It is condense score, and the movement of the voice part is gathered by how many steps and is written whereas a musical instrument (part) having one full score is written in one step (as for the number of the steps, various by music) and comes to be able to catch the whole of the music.
Including a transposition musical instrument, I am usually transcribed in real sound. But, with the condense score of the wind music, there is the thing which I wrote the whole long 2 degrees highly. This is to command the whole while a top cornetist plays a cornet as a thing and bandmaster with many musical instruments of the B flat by the wind music [1].
Schoenberg writes an orchestra of 4 pipe formation with condense score in handwriting music of "four songs" work 22. In addition, the score of "Moses and the alone" was published in form of the condense score in the former edition, too.
In addition, I say the thing which I arrange it as piano music in a form of the piano music to split open with a piano in particular and wrote it down with piano score (British: piano score). In addition, I say the thing which did the part of the orchestral music like piano score that a singer and a leader practice in the vocal music music with opera and the orchestral music including the oratorio and use it with vocalist score (British: vocal score).
Use
Not only score is written in real sound and becomes easy to read, but also it is easy to play even the piano easily and is often devised and is used for the cases that a music leader teaches an ensemble to today well. In addition, "the score" of the simple march is almost this form. However, the connection of the horizontal melody is uncertain in the complicated music such as the polyphony music.
For the leader who can read a full score, I rarely use it toward the condense score that is hard to understand each part-time individual sounds daringly. But there is the opinion that condense is easy to command in the case of simple pop music.
Footnote
The example which I write other voice parts jointly on the part music of the solo cornet without assuming ^ score independent score, and there is in substitution for score: The John Philip Sousa composition "loyalty" (American Star Journal / Carl Fischer version) a music example (page in the international score library project).
Allied item
Music eight (most of the published music have been ever settled with condense score, but the current new book becomes a full score, and full scoring is pushed forward to the former score again.)
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Profound knowledge is in the jazz under the influence that father liked jazz and likes Anita O'Day.
Shyness was not able to enter neighboring children intensely after childhood, but, on the other hand, a transformation desire is strong and recollects it by an interview of the Sankei Shimbun when I played it lively in the game society.
Because position office was Izawa office, I appear a lot for the TV program which the office produces (ドリフ size roars of laughter).
I am selected as a close friend position of Asao in "the cooks of the illusion" who became the drama initial work in big fans of Yumi Aso who is the senior of the office.
Theater lingerie model murder case straightness assistant inspector wide on Saturday and unconventional detective 2 (in 1997 Asahi National Broadcasting)
The part of mask second series (in 1998 Asahi National Broadcasting) - hawk shrine Shiori of the glass
The part of conclusion special (in 1999 Asahi National Broadcasting) - hawk shrine Shiori of the mask impression of the glass
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String quartet third (げんがくしじゅうそうきょくだい 3 ばん) Sz.85 of Bartok is string quartet completed in 1927.
Table of contents
Establishment
I consist of a single movement. The percussive instrumental music method which even the piano concerto first and a piano sonata composed in this last year were seen in is required and features the violent rhythm using special ways of playing such as col レーニョ. On the other hand, the constitution of the music is written by the constitution that is extremely plain, and is close.
This work was submitted to the chamber music eisteddfod that it was hosted by association of Philadelphia music fund as an entry, and it was form to divide the first class honor and prize money equally four in Italian composer Alfredo カゼッラCarlo unpleasant keno [1], Harry ヴァルド Varna [2] in October, 1928, the following day, and Bartok of the misfortune missed championship alone again [3].
Recapitulazione della prima parte (recapitulation of Part 1)
Coda
Four の 緩 - immediate - 緩 - single movements which is comprised of a part to be rapid. Performance time is approximately 15 minutes in all songs.
Premiere
February 19, 1929 London. It depends on Val Toba well string quartet.
Contents of the work
In the part equal to the introduction, a small motive is, so to speak, connected with each other each other, and the in moderate time of Part 1 is constructed. Like the string quartet first, all 12 sounds in the octave are used for an opening motive, but do not depend on 12 sound technique of Schoenberg. The new motif of the ピウ andante is shown with スル pontil cello (special way of playing to rub near the piece with a bow). While a counterpoint part and the part that rhythm is superior mix, it becomes the Part 2 allegro. Part 2 is considerably irregular, but keeps sonata form. ピツィカート and the violin of the cello show the subject, and the subject of the cello affects the fugato by the subject of the violin and is the constitution that recapitulation follows. Some of motifs of Part 1 are recollected in Part 3, but the context of the music is totally different from that of Part 1, and it seems that it is not appropriate to call this "recapitulation of Part 1". I returned to an atmosphere of Part 2, and the last coder hit "recapitulation of Part 2" if I named it as expected, but it would be hesitated about, as is expected, calling this with recapitulation. I am considered to be a coda.
Reference book
Paul Griffiths, work, Akira Wada, reason "Bartok - - life and work - -" 泰流社 1986 ISBN 4884705599
Footnote
^Carlo Jachino, Curci company <12 sound technique＞で is known
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I am born as four men of the farmhouse for the monte Foss stiffness (パラーイア) of the Pisa prefecture. It was not family interested in opera in particular, and it is said that himself spent the boyhood when it is not closely related to a song. It was the first point of contact of him and the music to have begun to learn a clarinet from 17 years old. In the military duties that I join it at 20 years old and acted as for three years, フィリッペスキ has an opportunity to sing popular songs for entertainment, and he starts a lesson of the vocal music after eye opening, discharge from military service in talent of for the first time own vocal music because it was popular with a co-worker, senior officers.
After having wandered several vocal music teachers from place to place, I succeeded in a contract of the part of Donizetti "Lucia エドガルド by the road performance of the orchid Mel lacing braid" in 1937 and I sang in コロルノ in the suburbs of Parma in July and succeeded. It was a late-blooming debut of 30 years old. While I continued the provincial tour in the local small theater, I enlarged a repertory in re-Rico pro-position such as the part of Puccini "butterfly wife" Pinkerton, the part of to agree with "la ボエーム" Rodolfo, the part of Verdi "Rigoletto" duke, the part of "La Traviata" Alfredo, and the part of advance particularly Verdi "Aida" Radames was very popular with re-Rico spinto system various positions such as the part of Cilea "ad Rihanna ルクヴルール" Maurizio or the part of Puccini "Tosca" カヴァラドッシ afterwards in about 1940.
I played an active part in Mexico for 1946 and the early 1950s after World War II and sang led by the position mentioned above. Some of songs in this Mexico City are left by the live recording (the sound quality is inferior), and, as for Greece system American soprano singer just after the debut, "Tosca" and "Rigoletto that acted in the same play with Maria Callas," the acquisition of the CD is possible even today.
フィリッペスキ was a good friend of 15 years old senior large tenorist Giacomo bamboo pipe-stem re-= ヴォルピ and was regarded as the successor again. Originally the part of Rossini "Guillaume Teru" (William Tell) Arnold, the part of that the 1950s began, and a repertory increased Verdi "Il trovatore" Manrico and the part of Puccini "two-run homer dot" carafe were representative suitable parts of bamboo pipe-stem re-= ヴォルピ, and フィリッペスキ put success even in these.
I withdrew from the front line while leaving surplus energy to be able to still sing in the early 1960s. I instructed much tenor as a vocal music teacher and died afterwards in the suburbs of Florence in 1979. 72 years old.
Evaluation
He of the heyday had a large range of voice, brilliance in the upper register and good growth. There is the opinion that it is tied to the good breath control to have been a wind instrument player.
On the other hand, it is reliable that it gives an "exaggerated" impression a kind of "antique-looking" that his song-style is common to tenor before World War II including bamboo pipe-stem re-= ヴォルピ and Gigli and differs from the style to hit feelings on more directly including Mario Dell = Monaco which gained power after the Great War, Franco Corelli. I can confirm this by Tullio Serafin conduct, two sets of all songs studio recording (for 1,954 years, I record it in 1960) of the ベッリーニ "quota" of the part of Maria Callas title.
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The symphony that Charles Ives completed symphony "holiday (A Symphony: New England Holidays) of New England" in 1913. The title may be called "holiday symphony" "festival day symphony" "holiday symphony" (Holiday Symphony).
Table of contents
Summary
Each movement was written intermittently from 1897 through 1913. It is about summer of 1905 that I thought so that Ives writes "a holiday symphony". I wanted to write Ives as if one adult recollected the holiday in the days of the child in each movement. [1]"There is a melody like a symbol there and sounds when I virtually said with community, a nation in memory and the history, war, boyhood" [2]. Each movement is written based on personal memory of Ives, and the town of father George Ives and Connecticut Danbury (English version) is included in that, too. Father had a big influence on creation of Ives, and it was particularly remarkable after I died in November, 1894. In addition, Danbury provides much experience that became the basis of the idea of "the holiday symphony" in the town where Ives spent the childhood period.
In 1931 and 1932, the third movement is played from the first movement in the United States and Europe by conduct of Nicholas スロニムスキー. "Some critics who the concert sparked ridicule, protest, enthusiasm, and music of Ives did not get away from the positioning of one piece in the program to the last, and, however, were important put words of the serious praise" [3].
I extract it for a violin and a piano anything other than the third movement later and arrange Ives and may be played as [the violin sonata fifth].
Work
Various, unique dissonant uses bringing wide emotional display in a work of Ives emerge in "a holiday symphony". Another characteristic is "meta style"; "(movement) expresses special scene and feelings one by one……Mix a stylistic manner of writing; (use it). In addition, a pattern "putting introspection-like slow music and extrovert fast music together" is common to each movement [4].
In addition, I can see "use of 複調 when I make a harmony charge account in the music that I quoted and-like combination [5] that is, and is shoes". In addition, it is well known about the a large quantity of quotation and complicated stack alignment of plural material. Without excessive quotation, this work does not serve to recall four memory and feelings.
This work is titled "a symphony", but I regard each movement as an independent work and can play it separately. I write down Ives as follows in "memo" ("Memos").
"It is special does not have a musical relation with the movement of these four……Noticed in this, but a number many; because it is necessarily one thing, and (form) is not, and intended to gather up the big form (symphony, sonata, suite) that there is well, and there can be the thing that extract the one or two movement and is played, the organic combination is killed [6]
Instrumentation
I write it down by total formation, but the person of composition did not necessarily compose a performance on a premise, and there are many places that are arbitrary to the last, and are vague.
Approximately 40 minutes (for each movement, ten minutes for nine minutes for six minutes 15 minutes)
Musical piece constitution
Each movement expresses a holiday in the United States according to title and copes each for change (sequentially winter, spring, summer, autumn) of the four seasons.
Ives makes the lonely night when February was chilled with the first part and is going to put it up. "A chord based on the whole-note scale moves it in parallel and almost describes the snowy drift and hill" [8].
In the middle allegro part, the old music of the barn dance is used [9]. "The dissonant ostinato which was put on several folds expresses the noise of the crowd" [10]. The barn dance includes the image of the fiddle of the country and is the mourning to musician John star (John Starr) who died at 48 years old in 1890.
The last of the movement is over so that "a musician taken by sleepiness begins to play [holiday] ("Good Night, Ladies"), and music vanishes for feelings" [11]. "A solo violin continues resisting the recollection of the fiddle, but this is music of the dances that continues sounding in the heart of the young farmer toward the house" [10].
On [Washington birthday], recording was carried out in Ives work first, and it was recorded in new music quarterly recording (New Music Quarterly Recordings) in 1934 by スロニムスキー and bread United States orchestra (Pan-America Orchestra) [12].
When Ives writes this movement, I obtain an idea because I heard the performance of the band of father on a death in battle officers mourning memorial day. Probably I went to the Worcester common burial ground (Wooster Cemetery) from the war memorial in the center of Danbury, and, in the marching band, boy Ives had lights-out (Taps) there. The band played [Connecticut Defence Force second regiment march] ("Second Regiment, Connecticut National Guard March") of the David Reeve's (David Reeves) composition and would often leave the graveyard [13].
As for "[death in battle officers mourning memorial day], it begins in the big meditation-like part of the scale mainly on the stringed instrument". This expresses a morning atmosphere and "memory to stand, and to happen". Ives separates one or two players from an orchestra here and locates it and calls it "line (Shadow Lines) of the shadow" [13]. In the weird mixture of a major key and the minor key, the music unfolds calmly. Ives incorporates memory of oneself in this work by letting song of sorrowful war-weariness [tent of the camping ground] ("Tenting on the Old Campground") transform [Georgia march] ("Marching through Georgia").
A sound of the lights-out is combined with working [I do not approach the side a master] of the string music and carries mediation with more sorrowful music and the cheerful music. "The music enters into the beat of the drum doing a crescendo with the last sound of the trumpet, and the beat continues until the midst of the march to come back to the town, a melody of prolonged [the second regiment] are cut off suddenly" [13]. After this merrymaking, I am completed in music same as the beginning of the movement.
It was written for a full orchestra and was completed in 1912. Performance time is 6-7 minutes.
Ives was going to convey a feeling of freedom to feel on the excitement that a boy tasted with this work in public holidays and festival days of the Independence Day and this special day. It begins in string music introduced calmly, and the distinctness of a sound and the rhythm increases little by little. And I move to a parade-like sound of [Colombia, treasure of the ocean] and am followed by the sound of the skyrocket which Ives tried in sketching of [ジェネラル Slocum] ("General Slocum"). The vision of the spark coming off tells the end of the Independence Day, and the movement is over peacefully [14].
Because a large quantity of quotation was made to go at the same time and created high dissonances, I have been considered particularly defiant in a work of Ives. Other than the above, [Yankee-Doodle], [Dixieland jazz], [war cry of the freedom], [Georgia march], the quotation of the song such as [Republic hymn] are seen.
It is a written movement in this symphony first. It was written as two organ short pieces of music [an overture and postlude] to use by the worship of the Thanksgiving Day formerly in 1887, and, therefore, has other atmospheres that is more conservative than three movements [15]. The arrangement as the orchestral music work was finished in 1904.
Ives is going to adopt the temperament of the Puritan in music here. A short chord and long chords are repeated, and it "expresses hardness, strength, the severity of the will of the Puritan" to progress with being divided [16].
When "it is unusually idyllic simplicity in an orchestral music work of Ives, the intermediate part has elegance" [17]. Here, [shining bank] ("Shining Shore") almost comes up as the original form. When the motif of the movement beginning appears again and increases, a chorus is introduced on the top [as for God my power], and ("Duke Street") is sung loudly. The song gradually subsides and is over before the Heian era.
Explanatory note
^Ives, Charles (1972). Memos. NY: W.W. It is pp. Norton & Company, Inc. 95. ISBN 0-393-30756-5.
^Swafford, Jan (1996). Charles Ives: A Life with Music. NY: W.W. It is pp. Norton & Company, Inc. 254. ISBN 0-393-03893-9.
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