By 12 he was contributing to the family income by giving music lessons. Mertz eventually devoted most of his energies to the guitar, but it was not until he was 34 that he moved to Vienna to launch his career as a concert guitarist. He appeared in a concert at the Hofburgtheater in Vienna in November 1840 under the patronage of the Empress Carolina Augusta. The success of this concert introduced Mertz to the Viennese social, political, and artistic elite. Attesting to his early Viennese triumphs, guitar music by Mertz was first published during this same period by the prestigious Haslinger publishing house of Vienna.
The two composition are significant among Brahms other works as they stem from a period in Brahms life when he just embraced the beauty of color and sound of the clarinet. In addition, the two sonatas were the last chamber pieces Brahms composed before his death. He notably prepared an oft-performed transcription of the sonatas for viola, and altered the register to suit the instrument. While at his Bad Ischl retreat in the summer of 1894, Brhams completed the two sonatas. The two sonatas were reportedly first performed for Duke Georg and his family privately in the September of 1894.
 However, in his 1936 autobiography he described the origin of the work thus: "One day [in 1910], when I was finishing the last pages of L'Oiseau de Feu in St Petersburg, I had a fleeting vision ... I saw in my imagination a solemn pagan rite: sage elders, seated in a circle, watching a young girl dance herself to death. They were sacrificing her to propitiate the god of Spring. Such was the theme of the Sacre du Printemps".  By May 1910 Stravinsky was discussing his idea with Nicholas Roerich, the foremost Russian expert on folk art and ancient rituals.
Gallo’s piece of music would have had a fourth instrument (i.e. a harpsichord) to fill out the harmonies, but Stravinsky instead uses the whole orchestra to double notes and fill out additional harmonies. At the same time he also adds chromaticism to these chords (e.g. adding an A to the G major chord in bar 3), including the use of open strings in the second violin part (G-D-A). This is unusual as open strings were generally avoided in Gallo’s time as they were bare.
The French court ballets used fancy costumes and scenery to establish a loosely linked dance sequences. Royal Dance Moves King Louis XIV founded the Academie Royale de Danse in 1661 and performed for nearly ten years. He commissioned Jean Baptiste Lully, a composer, and choreographer Pierre Beauchamp to devise his company's performances. Here, the history of ballet vocabulary was introduced, and dancers dared to try spectacular jumps and acrobatics with ballet's realm. Early ballet featured only male performers.
Discuss the principle differences and similarities between the orchestra used by Handel and Mozart, and how the composers wrote for them. Handel’s Water Music Suite no. 3 was composed in 1717 and uses a relatively large orchestra for this early Baroque period. Mozart’s Horn Concerto No.4 was composed in 1787 and uses a relatively large orchestra for this time. Both of the pieces also had different purposes, the Handel was written as a celebration for the king.
Traditional and Innovative Aspects of Bartók’s Concerto for Orchestra Movement 1 Bartók had several precursors in composers who also had written works entitled Concerto for Orchestra [Hindemith (Frankfurt 1925), Petrassi (Rome 1933-34), and his colleague Kodály (Chicago 1941)], so that while it was decidedly a twentieth century species, his was not the very first to emerge; while still ‘modern’, there was more than a brief bit of history behind it, as I hope to show. Straightaway let me note that in terms of instrumentation, the scoring would argue a Romantic symphony: the ‘serious’ brass in the forms of trombones and tuba as well as the regular trumpets, together with the triple sets of woodwind, provide the kind of orchestral punch associated with some late nineteenth century compositions, for example, by Wagner; however, this impression is immediately dispelled once the orchestra strikes up: if we have to use a label, it might be termed Neo-classical. In keeping with the traditional symphony, it is a large, powerful opus, with the traditionally-structured five movements, although with Bartók’s individual stamp. Additionally, as the composer himself notes, ‘the first and fifth movements are written in a more or less regular sonata form,’ immediately showing a major Classical influence. One innovative aspect, commented on by Bartók in his programme note for the first performance, was the way he saw the whole orchestra as generating a constantly changing concertino drawn from the various orchestral sections, so that while the brass, for instance, may have the spotlight for a period, there is no individual virtuosic part, and the rest of the orchestra plays the ripieno part; thus, it is novel, yet reaches back in time to the concerto grosso of Baroque times, as do the canon and fugato sections of the development which I will look at later.
They were the: E flat sopranino, F sopranino, B flat soprano, C soprano, E flat alto, F alto, B flat tenor, C tenor, E flat baritone, B flat bass, C bass, E flat contrabass, and F contrabass. Many of these variations, however, are seldom used or have become obsolete. Sax's intent in the construction of the saxophone was to invent an entirely new instrument, which could: provide bands and orchestras with a bass to the woodwind and brass sections, prove capable of having more refined performance and have with enough power to be used out-of-doors. However, Sax's amazing ability to offend rival instrument
Background Of The Rite Of Spring: In the spring of 1910, Stravinsky was inspired to The Rite. As he completed The Firebird, he had a vision of a pagan ritual. As described by Stravinsky himself, "The elders were seated in a circle watching the death dance of a young girl who was being sacrificed to propitiate the God of Spring" 4. That inspired him with a motif that was rhythmically complex and challenging, and it soon grew into the Sacrificial Dance, the final scene5. In search of more ideas, he then went to Ustilug in the 1 2 Oliver, Michael.
The piece Bourree is a movement from the Suite in E minor originally written for Lute which is one of seven suites. The Bourree comes after the sarabande and before the gigue. The definition of Bourree itself is a fast and lively French dance that is used in a suite along with around 6 other movements. J.S. Bach wrote many Bourrees in his time as well as other composers such as Handel.