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Symphonie fantastique: Épisode de la vie d'un artiste … en cinq parties (Fantastic Symphony: Episode in the Life of an Artist … in Five Sections) Op. 14, is a programmatic symphony written by Hector Berlioz in 1830. The first performance was at the Paris Conservatoire on 5 December 1830.
Much of Mahler's early work was designed programmatically. However, he made serious efforts to downplay the programmatic reputation of many of these pieces later in his life, including removing some of the programmatic titles from his symphonies. Symphony No. 1, Titan, (1888) Symphony No. 2, Resurrection, (1894) Symphony No. 3, (1896)
Berlioz by August Prinzhofer, 1845. Louis-Hector Berlioz [n 1] (11 December 1803 – 8 March 1869) was a French Romantic composer and conductor. His output includes orchestral works such as the Symphonie fantastique and Harold in Italy, choral pieces including the Requiem and L'Enfance du Christ, his three operas Benvenuto Cellini, Les Troyens and Béatrice et Bénédict, and works of hybrid ...
This was part of Liszt's performing repertoire, but is now lost [11] Symphonie fantastique, Op. 14 (1830) Episode de la vie d'un artiste. Grande Symphonie fantastique. Partition de Piano: c. 1833 S.470 In c. 1864–65 Liszt made a new transcription of the 4th movement, "March au supplice". [10] L'idée fixe. Andante amoroso: S.395
Another significant model was given by Hector Berlioz in his programmatic Symphonie fantastique of 1830, whose "idée fixe" serves as a cyclic theme throughout the five movements. By the 1840s, the technique is already quite established, being found in several works by Robert Schumann , Fanny Hensel , Niels Gade , Franz Berwald , and the ...
Harold en Italie, symphonie avec un alto principal (Harold in Italy, symphony with viola obbligato), as the manuscript describes it, is a four-movement orchestral work by Hector Berlioz, his Opus 16, H. 68, written in 1834. Throughout, the unusual viola part represents the titular protagonist, without casting the form as a concerto.
[9] [12] [11] Like Berlioz, Franck departed from the customary four-movement form of the classical symphony of Haydn, Mozart and Beethoven; unlike the Symphony fantastique by Berlioz, which is written in five movements, Franck´s symphony is written in three. [9]
Isidore of Seville was the first to use the word symphonia as the name of a two-headed drum, [3] and from c. 1155 to 1377 the French form symphonie was the name of the organistrum or hurdy-gurdy. In late medieval England, symphony was used in both of these senses, whereas by the 16th century it was equated with the dulcimer.