Search results
Results From The WOW.Com Content Network
Allegro moderato Preghiera: Larghetto Rondo: Allegro giocoso A typical performance takes around 28 - 30 minutes. Analysis The ...
Allegro moderato – close to, but not quite allegro (116–120 bpm) Allegro – fast and bright (120–156 bpm) Molto Allegro or Allegro vivace – at least slightly faster and livelier than allegro, but always at its range (and no faster than vivace) (124–156 bpm) Vivace – lively and fast (156–176 bpm)
Mostly in E minor and C major key area Structurally variation 24 is similar to variation 1, variation 25 is similar to variation 2 and variation 26 is similar to variation 3. 3 4 time 217 Variations 27–30 Mostly in E minor and C major key area Variations match the bar count and chordal structure (though transposed to different key areas). 3 4 ...
Very fast Prestissimo: very prompt, very quick: Very very fast (above 200 BPM) Rallentando: slowing down: Decelerating Ritardando: retarding: Decelerating Tardo: slow, tardy: Slow tempo Tempo: time: The speed of music; e.g. 120 BPM (beats per minute) (Tempo) rubato: robbed: Free flowing and exempt from steady rhythm Tenuto: sustained: Holding ...
Sarabande et allegro for oboe and piano (1929) Sicilienne et allegro giocoso for bassoon and piano (1930) Romance, scherzo et finale for viola and piano (1932) Sonata for cello and piano (1936) Romance et scherzo for flute and viola; Piano. Au jardin de l'enfance, 6 pieces after L'Art d'être grand-père by Victor Hugo (1907).
Allegro giocoso, ma non troppo vivace — Poco più presto (D major) Originally, the work was planned in four movements like the second piano concerto . The middle movements, one of which was intended to be a scherzo —a mark that Brahms intended a symphonic concerto rather than a virtuoso showpiece—were discarded and replaced with what ...
Allegro giocoso (9:23) Andante molto cantabile (2:10) Toccata con fuoco (6:47) A live performance of the third movement in "Piano Concerto No. 1", Toccata con fuoco, is included on the 1998 album Then and Now.
The composer and music theorist Johann Kirnberger (1776) formalized and refined this idea by instructing the performer to consider the following details in combination when determining the best performance tempo of a piece: the tempo giusto of the meter, the tempo term (Allegro, Adagio, etc., if there is one, at the start of the piece), the ...