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The individual groups of instrumentalists and singers would likely have been spatially separated, creating a polychoral, antiphonal texture. Although the text can be considered sacred, it is not liturgical. There are four groups and Continuo/Organ. Two of these groups are instrumental, the other two vocal.
Even in the string family, members of the viol family – except for the bass viol which provided the necessary basso continuo – were gradually replaced by the new and highly virtuosic violin. The lute and viola da gamba continued being written for in an accompanimental role but could not compete with the violin in volume. [1]
Op. 324 – Study on the G-String of Paganini's Violin, for violin solo; Op. 325 – Solo Element, for piano; Op. 326 – Piano Sonata No. 11 The Italian; Op. 327 – Duo Concertante, for violin and piano; Op. 328 – The Automaton; opera; Op. 329 – Wittgenstein Piece, for violin and piano; Op. 330 – 3 Sonatas and Partitas; violin solo
Violin Concerto No. 1 in G minor, Op. 3 (1851), in one movement, dedicated to Franz Liszt; Violin Concerto No. 2 in D minor "in the Hungarian manner", Op. 11 (1861) Violin Concerto No. 3 in G major, WoO (1875) David Johnstone. The Four Seasons, for Violin solo and string orchestra (pub. 2008)
[1] [3] The Adagio middle movement, where the melody lines of both solo instruments imitate one another without distinction in texture and figuration, has been likened to the middle movement of Bach's double violin concerto, BWV 1043. [1] [7] [8] Length: c. 14 minutes for the recording in § Reconstructed versions
Violin Solo Sonata No. 1 (1940) -dedicated to Ruggiero Ricci- (I. Praeludium con bravura; II. Cantabile; III. Allegro) Philip Glass "Strung Out", for solo amplified violin (1967) "Knee Play 2", violin solo from Einstein On The Beach; Partita for solo violin (2010/11) -dedicated to Tim Fain- (I. Opening; II. Dance 1; III.
The Partita in D minor for solo violin, BWV 1004, by Johann Sebastian Bach, was written between 1717 and 1720. It is a part of his compositional cycle called Sonatas and Partitas for Solo Violin . Structure
Enslaved Africans brought call and response music with them to the colonized American continents and it has been transmitted over the centuries in various forms of cultural expression—in religious observance, public gatherings, sporting events, children's rhymes, and most notably, in African-American music in its myriad forms and descendants.
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