"mother. Paolo is the more shy of the group, who is in search of himself and of love. In Greece the three know beautiful girls, however also suffer betrayals of love. At the end of the story, only Manuel discovers himself, becoming more loving and positive towards life. What Will Happen to Us What Will Happen to Us () is a 2004 Italian romantic comedy film directed by Giovanni Veronesi. In Rome three friends end to give the exams in last year of grammar high school, and grant a lovely summer holiday in Greece, on the island of Santorini. Matteo"
"The Toccata utilises some Armenian folk melodies and rhythms, as well as baroque and contemporary 20th Century techniques. It begins ""Allegro marcatissimo"". A central section ""Andante espressivo"" leads to a reprise of the opening motifs. The coda is based on the central section's theme. It lasts around 5 minutes. Those who have recorded the Toccata include Benno Moiseiwitsch, Shura Cherkassky, Felicja Blumental, Mindru Katz, Ruth Laredo, Roland Pöntinen and Murray McLachlan. Toccata (Khachaturian) The Toccata in E-flat minor is a piece for solo piano written in 1932 by Aram Khachaturian. It is a favorite of piano students, and has been"
"intended for organ or clavichord: 10 toccatas (subtitled ""Musicalische Blumen-Felder""), 8 Magnificat settings, and three variation sets. The music has clearly traceable Italian influences, with direct borrowings: one of the variation sets is built on a theme by Bernardo Pasquini, there is also a passage from Bernardo Storace in the ""Spangioletta"" variation set, and a verset by Alessandro Poglietti (quinti toni no. 3). The influence of contemporary southern organists is also apparent, particularly that of Georg Muffat and Johann Caspar Ferdinand Fischer. The toccatas are unusually short for the genre; most consist of three (toccata-fugue-toccata) sections. There are some interesting"
"of the word toccata; and the first movement (""Schnelle halbe"") of Paul Hindemith's fifth Kammermusik (a viola concerto) is written as a toccata. Another contemporary composer who has written many toccatas is Emma Lou Diemer (b. 1927). In addition to several toccatas for organ, she has written three for piano (one, written in 1979, is frequently played), one for flute chorus, one for violin and piano, one for solo timpani and one for six mallet percussion. Russian jazz composer Nikolai Kapustin composed a toccatina as part of his Eight Concert Etudes, Op. 40. The symphonic rock band Sky released an"
"A Toccata of Galuppi's ""A Toccata of Galuppi's"" is a poem by Robert Browning, originally published in the 1855 collection ""Men and Women"". The title refers to the fact that the speaker is either playing or listening to a toccata by the 18th-century Venetian composer Baldassare Galuppi. The poem consists of fifteen rhymed tercets; its prevailing meter is trochaic octameter catalectic. It is not known whether Browning was thinking of any one piece by Galuppi; in Galuppi's time, the terms ""toccata"" and ""sonata"" were less clearly differentiated than they later became, and were used interchangeably. A number of Galuppi's sonatas"
"Toccata (Prokofiev) The Toccata in D minor, Op. 11 is a piece for solo piano, written by Sergei Prokofiev in 1912 and debuted by the composer on December 10, 1916 in Petrograd. It is a further development of the toccata form, which has been used by composers such as Johann Sebastian Bach and Robert Schumann. Other composers of well-known toccatas include Maurice Ravel, Dmitri Kabalevsky and Aram Khachaturian. Prokofiev's Toccata starts off with a persistent repetition of the note D, interchanged between the right hand (which plays the single note) and the left hand (which plays the same note but"
"as a homage to one of the oldest forms of keyboard music. Secondo libro di toccate (Frescobaldi) Il secondo libro di toccate (""""The Second Book of Toccatas"""") is a collection of keyboard music by Girolamo Frescobaldi, first published in 1627. A work of immense historical importance, it includes the first known chaconne and passacaglia, as well as the earliest set of variations on an original theme (i.e. not a popular song, as in all earlier music). ""Il secondo libro di toccate"" is widely regarded as a high point in Frescobaldi's oeuvre. Like Frescobaldi's first book of toccatas (1615), ""Il secondo"
"Toccata (Khachaturian) The Toccata in E-flat minor is a piece for solo piano written in 1932 by Aram Khachaturian. It is a favorite of piano students, and has been recorded many times. Khachaturian wrote this work as the first movement of a three-movement suite for piano: He wrote the suite in 1932 while studying at the Moscow Conservatory under Nikolai Myaskovsky. However, the Toccata became so well known so quickly that it is now considered a separate piece; the suite from which it came is little known. The first performance was given by then-classmate Lev Oborin, who also recorded it."
"Secondo libro di toccate (Frescobaldi) Il secondo libro di toccate (""""The Second Book of Toccatas"""") is a collection of keyboard music by Girolamo Frescobaldi, first published in 1627. A work of immense historical importance, it includes the first known chaconne and passacaglia, as well as the earliest set of variations on an original theme (i.e. not a popular song, as in all earlier music). ""Il secondo libro di toccate"" is widely regarded as a high point in Frescobaldi's oeuvre. Like Frescobaldi's first book of toccatas (1615), ""Il secondo libro di toccate"" contains compositions in various forms: Accordingly, the full title"
"word ""toccata"" in its original sense, using its root meaning of ""toccare"", or ""to touch"", which he used to display the various touches an artist can give a performance, rather the different lyrical shades. For the U.S premier, during which the composer himself conducted the Los Angeles Philharmonic, Chávez wrote in the program notes that ""The Toccata was written as an experiment in orthodox percussion instruments – those used regularly in symphony orchestras, that is, avoiding the exotic and the picturesque. Therefore it relies on its purely musical expression and formalistic structure."" The first and last movements of the three-movement"
"name and date refer to an entry in the Sources section below: Unless otherwise indicated all weblinks in numbered footnotes checked and accessed 09:13, 6 April 2016 (UTC). Sheet music Recordings Mixed media (sheet music and recordings) Toccata and Fugue in D minor, BWV 565 The Toccata and Fugue in D minor, BWV 565, is a piece of organ music written, according to its oldest extant sources, by Johann Sebastian Bach. The piece opens with a toccata section, followed by a fugue that ends in a coda. It is one of the most famous works in the organ repertoire. Scholars"
"month of each year in honor of Tezcatlipoca (the ""smoking mirror"" or ""mirror of fire""). The Toccata is composed for 2 snare drums, Indian drums (1 small and 1 or 2 larger ones), 2 tenor drums, bass drum, claves, maraca, 2 suspended cymbals, large and small gongs, 2 tubular chimes, glockenspiel, xylophone, and 3 timpani, distributed among six players. It is in three movements, played without a break. The Toccata was one of the first major pieces written for percussion ensemble alone, becoming a cornerstone in rhythmic music. Originally, a toccata was a fast, virtuosic composition. However, Chávez applied the"
"toccata by Bach), which contributed to its fame. Recordings of BWV 565 that have appeared on popular music charts include Sky's 1981 rock-inspired recording (#83 on ""Billboard"" Hot 100) and Vanessa-Mae's 1996 violin recording (#24 on the Billboard charts). In 1993, Salvatore Sciarrino made an arrangement for solo flute, recorded by Mario Caroli. A version for solo horn was made by Zsolt Nagy and has been performed by Frank Lloyd. In the mid-1990s Fred Mills, then trumpet player for Canadian Brass, created an adaptation for brass quintet that became a worldwide standard for brass ensembles. References consisting of a last"
"he wrote is what I heard in my own ear"". Dorham chose the title ""Trompeta Toccata"" ""since the term ""toccata"" comes from a Latin language base, and since the song is in 6/8 with an Afro-Latin feeling; it seemed logical to make the whole title Latin"". According to Dorham, ""Night Watch"", a bluesy piece, speaks of the night and darkness; ""It's very late at night, and the mood is what comes when you're alone at that time"". ""Mamacita"" is a 12-bars bossa nova. During its recording, Dorham recalls that once they got started on it, they caught fire; even Blue"
"didactic in nature, showing different kinds of figuration, and presenting different kinds of performance problems. These four ""toccate"" are among the earliest examples of the etude. The ""Prima parte"" also includes toccatas by other composers of the time, chosen for their musical and didactic value: Claudio Merulo, Andrea Gabrieli, Giovanni Gabrieli, Luzzasco Luzzaschi, Antonio Romanini, Paolo Quagliati, Vincenzo Bellavere and Gioseffo Guami. The ""Seconda parte"" includes ricercares by Luzzaschi, Gabriele Fattorini and Adriano Banchieri. Girolamo Diruta Girolamo Diruta (c. 1554 – after 1610) was an Italian organist, music theorist, and composer. He was famous as a teacher, for his treatise"
"Toccata, Adagio and Fugue in C major, BWV 564 Toccata, Adagio, and Fugue in C major (BWV 564) is an organ composition by Johann Sebastian Bach. As is the case with most other organ works by Bach, the autograph score does not survive. The earliest manuscript copies were probably made in 1719–1727. The title of the piece in these copies is given, as expected of organ literature of the time, simply as ""Toccata in C major"" (or more precisely, ""Toccata ped: ex C"" in one source and ""Toccata ex C pedaliter"", referring to the obbligato pedal part). The piece is"
"Cantata A cantata (literally ""sung"", past participle feminine singular of the Italian verb ""cantare"", ""to sing"") is a vocal composition with an instrumental accompaniment, typically in several movements, often involving a choir. The meaning of the term changed over time, from the simple single voice madrigal of the early 17th century, to the multi-voice ""cantata da camera"" and the ""cantata da chiesa"" of the later part of that century, from the more substantial dramatic forms of the 18th century to the usually sacred-texted 19th-century cantata, which was effectively a type of short oratorio. Cantatas for use in the liturgy of"
"Toccata and Fugue in D minor, BWV 565 The Toccata and Fugue in D minor, BWV 565, is a piece of organ music written, according to its oldest extant sources, by Johann Sebastian Bach. The piece opens with a toccata section, followed by a fugue that ends in a coda. It is one of the most famous works in the organ repertoire. Scholars differ as to when it was composed. It could have been as early as 1704 (when the presumed composer was still in his teens), which would be one explanation for the unusual features; alternatively a date as"
"Toccata and Fugue in F major, BWV 540 The Toccata and Fugue in F Major, BWV 540 is an organ work written by Johann Sebastian Bach. The toccata is thought to be written after 1714, and the fugue before 1731. It is thought by some that Bach joined together two previously separate pieces to create this work. The toccata starts with a large linear canon (imitation theme, one hand imitating the other) over a pedal point in F major. It is then followed by a pedal solo vamping material from the canon. The canon is reiterated with some variations in"
"usually have exactly the same music and only in later ballate pick up the (formerly distinctly French) first and second (open and close) endings. The term comes from the verb ""ballare"", to dance, and the form certainly began as dance music. The ballata was one of the most prominent secular musical forms during the trecento, the period often known as the Italian ""ars nova"". Ballate are sung at the end of each day of Boccaccio's ""Decameron"" (only one musical setting of these poems, by Lorenzo da Firenze, survives). Early ballate, such as those found in the Rossi Codex are monophonic."
"of rapid chord progressions combined with a powerful tune (often played in the pedal). The most famous examples are the ending movement of Charles-Marie Widor's ""Symphony No. 5"", and the Finale of Louis Vierne's ""Symphony No. 1"". More recently, John Rutter wrote ""Toccata in 7"", so called because of its time signature. Toccatas occasionally make appearances in works for full orchestra; a notable example is the final movement of the Eighth Symphony of Ralph Vaughan Williams. As for toccatas written for string instruments, the final movement of John Adams' ""Violin Concerto"" is entitled ""Toccare,"" a possible reference to the origins"
"Toccata for Percussion Instruments (Chávez) The Toccata for Percussion Instruments (1942), was written by the twentieth-century Mexican composer Carlos Chávez. It is among his most popular compositions. The composition is written for six musicians playing a number of percussion instruments. Chávez was approached in the 1930s by the avant-garde composer John Cage, who asked whether Chávez could compose a piece for the percussion ensemble that was touring with Cage. The 12-minute piece was complete in 1942, in time for Cage's West Coast tour. However, the ensemble was unable to perform the piece, due to the challenging sustained drum rolls in"
"Sonata Sonata (; Italian: , pl. ""sonate""; from Latin and Italian: ""sonare"", ""to sound""), in music, literally means a piece ""played"" as opposed to a cantata (Latin and Italian ""cantare"", ""to sing""), a piece ""sung"". The term evolved through the history of music, designating a variety of forms until the Classical era, when it took on increasing importance, and is vague. By the early 19th century, it came to represent a principle of composing large-scale works. It was applied to most instrumental genres and regarded—alongside the fugue—as one of two fundamental methods of organizing, interpreting and analyzing concert music. Though"
"Roger Sessions, Siegfried Strohbach, Michael Tippett, and Kurt Weill. Cantata A cantata (literally ""sung"", past participle feminine singular of the Italian verb ""cantare"", ""to sing"") is a vocal composition with an instrumental accompaniment, typically in several movements, often involving a choir. The meaning of the term changed over time, from the simple single voice madrigal of the early 17th century, to the multi-voice ""cantata da camera"" and the ""cantata da chiesa"" of the later part of that century, from the more substantial dramatic forms of the 18th century to the usually sacred-texted 19th-century cantata, which was effectively a type of"
"of fugue, particularly one of a serious character in which the subject uses long note values. However the term has a considerably more varied historical usage. In the sixteenth century, the word ricercar could refer to several types of compositions. Terminology was flexible, even lax then: whether a composer called an instrumental piece a toccata, a canzona, a fantasia, or a ricercar was clearly not a matter of strict taxonomy but a rather arbitrary decision. Yet ricercars fall into two general types: a predominantly homophonic piece, with occasional runs and passagework, not unlike a toccata, found from the late fifteenth"
"and Francesco Guicciardini. It would later become the official language of all the Italian states and of the Kingdom of Italy, when it was formed. Tuscany has a rich ancient and modern musical tradition, and has produced numerous composers and musicians, including Giacomo Puccini and Pietro Mascagni. Florence is the main musical centre of Tuscany. The city was at the heart of much of the Western musical tradition. It was there that the Florentine Camerata convened in the mid-16th century and experimented with setting tales of Greek mythology to music and staging, resulting in the first operas, fostering the further"
"Add MS 29987 London, British Library, MS. Add. 29987 is a medieval Tuscan musical manuscript dating from the late fourteenth or early fifteenth century. It contains a number of polyphonic Italian Trecento madrigals, ballate, sacred Mass movements, and motets, and fifteen untexted monophonic instrumental dances which are among the earliest purely instrumental pieces in the Western musical tradition. The manuscript apparently belonged to the de' Medici family in the fifteenth century, and by 1670 to Carlo di Tommaso Strozzi; it was in the British Museum from 1876, where it was catalogued as item 29987 of the Additional manuscripts series. It"
"Trompeta Toccata Trompeta Toccata is a 1964 jazz album by trumpeter Kenny Dorham. It was released on Blue Note label in 1965 as BST 84181. It was remastered by Rudy Van Gelder in 2006. ""Trompeta Toccata"", as the previous ""Una Mas"", features only four pieces, three of which were written by Dorham himself. They are mostly extended pieces featuring long trumpet and saxophones solos. Like many Dorham compositions, they incorporate elements of Latin music and blues. ""Trompeta Toccata"" is recognized by some critics as one of Dorham's most enduring works, recorded in his most prolific and inspired period. Although many"
"to the mid-sixteenth century, after which time this type of piece came to be called a ""toccata""; and from the second half of the sixteenth century onward, a sectional work in which each section begins imitatively, usually in a variation form. The second type of ricercar, the imitative, contrapuntal type, was to prove the more important historically, and eventually developed into the fugue. Marco Dall'Aquila (c.1480–after 1538) was known for polyphonic ricercars. Examples of both types of ricercars can be found in the works of Girolamo Frescobaldi, e.g. in his ""Fiori musicali"". Ricercar A ricercar (, also spelled ricercare, recercar,"
"le Piano"" and also ""Jardins sous la pluie"" (which is a toccata but not in name), and York Bowen's Toccata Op. 155. Kaikhosru Shapurji Sorabji wrote four toccatas for solo piano, while Moises Moleiro wrote two. George Enescu's Piano Suite No. 2, Op. 10, opens with a toccata. The first movement of Benjamin Britten's Piano Concerto is a toccata, as is the first movement of Nikolai Medtner's 2nd piano concerto. The toccata form was of great importance in the French romantic organ school, something of which Jacques-Nicolas Lemmens laid the foundation with his ""Fanfare"". Toccatas in this style usually consist"
"starring Anthony Perkins and directed by Jules Dassin. The toccata opens the piece ""The Only Way"" by Emerson, Lake and Palmer. Toccata and Fugue in F major, BWV 540 The Toccata and Fugue in F Major, BWV 540 is an organ work written by Johann Sebastian Bach. The toccata is thought to be written after 1714, and the fugue before 1731. It is thought by some that Bach joined together two previously separate pieces to create this work. The toccata starts with a large linear canon (imitation theme, one hand imitating the other) over a pedal point in F major."
"by the composer Dominick Argento. The singer-songwriter Kris Delmhorst based her song ""Galuppi Baldassare"", the first track of her 2006 album ""Strange Conversation"" on the poem, using many of the words and theme as a basis for her own lyrics. A Toccata of Galuppi's ""A Toccata of Galuppi's"" is a poem by Robert Browning, originally published in the 1855 collection ""Men and Women"". The title refers to the fact that the speaker is either playing or listening to a toccata by the 18th-century Venetian composer Baldassare Galuppi. The poem consists of fifteen rhymed tercets; its prevailing meter is trochaic octameter"
"musicali"", Frescobaldi's two books of ""toccatas"" and ""partitas"" (1615 and 1627) are his most important collections. His ""toccatas"" could be used in masses and liturgical occasions. These ""toccatas"" served as preludes to larger pieces, or were pieces of substantial length standing alone. The ""Secondo libro"", written in 1627, stretches the conception of the genres included in the first book of ""toccatas."" More variety is introduced with different rhythmic techniques and four organ pieces. Both books open with a set of twelve ""toccatas"" written in a flamboyant improvisatory style and alternating fast-note runs or ""passaggi"" with more intimate and meditative parts,"