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St Paul's Suite in C major (Op. 29, No. 2), originally titled simply Suite in C, [1] is a popular work for string orchestra by the English composer Gustav Holst.Finished in 1913, but not published until 1922 due to revisions, it takes its name from St Paul's Girls' School in Hammersmith, London.
The first movement is characterized by a series of light, pulsing chords that reappear periodically throughout the movement, with slight variations with each recurrence. The solo violin enters early in the movement playing fairly rapid arpeggios that gradually extend to encompass the full range of the instrument.
The tune is played by the solo violin itself before a short codetta ends the exposition section of the opening movement. The opening two themes are then combined in the development section, where the music builds up to the innovative cadenza , which Mendelssohn wrote out in full rather than allowing the soloist to improvise. [ 6 ]
After violin lessons at school, she studied at the Trinity College of Music in Greenwich for five years, where at the age of 13 years she won the "Henry Wood Prize for most promising string player". When she was 14, she played at Wigmore Hall , London in a masterclass with the Vienna Piano Trio. [ 14 ]
The Double Concerto consists of three movements played without a break. The first movement, a Scherzo, opens with an ostinato rhythm played by cello and double bass, to which a first theme is added by clarinets, bassoons and violas. A fugue is then begun as the first violin soloist, the second soloist, viola and cello enter one by one.
Jean-Baptiste Accolay (French pronunciation: [ʒɑ̃ batist akɔlɛ]; 17 April 1833 – 19 August 1900) [1] was a Belgian violin teacher, violinist, conductor, and composer of the romantic period. His best-known composition is his one-movement student concerto in A minor. It was written in 1868, originally for violin and orchestra.
The first movement, marked Andantino and commencing in 6/8 meter, opens with a lyrical violin melody to be played sognando (dreamily) and pianissimo (very softly) over viola tremolos. The solo violin is joined in dialogue by the flutes, clarinets, and oboes. [ 12 ]
Instead of the cadenza typically found in most violin concertos, Glass provided a number of solo pieces for the violinist, which act as a prelude to the first movement, and three "songs" that precede each of the following three movements. Glass also anticipated that these could be played together as separate concert music when abstracted from ...