthage. Scored for a large orchestra, including six first and six second violas, baritone, and a mixed chorus of more than five parts, the Sinfonia del fuoco was performed once only, on the evening of the film's première, conducted by Mazza, at the Teatro Vittorio Emanuele in Turin, on 18 April 1914.
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And then when I'm ready with the chord structure because I knew it would be for strings, I would take it to violins, violas, (and) cellos because I kind of wanted a lot of it to be in the strings. We actually saved it 'til last and I did several days of recording the strings. I had 30 players, and then I would do 2 sets of arrangements so basically there are, in theory, 60 because it needed that sort of panoramic feeling to have that sort of smooth, cream-like perfection." She described how the music needed to feel cyclical, "that it could go on forever" as a way to create "equilibrium, like the person who's singing this song is showing some sort of harmony to someone as an example.
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In the development section of the opening movement of Beethoven's Piano Sonata in E minor, Beethoven demonstrates this influence by adding "a wonderful counterpoint" to one of the main themes.Schiff, A. (2006) "Guardian Lecture on Beethoven Piano Sonata in E minor, Op. 90, accessed 8 August 2019 Beethoven Piano Sonata Op. 90, first movement bars 110–113 Beethoven Piano Sonata Op. 90, first movement bars 110–113 A further example of fluid counterpoint in late Beethoven may be found in the first orchestral variation on the "Ode to Joy" theme in the last movement of Beethoven's Symphony No. 9, bars 116–123. The famous theme is heard on the violas and cellos, while "the basses add a bass-line whose sheer unpredictability gives the impression that it is being spontaneously improvised.
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In awarding the recording 5 stars out of five, Robert Hugill praised the vocal writing, use of text, "daring" first-person approach, "striking and often colourful orchestrations" and the dramatic characterization of the chorus. He concluded that the piece "is easily overlooked ... there is much of interest in the piece and repeated listening has made me come to appreciate it rather more". Andrew Achenbach, in Gramophone, agreed: > The Light of the World … emerges after many decades of unjust neglect as a > splendidly distinctive, unstuffy achievement, brimful of captivating melodic > charm, communicative flair and technical confidence, always displaying an > enviably sure dramatic instinct. … Especially imaginative is Sullivan’s > deployment of an inner-orchestra to accompany the words of Jesus, the mellow > timbre of violas, cellos, cor anglais, bass clarinet and contrabassoon > registering to frequently ear-pricking effect.
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In the Weimar version, Bach scored the cantata four vocal soloists (soprano (S), alto (A), tenor (T) and bass) (B), a four-part choir, and an orchestra of three trumpets (Tr), timpani (Ti), recorder (Fl) or flauto traverso (Ft), oboe d'amore (Oa), two violins (Vl), two violas (Va), bassoon (Fg), cello (Vc), and basso continuo (Bc). It is a festive, rich instrumentation for the holiday, whereas the previous two cantatas in Weimar had not employed brass instruments. Bach used the French string orchestra with two viola parts, as in most cantatas until 1715, when he started to prefer the Italian scoring with one viola. In Weimar, a recorder or flauto traverso doubled the first violin an octave higher; in the first Leipzig performance it was a flauto traverso.
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The conservatory of the Pietà hospital was the only hospital to remain active until approximately 1830. All the other hospitals completely closed their musical activity during the first years of the nineteenth century. From an instrument inventoryPio Stefano book dated 1790 we learn that during that year the Pietà hospital had still “four violins with used bows, four cellos, seventeen violins, two marine trumpets [this may in fact refer to violino in tromba marina, six small violas, two viola d’amore, two mandolines, two lutes, one theorbo, four hunting horns with accessories, two psalteries with harmonic box, two cymbals, three flutes, two big cymbals with spinets, six spinets. Jean-Jacques Rousseau's account of 1770 conveys his impressions but has been over-generalized as a description of the institution over an entire century.
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Michael Haydn's Symphony No. 39 in C major, Perger 31, Sherman 39, MH 478, written in Salzburg in 1788, is the last C major symphony he wrote, the sixth of his final set of six symphonies. The symphony is scored for 2 oboes, 2 bassoons, 2 horns, 2 trumpets, timpani and strings. The edition by H. C. Robbins Landon for Verlag Doblinger has the cellos and basses on the same staff for most of the work even though the cellos occasionally are independent of the bassoons and basses in the first movement. Close to the beginning of the third movement it becomes necessary to split the cellos and basses on to different staves as the cellos switch to tenor clef and double the violas, leaving the bass to the bassoons and basses.
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In the mid 1990s Swan moved to the Scottish Borders and developed a second career as a woodworker (carpenter, cabinet maker and violin restorer).World Beat Music interview with Martin Swan (2001) , retrieved 7 December 2008Hinges pop-up on Mouth Music homepage, retrieved 7 December 2008 After cutting off the top of a finger with a woodworking machine in 2008, he decided to give up the large- scale carpentry and concentrate on restoring old violins. He soon became fascinated and exasperated by the variations in tonal quality of old violins and started researching the methods of Eastern European violin makers. This led to him designing a range of handmade violins, violas and cellos, travelling to Transylvania to choose tonewood and developing friendships with the Hungarian luthiers who now make the instruments for him.
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The DSCH-motif is anticipated throughout the first movement of the 10th Symphony: In the 7th bar of the start of the symphony the violins doubled by the violas play a D for 5 bars which is then directly followed by an E; 9 bars before rehearsal mark 29 the violins play the motif in an inverted order D-C- H-S (or D-C-B-E). The first time the motif is heard in its correct order in the whole symphony is in the 3rd movement, right after a short canon on the beginning melody starting from the 3rd beat of the 5th bar after rehearsal mark 104 (Fig. 11) where it is played in unison by the piccolo, the 1st flute and the 1st oboe (compassing a range of three octaves).
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In 2009 Icarus transferred their tour of Vincent in Brixton to three number one touring houses including the Yvonne Arnaud Theatre, Devonshire Park Theatre, and Theatre Royal Windsor. They also produced their first Shakespeare piece, a mid-scale tour of Othello using actor-musicians playing violins, violas, and cellos. Both these projects marked the beginning of our collaboration with Original Theatre Company with whom we later toured Journey’s End (Runner-Up, The Guide Awards, four stars in The Times, Manchester Evening News, and The Scotsman). In 2010 the company began with a highly sexual piece of new writing about a gay teenager in 1981 Northern Ireland, Rip Her to Shreds, and followed with over 100 performances of the second Shakespeare play, Hamlet, done in the style of Greek Chorus.
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Michael Haydn's Symphony No. 2 in C major, Perger 2, Sherman 2, MH 37, was written in Oradea in 1761. Scored for 2 oboes, 2 bassoons, 2 horns, 2 trumpets and strings and continuo, in four movements: #Allegro #Andante, in F major #Menuetto e Trio #Presto The first movement begins almost like a concerto grosso, but is in fact in a proto-sonata form (with the very brief development carried almost entirely by the violins without accompaniment). The exposition has a repeat, and the development and recapitulation are also marked off by a repeat (which is not always observed). The slow movement is written for strings only, but the continuo is generally understood to continue through; the violas rather than the second violins double the first violins at the octave (Delarte, 2006).
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On a later occasion in Parma, he won another valuable violin (also by Guarneri) after a difficult sight-reading challenge from a man named Pasini. Il Cannone Guarnerius on exhibit at the Palazzo Doria-Tursi in Genoa, Italy Other instruments associated with Paganini include the Antonio Amati 1600, the Nicolò Amati 1657, the Paganini-Desaint 1680 Stradivari, the Guarneri-filius Andrea 1706, the Le Brun 1712 Stradivari, the Vuillaume c. 1720 Bergonzi, the Hubay 1726 Stradivari, and the Comte Cozio di Salabue 1727 violins; the Countess of Flanders 1582 da Salò-di Bertolotti, and the Mendelssohn 1731 Stradivari violas; the Piatti 1700 Goffriller, the Stanlein 1707 Stradivari, and the Ladenburg 1736 Stradivari cellos; and the Grobert of Mirecourt 1820 (guitar). Four of these instruments were played by the Tokyo String Quartet.
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Bach structured the cantata in seven movements, beginning with a chorale fantasia and ending in a closing chorale, as usually in his chorale cantatas, but with an unusual sequence of only one recitative and four arias, setting the poetic hymn stanzas. He scored it for three vocal soloists (soprano (S), tenor (T) and bass) (B), a four-part choir, and a Baroque chamber ensemble of corno da caccia (Co) to support the chorale tune in the outer movements, two flauti traversi (Ft), two oboes d'amore (Oa), two violins (Vl), two violas (Va) and basso continuo (Bc). In the following table of the movements, the scoring follows the Neue Bach-Ausgabe, the keys are given for the Weimar version. The time signature is provided using the symbol for common time (4/4).
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457 However, the behaviour of the monks generally did not improve, and after their abysmal showing during the plague of 1720, during which they barricaded themselves inside their walls instead of providing any assistance to the stricken, Pope Benedict XIII secularised the monastery in 1726, converting it into a collegiate church with a community of lay canons under an abbot.Paul Gaffarel et de Duranty, La peste de 1720 à Marseille & en France, librairie académique Perrin, Paris, 1911, p. 172. This was confirmed by a bull of Pope Clement XII dated 17 December 1739.Mylène Violas, "Des moines bénédictins aux chanoines-comtes: aux origines de la sécularisation de l’abbaye de Saint-Victor", in Bicentenaire de la paroisse Saint-Victor, actes du colloque historique (18 October 1997), La Thune, Marseille, 1999, p.
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The Violin Forms of Antonio Stradivari (1992) contains life-size photographs of all of the extant wood forms and patterns used by Stradivari in the construction of his violins, violas, and cellos, and includes an analysis of their geometry. It was described by one reviewer as "the standard work on the evolution of Stradivarius's designs."Giles Whittell, The Times, October 27, 2000 Giuseppe Guarneri del Gesù (1994) features 200 life-size color photographs taken by Pollens and complete technical documentation of the twenty-five Guarneri violins that were displayed in the "Masterpieces of Giuseppe Guarneri del Gesù" exhibition held at The Metropolitan Museum of Art in 1994. Containing newly discovered biographical and historical information, this is the most thorough study to date of this great maker and his work.
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The characteristic long, sustained, and singing sound produced by the violin, viola, violoncello, and double bass is due to the drawing of the bow against their strings. This sustaining of musical sound with a bow is comparable to a singer using breath to sustain sounds and sing long, smooth, or legato melodies. In modern practice, the bow is almost always held in the right hand while the left is used for fingering. When the player pulls the bow across the strings (such that the frog moves away from the instrument), it is called a down-bow; pushing the bow so the frog moves toward the instrument is an up-bow (the directions "down" and "up" are literally descriptive for violins and violas and are employed in analogous fashion for the cello and double bass).
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The second employs the violins in an imitative, sometimes homophonic structure, that uses shorter note values. The dance movements of the suites show traces of Italian (in the gigues of suites 2 and 6) and German (allemande appears in suites 1 and 2) influence, but the majority of the movements are clearly influenced by the French style. The suites do not adhere to a fixed structure: the allemande is only present in two suites, the gigues in four, two suites end with a chaconne, and the fourth suite contains two arias. Pachelbel's other chamber music includes an aria and variations (Aria con variazioni in A major) and four standalone suites scored for a string quartet or a typical French five-part string ensemble with 2 violins, 2 violas and a violone (the latter reinforces the basso continuo).
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Initial sketch for the theme, found in a letter dated 7 August 1829 to his sister Fanny (original in the Music Division of the New York Public Library for the Performing Arts) The music, though labelled as an overture, is intended to stand as a complete work. Although programme music, it does not tell a specific story and is not "about" anything; instead, the piece depicts a mood and "sets a scene", making it an early example of such musical tone poems. The overture consists of two primary themes; the opening notes of the overture state the theme Mendelssohn wrote while visiting the cave, and is played initially by the violas, cellos, and bassoons. This lyrical theme, suggestive of the power and stunning beauty of the cave, is intended to develop feelings of loneliness and solitude.
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The Pythian Temple Sessions. superoldies.com. The musicians were Al Caiola (guitar); Sanford Block (bass); Ernie Hayes (piano); Doris Johnson (harp); Abraham Richman (saxophone); Clifford Leeman (drums); Sylvan Shulman, Leo Kruczek, Leonard Posner, Irving Spice, Ray Free, Herbert Bourne, Julius Held and Paul Winter (violins); David Schwartz and Howard Kay (violas); and Maurice Brown and Maurice Bialkin (cellos). Although Holly's widow, Maria Elena Holly, claims that the song was written for her as a wedding gift, a listing of producer Norman Petty's productions claims that Vi Petty, Norman's wife, recorded the first version of this song on June 4, 1958—two weeks prior to Buddy's first meeting with Maria. Holly biographer Bill Griggs points out that the melody borrows heavily from the gospel song "I'll Be All Right," a favorite of Holly's, and one that would be played at his funeral in 1959.
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They were made throughout the world including the United Kingdom, in the U.S.A., continental Europe and Australia. Significant English makers of vesta cases included notable silversmiths such as Sampson Mordan and Asprey & Co. Significant American manufacturers of match safes include Wm. B. Kerr, Gorham, Unger Brothers, Battin, Blackington, Whiting, George Scheibler and Shreve & Co. The different patterns and types must run into many thousands. As well as plain and decorated square, oblong and round cases, a myriad of novelty shapes have been recorded; silver, brass or white metal pigs with hinged heads were popular, as were vesta cases in the form of Mr Punch, hearts, skulls, musical instruments (often violas), owls, boots and shoes, bottles, ladies' legs and so on. Matchsafe, late 19th century, in the form of a pair of women's bloomers, featuring simulated creases and lace cuffs.
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The album began as a demonstration record for the 'Gizmotron', or Gizmo. This was an electric guitar effect device that Godley and Creme had invented a few years earlier as a means of providing orchestral textures, because the band at that stage could not afford to hire orchestral players to augment their recordings. The Gizmo was an electro-mechanical device which was clamped over the bridge of an electric guitar; it contained six small motor-driven toothed plastic wheels that, when pushed into contact with the strings, created a 'bowing' effect, producing notes and chords with endless sustain that, with additional audio effects treatment and overdubbing, could emulate violins, violas, cellos and basses. Godley and Creme had begun work on songs for the Gizmo before leaving 10cc, but quit the band when they realised the songs could not comfortably appear on 10cc albums.
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The Marching Owl Band (aka The MOB or the Blues Band of South Main) is the Rice University "marching band" in the sense that it is the official ensemble that performs during football games, some basketball games, parades, and other public events. However, the MOB is not a traditional marching band, but rather a scatter band; members do not march, and some members play non-standard instruments (or no instrument at all). For example, in recent seasons these instruments included violins, violas, a cello, electric guitar, electric bass, electric piano, and even a harp. Extras known as Show Assistants are also a perennial inclusion in the MOB; these students play no instruments besides the kazoo (or an occasional didgeridoo), but are responsible for constructing and employing props in the halftime shows and acting out any mime or gag bits during performances.
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After the whole orchestra has been effectively taken to pieces in this way, it is reassembled using an original fugue which starts with the piccolo, followed by all the woodwinds, strings, brass and percussion in turn. Once everyone has entered, the brass are re-introduced (with a strike on the tamtam) with Purcell's original melody. The sections of the piece and instruments introduced by the variations are as follows. ;Theme: Allegro maestoso e largamente :Tutti (D minor), woodwinds (F major), brass (E♭ major), strings (G minor), then percussion (written in A major) ;Variation A: Presto :Flutes and Piccolo ;Variation B: Lento :Oboes ;Variation C: Moderato :Clarinets ;Variation D: Allegro alla marcia :Bassoons ;Variation E: Brillante: alla polacca :Violins ;Variation F: Meno mosso :Violas ;Variation G: Lusingando :Cellos ;Variation H: Cominciando lento ma poco a poco accel.
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At length, the dynamic suddenly softens to pianissimo and a new mood is created, where small motivic fragments are quietly passed between instruments in the orchestra above low string pizzicato – the effect is of mysterious, pulsating energy (the tempo remains Allegro). Intensity and urgency is gradually built up again, though the dynamic feels suppressed. A crescendo is built up until a new passage of energy is released, where a fast motive based on the note D is obsessively repeated, initially in the first violins and later passed to the woodwinds, above a dramatic tremolo from the violas and cellos. The woodwinds and brass play harmonic fragments, often juxtaposing major thirds in a high register above the darkly dissonant harmonic texture. All this energy culminates in a huge fugato (based on material already present), marked ‘Intensivo’, which breaks away from the harmonic field.
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In 1972, as part of a revamp of the light orchestras, the BBC changed the structure of the orchestra, to match its London counterpart, the BBC Radio Orchestra, a large studio orchestra of around 65 players which included a full Big Band and symphonic sized wind and strings. This was a grouping that could be used in its entirety or broken down into a series of flexible ensembles prefixed A-E. The New Scottish Radio Orchestra's instrumentation, classified B1, B2 and C1 to match its London counterparts, had a full complement of 32, and was a big band with strings in the Billy May/Nelson Riddle style. The full ensemble was classified as the B1 Orchestra, comprising 5 saxes, flute, 4 trumpets, 4 trombones, piano, guitar, bass, drums, percussion, 10 violins, 2 violas and 2 cellos.
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In his retrospective review for Allmusic, critic William Ruhlmann called it an "excellent album steeped in the Southern California country-rock sound of the '70s". In a review for Rolling Stone, Stephen Holden wrote, "John David Souther’s second solo album benefits from a beautiful, all-star Peter Asher production. More sophisticated than either his first album or the two Souther-Hillman-Furay albums, Black Rose underscores Souther’s melodic writing, his strongest point, with some genuinely innovative arrangements by David Campbell, the classically trained musician who scored “Prisoner in Disguise" for Linda Ronstadt. "Silver Blue," much of which Campbell has scored as a duet for voice and plucked double bass and violas, is a starkly arresting production, while setting "Faithless Love" into a semiformal piece for voice, acoustic guitar and chamber ensemble transforms a prettier-than-average country-rock ballad into an eloquent one.
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The orchestra's size is about the size employed for early 19th-century opera: 2 flutes (one doubling piccolo), 2 oboes (both doubling oboe d'amore), 2 clarinets, bass clarinet, 2 bassoons, 2 french horns, 2 trumpets, 2 trombones, tuba, percussion (3 players), celesta (doubling synthesizer), 12 violas, 8 celli, 6 double basses. Since the Stuttgart State Opera house was being restored in 1984 and the orchestra pit of the ' at the Stuttgart State Theatre, where the premiere was to take place, was considerably smaller, Glass chose to completely leave out the violins (about 20), giving the orchestra a darker, sombre character, which fits the subject. Apart from this, this was Glass's most "conventional" opera orchestra until then (compared to Einstein on the Beach, written for the six-piece Philip Glass Ensemble, and Satyagraha, scored for woodwinds and strings only).
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It was during this period that Peter also composed a number of well-respected instrumental pieces for twio violins, two violas and a cello; he also composed sacred anthems like "It Is a Precious Thing" and arias like "The Lord Is in His Holy Temple". The Moravian Church continued to produce a number of renowned composers into the 19th century, including John Antes as well as Francis F. Hagen, Johann Christian Bechler, Edward W. Leinbach, Simon Peter, David Moritz Michael, Georg Gottfried Müller, Peter Wolle, Jeremiah Dencke and Johannes Herbst. Herbst was also a noted collector, whose archives, left to the Salem church after his death, were made public in 1977; these included more than 11,000 pages of content. Salem has gradually become the center for Moravian musical innovation, partially due to the presence of the Moravian Music Foundation.
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The piece is written for two oboes, bassoon, two horns (in A and E), and strings (violins in two sections (four in the final Adagio), violas, cellos and double basses). The turbulent first movement of the work opens in a manner typical of Haydn's Sturm und Drang period, with descending minor arpeggios in the first violins against syncopated notes in the second violins and held chords in the winds. The movement can be explained structurally in terms of sonata form, but it departs from the standard model in a number of ways (just before the recapitulation, for example, new material is introduced, which might have been used as the second subject in the exposition in a more conventional work). Also, the exposition moves to C minor, the dominant minor, rather than the more usual relative major.
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Star-Child was commissioned by the Ford Foundation and written in 1977. It is Crumb’s largest work and requires 47 instrumentalists as well as many vocalists. It calls for soprano, antiphonal children’s voices, male speaking choir, bell ringers, and large orchestra.Bruns Originally, the orchestra members spoke as well as played, and the children’s choir also played the handbells, but this was later revised in 1979 to the current personnel list.Borroff The current personnel lists calls for 4 flutes (also playing 4 piccolos), 4 oboes (1 doubling on English horn), 3 clarinets in Bb, 1 clarinet in Eb, 3 bassoons, 1 contrabassoon, 6 french horns, 5 trumpets in C, 2 trumpets in D, 3 trombones, 1 tuba, 8 percussionists, 1 organ, 1 solo soprano, children's voices I and II (SASA), male speaking choir playing handbells, violins I, violins II, violas, cellos, and contrabasses.
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"Apologue: Of Rage and Remembrance" is the first of the four movements in Symphony No. 1 and written in a loose A-B-A form that "alternates between the tension of anger and the bittersweet nostalgia of remembering". The movement opens with "the nasal open A of the violins and violas" and explores the different timbres of that note by being played on different strings while varying the speed of vibrato as the note "grows in intensity and volume until it is answered by a burst of percussion". This then ushers in the entrance of the orchestra in cacophonous overlapping passages of various woodwind and brass instruments. The piece intensifies with increasing dynamic and tempo to a climax, from which the violins take over in the very upper range of their register, thus beginning the B section.
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Haydn's musical setting stems from a suggestion of van Swieten's that the words should be sung by the bass soloist over an unadorned bass line. However, he only partly followed this suggestion, and after pondering, added to his bass line a rich layer of four-part harmony for divided cellos and violas, crucial to the final result.Of the passage, Rosemary Hughes writes (1970, 135), "Only a profoundly experienced, as well as profoundly inspired, musician could have endowed the recitative 'Be fruitful all' with the shrouded depth and richness suggested by its accompaniment of divided lower strings alone." The premieres of the three oratorios The Seven Last Words, The Creation and The Seasons all took place under the auspices of the Gesellschaft der Associierten, who also provided financial guarantees needed for Haydn to undertake long-term projects.
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Bowed instruments may have originated in the equestrian cultures of Central Asia, an example being the Kobyz (Kazakh: қобыз) or kyl-kobyz is an ancient Turkic, Kazakh string instrument or Mongolian instrument Morin huur:Turkic and Mongolian horsemen from Inner Asia were probably the world’s earliest fiddlers. Their two-stringed upright fiddles were strung with horsehair strings, played with horsehair bows, and often feature a carved horse’s head at the end of the neck. ... The violins, violas, and cellos we play today, and whose bows are still strung with horsehair, are a legacy of the nomads.[3] It is believed that these instruments eventually spread to China, India, the Byzantine Empire and the Middle East, where they developed into instruments such as the erhu in China, the rebab in the Middle East, the lyra in the Byzantine Empire and the esraj in India.
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The mass is scored for a quartet of vocal soloists, a substantial chorus, and the full orchestra, and each at times is used in virtuosic, textural, and melodic capacities. The orchestra consists 2 flutes; 2 oboes, 2 clarinets (in A, C, and B); 2 bassoons; contrabassoon; 4 horns (in D, E, B basso, E, and G); 2 trumpets (D, B, and C); alto, tenor, and bass trombone; timpani; organ continuo; strings (violins I and II, violas, cellos, and basses); soprano, alto, tenor, and bass soloists; and mixed choir. The writing displays Beethoven's characteristic disregard for the performer, and is in several places both technically and physically exacting, with many sudden changes of dynamic, metre and tempo. This is consistent throughout, starting with the opening Kyrie where the syllables Ky-ri are delivered either forte or with sforzando, but the final e is piano.
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This brilliant composition opens with what may be taken as its principal theme, inasmuch as it furnishes most of the material for the development, and also reappears in the last movement as a climax to the whole work. The announcement of this resolute subject (by flutes, oboes, clarinets and bassoons accompanied lightly by horns, violas, cellos and contrabasses) is followed by a short solo cadenza, after which the unfolding of the musical picture begins. As this proceeds, several subsidiary melodies come to notice, prominent among them being one which (while hinted at before) does not assume its formal shape until given out, grazioso, by the pianoforte alone following a short upward chromatic scale passage. This graceful subject also figures conspicuously in the development which, after passing through a succession of interesting stages, culminates finally in a rousing climax.
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Polymorphia is a musical composition for 48 string instruments (twenty-four violins and eight each of violas, cellos and basses) composed by the Polish composer Krzysztof Penderecki in 1961. The piece was commissioned by the North German Radio Hamburg. It premiered on April 16, 1962 by the radio orchestra and was conducted by Andrzej Markowski. Polymorphia is dedicated to Hermann Moeck, the first of Penderecki’s editors in the West. At the end of the 1950s and in the early 1960s (Penderecki’s post student years), he sought out new sonic and technical possibilities of instruments, particularly strings,Danuta Mirka, The Sonoristic Structuralism of Krzysztof Penderecki(Katowice: Music Academy in Katowice, 1997), 8 & 318–320 by unconventional means of articulation and peculiar treatment of sound-pitch.Regina Chlopicka, “Stylistic Phrases in the Work of Krzysztof Penderecki.” Studies in Penderecki vol.1, ed.
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"One More Sleep" was co-written by Lewis in collaboration with Richard "Biff" Stannard, Iain James, Jez Ashurst and Bradford Ellis. Stannard and Ash Howes produced the song, while they and Lewis carried out the vocal production. It was recorded by Biffco and mixed by Howes at Biffco Studios, Brighton, and Angel Recording Studios, London. The song utilised a multitude of instrumentalists: Keys and programming were performed by Ashurst, Stannard and Howes; Celli by Nick Holland; drums by Freddy Sheed and bass by Knight Time Horns; trombone by Barnaby Dickinson and trumpet by Graeme Flowers; James Knight performed the saxophone; strings were led by Rolf Wilson, arranged and conducted by Cliff Masterson and booked by Roz Colls; Rolf Wilson, Simon Baggs, Steve Morris, Julian Leaper, Tom Piggot Smith, Richard George, Jonathan Hill, Laura Bruce White, Tim Grant, Reiad Chibah performed the violins; and violas by Greg Walmsley, Nerys Richards.
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Johannes Brahms' String Sextet No. 2 in G major, Opus 36 was composed during the years of 1864–1865 (although it drew on material from earlier times) and published by the firm of Fritz Simrock. It was first performed in Boston, Massachusetts on October 11, 1866, with the European premiere following the next month in Zurich. The work is scored for two violins, two violas, and two celli, and has four movements: # Allegro non troppo (G major) # Scherzo – Allegro non troppo – Presto giocoso (G minor) # Adagio (E minor) # Poco allegro (G major) Brahms did most of the composition in the comfortable country surroundings of Lichtental, near Baden-Baden. According to Brahms' biographer Karl Geiringer, it conceals a reference to the first name of Agathe von Siebold (with whom he was infatuated at the time) in the first movement, bars 162–168, with the notes a-g-a-h-e.
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Bloch recounts about the work in 1932, which he describes as ”psychoanalysis” of his unconscious creative process, stating that the solo cello in Schelomo is the incarnation of King Solomon and that the orchestra represents the world around him, as well as his experiences in life. In addition, he also states that sometimes the orchestra reflects the thoughts of Solomon while the solo cello expresses his words. Schelomo is divided into three sections, with each section separated by the use of different textures and themes in cyclic form. Schelomo is scored for three flutes, two oboes, English horn, two clarinets in Bb, bass clarinet, two bassoons, contrabassoon, four horns in F, three trumpets in C, three trombones, tuba, timpani, tambourine, snare-drum, bass-drum, cymbals, tam-tam, celesta, two harps, violins (at least twelve players), violas (at least ten), cellos (at least six), basses (at least four).
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Holman surmised that the manuscript was probably derived from the repertory of the Twenty-Four Violins who played both theatrical and non-theatrical music. Although Holman could not say exactly when chamber music shifted from having two violas to having two violins, he observed that the four works in Drexel 3976 that also appear in The Broken Consort have two violins and a single viola, indicating that the transition had begun to take place. (Similar works by Henry Purcell, Locke's successor at court, are primarily for two violins and viola, indicating the transition was nearly completed.) Whether continuo instruments (harpsichord and theorbo) accompanied the theatrical music, Holman found sources with somewhat conflicting information. While noting that Thomas Shadwell's version of the play Macbeth specifically describes the position of the instruments including "harpsicals" and a theorbo, other evidence shows that theater music did not always include continuo players.
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The concluding capricci of Opus 8 are contrapuntal pieces. The most significant point of interest in Varie Sonate Alla Francese, & all' itagliana à sei Stromenti, Opus 11 (1684), is the unusual scoring of three violins, two violas (one alto viola and one tenor viola) and continuo – although, as mentioned above, Vitali makes it clear in his preface that the middle parts can be regarded as ad lib. The thirty dance movements that make up this collection are grouped together by key. Dance types include a balletto, capriccio, introdutione, gavotta, giga, borea, zoppa, sarabanda and corrente. The next collection of da camera sonatas, Balli in stile francese a cinque stromenti, Opus 12 (1685), is scored a quattro, for two violins, viola and continuo. The dances are grouped together according to key, not presented in pairs as is the case with Vitali’s Opera 1, 3 and 8.
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Assigning specific names and classifying violoni as different types, as we are doing here, is a modern attempt to clarify things. Loosely described, bowed string instruments are made in families so that different sized members can play in different ranges, with treble instruments corresponding to the soprano and bass instruments corresponding to the lowest vocal range (or even lower, down to the "contrabass" register). Members of the violin family are the easiest to identify in this way: with the violin corresponding to the soprano, the viola to the alto singer, violoncello to the tenor, and bass to the bass ranges of the human voice (historically, the violin family was made in more than just these four sizes: there were originally several sizes of violas, as well as instruments smaller than the modern violin, for example). The viol family also comprises instruments in a multitude of sizes.
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The orchestra consists of 2 flutes, 2 piccolos, 2 oboes, cor anglais, 2 clarinets, bass clarinet, 2 bassoons, contrabassoon, 5 horns, 3 trumpets, 3 trombones, tuba, timpani (five drums in total) with a large percussion section for 3 players as well as 12 first violins, 10 second violins, 8 violas, 6 cellos, 4 double basses. The first percussionist plays glockenspiel, vibraphone (with two double bass bows), triangle, whistle, geophone, whip, tambourine, 1 bodrán, bass drum, 2 Peking gongs. The second percussionist plays the same glockenspiel as the first percussionist, tubular bells, the same geophone as the first percussionist, 5 wood blocks (graded), anvil, snare drum and suspended cymbal. The third percussionist plays 2 chromatic octaves of crotales (with two double bass bows), 5 tuned gongs (one large, three medium and one small), güiro, vibraslap, 1 metal sheet, tenor drum, a pair of crash cymbals and tam-tam.
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In 1994, Peter Copley co - founded New Music Brighton, a collective of composers working in the Sussex region. Copley's many works include Farnham Fantasia for strings, recently performed in both the Royal Festival and Royal Albert Halls, and the Concerto for Trumpet, Strings and Percussion, first performed by John Wallace and the Brighton Philharmonic Orchestra under Barry Wordsworth as part of the orchestra’s 75th Birthday Weekend. Among his recent compositions are Elegiac Variations for Jan and Jane, for two violas and string orchestra, and Conversation Piece, for Percussion Ensemble, commissioned by Brighton & Hove Music Service. 2009 – 10 commissions include music for three short stories by Catherine Smith commissioned by Lewes Live Literature, a work for Sir John Tomlinson and the Brighton Youth Orchestra for the 2010 Brighton Festival and a composition for mandolin, commissioned by Alison Stephens for the 2010 Dartington International Summer School.
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A typical symphony at this time was written for a pairs of oboes and horns and strings, but the Eisenstadt orchestra had recently taken on two new horn players, and Haydn wrote this symphony for an expanded ensemble of one flute, two oboes, four horns, timpani and strings (violins divided into firsts and seconds, violas, cellos and double basses), with bassoon doubling the bass-line. The timpani part in the autograph score is not in Haydn's hand, but it is quite possibly authentic: he may have written it on a separate sheet, with somebody else adding it to the score at a later date. #Allegro molto, #Adagio cantabile in G major, #Menuet & Trio (Trio in G major), #Finale. Allegro molto, The first movement opens with held chords in the winds and the strings playing a simple figure based on an arpeggio: :Image:Haydn- symph-13-opening.
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While he wrote works in several different genres, including symphonies, orchestral overtures, operas, piano works, and chamber music, it is his choral works which received the most attention. However, today he is primarily remembered for his String Sextet in D Major, Op. 68. This string sextet was known as the “Prize Sextet” because Krug won the Stelzner Prize for chamber music with this composition. The Prize Sextet was originally for 2 Violins, Viola, Violotta, Cello and Cellone, but the publisher of the work (Fritz Kistner) wisely hedged his bets and produced an edition for the standard combination of 2 Violins, 2 Violas and 2 Cellos in addition to the so-called Stelzner version. Of this work, Wilhelm Altmann, the famous chamber music critic, has written: > “If not a masterpiece of the highest order from start to finish, Krug’s > Sextet nonetheless comes away with high honors.
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In 2015, Max Richter released his most ambitious project to date, Sleep, an 8.5 hour listening experience targeted to fit a full night's rest. The album itself contains 31 compositions, most of them reaching 20–30 minutes in duration, all based around variations of 4-5 themes. The music is calm, slow, mellow and composed for piano, cello, two violas, two violins, organ, soprano vocals, synthesizers and electronics. As the album's liner notes, strings are played by the American Contemporary Music Ensemble (Ben Russell, Yuki Numata Resnik, Caleb Burhans, Clarice Jensen and Brian Snow), Vocals are provided by Grace Davidson and the piano, synthesisers and electronics are played by Richter himself. Richter also released a 1-hour version of the project, "From Sleep", that contains roughly 1 shortened version of every "theme" from Sleep (hence its title), and is supposed to act as a shorter listening experience for the Sleep project.
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In addition to a somewhat standard instrumentation, the ballet also requires the use of the tenor saxophone. This voice adds a unique sound to the orchestra as it is used both in solo and as part of the ensemble. Prokofiev also used the cornet, viola d'amore and mandolins in the ballet, adding an Italianate flavor to the music. Full instrumentation is as follows: ;Woodwinds: :1 piccolo :2 flutes :2 oboes (2nd doubling on 2nd English horn) :2 clarinets (2nd doubling on E-flat clarinet) :1 bass clarinet :1 tenor saxophone :2 bassoons :1 contrabassoon ;Brass: :6 horns :3 trumpets :1 cornet :3 trombones :1 tuba ;Percussion: :Timpani :Snare drum :Xylophone :Triangle :Woodblock :Maracas :Glockenspiel :Tambourine :Chime in A :Cymbals :Bass drum ;Keyboards: :Piano :Celesta :Organ ;Plucked strings :2 mandolins :2 harps ;Bowed strings: :Viola d'amore (or solo viola) :First and second violins :Violas :Violoncellos :Double basses The score is published by Muzyka and the Russian State Publisher.
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A virtuoso cellist, Boccherini often played violin repertoire on the cello, at pitch, a skill he developed by substituting for ailing violinists while touring. This supreme command of the instrument brought him much praise from his contemporaries (notably Pierre Baillot, Pierre Rode, and Bernhard Romberg), and is evident in the cello parts of his compositions (particularly in the quintets for two cellos, treated often as cello concertos with string-quartet accompaniment). He wrote a large amount of chamber music, including over one hundred string quintets for two violins, viola and two cellos (a type which he pioneered, in contrast with the then common scoring for two violins, two violas and one cello), a dozen guitar quintets, not all of which have survived, nearly a hundred string quartets, and a number of string trios and sonatas (including at least 19 for the cello). His orchestral music includes around 30 symphonies and 12 virtuoso cello concertos.
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Several important composers active in the 20th century have died in the early part of the 21st century. These include: Konrad Boehmer, Pierre Boulez, Elliott Carter, Dutilleux, Maxwell Davies, Rautavaara, Stockhausen, and Tavener (already mentioned); Maryanne Amacher, an installation artist and experimental composer; Milton Babbitt whose final works included songs, chamber music and Concerti for Orchestra (2004); Hans Werner Henze whose opera L'Upupa und der Triumph der Sohnesliebe was premièred in 2003 followed by Sebastian im Traum (2004) for large orchestra and the opera Phaedr (2007); Peter Lieberson whose Shing Kham for percussion and orchestra (2010–11) was finished by Oliver Knussen and Dejan Badnjar after his death; John McCabe whose final works include the seventh symphony (Labyrinth) and chamber music; Emmanuel Nunes whose La Main noire for 3 violas (2006–2007) was based on his opera Das Märchen; and Peter Sculthorpe whose Thoughts from Home for piano was intended to form part of the Gallipoli Symphony for Anzac Day (2015).
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The Devils of Loudun is scored for enormous musical forces, including nineteen soloists, five choruses (nuns, soldiers, guards, children, and monks), orchestra, and tape. The orchestra itself is of a great size too, making use of a very particular blending of instruments. The orchestra is composed of four flutes (alternating two piccolo and one alto), two English horns, an E♭ clarinet, a contrabass clarinet, two alto saxophones, two baritone saxophones, three bassoons, a contrabassoon, six horns, four B♭ trumpets (alternating one D trumpet), four trombones, two tubas, percussion (4 players), twenty violins, eight violas, eight celli, six basses, harp, piano, harmonium, organ, and bass electric guitar. The percussionists play timpani, military drum, friction drum, bass drum, slapstick, five wood blocks, ratchet, guiro, bamboo scrapers, cymbals, six suspended cymbals, 2 tam-tams, 2 gongs, Javanese gong, triangle, tubular bells, church bell, sacring bells, musical saw, flexatone, and siren (not mentioned in the instrumentation list at the beginning of the score).
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In addition to the traditional orchestral bodies of the 19th-century symphony, the Third Symphony makes use of a greatly expanded percussion section (which is prominently featured in the second movement). Winds: 1 piccolo, 2 flutes, 2 oboes, 1 English horn, 3 clarinets in Bb (1st doubling clarinet in A, 2nd doubling clarinet in Eb), 1 bass clarinet in B, 3 bassoons, 1 contrabassoon Brass: 5 horns in F, 3 trumpets in C, 1 bass trumpet in C, 4 trombones, tuba Strings: 16 first violins, 14 second violins, 12 violas, 12 violoncellos, 10 double basses, all the strings are divisi. Percussion: Timpani, triangle tree, bell tree, pair of cymbal, tamtam, bongos, tomtom, rototom, timbales, snare drum, military drum, tenor drum, bass drum with cymbal, whip, wood block, guiro, glockenspiel, xylophone, marimbaphone, tubular bells, and celesta (only used in the third and fifth movements). The score calls for nine percussion players in total (not including timpani).
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The work is scored for a large orchestra consisting of the following instrumentation. The movements vary in the combinations of instruments used. Woodwinds :4 flutes (third doubling first piccolo and fourth doubling second piccolo and "bass flute in G", actually an alto flute) :3 oboes (third doubling bass oboe) :1 cor anglais :3 clarinets in B and A :1 bass clarinet in B :3 bassoons :1 contrabassoon Brass :6 horns in F :4 trumpets in C :2 trombones :1 bass trombone :1 tenor tuba in B (often played on a euphonium) :1 tuba ;Percussion :7 timpani (2 players) :Bass drum :Snare drum :Cymbals :Triangle :Tam-tam :Tambourine :Glockenspiel :Xylophone :Tubular bells ;Keyboards :Celesta :Organ ;Strings :2 harps :Violins I, II :Violas :Cellos :Double basses In "Neptune", two three-part women's choruses (each comprising two soprano sections and one alto section) located in an adjoining room which is to be screened from the audience are added.
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This unusual composition takes 10 minutes to perform. It is score for a very large and powerful set of instruments. The list of instruments used in this piece is as follows: ;Woodwinds :4 flutes :4 oboes :3 clarinets in B :baritone saxophone :contrabass clarinet in B :3 bassoons :contrabassoon ;Brass :6 horns in F :4 trumpets in B :4 trombones :tuba ;Percussion :musical saw :vibraphone :bells I :bells II :4 timpani :2 bongos :bass drum :claves :5 wood blocks :ratchet :guiro :whip :4 cowbells :triangle :6 cymbals :2 gongs :gong ageng :2 tam-tams ;Other :bass guitar :harp :harmonium :piano ;Strings :solo violin :24 violins :10 violas :10 cellos :8 double basses The composition has no tempo marking at the beginning, even though the last bars are marked as Tempo di Valse. It is mentioned in the score that two or three of the bells from the second bell set should be made of 24-karat gold.
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Mann composed more than 30 works for narrator with various instruments that he performed with his wife, the actress Lucy Rowan; several have been recorded on the Musical Heritage label. He also composed a Fantasy for Orchestra performed by Dimitri Mitropoulos with the New York Philharmonic, the Vienna Philharmonic, and at the Salzburg Festival; a Duo for Violin and Piano premiered at Carnegie Hall by Itzhak Perlman and Samuel Sanders; and a string quartet included in the repertoires of both the La Salle and the Concord string quartets. Other works include a Duo for Cello and Piano written for Joel Krosnick and Gilbert Kalish, a Concerto for Orchestra, and "Lament" for two solo violas and orchestra. Robert Mann's solo discography includes Béla Bartók's Solo Violin Sonata, the Sonata No. 1 for violin and piano, and Contrasts; Beethoven's complete violin sonatas (with pianist Stephen Hough); many of Mozart's violin sonatas, with pianist Yefim Bronfman; and Elliott Carter's Duo for Violin and Piano, with Christopher Oldfather.
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Woodwinds (especially double reed instruments) and brass instruments were quickly found to be most useful outdoors, while brass instruments (especially trombones) were particularly effective in churches and large halls. Prior to the nineteenth century concert halls did not exist, and music for entertainment was reserved for the spacious chambers of the large homes of noblemen, or in palaces, where early stringed instruments such as viols, and lutes were gradually replaced by the more powerful violins (including violas and violoncellos) and guitars. By the sixteenth century woodcuts and other illustrations showed mounted fifers, and mounted bombard players and trombonists, especially in The Triumph of Miximilian (1512). In his eulogy Arte of Warre (1591) Garrard explains that "According to the stroke of the drum,...so shall they go, just and even, with a gallant and sumptuous pace..." Until the rise of the New Model Army, military musicians were solely employed as servants by the nobility, who often maintained their own private armies of armed men, and their minstrels.
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The symphony is in three movements (rather than the conventional four), and lasts 40–45 minutes: #Allegro moderato (E-flat minor, ends in E-flat major) #Largo (A-flat major) #Vivace (E-flat major) The first movement is characterized by an overall sombre mood, which Prokofiev described as "the painful results of war". It contains three themes: The first, on 1st violins and violas, is like the winds of a graveyard; the second, played by oboes, is slower and more melancholic; the third theme is played by the cor anglais accompanied by a lugubrious marching rhythm. The ensuing development section builds up tension using elements from the first theme before reaching an excruciating climax, the aftermath of which is the ghostly pulsating echoes on horns. The recapitulation only consists of the second and third themes, while the coda contains a final struggle until a C-flat major (enharmonically B major) climax, eventually to recede into silent despair, ending in E-flat major with a minor plagal cadence.
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A standard string orchestra of violins, violas, cellos, double basses is augmented by a percussion battery of one timpanist and four members, who play the following: Player 1: marimba, vibraphone, castanets, three cowbells, four bongos, tubular bells, snare drum, guiro Player 2: vibraphone, marimba, snare drum, tambourine, two woodblocks, claves, triangle, guiro Player 3: glockenspiel, crotales, maracas, whip, snare drum, choclo, guiro, three temple blocks, bass drum, tam-tam, snare drum, triangle Player 4: cymbals, bass drum, tam-tam, hi-hat, triangle, tambourine, five tom-toms Two factors influenced Shchedrin in choosing this instrumentation. The first, he said in an interview with BBC Music Magazine, was that, "to be [as] totally far [as possible]" from Bizet's scoring for the opera, he wanted an ensemble "without brass and woodwind... that gave me many possibilities" for timbral variety. The second was the high level of string and percussion players then available in the Bolshoi orchestra.Duchen, BBC Music Magazine.
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The work is scored for a large orchestra: ;Woodwinds :piccolo :3 flutes :3 oboes :English horn :2 clarinets in B :D clarinet1 :bass clarinet :3 bassoons :contrabassoon ;Brass :4 horns in F and E :4 horns in D (ad libitum)2 :3 trumpets in F and C :3 trumpets in D (ad libitum)2 :3 trombones :tuba ;Percussion :timpani :bass drum :snare drum :cymbals :triangle :large ratchet ;Strings :violins I, II :violas :cellos :double basses 1Although the original score calls for a clarinet in D, the part is usually played on an E clarinet as the D clarinet is now rarely played. 2Strauss indicates four extra horns and three extra trumpets to be added ad libitum. The parts are to be played by separate players from the original four horns and three trumpets. There also exists a version for piano four-hands, which has been recorded by Percy Grainger and Ralph Leopold.
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Title on autograph score: Concerto 3zo a tre Violini, tre Viole, è tre Violoncelli col Basso per il Cembalo. Instrumentation: three violins, three violas, three cellos, and harpsichord (as basso continuo) Duration: about 10 minutes The second movement consists of a single measure with the two chords that make up a 'Phrygian half cadence'wikt:Phrygian cadence and—although there is no direct evidence to support it—it was likely that these chords are meant to surround or follow a cadenza improvised by a harpsichord or violin player. Modern performance approaches range from simply playing the cadence with minimal ornamentation (treating it as a sort of "musical semicolon"), to inserting movements from other works, to cadenzas varying in length from under a minute to over two minutes. Wendy Carlos's three electronic performances (from Switched-On Bach, Switched-On Brandenburgs, and Switched-On Bach 2000) have second movements that are completely different from each other.
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In the Romantic and later styles, the versatility of the bassoon's range of character meant that it would be scored in diverse styles, often particular to a composer or national culture and their notion of how to use it. It has been used for lyrical roles such as Maurice Ravel's Boléro, vocal (and often plaintive or melancholy) ones such as the symphonies of Tchaikovsky, anguished wailing as in Shostakovich's 9th, more comical characters, like the grandfather's theme in Peter and the Wolf, or sinister and dark ones, as in the later movements of Symphonie Fantastique. Its agility suits it for passages such as the famous running line (doubled in the violas and cellos) in the overture to The Marriage of Figaro. The bassoons' role in the orchestra has changed little since the Romantic; with frequent bass and tenor roles common, and, with the expanded tessitura of the 20th century, occasionally alto (or countertenor) too.
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The work is scored for four soloists (piano solo, horn solo, xylorimba solo and glockenspiel solo) and orchestra. The string section consists of only 6 violins, 3 violas, 3 cellos, and 1 double bass with fifth-string lower extension. The woodwind requires 1 piccolo, 2 flutes, 1 alto flute, 2 oboes, 1 cor anglais, 1 E-flat clarinet, 2 B-flat clarinets, 1 bass clarinet, 2 bassoons, and 1 contrabassoon. Messiaen remarks: "all of the woodwind parts are difficult." In addition to the sixth movement's horn solo, the brass section also consists of 2 horns, 2 trumpets in c, 1 trumpet in d, 2 trombones, and 1 bass trombone. The unusually large percussion section, divided for 5 percussionists, consists of Messiaen's own invented instrument the geophone, 1 wind machine, 1 thunder sheet, 1 gong, 1 set of tuned gongs, 1 set of tubular bells, 1 pair of maracas, 1 whip, 1 bass drum, 1 triangle, 1 wood block, 1 set of wooden wind chimes, 1 set of crotales, 1 reco reco, and 1 tumba, among other percussion instruments.
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Erstmals in der Geschichte der Passionsvertonung setzt Selle in der Matthäuspassion den neuen Generalbass ein.“ „In the 16th century and right up to Selle’s compositions, there are roughly two different models of Passion setting: the responsorial Passion, in which the gospel is recited on the Passion tones in a psalmody manner, and the motet-like or through-composed Passion, which sets the Passion text consistently polyphonically to music. For his St. Matthew Passion, Selle admittedly adopts the passion tone from the responsorial St. Matthew Passion by Heinrich Grimm, which in turn goes back to the first German-language responsorial Passion by Johann Walter; the outer garment of his setting, however, changes fundamentally. For the first time in the history of Passion setting, Selle uses the new figured bass in the St. Matthew Passion.”Pöche 2019, S. 226. The novelty of Selle’s St. Matthew Passion is not only to be found in the figured bass, but also the stronger musical characterization of the acting figures through the differentiated, accompanying instruments such as violins for the role of Jesus or lower violas for the evangelist.
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Juzek also was the export merchant for independent craftsmen, for whom the instruments were also labeled with the John Juzek name. ; Manufacturing region Schönbach, well known for violinmaking, was once dubbed the "Austrian Cremona" when Bohemia was part of Austria-Hungary. From 1880 to the beginning of World War II, and even through the 1970s, Bohemia was a thriving area in eastern Germany and Czechoslovakia, where student-quality violin making flourished as a supplier to North America. To support the town's industry, Schönbach founded the Violin Making School, founded in 1908 as an addition to the Schönbach Music School founded in 1873. A nearby town, Markneukirchen (5 miles / 8.6 kilometers from Schönbach), produced about seven million violins, violas, cellos, and basses from 1880 to 1914. Markneukirchen, during that era, was the financial center of the German music industry and before 1914, it had more millionaires per capita than any other city in Germany. Markneukirchen, with a population of 7,847 in 1900, produced and exported so many instruments to the United States that it was home to an American Consulate with a trade attaché.
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Memorial for Bruch and in the pedestrian zone of Bergisch Gladbach city centre In 1918, toward the end of his life, Bruch once more considered smaller ensembles with the composition of two string quintets, of which one served as the basis for a string octet, written in 1920 for four violins, two violas, cello, and a double bass. This octet is somewhat at odds with the innovative style of the decade. While composers such as Schönberg and Stravinsky were part of the forward-looking modern trend, Bruch and others tried to keep composing within the Romantic tradition, effectively glorifying a form of Late Romanticism and avoiding the revolutionary spirit that was engulfing the then- defeated Germany. All three of these late chamber works exhibit a 'concertante' style in which the first violin part is predominant and contains much of the musical interest. By the time they came to be performed professionally for the first time, in the 1930s, Bruch's reputation had deteriorated and he was known only for the famous Concerto.
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There are two manuscript scores of the symphony, one lacking the third movement and with a somewhat larger instrumentation than the later manuscript (and published) version. It is scored for (1) an orchestra consisting of: piccolo, 2 (or 4) flutes, 2 oboes, cor anglais, 2 (or 4) clarinets, bass clarinet, 3 bassoons, contrabassoon, 4 (or 8) horns, 4 trumpets (or cornets), 4 trombones, tuba, 4 timpani, tam-tam, cymbals, matracas, 2 (or 4) bass drums, 2 (or 4) side drums, (xylophone), celesta, 2 harps, piano, and strings, (2) a small brass band consisting of piccolo bugle in E, 2 bugles in B, 4 cornets, 4 trombones, 2 alto saxhorns, 2 bass saxhorns, 2 contrabass saxhorns in B, and 2 contrabass saxhorns in E, and (3), in the last movement, an optional mixed chorus. The earlier, three- movement version also specified the numbers of stringed instruments: 26 first violins, 24 second violins, 12 violas, 12 cellos, and twelve double basses, bringing the total number of orchestral players to 164, surpassing the gigantic orchestras called for by Richard Strauss in Elektra and Salome .
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He also continued another trend—towards larger orchestras—that moved the centre of the sound downwards in the orchestra, to the violas and the lower register of the violins and cellos, giving his music a heavier and darker feel than Haydn or Mozart. Gustav Mahler modified the orchestration of some of Beethoven's music—most notably the 3rd and 9th symphonies—with the idea of more accurately expressing Beethoven's intent in an orchestra that had grown so much larger than the one Beethoven used: for example, doubling woodwind parts to compensate for the fact that a modern orchestra has so many more strings than Beethoven's orchestra did. Needless to say, these efforts remain controversial. Above all, his works distinguish themselves from those of any prior composer through his creation of large, extended architectonic structures characterised by the extensive development of musical material, themes, and motifs, usually by means of "modulation", that is, a change in the feeling of the home key, through a variety of keys or harmonic regions.
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This suite for orchestra is divided into four movements and takes around 14 minutes to perform. The scoring can be divided into three groups: first, a full orchestra (two flutes, two piccolos, two clarinets in B-flat, a bassoon, two horns, a trumpet in C, a large percussion section consisting of a xylophone, a glockenspiel, a side drum, a woodblock, a tambourine, four tom-toms, claves, two suspended cymbals, a hi-hat, two large tam-tams and two very large tam- tam, and a string section consisting of twelve first violins, twelve second violins, eight violas, eight cellos, and four double basses); then, an amplified solo group consisting of an oboe, a cor anglais, a trumpet in B-flat, a harp, a celesta, and a piano; finally, an off-stage string quintet consisting of two violins, a viola, and two cellos. The movement list is as follows: The general tone of the suite is sensual and atmospheric. Tempo variations are frequent in the dances, but the tempo is generally slow and calm in the first and third movements.
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Entertainments such as the madrigal comedy were not far different from other musical forms one could see at a contemporary intermedio. One of his most impressive works, and one of the most impressive achievements in Renaissance polyphony, is his motet Ecce beatam lucem for forty independent voices, which may have been performed in 1568 in Munich.Iain Fenlon, Grove online There is some evidence that he may have had the music for either this piece or his 40/60 voice mass, Missa sopra Ecco sì beato giorno, with him on his diplomatic visit to London in 1567, since Thomas Tallis seems to have been inspired and challenged by it, and shortly afterwards wrote his own 40-voice tour-de-force Spem in alium, commissioned by Thomas Howard, 4th Duke of Norfolk. Unlike the setting by Tallis, Striggio specifically indicates for the voices to be doubled by instruments. In the Bavarian performance in 1568 of Striggio's motet the forces included eight flutes, eight violas, eight trombones, harpsichord and bass lute.
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Kennedy and J. Bourne Kennedy (Eds.), The Concise Oxford Dictionary of Music (Oxford University Press, London 2007). a hybrid of the two forms that had occupied most of Mahler's creative life. Das Lied von der Erde is scored for a large orchestra, consisting of the following: ;Woodwinds :piccolo :3 flutes (3rd doubling 2nd piccolo) :3 oboes (3rd doubling cor anglais) :3 B clarinets :E clarinet :bass clarinet :3 bassoons (3rd doubling contrabassoon) ;Brass :4 horns :3 trumpets :3 trombones :tuba ;Percussion :4 timpani (used only in "Von der Schönheit") :bass drum :snare drum :cymbals :triangle :tambourine (used only in "Von der Schönheit") :tam-tam (used only in "Der Abschied") :glockenspiel ;Keyboards :celesta (used only in "Der Abschied") ;Voices :alto solo :tenor solo ;Strings :mandolin :2 harps :1st violins :2nd violins :violas :cellos :double basses (with low C string) Only in the first, fourth and sixth songs does the full orchestra play together. The celesta is only heard at the end of the finale, and only the first movement requires all three trumpets, with two playing in the fourth movement and none playing in the sixth.
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Instruments introduced by the Spanish are the chirimías, sackbuts, dulcians, orlos, bugles, violas, guitars, violins, harps, organs, etc, along with percussions (that can be indigenous or African), everything converges on music heard by everyone. The Dominican Diego Durán in 1570 write "All the peoples have parties and therefore it is unthinkable to remove them (because it is impossible and because it is not convenient either)", himself parade like the natives with a bouquet of flowers at a Christian party that coincides with the celebration of Tezcatlipoca in Mexico. The Jesuits develop with great success a "pedagogy of theatricality", with this the Society of Jesus attracts the natives and blacks to the church, where children learn to play European instruments. In Quito (1609): "there were many dances of tall and small Indigenous, and there were no lack of Moscas Indigenous who danced in the manner of the New Kingdom [European] (...) and dances of Spaniards and blacks and other dances of the Indigenous must dance before the Blessed Sacrament and in front of the Virgin Mary and the saints at parties and Easter, if they don't do it then they are punished".
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The composition is scored for four flutes, four piccolos, four oboes, four clarinets, two bass clarinets, four bassoons, two contrabassoons, six horns, four trumpets, three trombones, two contrabass trombones, one tuba, two percussionists playing the timpani, two more playing the bass drum, and two more playing the tam-tam; a harp, amplified by a contact microphone placed on the soundboard, the loud speaker located near the harp; a solo piano, amplified from the 23-minute-and-38-second mark by a microphone placed under the piano, the loudspeaker placed separate from the piano; a soprano, a large string section consisting of twelve first violins, twelve second violins, twelve violas, twelve violoncelli, twelve doublebasses, and a four-channel tape machine, located halfway down, or almost at the back, of the hall. Since some instruments are meant to be amplified, up to five loudspeakers are needed, with at least 100 watts each, placed behind the orchestra in a rainbow shape. Four of them are situated from left to right at an equal distance, except for speakers two and three. The piano loudspeaker is placed in the center.
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The three movements are: #Allegro con spirit #Andante, in G major #Fugato. Molto vivace The first movement is notable for its use of horns in G instead of the usual horns in C (compare Haydn's earlier C major symphonies and those of his brother Joseph), so that the horns can participate in the harmonization of ii chords. The music begins straightaway with a triadic theme and bass on the beat, offset by half-beat syncopation in the second violins and violas. 500px For the recapitulation, the horns change to horns in C. There are even more horn crook changes in store for the players: in the second movement, the first horn switches to horn in E while the second player switches to horn in D, "a clever use ... to increase the range of notes available on instruments without valves."Robbins Landon, 1967 Robbins Landon also points out that in the Andante of this symphony of Haydn's uses the low C of the second trumpet, something Wolfgang Amadeus Mozart also did later when he wrote his Symphony No. 41 in C major (also written in 1788).
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It is debatable whether Gasparo da Salò or others like Gasparo Duiffopruggar or Andrea Amati were the first to produce the violin in its modern form; certainly Gasparo developed an instrument of modern character, with very quick response and a powerful tone. It is believed that the mystery of the large increase in power and projection of violas da braccio and violins of the time, sought and developed by luthiers like da Salò, is explained by the necessity of being heard while playing in mixed ensembles alongside cornettos and trombones in open air places like St. Mark Square in Venice during processions. It appears Gasparo da Salò's patterns were later studied by Stradivari between 1690 and 1700 for the violin type referred to as the "Long Strad," one of the master's most distinguished and desirable models. There is reason to believe that Brescian instruments were in fact the most popular and sought after throughout Europe in the Renaissance period, as they were more requested in high musical courts than Cremonese ones until 1630, when the plague killed the best known Brescian masters, after which time Cremona started to become the center of the violin maker's trade.
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An Alpine Symphony is scored for a large orchestra consisting of: ;Woodwinds :4 flutes (3rd and 4th doubling piccolos) :3 oboes (3rd doubling English horn) :1 heckelphone :1 clarinet in E :2 clarinets in B :1 bass clarinet (doubling clarinet in C) :4 bassoons (4th doubling contrabassoon) ;Brass :8 French horns (horns 5–8 double Wagner tubas) :4 trumpets :4 trombones :2 tubas :12 offstage horns :2 offstage trumpets :2 offstage trombones ;Percussion : timpani (2 players) :snare drum :bass drum :cymbals :triangle :tam-tam :cowbells :wind machine :thunder machine :glockenspiel ;Keyboard :celesta :organ ;Strings :2 harps :18 violins I :16 violins II :12 violas :10 cellos :8 double basses Strauss further suggested that the harps and some woodwind instruments should be doubled if possible and indicated that the stated number of string players should be regarded as a minimum. The use of "Samuel's Aerophon" is suggested in the instrumentation listing. (Strauss probably misunderstood the name – it was originally called the Aerophor.) This long-extinct device, invented by Dutch flautist Bernard Samuels in 1911 to assist wind players in sustaining long notes without interruption, was a foot-pump with an air-hose stretching to the player's mouth.Del Mar, Richard Strauss, 107.
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Gavin Bryars playing the double bass, the instrument for which he includes an improvising part in Doctor Ox and which he played in performances of Doctor Ox's Experiment (Epilogue) The opera is scored for 2 flutes, the second doubling piccolo, 2 oboes, 1 doubling oboe d'amore, and the other doubling cor anglais, a clarinet and bass clarinet, a bassoon and contrabassoon, 4 horns, a flugelhorn, 4 trombones, a bass trombone, 1 timpanist, 3 percussionists, harp, electronic keyboard doubling piano and a string section consisting of at least six each first and second violins, 5 violas, four cellos and 3 double basses, including at least one bass with a 5th string or low extension, plus an improvising jazz player on amplified bass. The percussion consists of marimba, vibraphone, glockenspiel, crotales, tubular bells, cow bells, bass drum, tam-tam, sizzle cymbal, suspended cymbal, mark-tree, Chinese bell-tree and wind-machine. Bryars wanted the scenes with the lovers to "have something of the purity of early music" and pointed to the obbligato oboe d'amore and the "relatively light orchestral textures" as means by which he achieved this. The improvisation by the amplified jazz bass is confined to the scene by the Vaar though the instrument is also used in the epilogue.
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Become Ocean is scored for a large orchestra divided into 3 spatially-separated groups: ;First group :upstage right, as far as possible from the strings and brass :3 flutes :3 oboes, 3rd doubling English horn :3 clarinets, 3rd doubling bass clarinet :3 bassoons, 3rd doubling contrabassoon :Percussion I, including ::marimba ::vibraphone ::crotales :harp I ;Second group :upstage left, as far as possible from the strings and woodwind :4 horns :3 trumpets :3 trombones :tuba :Percussion II, including ::marimba ::vibraphone :harp II ;Third group :in a wide as possible arc across the stage :Percussion III, including ::3 bass drums ::tam-tam ::suspended cymbal ::timpani :celesta :piano :violins 1A, 1B, 2A, and 2B :violas 1 and 2 :cellos 1 and 2 :double basses 1 and 2, the E-strings tuned down a whole-tone to D Each group is given slowly moving sequences of sound, often in the form of arpeggios for the strings, and each block has its own rise and fall. Thus the groups overlap in an ever-changing pattern. Harmonies are fundamentally tonal; simple diatonic intervals form the basis of the wind instruments' staggered chords. The phrase lengths are constructed so that there are three moments when all the groups reach a climax together; the first is early on, and the second represents the greatest surge of sound.
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The symphony is scored for a very large orchestra: Distant choir ensemble, offstage : harp : 5 violins Woodwinds : piccolo : 3 flutes : 2 oboes : 3 clarinets in B (the 1st clarinet optionally playing A in the first movement) : tenor saxophone in B : baritone saxophone in B : 2 bassoons Brass : 4 horns in F : 6 trumpets in C : cornet in C (played by 5th trumpet) : 4 trombones : tuba Percussion : xylophone (optional) : 2 bells, high and low : timpani : triangle : Indian drum : piccolo timpano : snare drum : bass drum : cymbals : 2 tam-tams, light and heavy : B.U. Ensemble (spatially separated from the main orchestra): :: snare drum :: Indian drum :: bass drum :: cymbals :: tam-tam Chorus : sopranos : altos : tenors : basses Keyboards : celesta : Ether organ (optional) : quarter-tone piano : orchestral piano (4-hands) : solo piano : organ Strings : violins I, 12 to 18 players : violins II, 12 to 16 players : violas, 12 to 14 players : cellos, 10 to 12 players : double basses, 8 to 10 players : "extra" strings, on or off stage: :: violins, 2 players :: viola, 1 player The mixed chorus performs a setting of the hymn "Watchman" in the first movement and a wordless intonation of the hymn "Bethany" in the last movement. The first and last movements employ a spatially-separated ensemble of 5 violins and harp. The last movement employs a spatially-separated group of percussion.
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