Vaughan William's The Lark Ascending was written for which solo instrument accompanied by piano or orchestra?
"violin following, both treating and ornamenting the main theme in their own way while the orchestra remains silent. In the middle section, the violin plays the main theme while the piano has accompaniment figures, both exploring different keys. Finally, the orchestra returns with the primary theme and the soloists close the movement peacefully. The final movement, ""Allegro molto"", is a rondo in D minor that begins with the piano introducing the primary theme accompanied by difficult leaps in the bass. The solo violin then enters, echoing the piano until the orchestra begins with a fiery tutti in unison. The soloists"
"its trans-Antarctic expedition. A small boy observed the composer making notes and, thinking the man was jotting a secret code, informed a police officer, who arrested the composer. The war halted Vaughan Williams' composing. He revised the work in 1920 with the help of the English violinist Marie Hall, during their stay at Kings Weston House near Bristol. Vaughan Williams dedicated ""The Lark Ascending"" to Marie Hall, who premiered both versions. The piano-accompanied premiere was on 15 December 1920, in conjunction with the Avonmouth and Shirehampton Choral Society at Shirehampton Public Hall. The pianist was Geoffrey Mendham. This was followed"
"was taken by Ralph Vaughan Williams' ""The Lark Ascending"". The 2011 ""Hall of Fame"" saw Rachmaninov's Piano Concerto No. 2 return to the top spot, ending Vaughan Williams' four-year run, and held the position again in 2012 and 2013. In 2014 The Lark Ascending replaced Rachmaninov which slipped back to number 2 and has remained number 1 through 2017. In 2018, the top spot was taken by Pyotr Ilyich Tchaikovsky's 1812 Overture, Rachmaninov's Piano Concerto No. 2 was a non-mover in 2nd place and Vaughan Williams' The Lark Ascending descended to 3rd place after a four-year run at no. 1."
"Ralph Vaughan Williams dedicated his Sonata in A minor, written in 1952, to Grinke, who recorded the composer's ""Concerto Accademico"" in D minor, and ""The Lark Ascending"", with the Boyd Neel Orchestra. Grinke and David Martin (also a Canadian violinist) performed J.S. Bach's Concerto for two violins at Vaughan Williams's funeral. He made a broadcast of the Arnold Bax concerto from Australia. Among other recordings from the 1940s were nos 3 and 9 from the 1697 set of 10 Sonatas by Henry Purcell, with Jean Pougnet and Boris Ord, and that composer's sonata in G minor with Arnold Goldsbrough. He"
"Vaughan Williams' The Lark Ascending, which was featured as a live BBC broadcast from London's Barbican Hall. He has made a number of recordings, including concertos by Mozart, Vivaldi and Nielsen, sonatas by Brahms, Beethoven and Franck, and a disc of virtuoso works of by Sarasate and Kreisler with his mother Gloria Carney as pianist. New releases include Beethoven’s Archduke and Ghost trios, the cello quintet of Schubert and a Dvorak disc with the Terzetto and four Romantic pieces for violin. Mr. Carney is passionate about music education and currently serves as Artistic Director for the Maryland Classic Youth Orchestras."
"Pougnet, Riddle and Pini trio continued to broadcast, and recorded trios by Beethoven (several volumes), Haydn (op 53 nos 1, 2, and 3), Mozart Divertimento in E flat major K 563, and Dohnányi, Serenade op 10. Pini was meanwhile cellist of the fine Philharmonia Quartet with Henry Holst, Ernest Element and Herbert Downes. Pougnet and Riddle take the second fiddle and viola desks with Pini and Holst in the Philharmonia Quartet's recording of the Mozart 'Hunt' Quartet (No 17 in B flat major). In the same period Pougnet made his famous recording of Ralph Vaughan Williams's ""The Lark Ascending"" (London"
"feeling of giving the umpteenth performance of the same concerto in a season. It makes it much easier to play in a way that's fresh, spontaneous and alive. If, as a performer, you enjoy what you are doing, then your audience will too."" Gould has performed as soloist and director with Sinfonietta Riga, with whom he recorded Beethoven's ""Violin Concerto"" and Ralph Vaughan Williams' ""The Lark Ascending"". In addition to his classical performances, he was a member of the Man Overboard swing quintet until February 2016 (he retired saying that he is too busy with classical music, and was replaced"
"abroad. As a soloist his playing was distinguished by lyrical feeling and warmth of expression in addition to technical command. He recorded Edward Elgar's Violin Concerto for EMI with the Royal Liverpool Philharmonic and Sir Charles Groves, and with the Philharmonia Orchestra he recorded Vivaldi's ""The Four Seasons"" with Leopold Stokowski, and Vaughan Williams' ""The Lark Ascending"" with Sir Adrian Boult. He made many recordings of chamber music with the Music Group of London, and together they toured extensively both performing and teaching in Europe, Scandinavia, The Middle and Far East (including four visits to China), Canada and North and"
"song for the then Portway Senior Boys' School in nearby Shirehampton. Although Kingsweston was known as a welcoming place for musicians and a centre for music, Miles did not court fame as a composer. His works occasionally had performances in his lifetime in London and at the Hereford for the Three Choirs Festival, and at least one broadcast (of the ""Lyric overture""). No recordings of his music are known. Miles was a friend and supporter of Ralph Vaughan Williams, whose violin rhapsody ""The Lark Ascending"" was first performed by Marie Hall (with piano accompaniment) in 1920 at Shirehampton Public Hall"
"2013 Hahn was the soloist on Andrew Hewitt's score for the film ""The Sea"". In 1999, Hahn said that she played Bach more than any other composer and that she had played solo Bach pieces every day since she was eight. In a segment on NPR entitled ""Musicians in Their Own Words"", Hahn speaks about the surreal experience of playing the Bach ""Chaconne"" (from the Partita for Violin No. 2) alone on the concert stage. In the same segment, she discusses her experiences emulating a lark while playing ""The Lark Ascending"" by Ralph Vaughan Williams. Her violin is an 1864"
"Suite for Viola and Orchestra (Vaughan Williams) The Suite for Viola and Orchestra by Ralph Vaughan Williams is a work in eight movements for solo viola and orchestra composed in 1933 and 1934. The Suite is dedicated to violist Lionel Tertis, who premiered the work on November 12, 1934 at the Queen's Hall in London under the baton of Malcolm Sargent. A typical performance lasts about 23 minutes. The work consists of eight movements, initially published in three groups. The work is scored for solo viola, 2 flutes, 1 oboe, 2 clarinets, 2 bassoons, 2 horns, 2 trumpets, timpani, percussion,"
"Concerto for Two Pianos and Orchestra (Vaughan Williams) Concerto for Two Pianos and Orchestra is a piano concerto by the British composer Ralph Vaughan Williams. He wrote his solo Piano Concerto in the years between 1926 and 1930, which was first performed in 1933 under Adrian Boult. The piece gained a reputation for being too difficult and demanding, so Vaughan Williams reworked the piece for two pianos with the assistance of Joseph Cooper. This revised edition premiered in 1946. The piece is difficult, and the piano parts are often percussive and dissonant. It is in three movements: The piece lasts"
"choir, organ and orchestra, called ""Psaume XLVII"". Ralph Vaughan Williams set the psalm in English in 1920 as ""O clap your hands"", a motet for chorus and orchestra. John Rutter set verses 1 to 7, ""O clap your hands"", for choir and organ or orchestra in 1973. Oskar Gottlieb Blarr composed a setting for soprano, tenor, choir (ad lib.), trumpet, trombone, percussion (steel drums), violin, harp and double bass in 1998. Rory Cooney set ""Psalm 47 for Ascension"", subtitled ""God Mounts His Throne"" in 2003, scored for soloist, three-part choir, the assembly, and brass. It can also be performed in"
"appointment as Concertmaster of the New Zealand Symphony Orchestra in 1993. During her years with the quartet they toured New Zealand and Australia extensively and performed at the Tanglewood Festival. Prior to her departure for Melbourne, the NZSO honoured her with the title of Concertmaster Emeritus. Wilma Smith became Concertmaster of the Melbourne Symphony Orchestra (MSO) in 2003. The MSO's Chief Conductor Sir Andrew Davis has stated that, of all the performances of Ralph Vaughan Williams' ""The Lark Ascending"" he has conducted, Wilma Smith's was ""unquestionably the most beautiful"". He describes her as ""an exceptional musician with whom [he] felt"
"Harpsichord concerto A harpsichord concerto is a piece of music for an orchestra with the harpsichord in a solo role (though for another sense, see below). Sometimes these works are played on the modern piano (see ""piano concerto""). For a period in the late 18th century, Joseph Haydn and Thomas Arne wrote concertos that could be played interchangeably on harpsichord, fortepiano, and (in some cases) pipe organ. The harpsichord was a common instrument, but never as popular as string or wind instruments in the concerto role, probably due to its relative lack of volume in an orchestral setting. In this"
"The Lark Ascending The Lark Ascending is a poem of 122 lines by the English poet George Meredith about the song of the skylark. Siegfried Sassoon called it matchless of its kind, ""a sustained lyric which never for a moment falls short of the effect aimed at, soars up and up with the song it imitates, and unites inspired spontaneity with a demonstration of effortless technical ingenuity... one has only to read the poem a few times to become aware of its perfection"". The poem inspired the English composer Ralph Vaughan Williams to write a musical work of the same"
"has put aside the concerti to explore some of the recital greats, including Vaughan Williams’ ""The Lark Ascending"", one of the greatest works for violin which was, for several years, voted Classic FM’s favourite piece of classical music in their Hall of Fame. Fantasie (Nicola Benedetti album) Fantasie is the fourth studio album by Scottish violinist Nicola Benedetti. Benedetti's fourth album, ""Fantasie"", was released on September 7, 2009. It features the Royal Liverpool Philharmonic Orchestra, Alexei Grynyuk, Vasily Patrenko and Andrew Litton. ""Fantasie"" is made up from a selection of well-loved violin pieces that form her fourth violin showcase. The"
"celesta, harp and strings. Suite for Viola and Orchestra (Vaughan Williams) The Suite for Viola and Orchestra by Ralph Vaughan Williams is a work in eight movements for solo viola and orchestra composed in 1933 and 1934. The Suite is dedicated to violist Lionel Tertis, who premiered the work on November 12, 1934 at the Queen's Hall in London under the baton of Malcolm Sargent. A typical performance lasts about 23 minutes. The work consists of eight movements, initially published in three groups. The work is scored for solo viola, 2 flutes, 1 oboe, 2 clarinets, 2 bassoons, 2 horns,"
"Symphony Orchestra at the Barbican Centre concert hall, conducted by Mark Wigglesworth. The work is scored for 3 flutes, 3 oboes, cor anglais, clarinet, 3 bassoons, contrabassoon, 4 horns, 3 trumpets, 3 trombones, tuba, timpani, and strings. The instrumentation is the same as that of Wagner's ""Parsifal"" prelude, although Skempton's use of instruments is very different. Most of ""Lento"" is scored for strings alone, and although there's a central section scored for woodwinds, instruments other than strings are generally used to highlight various aspects of the music. The piece comprises 166 bars, but the single orchestral tutti occupies only eight."
"orchestra by Constant Lambert. The full orchestral version is scored for three flutes (third doubling on piccolo and alto flute), two oboes, cor anglais, two clarinets (in Bb), alto saxophone, bass clarinet (doubling on third clarinet in Bb), two bassoons, contrabassoon, four horns (in F), three trumpets (in Bb), three trombones, tuba, timpani, triangle, side drum, cymbals, bass drum, xylophone, glockenspiel, tam tam, organ, two harps, and strings. Vaughan Williams dedicated the score to the conductor Adrian Boult in 1934, after the composer had learned that the Bach Choir, which Boult had directed, raised funds towards the engraving of the"
"some of the supposed priory's construction); and some have gone altogether like the ancient house of sixteenth-century appearance, which has been lost to road widening and a row of 1960s shops. As Shirehampton and Avonmouth grew, the squires of Kings Weston House, notably Philip Napier Miles (1865–1935), gave many benefactions to the district, including land for churches, war memorials and social amenities. Among these important gifts was the Public Hall of 1904, whose main claim to fame is perhaps that it was the venue of the first performance of Vaughan Williams' violin rhapsody ""The Lark Ascending"", played, along with piano"
"described its composition in the score program notes, writing, ""I soon realized that it could not be a regular piano concerto because it would not give equal prevalence to both performers. So I decided to write a work that had one long line, mostly for the strings, interrupted by the piano which also had its developing part interrupted by the orchestra. Each intervening in the other's part, sometimes humorously."" The work is scored for solo piano and a large orchestra comprising three flutes (first and third doubling piccolo, second doubling alto flute), three oboes (second doubling cor anglais), two clarinets"
"about 25 minutes. Concerto for Two Pianos and Orchestra (Vaughan Williams) Concerto for Two Pianos and Orchestra is a piano concerto by the British composer Ralph Vaughan Williams. He wrote his solo Piano Concerto in the years between 1926 and 1930, which was first performed in 1933 under Adrian Boult. The piece gained a reputation for being too difficult and demanding, so Vaughan Williams reworked the piece for two pianos with the assistance of Joseph Cooper. This revised edition premiered in 1946. The piece is difficult, and the piano parts are often percussive and dissonant. It is in three movements:"
"Gerald Larner expanded on the Saint-Saëns comparison, saying: However, the work has also been suggested by Larner and ""BBC Music Magazine"" critic Christopher Dingle as inspiration for the works of Sergei Rachmaninoff. Larner commented, ""It is remarkable more for its anticipation of Rachmaninoff, who comes to mind again in the main 'Allegro deciso,' not in the first theme but when the piano introduces the splendid E-flat-major melody which is to dominate the middle section of the movement and inspire its broad central climax."" The work is scored for solo piano and an orchestra consisting of two flutes, two oboes, two"
"with piano solo."" The work is scored for a solo piano and a large orchestra comprising two flutes (one doubling piccolo), two oboes, two clarinets, bass clarinet (doubling clarinet), alto saxophone, soprano saxophone (doubling tenor saxophone), three bassoons (one doubling contrabassoon), four horns, three trumpets, three trombones, tuba, timpani, percussion, celeste (doubling keyboard glockenspiel), harp, and strings. The music critic Anthony Tommasini of ""The New York Times"" described the piece as ""an intricate and provocative score"" and ""a 24-minute single-movement concerto that unfolds with inexorable sweep and rhythmic persistence, even during some stream-of-consciousness stretches."" He further wrote: David Wright of"
"II: The Menagerie, Uncaged The work is scored for a solo organ and a large orchestra comprising three flutes (2nd doubling alto flute, 3rd doubling piccolo), three oboes (3rd doubling cor anglais), three clarinets (3rd doubling bass clarinet), three bassoons (3rd doubling contrabassoon), four horns, three trumpets, three trombones, tuba, timpani, four percussionists, harp, electric piano, and strings. Reviewing the world premiere, Mark Swed of the ""Los Angeles Times"" called it ""a sonically spectacular concerto for organ and orchestra"" and wrote, ""What MacMillan has come up with is a two-part, quirkily animated concerto. His bumptious bestiary is just that, a"
"of the composer's birth. Secondly, William Alwyn's 1939 ""Pastoral Fantasia for Viola and Orchestra"" which was dubbed ""The Hawk Ascending"" by a reviewer following the release of the 2008 Naxos recording. The Lark Ascending The Lark Ascending is a poem of 122 lines by the English poet George Meredith about the song of the skylark. Siegfried Sassoon called it matchless of its kind, ""a sustained lyric which never for a moment falls short of the effect aimed at, soars up and up with the song it imitates, and unites inspired spontaneity with a demonstration of effortless technical ingenuity... one has"
"scored for solo violin and an orchestra consisting of two flutes (2nd doubling piccolo), two oboes (2nd doubling cor anglais), two clarinets (2nd doubling bass clarinet), two bassoons (2nd doubling contrabassoon), four horns, two trumpets, three trombones, tuba, timpani, three percussionists, celesta, harp, and strings. Stephen Wigler of ""The Baltimore Sun"" praised the piece, saying, ""It is a beautiful work, accessible yet challenging, and one that is very difficult to play."" Wigler continued, ""Rouse's treatment of the solo instrument puts it — as it is not in many other contemporary concertos — at the center of things. The work, which"
"of the five movements from the works of various writers whom he admires. This concerto is scored for a large orchestra, consisting of 3 flutes and piccolo, 3 oboes and English horn, 3 clarinets and bass clarinet, 3 bassoons and contrabassoon, 4 horns, 3 trumpets, 3 trombones, tuba, timpani, percussion, piano, celesta, harp and strings. Horn Concerto (Williams) John Williams's Concerto for Horn and Orchestra is a solo composition for horn with orchestra accompaniment. Williams wrote the piece for principal horn player Dale Clevenger of the Chicago Symphony Orchestra in 2003 on a commission from the Edward F. Schmidt Family"
"the London Symphony Orchestra directed by Andrew Schenck. The work is scored for piano solo and an orchestra of piccolo, 2 flutes, 2 oboes, cor anglais, 2 clarinets, bass clarinet, 2 bassoons, 4 horns, 3 trumpets, 3 trombones, timpani, percussion, harp and strings. The work is in three movements: The first movement opens with a piano declamation of one of the major themes, and then moves into a furious tutti section. This opening section contains the expression of the movement's chief melodies. Through inversion, retrograde, and counterpoint variations of these melodies (which will appear in later movements), Barber spins out"
". The work is scored for solo piano and an orchestra consisting of piccolo, 2 flutes, 2 oboes, cor anglais, 2 clarinets, bass clarinet, 2 bassoons, contrabassoon, 4 horns, 2 trumpets, 2 trombones, tuba, timpani, percussion (tam-tam, cymbals, coco, bell, bass drum), and strings. The concerto has four movements: The first movement is not in any traditional form, but instead consists of eight successive sections built around two themes, both of which are exposed in the first section. The first theme is predominantly contrapuntal in texture and features quartal harmonies, while the second theme is homophonic and uses tertian harmonies"
"being a most majestic instrument, and it was a pleasure to be able to create a work that would highlight its beauty and grace."" The work is scored for a solo oboe and an orchestra comprising two flutes (2nd doubling piccolo), oboe, English horn, two clarinets, two bassoons, two horns, two trumpets, one percussionist, and strings. Reviewing the world premiere, Michael Anthony of the ""Star Tribune"" lauded the piece, remarking, ""Higdon has written a truly appealing work, the appeal of which is apparent on first hearing."" He added: Higdon herself has regarded the piece as one of her favorites among"
"received at first, being considered unrewarding to the soloist. Though the piece provides ample opportunity for virtuosity in all movements, Vaughan Williams treated the piano as a percussion instrument, as did Béla Bartók and Paul Hindemith during this period, with the texture at times impenetrably thick. While the concerto was rated highly by some—Bartók, for one, was extremely impressed—Vaughan Williams took the advice of well-meaning friends and colleagues and reworked the piece into a Concerto for Two Pianos and Orchestra, adding more texture to the piano parts with the assistance of Joseph Cooper in 1946. Piano Concerto (Vaughan Williams) The"