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pianoforte

pianoforte

pianoforte Sentence Examples

  • The invention of the damper-pedal in the pianoforte epitomizes the difference between polyphony and symphonic art, for it is the earliest device by which sounds are produced and prolonged in a way contrary to the spirit of "real" part-writing.

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  • There seems no good reason why in modern performances the pianoforte should not be used for the purpose; if only accompanists can be trained to acquire the necessary delicacy of touch, and can be made to understand that, if they cannot extemporize the necessary polyphony, and so have to play something definitely written for them, it is not a mass of interesting detail which they are to bring to the public ear.

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  • Haydn finds the pianoforte so completely capable of expressing his meaning that he is at a loss to find independent material for any accompanying instruments; and the violoncello in his trios has, except perhaps in four passages in the whole collection of thirty-three works, not a note to play that is not already in the bass of the pianoforte; while the melodies of the violin are, more often than not, doubled in the treble.

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  • But experiment shows that in this condition much of the violin part sounds incomplete; and the truth appears to be that Haydn is thinking, like any modern composer, of the opposition of two solid bodies of tone - the pianoforte and the stringed instruments.

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  • But this was ineffective with the pianoforte, and is only explicable in Haydn as a survival.

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  • are eight horns in the orchestra their material should be indistinguishable from pianoforte writing, and that, in short, the part of every instrument should look exactly like the part of every other - such questions are for posterity to decide.

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  • The development of pianoforte technique since Beethoven has been in some ways even more revolutionizing than that of the brass instruments; and pianoforte instrumentation, both in solo and in chamber-music, is a study for a lifetime.

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  • Classical and modern chamber-music in the sonata style consists mainly of string-quartets for 2 violins, viola and violoncello; string-trios (rare, because very difficult to write sonorously); pianoforte-trios (pianoforte, violin and violoncello); pianoforte-quartets (pianoforte with string-trio); pianoforte-quintets (pianoforte with string-quartet); string-quintets (with 2 violas, very rarely with 2 violoncellos), and (in two important cases by Brahms) stringsextets.

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  • His name at once became synonymous with the highest pitch of pianoforte playing, and society was at his feet.

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  • This is of constant occurrence in classical pianoforte music, in which thick chords are subjected to polyphonic laws only in their top and bottom notes, while the inner notes make a solid mass of sound in which numerous consecutive fifths and octaves are not only harmless but essential to the balance of tone.

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  • It was first used in France, for the organ, in 1835; in England, for the pianoforte in 1846 and for the organ in 1854.

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  • A practised ear easily discerns the coexistence of these various tones when a pianoforte or violin string is thrown into vibration.

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  • She composed several cantatas, two pianoforte concertos and five operas, Sofonisbe, Ciro in Armenia, Nitocri, Il Re Pastore and Insubria consolata.

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  • His appeal to musicians was made in a threefold capacity, and we have, therefore, to deal with Liszt the unrivalled pianoforte virtuoso (1830 - r848); Liszt the conductor of the "music of the future " at Weimar, the teacher of Tausig, Billow and a host of lesser pianists, the eloquent writer on music and musicians, the champion of Berlioz and Wagner (1848-1861); and Liszt the prolific composer, who for some five-and-thirty years continued to put forth pianoforte pieces, songs, symphonic orchestral pieces, cantatas, masses, psalms and oratorios (1847-1882).

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  • At Vienna he had lessons in pianoforte playing from Carl Czerny of " Velocity " fame, and from Salieri in harmony and analysis of scores.

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  • After the death of his father in 1828 young Liszt led the life of a teacher of the pianoforte in Paris, got through a good deal of miscellaneous reading, and felt the influence of the religious, literary and political aspirations of the time.

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  • About Liszt's pianoforte technique in general it may be said that it derives its efficiency from the teaching of Czerny, who brought up his pupil on Mozart, a little Bach and Beethoven, a good deal of Clementi and Hummel, and a good deal of his (Czerny's) own work.

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  • Omitting trifles and all publications that have been cancelled, the following list of compositions may be taken as fairly comprehensive: - Pianoforte Pieces.

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  • Pianoforte with Orchestra.

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  • Chesapeake Bay itself is the drowned lower course of the Susquehanna river, to which the other streams mentioned were 1 The mechanism is described under Pianoforte and Spinet.

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  • Pianoforte >>

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  • In the two "Scottish Rhapsodies" for orchestra, in the music to The Little Minister, and in a beautiful fantasia for pianoforte and orchestra on Scottish themes, he has seized the essential, not the accidental features of his native music.

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  • Arlington is an important centre for market-gardening (in hot-houses), and along Mill Brook, in the township, are several factories, including chrome works, a large mill and a manufactory of pianoforte cases.

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  • Mendelssohn wrote two concert pieces for clarinet, basset horn and pianoforte dedicated to father and son Baermann.

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  • He studied oboe and pianoforte at the Royal Marines School of Music, where he also became interested in composing music.

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  • pianoforte made from Spanish mahogany.

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  • Thomas sent Beethoven a gift of a 6 octave grand pianoforte made from Spanish mahogany.

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  • pianoforte solos in good style which were well received.

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  • pianoforte maker " in the census return.

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  • pianoforte dealer to be found at Seighford.

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  • pianoforte accompaniments were given by Mr J BUCKLEY.

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  • stopt again to say, " the pianoforte!

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  • It does not appear from any evidence that the keyboards - when there were more than one - of the early organs were arranged for transposition, but it is certain that the Flemish harpsichords to 1650 were made with double keyboards to accommodate it (see Hipkins' History of the Pianoforte, 1897).

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  • The same comments apply to the attempts sometimes made to fill out the bare places in 18thcentury clavier music. There is no doubt that such filling out was often done on a second harpsichord with stops of a very light tone; but, if it cannot be done on the modern pianoforte in a touch so light as to avoid confusion between it and the notes actually written as essential to the design, it certainly ought not to be done at all.

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  • And it will be found that the method of performance which most nearly justifies the instrumental effect of these otherwise beautiful works is that in which the pianoforte player regards himself as frequently doubling the stringed instruments, and not vice versa.

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  • His trios were, indeed, published under the title of "pianoforte sonatas with accompaniment of violin and violoncello"; but this in no way militates against the above remarks as to their proper method of performance nowadays, when we take into consideration the greater strength of tone of the modern pianoforte, especially in the bass, and the fact that in no case could a violinist consent to play as an accompaniment such melodies as that at the beginning of the G major trio known as No.

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  • It was lucky for the development of instrumentation (as in all branches of music during the change from polyphonic to formal design) that whenever the texture is not polyphonic the natural place for melody is on the surface: in other words, when the accompaniment is simple the tune is generally on the top. Haydn, when he was not tempted by the resources of an instrument so complete in itself as the pianoforte, soon learnt to write artistically perfect string quartets in which the first violin, though overwhelmingly the most important part, is nevertheless in perfect balance with the other members of the scheme, inasmuch as they contribute exactly what their pitch and the little polyphonic elaboration admissible by the style will enable them to give.

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  • The compositions belonging to the period of his residence at Weimar comprise two pianoforte concertos, in E flat and in A, the " Todtentanz," the " Concerto pathetique " for two pianos, the solo sonata " An Robert Schumann," sundry " Etudes," fifteen " Rhapsodies Hongroises," twelve orchestral " Poemes symphoniques, " " Eine Faust Symphonie," and " Eine Symphonie zu Dante's ` Divina Commedia,' " the " 13th Psalm " for tenor solo, chorus and orchestra, the choruses to Herder's dramatic scenes " Prometheus," and the " Missa solennis " known as the " Graner Fest' Messe."

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  • At the pianoforte his achievements culminate in the two books of studies, twice rewritten, and finally published in 1852 as Etudes d'execution transcendante, the Etudes de concert and the Paganini Studies; the two concertos and the Todtentanz, the Sonata the Hungarian Rhapsodies and the fine transcriptions of Beethoven's symphonies (the 9th for two pianofortes as well as solo), and of Berlioz's Symphonie fantastique, and the symphony, Harold en Italie.

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  • He did so, but very soon stopt again to say, the pianoforte !

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  • The greater richness of tone of the modern pianoforte is a better compensation for any bareness that may be imputed to pure two-part or three-part writing than a filling out which deprives the listener of the power to follow the essential lines of the music. The same holds good, though in a lesser degree, of the resources of the harpsichord in respect of octavestrings.

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  • The genius of the modern pianoforte is to produce richness by depth and variety of tone; and players who cannot find scope for such genius in the real part-writing of the 18th century will not get any nearer to the 18th-century spirit by sacrificing the essentials of its art to an attempt to imitate its mechanical resources by a modern tour de force.

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  • The pianoforte trios of Haydn are perhaps the only-works of first-rate artistic importance in which there is no doubt that the earlier stages of the new art do not admit of sufficient polyphony to give the instruments fair play.

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  • Magnificent examples are Mozart's trio for pianoforte, clarinet and viola, his quintet for pianoforte, oboe, clarinet, horn and bassoon (imitated by Beethoven), his quintet for clarinet and strings, Brahms's clarinet-quintet for the same combination, and his trio for pianoforte, violin and horn.

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