Search results
Results from the WOW.Com Content Network
Stylistically refined minuets, apart from the social dance context, were introduced—to opera at first—by Jean-Baptiste Lully, who included no fewer than 92 of them in his theatrical works [2] and in the late 17th century the minuet was adopted into the suite, such as some of the suites of Johann Sebastian Bach and George Frideric Handel.
In 1904, Max Seiffert published a description of Tzschirich's harpsichord music manuscript, however, without substantial analysis of its content: the correspondence of Petzold's double Minuet contained in it with the G major/G minor Minuets of Anna Magdalena Bach's notebook remained unnoticed. [29]
Laub und Regen, duet for clarinet and viola, Nr. 40½; Hymnen, 4-channel electronic and concrete music (also version with soloists, and Third Region with orchestra), Nr. 22 (1966–67) In Freundschaft, for clarinet (and versions for most other instruments), Nr. 46 (1977) Inori, adorations for 1 or 2 soloists and large orchestra, Nr. 38 (1973–74)
Portrait of Mikhail Glinka by Karl Bryullov, 1840. Mikhail Ivanovich Glinka (Russian: Михаил Иванович Глинка [a], romanized: Mikhail Ivanovich Glinka [b], IPA: [mʲɪxɐˈil ɨˈvanəvʲɪdʑ ˈɡlʲinkə] ⓘ; 1 June [O.S. 20 May] 1804 – 15 February [O.S. 3 February] 1857) was the first Russian composer to gain wide recognition within his own country and is often ...
As a composer, he is best known for Adagio and Tarantella, Adagio Sentimental, his fantasies, and his 30 Caprices for Clarinet. [5] Cavallini also composed several works for E♭ clarinet , including the Carnival of Venice variations, I figli di Eduardo 4th in partnership with Panizza, and Fantasia on a Theme from Ultimo Giorno di Pompeii .
3. Prince. Like many people on this list, Prince made up for not being able to read sheet music by having an unusually good ear for melody and an intuitive sense of what chord should go where. He ...
Composers of music for the clarinet. Pages in category "Composers for clarinet" The following 9 pages are in this category, out of 9 total.
Mussorgsky (completed by Stravinsky) – Khovanshchina (E-g ♯) The key scheme in the opera is constructed mostly on a sharp-flat principle; thus the opening, reaching G ♯ major, is the sharpest music in the whole opera, and many portentions or descriptions of disaster in the opera are written in six or seven flats or even beyond.