recitative

Tommy was originally released as a two-LP set with a thin booklet of lyrics and artwork in a triptych-style fold-out cover. All three of the outer panels of the triptych are spanned by a single Pop Art painting by Mike McInnerney. The drawing is a sphere with diamond-shaped cutouts and an overlay of clouds and seagulls rendered with a figure-ground ambiguity. To one side a star-spangled hand bursts from the dark background, index finger pointing forward. (The image above only shows the central panel of the triptych.) The label's execu ...

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Tommy rock opera, Tommy rock opera - Story, Tommy rock opera - Analysis and history, Tommy rock opera - Editions, Tommy rock opera - Track listing, Tommy rock opera - Side 1, Tommy rock opera - Side 2, Tommy rock opera - Side 3, Tommy rock opera - Side 4, Tommy rock opera - Live recordings, Tommy rock opera - Other incarnations, Tommy rock opera - 1972 orchestral version, Tommy rock opera - 1975 film version, Tommy rock opera - 1993 stage version, Tommy rock opera - Notes

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Tommy rock opera - Side 1. Overture (5:21) It's a Boy (:38) 1921 (2:49) Amazing Journey (4:24) Sparks (2:46) Eyesight to the Blind (The Hawker) (2:13) Tommy rock opera - Side 2. Christmas (4:34) Cousin Kevin (4:07) The Acid Queen (3:34) Underture (10:09) Tommy rock opera - Side 3. Do You Think It's Alright? (:24) Fiddle About (1:26 ...

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Tommy rock opera, Tommy rock opera - Story, Tommy rock opera - Analysis and history, Tommy rock opera - Editions, Tommy rock opera - Track listing, Tommy rock opera - Side 1, Tommy rock opera - Side 2, Tommy rock opera - Side 3, Tommy rock opera - Side 4, Tommy rock opera - Live recordings, Tommy rock opera - Other incarnations, Tommy rock opera - 1972 orchestral version, Tommy rock opera - 1975 film version, Tommy rock opera - 1993 stage version, Tommy rock opera - Notes

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Until 1899, Elgar was generally regarded by the British musical establishment as a talented but essentially provincial composer and conductor. Most composers were academics. Furthermore, Britain was still looked down on by Continental Europe as having little to offer musically. With the Enigma Variations and Gerontius, Elgar showed Europe that it could produce music of great stature, and he showed Britain that it was possible to make a living primarily as a composer, which opened the door for a succession of ...

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The Dream of Gerontius, The Dream of Gerontius - Synopsis, The Dream of Gerontius - Music, The Dream of Gerontius - Forces, The Dream of Gerontius - Form, The Dream of Gerontius - History, The Dream of Gerontius - Commission composition and performance, The Dream of Gerontius - Dedication and superscription, The Dream of Gerontius - Legacy, The Dream of Gerontius - Additional notes

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The Dream of Gerontius - Commission composition and performance. Like Cardinal Newman, Elgar was a Roman Catholic and was intimately familiar with the poem. He had owned a copy since at least 1885, and in 1889 he was given another copy as a wedding present. This contained handwritten copies of extensive notes that had been made by General Gordon, another distinguished English Catholic, and Elgar is known to have consi ...

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The Dream of Gerontius, The Dream of Gerontius - Synopsis, The Dream of Gerontius - Music, The Dream of Gerontius - Forces, The Dream of Gerontius - Form, The Dream of Gerontius - History, The Dream of Gerontius - Commission composition and performance, The Dream of Gerontius - Dedication and superscription, The Dream of Gerontius - Legacy, The Dream of Gerontius - Additional notes

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Herbst was one of the most important German music theorists of the first half of the 17th century, second only to Michael Praetorius. His two books, Musica practica and Musica poetica, were hugely influential: except for the titles, they were in German, and covered many topics of practical importance to musicians. Musica practica was a manual on the art of singing, with particular care given to explaining the art of tasteful ornamentation; Musica poetica was a manual on the art of composition, and included exercis ...

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Johann Andreas Herbst, Johann Andreas Herbst - Life, Johann Andreas Herbst - Writings, Johann Andreas Herbst - Musical style and influence, Johann Andreas Herbst - References and further reading, Johann Andreas Herbst - Recording

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Herbst wrote cantatas, chorales, chorale concertos, motets, psalm settings, and numerous other works, most of which were on sacred topics, and none of which were exclusively instrumental. Some of his music uses the massive Venetian polychoral style, especially that written before the Thirty Years War. During the war it became more and more difficult to find and employ the large quantities of musicians necessary for pieces in this style, and this trend towards simplification of instrumental f ...

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Johann Andreas Herbst, Johann Andreas Herbst - Life, Johann Andreas Herbst - Writings, Johann Andreas Herbst - Musical style and influence, Johann Andreas Herbst - References and further reading, Johann Andreas Herbst - Recording

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Newman's poem tells the story of a soul's journey through death, and provides a meditation on the unseen world of Roman Catholic theology. Gerontius (a name derived from the Greek word geron, "old man") is a devout Everyman. Elgar's setting uses most of the text of the first part of the poem, which takes place on Earth, but omits many of the more meditative sections of the much longer, othe ...

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The Dream of Gerontius, The Dream of Gerontius - Synopsis, The Dream of Gerontius - Music, The Dream of Gerontius - Forces, The Dream of Gerontius - Form, The Dream of Gerontius - History, The Dream of Gerontius - Commission composition and performance, The Dream of Gerontius - Dedication and superscription, The Dream of Gerontius - Legacy, The Dream of Gerontius - Additional notes

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Cavalieri claimed to be the inventor of monody, often with considerable irritation: "everyone knows I am the inventor of monody," he said in a letter of 1600, "and I said so myself in print." Caccini seems to have gotten more of the credit, perhaps deservedly so, because of his early association with Bardi and Vincenzo Galilei in the 1570s in Florence, where the style was first discussed and probably invented. Comparing himself to Caccini, he said of their two styles: "[my] music moves people to pleasure and sadness, while theirs [i.e. Caccini's a ...

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Emilio de' Cavalieri, Emilio de' Cavalieri - Life, Emilio de' Cavalieri - Works, Emilio de' Cavalieri - Sources and Further Reading

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Haydn was inspired to write a large oratorio during his visits to England in 1791-1792 and 1794-1795, when he heard oratorios of Handel performed by large forces. It is likely that Haydn wanted to try to achieve results of comparable weight, using the musical language of the mature classical style. The work on the oratorio lasted from October 1796 to April 1798. Haydn found his topic to be inspirational, and from his own testimony it appears that the composition of The Creation was for him a profoundly religious experience. He ...

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The Creation, The Creation - Composition and premiere, The Creation - Text, The Creation - Musical forces, The Creation - Musical numbers, The Creation - Part I, The Creation - Part II, The Creation - Part III, The Creation - Critical opinions, The Creation - Book

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Main Article: Music of Carmen The more popular pieces from the opera include: The Prelude Avec la garde montante (Chorus - With the guard on duty going); Chorus of street-boys L'amour est un oiseau rebelle (Habanera - Love is like a rebellious bird); Carmen Parlemoi de ma mère! (Duet - Tell me, what of my mother?); Don José and Micaela. Près des remparts de Séville (Seguidilla - Near to the walls of Sevilla); Carmen, Don José. Les ting ...

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Carmen, Carmen - History, Carmen - Synopsis, Carmen - Act I, Carmen - Act II, Carmen - Act III, Carmen - Act IV, Carmen - Dramatic Elements, Carmen - Musical Elements, Carmen - Dialogue versus Recitative, Carmen - Characters, Carmen - Musical Pieces, Carmen - Recordings, Carmen - Adaptations, Carmen - Fantasies, Carmen - Film, Carmen - Other, Carmen - Media, Carmen - Notes

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When asked if he would visit Spain to research his score, Bizet replied "No, that would only confuse me." Bizet elegantly works elements of Spanish music into the score, though keeping the music obviously French. However, several pieces, especially the Seguidilla (No.10) and the Gypsy Song (No.12) make great use of the elements of flamenco music. Also, the Act IV entr'acte seems to be influenced by a Spanish song by Manuel Gar ...

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Carmen, Carmen - History, Carmen - Synopsis, Carmen - Act I, Carmen - Act II, Carmen - Act III, Carmen - Act IV, Carmen - Dramatic Elements, Carmen - Musical Elements, Carmen - Dialogue versus Recitative, Carmen - Characters, Carmen - Musical Pieces, Carmen - Recordings, Carmen - Adaptations, Carmen - Fantasies, Carmen - Film, Carmen - Other, Carmen - Media, Carmen - Notes

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Carmen - Fantasies. A number of classical composers have used themes from Carmen as the basis for works of their own. Some of these, such as Pablo de Sarasate's Carmen Fantasy (1883) for violin and orchestra, Franz Waxman's Carmen Fantasie for violin and orchestra and Vladimir Horowitz's Variations on a theme from Carmen for solo piano are virtuoso showpieces in the tradition of fantasias on operatic themes. Ferruccio Busoni wrote a Sonatina (No.6) for piano named Fantasia da camera ...

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Carmen, Carmen - History, Carmen - Synopsis, Carmen - Act I, Carmen - Act II, Carmen - Act III, Carmen - Act IV, Carmen - Dramatic Elements, Carmen - Musical Elements, Carmen - Dialogue versus Recitative, Carmen - Characters, Carmen - Musical Pieces, Carmen - Recordings, Carmen - Adaptations, Carmen - Fantasies, Carmen - Film, Carmen - Other, Carmen - Media, Carmen - Notes

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Lully's music is from the Middle Baroque period, 1650-1700. Typical of Baroque music is the use of the basso continuo (or simply continuo) as the driving force behind the music. French Middle Baroque is exceptional in all of classical music as having the lowest pitch, 392 Hz for A above middle C (which in modern practice is usually 440 Hz). Lully's music is known for its power: liveliness in its fast movements and its deep emotional character in its sad movements. Some of his most popular works are his passacaille (passacaglia) and ch ...

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Jean-Baptiste Lully, Jean-Baptiste Lully - Life, Jean-Baptiste Lully - Music, Jean-Baptiste Lully - Instrumentation, Jean-Baptiste Lully - French court dances of the 17th Century, Jean-Baptiste Lully - Lully's Works, Jean-Baptiste Lully - Operas Tragédies en musique, Jean-Baptiste Lully - Pastorales, Jean-Baptiste Lully - Ballets, Jean-Baptiste Lully - Ballets cowritten with Lully, Jean-Baptiste Lully - Comédie-ballets, Jean-Baptiste Lully - Comedies Comédies, Jean-Baptiste Lully - Comedies cowritten with Lully, Jean-Baptiste Lully - Tragédie-ballets, Jean-Baptiste Lully - Divertissements, Jean-Baptiste Lully - Eclogues Églogues, Jean-Baptiste Lully - Interludes Intermèdes, Jean-Baptiste Lully - Grands Motets, Jean-Baptiste Lully - Petits Motets, Jean-Baptiste Lully - Other Works, Jean-Baptiste Lully - Apocryphal composition

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The striking novelty of Mussorgsky's original compositions had not been rediscovered until the mid-20th century, when Dmitri Shostakovich reorchestrated his two operas on Muscovite history, Boris Godunov and Khovanshchina. One of Mussorgsky's wildest and most barbaric pieces (as the contemporary critics put it) is the orchestral work St. John's Night on the Bare Mountain, which was made famous in the US by ...

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Modest Mussorgsky, Modest Mussorgsky - Life, Modest Mussorgsky - Works, Modest Mussorgsky - Appearances in film and popular culture

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Carmen was extremely innovative in its drama: no longer was French Opera confined to one-dimensional comic characters. The two lead characters in the work are some of the most profound in all operatic literature. The descent of Don José from a faithful lover and soldier to an obsessed lunatic is wonderfully protrayed through both music and libretto. The music also ensures that Carmen does not become a destructive figure like Elektra or Lulu: she does not chase men, they run after her^{See also:}

Carmen, Carmen - History, Carmen - Synopsis, Carmen - Act I, Carmen - Act II, Carmen - Act III, Carmen - Act IV, Carmen - Dramatic Elements, Carmen - Musical Elements, Carmen - Dialogue versus Recitative, Carmen - Characters, Carmen - Musical Pieces, Carmen - Recordings, Carmen - Adaptations, Carmen - Fantasies, Carmen - Film, Carmen - Other, Carmen - Media, Carmen - Notes

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Setting: Seville, Spain c. 1830 Carmen - Act I. A beautiful square in Seville with bridge. Morales and the soldiers are on guard, very bored (No.1). Micaëla appears seeking José, her fiancé, but is accosted by the impudent soldiers who desire her company, causing her to run away (No.2). As José approaches with the new guard, he and the soldiers are imitated by the street-children (No.3). The cigarette girls emerge from the factory, greeted by their men (No.4). Carmen appears, wooed by all, (No.5). When ...

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Carmen, Carmen - History, Carmen - Synopsis, Carmen - Act I, Carmen - Act II, Carmen - Act III, Carmen - Act IV, Carmen - Dramatic Elements, Carmen - Musical Elements, Carmen - Dialogue versus Recitative, Carmen - Characters, Carmen - Musical Pieces, Carmen - Recordings, Carmen - Adaptations, Carmen - Fantasies, Carmen - Film, Carmen - Other, Carmen - Media, Carmen - Notes

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The canonical narratives of the Passion are found in the synoptic gospels and in the Gospel of John. Further details concerning the Passion are revealed in some non-canonical early writings. A detailed account of what transpired between Christ's death on the Cross and the Resurrection is also in the Gospel of Peter, but was declared to be apt to lead readers into Docetism and was not accepted into the canon ...

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Passion, Passion - Passion narratives, Passion - Instruments of the Passion, Passion - Meditation device, Passion - Stations of the Cross, Passion - Musical settings of Gospel narratives, Passion - Passion plays, Passion - External link

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All art forms have a social context, and opera likewise cannot exist in a vacuum. A string quartet exists in manuscript and printed score, and a truly musical person, playing one part, or seated at a keyboard, can hear the intent of the music, but the printed score for an opera must be realized in a production, even a slender one, for its impact. Thus there exists a "sociology of opera", which would be as interesting to general social historians (who are unaware of it, on the whole) as it is to opera buffs. Operas have always been written wi ...

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Opera, Opera - History, Opera - Origins, Opera - Baroque opera, Opera - Bel canto and Italian nationalism, Opera - French opera, Opera - German-language opera, Opera - Other national operas, Opera - After Wagner: verismo and modernism, Opera - Contemporary trends, Opera - Sociology of opera, Opera - Development of an opera audience, Opera - Development of the idea of opera repertory, Opera - Media

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In Christian symbolism the Instruments of the Passion are the objects associated with the Passion Crucifixion. Each of the Instruments have become an object of veneration among Christians, pictured in icons and allegedly recovered as relics. See Alleged relics of Jesus The Instruments of the Passion: The Pillar or column where Jesus was whipped, in the episode of the Flagellation. The Whips that were used. The Crown of Thorns. The Cross on which he was crucified. See also th ...

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Passion, Passion - Passion narratives, Passion - Instruments of the Passion, Passion - Meditation device, Passion - Stations of the Cross, Passion - Musical settings of Gospel narratives, Passion - Passion plays, Passion - External link

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Symphony No. 9 Beethoven - Writing of the symphony. The Philharmonic Society of London (later the Royal Philharmonic Society) originally commissioned the symphony in 1817. Beethoven supposedly started work on his last symphony in 1822 and finished it early in 1824. This was about 10 years after his eighth symphony, however Beethoven was working on this work much earlier. Beethoven wanted to put the An die Freude to music as early as 1793. He did that as a song, but unfortunately that song has been lost forever. The theme for the sc ...

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Symphony No. 9 Beethoven, Symphony No. 9 Beethoven - History, Symphony No. 9 Beethoven - Writing of the symphony, Symphony No. 9 Beethoven - Premiere, Symphony No. 9 Beethoven - Music, Symphony No. 9 Beethoven - Naming, Symphony No. 9 Beethoven - Score, Symphony No. 9 Beethoven - Movements, Symphony No. 9 Beethoven - First movement, Symphony No. 9 Beethoven - Second movement, Symphony No. 9 Beethoven - Third movement, Symphony No. 9 Beethoven - Fourth movement, Symphony No. 9 Beethoven - Text of fourth movement, Symphony No. 9 Beethoven - Trivia, Symphony No. 9 Beethoven - Performing the symphony, Symphony No. 9 Beethoven - Ninth Symphony in the 20th century, Symphony No. 9 Beethoven - Media

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Symphony No. 9 Beethoven - Performing the symphony. Lasting about 74 minutes in performance, the Ninth was an exceptionally long symphony for its time, although it has been exceeded in length (and, arguably, conceptual scope) by several later symphonies, most notably those of Bruckner and Mahler. Mahler's 2nd, 3rd and 8th, inspired by Beethoven, are very similar in conception and style due to their "grand" demeanors ...

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Symphony No. 9 Beethoven, Symphony No. 9 Beethoven - History, Symphony No. 9 Beethoven - Writing of the symphony, Symphony No. 9 Beethoven - Premiere, Symphony No. 9 Beethoven - Music, Symphony No. 9 Beethoven - Naming, Symphony No. 9 Beethoven - Score, Symphony No. 9 Beethoven - Movements, Symphony No. 9 Beethoven - First movement, Symphony No. 9 Beethoven - Second movement, Symphony No. 9 Beethoven - Third movement, Symphony No. 9 Beethoven - Fourth movement, Symphony No. 9 Beethoven - Text of fourth movement, Symphony No. 9 Beethoven - Trivia, Symphony No. 9 Beethoven - Performing the symphony, Symphony No. 9 Beethoven - Ninth Symphony in the 20th century, Symphony No. 9 Beethoven - Media

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In his Traditional Music of the Lao, Terry Miller identifies five factors which helped to produce the various genres of lam in Isan: animism, Buddhism, story telling, ritual courtship and male-female competitive folksongs; these are exemplified by lam phi fa, an nangsue, lam phuen and lam glawn (for the last two factors) respectively.[1] Of these, lam phi fa and lam phuen are probably the oldest, while it was mor lam glawn which was the main ancestor of the commerc ...

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Mor lam, Mor lam - History, Mor lam - Forms, Mor lam - Performers, Mor lam - Performance, Mor lam - Characteristics, Mor lam - Instruments, Mor lam - Music, Mor lam - Content, Mor lam - Recordings, Mor lam - Notes

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