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Part of this divergence was from the death of Machaut, where—after a brief continuance of the Ars nova style through the post-Machaut generation of F. Andrieu, Grimace, Jehan Vaillant and P. des Molins —there was a new rhythmically-complex style now known as ars subtilior. The major figures of ars subtilior included both composers from ...
List of incidental music by George Frideric Handel HWV Title Premiere Venue Notes 43 The Alchemist: 14 January 1710 Queen's Theatre, London Instrumental music for the revival of Ben Jonson's play The Alchemist. An arrangement, by an anonymous composer, of music from Handel's opera Rodrigo. 44 Comus: June 1745 Ludlow Castle, Shropshire
Fantasia on a Theme by Thomas Tallis (1910, rev. 1913 and 1919) Fantasia on "Greensleeves" (1934) [6] (for string orchestra and harp; arranged by Ralph Greaves from Vaughan Williams's treatment of folk tunes in his opera Sir John in Love) Two Hymn Tune Preludes (1936) for small orchestra: 1. Eventide; 2. Dominus regit me.
Antonio Lucio Vivaldi (4 March 1678 – 28 July 1741) was an Italian composer, virtuoso violinist and impresario of Baroque music. Along with Johann Sebastian Bach and George Frideric Handel, Vivaldi ranks amongst the greatest Baroque composers and his influence during his lifetime was widespread across Europe, giving origin to many imitators and admirers.
Part song. A part song, part-song or partsong is a form of choral music that consists of a song to a secular or non- liturgical sacred text, [1] written or arranged for several vocal parts. Part songs are commonly sung by an SATB choir, but sometimes for an all-male or all-female ensemble. [2] Part songs are intended to be sung a cappella, that ...
The Ballad of Little Musgrave and Lady Barnard for male voice choir and piano (1943) The Rescue of Penelope for voices and orchestra (1943) Saint Nicolas, Op. 42, for tenor soloist, children's chorus, chorus, and orchestra (1948) Spring Symphony, Op. 44, for soprano, contralto, and tenor soloists, mixed chorus, boys' choir and orchestra (1949)
The Church was a major influence for music in the 16th century. The Puritans wanted to do away with all church music, but the will of the people to sing only made it more predominant. Many composers that wrote for the church also wrote for the royalty. The style of the church music was known as choral polyphony.
Choral symphony. Hector Berlioz was the first to use the term "choral symphony" for a musical composition—his Roméo et Juliette. A choral symphony is a musical composition for orchestra, choir, and sometimes solo vocalists that, in its internal workings and overall musical architecture, adheres broadly to symphonic musical form. [1]