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[4] The highly constructed nature of the twelve-tone idiom he uses draws all its thematic material from one tone-row, which the piano gives in one non-linear gesture right at the opening: E ♭ F ♭ B ♭ A ♭ A ♮ D C B ♮ C ♯ F ♯ G and F ♮. [5] As it turns out, this tone-row will be presented complete only a couple of times.
Austro-Hungarian cellist and composer Franz Schmidt's Symphony No. 4 was completed in 1933, and received its premiere in 1934 under the direction of Oswald Kabasta at the Wiener Musikverein concert hall in Vienna. The work was composed following the unexpected death in childbirth of Schmidt's daughter, Emma, and conceptualized by the composer ...
The symphony is widely assumed to have been a student assignment, written toward the end of Bizet's nine years of study at the Conservatoire de Paris. [1] At the Conservatoire, Bizet had come increasingly under the influence of Charles Gounod, whose works in the first half of the 1850s—including Sapho (1851), Ulysse (1852) and the Symphony No. 1 in D major (1855)—had a strong impact on the ...
The Piano Concerto No. 4 in C minor, Op. 44 was composed by Camille Saint-Saëns in 1875. It was premièred on October 31, 1875, at the Théâtre du Châtelet of Paris, with the composer as the soloist. [1] The concerto is dedicated to Anton Door, a professor of piano at the Vienna Conservatory.
The Symphony in C is entirely abstract and seems a retreat into the "pure music" styles of Bach, Beethoven, and Haydn. Stravinsky disclaimed any link between his personal experiences and the symphony's content. [5] [6] Regarding its style, Stravinsky acknowledged a division of the symphony into halves. [7]
Symphony No. 4 Op. 57 (1890) Symphony No. 5, Op. 71 (1892-97, orchestration of his lost String Sextet in C sharp minor) Joseph Martin Kraus: Symphony in C minor, VB 142 (a reworking of the Symphony in C-sharp minor, VB 140) Symphonie funèbre in C minor; Franz Krommer: Symphony No. 4, Op. 102 (1819–20) [13] Joseph Küffner: Symphony No. 4, Op ...
Through a rising bass line and sequential harmonies, the music regains the tonic key (on a dominant pedal) with a new theme derived from bars 3, 4, and 5. The final cadence is delayed for several bars before the material from the opening bar resurfaces as the movement's closing theme, accompanied by a tonic pedal over forte dominant chords.
Symphony in C major, Op. 10 No. 4, E22 (1773) [4] Symphony/Overture in C major, Op. 14 No. 1, E25 [5] Sinfonia in C major, Op. 17 No. 4, E34 (1783) [6] Symphony in C major, Six Prussian Symphonies No. 1, E41; Kurt Atterberg: Symphony No. 6 "Dollar Symphony" , Op. 31 (1927-28) Johann Christoph Friedrich Bach: Symphony in C major, BR-JCFB C10 ...
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