Who composed the Symphonie Fantastique?
"Strasbourg, Timpani Records, 2005 • Presto, dir. François-Xavier Roth, Les Siècles, Mirare, 2007 • Bizet - Chabrier, dir. François-Xavier Roth, Les Siècles, Mirare - Diapason Découverte, 2007 • Saint-Saëns - Chausson - Ysaÿe, dir. François-Xavier Roth, violon : Tedi Papavrami, Orchestre Philharmonique de Liège, Aeon, 2009 • Thierry Pécou - La Symphonie du Jaguar, dir. François-Xavier Roth, Orchestre Philharmonique de Radio France, Harmonia Mundi, 2009 • Berlioz - Symphonie fantastique, dir. François-Xavier Roth, Les Siècles, «Les Siècles Live», Ed. Musicales Actes Sud, Distri. Harmonia Mundi, 2010 • Saint-Saëns - Concerto pour piano n°3 et Symphonie n'°3 avec orgue, dir. François-Xavier"
"Concerto Fantastique Concerto Fantastique is an orchestral composition in four movements by the American composer Ralph Shapey. The work was commissioned by the Chicago Symphony Orchestra, who first performed the work under the composer on November 21, 1991. It was a finalist for the 1992 Pulitzer Prize for Music. ""Concerto Fantastique"" has a duration of roughly one hour and is composed in four movements: The first movement, ""Variations,"" is dedicated to the University of Chicago, at which Shapey was on faculty from the mid-1960s until his retirement in 1991. The second movement, ""Elegy,"" is dedicated to the late Chicago-based philanthropist"
"was more impressive. We were entirely unanimous on that point, and we did not expect to be overruled."" Concerto Fantastique Concerto Fantastique is an orchestral composition in four movements by the American composer Ralph Shapey. The work was commissioned by the Chicago Symphony Orchestra, who first performed the work under the composer on November 21, 1991. It was a finalist for the 1992 Pulitzer Prize for Music. ""Concerto Fantastique"" has a duration of roughly one hour and is composed in four movements: The first movement, ""Variations,"" is dedicated to the University of Chicago, at which Shapey was on faculty from"
"but wanted to buy the synopsis of his opera, ""Le Vaissau fantôme"", to be put to music by a French composer, Louis-Philippe Dietsch. Wagner sold the work for five hundred francs, and returned home in 1842. The French composer Hector Berlioz had come to Paris from Grenoble in 1821 to study medicine, which he abandoned for music in 1824, attending the Conservatory in 1826, and won the ""Prix de Rome"" for his compositions in 1830. He was working on his most famous work, the ""Symphonie Fantastique"", at the time of the July 1830 revolution. It had its premiere on 4"
"Fantasia No. 3 (Mozart) Fantasia No. 3 in D minor, K. 397/385g (""Fantasy"" in English, ""Fantasie"" in German) is a piece of music for solo piano composed by Wolfgang Amadeus Mozart in 1782. Despite being unfinished at Mozart's death, the piece is nonetheless one of his more popular compositions for the piano. The original manuscript has not survived and the final measures of the piece have been lost or were never completed by Mozart. The ending as it currently exists (last 10 measures) is believed to have been written by August Eberhard Müller, one of the composer's admirers. The ""Fantasia"""
"Symphony in D minor (Franck) The Symphony in D minor is the most famous orchestral work and the only mature symphony written by the 19th-century Belgian composer César Franck. After two years of work, the symphony was completed 22 August 1888. It was premiered at the Paris Conservatory on 17 February 1889 under the direction of Jules Garcin. Franck dedicated it to his pupil Henri Duparc. The score calls for 2 flutes, 2 oboes, cor anglais, 2 soprano clarinets, bass clarinet, 2 bassoons, 4 horns, 2 cornets, 2 trumpets, 3 trombones, tuba, 3 timpani, cymbals, triangle, bass drum, tam-tam harp"
"Fantasia in F minor (Schubert) The Fantasia in F minor by Franz Schubert, D.940 (Op. posth. 103), for piano four-hands (two players at one piano), is one of Schubert’s most important works for more than one pianist and one of his most important piano works altogether. Schubert composed it in 1828, the last year of his life, and dedicated it to his pupil, Karoline Esterházy. Musicologist Christopher Gibbs has characterized the work as ""among not only his greatest but his most original"" compositions for piano duet. Schubert began writing the Fantasia in January 1828 in Vienna. The work was completed"
"Fantasie in C (Schumann) The Fantasie in C major, Op. 17, was written by Robert Schumann in 1836. It was revised prior to publication in 1839, when it was dedicated to Franz Liszt. It is generally described as one of Schumann's greatest works for solo piano, and is one of the central works of the early Romantic period. It is often called by the Italian version, ""Fantasia""; the word ""Fantasie"" is the German spelling. The Fantasie is in loose sonata form. Its three movements are headed: The first movement is rhapsodic and passionate; the middle movement is a grandiose rondo"
"through several sections, most of them imitative. The layout is as follows: Racquet's ""Fantaisie"" is a unique piece in the entire French keyboard repertory; nothing like it was ever written again in France. Charles Racquet Charles Racquet (1597–1664) was a French organist and composer, best known for his monumental organ ""Fantaisie"". He came from a large family of Parisian organists and himself was appointed organist of Notre Dame de Paris at an early age, in 1618. He held the post until shortly before his death and was succeeded by another member of the Racquet family. He also served as musician"
"his most famous work, the ""Symphonie Fantastique"", at the time of the July 1830 revolution. It had its premiere on 4 December 1830. Three Paris theaters were permitted to produce operas under Louis Philippe: The Royal Academy of Music on rue Le Peletier; the Opéra-Comique; and the Théâtre-Italien, nicknamed ""Les Bouffes"". The Royal Academy, financed by the government, was in dire financial difficulties. In February, the government handed over management of the theater to a gifted entrepreneur, Doctor Véron, who had become wealthy selling medicinal ointments. Véron targeted the audience of the newly-wealthy Parisian businessmen and entrepreneurs; he redesigned the"
"Fantasio (Smyth) Fantasio is an opera in two acts composed by Ethel Smyth. The German-language libretto was written by Smyth and Henry Bennet Brewster. Described in the libretto as a ""phantastische Comödie"" (fantastic comedy), it was based on Alfred de Musset's 1834 play of the same name. The opera premiered at the Deutsches Nationaltheater in Weimar on 24 May 1898. Smyth turned to composing opera on the advice of conductor Hermann Levi, who praised her aptitude for dramatic composition when she showed him her Mass in D in Munich. The idea of adapting a play by Alfred de Musset came"
"of the ""Symphonie fantastique""; fifty years later Edward Sackville-West and Desmond Shawe-Taylor found it ""romantic and picturesque ... Berlioz at his best"". In the 21st century Bonds ranks it among the greatest works of its kind in the 19th century. The ""Dramatic Symphony"" with chorus, ""Roméo et Juliette"" (1839), is still further from the traditional symphonic model. The episodes of Shakespeare's drama are represented in orchestral music, interspersed with expository and narrative sections for voices. Among Berlioz's admirers the work divides opinion. Weingartner called it ""a style-less mixture of different forms; not quite oratorio, not quite opera, not quite symphony"
"Francis Poulenc Francis Jean Marcel Poulenc (; 7 January 189930 January 1963) was a French composer and pianist. His compositions include ""mélodies"", solo piano works, chamber music, choral pieces, operas, ballets, and orchestral concert music. Among the best-known are the piano suite ""Trois mouvements perpétuels"" (1919), the ballet ""Les biches"" (1923), the ""Concert champêtre"" (1928) for harpsichord and orchestra, the Organ Concerto (1938), the opera ""Dialogues des Carmélites"" (1957), and the ""Gloria"" (1959) for soprano, choir and orchestra. As the only son of a prosperous manufacturer Poulenc was expected to follow his father into the family firm, and he was"
"Edwin Fischer, Nelson Freire, Vladimir Horowitz, Wilhelm Kempff, Alicia de Larrocha, Murray Perahia, Maurizio Pollini, Sviatoslav Richter, Burkard Schliessmann, Mitsuko Uchida, Lars Vogt and Vladimir Sofronitsky. Recent recordings have been made by Stephen Hough, András Schiff, Marc-André Hamelin, Bernd Glemser and Severin von Eckardstein. Fantasie in C (Schumann) The Fantasie in C major, Op. 17, was written by Robert Schumann in 1836. It was revised prior to publication in 1839, when it was dedicated to Franz Liszt. It is generally described as one of Schumann's greatest works for solo piano, and is one of the central works of the early"
"Symphony), received its world premiere recording in 2011 for CD label Cameo Classics, nearly 100 years after its composition. Written in 1912, the second movement, 'Elegy', commemorates Robert Falcon Scott's death in the Antarctic that year. The Malta Philharmonic Orchestra was conducted by its Musical Director, Michael Laus. The symphony (of nearly 37 minutes duration) is coupled with two other premiere recordings of British orchestral works, Alexander MacKenzie's Tone Poem, 'La Belle Dame sans Merci', and Josef Holbrooke's Pantomime Suite op.16 on CC9034CD. Arthur Somervell Sir Arthur Somervell (5 June 18632 May 1937) was an English composer and art song"
"Chromatic Fantasia and Fugue The Chromatic Fantasia and Fugue in D minor, , is a work for harpsichord by Johann Sebastian Bach. Bach probably composed it during his time in Köthen from 1717 to 1723. The piece was already regarded as a unique masterpiece during his lifetime. It is now often played on piano. An autograph of this work is not known. The musicologist Walther Siegmund-Schultze pinpoints the work to the ""fermenting Köthen works"" because of its improvisatory and expressive nature, using all keys. At least 16 different handwritten copies of the score are extant, including five from Bach's lifetime."
"Harvey Schmidt Harvey Lester Schmidt (September 12, 1929 – February 28, 2018) was an American composer for musical theatre and illustrator. He was best known for composing the music for the longest running musical in history, ""The Fantasticks"", which ran off-Broadway for 42 years from 1960 - 2002. Schmidt was born in Dallas, Texas. He attended the University of Texas to study art, but when he met Tom Jones at the university, he started to accompany the drama student on the piano. They soon started writing musicals together, the first being a revue. However, after serving in the Army, Schmidt"
"Charles Racquet Charles Racquet (1597–1664) was a French organist and composer, best known for his monumental organ ""Fantaisie"". He came from a large family of Parisian organists and himself was appointed organist of Notre Dame de Paris at an early age, in 1618. He held the post until shortly before his death and was succeeded by another member of the Racquet family. He also served as musician to Marie de' Medici (a post that his father Balthazar occupied earlier) and to Anne d'Autriche, the Queen Mother. Racquet was very highly regarded by his contemporaries: his pupils included the famous lutenist"
"obsession and served as inspiration for his music. His ""Symphonie fantastique"" (""Fantastic Symphony"", 1830) portrays an opium-induced vision in which the musician's beloved appears as a recurrent musical motif, the ""idée fixe"", which like any obsession ""finds its way into every incredible situation [movement]"". The ""Fantastic Symphony's"" sequel ""Lélio, ou Le retour à la vie"" (""Lélio, or the Return to Life"", 1831) contained a song ""Le pêcheur"" (""The Fisherman""), a setting of Goethe's ballad ""Der Fischer"", the music of which included a quotation of the ""idée fixe"" that is associated with a siren who draws the hero to a watery"
"Berlioz's symphonies differ from the contemporary norm. The first, the ""Symphonie fantastique"" (1830), is purely orchestral, and the opening movement is broadly in sonata form, but the work tells a story, graphically and specifically. The recurring ""idée fixe"" theme is the composer's idealised (and in the last movement caricatured) portrait of Harriet Smithson. Schumann wrote of the work that despite its apparent formlessness, ""there is an inherent symmetrical order corresponding to the great dimensions of the work, and this besides the inner connexions of thought"", and in the 20th century Constant Lambert wrote, ""Formally speaking it is among the finest"
"Gabriel Fauré Gabriel Urbain Fauré (; 12 May 1845 – 4 November 1924) was a French composer, organist, pianist and teacher. He was one of the foremost French composers of his generation, and his musical style influenced many 20th-century composers. Among his best-known works are his ""Pavane"", Requiem, ""Sicilienne"", nocturnes for piano and the songs ""Après un rêve"" and ""Clair de lune"". Although his best-known and most accessible compositions are generally his earlier ones, Fauré composed many of his most highly regarded works in his later years, in a more harmonically and melodically complex style. Fauré was born into a"
"Fantaisie for piano and orchestra (Debussy) ""Fantaisie"" for piano and orchestra, L. 73, is a composition for piano and orchestra by French composer Claude Debussy. It was composed between October 1889 and April 1890 but it received its first public performance only in 1919, a year after Debussy's death, in London by the Royal Philharmonic Orchestra with Alfred Cortot as soloist. It is Debussy's only composition for piano and orchestra and, even though it is written in a three movement form, it was not composed as a Piano Concerto. This work is dedicated to the pianist René Chansarel, who had"
"in his memoirs that Franck showed a ""constant concern for the dignity of his art, for the nobility of his mission, and for the fervent sincerity of his sermon in sound... Joyous or melancholy, solemn or mystic, powerful or ethereal: Franck was all those at Sainte-Clotilde."" Unusually for a composer of such importance and reputation, Franck's fame rests largely on a small number of compositions written in his later years, particularly his Symphony in D minor (1886–88), the ""Symphonic Variations"" for piano and orchestra (1885), the Prelude, Chorale and Fugue for piano solo (1884), the Sonata for Violin and Piano"
"Grande Pièce Symphonique Grande Pièce Symphonique, Op.17, FWV 29, is an organ work by French composer César Franck. Written in 1860–62, it is the second and, at an average duration of 25 minutes, the largest piece from ""Six Pièces pour Grand Orgue"". It is dedicated to the composer Charles-Valentin Alkan. The ""Six Pièces"" are an important work of the composer, marking the beginning of the second period of his career and predicting the flowering in his later creative life. His long struggle on the comic opera ""Le Valet de ferme"" (1851–1853) ended with a disastrous failure of the production and"
"Sinfonia (Berio) Sinfonia (Symphony) is a composition by the Italian composer Luciano Berio which was commissioned by the New York Philharmonic for its 125th anniversary. Composed in 1968–69 for orchestra and eight amplified voices, it is a musically innovative post-serial classical work, with multiple vocalists commenting about musical (and other) topics as the piece twists and turns through a seemingly neurotic journey of quotations and dissonant passages. The eight voices are not used in a traditional classical way; they frequently do not sing at all, but speak, whisper and shout words by Claude Lévi-Strauss, whose ""Le cru et le cuit"""
"Hungarian Fantasy (Liszt) The Fantasia on Hungarian Folk Melodies (German: ""Fantasie über ungarische Volksmelodien"", Hungarian: ""Fantázia magyar népi dallamokkal""), commonly known in short form simply as the Hungarian Fantasy, is Franz Liszt's arrangement for piano and orchestra of his Hungarian Rhapsody No. 14, originally for solo piano. The Fantasia was written in 1852 and premiered in Pest on June 1, 1853, with Hans von Bülow as soloist and Ferenc Erkel conducting the orchestra. During Liszt's lifetime, his Hungarian Rhapsodies were among his most popular works. Because of this popularity, he may have been under pressure to produce versions of them"
"Fantasy No. 1 with Fugue (Mozart) Fantasy No. 1 with fugue in C major, K. 394 (""Fantasie"" in German) is a piece of music for solo piano composed by Wolfgang Amadeus Mozart in 1782. The fantasy begins with an ""adagio"" tempo indication. The opening bars feature strong dynamic contrasts. (""Forte"" in bar 1 suddenly changes to ""Piano"" in bar 2). The opening ""adagio"" changes to ""andante"" 8 bars later; at this point the right hand starts playing triplet semiquavers, whilst the left hand moves above the right hand for rising quaver arpeggios and then back down to play a descending"
"Symphonic Variations (Franck) The Symphonic Variations (""Variations symphoniques""), M. 46, is a work for piano and orchestra written in 1885 by César Franck. It has been described as ""one of Franck's tightest and most finished works"", ""a superb blending of piano and orchestra"", and ""a flawless work and as near perfection as a human composer can hope to get in a work of this nature"". It is a fine example of Franck's use of cyclic unity, with one theme growing into various others. The piano and orchestra share equally in the continuous evolution of ideas. The work is in F"
"Fantasia in G major, BWV 572 The Fantasia or Pièce d'Orgue (organ piece) in G major, BWV 572, is a composition for organ by Johann Sebastian Bach. No autograph of BWV 572 survives. The earliest extant manuscript copies of the piece originated in the 1710s (early version) and 1720s (revised version). The piece was most likely composed in the early years of Bach's tenure at Weimar (1708–1717). The revised version must have been completed at least half a year before Bach moved from Köthen to Leipzig in the spring of 1723. An early version of BWV 572 was copied by"
"Fantasia was first performed at the Akademie (benefit concert) of 22 December 1808, which also saw the premieres of the Fifth and Sixth Symphonies and the Fourth Piano Concerto as well as a performance of excerpts of the Mass in C major. To conclude this memorable concert program, Beethoven wanted a ""brilliant Finale"" that would unite in a single piece the different musical elements highlighted in the concert night: piano solo, chorus and orchestra. The Fantasia, Op. 80, written shortly prior, was thus composed expressly to fulfil this role. Beethoven himself played the piano part and the opening solo offers"
"Choral Fantasy (Beethoven) The Fantasy (Fantasia) for piano, vocal soloists, chorus, and orchestra, , usually called the Choral Fantasy, was composed in 1808 by Ludwig van Beethoven. Beethoven intended the Fantasy to serve as the concluding work for the benefit concert he put on for himself on 22 December 1808; the performers consisted of vocal soloists, chorus, an orchestra, and Beethoven himself as piano soloist. The Fantasy was designed to include all the participants in the program and thus unites all of these musical forces. The work is noted as a kind of forerunner to the later Ninth Symphony. The"
"to which works like the Phantasie trios and quartets by William Hurlstone, Armstrong Gibbs, John Ireland, Herbert Howells and Frank Bridge owe their existence , as does Benjamin Britten's Phantasy in F minor for string quintet written in 1932, the year in which he also composed a Phantasy Quartet for oboe and strings . According to the musicologist Donald Francis Tovey, ""the term Fantasia would adequately cover all post-classical forms of concerto"" . Fantasia (music) The fantasia (; also English: ""fantasy"", ""fancy"", ""fantazy"", ""phantasy"", , ""Phantasie"", ) is a musical composition with its roots in the art of improvisation. Because"
"television stations broadcasting to a total estimated audience of 500 million and included the Shanghai International Channel and the Shanghai Arts Channel filming a documentary of the concert. Twenty-first century composer Carter Larsen has, since 1973, written more than 150 substantial piano and orchestra works in Fantasia Suite, now available in a complete collection of 14 Volumes and as individual books. “The significance of this collection on the culture of classical music cannot be overstated. Larsen’s volumes of solo piano and orchestral music impact classical music’s identity to twenty-first century audiences, who will find that its focus is vital and"