recitative

Traditionally, young mor lam were taught by established artists, paying them for their teaching with money or in kind. The education focussed on memorising the texts of the verses to be sung; these texts could be passed on orally or in writing, but they always came from a written source. Since only men had access to education, it was only men who wrote the texts. The musical education was solely by imitation. Khaen-players typically had no formal training, learning the basics of playing from friends or relatives and thereafter again r ...

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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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The following performance of the Fifth Symphony is by the Fulda Symphonic Orchestra (Fuldaer Symphonisches Orchester) under the direction of Simon Schindler. The recording is from a concert of March 10, 2000, performed in the Orangerie in Fulda, Germany. ...

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Symphony No. 5 Beethoven, Symphony No. 5 Beethoven - History, Symphony No. 5 Beethoven - Composition, Symphony No. 5 Beethoven - Premiere, Symphony No. 5 Beethoven - Reception and influence, Symphony No. 5 Beethoven - The fate motif, Symphony No. 5 Beethoven - Form, Symphony No. 5 Beethoven - Key, Symphony No. 5 Beethoven - First movement, Symphony No. 5 Beethoven - Second movement, Symphony No. 5 Beethoven - Third movement, Symphony No. 5 Beethoven - Fourth movement, Symphony No. 5 Beethoven - Textual questions, Symphony No. 5 Beethoven - The third movement repeat, Symphony No. 5 Beethoven - Reassigning bassoon notes to the horns, Symphony No. 5 Beethoven - Media, Symphony No. 5 Beethoven - The symphony in popular culture, Symphony No. 5 Beethoven - Notes and references, Symphony No. 5 Beethoven - Editions

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Symphony No. 5 Beethoven - The third movement repeat. In the autograph score (that is, the original version from Beethoven's hand), the third (scherzo) movement contains a repeat mark: when the main scherzo and the trio section have been played through, the performers are directed to return to the very beginning and play the two sections again. Then comes a third rendering of the scherzo, this time notated differently for pizzicato strings and transitioning directly to the finale (see description above). Most mod ...

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Symphony No. 5 Beethoven, Symphony No. 5 Beethoven - History, Symphony No. 5 Beethoven - Composition, Symphony No. 5 Beethoven - Premiere, Symphony No. 5 Beethoven - Reception and influence, Symphony No. 5 Beethoven - The fate motif, Symphony No. 5 Beethoven - Form, Symphony No. 5 Beethoven - Key, Symphony No. 5 Beethoven - First movement, Symphony No. 5 Beethoven - Second movement, Symphony No. 5 Beethoven - Third movement, Symphony No. 5 Beethoven - Fourth movement, Symphony No. 5 Beethoven - Textual questions, Symphony No. 5 Beethoven - The third movement repeat, Symphony No. 5 Beethoven - Reassigning bassoon notes to the horns, Symphony No. 5 Beethoven - Media, Symphony No. 5 Beethoven - The symphony in popular culture, Symphony No. 5 Beethoven - Notes and references, Symphony No. 5 Beethoven - Editions

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The Symphony, especially its opening, is familiar to audiences around the world. Not surprisingly given its fame, the Fifth Symphony has appeared frequently in popular culture. The 5th Symphony has often been re-rendered into other genres of music—disco, techno, Rock and roll, and even a heavy metal rendition by Swedish guitarist Yngwie Malmsteen. The rock band Electric Light Orchestra included the opening bars of the symphony as an introduction to their cover of Chuck Berry's "Roll Over Beethoven." During the disco era of the 1970s ...

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Symphony No. 5 Beethoven, Symphony No. 5 Beethoven - History, Symphony No. 5 Beethoven - Composition, Symphony No. 5 Beethoven - Premiere, Symphony No. 5 Beethoven - Reception and influence, Symphony No. 5 Beethoven - The fate motif, Symphony No. 5 Beethoven - Form, Symphony No. 5 Beethoven - Key, Symphony No. 5 Beethoven - First movement, Symphony No. 5 Beethoven - Second movement, Symphony No. 5 Beethoven - Third movement, Symphony No. 5 Beethoven - Fourth movement, Symphony No. 5 Beethoven - Textual questions, Symphony No. 5 Beethoven - The third movement repeat, Symphony No. 5 Beethoven - Reassigning bassoon notes to the horns, Symphony No. 5 Beethoven - Media, Symphony No. 5 Beethoven - The symphony in popular culture, Symphony No. 5 Beethoven - Notes and references, Symphony No. 5 Beethoven - Editions

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The arias, set to texts by Picander, are interspersed between sections of the Gospel text, and are sung by various soloists and with a variety of instrumental accompaniments, typical of the oratorio style. The interpolated texts point to a theology which makes the sacrifice on the cross very personal. Almost every text brings home the significance to modern Christians of Jesus’ suffering, from the chorale “Ich bin’s, ich sollte büßen” (“It is I who should suffer and be bound for hell”) to the alto’s desire to anoint Je ...

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Matthäuspassion, Matthäuspassion - Structure of the work, Matthäuspassion - Interpolated texts, Matthäuspassion - Compositional style, Matthäuspassion - History, Matthäuspassion - Links

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Bach’s music is as deep as the text. His recitatives are never mechanical, but set the mood for the particular passage, often highlighting emotionally charged words such as “crucify,”, “kill,” or “mourn” with twisting chromatic melodies. The description of Peter’s weeping after having denied Jesus is especially poignant. Jesus’ prophecies of doom are accompanied by diminished seventh chords and sudden modulations; compare that to the relatively cheerful music of the Eucharistic proclamation (“drink, all of you, this is my ...

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Matthäuspassion, Matthäuspassion - Structure of the work, Matthäuspassion - Interpolated texts, Matthäuspassion - Compositional style, Matthäuspassion - History, Matthäuspassion - Links

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The work is in four movements: I. Allegro con brio II. Andante con moto III. Scherzo. Allegro IV. Allegro The first three movements are scored for two flutes, two oboes, two clarinets, two bassoons, two horns, two trumpets, timpani, and the usual string section of first and second violins, violas, cellos, and double basses. In the fourth movement, a piccolo, a contrabassoon and three trombones (alto, tenor and bass) are added.[18] A performance of the work lasts about 35 minutes. ...

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Symphony No. 5 Beethoven, Symphony No. 5 Beethoven - History, Symphony No. 5 Beethoven - Composition, Symphony No. 5 Beethoven - Premiere, Symphony No. 5 Beethoven - Reception and influence, Symphony No. 5 Beethoven - The fate motif, Symphony No. 5 Beethoven - Form, Symphony No. 5 Beethoven - Key, Symphony No. 5 Beethoven - First movement, Symphony No. 5 Beethoven - Second movement, Symphony No. 5 Beethoven - Third movement, Symphony No. 5 Beethoven - Fourth movement, Symphony No. 5 Beethoven - Textual questions, Symphony No. 5 Beethoven - The third movement repeat, Symphony No. 5 Beethoven - Reassigning bassoon notes to the horns, Symphony No. 5 Beethoven - Media, Symphony No. 5 Beethoven - The symphony in popular culture, Symphony No. 5 Beethoven - Notes and references, Symphony No. 5 Beethoven - Editions

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The initial motif of the symphony has sometimes been credited with symbolic significance as a representation of Fate knocking at the door. This idea comes from Beethoven's secretary and factotum Anton Schindler, who wrote, many years after Beethoven's death: The composer himself provided the key to these depths when one day, in this author's presence, he pointed to the beginning of the first movement and expressed in these words the fundamental idea of his work: "Thus Fate knocks ...

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Symphony No. 5 Beethoven, Symphony No. 5 Beethoven - History, Symphony No. 5 Beethoven - Composition, Symphony No. 5 Beethoven - Premiere, Symphony No. 5 Beethoven - Reception and influence, Symphony No. 5 Beethoven - The fate motif, Symphony No. 5 Beethoven - Form, Symphony No. 5 Beethoven - Key, Symphony No. 5 Beethoven - First movement, Symphony No. 5 Beethoven - Second movement, Symphony No. 5 Beethoven - Third movement, Symphony No. 5 Beethoven - Fourth movement, Symphony No. 5 Beethoven - Textual questions, Symphony No. 5 Beethoven - The third movement repeat, Symphony No. 5 Beethoven - Reassigning bassoon notes to the horns, Symphony No. 5 Beethoven - Media, Symphony No. 5 Beethoven - The symphony in popular culture, Symphony No. 5 Beethoven - Notes and references, Symphony No. 5 Beethoven - Editions

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Mor lam - Instruments. The traditional instruments of mor lam are: the khene: a mouth pipe organ, consisting of approximately fourteen bamboo tubes above a mouthpiece; the phin: a lute, normally three-stringed; the ching: small bells resembling cymbals; the saw: a bowed string instrument; panpipes; and hand drums. Many genres (including the khap of northern Laos and lam glawn and lam phuen in Isan) were traditional ...

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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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In Laos, lam may be performed standing (lam yuen) or sitting (lam nang). Northern lam is typically lam yuen and southern lam is typically lam nang. In Isan lam was traditionally performed seated, with a small audience surrounding the singer, but over the latter half of the 20th century the introduction of stages and amplification allowed a shift to standing performances in front of a larger audience.^{See also:}

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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As few mor lam artists write all their own material, many of them are extremely prolific, producing several albums each year. Major singers release their recordings on audio tape, CD and VCD formats. The album may take its name from a title track, but others are simply given a series number. Mor lam VCDs can also often be used for karaoke. A typical VCD song video consists of a performance, a narrative film, or both intercut. The narrative depicts the subject matter of the song; in some cases, the lead role in the film is playe ...

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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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The text of The Creation has a long history. The three sources are Genesis, the Biblical book of Psalms, and John Milton's Genesis epic Paradise Lost. This material was fashioned into an oratorio libretto by one Lidley (possibly Linley). Lidley may have intended the libretto for the use of Handel; if so, Handel never set it to music. Haydn's host in England, Johann Peter Salomon, somehow obtained a copy of Lidley's libretto and gave it to Haydn. When Haydn returned to Vienna, he gave it to his friend and sponsor Baron Gottfried van Sw ...

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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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The Creation is set for three vocal soloists (soprano, tenor, and bass), four-part chorus (soprano, alto, tenor, bass), and a large late-Classical orchestra consisting of 3 flutes, 2 oboes, 2 clarinets, 2 bassoons, contrabassoon, 2 horns, 2 trumpets, 3 trombones, timpani, and the usual string sections of first and second violins, violas, cellos, and double basses. For the recitatives a harpsichord or fortepiano is also used. There seems little doubt that Haydn wanted a big sound (by the standard of his day) for his work. Betwee ...

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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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Bach's St. Matthew Passion was probably written in 1727. Only two of the four (or five) settings of the Passion which Bach wrote have survived; the other is the St. John Passion. The St. Matthew Passion was first performed on either Good Friday 1727 or Good Friday 1729 in the Thomaskirche in Leipzig, where Bach was the cantor. He revised it by 1736, performing it again on March 30, 1736, this time including two organs in the instrumentation. The St. Matthew Passion was not heard outside of Leipzig until 1829, when Felix Mendelssohn performed an abbreviate ...

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Matthäuspassion, Matthäuspassion - Structure of the work, Matthäuspassion - Interpolated texts, Matthäuspassion - Compositional style, Matthäuspassion - History, Matthäuspassion - Links

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