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Falstaff (Italian pronunciation:) is a comic opera in three acts by the Italian composer Giuseppe Verdi. The Italian-language libretto was adapted by Arrigo Boito from the play The Merry Wives of Windsor and scenes from Henry IV, Part 1 and Part 2 , by William Shakespeare .
Valzer (written by Verdi for piano, but not published until 1963 when Nino Rota adapted it for orchestra in his score for Luchino Visconti's film The Leopard) Orchestral. Sinfonia in B-flat major; Sinfonia in C major; Sinfonia del M. Verdi in D major ; with Giacomo Mori, Canto di Virginia Con Variazioni per Oboe Composte con accomp.to d ...
The "Operadis" discography lists more than seventy other recordings, made at live performances. They include those conducted by Sir Thomas Beecham at the Metropolitan Opera in 1944 with Leonard Warren in the title role; [4] Fritz Reiner with Warren at the Met (1948); [5] Victor de Sabata with Mariano Stabile at La Scala (1951); [6] Karajan and Gobbi at the Salzburg Festival (1957); [7] Tullio ...
The subject of the fugue is composed of three separate motifs, all of which can be found in canzonas and ricercars. The 19th-century Bach scholar Philipp Spitta praised the fugue, particularly its modulations. Williams has suggested that "perhaps the imaginative penultimate bar was inspired by J. S. Bach". [8] [3] Prelude and Fugue in A minor ...
For example, the C-major fugue from J. S. Bach’s The Well-Tempered Clavier, Book 1 (BWV 846) opens with an initial succession of statements of the subject, each at a distance of six beats: Bach Fugue in C WTC1 opening bars Bach Fugue in C BWV 846 opening bars. As the musical argument proceeds, the gap between the entries closes to two beats:
Fantasia and Fugue in C minor, BWV 906, is a keyboard piece, likely unfinished, composed by Johann Sebastian Bach sometime during his tenure in Leipzig (1723–1750). The work survives in two autograph scores, one with the fantasia alone, and the other, believed to have been penned around 1738 in which the fugue is incomplete. [ 2 ]
The fugue is in five voices, and its subject stands out for its use of a wide minor ninth interval [3] and "rhetorical" pause. Instead of substantial episodes, there are only two canonic bridges. The fugue climaxes in a five-part stretto before ending on a Picardy third. [4] Below are the first two statements of the subject in the fugue's opening:
Verdi structured the liturgical text in movements as follows; [6] [24] Differently from traditional settings of the Requiem mass, he assigned several parts to one soloist. [25] He also wrote duets such as Recordare, Lacrymosa and Agnus Dei, and a quartet of solo voices in the Domine Jesu Christe in the offertory.