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thiruvasakam in symphony

Topic started by Sridhar Seetharaman (@ 67.83.146.59) on Mon Apr 7 15:33:24 EDT 2003.
All times in EST +10:30 for IST.

http://www.thiruvasakaminsymphony.com/v_eng.htm#8a

Official audio release from Ilaiyaraaja.

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Responses:

• Old responses
  
• From: SSSSA (@ 199.90.34.67) on: Mon Apr 5 14:48:19 EDT 2004
  
  2.ORIGINS OF SYMPHONY
  
  By 1780, the Classical sinfonia/symphony, even taking into account the delightful works of C.P.E. Bach and Stamitz, was still in its embryonic stages, essentially rooted to archaic Baroque compositional techniques. It took the symphonies of Joseph Haydn (1732 - 1809) to inject a much-needed burst of life into a genre that had reached a point of stasis. Haydn's 104 symphonies, particularly Nos 80-104, finally freed the symphony from the shadow of the Baroque masters. Haydn's symphonies are structurally sound, yet often unpredictable; they are witty and profound at the same time. He is now regarded as the 'Father of the Symphony'.
  Above: Joseph Haydn.
  
  
  Above: W.A. Mozart Wolfgang Amadeus Mozart (1756-1791) perfected the form that Haydn had by then firmly established. His greatness as an opera composer is fully evident in his 41 symphonies, which contain some of the most beautiful melodies in the entire symphonic repertoire, as well as some wonderfully dramatic moments. The Jupiter symphony, No. 41, is arguably his most important contribution to the genre. Its finale is a masterly composition that combines sonata form and fugue in a way that was to remain unequalled until well into the 19th century.
  
  [tbc]
  
  
• From: SSSSA (@ 199.90.34.67) on: Mon Apr 5 14:50:43 EDT 2004
  
  3.ORIGIN {contd]
  
  Ludwig van Beethoven (1770 - 1827) was arguably the most influential symphonist of all time. His nine symphonies revolutionized the world's perception of the possibilities and scope of the symphony. With his Third Symphony, the 'Eroica', Beethoven devised a work of staggering creativity and originality, finally bringing 18th century Middle Classicism to a close, ushering in a new era of symphonic music. His colossal Ninth symphony, the 'Choral', changed the course of Western music forever, and had a profound effect on just about every composer who followed in his wake.
  
  Listen to the first movement of Beethoven's Symphony No. 3 'Eroica' (RealAudio file)
  
  Second movement (RealAudio file)
  LIVE PERFORMANCES: The Queensland Youth Symphony Orchestra, conducted by John Curro
  Above: Ludwig van Beethoven
  
  
  Above: Franz Schubert The other major symphonist of the period, Franz Schubert (1797 - 1828), pursued a different, but certainly no less important, path of symphonic development. The early symphonies, Nos. 1-6, are charming and well-constructed works, but not nearly as groundbreaking as the last two, the Eighth, the 'Unfinished', and the Ninth, the 'Great' (occassionally referred to as the Seventh). With these two symphonies, Schubert explored daring new harmonic and structural territory, forging a uniquely lyrical style suffused with sadness, yet often expressing great joy. The spacious grandeur of the Ninth symphony in particular greatly influenced composers such as Schumann, Brahms, Bruckner, and Mahler.
  
  [tbc]
  
  
  
  
• From: SSSSA (@ 199.90.34.67) on: Mon Apr 5 14:54:34 EDT 2004
  
  ORIGIN: [contd]
  
  By 1830, the possibilities of the symphony appeared to have been exhausted. After the monumental Ninth symphonies of Beethoven and Schubert, what else could be done with the genre? Enter the dynamic young French composer Hector Berlioz (1803-1869), who took a completely different approach to the challenges of symphonic writing. In the first 5 months of 1830, he composed one of the most important symphonies of all time - the Symphonie Fantastique. Subtitled 'Episodes in the Life of an Artist', it was inspired by Berlioz's passion for the young Irish actress Harriet Smithson. It is a strongly programmatic work in five movements: 'Dreams and Passions', 'A Ball', 'Scene in the Fields', 'March to the Scaffold', and 'Witches' Sabbath'. Berlioz's melodic invention and imaginative orchestration shine throughout the entire work, and it remains one of the most enduringly popular works in the symphonic repertoire.
  [tbc]
  
  
• From: SSSSA (@ 199.90.34.67) on: Mon Apr 5 14:56:48 EDT 2004
  
  ORIGIN:[contd]
  
  In the late 19th century, the Austro-German symphonic tradition had two main exponents, both standing at the polar opposites of the musical politics of the era. Representing traditionalism and conservatism was Johannes Brahms (1833-1897). His four symphonies conform to Classical ideals of proportion and structure, and even look back to the Baroque era with their dense contrapuntal textures. But they are essentially Romantic works. Their beauty and drama have captivated audiences, and today they form the backbone of most modern symphony orchestras' repertoire.
  
  
  Anton Bruckner At the other end of the spectrum was Anton Bruckner (1824-1896). Bruckner is one of the most fascinating personalities in all music - and it is the countless, often contradictory, facets of his persona that make his music so totally unique. He was a devout Catholic, and in many ways a simple peasant boy - but there is nothing simple about his eleven symphonies, which speak about a profound love of God and nature, but also express deeply personal sentiments, often using the folk tunes of his Upper Austrian homeland. His music is on a huge scale, with most of his symphonies lasting over an hour. He was strongly influenced by Wagner, but essentially his music is rooted in the tradition established by Mozart, Beethoven, and Schubert.
  
  [tbc]
  
  
• From: SSSSA (@ 199.90.34.67) on: Mon Apr 5 14:59:41 EDT 2004
  
  ORIGIN: [contd]
  Hector Berlioz established a strong French symphonic tradition, and this was continued into the Middle Romantic period by two very different composers. Camille Saint-Saens (1835-1921) was, in his youth, a revolutionary who supported the radical new school of Wagner and Liszt, but his maturity saw him become a staunch conservative. His music is best known for its elegance, beauty, structural logic, and clarity of orchestration, and the finest example of these qualities is his Third Symphony, the 'Organ' Symphony, so-called because of the prominent role of the solo organ. It remains one of the most popular symphonies in the repertoire.
  
  [tbc]
  
  
• From: porum (@ 80.58.11.46) on: Mon Apr 5 16:07:40 EDT 2004
  
  Agreed!!.
  You are knowledgeable in supplying us info/quotes on Symphony/Thiruvasagam.
  
  if you need to practice memorization, please try other forums.
  
  do not deviate from the 'relavant'.
  
  
  
  
• From: SSSSA (@ 66.57.14.197) on: Mon Apr 5 23:42:03 EDT 2004
  
  3. Reason why Hungary!
  The heart of the symphony undoubtedly lies in Austria and Germany. Most of the great symphonies have emerged from this part of the world.
  
  Joseph Haydn (1732 - 1809)
  Wolfgang Amadeus Mozart (1756 - 1791)
  Ludwig van Beethoven (1770 - 1827)
  Franz Schubert (1797 - 1828)
  Robert Schumann (1810 - 1856)
  Felix Mendelssohn (1809 - 1847)
  Johannes Brahms (1833 - 1897)
  Anton Bruckner (1824 - 1896)
  Gustav Mahler (1860 - 1911)
  
  Other Austrian / German symphonists:
  
  Karl Ditters von Dittersdorf (1739-1799)
  Louis Spohr (1784-1859)
  Karl Goldmark (1830-1915)
  Max Bruch (1838-1920)
  Paul Hindemith (1895-1963)
  Kurt Weill (1900-1950)
  
  
  
• From: SSSSA (@ 66.57.14.197) on: Mon Apr 5 23:43:45 EDT 2004
  
  4.What is 'Form'?
  A symphony consists of 4 movements.
  
  Form is simply a concept used to describe the layout and construction of a piece of music - in the words of Jean Sibelius, the 'profound logic' of the symphony. A knowledge of the different forms used by composers will greatly enhance your enjoyment of symphonic music.
  
  A Typical Symphony
  
  First Movement
  Usually, the first movement of a symphony is a fairly fast movement, weighty in content and feeling. The vast majority of first movements are in Sonata Form.
  
  Read our Beginner's Guide to Sonata Form
  
  Second Movement
  In most symphonies, the second movement will be slow and solemn in character. Composers have used many different forms for slow movements - Sonata Form; Ternary form; Variations form; Rondo form; and combinations and modifications of these forms. In many cases, the order of the second and third movements will be interchanged, and the second movement will be a scherzo, and the third movement will be a slow movement (ie Beethoven's Ninth Symphony).
  
  Third Movement
  The third movement of a symphony is, in most cases, a Scherzo (or a Minuet in Classical-period symphonies). Most scherzos are in Ternary form - however, many scherzos are in Rondo form (ie Mahler's Fifth Symphony). Some are even in Sonata Form (ie Brahms's Fourth Symphony). In many cases, the order of the second and third movements will be interchanged, and the second movement will be a scherzo, and the third movement will be a slow movement (ie Beethoven's Ninth Symphony).
  
  Fourth Movement
  Again, composers have used many different forms for their finale movements, such as Rondo form, Variations form, and Sonata Form.
  
  
  
  
• From: SSSSA (@ 66.57.14.197) on: Mon Apr 5 23:46:05 EDT 2004
  
  5. The Orchestra:
  The standard seating arrangement of the modern symphony orchestra. This arrangement has been in use since the early 20th century. However, different orchestras may use slight variations on the above plan. Another seating arrangement, used in the 19th century but coming back into fashion with today's orchestras, has the First Violins (1) seated on the left, the Second Violins (2) on the right, Violas (3) and Cellos (4) in the middle, and winds, brass, and percussion in the same positions.
  
  NOTE: All RealAudio files in the instruments pages are of members of the Queensland Youth Symphony Orchestra
  
  
  1. First Violins
  2. Second Violins
  3. Violas
  4. Cellos
  5. Double Basses
  
  6. Flutes
  7. Oboes
  8. Clarinets
  9. Bassoons
  
  10. Horns
  11. Trumpets
  12. Trombones and Tuba
  
  
  13. Timpani and Other Percussion Instrments
  14. Harp
  
  The Conductor
  
  
• From: SSSSA (@ 66.57.14.197) on: Mon Apr 5 23:48:57 EDT 2004
  
  The Timeline is designed to allow users to view the important events in the development of the symphony in their proper historical context.
  
  
  
  1750-1799
  
  1750: J.S. Bach dies
  
  1756: W.A. Mozart born
  
  1759: Haydn - Symphony No. 1
  
  1760: Haydn - Symphonies 2-5
  
  1764: Mozart writes his first symphony
  
  1768: Mozart - 'Bastien and Bastienne' produced in Vienna
  
  1770: Ludwig van Beethoven born
  
  1776: Mozart - Haffner Serenade K250
  
  1777: Haydn - Symphony No. 63 'La Roxolane'
  
  1781: Mozart - Idomeneo, opera
  
  1783: Beethoven's first works printed
  
  1788: Mozart - last three symphonies, E flat, G minor, C major 'Jupiter'
  
  1791: Mozart dies
  
  1795: Haydn completes the 12 London symphonies
  
  1797: Franz Schubert born
  
  
  
  
  
  
  
• From: SSSSA (@ 66.57.14.197) on: Mon Apr 5 23:49:42 EDT 2004
  
  1800-1849
  
  1803: Hector Berlioz born
  
  1804: Beethoven 'Eroica' Symphony
  
  1809: Haydn dies
  
  1809: Felix Mendelssohn born
  
  1810: Robert Schumann born
  
  1813: Richard Wagner born
  
  1819: Beethoven becomes totally deaf
  
  1822: Cesar Franck born
  
  1824: Anton Bruckner born
  
  1829: Mendelssohn revives Bach's St Matthew Passion
  
  1832: Berlioz - 'Symphonie Fantastique', revised version
  
  1833: Johannes Brahms born
  
  1835: Camille Saint-Saens born
  
  1840: Pyotr Ilyich Tchaikovsky born
  
  1841: Schumann - Symphonies 1 & 4
  
  1841: Antonin Dvorak born
  
  

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