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The violin has come to be incorporated in many non-Western music cultures, including Indian music and Iranian music. The name fiddle is often used regardless of the type of music played on it. The violin was first known in 16th-century Italy, with some further modifications occurring in the 18th and 19th centuries to give the instrument a more ...
The cupola of Madonna dei Miracoli in Saronno, with angels playing violin, viola and cello. The first clear record of a violin-like instrument comes from paintings by Gaudenzio Ferrari. In his Madonna of the Orange Tree, painted in 1530, a cherub is seen playing a bowed instrument which clearly has the hallmarks of violins.
Ottorino Respighi (/ r ɛ ˈ s p iː ɡ i / reh-SPEE-ghee, [1] US also / r ə ˈ-/ rə-; [2] Italian: [ottoˈriːno reˈspiːɡi]; 9 July 1879 – 18 April 1936) was an Italian composer, violinist, teacher, and musicologist and one of the leading Italian composers of the early 20th century.
Indeed, this violin concerto was the first of many to have been composed with the input of a professional violinist, and would influence many future collaborations. [11] The autograph score is dated 16 September 1844, but Mendelssohn was still seeking advice from David until its premiere. [ 6 ]
Michael Steinberg wrote that the movement 'represents the "savage" element' of the concerto 'as against the generally more lyrical first and third movements. The music, full of contrast, is by turns amusing, naughty, for a while even malevolent, athletic, and always violinistically ingenious and brilliant. It seems to be over in a moment.' [14]
Shinichi Suzuki was born on October 17, 1898, in Nagoya, Japan, as one of twelve children.His father, Masakichi Suzuki, was originally a maker of traditional Japanese string instruments but in 1880, he became interested in violins and by Shinichi's birth he had developed the first Japanese violin factory (now Suzuki Violin Co., Ltd.), at that time the largest such factory in the world.
The first movement—allegro molto moderato—begins with a lyrical first subject announced at once by the solo violin, without any orchestral introduction. This movement as a whole has perhaps more the character of a sonata than concerto form. The second movement—andante sostenuto—is introduced by an extended oboe solo.
The first violin's unrestrained melody is played against a strictly serialized melody played by the other three instruments. In some analyses, the orderly-patterned serial voice is regarded as more “rational” and “masculine”, while the first violin’s individuality is more “assertive” and “feminine”. [7]