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Violin Sheet Music
"Music's not like becoming a doctor, who can walk into a community and find people who need him." Charlie Byrd
Harold Arlen
Harold Arlen (February 15, 1905 – April 23, 1986) was an American composer of popular music. Having written over 500 songs, a number of which have become known the world over. In addition to being the composer of The Wizard of Oz, Arlen is a highly regarded contributor to the Great American Songbook. His 1938 song "Over the Rainbow” was voted the twentieth century's No. 1 song by the Recording Industry Association of America (RIAA) and the National Endowment for the Arts (NEA).
Jamey Abersold
Wilton Jameson "Jamey" Aebersold is an American publisher, educator, and jazz saxophonist. His Play-A-Long series of instructional books and CDs, using the chord-scale system, the first of which was released in 1967, are an internationally renowned resource for jazz education
John Williams
John Towner Williams (born February 8, 1932) is an American composer, conductor, and pianist. In a career that spans six decades, Williams has composed many of the most famous film scores in Hollywood history, including Star Wars, Superman, Home Alone, the first three Harry Potter movies and all but two of Steven Spielberg's feature films including the Indiana Jones series, Schindler's List, E.T. the Extra-Terrestrial, Jurassic Park and Jaws. He also composed the soundtrack for the hit 1960s television series Lost in Space as well as the fanfare of the DreamWorks Pictures' logo.
Williams has composed theme music for four Olympic Games, the NBC Nightly News, the rededication of the Statue of Liberty, and numerous television series and concert pieces. He served as the principal conductor of the Boston Pops Orchestra from 1980 to 1993, and is now the orchestra's laureate conductor.
Williams is a five-time winner of the Academy Award. He has also won four Golden Globe Awards, seven BAFTA Awards and 21 Grammy Awards. With 45 Academy Award nominations, Williams is, together with composer Alfred Newman, the second most nominated person after Walt Disney. He was inducted into the Hollywood Bowl Hall of Fame in 2000, and was a recipient of the Kennedy Center Honors in 2004.
Williams has composed theme music for four Olympic Games, the NBC Nightly News, the rededication of the Statue of Liberty, and numerous television series and concert pieces. He served as the principal conductor of the Boston Pops Orchestra from 1980 to 1993, and is now the orchestra's laureate conductor.
Williams is a five-time winner of the Academy Award. He has also won four Golden Globe Awards, seven BAFTA Awards and 21 Grammy Awards. With 45 Academy Award nominations, Williams is, together with composer Alfred Newman, the second most nominated person after Walt Disney. He was inducted into the Hollywood Bowl Hall of Fame in 2000, and was a recipient of the Kennedy Center Honors in 2004.
Dario Marianneli
Dario Marianelli Italian film composer Dario Marianelli is an Italian film composer, known for his frequent collaborations with director Joe Wright. Wikipedia Born: June 21, 1963 (age 56 years), Pisa, Italy Albums: Pride & Prejudice, Atonement, MORE Awards: Academy Award for Best Original Music Score, MORE Education: Guildhall School of Music & Drama, National Film & Television School
Guiseppe Verdi
Giuseppe Fortunino Francesco Verdi (Italian pronunciation: ; 10 October 1813 – 27 January 1901) was an Italian Romantic composer, mainly of opera. He was one of the most influential composers of the 19th century. His works are frequently performed in opera houses throughout the world and, transcending the boundaries of the genre, some of his themes have long since taken root in popular culture - such as "La donna è mobile" from Rigoletto, "Va, pensiero" (The Chorus of the Hebrew Slaves) from Nabucco, "Libiamo ne' lieti calici" (The Drinking Song) from La traviata and the "Grand March" from Aida. Although his work was sometimes criticized for using a generally diatonic rather than a chromatic musical idiom and having a tendency toward melodrama, Verdi’s masterworks dominate the standard repertoire a century and a half after their composition.
Verdi's predecessors who influenced his music were Rossini, Bellini, Giacomo Meyerbeer and, most notably, Gaetano Donizetti and Saverio Mercadante. With the exception of Otello and Aida, he was free of Wagner's influence. Although respectful of Gounod, Verdi was careful not to learn anything from the Frenchman whom many of Verdi's contemporaries regarded as the greatest living composer. Some strains in Aida suggest at least a superficial familiarity with the works of the Russian composer Mikhail Glinka, whom Franz Liszt, after his tour of the Russian Empire as a pianist, popularized in Western Europe.
Throughout his career, Verdi rarely utilised the high C in his tenor arias, citing the fact that the opportunity to sing that particular note in front of an audience distracts the performer before and after the note appears. However, he did provide high Cs to Duprez in Jérusalem and to Tamberlick in the original version of La forza del destino. The high C often heard in the aria Di quella pira does not appear in Verdi's score.
Verdi's predecessors who influenced his music were Rossini, Bellini, Giacomo Meyerbeer and, most notably, Gaetano Donizetti and Saverio Mercadante. With the exception of Otello and Aida, he was free of Wagner's influence. Although respectful of Gounod, Verdi was careful not to learn anything from the Frenchman whom many of Verdi's contemporaries regarded as the greatest living composer. Some strains in Aida suggest at least a superficial familiarity with the works of the Russian composer Mikhail Glinka, whom Franz Liszt, after his tour of the Russian Empire as a pianist, popularized in Western Europe.
Throughout his career, Verdi rarely utilised the high C in his tenor arias, citing the fact that the opportunity to sing that particular note in front of an audience distracts the performer before and after the note appears. However, he did provide high Cs to Duprez in Jérusalem and to Tamberlick in the original version of La forza del destino. The high C often heard in the aria Di quella pira does not appear in Verdi's score.
Haydn
Franz Joseph Haydn (March 31, 1732 – May 31, 1809) was one of the most prominent composers of the classical period, and is called by some the "Father of the Symphony" and "Father of the String Quartet".
A life-long resident of Austria, Haydn spent most of his career as a court musician for the wealthy Hungarian Esterházy family on their remote estate. Isolated from other composers and trends in music until the later part of his long life, he was, as he put it, "forced to become original".
Although Haydn is still often called "Franz Joseph Haydn", the composer did not use the name "Franz" during his lifetime and this misnomer is avoided by modern scholars and historians. Joseph Haydn was the brother of Michael Haydn, himself a highly regarded composer, and Johann Evangelist Haydn, a tenor.
A central characteristic of Haydn's music is the development of larger structures out of very short, simple musical motifs, often derived from standard accompanying figures. The music is often quite formally concentrated, and the important musical events of a movement can unfold rather quickly.
Haydn's work was central to the development of what came to be called sonata form. His practice, however, differed in some ways from that of Mozart and Beethoven, his younger contemporaries who likewise excelled in this form of composition. Haydn was particularly fond of the so-called "monothematic exposition", in which the music that establishes the dominant key is similar or identical to the opening theme. Haydn also differs from Mozart and Beethoven in his recapitulation sections, where he often rearranges the order of themes compared to the exposition and uses extensive thematic development.
Perhaps more than any other composer's, Haydn's music is known for its humour. The most famous example is the sudden loud chord in the slow movement of his "Surprise" symphony; Haydn's many other musical jokes include numerous false endings (e.g., in the quartets Op. 33 No. 2 and Op. 50 No. 3), and the remarkable rhythmic illusion placed in the trio section of the third movement of Op. 50 No. 1.
A life-long resident of Austria, Haydn spent most of his career as a court musician for the wealthy Hungarian Esterházy family on their remote estate. Isolated from other composers and trends in music until the later part of his long life, he was, as he put it, "forced to become original".
Although Haydn is still often called "Franz Joseph Haydn", the composer did not use the name "Franz" during his lifetime and this misnomer is avoided by modern scholars and historians. Joseph Haydn was the brother of Michael Haydn, himself a highly regarded composer, and Johann Evangelist Haydn, a tenor.
A central characteristic of Haydn's music is the development of larger structures out of very short, simple musical motifs, often derived from standard accompanying figures. The music is often quite formally concentrated, and the important musical events of a movement can unfold rather quickly.
Haydn's work was central to the development of what came to be called sonata form. His practice, however, differed in some ways from that of Mozart and Beethoven, his younger contemporaries who likewise excelled in this form of composition. Haydn was particularly fond of the so-called "monothematic exposition", in which the music that establishes the dominant key is similar or identical to the opening theme. Haydn also differs from Mozart and Beethoven in his recapitulation sections, where he often rearranges the order of themes compared to the exposition and uses extensive thematic development.
Perhaps more than any other composer's, Haydn's music is known for its humour. The most famous example is the sudden loud chord in the slow movement of his "Surprise" symphony; Haydn's many other musical jokes include numerous false endings (e.g., in the quartets Op. 33 No. 2 and Op. 50 No. 3), and the remarkable rhythmic illusion placed in the trio section of the third movement of Op. 50 No. 1.
Paganini
Niccolò Paganini (27 October 1782 – 27 May 1840) was an Italian violinist, violist, guitarist, and composer. He was one of the most celebrated violin virtuosi of his time, and left his mark as one of the pillars of modern violin technique. His caprice in A minor, Op. 1 No. 24 is among his best known of compositions, and serves as inspiration for many prominent artists.
Paganini composed his own works to play exclusively in his concerts, all of which had profound influences on the evolution of violin techniques. His 24 Caprices were probably composed in the period between 1805 to 1809, while he was in the service of the Baciocchi court. Also during this period, he composed the majority of the solo pieces, duo-sonatas,trios and quartets for the guitar. These chamber works may have been inspired by the publication, in Lucca, of the guitar quintets of Boccherini. Many of his variations (and he has become the de facto master of this musical genre), including Le Streghe, The Carnival of Venice, and Nel cor più non mi sento, were composed, or at least first performed, before his European concert tour.
Playbill of Paganini's concert at the Covent Garden in 1832. Note that all solo pieces were of his composition, which was typical of all his concerts.
Generally speaking, Paganini's compositions were technically imaginative, and the timbre of the instrument was greatly expanded as a result of these works. Sounds of different musical instruments and animals were often imitated. One such composition was titled Il Fandango Spanolo (The Spanish Dance), which featured a series of humorous imitations of farm animals. Even more outrageous was a solo piece Duetto Amoroso, in which the sighs and groans of lovers were intimately depicted on the violin. Fortunately there survives a manuscript of the Duetto which has been recorded, while the existence of the Fandango is known only through concert posters.
However, his works were criticized for lacking characteristics of true polyphonism, as pointed out by Eugène Ysaÿe. Yehudi Menuhin, on the other hand, suggested that this might have been the result of his reliance on the guitar (in lieu of the piano) as an aid in composition. The orchestral parts for his concertos were often polite, unadventurous, and clearly supportive of the soloist. In this, his style is consistent with that of other Italian composers such as Paisiello, Rossini and Donizetti, who were influenced by the guitar-song milieu of Naples during this period.
Paganini was also the inspiration of many prominent composers. Both "La Campanella" and the A minor caprice (Nr. 24) have been an object of interest for a number of composers. Franz Liszt, Johannes Brahms, Sergei Rachmaninoff, Boris Blacher, Andrew Lloyd Webber, George Rochberg and Witold Lutosławski, among others, wrote well-known variations on these themes.
Paganini composed his own works to play exclusively in his concerts, all of which had profound influences on the evolution of violin techniques. His 24 Caprices were probably composed in the period between 1805 to 1809, while he was in the service of the Baciocchi court. Also during this period, he composed the majority of the solo pieces, duo-sonatas,trios and quartets for the guitar. These chamber works may have been inspired by the publication, in Lucca, of the guitar quintets of Boccherini. Many of his variations (and he has become the de facto master of this musical genre), including Le Streghe, The Carnival of Venice, and Nel cor più non mi sento, were composed, or at least first performed, before his European concert tour.
Playbill of Paganini's concert at the Covent Garden in 1832. Note that all solo pieces were of his composition, which was typical of all his concerts.
Generally speaking, Paganini's compositions were technically imaginative, and the timbre of the instrument was greatly expanded as a result of these works. Sounds of different musical instruments and animals were often imitated. One such composition was titled Il Fandango Spanolo (The Spanish Dance), which featured a series of humorous imitations of farm animals. Even more outrageous was a solo piece Duetto Amoroso, in which the sighs and groans of lovers were intimately depicted on the violin. Fortunately there survives a manuscript of the Duetto which has been recorded, while the existence of the Fandango is known only through concert posters.
However, his works were criticized for lacking characteristics of true polyphonism, as pointed out by Eugène Ysaÿe. Yehudi Menuhin, on the other hand, suggested that this might have been the result of his reliance on the guitar (in lieu of the piano) as an aid in composition. The orchestral parts for his concertos were often polite, unadventurous, and clearly supportive of the soloist. In this, his style is consistent with that of other Italian composers such as Paisiello, Rossini and Donizetti, who were influenced by the guitar-song milieu of Naples during this period.
Paganini was also the inspiration of many prominent composers. Both "La Campanella" and the A minor caprice (Nr. 24) have been an object of interest for a number of composers. Franz Liszt, Johannes Brahms, Sergei Rachmaninoff, Boris Blacher, Andrew Lloyd Webber, George Rochberg and Witold Lutosławski, among others, wrote well-known variations on these themes.
Cole Porter
Cole Albert Porter (June 9, 1891 – October 15, 1964) was an American composer and songwriter. His works include the musical comedies Kiss Me, Kate, Fifty Million Frenchmen, DuBarry Was a Lady and Anything Goes, as well as songs like "Night and Day", "I Get a Kick out of You", "Well, Did You Evah!" and "I've Got You Under My Skin". He was noted for his sophisticated, bawdy lyrics, clever rhymes and complex forms. Porter was one of the greatest contributors to the Great American Songbook. Cole Porter is one of the few Tin Pan Alley composers to have written both the lyrics and the music for his songs.
Ennio Morricone
Ennio Morricone, OMRI (born November 10, 1928), is an Italian composer and conductor. He has composed and arranged scores for more than 500 film and television productions. Morricone is considered as one of the most influential film composers since the late 1950s. He is well-known for his long-term collaborations with international acclaimed directors such as Sergio Leone, Brian De Palma, Barry Levinson, and Giuseppe Tornatore.
He wrote the characteristic film scores of Leone's Spaghetti Westerns A Fistful of Dollars (1964), For a Few Dollars More (1965), The Good, the Bad and the Ugly (1966), Once Upon a Time in the West (1968), The Great Silence (1968), and My Name Is Nobody (1973). In the 80s, Morricone composed the scores for John Carpenter's horror movie The Thing (1982), Leone's Once Upon a Time in America (1984), Roland Joffé's The Mission (1986), Brian De Palma's The Untouchables (1987) and Giuseppe Tornatore's Cinema Paradiso (1988).
His more recent compositions include the scores for Oliver Stone's U Turn (1997), Tornatore's The Legend of 1900 (1998) and Malèna (2000), Mission to Mars (2000) by Brian De Palma, Fateless (2005), and Baaria - La porta del vento (2009). Ennio Morricone has won two Grammy Awards, two Golden Globes and five Anthony Asquith Awards for Film Music by BAFTA in 1979–1992. He has been nominated for five Academy Awards for Best Music, Original Score in 1979–2001. Morricone received the Honorary Academy Award in 2007 "for his magnificent and multifaceted contributions to the art of film music". He was the second composer to receive this award after its introduction in 1928.
He wrote the characteristic film scores of Leone's Spaghetti Westerns A Fistful of Dollars (1964), For a Few Dollars More (1965), The Good, the Bad and the Ugly (1966), Once Upon a Time in the West (1968), The Great Silence (1968), and My Name Is Nobody (1973). In the 80s, Morricone composed the scores for John Carpenter's horror movie The Thing (1982), Leone's Once Upon a Time in America (1984), Roland Joffé's The Mission (1986), Brian De Palma's The Untouchables (1987) and Giuseppe Tornatore's Cinema Paradiso (1988).
His more recent compositions include the scores for Oliver Stone's U Turn (1997), Tornatore's The Legend of 1900 (1998) and Malèna (2000), Mission to Mars (2000) by Brian De Palma, Fateless (2005), and Baaria - La porta del vento (2009). Ennio Morricone has won two Grammy Awards, two Golden Globes and five Anthony Asquith Awards for Film Music by BAFTA in 1979–1992. He has been nominated for five Academy Awards for Best Music, Original Score in 1979–2001. Morricone received the Honorary Academy Award in 2007 "for his magnificent and multifaceted contributions to the art of film music". He was the second composer to receive this award after its introduction in 1928.
Mozart
Wolfgang Amadeus Mozart, full name Johann Chrysostom Wolfgang Amadeus Mozart (27 January 1756 â 5 December 1791) was a prolific and influential composer of the Classical era. His over 600 compositions include works widely acknowledged as pinnacles of symphonic, concertante, chamber, piano, operatic, and choral music. Mozart is among the most enduringly popular of classical composers, and many of his works are part of the standard concert repertoire.
Mozart's music, like Haydn's, stands as an archetypal example of the Classical style. His works spanned the period during which that style transformed from one exemplified by the style galant to one that began to incorporate some of the contrapuntal complexities of the late Baroque, complexities against which the galant style had been a reaction. Mozart's own stylistic development closely paralleled the development of the classical style as a whole. In addition, he was a versatile composer and wrote in almost every major genre, including symphony, opera, the solo concerto, chamber music including string quartet and string quintet, and the piano sonata. While none of these genres were new, the piano concerto was almost single-handedly developed and popularized by Mozart. He also wrote a great deal of religious music, including masses; and he composed many dances, divertimenti, serenades, and other forms of light entertainment.
The central traits of the classical style can be identified in Mozart's music. Clarity, balance, and transparency are hallmarks of his work.
Mozart's music, like Haydn's, stands as an archetypal example of the Classical style. His works spanned the period during which that style transformed from one exemplified by the style galant to one that began to incorporate some of the contrapuntal complexities of the late Baroque, complexities against which the galant style had been a reaction. Mozart's own stylistic development closely paralleled the development of the classical style as a whole. In addition, he was a versatile composer and wrote in almost every major genre, including symphony, opera, the solo concerto, chamber music including string quartet and string quintet, and the piano sonata. While none of these genres were new, the piano concerto was almost single-handedly developed and popularized by Mozart. He also wrote a great deal of religious music, including masses; and he composed many dances, divertimenti, serenades, and other forms of light entertainment.
The central traits of the classical style can be identified in Mozart's music. Clarity, balance, and transparency are hallmarks of his work.
Vivaldi
Antonio Lucio Vivaldi (March 4, 1678 â July 28, 1741), nicknamed il Prete Rosso ("The Red Priest"), was a Venetian priest and Baroque music composer, as well as a famous virtuoso violinist; he was born and raised in the Republic of Venice. The Four Seasons, a series of four violin concerti, is his best-known work and a highly popular Baroque piece.
Many of Vivaldi's compositions reflect a flamboyant, almost playful, exuberance. Most of Vivaldi's repertoire was rediscovered only in the first half of the 20th century in Turin and Genoa and was published in the second half. Vivaldi's music is innovative, breaking a consolidated tradition in schemes; he gave brightness to the formal and the rhythmic structure of the concerto, repeatedly looking for harmonic contrasts and innovative melodies and themes. Moreover, Vivaldi was able to compose nonacademic music, particularly meant to be appreciated by the wide public and not only by an intellectual minority. The joyful appearance of his music reveals in this regard a transmissible joy of composing; these are among the causes of the vast popularity of his music. This popularity soon made him famous in other countries such as France which was, at the time, very independent concerning its musical taste.
Vivaldi is considered one of the composers who brought Baroque music (with its typical contrast among heavy sonorities) to evolve into a classical style. Johann Sebastian Bach was deeply influenced by Vivaldi's concertos and arias (recalled in his Johannes Passion, Matthäuspassion, and cantatas). Bach transcribed a number of Vivaldi's concerti for solo keyboard, along with a number for orchestra, including the famous Concerto for Four Violins and Violoncello, Strings and Continuo (RV 580).
Many of Vivaldi's compositions reflect a flamboyant, almost playful, exuberance. Most of Vivaldi's repertoire was rediscovered only in the first half of the 20th century in Turin and Genoa and was published in the second half. Vivaldi's music is innovative, breaking a consolidated tradition in schemes; he gave brightness to the formal and the rhythmic structure of the concerto, repeatedly looking for harmonic contrasts and innovative melodies and themes. Moreover, Vivaldi was able to compose nonacademic music, particularly meant to be appreciated by the wide public and not only by an intellectual minority. The joyful appearance of his music reveals in this regard a transmissible joy of composing; these are among the causes of the vast popularity of his music. This popularity soon made him famous in other countries such as France which was, at the time, very independent concerning its musical taste.
Vivaldi is considered one of the composers who brought Baroque music (with its typical contrast among heavy sonorities) to evolve into a classical style. Johann Sebastian Bach was deeply influenced by Vivaldi's concertos and arias (recalled in his Johannes Passion, Matthäuspassion, and cantatas). Bach transcribed a number of Vivaldi's concerti for solo keyboard, along with a number for orchestra, including the famous Concerto for Four Violins and Violoncello, Strings and Continuo (RV 580).
Joe Hisaishi
Mamoru Fujisawa (藤澤 守 Fujisawa Mamoru?), known professionally as Joe Hisaishi (久石 譲 Hisaishi Jō?, born December 6, 1950), is a composer and director known for over 100 film scores and solo albums dating back to 1981.
While possessing a stylistically distinct sound, Hisaishi's music has been known to explore and incorporate different genres, including minimalist, experimental electronic, European classical, and Japanese classical. Lesser known are the other musical roles he plays; he is also a typesetter, author, arranger, and head of an orchestra.
He is best known for his work with animator Hayao Miyazaki, having composed scores for many of his films including Nausicaä of the Valley of the Wind (1984), My Neighbor Totoro (1988), Princess Mononoke (1997), Spirited Away (2001), Howl's Moving Castle (2004) and Ponyo (2008). He is also recognized for the soundtracks he has provided for filmmaker 'Beat' Takeshi Kitano, including Dolls (2002), Kikujiro (1999), Hana-bi (1997), Kids Return (1996), Sonatine (1993).
While possessing a stylistically distinct sound, Hisaishi's music has been known to explore and incorporate different genres, including minimalist, experimental electronic, European classical, and Japanese classical. Lesser known are the other musical roles he plays; he is also a typesetter, author, arranger, and head of an orchestra.
He is best known for his work with animator Hayao Miyazaki, having composed scores for many of his films including Nausicaä of the Valley of the Wind (1984), My Neighbor Totoro (1988), Princess Mononoke (1997), Spirited Away (2001), Howl's Moving Castle (2004) and Ponyo (2008). He is also recognized for the soundtracks he has provided for filmmaker 'Beat' Takeshi Kitano, including Dolls (2002), Kikujiro (1999), Hana-bi (1997), Kids Return (1996), Sonatine (1993).
Camille Saint-Saëns
Charles-Camille Saint-Saëns (French pronunciation: ; 9 October 1835 – 16 December 1921) was a French composer, organist, conductor, and pianist of the Romantic era. He is known especially for The Carnival of the Animals, Danse macabre, Samson and Delilah (Opera) , Piano Concerto No. 2, Cello Concerto No. 1, Havanaise, Introduction and Rondo Capriccioso, and his Symphony No. 3 (Organ Symphony).
W.A. Mozart
Wolfgang Amadeus Mozart (German: , full baptismal name Johannes Chrysostomus Wolfgangus Theophilus Mozart (27 January 1756 – 5 December 1791), was a prolific and influential composer of the Classical era. He composed over 600 works, many acknowledged as pinnacles of symphonic, concertante, chamber, piano, operatic, and choral music. He is among the most enduringly popular of classical composers.
Mozart showed prodigious ability from his earliest childhood in Salzburg. Already competent on keyboard and violin, he composed from the age of five and performed before European royalty; at 17 he was engaged as a court musician in Salzburg, but grew restless and traveled in search of a better position, always composing abundantly. While visiting Vienna in 1781, he was dismissed from his Salzburg position. He chose to stay in the capital, where he achieved fame but little financial security. During his final years in Vienna, he composed many of his best-known symphonies, concertos, and operas, and the Requiem. The circumstances of his early death have been much mythologized. He was survived by his wife Constanze and two sons.
Mozart learned voraciously from others, and developed a brilliance and maturity of style that encompassed the light and graceful along with the dark and passionate—the whole informed by a vision of humanity "redeemed through art, forgiven, and reconciled with nature and the absolute." His influence on subsequent Western art music is profound. Beethoven wrote his own early compositions in the shadow of Mozart, of whom Joseph Haydn wrote that "posterity will not see such a talent again in 100 years."
Mozart showed prodigious ability from his earliest childhood in Salzburg. Already competent on keyboard and violin, he composed from the age of five and performed before European royalty; at 17 he was engaged as a court musician in Salzburg, but grew restless and traveled in search of a better position, always composing abundantly. While visiting Vienna in 1781, he was dismissed from his Salzburg position. He chose to stay in the capital, where he achieved fame but little financial security. During his final years in Vienna, he composed many of his best-known symphonies, concertos, and operas, and the Requiem. The circumstances of his early death have been much mythologized. He was survived by his wife Constanze and two sons.
Mozart learned voraciously from others, and developed a brilliance and maturity of style that encompassed the light and graceful along with the dark and passionate—the whole informed by a vision of humanity "redeemed through art, forgiven, and reconciled with nature and the absolute." His influence on subsequent Western art music is profound. Beethoven wrote his own early compositions in the shadow of Mozart, of whom Joseph Haydn wrote that "posterity will not see such a talent again in 100 years."
Georges Bizet
Georges Bizet (25 October 1838 – 3 June 1875) was a French composer and pianist of the Romantic era. He is best known for the opera Carmen.
Bizet was born at 26 rue de la Tour d'Auvergne in the 9th arrondissement of Paris in 1838. He was registered with the legal name Alexandre César Léopold Bizet, but he was baptised on 16 March 1840 with the first name Georges, and he was always known thereafter as Georges Bizet. His father Adolphe Armand Bizet (1810-86) was an amateur singer and composer, and his mother, Aimée Léopoldine Joséphine née Delsarte (1814-61), was the sister of the famous singing teacher François Delsarte.
He entered the Paris Conservatory of Music on 9 October 1848, a fortnight before his tenth birthday. His teachers there were Pierre Zimmermann (fugue and counterpoint; often assisted by his son-in-law Charles Gounod), Antoine François Marmontel (piano), François Benoist (organ) and, on Zimmermann's death, Fromental Halévy, whose daughter he himself later married. He won first prizes for organ and fugue in 1855 and completed his earliest compositions.
His first symphony, the Symphony in C, was written in November 1855, when he was seventeen, evidently as a student assignment. It was unknown to the world until 1933, when it was discovered in the archives of the Paris Conservatory library. Upon its first performance in 1935, it was immediately hailed as a junior masterwork and a welcome addition to the early Romantic period repertoire. The symphony bears a stylistic resemblance to the first symphony of Gounod, first played earlier in the same year, and which Bizet had arranged for two pianos although present-day listeners may discern a similarity to music of Franz Schubert, whose work was little known in France at the time the symphony was written.
In 1857, a setting of the one-act operetta Le docteur Miracle won him a share in a prize offered by Jacques Offenbach. He also won the music composition scholarship of the Prix de Rome, the conditions of which required him to study in Rome for three years. There, his talent developed as he wrote such works as the opera buffa Don Procopio (1858-59). There he also composed his only major sacred work, Te Deum (1858), which he submitted to the Prix Rodrigues competition, a contest for Prix de Rome winners only. Bizet failed to win the Prix Rodrigues, and the Te Deum score remained unpublished until 1971. He made two attempts to write another symphony in 1859, but destroyed the manuscripts in December of that year. Apart from this period in Rome, Bizet lived in the Paris area all his life.
Shortly after leaving Rome in July 1860, but while still touring in Italy, he had the idea of writing a symphony in which each of the four movements would be a musical evocation of a different Italian city – Rome, Venice, Florence and Naples. On hearing of his mother's serious illness he cut short his Italian travels and returned to Paris in September 1860; she died a year later. The Scherzo of the symphony was completed by November 1861, but it was not until 1866 that the first version of the whole symphony was written. He subjected it to a number of revisions through to 1871, but died before ever producing what he considered the definitive version. For this reason, the work is sometimes described as "unfinished", but this is an inaccurate description as it was fully scored. It was published in 1880 as the Roma Symphony.
Bizet was born at 26 rue de la Tour d'Auvergne in the 9th arrondissement of Paris in 1838. He was registered with the legal name Alexandre César Léopold Bizet, but he was baptised on 16 March 1840 with the first name Georges, and he was always known thereafter as Georges Bizet. His father Adolphe Armand Bizet (1810-86) was an amateur singer and composer, and his mother, Aimée Léopoldine Joséphine née Delsarte (1814-61), was the sister of the famous singing teacher François Delsarte.
He entered the Paris Conservatory of Music on 9 October 1848, a fortnight before his tenth birthday. His teachers there were Pierre Zimmermann (fugue and counterpoint; often assisted by his son-in-law Charles Gounod), Antoine François Marmontel (piano), François Benoist (organ) and, on Zimmermann's death, Fromental Halévy, whose daughter he himself later married. He won first prizes for organ and fugue in 1855 and completed his earliest compositions.
His first symphony, the Symphony in C, was written in November 1855, when he was seventeen, evidently as a student assignment. It was unknown to the world until 1933, when it was discovered in the archives of the Paris Conservatory library. Upon its first performance in 1935, it was immediately hailed as a junior masterwork and a welcome addition to the early Romantic period repertoire. The symphony bears a stylistic resemblance to the first symphony of Gounod, first played earlier in the same year, and which Bizet had arranged for two pianos although present-day listeners may discern a similarity to music of Franz Schubert, whose work was little known in France at the time the symphony was written.
In 1857, a setting of the one-act operetta Le docteur Miracle won him a share in a prize offered by Jacques Offenbach. He also won the music composition scholarship of the Prix de Rome, the conditions of which required him to study in Rome for three years. There, his talent developed as he wrote such works as the opera buffa Don Procopio (1858-59). There he also composed his only major sacred work, Te Deum (1858), which he submitted to the Prix Rodrigues competition, a contest for Prix de Rome winners only. Bizet failed to win the Prix Rodrigues, and the Te Deum score remained unpublished until 1971. He made two attempts to write another symphony in 1859, but destroyed the manuscripts in December of that year. Apart from this period in Rome, Bizet lived in the Paris area all his life.
Shortly after leaving Rome in July 1860, but while still touring in Italy, he had the idea of writing a symphony in which each of the four movements would be a musical evocation of a different Italian city – Rome, Venice, Florence and Naples. On hearing of his mother's serious illness he cut short his Italian travels and returned to Paris in September 1860; she died a year later. The Scherzo of the symphony was completed by November 1861, but it was not until 1866 that the first version of the whole symphony was written. He subjected it to a number of revisions through to 1871, but died before ever producing what he considered the definitive version. For this reason, the work is sometimes described as "unfinished", but this is an inaccurate description as it was fully scored. It was published in 1880 as the Roma Symphony.
Debussy
Achille-Claude Debussy (August 22, 1862 – March 25, 1918) was a French composer. Along with Maurice Ravel, he is considered one of the most prominent figures working within the field of Impressionist music, though he himself intensely disliked the term when applied to his compositions. Debussy was not only among the most important of all French composers but also was a central figure in all European music at the turn of the twentieth century.
Debussy's music virtually defines the transition from late-Romantic music to twentieth century modernist music. In French literary circles, the style of this period was known as Symbolism, a movement that directly inspired Debussy both as a composer and as an active cultural participant.
Debussy's music virtually defines the transition from late-Romantic music to twentieth century modernist music. In French literary circles, the style of this period was known as Symbolism, a movement that directly inspired Debussy both as a composer and as an active cultural participant.
Henryk Wieniawski
Henryk Wieniawski (10 July 1835 – 31 March 1880) was a Polish violinist and composer. He was considered a violinist of genius and wrote some of the most important works in the violin repertoire, including two extremely difficult violin concertos, the second of which (in D minor, 1862) is more often performed than the first (in F♯ minor, 1853). His "L'Ecole Moderne, 10 Etudes-Caprices" is a very well known and required work for aspiring violinists. His Scherzo-Tarantelle, Op. 16 and Légende, Op. 17 are also frequently performed works. He also wrote two popular mazurkas for solo violin and piano accompaniment (the second one, Obertas, in G Major), using techniques such as left-hand pizzicato, harmonics, large leaps, and many double stops. Wieniawski has been given a number of posthumous honors. His portrait appeared on a postage stamp of Poland in 1952 and again in 1957. A 100 Złoty coin was issued in 1979 bearing his image.
What is sometimes called the "Russian bow grip" ought to be called the "Wieniawski bow grip": Wieniawski taught his students his own kind of very stiff bowing that allowed him to play a "devil's staccato" with ease. This "devil's staccato" was easily used to discipline students.
What is sometimes called the "Russian bow grip" ought to be called the "Wieniawski bow grip": Wieniawski taught his students his own kind of very stiff bowing that allowed him to play a "devil's staccato" with ease. This "devil's staccato" was easily used to discipline students.
Bond Quartet
Together Tania Davis (Violin), Eos Counsell (violin), Elspeth Hanson (viola) and Gay-Yee Westerhoff (cello) complete the line-up of BOND.
At its launch, BOND was hailed in the press as ‘the Spice Girls of Classical music’, and went onto turn the world of classical crossover music on its head, spawning many electric string groups inspired by its unique sound.
The members of BOND draw their inspiration from classical, latin, folk, jazz, rock, pop, electro, Indian and middle eastern styles. They have built a very active and loyal international fan base over the years and, since their debut, BOND have sold over 4 million albums worldwide, making BOND the best-selling string quartet of all time.
At its launch, BOND was hailed in the press as ‘the Spice Girls of Classical music’, and went onto turn the world of classical crossover music on its head, spawning many electric string groups inspired by its unique sound.
The members of BOND draw their inspiration from classical, latin, folk, jazz, rock, pop, electro, Indian and middle eastern styles. They have built a very active and loyal international fan base over the years and, since their debut, BOND have sold over 4 million albums worldwide, making BOND the best-selling string quartet of all time.
George Frideric Handel
George Frideric (or Frederick) Handel (/ˈhændəl/; born Georg Friederich Händel (About this soundlisten); 23 February 1685 (O.S.) – 14 April 1759) was a German, later British, Baroque composer who spent the bulk of his career in London, becoming well known for his operas, oratorios, anthems, and organ concertos. Handel received important training in Halle and worked as a composer in Hamburg and Italy before settling in London in 1712; he became a naturalised British subject in 1727. He was strongly influenced both by the great composers of the Italian Baroque and by the middle-German polyphonic choral tradition.
Astor Piazzolla
Ástor Pantaleón Piazzolla (March 11, 1921 – July 4, 1992) was an Argentine tango composer and bandoneón player. His oeuvre revolutionized the traditional tango into a new style termed nuevo tango, incorporating elements from jazz and classical music. An excellent bandoneonist, he regularly performed his own compositions with different ensembles.
Piazzolla's nuevo tango was distinct from the traditional tango in its incorporation of elements of jazz, its use of extended harmonies and dissonance, its use of counterpoint, and its ventures into extended compositional forms. As Argentine psychoanalyst Carlos Kuri has pointed out, Piazzolla's fusion of tango with this wide range of other recognizable Western musical elements was so successful that it produced a new individual style transcending these influences. It is precisely this success, and individuality, that makes it hard to pin down where particular influences reside in his compositions, but some aspects are clear. The use of the passacaglia technique of a circulating bass line and harmonic sequence, invented and much used in 17th and 18th century baroque music but also central to the idea of jazz "changes", predominates in most of Piazzolla's mature compositions. Another clear reference to the baroque is the often complex and virtuosic counterpoint that sometimes follows strict fugal behavior but more often simply allows each performer in the group to assert his voice. A further technique that emphasises this sense of democracy and freedom among the musicians is improvisation that is borrowed from jazz in concept, but in practice involves a different vocabulary of scales and rhythms that stay within the parameters of the established tango sound-world. Pablo Ziegler has been particularly responsible for developing this aspect of the style both within Piazzolla's groups and since the composer's death.
Piazzolla's nuevo tango was distinct from the traditional tango in its incorporation of elements of jazz, its use of extended harmonies and dissonance, its use of counterpoint, and its ventures into extended compositional forms. As Argentine psychoanalyst Carlos Kuri has pointed out, Piazzolla's fusion of tango with this wide range of other recognizable Western musical elements was so successful that it produced a new individual style transcending these influences. It is precisely this success, and individuality, that makes it hard to pin down where particular influences reside in his compositions, but some aspects are clear. The use of the passacaglia technique of a circulating bass line and harmonic sequence, invented and much used in 17th and 18th century baroque music but also central to the idea of jazz "changes", predominates in most of Piazzolla's mature compositions. Another clear reference to the baroque is the often complex and virtuosic counterpoint that sometimes follows strict fugal behavior but more often simply allows each performer in the group to assert his voice. A further technique that emphasises this sense of democracy and freedom among the musicians is improvisation that is borrowed from jazz in concept, but in practice involves a different vocabulary of scales and rhythms that stay within the parameters of the established tango sound-world. Pablo Ziegler has been particularly responsible for developing this aspect of the style both within Piazzolla's groups and since the composer's death.
Albinoni
Tomaso Giovanni Albinoni (8 June 1671, Venice, Republic of Venice – 17 January 1751, Venice, Republic of Venice) was a Venetian Baroque composer. While famous in his day as an opera composer, he is mainly remembered today for his instrumental music, some of which is regularly recorded.
Arnold Schönberg
Arnold Franz Walter Schönberg is an Austrian-Hungarian composer who has made great contributions to 20th century music. Became a US citizen after 1941
Johann Sebastian Bach
Johann Sebastian Bach (31 March 1685 – 28 July 1750) was a German composer and musician of the Baroque period. He is known for instrumental compositions such as the Art of Fugue, the Brandenburg Concertos, and the Goldberg Variations, and for vocal music such as the St Matthew Passion and the Mass in B minor. Since the 19th-century Bach Revival he has been generally regarded as one of the greatest composers of the Western art musical canon.
Handel
George Frideric Handel (Friday, 23 February 1685 - Saturday, 14 April 1759) was a German-born Baroque composer who is famous for his operas, oratorios and concerti grossi. Born as Georg Friedrich Handel in Halle, he spent most of his adult life in England, becoming a subject of the British crown on 22 January 1727. His most famous works are Messiah, an oratorio set to texts from the King James Bible; Water Music; and Music for the Royal Fireworks. Strongly influenced by the techniques of the great composers of the Italian Baroque and the English composer Henry Purcell, his music was known to many significant composers who came after him, including Haydn, Mozart, and Beethoven.
Handel's compositions include 42 operas; 29 oratorios; more than 120 cantatas, trios and duets; numerous arias; chamber music; a large number of ecumenical pieces; odes and serenatas; and sixteen organ concerti. His most famous work, the Messiah oratorio with its "Hallelujah" chorus, is among the most popular works in choral music and has become a centerpiece of the Christmas season. Also popular are the Opus 3 and 6 Concerti Grossi, as well as "The Cuckoo and the Nightingale", in which birds are heard calling during passages played in different keys representing the vocal ranges of two birds. Also notable are his sixteen keyboard suites, especially The Harmonious Blacksmith.
Handel introduced various previously uncommon musical instruments in his works: the viola d'amore and violetta marina (Orlando), the lute (Ode for St. Cecilia's Day), three trombones (Saul), clarinets or small high cornets (Tamerlano), theorbo, French horn (Water Music), lyrichord, double bassoon, viola da gamba, bell chimes, positive organ, and harp (Giulio Cesare, Alexander's Feast).
Handel's compositions include 42 operas; 29 oratorios; more than 120 cantatas, trios and duets; numerous arias; chamber music; a large number of ecumenical pieces; odes and serenatas; and sixteen organ concerti. His most famous work, the Messiah oratorio with its "Hallelujah" chorus, is among the most popular works in choral music and has become a centerpiece of the Christmas season. Also popular are the Opus 3 and 6 Concerti Grossi, as well as "The Cuckoo and the Nightingale", in which birds are heard calling during passages played in different keys representing the vocal ranges of two birds. Also notable are his sixteen keyboard suites, especially The Harmonious Blacksmith.
Handel introduced various previously uncommon musical instruments in his works: the viola d'amore and violetta marina (Orlando), the lute (Ode for St. Cecilia's Day), three trombones (Saul), clarinets or small high cornets (Tamerlano), theorbo, French horn (Water Music), lyrichord, double bassoon, viola da gamba, bell chimes, positive organ, and harp (Giulio Cesare, Alexander's Feast).
Jerry Goldsmith
Jerrald King "Jerry" Goldsmith (February 10, 1929 – July 21, 2004) was an American composer and conductor.
He is considered as one of the most prominent and prolific film composers of the 20th century. Goldsmith worked in various film and television genres, but is commonly associated with action, science fiction, fantasy, and horror films. He was nominated for five Grammy Awards, nine Golden Globes, four BAFTAs and seventeen Academy Awards, but only received one Oscar for The Omen in 1976.
A list of his distinguished film scores, most of which were Oscar nominated, include Freud, A Patch of Blue, The Blue Max, The Sand Pebbles, Planet of the Apes, Patton, Escape from the Planet of the Apes, Papillon, Chinatown, The Wind and the Lion, The Omen, Logan's Run, Islands in the Stream (acknowledged by Goldsmith as his own personal favorite), The Boys from Brazil, Capricorn One, Alien, The First Great Train Robbery, Star Trek: The Motion Picture, Poltergeist, Twilight Zone: The Movie, Lionheart, The Russia House, First Blood, Rambo: First Blood Part II, Rambo III, Total Recall, Medicine Man, Basic Instinct, Hoosiers, The Edge, The 13th Warrior, The Mummy, and Rudy. Goldsmith's Oscar-nominated score for Under Fire (1983) prominently featured solo guitar work by Pat Metheny. Of all the scores he wrote, Goldsmith has said that Basic Instinct was the hardest and most complex, according to a mini-documentary on the special edition DVD.
He is considered as one of the most prominent and prolific film composers of the 20th century. Goldsmith worked in various film and television genres, but is commonly associated with action, science fiction, fantasy, and horror films. He was nominated for five Grammy Awards, nine Golden Globes, four BAFTAs and seventeen Academy Awards, but only received one Oscar for The Omen in 1976.
A list of his distinguished film scores, most of which were Oscar nominated, include Freud, A Patch of Blue, The Blue Max, The Sand Pebbles, Planet of the Apes, Patton, Escape from the Planet of the Apes, Papillon, Chinatown, The Wind and the Lion, The Omen, Logan's Run, Islands in the Stream (acknowledged by Goldsmith as his own personal favorite), The Boys from Brazil, Capricorn One, Alien, The First Great Train Robbery, Star Trek: The Motion Picture, Poltergeist, Twilight Zone: The Movie, Lionheart, The Russia House, First Blood, Rambo: First Blood Part II, Rambo III, Total Recall, Medicine Man, Basic Instinct, Hoosiers, The Edge, The 13th Warrior, The Mummy, and Rudy. Goldsmith's Oscar-nominated score for Under Fire (1983) prominently featured solo guitar work by Pat Metheny. Of all the scores he wrote, Goldsmith has said that Basic Instinct was the hardest and most complex, according to a mini-documentary on the special edition DVD.
Ravel
Joseph-Maurice Ravel (March 7, 1875 – December 28, 1937) was a French composer of Impressionist music known especially for his melodies, orchestral and instrumental textures and effects. Much of his piano music, chamber music, vocal music and orchestral music has entered the standard concert repertoire.
Ravel's piano compositions, such as Jeux d'eau, Miroirs and Gaspard de la Nuit, demand considerable virtuosity from the performer, and his orchestral music, including Daphnis et Chloé and his arrangement of Modest Mussorgsky's Pictures at an Exhibition, uses a variety of sound and instrumentation very effectively.
Ravel is perhaps known best for his orchestral work, Boléro (1928), which he considered trivial and once described as "a piece for orchestra without music."
According to SACEM, Ravel's estate earns more royalties than that of any other French musician. According to international copyright law, Ravel's works are public domain since January 1, 2008 in most countries. In France, due to anomalous copyright law extensions to account for the two world wars, they will not enter the public domain until 2015.
Ravel's piano compositions, such as Jeux d'eau, Miroirs and Gaspard de la Nuit, demand considerable virtuosity from the performer, and his orchestral music, including Daphnis et Chloé and his arrangement of Modest Mussorgsky's Pictures at an Exhibition, uses a variety of sound and instrumentation very effectively.
Ravel is perhaps known best for his orchestral work, Boléro (1928), which he considered trivial and once described as "a piece for orchestra without music."
According to SACEM, Ravel's estate earns more royalties than that of any other French musician. According to international copyright law, Ravel's works are public domain since January 1, 2008 in most countries. In France, due to anomalous copyright law extensions to account for the two world wars, they will not enter the public domain until 2015.
Nobuo Uematsu
Nobuo Uematsu (植松伸夫 Uematsu Nobuo?, born March 21, 1959) is a Japanese video game composer and musician, best known for scoring the majority of titles in the Final Fantasy series. He is regarded as one of the most famous and respected composers in the video game community. Uematsu is a self-taught musician; he began to play the piano at the age of eleven or twelve, with Elton John as his biggest influence.
Uematsu joined Square (later Square Enix) in 1985, where he met Final Fantasy creator Hironobu Sakaguchi. They have worked together on numerous titles, most notably the games in the Final Fantasy series. After nearly 20 years in the company, he left Square Enix in 2004 and founded his own company called Smile Please, as well as the music production company Dog Ear Records. He has since composed music as a freelancer for video games primarily developed by Square Enix and Sakaguchi's development studio Mistwalker.
A handful of soundtracks and arranged albums of Uematsu's game scores have been released. Pieces from his video game works have been performed in concerts worldwide, and numerous Final Fantasy concerts have also been held. He has worked with Grammy Award-winning conductor Arnie Roth on several of these concerts. In 2002, he formed a rock band with colleagues Kenichiro Fukui and Tsuyoshi Sekito called The Black Mages, in which Uematsu plays the keyboard. The band plays arranged rock versions of Uematsu's Final Fantasy compositions.
Uematsu joined Square (later Square Enix) in 1985, where he met Final Fantasy creator Hironobu Sakaguchi. They have worked together on numerous titles, most notably the games in the Final Fantasy series. After nearly 20 years in the company, he left Square Enix in 2004 and founded his own company called Smile Please, as well as the music production company Dog Ear Records. He has since composed music as a freelancer for video games primarily developed by Square Enix and Sakaguchi's development studio Mistwalker.
A handful of soundtracks and arranged albums of Uematsu's game scores have been released. Pieces from his video game works have been performed in concerts worldwide, and numerous Final Fantasy concerts have also been held. He has worked with Grammy Award-winning conductor Arnie Roth on several of these concerts. In 2002, he formed a rock band with colleagues Kenichiro Fukui and Tsuyoshi Sekito called The Black Mages, in which Uematsu plays the keyboard. The band plays arranged rock versions of Uematsu's Final Fantasy compositions.
Chopin
Frédéric Chopin (1 March 1810 – 17 October 1849) was a Polish composer and virtuoso pianist of the Romantic period. He is widely regarded as the greatest Polish composer, and ranks as one of music's greatest tone poets.
He was born in the village of Żelazowa Wola, in the Duchy of Warsaw, to a Polish mother and French-expatriate father, and in his early life was regarded as a child-prodigy pianist. In November 1830, at the age of 20, Chopin went abroad; following the suppression of the Polish November Uprising of 1830–31, he became one of many expatriates of the Polish "Great Emigration."
In Paris, he made a comfortable living as a composer and piano teacher, while giving few public performances. A Polish patriot,
Chopin's extant compositions were written primarily for the piano as a solo instrument. Though technically demanding, Chopin's style emphasizes nuance and expressive depth rather than virtuosity. Chopin invented musical forms such as the ballade and was responsible for major innovations in forms such as the piano sonata, waltz, nocturne, étude, impromptu and prelude. His works are mainstays of Romanticism in 19th-century classical music.
He was born in the village of Żelazowa Wola, in the Duchy of Warsaw, to a Polish mother and French-expatriate father, and in his early life was regarded as a child-prodigy pianist. In November 1830, at the age of 20, Chopin went abroad; following the suppression of the Polish November Uprising of 1830–31, he became one of many expatriates of the Polish "Great Emigration."
In Paris, he made a comfortable living as a composer and piano teacher, while giving few public performances. A Polish patriot,
Chopin's extant compositions were written primarily for the piano as a solo instrument. Though technically demanding, Chopin's style emphasizes nuance and expressive depth rather than virtuosity. Chopin invented musical forms such as the ballade and was responsible for major innovations in forms such as the piano sonata, waltz, nocturne, étude, impromptu and prelude. His works are mainstays of Romanticism in 19th-century classical music.
Hisaishi Jou
Mamoru Fujisawa (藤澤 守 Fujisawa Mamoru?), known professionally as Joe Hisaishi (久石 譲 Hisaishi Jō?, born December 6, 1950), is a composer and director known for over 100 film scores and solo albums dating back to 1981.
While possessing a stylistically distinct sound, Hisaishi's music has been known to explore and incorporate different genres, including minimalist, experimental electronic, European classical, and Japanese classical. Lesser known are the other musical roles he plays; he is also a typesetter, author, arranger, and head of an orchestra.
He is best known for his work with animator Hayao Miyazaki, having composed scores for many of his films including Nausicaä of the Valley of the Wind (1984), Castle in the Sky (1986), My Neighbor Totoro (1988), Kiki's Delivery Service (1989), Porco Rosso (1992), Princess Mononoke (1997), Spirited Away (2001), Howl's Moving Castle (2004) and Ponyo on the Cliff by the Sea (2008). He is also recognized for the soundtracks he has provided for filmmaker 'Beat' Takeshi Kitano, including A Scene at the Sea (1991), Dolls (2002), Kikujiro (1999), Hana-bi (1997), Kids Return (1996), Ocean Heaven (2010) and Sonatine (1993).
While possessing a stylistically distinct sound, Hisaishi's music has been known to explore and incorporate different genres, including minimalist, experimental electronic, European classical, and Japanese classical. Lesser known are the other musical roles he plays; he is also a typesetter, author, arranger, and head of an orchestra.
He is best known for his work with animator Hayao Miyazaki, having composed scores for many of his films including Nausicaä of the Valley of the Wind (1984), Castle in the Sky (1986), My Neighbor Totoro (1988), Kiki's Delivery Service (1989), Porco Rosso (1992), Princess Mononoke (1997), Spirited Away (2001), Howl's Moving Castle (2004) and Ponyo on the Cliff by the Sea (2008). He is also recognized for the soundtracks he has provided for filmmaker 'Beat' Takeshi Kitano, including A Scene at the Sea (1991), Dolls (2002), Kikujiro (1999), Hana-bi (1997), Kids Return (1996), Ocean Heaven (2010) and Sonatine (1993).
Richard Wagner
Wilhelm Richard Wagner (pronounced /ˈvɑːɡnər/, German pronunciation: ; 22 May 1813 – 13 February 1883) was a German composer, conductor, theatre director and essayist, primarily known for his operas (or "music dramas", as they were later called). Wagner's compositions, particularly those of his later period, are notable for their complex texture, rich harmonies and orchestration, and the elaborate use of leitmotifs: musical themes associated with individual characters, places, ideas or plot elements. Unlike most other opera composers, Wagner wrote both the music and libretto for every one of his stage works. Famous extracts from his operas include the "Ride of the Valkyries" and the Bridal Chorus from Lohengrin, popularly known as the wedding march "Here Comes the Bride".
Initially establishing his reputation as a composer of works such as The Flying Dutchman and Tannhäuser which were in the romantic traditions of Weber and Meyerbeer, Wagner transformed operatic thought through his concept of the Gesamtkunstwerk ("total work of art"). This would achieve the synthesis of all the poetic, visual, musical and dramatic arts, and was announced in a series of essays between 1849 and 1852. Wagner realised this concept most fully in the first half of the monumental four-opera cycle Der Ring des Nibelungen. However, his thoughts on the relative importance of music and drama were to change again and he reintroduced some traditional operatic forms into his last few stage works including Die Meistersinger von Nürnberg.
Wagner pioneered advances in musical language, such as extreme chromaticism and quickly shifting tonal centres, which greatly influenced the development of European classical music. His Tristan und Isolde is sometimes described as marking the start of modern music. Wagner's influence spread beyond music into philosophy, literature, the visual arts and theatre. He had his own opera house built, the Bayreuth Festspielhaus, which contained many novel design features. It was here that the Ring and Parsifal received their premieres and where his most important stage works continue to be performed today in an annual festival run by his descendants. Wagner's views on conducting were also highly influential. His extensive writings on music, drama and politics have all attracted extensive comment; not least for their frequently antisemitic content.
Wagner achieved all of this despite a life characterised, until his last decades, by political exile, turbulent love affairs, poverty and repeated flight from his creditors. His pugnacious personality and often outspoken views on music, politics and society made him a controversial figure during his life. He has remained one to this day. The impact of his his ideas can be traced in many of the arts throughout the twentieth century.
Initially establishing his reputation as a composer of works such as The Flying Dutchman and Tannhäuser which were in the romantic traditions of Weber and Meyerbeer, Wagner transformed operatic thought through his concept of the Gesamtkunstwerk ("total work of art"). This would achieve the synthesis of all the poetic, visual, musical and dramatic arts, and was announced in a series of essays between 1849 and 1852. Wagner realised this concept most fully in the first half of the monumental four-opera cycle Der Ring des Nibelungen. However, his thoughts on the relative importance of music and drama were to change again and he reintroduced some traditional operatic forms into his last few stage works including Die Meistersinger von Nürnberg.
Wagner pioneered advances in musical language, such as extreme chromaticism and quickly shifting tonal centres, which greatly influenced the development of European classical music. His Tristan und Isolde is sometimes described as marking the start of modern music. Wagner's influence spread beyond music into philosophy, literature, the visual arts and theatre. He had his own opera house built, the Bayreuth Festspielhaus, which contained many novel design features. It was here that the Ring and Parsifal received their premieres and where his most important stage works continue to be performed today in an annual festival run by his descendants. Wagner's views on conducting were also highly influential. His extensive writings on music, drama and politics have all attracted extensive comment; not least for their frequently antisemitic content.
Wagner achieved all of this despite a life characterised, until his last decades, by political exile, turbulent love affairs, poverty and repeated flight from his creditors. His pugnacious personality and often outspoken views on music, politics and society made him a controversial figure during his life. He has remained one to this day. The impact of his his ideas can be traced in many of the arts throughout the twentieth century.
Joseph Haydn
Franz Joseph Haydn (31 March 1732 – 31 May 1809), known as Joseph Haydn (German pronunciation: ; English: /ˈdʒoʊzəf ˈhaɪdən/), was an Austrian composer, one of the most prolific and prominent composers of the Classical period. He is often called the "Father of the Symphony" and "Father of the String Quartet" because of his important contributions to these genres. He was also instrumental in the development of the piano trio and in the evolution of sonata form.
A life-long resident of Austria, Haydn spent much of his career as a court musician for the wealthy Hungarian aristocratic Esterházy family on their remote estate. Isolated from other composers and trends in music until the later part of his long life, he was, as he put it, "forced to become original". At the time of his death, he was one of the most celebrated composers in Europe.
Joseph Haydn was the brother of Michael Haydn, himself a highly regarded composer, and Johann Evangelist Haydn, a tenor. He was also a close friend of Wolfgang Amadeus Mozart and a teacher of Ludwig van Beethoven.
A life-long resident of Austria, Haydn spent much of his career as a court musician for the wealthy Hungarian aristocratic Esterházy family on their remote estate. Isolated from other composers and trends in music until the later part of his long life, he was, as he put it, "forced to become original". At the time of his death, he was one of the most celebrated composers in Europe.
Joseph Haydn was the brother of Michael Haydn, himself a highly regarded composer, and Johann Evangelist Haydn, a tenor. He was also a close friend of Wolfgang Amadeus Mozart and a teacher of Ludwig van Beethoven.
J. S. Bach
Johann Sebastian Bach (21 March 1685, O.S.31 March 1685, N.S. – 28 July 1750, N.S.) was a German composer, organist, harpsichordist, violist, and violinist whose sacred and secular works for choir, orchestra, and solo instruments drew together the strands of the Baroque period and brought it to its ultimate maturity. Although he did not introduce new forms, he enriched the prevailing German style with a robust contrapuntal technique, an unrivalled control of harmonic and motivic organisation, and the adaptation of rhythms, forms and textures from abroad, particularly from Italy and France.
Revered for their intellectual depth, technical command and artistic beauty, Bach's works include the Brandenburg Concertos, the Goldberg Variations, the Partitas, The Well-Tempered Clavier, the Mass in B minor, the St Matthew Passion, the St John Passion, the Magnificat, A Musical Offering, The Art of Fugue, the English and French Suites, the Sonatas and Partitas for solo violin, the Cello Suites, more than 200 surviving cantatas, and a similar number of organ works, including the famous Toccata and Fugue in D minor and Passacaglia and Fugue in C minor, as well as the Great Eighteen Chorale Preludes and Organ Mass.
Bach's abilities as an organist were highly respected throughout Europe during his lifetime, although he was not widely recognised as a great composer until a revival of interest and performances of his music in the first half of the 19th century. He is now generally regarded as one of the main composers of the Baroque style, and as one of the greatest composers of all time.
Revered for their intellectual depth, technical command and artistic beauty, Bach's works include the Brandenburg Concertos, the Goldberg Variations, the Partitas, The Well-Tempered Clavier, the Mass in B minor, the St Matthew Passion, the St John Passion, the Magnificat, A Musical Offering, The Art of Fugue, the English and French Suites, the Sonatas and Partitas for solo violin, the Cello Suites, more than 200 surviving cantatas, and a similar number of organ works, including the famous Toccata and Fugue in D minor and Passacaglia and Fugue in C minor, as well as the Great Eighteen Chorale Preludes and Organ Mass.
Bach's abilities as an organist were highly respected throughout Europe during his lifetime, although he was not widely recognised as a great composer until a revival of interest and performances of his music in the first half of the 19th century. He is now generally regarded as one of the main composers of the Baroque style, and as one of the greatest composers of all time.
Tchaikovsky
Pyotr Il'yich Tchaikovsky (May 7 1840 â November 6 1893) was a Russian composer of the Romantic era. While not part of the nationalistic music group known as "The Five", Tchaikovsky wrote music which, in the opinion of Harold Schonberg, was distinctly Russian: plangent, introspective, with modally-inflected melody and harmony.
Aesthetically, Tchaikovsky remained open to all aspects of Saint Petersburg musical life. He was impressed by Serov and Balakirev as well as the classical values upheld by the conservatory. Both the progressive and conservative camps in Russian music at the time attempted to win him over. Tchaikovsky charted his compositional course between these two factions, retaining his individuality as a composer as well as his Russian identity. In this he was influenced by the ideals of his teacher Nikolai Rubinstein and Nikolai's brother Anton.
Tchaikovsky's musical cosmopolitanism led him to be favored by many Russian music-lovers over the "Russian" harmonies and styles of Mussorgsky, Borodin and Rimsky-Korsakov.
Nonetheless he frequently adapted Russian traditional melodies and dance forms in his music, which enhanced his success in his home country. The success in St. Petersburg at the premiere of his Third Orchestral Suite may have been due in large part to his concluding the work with a polonaise. He also used a polonaise for the final movement of his Third Symphony.
Aesthetically, Tchaikovsky remained open to all aspects of Saint Petersburg musical life. He was impressed by Serov and Balakirev as well as the classical values upheld by the conservatory. Both the progressive and conservative camps in Russian music at the time attempted to win him over. Tchaikovsky charted his compositional course between these two factions, retaining his individuality as a composer as well as his Russian identity. In this he was influenced by the ideals of his teacher Nikolai Rubinstein and Nikolai's brother Anton.
Tchaikovsky's musical cosmopolitanism led him to be favored by many Russian music-lovers over the "Russian" harmonies and styles of Mussorgsky, Borodin and Rimsky-Korsakov.
Nonetheless he frequently adapted Russian traditional melodies and dance forms in his music, which enhanced his success in his home country. The success in St. Petersburg at the premiere of his Third Orchestral Suite may have been due in large part to his concluding the work with a polonaise. He also used a polonaise for the final movement of his Third Symphony.
Isaac Albeniz
Isaac Albéniz i Pascual (Spanish pronunciation: ) (May 29, 1860 – May 18, 1909) was a Spanish pianist and composer best known for his piano works based on folk music.
Albéniz’ Suite Española Op.47 is comprised mainly of pieces written in 1886, and grouped together in 1887 in honor of the Queen of Spain. Like many of Albéniz' piano pieces, these works are miniature tone pictures of different geographical regions and musical idioms of Spain. The eight original titles are Granada, Cataluna, Sevilla, Cadiz, Asturias, Aragon, Castilla and Cuba but only the first three titles and Cuba appeared in the original collection. The other pieces were published in later collections, often with different titles. The publisher Hofmeister published all eight titles of Suite Espanola in 1911 after Albéniz’ death, appropriating other pieces for the other four titles so those pieces do not always accurately reflect the geographic designation of the titles, most obviously in the case of Asturias (Leyenda) whose Andalusian flamenco rhythms bear little resemblance to the music of the northern province Asturias. The opus number 47 assigned by Hofmeister has no relation to any chronological order in Albéniz’ oeuvre, in which opus numbers were randomly given by publishers or by Albéniz himself, with some pieces appearing in more than one collection.
Albéniz’ Suite Española Op.47 is comprised mainly of pieces written in 1886, and grouped together in 1887 in honor of the Queen of Spain. Like many of Albéniz' piano pieces, these works are miniature tone pictures of different geographical regions and musical idioms of Spain. The eight original titles are Granada, Cataluna, Sevilla, Cadiz, Asturias, Aragon, Castilla and Cuba but only the first three titles and Cuba appeared in the original collection. The other pieces were published in later collections, often with different titles. The publisher Hofmeister published all eight titles of Suite Espanola in 1911 after Albéniz’ death, appropriating other pieces for the other four titles so those pieces do not always accurately reflect the geographic designation of the titles, most obviously in the case of Asturias (Leyenda) whose Andalusian flamenco rhythms bear little resemblance to the music of the northern province Asturias. The opus number 47 assigned by Hofmeister has no relation to any chronological order in Albéniz’ oeuvre, in which opus numbers were randomly given by publishers or by Albéniz himself, with some pieces appearing in more than one collection.
Guy Bergeron
Guy Bergeron was born the 13th of October 1964 in Loretteville, Province of Quebec, Canada. He graduated in music: in 1990, 3rd cycle in composition at the Conservatoire de musique of Quebec; in 1986, collegial grade (DEC) in pop music, Cegep of Drummondville, and in 1984, collegial grade (DEC) in music, Cegep of Ste-Foy, with guitar as first instrument. He was also a student in jazz interpretation from 1992 until 1994 at the University of Montreal (electric guitar) and he studied computer-assisted music at the Musitechnic School in Montreal. He plays the guitar (classical, electric, acoustic, synthesizer), the banjo, the mandolin and the bass. He's been earning his living with music for more than 25 years, as a professional musician, a composer, an arranger and also as a studio engineer as he manages his own studio.
Szymanowski
Karol Maciej Szymanowski (3 October 1882 – 28 March 1937) was a Polish composer and pianist.
Among Szymanowski's better known orchestral works are four symphonies (No. 3, Song of the Night with choir and vocal soloists and No. 4, Symphonie Concertante, with piano concertante) and two dream-like violin concertos. His stage works include the ballets Harnasie and Mandragora and the operas Hagith and Król Roger ('King Roger'). He wrote much piano music, including the four Etudes, Op. 4 (of which No. 3 may be his single most popular piece), many mazurkas and the exquisite and highly individual Metopes. Other works include the Three Myths for violin and piano, two masterful string quartets, a sonata for violin and piano, a number of orchestral songs (some to texts by Hafez and James Joyce) and his Stabat Mater, an acknowledged choral masterpiece.
According to Samson (p. 131), "Szymanowski adopted no thorough-going alternatives to tonal organization the harmonic tensions and relaxations and the melodic phraseology have clear origins in tonal procedure, but an underpinning tonal framework has been almost or completely dissolved away."
Among Szymanowski's better known orchestral works are four symphonies (No. 3, Song of the Night with choir and vocal soloists and No. 4, Symphonie Concertante, with piano concertante) and two dream-like violin concertos. His stage works include the ballets Harnasie and Mandragora and the operas Hagith and Król Roger ('King Roger'). He wrote much piano music, including the four Etudes, Op. 4 (of which No. 3 may be his single most popular piece), many mazurkas and the exquisite and highly individual Metopes. Other works include the Three Myths for violin and piano, two masterful string quartets, a sonata for violin and piano, a number of orchestral songs (some to texts by Hafez and James Joyce) and his Stabat Mater, an acknowledged choral masterpiece.
According to Samson (p. 131), "Szymanowski adopted no thorough-going alternatives to tonal organization the harmonic tensions and relaxations and the melodic phraseology have clear origins in tonal procedure, but an underpinning tonal framework has been almost or completely dissolved away."
Mariachi Vargas
Mariachi Vargas De Tecalitlán is a Mexican folk ensemble of mariachi music created in 1897 by Gaspar Vargas. From 1950 it has been under the artistic guidance of Rubén Fuentes. The group's musical direction had been the responsibility of Don Jose "Pepe" Martínez from 1975 to around 2013-14. Now the ensemble is under the direction of Carlos Martínez (ex-director of Mariachi Nuevo Tecalitlan).
Brahms
Johannes Brahms (May 7, 1833 â April 3, 1897) was a German composer of the Romantic period. He was born in Hamburg and in his later years he settled in Vienna, Austria.
Brahms maintained a Classical sense of form and order in his works â in contrast to the opulence of the music of many of his contemporaries. Thus many admirers (though not necessarily Brahms himself) saw him as the champion of traditional forms and "pure music," as opposed to the New German embrace of program music.
Brahms venerated Beethoven: in the composer's home, a marble bust of Beethoven looked down on the spot where he composed, and some passages in his works are reminiscent of Beethoven's style. The main theme of the finale of Brahms's First Symphony is reminiscent of the main theme of the finale of Beethoven's Ninth, and when this resemblance was pointed out to Brahms he replied that any ass â jeder Esel â could see that.
Ein deutsches Requiem was partially inspired by his mother's death in 1865, but also incorporates material from a Symphony he started in 1854, but abandoned following Schumann's suicide attempt. He once wrote that the Requiem "belonged to Schumann". The first movement of this abandoned Symphony was re-worked as the first movement of the First Piano Concerto.
Brahms also loved the Classical composers Mozart and Haydn. He collected first editions and autographs of their works, and edited performing editions. He also studied the music of pre-classical composers, including Giovanni Gabrieli, Johann Adolph Hasse, Heinrich Schütz and especially Johann Sebastian Bach. His friends included leading musicologists, and with Friedrich Chrysander he edited an edition of the works of François Couperin. He looked to older music for inspiration in the arts of strict counterpoint; the themes of some of his works are modelled on Baroque sources, such as Bach's The Art of Fugue in the fugal finale of Cello Sonata No. 1, or the same composer's Cantata No. 150 in the passacaglia theme of the Fourth Symphony's finale.
Brahms maintained a Classical sense of form and order in his works â in contrast to the opulence of the music of many of his contemporaries. Thus many admirers (though not necessarily Brahms himself) saw him as the champion of traditional forms and "pure music," as opposed to the New German embrace of program music.
Brahms venerated Beethoven: in the composer's home, a marble bust of Beethoven looked down on the spot where he composed, and some passages in his works are reminiscent of Beethoven's style. The main theme of the finale of Brahms's First Symphony is reminiscent of the main theme of the finale of Beethoven's Ninth, and when this resemblance was pointed out to Brahms he replied that any ass â jeder Esel â could see that.
Ein deutsches Requiem was partially inspired by his mother's death in 1865, but also incorporates material from a Symphony he started in 1854, but abandoned following Schumann's suicide attempt. He once wrote that the Requiem "belonged to Schumann". The first movement of this abandoned Symphony was re-worked as the first movement of the First Piano Concerto.
Brahms also loved the Classical composers Mozart and Haydn. He collected first editions and autographs of their works, and edited performing editions. He also studied the music of pre-classical composers, including Giovanni Gabrieli, Johann Adolph Hasse, Heinrich Schütz and especially Johann Sebastian Bach. His friends included leading musicologists, and with Friedrich Chrysander he edited an edition of the works of François Couperin. He looked to older music for inspiration in the arts of strict counterpoint; the themes of some of his works are modelled on Baroque sources, such as Bach's The Art of Fugue in the fugal finale of Cello Sonata No. 1, or the same composer's Cantata No. 150 in the passacaglia theme of the Fourth Symphony's finale.
Pablo de Sarasate
Pablo Martín Melitón de Sarasate y Navascués (10 March 1844 – 20 September 1908) was a Spanish violinist and composer of the Romantic period.
Bernard Herrmann
Bernard Herrmann (June 29, 1911 – December 24, 1975) was an American composer noted for his work in motion pictures.
An Academy Award-winner (for The Devil and Daniel Webster, 1941), Herrmann is particularly known for his collaborations with director Alfred Hitchcock, most famously Psycho, North by Northwest, The Man Who Knew Too Much, and Vertigo. He also composed notable scores for many other movies, including Citizen Kane, The Ghost and Mrs. Muir, Cape Fear, and Taxi Driver. He worked extensively in radio drama (most notably for Orson Welles), composed the scores for several fantasy films by Ray Harryhausen, and many TV programs including most notably Rod Serling's The Twilight Zone.
An Academy Award-winner (for The Devil and Daniel Webster, 1941), Herrmann is particularly known for his collaborations with director Alfred Hitchcock, most famously Psycho, North by Northwest, The Man Who Knew Too Much, and Vertigo. He also composed notable scores for many other movies, including Citizen Kane, The Ghost and Mrs. Muir, Cape Fear, and Taxi Driver. He worked extensively in radio drama (most notably for Orson Welles), composed the scores for several fantasy films by Ray Harryhausen, and many TV programs including most notably Rod Serling's The Twilight Zone.
Edward Grieg
Edvard Hagerup Grieg (15 June 1843 – 4 September 1907) was a Norwegian composer and pianist who composed in the Romantic period. He is best known for his Piano Concerto in A minor, for his incidental music to Henrik Ibsen's play Peer Gynt (which includes Morning Mood and In the Hall of the Mountain King), and for his collection of piano miniatures Lyric Pieces.
Pyotr İlyiç Çaykovski
Pyotr Ilyich Tchaikovsky is a composer of Russian classical music in the Romantic Period. Symphony, opera, ballet, instrumental and chamber music and songs in many styles, such as. He has written the most popular concerts and performances in today's classical music repertoire.
William McKinney
William McKinney (17 September 1895 – 14 October 1969) was an American jazz drummer who led a series of musical groups, most notably McKinney's Cotton Pickers.
William "Bill" McKinney was born in Cynthiana, Kentucky. He worked as a drummer in a circus band, then after serving in the United States Army in World War I settled in Springfield, Ohio where he took over leadership of the Synco Jazz Band. After hiring drummer Cuba Austin, McKinney worked as leader and business manager. After touring the U.S. Midwest, they got a residency at the Arcadia Ballroom in Detroit, Michigan in 1926. In Detroit they were heard by bandleader and music promoter Jean Goldkette, who arranged a more lucrative home base for the band in Detroit's Graystone Ballroom. The band was renamed McKinney's Cotton Pickers.
William "Bill" McKinney was born in Cynthiana, Kentucky. He worked as a drummer in a circus band, then after serving in the United States Army in World War I settled in Springfield, Ohio where he took over leadership of the Synco Jazz Band. After hiring drummer Cuba Austin, McKinney worked as leader and business manager. After touring the U.S. Midwest, they got a residency at the Arcadia Ballroom in Detroit, Michigan in 1926. In Detroit they were heard by bandleader and music promoter Jean Goldkette, who arranged a more lucrative home base for the band in Detroit's Graystone Ballroom. The band was renamed McKinney's Cotton Pickers.
Puccini
Giacomo Antonio Domenico Michele Secondo Maria Puccini (December 22, 1858 – November 29, 1924) was an Italian composer whose operas, including La Bohème, Tosca, and Madama Butterfly, are among the most frequently performed in the standard repertoire. Some of his arias, such as "O Mio Babbino Caro" from Gianni Schicchi, "Che gelida manina" from La Bohème, and "Nessun Dorma" from Turandot, have become part of popular culture.
The subject of Puccini's style is one that has been long avoided by musicologists; this avoidance can perhaps be attributed to the perception that his work, with its emphasis on melody and evident popular appeal, lacked "seriousness" (a similar prejudice beset Rachmaninoff during his lifetime). Despite the place Puccini clearly occupies in the popular tradition of Verdi, his style of orchestration also shows the strong influence of Wagner, matching specific orchestral configurations and timbres to different dramatic moments. His operas contain an unparalleled manipulation of orchestral colors, with the orchestra often creating the scene’s atmosphere.
The structures of Puccini's works are also noteworthy. While it is to an extent possible to divide his operas into arias or numbers (like Verdi's), his scores generally present a very strong sense of continuous flow and connectivity, perhaps another sign of Wagner’s influence. Like Wagner, Puccini used leitmotifs to connote characters (or combinations of characters). This is apparent in Tosca, where the three chords which signal the beginning of the opera are used throughout to announce Scarpia. Several motifs are also linked to Mimi and the Bohemians in La Bohème and to Cio-Cio-San's eventual suicide in Butterfly. Unlike Wagner, though, Puccini's motifs are static: where Wagner's motifs develop into more complicated figures as the characters develop, Puccini's remain more or less identical throughout the opera (in this respect anticipating the themes of modern musical theatre).
The subject of Puccini's style is one that has been long avoided by musicologists; this avoidance can perhaps be attributed to the perception that his work, with its emphasis on melody and evident popular appeal, lacked "seriousness" (a similar prejudice beset Rachmaninoff during his lifetime). Despite the place Puccini clearly occupies in the popular tradition of Verdi, his style of orchestration also shows the strong influence of Wagner, matching specific orchestral configurations and timbres to different dramatic moments. His operas contain an unparalleled manipulation of orchestral colors, with the orchestra often creating the scene’s atmosphere.
The structures of Puccini's works are also noteworthy. While it is to an extent possible to divide his operas into arias or numbers (like Verdi's), his scores generally present a very strong sense of continuous flow and connectivity, perhaps another sign of Wagner’s influence. Like Wagner, Puccini used leitmotifs to connote characters (or combinations of characters). This is apparent in Tosca, where the three chords which signal the beginning of the opera are used throughout to announce Scarpia. Several motifs are also linked to Mimi and the Bohemians in La Bohème and to Cio-Cio-San's eventual suicide in Butterfly. Unlike Wagner, though, Puccini's motifs are static: where Wagner's motifs develop into more complicated figures as the characters develop, Puccini's remain more or less identical throughout the opera (in this respect anticipating the themes of modern musical theatre).
George Friedrich Händel
George Frideric (or Frederick) Handel (/ˈhændəl/; born Georg Friederich Händel (About this soundlisten); 23 February 1685 (O.S.) – 14 April 1759) was a German, later British, Baroque composer who spent the bulk of his career in London, becoming well known for his operas, oratorios, anthems, and organ concertos. Handel received important training in Halle and worked as a composer in Hamburg and Italy before settling in London in 1712; he became a naturalised British subject in 1727. He was strongly influenced both by the great composers of the Italian Baroque and by the middle-German polyphonic choral tradition