Charles Ives composer composer Gunther Schuller reconstructed by. Gunther Schuller. Concertino for Jazz Quartet and Orchestra. Concertino for Jazz Quartet and Orchestra: I. Concerto for Organ and Orchestra. Concerto for Organ and Orchestra: I. Concerto for Organ and Orchestra: II.
Concerto for Piano and Orchestra in F major: I. George Gershwin composer composer. Adagio - Andante con moto. Allegro agitato. Concerto for Piano and Small Orchestra, op.
Molto sostenuto. Erwin Schulhoff composer and pianist composer. Allegro alla Jazz. Eine kleine Posaunenmusik: I. Eine kleine Posaunenmusik: II. Recitative: Broadly, Freely. Eine kleine Posaunenmusik: III. Piano fantasy. Performed by various vocal and instrumental soloists favorite favorite favorite favorite favorite 2 reviews Topics: Folk music, Folk songs, English, Unlocked Recordings Source: Vinyl LP.
Program notes by J. Braunstein on container Topics: Mandolin and harpsichord music, Sonatas Mandolin and harpsichord , Sonatas Mandolin and piano , Suite; London Festival Orchestra. Guitar music; Falla, Manuel de, Homenaje para Le tombeau de Debussy, guitar. Trio sonatas, violins, continuo, op. Concerti grossi, op. Sonatas, violin, continuo, op. Lied von der Erde; Philadelphia Orchestra. Railroad sounds of a vanishing era : steam locomotives and some diesel locomotives.
Godard Maiden' s Wish. Chopin Song of the Flea Moussorgsky Mr. Poldini-Kreisler Alt-Wien. Strickland Dreams. Chasins Hopak. Opus 31, No. Etincelles - Sparks, Opus 36, No. Je veux vivre" from "Romeo et Juliette". Brahms Wiegenlied. Gershwin Introduction and Tarantelle Sarasate Mr. Manella Mia. Neapohtan Folk Song. Mother o' Mine Frank E.
Rachmaninoff Prelude in E flat minor. Chasins Danse rituelle du Feu de Falla Mr. Helmer IV Trio in C minor. Cresswell, Miss Head and Mr. Old English.. Opus 18 ,No, 4. Etude in E major. Trio in E flat. Romance, Opus 2 8, No. Robert Schumann Waltz, Opus 70, No.
Manuel de Falla Ralph Berkowitz D. Leclair Air from "Orpheus" ,. Conducted by MR. But, as children will, they spend their time playing, and singing the old German folk-song, "Susie, What Is the News? Hansel's remarks interrupt but do not prevent the recital of the story.
Not keenly interested in the adventures of the geese, he wants to know when they are to eat. In the midst of it their mother returns, cross and tired. She has not made a penny for all her work, and there is nothing to eat in the house — except a jug of milk.
She turns loose on the idle children, and in giving them a push knocks over the milk. It is the last straw! She sends them out into the woods to gather strawberries, sinks down into a chair and, praying heaven to send food for her family, falls asleep.
Her husband, Peter, returns with a loaded basket; and while they both have supper it grows d. He hopes the children have not wandered into the Isenstein, the place bewitched, where an old hag entices children into her house, bakes them into gingerbread and eats them.
Operatic Acting under direction of Mr. Conducted by Mr. Address Thomas Sovereign Gates, Ph. Director Josef Hofmann, Mus.
Carlos Salzedo, Harpist February 26, Third Efrem Zimbalist, Violinist March 19, 2 Stiidents' Concerts Casimir Hall These programs, while listed alphabetically according to Instructor's name, are bound according to date.
Students of Dr. Bailly in Chajcaber Music. May 1, Students of Dr. Bailly in Viola May 7, Students of Dr. After the Baroque period most works designated as sonatas specifically are performed by a solo instrument, most often a keyboard instrument, or by a solo instrument accompanied by a keyboard instrument.
Sonatas for a solo instrument other than keyboard have been composed, as have sonatas for other combinations of instruments.
Although the four, five, or six movements of the sonata da chiesa are also most often in one key, one or two of the internal movements are sometimes in a contrasting tonality Newman a , 23— The sonata da chiesa, generally for one or more violins and bass , consisted normally of a slow introduction, a loosely fugued allegro , a cantabile slow movement, and a lively finale in some binary form suggesting affinity with the dance-tunes of the suite.
This scheme, however, was not very clearly defined, until the works of Arcangelo Corelli when it became the essential sonata and persisted as a tradition of Italian violin music. The sonata da camera consisted almost entirely of idealized dance-tunes.
On the other hand, the features of sonata da chiesa and sonata da camera then tended to be freely intermixed. The term sonata is also applied to the series of over works for harpsichord solo, or sometimes for other keyboard instruments, by Domenico Scarlatti , originally published under the name Essercizi per il gravicembalo Exercises for the Harpsichord. Most of these pieces are in one binary-form movement only, with two parts that are in the same tempo and use the same thematic material, though occasionally there will be changes in tempo within the sections.
They are frequently virtuosic, and use more distant harmonic transitions and modulations than were common for other works of the time. They were admired for their great variety and invention. Both the solo and trio sonatas of Vivaldi show parallels with the concerti he was writing at the same time.
He composed over 70 sonatas, the great majority of which are of the solo type; most of the rest are trio sonatas, and a very small number are of the multivoice type Newman a , — The sonatas of Domenico Paradies are mild and elongated works with a graceful and melodious little second movement included.
The practice of the Classical period would become decisive for the sonata; the term moved from being one of many terms indicating genres or forms, to designating the fundamental form of organization for large-scale works. This evolution stretched over fifty years. The term came to apply both to the structure of individual movements see Sonata form and History of sonata form and to the layout of the movements in a multi-movement work.
In the transition to the Classical period there were several names given to multimovement works, including divertimento , serenade , and partita , many of which are now regarded effectively as sonatas. The usage of sonata as the standard term for such works began somewhere in the s. Haydn labels his first piano sonata as such in , after which the term divertimento is used sparingly in his output.
The term sonata was increasingly applied to either a work for keyboard alone see piano sonata , or for keyboard and one other instrument, often the violin or cello. It was less and less frequently applied to works with more than two instrumentalists; for example, piano trios were not often labelled sonata for piano, violin, and cello.Note: Citations are based on reference standards. However, formatting rules can vary widely between applications and fields of interest or study. The specific requirements or preferences of your reviewing publisher, classroom teacher, institution or organization should be applied.