Search results
Results from the WOW.Com Content Network
A scherzo (/ ˈ s k ɛər t s oʊ /, UK also / ˈ s k ɜːr t-/, Italian:; plural scherzos or scherzi), in western classical music, is a short composition – sometimes a movement from a larger work such as a symphony or a sonata.
Wiley adds, "The unusual periodicity in long, uneven spans is acharacteristic, as is the formal pattern, a tripratite reprise that also mimics the scherzo. The unwaltz–like result, sustained for 100 bars, is enigmatic. Abbreviating the reprise makes the Trio even more striking." [3] Scherzo (Presto, E minor)
Op. 31 Marche slave in B ♭ minor, for orchestra (1876) Op. 32 Francesca da Rimini, symphonic fantasia in E minor, after Dante Alighieri (1876) Op. 33 Variations on a Rococo Theme in A, for cello and orchestra (1876) Op. 34 Valse-scherzo in C for violin and orchestra (1877) Op. 35 Violin Concerto in D major (1878) Op. 36 Symphony No. 4 in F ...
Scherzo: Allegro vivo The scherzo is in 2 4 time. This is somewhat unusual, as scherzi in classical music of the time are traditionally in triple meter, although the name scherzo (literally meaning 'joke' in Italian) does not in itself imply this metric convention. Like other scherzi of its time, the movement is fast enough to be conducted in ...
The beginning of Scherzo No. 4 alternates two contrasting textures and harmonies—first subdued chords and then faster arched figures that rise and fall with the dynamics. In summary, Chopin established the one-movement scherzos as a genre in which the piece grew out of the opening fragmentary gestures, heard at the outset in the initial short ...
It refers to the use of a major chord of the tonic at the end of a musical section that is either modal or in a minor key. piatti Cymbals, generally meaning a pair of orchestral clashed cymbals piena Full, as, for example, a voce piena = "in full voice" pietoso Pitiful, piteous più More; see mosso piuttosto Rather, somewhat (e.g. allegro ...
David Matthews has noted the interconnectivity of the first movement with the Scherzo as similar to Mahler's interconnectivity of the first two movements of the Fifth Symphony, and that performing the Mahler with the Andante/Scherzo order would damage the structure of the tonal key relationships and remove this parallel, [20] a structural ...
Op. 10: Symphony No. 1 in F minor (1923–1925) Op. 14: Symphony No. 2 in B major, To October, for mixed chorus and orchestra (1927) Op. 20: Symphony No. 3 in E ♭ major, The First of May, for mixed chorus and orchestra (1929) Op. 43: Symphony No. 4 in C minor (1935–1936) Op. 47: Symphony No. 5 in D minor (1937) Op. 54: Symphony No. 6 in B ...