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53-1758: (Redirected from Harp Concerto ) Concerto for solo harp and instrumental ensemble A harp concerto is a type of musical composition composed for a solo harp player accompanied by a large ensemble, such as a concert band or orchestra . Notable examples [ edit ] Elias Parish Alvars Harp Concerto in G minor (Op. 81) (1842) Harp Concerto in E-flat major (Op. 98) (1845) Alberto Ginastera Harp Concerto (1956) Reinhold Glière Harp Concerto (1938) George Frideric Handel Concerto in B-flat major for harp and orchestra, Op. 4, No. 6, HWV 294 (1738) Patrick Hawes Highgrove Suite (2010) Jennifer Higdon Harp Concerto (2018) Anatoliy Kos-Anatolsky Harp Concerto in F minor (1954) Wolfgang Amadeus Mozart Concerto for Flute, Harp, and Orchestra, K. 299 (1778) Walter Piston Capriccio for Harp and String Orchestra (1963) Henriette Renie Harp concerto in C (1900) Joaquín Rodrigo Concierto serenata (1952) Nino Rota Concerto per arpa e orchestra (1947) Camille Saint-Saëns Morceau de concert for harp and orchestra in G major, Op. 154 (1918) Kaija Saariaho Trans (2015) Daniel Steibelt Harp Concerto (1807) Maurice Thiriet Harp Concerto (1936) Heitor Villa-Lobos Harp Concerto (1953) See also [ edit ] List of compositions for harp References [ edit ] ^ Kushner, Daniel J. (May 11, 2018). "Classical review: RPO performs Brahms and

106-415: A sheet music "score" , which is then performed by the composer or by other musicians. In popular music and traditional music , songwriting may involve the creation of a basic outline of the song, called the lead sheet , which sets out the melody , lyrics and chord progression. In classical music, orchestration (choosing the instruments of a large music ensemble such as an orchestra which will play

159-410: A string section , wind and brass sections used in a standard orchestras to electronic instruments such as synthesizers . Some common group settings include music for full orchestra (consisting of strings, woodwinds, brass, and percussion), concert band (which consists of larger sections and greater diversity of woodwind, brass, and percussion instruments than are usually found in the orchestra), or

212-1749: A Higdon world premiere" . City Newspaper . Retrieved September 25, 2019 . v t e Concertos Types Concertino Concerto for orchestra Concerto grosso Concert piece Double concerto Ripieno concerto Sinfonia concertante Solo concerto Triple concerto By instrument Accordion concerto Bassoon concerto Cello concerto Clarinet concerto Concerto for solo piano Double bass concerto Double concerto for violin and cello English horn concerto Flute concerto Harmonica concerto Harp concerto Harpsichord concerto Marimba concerto Oboe concerto Organ concerto Percussion concerto Piano concerto Saxophone concerto Timpani concerto Trombone concerto Triple concertos for violin, cello, and piano Trumpet concerto Viola concerto Violin concerto By composer Bach Corelli Graupner Haydn Mozart Miscellaneous Chorale concerto Concertato [REDACTED] Category Authority control databases [REDACTED] International FAST National United States France BnF data Israel Retrieved from " https://en.wikipedia.org/w/index.php?title=Harp_concerto&oldid=1242776168 " Category : Harp concertos Hidden categories: Articles with short description Short description matches Wikidata Musical composition Musical composition can refer to an original piece or work of music , either vocal or instrumental ,

265-540: A Toccata, two Arias, and a Capriccio, and the soloist is treated more as a member of the ensemble than as a virtuoso protagonist. The solo concertos of Paul Hindemith (8 for various instruments, 1939–62) are more traditional than Stravinsky's in their treatment of the relationship between soloist and orchestra. Though hardly neoclassical in the usual sense, Richard Strauss ' Horn Concerto no. 2 (1942, written some 60 years after his first) and Oboe Concerto (1945) also reach back to an earlier era, finding nostalgic inspiration in

318-584: A chamber group (a small number of instruments, but at least two). The composer may also choose to write for only one instrument, in which case this is called a solo . Solos may be unaccompanied, as with works for solo piano or solo cello, or solos may be accompanied by another instrument or by an ensemble. Composers are not limited to writing only for instruments, they may also decide to write for voice (including choral works, some symphonies, operas , and musicals ). Composers can also write for percussion instruments or electronic instruments . Alternatively, as

371-507: A circular issued by the United States Copyright Office on Copyright Registration of Musical Compositions and Sound Recordings, a musical composition is defined as "A musical composition consists of music, including any accompanying words, and is normally registered as a work of the performing arts. The author of a musical composition is generally the composer, and the lyricists if any. A musical composition may be in

424-434: A composition for different musical ensembles is called arranging or orchestration , may be undertaken by the composer or separately by an arranger based on the composer's core composition. Based on such factors, composers, orchestrators, and arrangers must decide upon the instrumentation of the original work. In the 2010s, the contemporary composer can virtually write for almost any combination of instruments, ranging from

477-486: A lesser degree than in popular music. Music from the Baroque music era (1600–1750), for example, used only acoustic and mechanical instruments such as strings, brass, woodwinds, timpani and keyboard instruments such as harpsichord and pipe organ . A 2000s-era pop band may use an electric guitar played with electronic effects through a guitar amplifier , a digital synthesizer keyboard and electronic drums . Piece

530-416: A performer. Copyright is a government-granted monopoly which, for a limited time, gives a composition's owner—such as a composer or a composer's employer, in the case of work for hire —a set of exclusive rights to the composition, such as the exclusive right to publish sheet music describing the composition and how it should be performed. Copyright requires anyone else wanting to use the composition in

583-552: A piano concerto; Berg's important Violin Concerto (1935); and Schoenberg 's own Violin Concerto (1935–36) and Piano Concerto (1942). The neoclassical movement of the period following World War I produced a long series of works that returned to pre-Romantic conceptions of the concerto. Igor Stravinsky 's Concerto for Piano and Winds (1923–24) is in this idiom, but his subsequent concertos are more specifically neo-Baroque in character. His Violin Concerto (1931), for example, comprises

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636-442: A recording. If music is composed before being performed, music can be performed from memory (the norm for instrumental soloists in concerto performances and singers in opera shows and art song recitals), by reading written musical notation (the norm in large ensembles, such as orchestras, concert bands and choirs ), or through a combination of both methods. For example, the principal cello player in an orchestra may read most of

689-465: A significant minority adopt lighter two-movement patterns such as Allegro-Minuet and Allegro-Rondo. Dance and rondo finales are also frequent in three-movement concertos. Additionally, the ritornello form in the fast movements was replaced with the sonata form and rondo forms respectively. Joseph Haydn 's concertos are mostly from his early career. Exceptions are the Piano Concerto in D ,

742-657: A specific mode ( maqam ) often within improvisational contexts , as does Indian classical music in both the Hindustani and the Carnatic system. As technology has developed in the 20th and 21st century, new methods of music composition have come about. EEG headsets have also been used to create music by interpreting the brainwaves of musicians. This method has been used for Project Mindtunes, which involved collaborating disabled musicians with DJ Fresh, and also by artists Lisa Park and Masaki Batoh. The task of adapting

795-542: Is "compulsory" because the copyright owner cannot refuse or set terms for the license. Copyright collectives also typically manage the licensing of public performances of compositions, whether by live musicians or by transmitting sound recordings over radio or the Internet. Even though the first US copyright laws did not include musical compositions, they were added as part of the Copyright Act of 1831 . According to

848-403: Is a "general, non-technical term [that began to be] applied mainly to instrumental compositions from the 17th century onwards....other than when they are taken individually 'piece' and its equivalents are rarely used of movements in sonatas or symphonies....composers have used all these terms [in their different languages] frequently in compound forms [e.g. Klavierstück]....In vocal music...the term

901-556: Is also obvious, though in radically original guise, in the concertos of Béla Bartók . Rachmaninov, Prokofiev and Bartók were all piano virtuosos. The composers of the Second Viennese School also produced several prominent concertos: Alban Berg 's Chamber Concerto for piano, violin, and 13 winds (1923–25), not fully serial but incorporating many elements of Arnold Schoenberg 's new system; Anton Webern 's Concerto for nine instruments (1931–34), originally intended as

954-417: Is called aleatoric music and is associated with contemporary composers active in the 20th century, such as John Cage , Morton Feldman and Witold Lutosławski . A more commonly known example of chance-based, or indeterminate, music is the sound of wind chimes jingling in a breeze. The study of composition has traditionally been dominated by examination of methods and practice of Western classical music, but

1007-428: Is most frequently used for operatic ensembles..." Composition techniques draw parallels from visual art's formal elements . Sometimes, the entire form of a piece is through-composed , meaning that each part is different, with no repetition of sections; other forms include strophic , rondo , verse-chorus , and others. Some pieces are composed around a set scale , where the compositional technique might be considered

1060-410: Is much larger than a typical concerto of the time, especially in the expanded role assigned to the winds. The orchestra is rendered fully capable of sustaining a dramatic confrontation with the virtuosity and individuality of the soloist. Mozart's approach in these concertos is often clearly symphonic, both in the application of formal symphonic principles, and in a Haydnesque interest in thematic unity in

1113-421: Is the case with musique concrète , the composer can work with many sounds often not associated with the creation of music, such as typewriters , sirens , and so forth. In Elizabeth Swados ' Listening Out Loud , she explains how a composer must know the full capabilities of each instrument and how they must complement each other, not compete. She gives an example of how in an earlier composition of hers, she had

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1166-495: Is the ordering and disposing of several sounds...in such a manner that their succession pleases the ear. This is what the Ancients called melody . The second is the rendering audible of two or more simultaneous sounds in such a manner that their combination is pleasant. This is what we call harmony and it alone merits the name of composition. Since the invention of sound recording , a classical piece or popular song may exist as

1219-556: The Cello Concerto in D , and the Trumpet Concerto . Of Mozart's 23 original piano concertos, 17 date from his Viennese period. They are the crowning achievement of the concerto in the 18th century. Most of the works he wrote for Vienna are of a type that Mozart called grand concertos. These were intended for performance at his own subscription concerts, which were held in sizeable halls. They call for an orchestra that

1272-525: The accompaniment parts in a symphony, where she is playing tutti parts, but then memorize an exposed solo, in order to be able to watch the conductor . Compositions comprise a huge variety of musical elements, which vary widely from between genres and cultures. Popular music genres after about 1960 make extensive use of electric and electronic instruments, such as electric guitar and electric bass . Electric and electronic instruments are used in contemporary classical music compositions and concerts, albeit to

1325-431: The structure of a musical piece or to the process of creating or writing a new piece of music. People who create new compositions are called composers . Composers of primarily songs are usually called songwriters ; with songs, the person who writes lyrics for a song is the lyricist . In many cultures, including Western classical music , the act of composing typically includes the creation of music notation , such as

1378-422: The 1750s onwards, there are many decisions that a performer or conductor has to make, because notation does not specify all of the elements of musical performance. The process of deciding how to perform music that has been previously composed and notated is termed "interpretation". Different performers' or conductor's interpretations of the same work of music can vary widely, in terms of the tempos that are chosen and

1431-533: The Baroque period was the Venetian Antonio Vivaldi (1678–1741). In addition to his nearly 60 extant ripieno concertos, Vivaldi composed approximately 425 concertos for one or more soloists, including about 350 solo concertos (two-thirds for solo violin) and 45 double concertos (over half for two violins). Vivaldi's concertos firmly establish the three-movement form as the norm. The virtuosity of

1484-815: The Classical three-movements. Later works in this mould include examples by Johannes Brahms (two for piano - No. 1 from 1858 and No. 2 from 1878 which adds a fourth movement - and one for violin of 1878), Edvard Grieg ( piano , 1868), Max Bruch (most famously his Violin Concerto No. 1 , 1868), and Antonín Dvořák ( piano , violin , cello , 1876–95). In France this tradition is represented primarily by Camille Saint-Saëns (ten concertos for piano, violin, and cello, 1858–1902), in Russia by Anton Rubinstein and Tchaikovsky (three piano concertos, one for violin, 1874–93). A more overtly virtuosic trend appeared in

1537-531: The composer's work. Contract law, not copyright law, governs these composer–publisher contracts, which ordinarily involve an agreement on how profits from the publisher's activities related to the work will be shared with the composer in the form of royalties . The scope of copyright in general is defined by various international treaties and their implementations, which take the form of national statutes , and in common law jurisdictions, case law . These agreements and corresponding body of law distinguish between

1590-416: The concertos of brilliant violinists in the 19th century including Louis Spohr and Niccolò Paganini and pianists Frédéric Chopin (two concertos, 1829–30) and Franz Liszt (two concertos, original versions 1839-49). The movement structure in most of these works is in the by-now conventional ritornello-sonata type perfected by Mozart and Beethoven. Liszt's two concertos, however, are unconventional, in that

1643-533: The definition of composition is broad enough to include the creation of popular music and traditional music songs and instrumental pieces, and to include spontaneously improvised works like those of free jazz performers and African percussionists such as Ewe drummers . In the 2000s, composition is considered to consist of the manipulation of each aspect of music ( harmony , melody, form, rhythm and timbre ), according to Jean-Benjamin de Laborde (1780 , 2:12): Composition consists in two things only. The first

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1696-509: The different parts of music, such as the melody, accompaniment , countermelody , bassline and so on) is typically done by the composer, but in musical theatre and in pop music , songwriters may hire an arranger to do the orchestration. In some cases, a pop or traditional songwriter may not use written notation at all and instead compose the song in their mind and then play, sing or record it from memory. In jazz and popular music, notable sound recordings by influential performers are given

1749-472: The earliest harpsichord concertos to Johann Sebastian Bach (14 concertos for one to four harpsichords, c. 1735–40). In the latter case, all but probably one of the concertos are arrangements of existing works, though Bach had already approached the idea of a harpsichord concerto before 1721 in the Brandenburg Concerto no. 5. The Classical period brought the triumph of the solo concerto over

1802-408: The first concerto's five sections are connected both formally and thematically, and the second utilizes a still freer sectional structure. The first concerto in particular shows the influence of such continuous composite forms as those of Weber 's Konzertstuck and Schubert 's Wanderer Fantasy. The virtuosity required by all these concertos was facilitated by—and helped to spur—technical developments in

1855-455: The form of a notated copy (for example sheet music) or in the form of a phonorecord (for example cassette tape, LP, or CD). Sending a musical composition in the form of a phonorecord does not necessarily mean that there is a claim to copyright in the sound recording." Copyright, Designs and Patents Act 1988 defines a musical work to mean "a work consisting of music, exclusive of any words or action intended to be sung, spoken or performed with

1908-414: The group or multiple concerto, assisted by the continued rise of the virtuoso soloist and the growing demand for up-to-date works for performance by amateurs. The former trend appears most obviously in the large number of violin concertos written by violinists for their own use. The Classical period also witnessed the rise of the keyboard concerto. Until about 1770, the preferred stringed keyboard instrument

1961-639: The instruments themselves. Numerous 20th-century compositions were written in the vein of the 19th-century Romantic concertos - and often using its forms and styles - including concertos by Sergei Rachmaninoff (four piano concertos, 1890–1926), Jean Sibelius ( violin , 1903), Edward Elgar ( violin 1909–10, cello 1919), Carl Nielsen (violin, flute, clarinet), Sergei Prokofiev (five for piano, 1911–32; two for violin 1916-17 and 1935), William Walton (viola, violin, cello), Dmitri Shostakovich (two each for piano, violin, and cello), and Francis Poulenc (organ). The virtuoso tradition mirrored in these concertos

2014-628: The later concertos. The range of styles and expression is greater than that of most other concertos of the period, from the comic-opera elements of K.467 to the Italianate lyricism of K.488, the tragic character of K.466 and 491 to the Beethovenian heroism of K.503. Ludwig van Beethoven 's five piano concertos date from between c. 1793 and 1809, and he also wrote an early concertante work for piano and orchestra in 1784. They are longer than Mozart's concertos, and call for even more virtuosity from

2067-524: The lyrics and a third person orchestrates the songs. A piece of music can also be composed with words, images or, since the 20th century, with computer programs that explain or notate how the singer or musician should create musical sounds. Examples range from 20th century avant-garde music that uses graphic notation , to text compositions such as Karlheinz Stockhausen 's Aus den sieben Tagen , to computer programs that select sounds for musical pieces. Music that makes heavy use of randomness and chance

2120-470: The music." Solo concerto The earliest known solo concertos are nos. 6 and 12 of Giuseppe Torelli 's Op. 6 of 1698. These works employ both a three-movement cycle and clear (if diminutive) ritornello form, like that of the ripieno concerto except that sections for the soloist and continuo separate the orchestral ritornellos. Active in Bologna, Torelli would have known of the operatic arias and

2173-509: The music." In India The Copy Right Act, 1957 prevailed for original literary, dramatic, musical and artistic work until the Copyright (Amendment) Act, 1984 was introduced. Under the amended act, a new definition has been provided for musical work which states "musical works means a work consisting of music and included any graphical notation of such work but does not included any words or any action intended to be sung, spoken or performed with

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2226-406: The non-lyrical elements. Many jurisdictions allow for compulsory licensing of certain uses of compositions. For example, copyright law may allow a record company to pay a modest fee to a copyright collective to which the composer or publisher belongs, in exchange for the right to make and distribute CDs containing a cover band 's performance of the composer or publisher's compositions. The license

2279-591: The numerous sonatas and sinfonias for trumpet and strings produced in Bologna since the 1660s. He himself composed more than a dozen such works for trumpet, two dated in the early 1690s. Other early violin concertos are the four in Tomaso Albinoni 's Op. 2 (1700) and the six in Giuseppe Torelli 's important Op. 8 (1709 - the other six works in this set are double concertos for two violins). The most influential and prolific composer of concertos during

2332-414: The playing or singing style or phrasing of the melodies. Composers and songwriters who present their own music in a concert are interpreting their songs, just as much as those who perform the music of others. The standard body of choices and techniques present at a given time and a given place is referred to as performance practice , whereas interpretation is generally used to mean the individual choices of

2385-428: The rights applicable to sound recordings and the rights applicable to compositions. For example, Beethoven 's 9th Symphony is in the public domain , but in most of the world, recordings of particular performances of that composition usually are not. For copyright purposes, song lyrics and other performed words are considered part of the composition, even though they may have different authors and copyright owners than

2438-408: The same ways to obtain a license (permission) from the owner. In some jurisdictions, the composer can assign copyright , in part, to another party. Often, composers who are not doing business as publishing companies themselves will temporarily assign their copyright interests to formal publishing companies, granting those companies a license to control both the publication and the further licensing of

2491-454: The solo sections increases markedly, especially in the later works, and concurrently the texture becomes more homophonic. Concertos for instruments other than violin began to appear early in the 18th century, including the oboe concertos of George Frideric Handel and the numerous concertos for flute, oboe, bassoon, cello, and other instruments by Vivaldi. The earliest organ concertos can probably be credited to Handel (16 concertos, c. 1735–51),

2544-471: The soloist. Beethoven's Violin Concerto (1806) exhibits similar achievements - Mozart's five violin concertos are all early works written in Salzburg in 1775. Early Romantic concertos include Mendelssohn 's two piano concertos (1831–37) and his important Violin Concerto (1844) and Schumann 's concertos for piano (1845), cello (1850), and violin (1853). The form of these works is predominantly in

2597-507: The tuba playing with the piccolo. This would clearly drown the piccolo out. Each instrument chosen to be in a piece must have a reason for being there that adds to what the composer is trying to convey within the work. Arranging is composition which employs prior material so as to comment upon it such as in mash-ups and various contemporary classical works. Even when music is notated relatively precisely, as in Western classical music from

2650-468: The usage of a particular scale. Others are composed during performance (see improvisation ), where a variety of techniques are also sometimes used. Some are used from particular songs which are familiar. The scale for the notes used, including the mode and tonic note, is important in tonal musical composition. Similarly, music of the Middle East employs compositions that are rigidly based on

2703-402: The weight that written or printed scores play in classical music . Although a musical composition often uses musical notation and has a single author, this is not always the case. A work of music can have multiple composers, which often occurs in popular music when all members of a band collaborate to write a song or in musical theatre, when one person writes the melodies, a second person writes

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2756-523: The wind concertos of Mozart. A tendency related to the neoclassical rejection of Romantic and traditional features is the use of jazz elements in many 20th-century concertos. George Gershwin was a pioneer for such works, in for example his Rhapsody in Blue (1924) and Concerto in F for piano (1925). Jazz was a source of inspiration for Aaron Copland 's Piano Concerto (1926), Stravinsky's Ebony Concerto for clarinet and jazz band (1945). Similarly, in 1966

2809-509: Was usually the harpsichord , but it was gradually supplanted by the piano . The most important composers of keyboard concertos before Wolfgang Amadeus Mozart were Bach's sons. Vienna saw the production of many keyboard concertos. The last decades of the 18th century brought the rise of traveling piano virtuosos. The concertos of this period show a broad transition from Baroque to Classical style, though many are more conservative than contemporaneous symphonies. Most are in three movements, though

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