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The Symphony No. 4 in A major, Op. Posth. 90, MWV N 16, commonly known as the Italian, [1] is an orchestral symphony written by German composer Felix Mendelssohn.
The "Italian" style of symphony, often used as overture and entr'acte in opera houses, became a standard three-movement form: a fast movement, a slow movement, and another fast movement. Over the course of the 18th century it became the custom to write four-movement symphonies, [ 12 ] along the lines described in the next paragraph.
The Italian overture is a piece of orchestral music which opened several operas, oratorios and other large-scale works in the late 17th and early 18th centuries. An Italian overture typically has a three- movement structure [ 1 ] – the outer movements are quick, the middle movement is slow.
The symphony, scored for strings, 2 flutes, 2 oboes, 2 bassoons, 4 horns, 2 trumpets, and timpani, is in the form of an Italian overture, [2] consisting of three brief movements that follow one another without break: Allegro spiritoso 4 4; Andante 3 8; Tempo primo 4 4; The form is not a true italian overture or a da capo overture.
Aaron Copland, Organ Symphony (his Symphony No. 1 is an arrangement of this symphony without the organ) Camille Saint-Saëns, Symphony No. 3 in C minor, Op. 78; Overture in the Italian Style: Wolfgang Amadeus Mozart, Symphony No. 32 in G major, K. 318; Oxford: Joseph Haydn, Symphony No. 92 in G major, Hob. I/92
Sinfonia (IPA: [siɱfoˈniːa]; plural sinfonie) is the Italian word for symphony, from the Latin symphonia, in turn derived from Ancient Greek συμφωνία symphōnia (agreement or concord of sound), from the prefix σύν (together) and Φωνή (sound).
Italian music innovation – in musical scale, harmony, notation, and theatre – enabled the development of opera and much of modern European classical music – such as the symphony and concerto – ranges across a broad spectrum of opera and instrumental classical music and popular music drawn from both native and imported sources ...
Italian opera tends to forsake the light-heartedness of the Comic opera for the more serious fare of Italian lyric Romanticsm. Although the ever-popular Rossini is certainly an exception to that, Italian music of the 19th century is dominated at the beginning by the likes of Bellini , Donizetti , and then, of course, for the last fifty years of ...