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  Serenade In G Viii. Epilogue Peter Warlock

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  Serenade In G Viii. Epilogue Peter Warlock

• Peter Warlock
• Peter Warlock (magician)

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Peter Warlock

Philip Arnold Heseltine (30 October 1894 – 17 December 1930), known by the pseudonym Peter Warlock, was a British composer and music critic. The Warlock name, which reflects Heseltine's interest in occult practices, was used for all his published musical works. He is best known as a composer of songs and other vocal music; he also achieved notoriety in his lifetime through his unconventional and often scandalous lifestyle.

As a schoolboy at Eton College, Heseltine met the British composer Frederick Delius, with whom he formed a close friendship. After a failed student career in Oxford and London, Heseltine turned to musical journalism, while developing interests in folk-song and Elizabethan music. His first serious compositions date from around 1915. Following a period of drift and inactivity, a positive and lasting influence on his work arose from his meeting in 1916 with the Dutch composer Bernard van Dieren; he also gained creative impetus from a year spent in Ireland, studying Celtic culture and language. On his return to England in 1918, Heseltine began composing songs in a distinctive, original style, while building a reputation as a combative and controversial music critic. During 1920–21 he edited the music magazine The Sackbut. His most prolific period as a composer came in the 1920s, when he was based first in Wales and later at Eynsford in Kent.

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This page contains text from Wikipedia, the Free Encyclopedia - https://wn.com/Peter_Warlock

Peter Warlock (magician)

Peter Warlock (born Alec William Bell; October 30, 1904 – December 17, 1995) was a semi-professional magician and publisher of the British magic magazines "Pentagram" (1946–59) and the "New Pentagram" (1969–89).

Biography

In 1960, he became the honorary president of the Paisley Magic Circle. Peter Warlock was also asked to accept the Honorary Life Presidency of the Blackpool Magic Club after the death of Edward Victor.

Inventions

Self Contained Milk Pitcher

Ringcord

Out of the Loop

Giant Size Triple Tubes

Silk Filter

Adhesive Glass

Cream of the Jest

Atomic Silk

Ring and Rope Release

Published works

The Best Tricks With Slates (1942)

Patterns for Psychics (1947)

P.T. Selbit: Magical Innovator (with Eric Lewis; 1989)

Buatier de Kolta: Genius of Illusion (1993)

See also

List of magicians

Card magic

References

Further reading

One Hundred by Warlock by Elizabeth (2005)

External links

See more about Peter Warlock at MagicPedia, the free online Magic encyclopedia

Peter Warlock bibliography

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This page contains text from Wikipedia, the Free Encyclopedia - https://wn.com/Peter_Warlock_(magician)

Podcasts:

Peter Warlock

ALBUMS

• English Song released: 2004
• The English Song Series, Volume 4: The Curlew / Lillygay / Peterisms, Sets 1 & 2 / Saudades released: 2003
• English String Miniatures, Volume 2 released: 2001
• A Warlock Centenary Album released: 1994
• Moeran: Serenade in G / Nocturne / Warlock: Capriol Suite / Serenade released: 1990
• Warlock Songs released: 1988
• Bacchanales released: 1983
• Frostbound Wood (Allegri Singers) released:
• British Music Collection released:

English Song

Released 2004

• A Soft Day
• Irish Skies
• Cherry Ripe
• Mustard and Cress
• The Lily of a Day
• Henry King
• Fain would I change that note
• In summertime on Bredon
• The lads in their hundreds
• Among the rocks
• It was a lover and his lass
• The Water Mill
• On Wenlock Edge
• The Call
• Silent Noon
• Now in these fairylands
• The dream-city
• Margrete's Cradle Song
• The Heart Worships
• Take, O take those lips away
• Now sleeps the crimson petal
• Love calls through the summer night
• I will go with my father a-ploughing
• The Rio Grande
• Theodore, or the Pirate King
• A Long Time Ago
• Oh dear, what can the matter be?

The English Song Series, Volume 4: The Curlew / Lillygay / Peterisms, Sets 1 & 2 / Saudades

Released 2003

• The Curlew: O Curlew, Cry No More in the Air
• The Curlew: Pale Brows, Still Hands and Dim Hair
• The Curlew: I Cried When the Moon Was Murmuring to the Birds
• The Curlew: Interlude
• The Curlew: I Wander by the Edge of This Desolate Lake
• Lillygay: The Distracted Maid
• Lillygay: Burd Ellen and Young Tamlane
• Lillygay: Rantum Tantum
• Peter Warlock's Fancy
• Peterisms, First Set: Chopcherry
• Peterisms, First Set: A Sad Song
• Peterisms, First Set: Rutterkin
• My Gostly Fader
• Bright Is the Ring of Words
• Saudades: Along the Stream
• Saudades: Take, O Take Those Lips Away
• Saudades: Heraclitus
• The Cloths of Heaven
• The Frostbound Wood
• Bethlehem Down
• Sweet and Twenty
• And Wilt Thou Leave Me Thus?
• Mr Belloc's Fancy
• Peterisms, Second Set: Roister Doister
• Peterisms, Second Set: Spring
• Peterisms, Second Set: Lusty Juventus
• The Bachelor
• Away to Twiver
• Captain Stratton's Fancy

English String Miniatures, Volume 2

Released 2001

• Sally in Our Alley
• Cherry Ripe
• Sospiri
• Fantasy-Concerto: I. Allegro moderato
• Fantasy-Concerto: II. Andante con moto
• Fantasy-Concerto: III. Allegro risoluto
• The Holy Boy
• Charterhouse Suite: I. Prelude
• Charterhouse Suite: II. Slow Dance
• Charterhouse Suite: III. Quick Dance
• Charterhouse Suite: IV. Slow Air
• Charterhouse Suite: V. Rondo
• Charterhouse Suite: VI. Pezzo Ostinato
• Air and Dance
• Serenade for the 60th birthday of Frederick Delius
• Consort Music: I. Song without Words
• Consort Music: II. Valse
• Consort Music: III. Ballade
• Consort Music: IV. Caprice
• Consort Music: V. Cradle Song
• Consort Music: VI. Finale
• Sir Roger de Coverley

A Warlock Centenary Album

Released 1994

• Capriol Suite I. Basse-Danse
• Capriol Suite II. Pavane
• Capriol Suite III. Tordion
• Capriol Suite IV. Bransles
• Capriol Suite V. Pieds-en-l'air
• Capriol Suite VI. Mattachins (Sword Dance)
• Serenade (to Frederick Delius on his 60th birthday)
• The Curlew - O Curlew, cry no more--
• The Curlew - Pale brows, still hands--
• The Curlew - I cried when the moon--
• The Curlew - I wander by the edge
• Bethlehem Down
• Adam lay ybounden
• I saw a fair maiden
• Balulalow
• Where riches is everlastingly
• The Shrouding of the Duchess of Malfi
• The Lady's Birthday (arr.)
• Pretty Ring Time
• Autumn Twilight
• Captain Stratton's Fancy
• Yarmouth Fair

Moeran: Serenade in G / Nocturne / Warlock: Capriol Suite / Serenade

Released 1990

• Serenade in G: I. Prologue
• Serenade in G: II. Intermezzo
• Serenade in G: III. Air
• Serenade in G: IV. Galop
• Serenade in G: V. Minuet
• Serenade in G: VI. Forlana
• Serenade in G: VII. Rigadoon
• Serenade in G: VIII. Epilogue
• Serenade for String Orchestra
• Capriol Suite: I. Basse-Danse
• Capriol Suite: II. Pavane
• Capriol Suite: III. Tordion
• Capriol Suite: IV. Bransles
• Capriol Suite: V. Pieds-en-l'air
• Capriol Suite: VI. Mattachins
• Nocturne

Warlock Songs

Released 1988

• The Wind From the West
• Whenas the Rye
• My Gostly Fader
• Sorrow's Lullaby
• As Ever I Saw
• Take, o Take Those Lips Away
• The Bayley Berith the Bell Away
• Sweet Content
• Mourne No Moe
• There Is a Lady
• Play-Acting
• Captain Stratton's Fancy
• Mr. Belloc's Fancy
• Late Summer
• Hey Troly Loly Lo
• The Bachelor
• Rest Sweet Nymphs
• Piggesnie
• Sleep
• Autumn Twilight
• Milkmaids
• 2 Short Songs: No. 1. I Held Love's Head
• 2 Short Songs: No. 2. Thou Gav'St Me Leave to Kiss
• Yarmouth Fair
• 3 Belloc Songs: No. 1. Ha'Nacker Mill
• 3 Belloc Songs: No. 2. The Night
• 3 Belloc Songs: No. 3. My Own Country
• Walking the Woods
• The First Mercy
• The Jolly Shepherd
• Passing By
• The Fox

Bacchanales

Released 1983

• Capriol Suite for Piano, 4 Hands or String Orchestra: Basse Danse
• Capriol Suite for Piano, 4 Hands or String Orchestra: Pavane
• Capriol Suite for Piano, 4 Hands or String Orchestra: Tordion
• Capriol Suite for Piano, 4 Hands or String Orchestra: Bransles
• Capriol Suite for Piano, 4 Hands or String Orchestra: Pieds-En-L'Air
• Capriol Suite for Piano, 4 Hands or String Orchestra: Mattachins
• Trois Mouvements Perpétuels, for Piano, FP 14
• Novelettes (2) For Piano, FP 47: No. 1 in C
• Improvisation, No. 3 for Piano in B Minor (Presto Très Sec), FP 63/3
• Française for Piano, FP 103
• Quintet, No. 1 for 2 Trumpets, Horn, Trombone & Tuba, Op. 73: Allegro Vivace
• Quintet, No. 1 for 2 Trumpets, Horn, Trombone & Tuba, Op. 73: Chaconne: Andante Con Moto
• Quintet, No. 1 for 2 Trumpets, Horn, Trombone & Tuba, Op. 73: Finale: Con Brio
• Réveil-Matin, for Harpsichord (Pièces de Clavecin, I, 4e Ordre)
• La Bandoline, for Harpsichord (Pièces de Clavecin, I, 5e Ordre)
• Les Baccanales, for Harpsichord (Pièces de Clavecin, I, 4e Ordre) Enjoüemens Bachiques / Tendresses Bachiques / Fureurs Bachiques
• Hungarian Pictures: Evening in Transylvania (Este a Székelyeknél), for Piano (10 Easy Pieces, No. 5), Sz. 39/5, B-Flat 51/5
• Hungarian Pictures: Bear Dance (Medvectánc), for Piano (10 Easy Pieces, No. 10), Sz. 39/10, B-Flat 51/10
• Hungarian Pictures: Work (S) Melody
• Hungarian Pictures: A Bit Drunk (Kicsit Ázottan), Burlesque for Piano, No. 2, Sz. 47/2, B-Flat 55/2 (Op. 8c/2)
• Hungarian Pictures: Swine-Herd's Dance: "The Cricket Marries", for Piano (For Children, Volume 2/ 42), Sz. 42/2/42, B-Flat 53/42

Frostbound Wood (Allegri Singers)

• Benedicamus Domino
• A Cornish Carol
• A Cornish Christmas Carol
• Corpus Christi
• I Saw a Fair Maiden
• As Dew in Aprylle
• The Birds
• Carillon, Carilla
• Adam Lay Ybounden
• The Rich Cavalcade
• Song for Christmas Day
• The Five Lesser Joys of Mary
• Out of the Orient Crystal Skies
• My Little Sweet Darling
• Born Is the Babe
• Sweet Was the Song the Virgin Sung
• Where Riches Is Everlastingly
• What Cheer? Good Cheer?
• The Frostbound Wood
• The First Mercy
• Bethlehem Down
• Tyrley Tyrlow
• Balulalow
• The Sycamore Tree

British Music Collection

• Capriol Suite: I Basse-danse
• Capriol Suite: II Pavane
• Capriol Suite: III Tordion
• Capriol Suite: IV Bransles
• Capriol Suite: V Pieds-en-l'air
• Capriol Suite: VI Mattachins (Sword Dance)
• Serenade for Strings
• Lullaby My Jesus
• Youth
• As Ever I Saw
• There Is a Lady Sweet and Kind
• Whenas the Rye Reach to the Chin
• Sigh No More, Ladies
• Sleep
• Pretty Ring Time
• Jillian of Berry
• The Bayley Berith the Bell Away
• Passing By
• The Frostbound Wood
• Robin Goodfellow
• Twelve Oxen
• Yarmouth Fair
• Romance
• To the Memory of a Great Singer
• After Two Years
• The Droll Lover
• Ha'nacker Mill
• My Own Country
• The Birds
• Eloré Lo
• The Fox
• Fair and True
• Roister Doister
• The Cricketers of Hambledon

Born: 1894-10-30

Died: 1930-12-17

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• 

  Serenade For Tenor, Horn, And String Orchestra, Op. 31: VI. Hymn (Presto e leggiero)

  Provided to YouTube by The Orchard Enterprises Serenade For Tenor, Horn, And String Orchestra, Op. 31: VI. Hymn (Presto e leggiero) · ROCO · Danielle Kuhlmann · Zach Averyt · Benjamin Britten · Mei-Ann Chen ROCO in Concert: Roco Celebrates Asia ℗ 2018 ROCO Released on: 2018-02-01 Auto-generated by YouTube.

  published: 16 Feb 2018
• 

  Elgar Introduction & Allegro for Strings Op.47 艾爾加 序奏與快板 作品47 エルガー 序奏 アレグロ Score Sheet 譜 谱【Kero】

  【Kero】 Score Sheet 譜 樂譜 谱 乐谱 Partitura 楽譜付き Elgar Introduction & Allegro for Strings Op.47 艾爾加 序奏與快板 作品47 艾尔加 序奏与快板 作品47 Elgar Introducción y Allegro para cuerdas エルガー 序奏 と アレグロ Classical music Música clásica クラッシック 古典音樂 古典音乐 #Elgar #Introduction #Allegro 00:00 Introduction 00:23 Allegro Sir Edward Elgar's Introduction and Allegro for Strings, Op. 47, was composed in 1905 for performance in an all-Elgar concert by the newly formed London Symphony Orchestra. Scored for string quartet and string orchestra, Elgar composed it to show off the players' virtuosity. Though initial critical reception was lukewarm at best, the score soon came to be recognized as a masterpiece. The work, which is roughly twelve to fourteen minutes in length, is like a multi-layered symphonic poem for string or...

  published: 10 Mar 2022
• 

  SMUS Large Ensembles Concert 2015: String Orchestra performs Sonata for Strings

  The String Orchestra performs Jean-Marie Leclair's "Sonata for Strings" at the Large Ensembles Concert on January 21, 2015. The concert showcases the Senior School’s musically inclined students who participate in our concert bands, orchestras and choirs. Subscribe to SMUSTube: http://www.youtube.com/user/smustube Read The SMUS Review weekly blog: http://blogs.smus.bc.ca/review/ Find us on Facebook: https://www.facebook.com/yoursmus Follow us on Twitter: https://twitter.com/gosmus Take a look at our website: http://www.smus.ca/ Located in Victoria, BC, Canada, St. Michaels University School has a diverse boarding program for Grades 8-12 and our day students join us for kindergarten up to graduation. We are an international community defined by our passion for education.

  published: 23 Jan 2015

developed with YouTube

1:28

Serenade in G Major, R. 95: VIII. Epilogue. Allegro un poco maestoso

• Order: Reorder
• Duration: 1:28
• Uploaded Date: 27 Nov 2022
• views: 32

Provided to YouTube by PIAS Serenade in G Major, R. 95: VIII. Epilogue. Allegro un poco maestoso · Vernon Handley · Ulster Orchestra Moeran: Serenade in G, No...

Provided to YouTube by PIAS Serenade in G Major, R. 95: VIII. Epilogue. Allegro un poco maestoso · Vernon Handley · Ulster Orchestra Moeran: Serenade in G, Nocturne - Warlock: Serenade, Capriol Suite ℗ Chandos Records Released on: 1990-09-01 Conductor: Vernon Handley Orchestra: Ulster Orchestra Composer: Ernest John Moeran Auto-generated by YouTube.

https://wn.com/Serenade_In_G_Major,_R._95_Viii._Epilogue._Allegro_Un_Poco_Maestoso

Provided to YouTube by PIAS Serenade in G Major, R. 95: VIII. Epilogue. Allegro un poco maestoso · Vernon Handley · Ulster Orchestra Moeran: Serenade in G, Nocturne - Warlock: Serenade, Capriol Suite ℗ Chandos Records Released on: 1990-09-01 Conductor: Vernon Handley Orchestra: Ulster Orchestra Composer: Ernest John Moeran Auto-generated by YouTube.

• published: 27 Nov 2022
• views: 32

4:06

Serenade in G Major, R. 95: I. Prologue. Allegro

• Order: Reorder
• Duration: 4:06
• Uploaded Date: 27 Nov 2022
• views: 97

Provided to YouTube by PIAS Serenade in G Major, R. 95: I. Prologue. Allegro · Vernon Handley · Ulster Orchestra Moeran: Serenade in G, Nocturne - Warlock: Se...

Provided to YouTube by PIAS Serenade in G Major, R. 95: I. Prologue. Allegro · Vernon Handley · Ulster Orchestra Moeran: Serenade in G, Nocturne - Warlock: Serenade, Capriol Suite ℗ Chandos Records Released on: 1990-09-01 Conductor: Vernon Handley Orchestra: Ulster Orchestra Composer: Ernest John Moeran Auto-generated by YouTube.

https://wn.com/Serenade_In_G_Major,_R._95_I._Prologue._Allegro

Provided to YouTube by PIAS Serenade in G Major, R. 95: I. Prologue. Allegro · Vernon Handley · Ulster Orchestra Moeran: Serenade in G, Nocturne - Warlock: Serenade, Capriol Suite ℗ Chandos Records Released on: 1990-09-01 Conductor: Vernon Handley Orchestra: Ulster Orchestra Composer: Ernest John Moeran Auto-generated by YouTube.

• published: 27 Nov 2022
• views: 97

23:40

Ernest John Moeran: Serenade in G Major

• Order: Reorder
• Duration: 23:40
• Uploaded Date: 04 Sep 2017
• views: 2194

It us my genuine and sincere desire that any and all potential or actual remuneration that may accrue to me be instead directed towards all holders of copyright...

It us my genuine and sincere desire that any and all potential or actual remuneration that may accrue to me be instead directed towards all holders of copyright Ernest John (E.J.) Moeran (1894-1950) Serenade for Orchestra in G Major I. Prologue: Allegro 0:00 II. Intermezzo: Allegretto 4:05 III. Air: Lento, ma non troppo 7:24 IV. Galop: Presto 10:12 V. Minuet: Tempo di minuetto 12:28 VI. Forlana: Andante con moto 16:25 VII. Rigadoon: 20:25 VIII. Epilogue: Allegro un poco maestoso 22:12 The Ulster Orchestra Vernon Handley, conductor Ernest John Moeran (1894 – 1950) was an English composer who had strong associations with Ireland (his father was Irish, he spent much of his life there, and he died there). Moeran was born in Heston (now in the London Borough of Hounslow), the son of the Rev Joseph William Wright Moeran, an Irish-born clergyman, and his wife Ada Esther (born Whall). The family moved around for several years as his father was appointed to various parishes but they eventually settled in Bacton, on the coast of Norfolk. Moeran studied the violin and the piano as a child. He was educated from an early age at home, by a governess. At the age of ten, he was sent to Suffield Park Preparatory School in Cromer, North Norfolk. In 1908, he was enrolled at Uppingham School where he spent the next five years. He was taught music by the director Robert Sterndale Bennett (grandson of Sir William Sterndale Bennett), who greatly encouraged his talents. On leaving Uppingham in 1913, he studied piano and composition at the Royal College of Music with Charles Villiers Stanford. He was also a member of the prestigious Oxford & Cambridge Musical Club. When war broke out Moeran enlisted in the Norfolk Regiment, in which he was later commissioned. In 1917 Moeran went to France, where he was attached to the West Yorkshire Regiment, and wounded at Bullecourt on 3 May. His army records refer to a 'small gunshot wound' to the side of the neck, and a piece of shrapnel in his back, later removed. By the middle of August Moeran was declared 'free from any inconveniences' by a medical board and seconded to the Bedfordshire Regiment, at this time on garrison duty in Ireland around Boyle and County Roscommon. It was here that Moeran came to be bewitched by the Irish landscape which would later inform many of his best compositions. In October 1918 he tried out for the newly formed Royal Air Force, but after two months was returned to a reserve battalion of the Norfolk Regiment, and discharged in January 1919. After the war he returned for a few months to Uppingham School, where he was employed as a teacher of music. This role did not satisfy him and he returned to the Royal College of Music to resume his composition studies, now with John Ireland, who had been a pupil of Moeran's earlier teacher Charles Villiers Stanford. His first mature compositions, songs and chamber music, date from this time. He also began collecting and arranging folk music of Norfolk and other regions. He collected about 150 folk songs in Norfolk and Suffolk. His preferred method was to sit in a country pub and wait until an old man started singing. He noted the song down and then asked for more. According to the biography The Music of E. J. Moeran by Geoffrey Self (1986), he spent time living with gypsies, but no further details are available. He spent some time after the war living at Kington, Herefordshire. By the mid-1920s, Moeran had become close friends with Peter Warlock and they lived for some years in Eynsford, Kent, notorious among the locals for their frequent drunken revelry. For the rest of his life, Moeran had problems with alcohol, later joined by mental instability. After Warlock's death in 1930, Moeran became interested in his Irish roots and began spending much of his time in Kenmare, County Kerry. As a person, E. J. Moeran was greatly influenced by a number of people. However, it was the time spent with Peter Warlock in Eynsford that had the greatest impact on his life. While Warlock was seemingly capable of drinking alcohol to excess without any apparent long-term effects, Moeran developed a dependency which handicapped him for the remainder of his life. His later problems have been attributed to his war wound to the head, but this is incorrect. By 1930, Moeran had become an alcoholic. He married the cellist Peers Coetmore on 26 July 1945. Although the marriage was not entirely happy, it inspired two of Moeran's finest late works, the Cello Concerto and Cello Sonata. He died suddenly in 1950, probably from a cerebral haemorrhage, in Kenmare at the age of 55. He was found in the Kenmare River and it was at first assumed he had drowned. However, an inquest later established that he had died before falling into the water.

https://wn.com/Ernest_John_Moeran_Serenade_In_G_Major

It us my genuine and sincere desire that any and all potential or actual remuneration that may accrue to me be instead directed towards all holders of copyright Ernest John (E.J.) Moeran (1894-1950) Serenade for Orchestra in G Major I. Prologue: Allegro 0:00 II. Intermezzo: Allegretto 4:05 III. Air: Lento, ma non troppo 7:24 IV. Galop: Presto 10:12 V. Minuet: Tempo di minuetto 12:28 VI. Forlana: Andante con moto 16:25 VII. Rigadoon: 20:25 VIII. Epilogue: Allegro un poco maestoso 22:12 The Ulster Orchestra Vernon Handley, conductor Ernest John Moeran (1894 – 1950) was an English composer who had strong associations with Ireland (his father was Irish, he spent much of his life there, and he died there). Moeran was born in Heston (now in the London Borough of Hounslow), the son of the Rev Joseph William Wright Moeran, an Irish-born clergyman, and his wife Ada Esther (born Whall). The family moved around for several years as his father was appointed to various parishes but they eventually settled in Bacton, on the coast of Norfolk. Moeran studied the violin and the piano as a child. He was educated from an early age at home, by a governess. At the age of ten, he was sent to Suffield Park Preparatory School in Cromer, North Norfolk. In 1908, he was enrolled at Uppingham School where he spent the next five years. He was taught music by the director Robert Sterndale Bennett (grandson of Sir William Sterndale Bennett), who greatly encouraged his talents. On leaving Uppingham in 1913, he studied piano and composition at the Royal College of Music with Charles Villiers Stanford. He was also a member of the prestigious Oxford & Cambridge Musical Club. When war broke out Moeran enlisted in the Norfolk Regiment, in which he was later commissioned. In 1917 Moeran went to France, where he was attached to the West Yorkshire Regiment, and wounded at Bullecourt on 3 May. His army records refer to a 'small gunshot wound' to the side of the neck, and a piece of shrapnel in his back, later removed. By the middle of August Moeran was declared 'free from any inconveniences' by a medical board and seconded to the Bedfordshire Regiment, at this time on garrison duty in Ireland around Boyle and County Roscommon. It was here that Moeran came to be bewitched by the Irish landscape which would later inform many of his best compositions. In October 1918 he tried out for the newly formed Royal Air Force, but after two months was returned to a reserve battalion of the Norfolk Regiment, and discharged in January 1919. After the war he returned for a few months to Uppingham School, where he was employed as a teacher of music. This role did not satisfy him and he returned to the Royal College of Music to resume his composition studies, now with John Ireland, who had been a pupil of Moeran's earlier teacher Charles Villiers Stanford. His first mature compositions, songs and chamber music, date from this time. He also began collecting and arranging folk music of Norfolk and other regions. He collected about 150 folk songs in Norfolk and Suffolk. His preferred method was to sit in a country pub and wait until an old man started singing. He noted the song down and then asked for more. According to the biography The Music of E. J. Moeran by Geoffrey Self (1986), he spent time living with gypsies, but no further details are available. He spent some time after the war living at Kington, Herefordshire. By the mid-1920s, Moeran had become close friends with Peter Warlock and they lived for some years in Eynsford, Kent, notorious among the locals for their frequent drunken revelry. For the rest of his life, Moeran had problems with alcohol, later joined by mental instability. After Warlock's death in 1930, Moeran became interested in his Irish roots and began spending much of his time in Kenmare, County Kerry. As a person, E. J. Moeran was greatly influenced by a number of people. However, it was the time spent with Peter Warlock in Eynsford that had the greatest impact on his life. While Warlock was seemingly capable of drinking alcohol to excess without any apparent long-term effects, Moeran developed a dependency which handicapped him for the remainder of his life. His later problems have been attributed to his war wound to the head, but this is incorrect. By 1930, Moeran had become an alcoholic. He married the cellist Peers Coetmore on 26 July 1945. Although the marriage was not entirely happy, it inspired two of Moeran's finest late works, the Cello Concerto and Cello Sonata. He died suddenly in 1950, probably from a cerebral haemorrhage, in Kenmare at the age of 55. He was found in the Kenmare River and it was at first assumed he had drowned. However, an inquest later established that he had died before falling into the water.

• published: 04 Sep 2017
• views: 2194

1:51

Capriol Suite: IV. Bransles (Version for Full Orchestra)

• Order: Reorder
• Duration: 1:51
• Uploaded Date: 27 Nov 2022
• views: 96

Provided to YouTube by PIAS Capriol Suite: IV. Bransles (Version for Full Orchestra) · Vernon Handley · Ulster Orchestra Moeran: Serenade in G, Nocturne - War...

Provided to YouTube by PIAS Capriol Suite: IV. Bransles (Version for Full Orchestra) · Vernon Handley · Ulster Orchestra Moeran: Serenade in G, Nocturne - Warlock: Serenade, Capriol Suite ℗ Chandos Records Released on: 1990-09-01 Conductor: Vernon Handley Orchestra: Ulster Orchestra Composer: Peter Warlock Auto-generated by YouTube.

https://wn.com/Capriol_Suite_Iv._Bransles_(Version_For_Full_Orchestra)

Provided to YouTube by PIAS Capriol Suite: IV. Bransles (Version for Full Orchestra) · Vernon Handley · Ulster Orchestra Moeran: Serenade in G, Nocturne - Warlock: Serenade, Capriol Suite ℗ Chandos Records Released on: 1990-09-01 Conductor: Vernon Handley Orchestra: Ulster Orchestra Composer: Peter Warlock Auto-generated by YouTube.

• published: 27 Nov 2022
• views: 96

2:08

Serenade For Tenor, Horn, And String Orchestra, Op. 31: VI. Hymn (Presto e leggiero)

• Order: Reorder
• Duration: 2:08
• Uploaded Date: 16 Feb 2018
• views: 22

Provided to YouTube by The Orchard Enterprises Serenade For Tenor, Horn, And String Orchestra, Op. 31: VI. Hymn (Presto e leggiero) · ROCO · Danielle Kuhlmann ...

Provided to YouTube by The Orchard Enterprises Serenade For Tenor, Horn, And String Orchestra, Op. 31: VI. Hymn (Presto e leggiero) · ROCO · Danielle Kuhlmann · Zach Averyt · Benjamin Britten · Mei-Ann Chen ROCO in Concert: Roco Celebrates Asia ℗ 2018 ROCO Released on: 2018-02-01 Auto-generated by YouTube.

https://wn.com/Serenade_For_Tenor,_Horn,_And_String_Orchestra,_Op._31_Vi._Hymn_(Presto_E_Leggiero)

Provided to YouTube by The Orchard Enterprises Serenade For Tenor, Horn, And String Orchestra, Op. 31: VI. Hymn (Presto e leggiero) · ROCO · Danielle Kuhlmann · Zach Averyt · Benjamin Britten · Mei-Ann Chen ROCO in Concert: Roco Celebrates Asia ℗ 2018 ROCO Released on: 2018-02-01 Auto-generated by YouTube.

• published: 16 Feb 2018
• views: 22

14:31

Elgar Introduction & Allegro for Strings Op.47 艾爾加 序奏與快板 作品47 エルガー 序奏 アレグロ Score Sheet 譜 谱【Kero】

• Order: Reorder
• Duration: 14:31
• Uploaded Date: 10 Mar 2022
• views: 180

【Kero】 Score Sheet 譜 樂譜 谱 乐谱 Partitura 楽譜付き Elgar Introduction & Allegro for Strings Op.47 艾爾加 序奏與快板 作品47 艾尔加 序奏与快板 作品47 Elgar Introducción y Allegro para cuerd...

【Kero】 Score Sheet 譜 樂譜 谱 乐谱 Partitura 楽譜付き Elgar Introduction & Allegro for Strings Op.47 艾爾加 序奏與快板 作品47 艾尔加 序奏与快板 作品47 Elgar Introducción y Allegro para cuerdas エルガー 序奏 と アレグロ Classical music Música clásica クラッシック 古典音樂 古典音乐 #Elgar #Introduction #Allegro 00:00 Introduction 00:23 Allegro Sir Edward Elgar's Introduction and Allegro for Strings, Op. 47, was composed in 1905 for performance in an all-Elgar concert by the newly formed London Symphony Orchestra. Scored for string quartet and string orchestra, Elgar composed it to show off the players' virtuosity. Though initial critical reception was lukewarm at best, the score soon came to be recognized as a masterpiece. The work, which is roughly twelve to fourteen minutes in length, is like a multi-layered symphonic poem for string orchestra, with several prominent themes. The work is dedicated to Samuel Sanford, who had been instrumental in having Elgar awarded an honorary doctorate of music at Yale University on 28 June 1905,[2] where the Pomp and Circumstance March No. 1 was played for the first time at such a conferral ceremony. The piece opens with a tutti descending fanfare, which segues into a major-key moderato section, interspersed by an Allegretto e poco stringendo section consisting of two measures in length. Foreshadowing into a slow, lyrical theme played by the solo viola, Elgar cascades between solo voice and orchestra by use of echo. Elgar writes that this theme is a quotation of a song sung by a distant voice that he had heard during a holiday in Wales. An expressive, romantic section leads into a recapitulation of the opening fanfare and Welsh theme, ending the Introduction and transitioning jovially into the Allegro. The Allegro begins with a theme in G major built around a quarter-eighth-eighth note motif. 21 measures of nonstop sixteenth-notes build from piano to a powerful forte as the piece arrives at a hemiola-infused G major restatement of the Introduction's opening fanfare. Instead of a development section as would be expected in traditional sonata form, a new theme is introduced, a vigorous fugue in which the piece returns to the opening key of G minor. In a letter to his good friend A. J. Jaeger ("Nimrod" of the Enigma Variations), Elgar referred to this section as a "devil of a fugue". After the fugue concludes, the piece's themes are all recapitulated in G major, initially begun by a unison orchestra before dividing across echo between orchestra and solo quartet. With the Welsh theme repeating a succession of three times before striking a momentous fff, on which the orchestra is in unison again (see Polyphony), it is this time echoed by the solo quartet, a change from the rest of the piece. The Welsh theme appears in all its splendour in a triumphant coda for the fifth and final time, before ending with a ternary perfect cadence followed by a G major chord in which the whole orchestra plays pizzicato, except for the double basses, who play with their bows. Introduction and Allegro was composed in a neo-resurrected form of the Baroque concerto grosso. However, such solos are not confined solely to the solo quartet, but rather are distributed ever so often among the accompanying orchestra, such as at the first transition entering the Allegro. The solo quartet, however, often blend back into the orchestra, but rarely play exactly the same notes as the accompanying orchestra. Polyphony dictates much of the piece, often with multiple themes or motifs interleaving with one another. Since polyphony is the most complex of all musical textures, it comes as no surprise that Introduction and Allegro is an attempt to show the virtuosity of each musician performing the piece. Much of the piece focuses on the tremendous virtuoso-technicalities within the violin parts. After all, the piece "fully [reflects] Elgar's first-hand knowledge as a former violinist himself". This however adds complications in the lower-frequency instruments, particularly in the bass part, which can clearly be seen as one of the most challenging of string orchestra repertoire. This, however, could be Elgar reminiscing to the Baroque concerto grosso form, in which the cello and bass parts are sometimes the same.

https://wn.com/Elgar_Introduction_Allegro_For_Strings_Op.47_艾爾加_序奏與快板_作品47_エルガー_序奏_アレグロ_Score_Sheet_譜_谱【Kero】

【Kero】 Score Sheet 譜 樂譜 谱 乐谱 Partitura 楽譜付き Elgar Introduction & Allegro for Strings Op.47 艾爾加 序奏與快板 作品47 艾尔加 序奏与快板 作品47 Elgar Introducción y Allegro para cuerdas エルガー 序奏 と アレグロ Classical music Música clásica クラッシック 古典音樂 古典音乐 #Elgar #Introduction #Allegro 00:00 Introduction 00:23 Allegro Sir Edward Elgar's Introduction and Allegro for Strings, Op. 47, was composed in 1905 for performance in an all-Elgar concert by the newly formed London Symphony Orchestra. Scored for string quartet and string orchestra, Elgar composed it to show off the players' virtuosity. Though initial critical reception was lukewarm at best, the score soon came to be recognized as a masterpiece. The work, which is roughly twelve to fourteen minutes in length, is like a multi-layered symphonic poem for string orchestra, with several prominent themes. The work is dedicated to Samuel Sanford, who had been instrumental in having Elgar awarded an honorary doctorate of music at Yale University on 28 June 1905,[2] where the Pomp and Circumstance March No. 1 was played for the first time at such a conferral ceremony. The piece opens with a tutti descending fanfare, which segues into a major-key moderato section, interspersed by an Allegretto e poco stringendo section consisting of two measures in length. Foreshadowing into a slow, lyrical theme played by the solo viola, Elgar cascades between solo voice and orchestra by use of echo. Elgar writes that this theme is a quotation of a song sung by a distant voice that he had heard during a holiday in Wales. An expressive, romantic section leads into a recapitulation of the opening fanfare and Welsh theme, ending the Introduction and transitioning jovially into the Allegro. The Allegro begins with a theme in G major built around a quarter-eighth-eighth note motif. 21 measures of nonstop sixteenth-notes build from piano to a powerful forte as the piece arrives at a hemiola-infused G major restatement of the Introduction's opening fanfare. Instead of a development section as would be expected in traditional sonata form, a new theme is introduced, a vigorous fugue in which the piece returns to the opening key of G minor. In a letter to his good friend A. J. Jaeger ("Nimrod" of the Enigma Variations), Elgar referred to this section as a "devil of a fugue". After the fugue concludes, the piece's themes are all recapitulated in G major, initially begun by a unison orchestra before dividing across echo between orchestra and solo quartet. With the Welsh theme repeating a succession of three times before striking a momentous fff, on which the orchestra is in unison again (see Polyphony), it is this time echoed by the solo quartet, a change from the rest of the piece. The Welsh theme appears in all its splendour in a triumphant coda for the fifth and final time, before ending with a ternary perfect cadence followed by a G major chord in which the whole orchestra plays pizzicato, except for the double basses, who play with their bows. Introduction and Allegro was composed in a neo-resurrected form of the Baroque concerto grosso. However, such solos are not confined solely to the solo quartet, but rather are distributed ever so often among the accompanying orchestra, such as at the first transition entering the Allegro. The solo quartet, however, often blend back into the orchestra, but rarely play exactly the same notes as the accompanying orchestra. Polyphony dictates much of the piece, often with multiple themes or motifs interleaving with one another. Since polyphony is the most complex of all musical textures, it comes as no surprise that Introduction and Allegro is an attempt to show the virtuosity of each musician performing the piece. Much of the piece focuses on the tremendous virtuoso-technicalities within the violin parts. After all, the piece "fully [reflects] Elgar's first-hand knowledge as a former violinist himself". This however adds complications in the lower-frequency instruments, particularly in the bass part, which can clearly be seen as one of the most challenging of string orchestra repertoire. This, however, could be Elgar reminiscing to the Baroque concerto grosso form, in which the cello and bass parts are sometimes the same.

• published: 10 Mar 2022
• views: 180

14:03

SMUS Large Ensembles Concert 2015: String Orchestra performs Sonata for Strings

• Order: Reorder
• Duration: 14:03
• Uploaded Date: 23 Jan 2015
• views: 454

The String Orchestra performs Jean-Marie Leclair's "Sonata for Strings" at the Large Ensembles Concert on January 21, 2015. The concert showcases the Senior Sch...

The String Orchestra performs Jean-Marie Leclair's "Sonata for Strings" at the Large Ensembles Concert on January 21, 2015. The concert showcases the Senior School’s musically inclined students who participate in our concert bands, orchestras and choirs. Subscribe to SMUSTube: http://www.youtube.com/user/smustube Read The SMUS Review weekly blog: http://blogs.smus.bc.ca/review/ Find us on Facebook: https://www.facebook.com/yoursmus Follow us on Twitter: https://twitter.com/gosmus Take a look at our website: http://www.smus.ca/ Located in Victoria, BC, Canada, St. Michaels University School has a diverse boarding program for Grades 8-12 and our day students join us for kindergarten up to graduation. We are an international community defined by our passion for education.

https://wn.com/Smus_Large_Ensembles_Concert_2015_String_Orchestra_Performs_Sonata_For_Strings

The String Orchestra performs Jean-Marie Leclair's "Sonata for Strings" at the Large Ensembles Concert on January 21, 2015. The concert showcases the Senior School’s musically inclined students who participate in our concert bands, orchestras and choirs. Subscribe to SMUSTube: http://www.youtube.com/user/smustube Read The SMUS Review weekly blog: http://blogs.smus.bc.ca/review/ Find us on Facebook: https://www.facebook.com/yoursmus Follow us on Twitter: https://twitter.com/gosmus Take a look at our website: http://www.smus.ca/ Located in Victoria, BC, Canada, St. Michaels University School has a diverse boarding program for Grades 8-12 and our day students join us for kindergarten up to graduation. We are an international community defined by our passion for education.

• published: 23 Jan 2015
• views: 454

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1:28

Serenade in G Major, R. 95: VIII. Epilogue. Allegro un poco maestoso

Provided to YouTube by PIAS Serenade in G Major, R. 95: VIII. Epilogue. Allegro un poco m...

published: 27 Nov 2022

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Serenade in G Major, R. 95: VIII. Epilogue. Allegro un poco maestoso

Serenade in G Major, R. 95: VIII. Epilogue. Allegro un poco maestoso

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• published: 27 Nov 2022
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Provided to YouTube by PIAS Serenade in G Major, R. 95: VIII. Epilogue. Allegro un poco maestoso · Vernon Handley · Ulster Orchestra Moeran: Serenade in G, Nocturne - Warlock: Serenade, Capriol Suite ℗ Chandos Records Released on: 1990-09-01 Conductor: Vernon Handley Orchestra: Ulster Orchestra Composer: Ernest John Moeran Auto-generated by YouTube.

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4:06

Serenade in G Major, R. 95: I. Prologue. Allegro

Provided to YouTube by PIAS Serenade in G Major, R. 95: I. Prologue. Allegro · Vernon Han...

published: 27 Nov 2022

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Serenade in G Major, R. 95: I. Prologue. Allegro

Serenade in G Major, R. 95: I. Prologue. Allegro

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Provided to YouTube by PIAS Serenade in G Major, R. 95: I. Prologue. Allegro · Vernon Handley · Ulster Orchestra Moeran: Serenade in G, Nocturne - Warlock: Serenade, Capriol Suite ℗ Chandos Records Released on: 1990-09-01 Conductor: Vernon Handley Orchestra: Ulster Orchestra Composer: Ernest John Moeran Auto-generated by YouTube.

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23:40

Ernest John Moeran: Serenade in G Major

It us my genuine and sincere desire that any and all potential or actual remuneration that...

published: 04 Sep 2017

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Ernest John Moeran: Serenade in G Major

Ernest John Moeran: Serenade in G Major

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It us my genuine and sincere desire that any and all potential or actual remuneration that may accrue to me be instead directed towards all holders of copyright Ernest John (E.J.) Moeran (1894-1950) Serenade for Orchestra in G Major I. Prologue: Allegro 0:00 II. Intermezzo: Allegretto 4:05 III. Air: Lento, ma non troppo 7:24 IV. Galop: Presto 10:12 V. Minuet: Tempo di minuetto 12:28 VI. Forlana: Andante con moto 16:25 VII. Rigadoon: 20:25 VIII. Epilogue: Allegro un poco maestoso 22:12 The Ulster Orchestra Vernon Handley, conductor Ernest John Moeran (1894 – 1950) was an English composer who had strong associations with Ireland (his father was Irish, he spent much of his life there, and he died there). Moeran was born in Heston (now in the London Borough of Hounslow), the son of the Rev Joseph William Wright Moeran, an Irish-born clergyman, and his wife Ada Esther (born Whall). The family moved around for several years as his father was appointed to various parishes but they eventually settled in Bacton, on the coast of Norfolk. Moeran studied the violin and the piano as a child. He was educated from an early age at home, by a governess. At the age of ten, he was sent to Suffield Park Preparatory School in Cromer, North Norfolk. In 1908, he was enrolled at Uppingham School where he spent the next five years. He was taught music by the director Robert Sterndale Bennett (grandson of Sir William Sterndale Bennett), who greatly encouraged his talents. On leaving Uppingham in 1913, he studied piano and composition at the Royal College of Music with Charles Villiers Stanford. He was also a member of the prestigious Oxford & Cambridge Musical Club. When war broke out Moeran enlisted in the Norfolk Regiment, in which he was later commissioned. In 1917 Moeran went to France, where he was attached to the West Yorkshire Regiment, and wounded at Bullecourt on 3 May. His army records refer to a 'small gunshot wound' to the side of the neck, and a piece of shrapnel in his back, later removed. By the middle of August Moeran was declared 'free from any inconveniences' by a medical board and seconded to the Bedfordshire Regiment, at this time on garrison duty in Ireland around Boyle and County Roscommon. It was here that Moeran came to be bewitched by the Irish landscape which would later inform many of his best compositions. In October 1918 he tried out for the newly formed Royal Air Force, but after two months was returned to a reserve battalion of the Norfolk Regiment, and discharged in January 1919. After the war he returned for a few months to Uppingham School, where he was employed as a teacher of music. This role did not satisfy him and he returned to the Royal College of Music to resume his composition studies, now with John Ireland, who had been a pupil of Moeran's earlier teacher Charles Villiers Stanford. His first mature compositions, songs and chamber music, date from this time. He also began collecting and arranging folk music of Norfolk and other regions. He collected about 150 folk songs in Norfolk and Suffolk. His preferred method was to sit in a country pub and wait until an old man started singing. He noted the song down and then asked for more. According to the biography The Music of E. J. Moeran by Geoffrey Self (1986), he spent time living with gypsies, but no further details are available. He spent some time after the war living at Kington, Herefordshire. By the mid-1920s, Moeran had become close friends with Peter Warlock and they lived for some years in Eynsford, Kent, notorious among the locals for their frequent drunken revelry. For the rest of his life, Moeran had problems with alcohol, later joined by mental instability. After Warlock's death in 1930, Moeran became interested in his Irish roots and began spending much of his time in Kenmare, County Kerry. As a person, E. J. Moeran was greatly influenced by a number of people. However, it was the time spent with Peter Warlock in Eynsford that had the greatest impact on his life. While Warlock was seemingly capable of drinking alcohol to excess without any apparent long-term effects, Moeran developed a dependency which handicapped him for the remainder of his life. His later problems have been attributed to his war wound to the head, but this is incorrect. By 1930, Moeran had become an alcoholic. He married the cellist Peers Coetmore on 26 July 1945. Although the marriage was not entirely happy, it inspired two of Moeran's finest late works, the Cello Concerto and Cello Sonata. He died suddenly in 1950, probably from a cerebral haemorrhage, in Kenmare at the age of 55. He was found in the Kenmare River and it was at first assumed he had drowned. However, an inquest later established that he had died before falling into the water.

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1:51

Capriol Suite: IV. Bransles (Version for Full Orchestra)

Provided to YouTube by PIAS Capriol Suite: IV. Bransles (Version for Full Orchestra) · Ve...

published: 27 Nov 2022

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Capriol Suite: IV. Bransles (Version for Full Orchestra)

Capriol Suite: IV. Bransles (Version for Full Orchestra)

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Provided to YouTube by PIAS Capriol Suite: IV. Bransles (Version for Full Orchestra) · Vernon Handley · Ulster Orchestra Moeran: Serenade in G, Nocturne - Warlock: Serenade, Capriol Suite ℗ Chandos Records Released on: 1990-09-01 Conductor: Vernon Handley Orchestra: Ulster Orchestra Composer: Peter Warlock Auto-generated by YouTube.

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Serenade For Tenor, Horn, And String Orchestra, Op. 31: VI. Hymn (Presto e leggiero)

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published: 16 Feb 2018

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Serenade For Tenor, Horn, And String Orchestra, Op. 31: VI. Hymn (Presto e leggiero)

Serenade For Tenor, Horn, And String Orchestra, Op. 31: VI. Hymn (Presto e leggiero)

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Provided to YouTube by The Orchard Enterprises Serenade For Tenor, Horn, And String Orchestra, Op. 31: VI. Hymn (Presto e leggiero) · ROCO · Danielle Kuhlmann · Zach Averyt · Benjamin Britten · Mei-Ann Chen ROCO in Concert: Roco Celebrates Asia ℗ 2018 ROCO Released on: 2018-02-01 Auto-generated by YouTube.

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Elgar Introduction & Allegro for Strings Op.47 艾爾加 序奏與快板 作品47 エルガー 序奏 アレグロ Score Sheet 譜 谱【Kero】

【Kero】 Score Sheet 譜 樂譜 谱 乐谱 Partitura 楽譜付き Elgar Introduction & Allegro for Strings Op.47...

published: 10 Mar 2022

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Elgar Introduction & Allegro for Strings Op.47 艾爾加 序奏與快板 作品47 エルガー 序奏 アレグロ Score Sheet 譜 谱【Kero】

Elgar Introduction & Allegro for Strings Op.47 艾爾加 序奏與快板 作品47 エルガー 序奏 アレグロ Score Sheet 譜 谱【Kero】

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【Kero】 Score Sheet 譜 樂譜 谱 乐谱 Partitura 楽譜付き Elgar Introduction & Allegro for Strings Op.47 艾爾加 序奏與快板 作品47 艾尔加 序奏与快板 作品47 Elgar Introducción y Allegro para cuerdas エルガー 序奏 と アレグロ Classical music Música clásica クラッシック 古典音樂 古典音乐 #Elgar #Introduction #Allegro 00:00 Introduction 00:23 Allegro Sir Edward Elgar's Introduction and Allegro for Strings, Op. 47, was composed in 1905 for performance in an all-Elgar concert by the newly formed London Symphony Orchestra. Scored for string quartet and string orchestra, Elgar composed it to show off the players' virtuosity. Though initial critical reception was lukewarm at best, the score soon came to be recognized as a masterpiece. The work, which is roughly twelve to fourteen minutes in length, is like a multi-layered symphonic poem for string orchestra, with several prominent themes. The work is dedicated to Samuel Sanford, who had been instrumental in having Elgar awarded an honorary doctorate of music at Yale University on 28 June 1905,[2] where the Pomp and Circumstance March No. 1 was played for the first time at such a conferral ceremony. The piece opens with a tutti descending fanfare, which segues into a major-key moderato section, interspersed by an Allegretto e poco stringendo section consisting of two measures in length. Foreshadowing into a slow, lyrical theme played by the solo viola, Elgar cascades between solo voice and orchestra by use of echo. Elgar writes that this theme is a quotation of a song sung by a distant voice that he had heard during a holiday in Wales. An expressive, romantic section leads into a recapitulation of the opening fanfare and Welsh theme, ending the Introduction and transitioning jovially into the Allegro. The Allegro begins with a theme in G major built around a quarter-eighth-eighth note motif. 21 measures of nonstop sixteenth-notes build from piano to a powerful forte as the piece arrives at a hemiola-infused G major restatement of the Introduction's opening fanfare. Instead of a development section as would be expected in traditional sonata form, a new theme is introduced, a vigorous fugue in which the piece returns to the opening key of G minor. In a letter to his good friend A. J. Jaeger ("Nimrod" of the Enigma Variations), Elgar referred to this section as a "devil of a fugue". After the fugue concludes, the piece's themes are all recapitulated in G major, initially begun by a unison orchestra before dividing across echo between orchestra and solo quartet. With the Welsh theme repeating a succession of three times before striking a momentous fff, on which the orchestra is in unison again (see Polyphony), it is this time echoed by the solo quartet, a change from the rest of the piece. The Welsh theme appears in all its splendour in a triumphant coda for the fifth and final time, before ending with a ternary perfect cadence followed by a G major chord in which the whole orchestra plays pizzicato, except for the double basses, who play with their bows. Introduction and Allegro was composed in a neo-resurrected form of the Baroque concerto grosso. However, such solos are not confined solely to the solo quartet, but rather are distributed ever so often among the accompanying orchestra, such as at the first transition entering the Allegro. The solo quartet, however, often blend back into the orchestra, but rarely play exactly the same notes as the accompanying orchestra. Polyphony dictates much of the piece, often with multiple themes or motifs interleaving with one another. Since polyphony is the most complex of all musical textures, it comes as no surprise that Introduction and Allegro is an attempt to show the virtuosity of each musician performing the piece. Much of the piece focuses on the tremendous virtuoso-technicalities within the violin parts. After all, the piece "fully [reflects] Elgar's first-hand knowledge as a former violinist himself". This however adds complications in the lower-frequency instruments, particularly in the bass part, which can clearly be seen as one of the most challenging of string orchestra repertoire. This, however, could be Elgar reminiscing to the Baroque concerto grosso form, in which the cello and bass parts are sometimes the same.

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SMUS Large Ensembles Concert 2015: String Orchestra performs Sonata for Strings

The String Orchestra performs Jean-Marie Leclair's "Sonata for Strings" at the Large Ensem...

published: 23 Jan 2015

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SMUS Large Ensembles Concert 2015: String Orchestra performs Sonata for Strings

SMUS Large Ensembles Concert 2015: String Orchestra performs Sonata for Strings

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• published: 23 Jan 2015
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The String Orchestra performs Jean-Marie Leclair's "Sonata for Strings" at the Large Ensembles Concert on January 21, 2015. The concert showcases the Senior School’s musically inclined students who participate in our concert bands, orchestras and choirs. Subscribe to SMUSTube: http://www.youtube.com/user/smustube Read The SMUS Review weekly blog: http://blogs.smus.bc.ca/review/ Find us on Facebook: https://www.facebook.com/yoursmus Follow us on Twitter: https://twitter.com/gosmus Take a look at our website: http://www.smus.ca/ Located in Victoria, BC, Canada, St. Michaels University School has a diverse boarding program for Grades 8-12 and our day students join us for kindergarten up to graduation. We are an international community defined by our passion for education.

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Peter Warlock

Philip Arnold Heseltine (30 October 1894 – 17 December 1930), known by the pseudonym Peter Warlock, was a British composer and music critic. The Warlock name, which reflects Heseltine's interest in occult practices, was used for all his published musical works. He is best known as a composer of songs and other vocal music; he also achieved notoriety in his lifetime through his unconventional and often scandalous lifestyle.

As a schoolboy at Eton College, Heseltine met the British composer Frederick Delius, with whom he formed a close friendship. After a failed student career in Oxford and London, Heseltine turned to musical journalism, while developing interests in folk-song and Elizabethan music. His first serious compositions date from around 1915. Following a period of drift and inactivity, a positive and lasting influence on his work arose from his meeting in 1916 with the Dutch composer Bernard van Dieren; he also gained creative impetus from a year spent in Ireland, studying Celtic culture and language. On his return to England in 1918, Heseltine began composing songs in a distinctive, original style, while building a reputation as a combative and controversial music critic. During 1920–21 he edited the music magazine The Sackbut. His most prolific period as a composer came in the 1920s, when he was based first in Wales and later at Eynsford in Kent.

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This page contains text from Wikipedia, the Free Encyclopedia - https://wn.com/Peter_Warlock

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