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61-414: " The Blue Danube " is the common English title of " An der schönen blauen Donau ", Op.  314 (German for "By the Beautiful Blue Danube "), a waltz by the Austrian composer Johann Strauss II , composed in 1866. Originally performed on 15 February 1867 at a concert of the Wiener Männergesang-Verein (Vienna Men's Choral Association), it has been one of the most consistently popular pieces of music in

122-460: A horn spelling out the familiar waltz theme, answered by staccato wind chords, in a subdued mood. It rises briefly into a loud passage but quickly dies down into the same restful nature of the opening bars. A contrasting and quick phrase in D major anticipates the waltz before three quiet downward-moving bass notes "usher in" the first principal waltz melody. The first waltz theme is a familiar gently rising triad motif played by cellos and horns in

183-563: A staff with the same treble and bass clefs used by many non-percussive instruments. Music for percussive instruments without a definite pitch can be notated with a specialist rhythm or percussion-clef . The guitar also has a special "tab" staff. More often a bass clef is substituted for rhythm clef. Percussion instruments are classified by various criteria sometimes depending on their construction, ethnic origin, function within musical theory and orchestration, or their relative prevalence in common knowledge. The word percussion derives from

244-672: A companion piece to "Opus 27, No. 1" ( Piano Sonata No. 13 in E-flat major , 1800–01), paired in same opus number, with both being subtitled Sonata quasi una Fantasia , the only two of the kind in all of Beethoven's 32 piano sonatas. Furthermore, the Piano Sonata, Op. 27 No. 2, in C-sharp minor is also catalogued as "Sonata No. 14", because it is the fourteenth sonata composed by Ludwig van Beethoven. Given composers' inconsistent or non-existent assignment of opus numbers, especially during

305-420: A composer's juvenilia are often numbered after other works, even though they may be some of the composer's first completed works. To indicate the specific place of a given work within a music catalogue , the opus number is paired with a cardinal number ; for example, Beethoven 's Piano Sonata No. 14 in C-sharp minor (1801, nicknamed Moonlight Sonata ) is "Opus 27, No. 2", whose work-number identifies it as

366-581: A composer's works, as in the sets of string quartets by Joseph Haydn (1732–1809) and Ludwig van Beethoven (1770–1827); Haydn's Op. 76, the Erdödy quartets (1796–97), comprises six discrete quartets consecutively numbered Op. 76 No. 1 – Op. 76 No. 6; whilst Beethoven's Op. 59, the Rasumovsky quartets (1805–06), comprises String Quartet No. 7, String Quartet No. 8, and String Quartet No. 9. From about 1800, composers usually assigned an opus number to

427-453: A composition, Prokofiev occasionally assigned a new opus number to the revision; thus Symphony No. 4 is two thematically related but discrete works: Symphony No. 4, Op. 47, written in 1929; and Symphony No. 4, Op. 112, a large-scale revision written in 1947. Likewise, depending upon the edition, the original version of Piano Sonata No. 5 in C major, is cataloged both as Op. 38 and as Op. 135. Despite being used in more or less normal fashion by

488-547: A dentist's needle to accidentally slip into the Mayor's arm while getting a root canal . The piece is used in the 1984 video game Elite and in its sequels, Frontier: Elite II (1993) and Elite Dangerous (2014), during the automated docking sequence of a player's spaceship, a homage to the docking scene in the film 2001: A Space Odyssey . The piece is used throughout the Netflix series 2021 Squid Game to indicate

549-429: A distinctive sound. It is not uncommon to discuss percussion instruments in relation to their cultural origin. This led to a division between instruments considered common or modern, and folk instruments with significant history or purpose within a geographic region or culture. This category includes instruments that are widely available and popular throughout the world: The percussionist uses various objects to strike

610-563: A number of important early-twentieth-century composers, including Arnold Schoenberg (1874–1951) and Anton Webern (1883–1945), opus numbers became less common in the later part of the twentieth century. To manage inconsistent opus-number usages — especially by composers of the Baroque (1600–1750) and of the Classical (1720—1830) music eras — musicologists have developed comprehensive and unambiguous catalogue number-systems for

671-423: A pivotal role. In military marching bands and pipes and drums , it is the beat of the bass drum that keeps the soldiers in step and at a regular speed, and it is the snare that provides that crisp, decisive air to the tune of a regiment. In classic jazz, one almost immediately thinks of the distinctive rhythm of the hi-hats or the ride cymbal when the word-swing is spoken. In more recent popular-music culture, it

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732-663: A purely orchestral version for the 1867 Paris World's Fair , and it became a great success in this form. The instrumental version is by far the most commonly performed today. An alternate text was written by Franz von Gernerth , " Donau so blau " (Danube so blue). "The Blue Danube" premiered in the United States in its instrumental version on 1 July 1867 in New York, and in the UK in its choral version on 21 September 1867 in London at

793-781: A result, the plural opera of opus tends to be avoided in English. In other languages such as German, however, it remains common. In the arts, an opus number usually denotes a work of musical composition , a practice and usage established in the seventeenth century when composers identified their works with an opus number. In the eighteenth century, publishers usually assigned opus numbers when publishing groups of like compositions, usually in sets of three, six or twelve compositions. Consequently, opus numbers are not usually in chronological order, unpublished compositions usually had no opus number, and numeration gaps and sequential duplications occurred when publishers issued contemporaneous editions of

854-414: A rushing eighth-note passage in the final few bars: repeated tonic chords underlined by a snare drum roll and a bright-sounding flourish . A typical performance lasts around 10 minutes, with the seven-minute main piece, followed by a three-minute coda . The Blue Danube is scored for the following orchestra: Woodwinds Brass Percussion Strings The "Beautiful Blue Danube"

915-400: A set of compositions, to indicate the chronological order of the composer 's publication of that work. Opus numbers are used to distinguish among compositions with similar titles; the word is abbreviated as "Op." for a single work, or "Opp." when referring to more than one work. Opus numbers do not necessarily indicate chronological order of composition. For example, posthumous publications of

976-641: A work or set of works upon publication. After approximately 1900, they tended to assign an opus number to a composition whether published or not. However, practices were not always perfectly consistent or logical. For example, early in his career, Beethoven selectively numbered his compositions (some published without opus numbers), yet in later years, he published early works with high opus numbers. Likewise, some posthumously published works were given high opus numbers by publishers, even though some of them were written early in Beethoven's career. Since his death in 1827,

1037-479: A young Daffy Duck trying to join a family of white swans, but is treated with complete disdain by the mother swan as being unworthy throughout the short as the " ugly duckling " until he bravely saves her three cygnets from a predatory buzzard . The piece was prominently used in Stanley Kubrick 's 1968 film 2001: A Space Odyssey . After a leap from humanity's prehistoric past to its spacefaring future,

1098-437: Is almost impossible to name three or four rock, hip-hop, rap, funk or even soul charts or songs that do not have some sort of percussive beat keeping the tune in time. Because of the diversity of percussive instruments, it is not uncommon to find large musical ensembles composed entirely of percussion. Rhythm, melody, and harmony are all represented in these ensembles. Music for pitched percussion instruments can be notated on

1159-427: Is commonly referred to as "the backbone" or "the heartbeat" of a musical ensemble , often working in close collaboration with bass instruments, when present. In jazz and other popular music ensembles, the pianist, bassist, drummer and sometimes the guitarist are referred to as the rhythm section . Most classical pieces written for full orchestra since the time of Haydn and Mozart are orchestrated to place emphasis on

1220-421: Is difficult to define what is common knowledge but there are instruments percussionists and composers use in contemporary music that most people would not consider musical instruments . It is worthwhile to try to distinguish between instruments based on their acceptance or consideration by a general audience. For example, most people would not consider an anvil , a brake drum (on a vehicle with drum brakes ,

1281-589: Is discernible. Percussion instruments in this group are sometimes referred to as pitched or tuned. Examples of percussion instruments with definite pitch: Instruments in this group are sometimes referred to as non-pitched, unpitched, or untuned. Traditionally these instruments are thought of as making a sound that contains such complex frequencies that no discernible pitch can be heard. In fact many traditionally unpitched instruments, such as triangles and even cymbals, have also been produced as tuned sets. Examples of percussion instruments with indefinite pitch: It

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1342-529: Is introduced in G major before a fleeting eighth-note melodic phrase (waltz 3B). A loud Intrada (introduction) in G minor is then played. Waltz 4A starts off in a romantic mood (it is in F major ) before a more joyous waltz 4B in the same key. After another short Intrada in A , cadencing in F-sharp minor , sonorous clarinets spell out the poignant melody of waltz 5A in A. Waltz 5B is the climax, punctuated by cymbal crashes. Each of these may be repeated at

1403-500: Is produced by a stream of air being blown through the object. However, plosive aerophones , such as the udu , are percussion instruments and may also overlap with the idiophone family. In certain situations, such as in an orchestra or wind ensemble , wind instruments, such as the Acme siren or various whistles , are played by percussionists, owing to their unconventional and simple nature. When classifying instruments by function it

1464-440: Is useful to note if a percussion instrument makes a definite pitch or indefinite pitch . For example, some percussion instruments such as the marimba and timpani produce an obvious fundamental pitch and can therefore play melody and serve harmonic functions in music. Other instruments such as crash cymbals and snare drums produce sounds with such complex overtones and a wide range of prominent frequencies that no pitch

1525-501: Is widely seen as inadequate. Rather, it may be more informative to describe percussion instruments in regards to one or more of the following four paradigms: Many texts, including Teaching Percussion by Gary Cook of the University of Arizona, begin by studying the physical characteristics of instruments and the methods by which they can produce sound. This is perhaps the most scientifically pleasing assignment of nomenclature whereas

1586-608: The Baroque (1600–1750) and the Classical (1750–1827) eras, musicologists have developed other catalogue-number systems; among them the Bach-Werke-Verzeichnis (BWV-number) and the Köchel-Verzeichnis (K- and KV-numbers), which enumerate the works of Johann Sebastian Bach and Wolfgang Amadeus Mozart , respectively. In the classical period , the Latin word opus ("work", "labour"), plural opera ,

1647-481: The Grand Staircase in first class on the ill fated liner . It was performed by I Salonisti as the ship's famous orchestra . The piece was used in the 2008 American animated comedy film Horton Hears a Who! when Horton has his trunk filled with air and is running across a rickety bridge but nearly falls off the rickety bridge over a gaping chasm with fog and stalagmites at the bottom, which causes

1708-481: The strings , woodwinds , and brass . However, often at least one pair of timpani is included, though they rarely play continuously. Rather, they serve to provide additional accents when needed. In the 18th and 19th centuries, other percussion instruments (like the triangle or cymbals ) have been used, again generally sparingly. The use of percussion instruments became more frequent in the 20th century classical music. In almost every style of music, percussion plays

1769-403: The Latin verb percussio to beat, strike in the musical sense, and the noun percussus , a beating. As a noun in contemporary English, Wiktionary describes it as the collision of two bodies to produce a sound. The term is not unique to music, but has application in medicine and weaponry, as in percussion cap . However, all known uses of percussion appear to share a similar lineage beginning with

1830-989: The Mendelssohn heirs published (and cataloged) them as the Italian Symphony No. 4 in A major, Op. 90 , and as the Reformation Symphony No. 5 in D major and D minor, Op. 107 . While many of the works of Antonín Dvořák (1841–1904) were given opus numbers, these did not always bear a logical relationship to the order in which the works were written or published. To achieve better sales, some publishers, such as N. Simrock , preferred to present less experienced composers as being well established, by giving some relatively early works much higher opus numbers than their chronological order would merit. In other cases, Dvořák gave lower opus numbers to new works to be able to sell them to other publishers outside his contract obligations. This way it could happen that

1891-616: The Rhine, on its banks grows a magnificent wine, there is also, day and night, the fixed and faithful watch. But envy him not those heavenly gifts by you, too, many blessings stream down and the brave hand protects our homeland! Therefore let us be united, joined brothers, in strong ranks, happy even in troubled times; Brave, when danger threatens us, Home on the Danube beach, are our hearts bound, To thee for all time Good and blood are consecrated! The boat travels on

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1952-553: The best work of an artist with the term magnum opus . In Latin, the words opus (singular) and opera (plural) are related to the words opera (singular) and operae (plural), which gave rise to the Italian words opera (singular) and opere (plural), likewise meaning "work". In contemporary English, the word opera has specifically come to denote the dramatic musical genres of opera or ballet, which were developed in Italy. As

2013-536: The case of Felix Mendelssohn (1809–47); after his death, the heirs published many compositions with opus numbers that Mendelssohn did not assign. In life, he published two symphonies ( Symphony No. 1 in C minor, Op. 11 ; and Symphony No. 3 in A minor, Op. 56 ), furthermore he published his symphony-cantata Lobgesang , Op. 52, which was posthumously counted as his Symphony No. 2; yet, he chronologically wrote symphonies between symphonies Nos. 1 and 2, which he withdrew for personal and compositional reasons; nevertheless,

2074-466: The cases of César Franck (1822–1890), Béla Bartók (1881–1945), and Alban Berg (1885–1935), who initially numbered, but then stopped numbering their compositions. Carl Nielsen (1865–1931) and Paul Hindemith (1895–1963) were also inconsistent in their approaches. Sergei Prokofiev (1891–1953) was consistent and assigned an opus number to a composition before composing it; at his death, he left fragmentary and planned, but numbered, works. In revising

2135-600: The circular hub the brake shoes press against), or a fifty-five gallon oil barrel musical instruments yet composers and percussionists use these objects. Percussion instruments generally fall into the following categories: One pre-20th century example of found percussion is the use of cannon usually loaded with blank charges in Tchaikovsky 's 1812 Overture . John Cage , Harry Partch , Edgard Varèse , and Peter Schickele , all noted composers, created entire pieces of music using unconventional instruments. Beginning in

2196-502: The classical repertoire. Its initial performance was considered only a mild success, however, and Strauss is reputed to have said, "The devil take the waltz, my only regret is for the coda —I wish that had been a success!" After the original music was written, the words were added by the Choral Association's poet, Joseph Weyl. Strauss later added more music, and Weyl needed to change some of the words. Strauss adapted it into

2257-537: The day may bring us, Loyalty and unity is to protect us all the time! The piece plays in the opening scenes and as background music in several other scenes of the 1932 film Grand Hotel . The specifically Viennese sentiment associated with Strauss's melody has made it an unofficial national anthem of Austria . A condensed version of the piece was used in the Warner Bros . Merrie Melody 1943 animated short, A Corny Concerto ' s second segment featuring

2318-433: The discretion of the performer. The coda recalls earlier sections (3A and 2A) before furious chords usher in a recap of the romantic Waltz 4A. The idyll is cut short as the waltz hurries back to the famous waltz theme 1A again. This statement is also cut short, however, by the final codetta: a variation of 1A is presented, featuring a dialogue with the trilling Flutes, the strings, and the quiet sounding horns, connecting to

2379-499: The early 20th century perhaps with Ionisation by Edgard Varèse which used air-raid sirens among other things, composers began to require that percussionists invent or find objects to produce desired sounds and textures. Another example the use of a hammer and saw in Penderecki 's De Natura Sonoris No. 2 . By the late 20th century, such instruments were common in modern percussion ensemble music and popular productions, such as

2440-415: The first four symphonies to be composed were published after the last five; and (c) the last five symphonies were not published in order of composition. The New World Symphony originally was published as No. 5, later was known as No. 8, and definitively was renumbered as No. 9 in the critical editions published in the 1950s. Other examples of composers' historically inconsistent opus-number usages include

2501-474: The first two-thirds of The Blue Danube are heard as a space plane approaches and docks with a space station ; it concludes while another spacecraft travels from the station to the Moon. The piece is then reprised over the film's closing credits. The piece was prominently used in the 1994 live-action film The Jungle Book . The piece was featured in the 1997 blockbuster film Titanic , when Jack Dawson enters

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2562-400: The greatest in the world. Now sing a cheerful and blessed song, the jubilation as the air permeates echoed loudly by the heart and tie a band around us. Free and faithful in song and deed, Bring a height to Vienna city bought it on the new full glory and conquered with force. And in conclusion brings even a greeting to our love of the beautiful Danube River. Whatever

2623-544: The hand or by a percussion mallet , such as the hang , gongs and the xylophone , but not drums and only some cymbals . 21 Struck drums , includes most types of drum, such as the timpani, snare drum, and tom-tom. 412.12 Percussion reeds , a class of wind instrument unrelated to percussion in the more common sense There are many instruments that have some claim to being percussion, but are classified otherwise: Percussion instruments are sometimes classified as pitched or unpitched. While valid, this classification

2684-644: The human body itself, as in body percussion . On the other hand, keyboard instruments , such as the celesta , are not normally part of the percussion section, but keyboard percussion instruments such as the glockenspiel and xylophone (which do not have piano keyboards) are included. Percussion instruments are most commonly divided into two classes: pitched percussion instruments, which produce notes with an identifiable pitch , and unpitched percussion instruments, which produce notes or sounds in an indefinite pitch. Percussion instruments may play not only rhythm , but also melody and harmony . Percussion

2745-484: The lands you merry the heart with your beautiful shores. Far from the Black Forest you hurry to the sea giving your blessing to everything. Eastward you flow, welcoming your brothers, A picture of peace for all time! Old castles looking down from high, greet you smiling from their steep and craggy hilltops, and the mountains' vistas mirror in your dancing waves. The mermaids from

2806-419: The membrane or head is struck with a hand, mallet, stick, beater, or improvised tool. Examples of membranophones: Most instruments known as chordophones are defined as string instruments , wherein their sound is derived from the vibration of a string, but some such as these examples also fall under percussion instruments. Most instruments known as aerophones are defined as wind instruments whereby sound

2867-408: The off-Broadway show, Stomp . Rock band Aerosmith used a number of unconventional instruments in their song Sweet Emotion , including shotguns , brooms, and a sugar bag. The metal band Slipknot is well known for playing unusual percussion items, having two percussionists in the band. Along with deep sounding drums, their sound includes hitting baseball bats and other objects on beer kegs to create

2928-459: The original Latin percussus. In a musical context then, the percussion instruments may have been originally coined to describe a family of musical instruments including drums, rattles, metal plates, or blocks that musicians beat or struck to produce sound. The Hornbostel–Sachs system has no high-level section for percussion . Most percussion instruments as the term is normally understood are classified as idiophones and membranophones . However

2989-436: The other paradigms are more dependent on historical or social circumstances. Based on observation and experimentation, one can determine how an instrument produces sound and then assign the instrument to one of the following four categories: "Idiophones produce sounds through the vibration of their entire body." Examples of idiophones: Most objects commonly known as drums are membranophones. Membranophones produce sound when

3050-422: The promenade concerts at Covent Garden . When Strauss's stepdaughter, Alice von Meyszner-Strauss, asked the composer Johannes Brahms to sign her autograph- fan , he wrote down the first bars of "The Blue Danube", but added "Leider nicht von Johannes Brahms" ("Unfortunately not by Johannes Brahms"). The work commences with an extended introduction in the key of A major with shimmering (tremolo) violins and

3111-491: The riverbed, whispering as you flow by, are heard by everything under the blue sky above. The noise of your passing is a song from old times and with the brightest sounds your song leads you ever on. Stop your tides at Vienna, it loves you so much! Whenever you might look Another Vienna you will find nowhere! Here pours a full chest the charms of happy wishes, and heartfelt German wishes are flown away on your waters. You know very well your brother,

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3172-475: The same opus number was given to more than one of his works. Opus number 12, for example, was assigned, successively, to five different works (an opera, a concert overture, a string quartet, and two unrelated piano works). In other cases, the same work was given as many as three different opus numbers by different publishers. The sequential numbering of his symphonies has also been confused: (a) they were initially numbered by order of publication, not composition; (b)

3233-471: The start of a new game. The main melody is traditionally sung in Mexico at birthday parties to the lyrics "Queremos pastel, pastel, pastel" ("We want cake, cake, cake"), as a way for the guests to indicate that they want the birthday cake to be served. Notes Further reading Opus number In music , the opus number is the "work number" that is assigned to a musical composition , or to

3294-685: The term percussion is instead used at lower-levels of the Hornbostel–Sachs hierarchy, including to identify instruments struck with either a non sonorous object hand, stick, striker or against a non-sonorous object human body , the ground. This is opposed to concussion , which refers to instruments with two or more complementary sonorous parts that strike against each other and other meanings. For example: 111.1 Concussion idiophones or clappers , played in pairs and beaten against each other, such as zills and clapsticks . 111.2 Percussion idiophones , includes many percussion instruments played with

3355-521: The tonic (D major), accompanied by the harp ; the Viennese waltz beat is accentuated at the end of each 3-note phrase. The Waltz 1A triumphantly ends its rounds of the motif, and waltz 1B follows in the same key; the genial mood is still apparent. Waltz 2A glides in quietly (still in D major) before a short contrasting middle section in B-flat major . The entire section is repeated. A more dour waltz 3A

3416-452: The un-numbered compositions have been cataloged and labeled with the German acronym WoO ( Werk ohne Opuszahl ), meaning "work without opus number"; the same has been done with other composers who used opus numbers. (There are also other catalogs of Beethoven's works – see Catalogues of Beethoven compositions .) The practice of enumerating a posthumous opus ("Op. posth.") is noteworthy in

3477-409: The waves so softly, quiet is the night, love watching only the sailor whispers in the lover's ear, that his heart long ago she owned. O Heaven, have mercy on the loving couple, protect them from danger there forever! Now they pass on in blissful repose, Boat, sail always on! Young blood fresh courage, O how happy, it unites laughter! Love and passion fills the breast – it's

3538-445: The works of composers such as: Percussion instrument The percussion section of an orchestra most commonly contains instruments such as the timpani , snare drum , bass drum , tambourine , belonging to the membranophones, and cymbals and triangle , which are idiophones. However, the section can also contain aerophones, such as whistles and sirens , or a blown conch shell. Percussive techniques can even be applied to

3599-2271: Was Alles du erschaut, seit dem über dir der Himmel blaut. Drum schon in alter Zeit ward dir manch' Lied geweiht; und mit dem hellsten Klang preist immer auf's Neu' dich unser Sang. Halt' an deine Fluten bei Wien, es liebt dich ja so sehr! Du findest, wohin du magst zieh'n, ein zweites Wien nicht mehr! Hier quillt aus voller Brust der Zauber heit'rer Lust, und treuer, deutscher Sinn streut aus seine Saat von hier weithin. Du kennst wohl gut deinen Bruder, den Rhein, — an seinen Ufern wächst herrlicher Wein, dort auch steht bei Tag und bei Nacht die feste treue Wacht. Doch neid' ihm nicht jene himmlische Gab', bei dir auch strömt reicher Segen herab, und es schützt die tapfere Hand auch unser Heimatland! D'rum laßt uns einig sein, schliesst Brüder, fest den Reih'n, froh auch in trüber Zeit, Mut, wenn Gefahr uns dräut, Heimat am Donaustrand, bist uns'rer Herzen Band, dir sei für alle Zeit Gut und Blut geweiht! Das Schifflein fährt auf den Wellen so sacht, still ist die Nacht, die Liebe nur wacht, der Schiffer flüstert der Liebsten ins Ohr, daß längst schon sein Herz sie erkor. O Himmel, sei gnädig dem liebenden Paar, schutz' vor Gefahr es immerdar! Nun fahren dahin sie in seliger Ruh', O Schifflein, far' immer nur zu! Junges Blut, frischer Muth, o wie glücklich macht, dem vereint ihr lacht! Lieb und Lust schwellt die Brust, hat das Größte in der Welt vollbracht. Nun singst ein fröhliches seliges Lied, das wie Jauchzen die Lüfte durchzieht, von den Herzen laut widerklingt und ein festes Band um uns schlingt. Frei und treu in Lied und Tat, bringt ein Hoch der Wienerstadt, die auf's Neu' erstand voller Pracht und die Herzen erobert mit Macht. Und zum Schluß bringt noch einen Gruß uns'rer lieben Donau dem herrlichen Fluß. Was der Tag uns auch bringen mag, Treu' und Einigkeit soll uns schützen zu jeglicher Zeit! Danube so blue, so bright and blue, through vale and field you flow so calm, our Vienna greets you, your silver stream through all

3660-1139: Was first written as a song for a carnival choir (for bass and tenor ), with rather satirical lyrics (Austria having just lost a war with Prussia ). The original title was also referring to a poem about the Danube in the poet Karl Isidor Beck 's hometown, Baja in Hungary, and not in Vienna. Later Franz von Gernerth wrote new, more "official-sounding" lyrics: Donau so blau, so schön und blau, durch Tal und Au wogst ruhig du hin, dich grüßt unser Wien, dein silbernes Band knüpft Land an Land, und fröhliche Herzen schlagen an deinem schönen Strand. Weit vom Schwarzwald her eilst du hin zum Meer, spendest Segen allerwegen, ostwärts geht dein Lauf, nimmst viel Brüder auf: Bild der Einigkeit für alle Zeit! Alte Burgen seh'n nieder von den Höh'n, grüssen gerne dich von ferne und der Berge Kranz, hell vom Morgenglanz, spiegelt sich in deiner Wellen Tanz. Die Nixen auf dem Grund, die geben's flüsternd kund,

3721-409: Was used to identify, list, and catalogue a work of art. By the 15th and 16th centuries, the word opus was used by Italian composers to denote a specific musical composition, and by German composers for collections of music. In compositional practice, numbering musical works in chronological order dates from 17th-century Italy, especially Venice . In common usage, the word opus is used to describe

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