"Symphony No. 3 (Beethoven) The Symphony No. 3 in E major, Op. 55, (also Italian Sinfonia Eroica, ""Heroic Symphony"") is a symphony in four movements by Ludwig van Beethoven. One of the composer's most celebrated works, the ""Eroica"" symphony is a large-scale composition that marked the beginning of Beethoven's creative middle-period. Composed mainly in 1803–1804, the work is grounded in the Classical symphonic tradition while also stretching boundaries of form, length, harmony, and perceived emotional and possibly cultural content. It has therefore widely been considered an important landmark in the transition between the Classical period and the Romantic era. Symphony"
"Symphony No. 3 (Shostakovich) The Symphony No. 3 in E flat major (Opus 20; subtitled ""First of May"") by Dmitri Shostakovich was first performed by the Leningrad Philharmonic Orchestra and Academy Capella Choir under Aleksandr Gauk on 21 January 1930 (the anniversary of Lenin's death). Similar to the Second Symphony, it is an experimental choral symphony in four continuous sections: The symphony lasts around 25 to 30 minutes. The finale sets a text by Semyon Isaakovich Kirsanov praising May Day and the revolution. Interpretation is difficult: in a letter to Boleslav Yavorsky, Shostakovich said that the work ""expresses the spirit"
"the ‘Marcia funebre’ in Beethoven’s third symphony. But might we not regard this ‘uomo da bene’ as Alkan’s father, Alkan Morhange, who died in 1855, two years before these studies were published? Jack Gibbons wrote: ""The funeral march's sense of restraint is borne out by Alkan's marking over the gentle central section, ""with contained sorrow"" [...] The distant drum roll that interrupts the march near its close adds an Alkanesque sense of disquiet to this already sombre music."" The Menuet is in ternary form, like the Marche Funèbre. François Luguenot writes that ""the Minuet in B minor is in fact"
"Grande symphonie funèbre et triomphale Grande symphonie funèbre et triomphale (English: ""Grand Funeral and Triumphal Symphony""), Op. 15, is the fourth and last symphony by the French composer Hector Berlioz, first performed on 28 July 1840 in Paris. This symphony is one of the earliest examples of a symphony composed for wind band. The French government commissioned the symphony for the celebrations marking the tenth anniversary of the July Revolution which had brought Louis-Philippe I to power, for which it was erecting the July Column in the Place de la Bastille. Berlioz had little sympathy for the régime, but welcomed"
"Funeral march A funeral march (""Marche funèbre"" in French, ""Marcia funebre"" in Italian, ""Trauermarsch"" in German), as a musical genre, is a march, usually in a minor key, in a slow ""simple duple"" metre, imitating the solemn pace of a funeral procession. Some such marches are often considered appropriate for use during funerals and other sombre occasions, the most well-known being that of Chopin. Handel uses the name dead march, also used for marches played by a military band at military funerals and executions. Examples in classical music include: Classical music examples with the character of a funeral march but"
"Symphony in E-flat major, Op. 11, No. 3 (Stamitz) The Symphony in E-Flat Major, Op. 11, No. 3 is a late symphony by Johann Stamitz likely written in Paris, France in 1754 or 1755. This is one of his last symphonies and is in the standard 4-movement symphonic scheme of the time: This symphony, like many others by Stamitz, influenced Joseph Haydn and Mozart. It is approximately fifteen minutes in length, and demonstrates Stamitz's late symphonic style. It demonstrates the culmination of the Mannheim school of orchestral playing which emphasized extended techniques for the instruments (musicians at this time were"
"to Beethoven, Walch is the composer. Another march by Walch is the famous ""Beethoven Funeral March Number 1"" played at the funeral of King Edward VII and also at the National Service of Remembrance in London on Remembrance Sunday each year on the Sunday nearest to 11 November. It is played after the playing of the Last Post, and during the Wreath Laying Ceremony. It is also announced as ""Beethoven's Funeral March"" on the BBC Television commentary. For a long time, the march was wrongly attributed to Beethoven, and catalogued as WoO= (work without opus number), Anh. 13. The march"
"3 in E flat,"" K. 18, and was published as such in the first complete edition of Mozart's works by Breitkopf & Härtel. Later, it was discovered that this symphony was actually the work of Abel, copied by the boy Mozart—evidently for study purposes—while he was visiting London in 1764. That symphony was originally published as the concluding work in Abel's ""Six Symphonies, Op. 7."" ""(adapted from the listing in the at fr.wikipedia.org)"" Carl Friedrich Abel Carl Friedrich Abel (22 December 1723 – 20 June 1787) was a German composer of the Classical era. He was a renowned player of"
"the ""Father of the Symphony"" Symphony in E-flat major, Op. 11, No. 3 (Stamitz) The Symphony in E-Flat Major, Op. 11, No. 3 is a late symphony by Johann Stamitz likely written in Paris, France in 1754 or 1755. This is one of his last symphonies and is in the standard 4-movement symphonic scheme of the time: This symphony, like many others by Stamitz, influenced Joseph Haydn and Mozart. It is approximately fifteen minutes in length, and demonstrates Stamitz's late symphonic style. It demonstrates the culmination of the Mannheim school of orchestral playing which emphasized extended techniques for the instruments"
"a ""Funeral March"" for 5-part choir and orchestra, curiously written from the liturgical ""Pie Jesu"". It was composed on the occasion of the service celebrated at Notre-Dame-de-Paris in 1806 to commemorate the dead of the Battle of Austerlitz. His contemporary, the critic Albert Gilbert, considered it ""as one of his most remarkable inspirations"". The composer took it over in 1808 on the occasion of the death of cardinal de Belloy, the Archbishop of Paris. The audience was impressed and attributed it to Mozart, whose Mass of ""Requiem"" was performed during the same service. Pierre Desvignes died in 1827 in Paris"
"Symphony No. 3 ""Symphonie Liturgique"" (Honegger) Symphonie Liturgique is the Third Symphony by the Swiss composer Arthur Honegger. Composed in the aftermath of World War II, it is one of Honegger's best-known works. It is in three movements, each of which (following the symphony's subtitle) is named after a liturgical text. The first movement is named after the Dies irae from the Requiem Mass;, it is marked ""allegro marcato"", and has an aggressive, storm-like quality. The slow movement, named ""De profundis clamavi"" after Psalm 130, is in contrast meditative and lyrical. The finale, named after the Dona nobis pacem from"
"Piano Concerto No. 3 (Tchaikovsky) Pyotr Ilyich Tchaikovsky's Piano Concerto No. 3 in E-flat major, Op. posth. 75, was originally begun as a Symphony in E-flat. The composer ultimately abandoned this symphony, but, in 1893, started to rework it into a piano concerto, before abandoning all but the first movement, which he completed as a concert piece for piano and orchestra. It was published posthumously, in 1894, as a single-movement ""Allegro Brillante"". The Symphony No. 6 ""Pathétique"" was the last of Tchaikovsky's compositions to be performed in his lifetime, but the ""Allegro Brillante"", now known as the Piano Concerto No."
"theme, to the relative solace of happier, major-key episodes. The finale displays a similar emotional range, and is given a thematic importance then unheard of. In earlier symphonies, the finale was a quick and breezy conclusion; here, the finale is a lengthy set of variations and a fugue. Since the 19th century, the adagio assai second movement has been a common funeral march played at funerals, memorial services, and commemorations. In 2003, a Simon Cellan Jones-directed BBC/Opus Arte made-for-television film, ""Eroica"", was released, with Ian Hart as Beethoven. The Orchestre Révolutionnaire et Romantique, conducted by Sir John Eliot Gardiner, performed"
"the ""Marche funèbre"", played an influence in a variety of both classical and non-classical compositions written after it. The development of the first movement contains a complex network of leitmotifs that Richard Wagner would similarly bring to fruition in his work ""Der Ring des Nibelungen"" (popularly known as the ""Ring Cycle""). The second movement of Erik Satie's ""Embryons desséchés"", entitled ""of an Edriophthalma"", uses a variation on the ""Marche funèbre""'s second theme. Satie labels it ""Citation de la célèbre mazurka de SCHUBERT"" (""quotation from the celebrated mazurka of Schubert""), but no such piece exists. In addition, the ""Marche funèbre"" is"
"the midst of life"", and it leads into a solemn funeral march, marked """"Wie ein Kondukt"""" (like a funeral procession), on a timpani ostinato of the harp's three-note motif. Low bells are heard here for the first and only time in the symphony, accompanying the timpani in the three-note motif. Near the end of the movement is a remarkable example of Mahler's linear polyphony, in which piccolo, flute, oboe, and solo violin imitate bird-calls. Alban Berg asserted that this section was a ""vision of the hereafter"". Allusions to other music in this movement include references to Ludwig van Beethoven's Piano"
"E, B↓, B7(A)↑, E – appears in slightly altered form as the funeral's march's second theme (E, B↓, A↑, E) (mvt. II, mm. 17–20), followed by two sudden forte Bs that echo later elements of the theme. That same tonality then appears unaltered as the scherzo's main theme (mvt. III, mm. 93–100). Thus, the first three movements can be viewed as symphonic-length ""variations"" on the Opus 35 theme, ultimately anticipating the theme's appearance in the fourth movement. Moreover, Beethoven's choice to begin the symphony with a theme adapted from the bass line is also paralleled in the fourth movement, in"
"second movement proves diaphanous and seemingly unsubstantial but absolutely right for the program it illustrates. Tchaikovsky sketched the Symphony in E flat in 1892, before beginning the ""Pathetique"", but discarded it as unsatisfactory. After finishing the ""Pathetique"", he recycled the opening movement as his Third Piano Concerto, which was left as a single-movement ""Allegro de concert"" upon his death. Although the composer's friend and colleague Sergei Taneyev completed the slow movement and finale for piano and orchestra and these are sometimes combined with the single-movement work to form a full-length concerto, it remains unclear whether this was actually the composer's"
"beginning with an eerie ""Kyrie Eleison"" progressing to a fast-paced ""Sanctus"", through a solemn ""Benedictus"", reminiscent of German baroque progressions and Russian Orthodox melodies, and concluding with an elegiac ""Agnus Dei"". This funeral Mass, regarded as a masterpiece of new sacred music in Vatican cultural circles, was written for the 1000th anniversary of Pope Sylvester II's death (May 12, 1003) and premiered in the year 2003 in the very Cathedral of Rome, where Sylvester II is buried. The last performance, ""Gloria"", a piece endowed with Wagnerian traits uttered a finale in which, D'Alessandra conducting, 140 musicians and singers reached the"
"to E-flat minor) to the parallel E-flat major."" Joyce's 71st New York Regiment March Joyce's 71st N.Y. Regiment March is an American march composed by band director, arranger, and composer Thornton Barnes Boyer (1856-1936) in 1881. Boyer's ""most famous"" composition, it is a classic of the American parade and concert band march repertoire, and is regularly performed by U.S. military bands today. Dedicated to the regimental band of the 71st New York Infantry Regiment, ""one of the most well-known military bands of the 19th century,"" Boyer composed the march while living in Philadelphia, Pennsylvania and employed by the J. W."
"section contains a break after the first bar of rehearsal 42 which gives the audience a chance to catch its breath before plunging into the recapitulation, which follows the standard outline. Following is a coda section at rehearsal 61, which introduces a short, calm section before uprooting the music with a surge of excitement and closing with a virtuosic ending. The second movement of the Symphony is a ""Larghetto"" funeral march in C minor. It has become popular belief that this movement is an elegy to Edward VII, after whose death it was written. Many, including Michael Kennedy, hold the"
"Piano Concerto No. 3 (Medtner) The Piano Concerto No. 3 in E minor ""Ballade"", Op. 60, was one of Nikolai Medtner's last major compositions, completed in 1943, when he was 63. The Third Concerto was commissioned by the pianist Benno Moiseiwitsch, who had been an early champion of Medtner. Privately, Medtner said that the first movement was inspired by Mikhail Lermontov's ballad ""Rusalka"", about a water-nymph whose seductive advances fail to arouse a sleeping knight. He extended Lermontov's poem for the remaining movements: The knight (personifying the human spirit) awakens and sings a song that turns into a hymn, symbolizing"
"the United States Marine Band performed ""Holy, Holy, Holy"" by Reginald Heber, ""Our Fallen Heroes"", and ""The Vanished Army"" after clearing the Capitol Plaza and joining military units for the 35-minute march on Constitution Avenue to the White House. The United States Navy Band selected ""Symphony No. 3 ""The Funeral March"""" by Ludwig Van Beethoven, ""The Funeral March"" by Robert Browne Hall, and the hymn ""Onward, Christian Soldiers"" by Arthur Sullivan. The United States Air Force Band chose to perform ""Piano Sonata No. 2 ""The Funeral March"","" by Frédéric Chopin, the hymn ""Vigor in Arduis"" (also known as ""Hymn to"
"(bar 25): <score vorbis=""1""> </score> The third theme (bar 53) is characteristic of a funeral march, combining C minor and A-flat major and providing a somber contrast to the preceding love song: <score vorbis=""1""> \new Staff \relative c { \set Staff.midiInstrument = #""string ensemble 1"" \key aes \major \clef bass \time 4/4 </score> The dotted rhythm in its first bar calls to mind the oboe lament from the beginning of the movement. Doernberg described this sad turn to A♭ major as the kind of music Gustav Mahler always wished to achieve, citing Bruckner as anticipatory to Mahler in this respect."
"is a coda that is a condensed reprise of the trio and therefore ends the work in the relative major; other works of Chopin that also end in the relative major include the Scherzo No. 2 in B minor (Op. 31) and the Fantaisie in F minor (Op. 49). 8–9 minutes The third movement, titled ""Marche funèbre"", is a ""stark juxtaposition of funeral march and pastoral trio"". The movement is in B minor and time with the trio in the relative major of D. The tempo designation, ""Lento"", was not added until after the sonata's publication in 1840. The movement"
"a result of nephritis five years later and was buried in Evergreen Cemetery in Richmond, Maine. His widow sold the manuscripts of many compositions. Unscrupulous publishers assembled and realized from fragments works they passed off as genuine Hall compositions. He left over a hundred marches and other compositions, including such classics as: The trio from Hall's ""New Colonial March"" provides the music for Stanford University's official fight song, ""Come Join the Band"". The trio from Hall's ""Officer of the Day March"" provides the melody for the Alma Mater of Carleton College in Northfield, Minnesota. His March """"Death or Glory"""", 1895"
"""Marche funèbre"" to produce a sonata. The work was finished in the summer of 1839 in Nohant (near Châteauroux), in France, and published in May 1840 in London, Leipzig, and Paris. The work was not furnished with a dedication. The sonata comprises four movements: 5–7 minutes When the sonata was published in 1840 in the usual three cities of Paris, Leipzig, and London, the London and Paris editions indicated the repeat of the exposition as starting at the very beginning of the movement (at the ""Grave"" section). However, the Leizpig edition designed the repeat as beginning at the ""Doppio movimento"""
"seventh day of the Death of Lee Kuan Yew, the Singapore Armed Forces Band performed the ""Dead March"" during the foot procession of the state funeral of Lee Kuan Yew after his body was Lying in State in the Parliament House of Singapore from 25 March 2015 to 28 March 2015. (Note: ""Symphony"" in this context means a purely instrumental piece. ""Accompagnato"" is a recitative accompanied by the orchestra, rather than by continuo instruments only, as in the passages marked ""recitative.""). ""Saul"" is composed for soloists and chorus, two flutes, two oboes, two trumpets, three trombones, kettledrums, organ, harp, continuo"
"Symphony No. 3 (Bernstein) Kaddish is Leonard Bernstein's third symphony. The 1963 symphony is a dramatic work written for a large orchestra, a full choir, a boys' choir, a soprano soloist and a narrator. The name of the piece, ""Kaddish"", refers to the Jewish prayer that is chanted at every synagogue service for the dead but never mentions ""death."" The symphony is dedicated to the memory of John F. Kennedy who was assassinated on November 22, 1963, just weeks before the first performance of the symphony. Leonard Bernstein wrote the text of the narration himself, but struggled with his own"
"not specifically titled as funeral marches include: Examples in contemporary popular music include: Funeral march A funeral march (""Marche funèbre"" in French, ""Marcia funebre"" in Italian, ""Trauermarsch"" in German), as a musical genre, is a march, usually in a minor key, in a slow ""simple duple"" metre, imitating the solemn pace of a funeral procession. Some such marches are often considered appropriate for use during funerals and other sombre occasions, the most well-known being that of Chopin. Handel uses the name dead march, also used for marches played by a military band at military funerals and executions. Examples in classical"
"Military march (Bruckner) The Marsch in E-flat major, WAB 116, is a military march composed by Anton Bruckner in 1865. Bruckner composed this for him unique work on 12 August 1865 during his stay in Linz, at the time when he was composing his first symphony, He composed this occasional work for the """" (Military band of the hunting troop) in Linz, as a gesture of appreciation for its participation in performances of two of his works, the festive cantata ""Preiset den Herrn"" and ""Germanenzug"". However, it is not known whether it ever was performed by this military band. In"
"Piano Concerto No. 3 (Bartók) Béla Bartók's Piano Concerto No. 3 in E major, Sz. 119, BB 127 is a musical composition for piano and orchestra. Bartók composed the piece in 1945 during the final months of his life, as a surprise birthday present for his second wife Ditta Pásztory-Bartók. It consists of three movements. The Piano Concerto No. 3 was one of the pieces composed by Bartók after departing Hungary following the outbreak of World War II. Bartók's migration from Europe to America preceded that of his music. Lack of local interest, combined with Bartók's extended battle with leukemia"
"third movement is featured in choreographer John Neumeier's ballet ""The Seagull"" (Hamburg, 2002). Piano Trio No. 2 (Shostakovich) The Piano Trio No. 2 in E minor, for violin, cello and piano, Op. 67, by Dmitri Shostakovich was written in 1944, in the midst of World War II. The composition was dedicated to Shostakovich's good friend, Ivan Sollertinsky, a Russian polymath and avid musician, who had recently died at age 41. The work received its premiere in Leningrad on 14 November 1944. The piece consists of four movements, with a complete performance running 25 to 27 minutes. The Jewish melody from"
"fade-out."" The ""Allegro risoluto"", sometimes the second and sometimes the third movement, is very rhythmic and forward moving. This movement is much less sinister and more life filled than the other movements. Khachaturian called that life ""rest after hard labor."" The ""Andante sostenuto"" is the most tragic movement of the whole symphony, the most requiem-like part of the piece. Its funeral march atmosphere comes from an Armenian folk melody. Here, the climax is attained with the bell theme. However, the composer wrote of the ""Andante"": ""I wish that listeners would not look for concrete illustrations to a series of pictures"