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A concerto is, from the late Baroque era, mostly understood as an instrumental composition, written for one or more soloists accompanied by an orchestra or other ensemble. The typical three-movement structure, a slow movement preceded and followed by fast movements, became a standard from the early 18th century.
A septet is a formation containing exactly seven members. It is commonly associated with musical groups but can be applied to any situation where seven similar or related objects are considered a single unit, such as a seven-line stanza of poetry.
André Jolivet was a French composer. Known for his devotion to French culture and musical thought, Jolivet drew on his interest in acoustics and atonality, as well as both ancient and modern musical influences, particularly on instruments used in ancient times. He composed in a wide variety of forms for many different types of ensembles.
In music, instrumentation is the particular combination of musical instruments employed in a composition, and the properties of those instruments individually. Instrumentation is sometimes used as a synonym for orchestration. This juxtaposition of the two terms was first made in 1843 by Hector Berlioz in his Grand traité d'instrumentation et d'orchestration modernes, and various attempts have since been made to differentiate them. Instrumentation is a more general term referring to an orchestrator's, composer's or arranger's selection of instruments in varying combinations, or even a choice made by the performers for a particular performance, as opposed to the narrower sense of orchestration, which is the act of scoring for orchestra a work originally written for a solo instrument or smaller group of instruments.
Concertino is the diminutive of concerto, thus literally a small or short concerto.
In music, an octet is a musical ensemble consisting of eight instruments or voices, or a musical composition written for such an ensemble.
In music, a nonet is a chamber music composition which requires nine musicians for a performance. The standard nonet scoring is for wind quintet, violin, viola, cello, and double bass, though other combinations are also found. Additionally, the term may apply to a group of nine musicians regardless of whether they are playing chamber music.
Hermann Schroeder was a German composer and a Catholic church musician.
Gérard Masson is a French composer.
EMS Recordings was founded in 1949 by Jack Skurnick in New York City. The company won first prize at the Audio Fair of 1950 for the high quality and interest of its recordings. It issued the first recording of works of Edgard Varese.
Zdeněk Lukáš was a Czech composer. He authored over 330 works.
In music, a decet—sometimes dectet, decimet, decimette, or even tentet—is a composition that requires ten musicians for a performance, or a musical group that consists of ten people. The corresponding German word is Dezett, the French is dixtuor. Unlike some other musical ensembles such as the string quartet, there is no established or standard set of instruments in a decet.
The trumpet repertoire consists of solo literature and orchestral or, more commonly, band parts written for the trumpet. Tracings its origins to 1500 BC, the trumpet is a musical instrument with the highest register in the brass family.
Victor Bruns was a German composer and bassoonist. He played with the Leningrad Opera, the Volksoper Berlin and the Staatskapelle Berlin. As a composer, he is known for his ballets and for bassoon concertos and sonatas.
The bassoon repertoire consists of pieces of music composed for bassoon as a principal instrument that may be performed with or without other instruments. Below is a non-exhaustive list of major works for the bassoon.
References
- ↑ Toff 2012, p. 234.
- ↑ Dzapo 2016, p. 252.
- ↑ Toff 2012, p. 240.
- ↑ Dzapo 2016, p. 243.
Bibliography
- Dzapo, Kyle (2016). Notes for Flutists: A Guide to the Repertoire. Oxford University Press. ISBN 978-0-1998-5707-4. OCLC 925355205.
- Toff, Nancy (2012). The Flute Book: A Complete Guide for Students and Performers (Third ed.). Oxford University Press. ISBN 978-0-19-537307-3. OCLC 756278780.