"to the same-root verb: scherzare (""to joke"". ""to jest""; ""to play""). More rarely the similar meaning word ""badinerie"" (also spelled ""battinerie""; from French ""jesting"") has been used. Sometimes the word ""scherzando"" (""joking"") is used in musical notation to indicate that a passage should be executed in a playful manner. An early use of the word ""scherzo"" in music is in light-hearted madrigals of the early baroque period, which were often called ""scherzi musicali"", for example: Later, composers applied the term ""scherzo"", and sometimes ""badinerie"" to certain instrumental works in fast tempos in duple meter time signature, for example: The scherzo,"
"made clear from the word go.<br> The scherzo is entirely in additive rhythm. Additive rhythm means simply that short beats of two quavers and long beats of three quavers are added together indefinitely in a continuous flow of unequal beats. The movement has been called an 'additive structure', which I think very well describes it. At the central point heavy long beats are contrasted against light short beats in a kind of tour de force of inequality issuing in a climax of sound with ""brilliante"" trumpets to the foe. the movement then unwinds, via a cadenza-like passage for piano and"
"as the minuet evolved into the scherzo (literally, ""joke""; a faster-paced minuet). Both remained part of the romantic music period, which also saw the rise of various other nationalistic dance forms like the barcarolle, mazurka and polonaise. Also in the romantic music era, the growth and development of ballet extended the composition of dance music to a new height. Frequently, dance music was a part of opera. Modern popular dance music initially emerged from late 19th century's Western ballroom and social dance music. Dance music works often bear the name of the corresponding dance, e.g. waltzes, the tango, the bolero,"
"Scherzo (Stravinsky) Scherzo, sometimes also referred to as Scherzo in G minor, is one of Igor Stravinsky's earliest works for piano. It was composed in 1902. In 1902, when Stravinsky composed the piece, he was studying law at St. Petersburg University. He met Nikolai Rimsky-Korsakov's son Vladimir there. At this time, Stravinsky's ambition was to become a composer, since his father, Fyodor Stravinsky, was also a successful bass opera singer, but studied law out of being pressured into it by his family. However, he started coming to Nikolai's house in order to learn composition and orchestration. Very few juvenalia works"
"""scherzo"" which also begins with the cell-""grupetto"" as well as a reminiscence of the ""Dies Irae"", at least its first notes. The movement's main theme is a short melody, that we hear alternatively under its original form and its inversion, but the latter only appears briefly and episodically, spaced out by call signals and shudders of the orchestra which constitute an expressive background. In the central part, the cell-""grupetto"" comes back again, giving birth to a new theme which is repeated by a solo violin for a few bars, in a gypsy air. In the lyric calm of this movement,"
"Scherzo for Today Scherzo for Today or The Mission Part III is a short two-minute piece composed in 1985 by John Williams for use as the opening theme of NBC's ""The Today Show"", and was used until 2013. Like most scherzi, it is light and upbeat, and utilizes ternary or ""ABA"" form. The ""A"" theme, carried by the strings, is rather jumpy and loud, with the brass serving as a raucous accompaniment, and the ""B"" theme, the theme of ""The Today Show"", is smoother and more melodic. ""Scherzo for Today"" was introduced in tandem with several other new themes for"
"is a trio, a contrasting section not necessarily for only three instruments, as was often the case with the second minuet of classical suites (the first Brandenburg Concerto has a famous example). Scherzi occasionally differ from this traditional structure in various ways. The scherzo remained a standard movement in the symphony and related forms through the 19th century and beyond. Composers also began to write scherzi as pieces in themselves, stretching the boundaries of the form. In present-day compositions, the scherzo has also made appearances. Scherzo A scherzo (, ; ; plural scherzos or scherzi), in western classical music, is"
"summer of 1902 when Stravinsky was hoping to be accepted as his pupil. There is no evidence that Richter ever publicly performed the work, although he is known to have premiered the Piano Sonata in F sharp minor, another of Stravinsky's pieces which were dedicated to him. This scherzo is scored for solo piano and has a duration of only two minutes. As is customary, the scherzo has an ABA structure and is in . The scherzo part itself starts in G minor, initially marked ""Allegro"" by Stravinsky, but later changed to ""Vivo"", probably by Richter himself. The trio is"
"theme as an example of the classic trick of disguising 'one rhythmic structure as another'. The movement, which is in time, is entitled ""Scherzo"" but is actually in rondo form. The main theme undergoes many changes, until the end, where it ends quietly, on the very lowest notes of the piano of Beethoven's time. The movement plays with listener expectations through rhythmic ambiguity, unexpected harmonic shifts, and above all, the use of strategically placed silences. All of these characteristic examples of musical wit show the continuing influence of Haydn on Beethoven at this early stage in his composing career. Piano"
"Scherzo diabolico Scherzo diabolico (""Diabolical scherzo"") is the third of the Études in the minor keys, Op. 39 for solo piano by the French composer Charles-Valentin Alkan. It is in G minor. The piece is in ternary form, beginning in G minor, and having a trio in G major. It shares many similarities with Chopin's B-flat minor scherzo, Op. 31. The scherzo begins softly, with a phrase in G minor, coloured by a chromatic A. This chromaticism recurs throughout the scherzo by the use of the Neapolitan sixth. It is very driving and obsessive, containing numerous fast arpeggios. The trio,"
"Burlesque A burlesque is a literary, dramatic or musical work intended to cause laughter by caricaturing the manner or spirit of serious works, or by ludicrous treatment of their subjects. The word derives from the Italian ', which, in turn, is derived from the Italian ' – a joke, ridicule or mockery. Burlesque overlaps in meaning with caricature, parody and travesty, and, in its theatrical sense, with extravaganza, as presented during the Victorian era. ""Burlesque"" has been used in English in this literary and theatrical sense since the late 17th century. It has been applied retrospectively to works of Chaucer"
"In addition, the second movement is in A minor with episodes in A major, and the third movement, a scherzo, is in F major. The first movement starts with a long, expanded introduction marked ""Poco sostenuto"" (metronome mark: = 69) that is noted for its long ascending scales and a cascading series of applied dominants that facilitates modulations to C major and F major. From the last episode in F major, the movement transitions to ""Vivace"" through a series of no fewer than sixty-one repetitions of the note E. The ""Vivace"" ( = 104) is in sonata form, and is"
"III. Scherzo: Allegro vivace con delicatezza – Trio. The first part of the scherzo proper cadences not in the tonic or dominant, but in the subdominant. The second, B part, continues to modulate by ascending fourths, until it reaches the key of D-flat major. In this key, a new theme is presented, emphasizing the local subdominant (G-flat major, a further fourth upward) – first in the major mode, then in the minor, with an enharmonic shift to F-sharp minor. This harmonic excursion eventually leads, through A major and a B diminished triad, back to the tonic and the opening section."
"marked ""Moderato"" and modulates to G major. During the recapitulation, the piece modulates again to G minor. It ends, after presenting the theme once more, with a short coda. Since the Scherzo's rediscovery, it has appeared on several recordings including: Scherzo (Stravinsky) Scherzo, sometimes also referred to as Scherzo in G minor, is one of Igor Stravinsky's earliest works for piano. It was composed in 1902. In 1902, when Stravinsky composed the piece, he was studying law at St. Petersburg University. He met Nikolai Rimsky-Korsakov's son Vladimir there. At this time, Stravinsky's ambition was to become a composer, since his"
"male"", ""capisce"", ""mezzo"", ""va bene"", ""ecco"", ""ecco fatto"", ""ecco qui"", ""caspita"", ""schifoso"", ""gelateria"", ""cavolo"", ""incavolarsi"", ""pivete"", ""engambelar"", ""andiamo via"", ""tiramisu"", ""tarantella"", ""grappa"", ""stratoria"". Terms of endearment of Italian origin include ""amore"", ""bambino/a"", ""ragazzo/a"", ""caro/a mio/a"", ""tesoro"", and ""bello/a""; also ""babo"", ""mamma"", ""baderna"" (from ""Marietta Baderna""), ""carcamano"", ""torcicolo"", ""casanova"", ""noccia"", ""noja"", ""che me ne frega"", ""io ti voglio tanto bene"", and ""ti voglio bene assai"". Fewer words have been borrowed from Japanese. The latter borrowings are also mostly related to food and drink or culture-bound concepts, such as ""quimono"", from Japanese kimono, ""karaokê"", ""yakisoba"", ""temakeria"", ""sushi bar"", ""mangá"", ""biombo"" (from Portugal)"
"Lazzi Lazzi (; from the Italian ""lazzo"", a joke or witticism) are stock comedic routines that are traditionally associated with ""Commedia dell'arte"". Performers, especially those playing the masked Arlecchino, had many of these ""bits"" in their repertoire, and would use improvisatory skills to weave them into the plot of dozens of different commedia scenarios. These largely physical sequences could be improvised or preplanned within the performance and were often used to enliven the audience when a scene was dragging, to cover a dropped line or cue, or to delight an expectant audience with the troupe's specialized lazzi. Lazzi could be"
"Divertimento Divertimento (; from the Italian """" ""to amuse"") is a musical genre, with most of its examples from the 18th century. The mood of the """" is most often lighthearted (as a result of being played at social functions) and it is generally composed for a small ensemble. The term is used to describe a wide variety of secular (non-religious) instrumental works for soloist or chamber ensemble. It is usually a kind of music entertainment, although it could also be applied to a more serious genre. After 1780, the term generally designated works that were informal or light. As"
"was particularly important in the development of the canzonetta and the madrigal comedy, and wrote a large quantity of easily singable, popular, and often hilarious music. Some of his collections are satirical, for example setting to music ridiculous scenes at Venetian carnivals (""Mascarate piacevoli et ridicolose per il carnevale"", 1590), some of which are in dialect. Croce was one of the first composers to use the term capriccio, as a title for one of the canzonettas in his collection ""Triaca musicale"" (""musical cure for animal bites"") of 1595. Both this and the ""Mascarate piacevoli"" collections were intended to be sung"
"Scherzo à la russe (Stravinsky) Scherzo à la russe is a composition by Russian expatriate composer Igor Stravinsky. It was initially published by Chappell & Co. in 1945 and premiered in March 1946 by the San Francisco Symphony Orchestra, conducted by the composer himself. It was later published by Boosey & Hawkes. Stravinsky had been going through economical problems since he moved to America, partially because he lost the royalties from his works in Europe and had to compose more works to exploit them in America. The ""Scherzo à la russe"" was first conceived as a work for film use,"
"""piano"" in which the piano timidly puts forth the second ""narrante"" theme, echoes its last notes, repeats it ""pianissimo"", ever fading. Pizzicato strings point several more times to the opening theme, the significance of which has now been revealed. The scherzo is of an exceptionally strict form considering the piano part. The right and left hand play a stubborn unison, almost 1500 semiquavers each, literally without a moment's pause: Robert Layton describes the soloist in this movement being like ""some virtuoso footballer who retains the initiative while the opposing team (the orchestra) all charge after him"". At around ten notes"
"in the major mode (C-sharp major), which in turn leads (as the dominant of F-sharp minor) back to the A section, here somewhat transformed, with new accompanimental figuration. The final bars of the movement feature rolled chords that prefigure the opening of the following Scherzo. III. Scherzo: Allegro vivace – Trio: Un poco più lento. The A section of the scherzo uses a playful leaping rolled chord figure that is rhythmically and harmonically reminiscent of the opening bars of the sonata. The B section is dominated by the juxtaposition of two distant tonal realms. It commences in C-major for a"
"Vecchi. Madrigal comedy Madrigal comedy is a term for a kind of entertainment music of the late 16th century in Italy, in which groups of related, generally ""a cappella"" madrigals were sung consecutively, generally telling a story, and sometimes having a loose dramatic plot. It is an important element in the origins of opera. The term is of 20th-century origin, popularised by Alfred Einstein. The first collection of madrigals, sung as a set and telling a coherent (and highly comic) story, was ""Il cicalamento delle donne al bucato"" (the gossip of wives in the laundry), by Alessandro Striggio, which was"
"scherzo of Bruckner's symphonies. A Ländlerthema, recited in the Second Violin, forms the actual core idea of the light-footed work, contrasted by a classical-playful dissociation of the First Violin. The middle section Bruckner calls ""almost Andante"" to take. A renewed slowdown almost brings it to a standstill until the original main idea once again gains central importance. Striking are the numerous harmonic halftone movements from D minor to D flat major. While the opening movement and the finale are in F major, the Scherzo in D minor and the trio in E flat major, the third movement (4/4 time) in"
"Scherzo in A-flat major (Borodin) Alexander Borodin's Scherzo in A-flat major is a lively piece written in 1885, while Borodin was in Belgium for an early performance of his then incomplete opera ""Prince Igor"". It was originally written for solo piano but in 1889 Alexander Glazunov orchestrated it, along with the ""Petite Suite"". Borodin dedicated the piece to Théodore Jadoul, who made a four-hand piano arrangement of it. The Scherzo can be recognized as one of Borodin's compositions instantaneously because of its bright tone, pounding rhythms and exciting melodies. In the main theme of the piece a constant rhythm is"
"reply with totally unconnected and, more often than not, heavily offensive behaviour. Merda (""Shit""): a mute strip where various characters are nonsensically obsessed by their relationship with excrement. Circo (""Circus""): about the adventures of a circus whose animals indulge in embarrassing activities just when the show is to start. Federico Maria Sardelli Federico Maria Sardelli (born 1963) is an Italian conductor, historicist, composer, musicologist, flautist, comics artist and satirist. He founded the medieval ensemble Modo Antiquo in 1984. In 1987 he founded the baroque orchestra Modo Antiquo. The orchestra made its debut with the first performance in modern times of"
"scherzo from the D 708A symphonic fragment as the third movement. In this aspect, Bartholomée's edition is debatable as the fragment seems to have been conceived by Schubert in a three-movement form, with the third movement combining elements of a Scherzo and a Rondo. Additionally, Bartholomée did not respect the instruments available at Schubert's time, when he wrote for chromatic horns and trumpets. Luciano Berio's ""Rendering"", composed in 1989, is based on the sketches for this symphony. Symphony No. 10 (Schubert) Schubert's Symphony No. 10 in D major, D 936A, is an unfinished work that survives in a piano sketch."
"scherzo is in the key of D minor and is in sonata form with a trio inserted in the development. Contrary to Brahms' ""tiny wisp of a scherzo"" remark, it is a tumultuous movement. The piano and orchestra introduce the theme and develop it before a quiet section intervenes. Soon afterwards the piano and orchestra launch into a stormy development of the theme before coming to the central episode (in D major). The central episode is brisk and begins with the full orchestra before yet another quiet section intervenes; then the piano is integrated into the orchestral effect to repeat"
"it comes to B-flat major providing a dominant for the E-flat major second theme notable for its triplets. It changes keys and, again through B-flat major, returns to the first theme in A-flat major appearing with a modified accompaniment. The first idea of the ""Scherzo"" is a dance-like tune in F major. It consists of an 8-bar statement, an 8-bar contrasting section (based on the previous) and an 8-bar concluding restatement, that is loosely entwined with the further section: after 8 additional bars serving as a transition (with a first violin passage) the theme is heard a tone higher, in"
"scherzo with the sort of cross-rhythm which often appears in Dvořák's music; and a more peaceful trio marked ""Poco meno mosso"" (slightly slower), without cross-rhythm, in A major. The fourth movement, initially marked ""Poco adagio"", is a theme and ten short variations. Although the key is shown as C major, each phrase is heard as being in C minor which resolves into C major. There are several changes of tempo during the movement, and each variation has distinct rhythms and dynamics. The tempo is ""Molto allegro"" for the simple, rapid rhythms of the last two variations which conclude the work."
"movement is a scherzo in time, which depicts country folk dancing and reveling. It is in F major, returning to the main key of the symphony. The movement is an altered version of the usual form for scherzi, in that the trio appears twice rather than just once, and the third appearance of the scherzo theme is truncated. Perhaps to accommodate this rather spacious arrangement, Beethoven did not mark the usual internal repeats of the scherzo and the trio. Theodor Adorno identifies this scherzo as the model for the scherzos by Anton Bruckner. The final return of the theme conveys"
"bars after rehearsal number 46 . The third movement (Vivace con fuoco) is a scherzo, written in 2/2 time with an inner pulsation of triplets. The thematic material is drawn entirely from the first movement, especially from the second part of the first thematic group. After a dense opening passage, the texture gradually thins out, eventually giving way to a sort of chorale (taking the place of the conventional trio section), though with continuing bursts from the first theme. This central section closes in a ""triumphal"" quality, with suggestons of the secondary thematic group from the first movement. This scherzo"
"Scherzo No. 1 (Chopin) The Scherzo No. 1 in B minor, Op. 20, is a composition for solo piano written by Frédéric Chopin between 1831 and 1832 and dedicated to Thomas Albrecht. The piece begins with the tempo marking ""Presto con fuoco"". The piece is dark, dramatic, and lively. It is complex and considered to be one of Chopin's more difficult works. This first Scherzo takes A-B-A-Coda form and begins with two chords in fortissimo. At tremendous speed, a series of dramatic outbursts in the B minor tonic follows. Near the center of the piece, the music leads into a"
"form : After these developments by Lully, composers occasionally inserted a modified repetition of the first (A) section or a section that contrasted with both the A section and what was thereby rendered the third or C section, yielding the form A–A′–B–A or A–B–C–A, respectively; an example of the latter is the third movement of Mozart's Serenade No. 13 in G major, K. 525, popularly known under the title ""Eine kleine Nachtmusik"". A livelier form of the minuet simultaneously developed into the scherzo (which was generally also coupled with a trio). This term came into existence approximately from Beethoven onwards,"