Search results
Results From The WOW.Com Content Network
The third movement, which Prokofiev himself called an "argument" [3] between soloist and orchestra, begins with an A-minor statement of the main theme in bassoons and pizzicato strings, interrupted by the piano's assertive entrance with a conflicting theme. Interplay between the piano and orchestra builds up steam, with a brief quickening of ...
Piano Concerto No. 3 refers to the third piano concerto written by one of a number of composers: Piano Concerto No. 3 (Balada), by Leonardo Balada, 1899; Piano Concerto No. 3 (Bartók) in E major (Sz. 119, BB 127) by Béla Bartók, 1945; Piano Concerto No. 3 (Beethoven) in C minor (Op. 37), c.1800; Piano Concerto No. 3 (Chopin) (Allegro de ...
Second exposition: The piano enters with an ascending scale motif. The structure of the exposition in the piano solo is similar to that of the orchestral exposition. Development: The piano enters, playing similar scales used in the beginning of the second exposition, this time in D major rather than C minor. The music is generally quiet.
Piano Concerto No. 7: F major: piano piano piano orchestra 1804 Ludwig van Beethoven: Triple Concerto: C major: violin cello piano orchestra 1933 Bohuslav Martinů: Concertino violin cello piano string orchestra [5] 1938 Gian Francesco Malipiero: Concerto a tre: violin cello piano orchestra 1977 Dmitri Smirnov: Triple Concerto No. 1: saxophone ...
The piano ends the movement with a short, violent "cadenza-esque" passage which moves into the last movement without pause. Many melodic thoughts of this movement allude to Rachmaninoff's second piano concerto, third movement, noticeably the Russian-like E ♭ major melody. The movement ends with tutti chords leading into the 3rd movement attacca.
The Brandenburg Concerto No. 1, BWV 1046.2 (BWV 1046), [23] is the only one in the collection with four movements. The concerto also exists in an alternative version, Sinfonia BWV 1046.1 (formerly BWV 1046a), [24] which appears to have been composed during Bach's years at Weimar.
In the second movement, the piano part is in 2/4 while the orchestra part is in 3/4. The second movement uses 3 themes from the first movement and introduces a new theme. The third movement may either be in sonata-allegro or ABA form, and the author of the study published by the University of Iowa believes that it is in sonata form. The 3rd ...
It was virtually unknown until 1989. It was identified and assembled from multiple sources by Jay Rosenblatt, a doctoral candidate at the University of Chicago.Parts of the score were located in Weimar, Nuremberg and Leningrad, and, to the extent they were known at all, it had been assumed they were early drafts of Liszt's Piano Concerto No. 1, also in E-flat major.