"a version for strings and continuo alone. Instrumentation: Trumpet I/II/III, timpani, oboe I/II, violin I/II, viola, basso continuo (second movement: only strings and continuo). An arrangement of the second movement of the suite by German violinist August Wilhelmj (1845–1908) became known as ""Air on the G String"". The source is lost, but the existing parts date from circa 1730. Rifkin has argued that the lost original version was written during Bach's tenure at Köthen, did not have trumpets or timpani, and that Bach first added these part when adapting the Ouverture movement for the choral first movement to his 1725"
"Air on the G String ""Air on the G String"" is August Wilhelmj's arrangement of the second movement in Johann Sebastian Bach's Orchestral Suite No. 3 in D major, BWV 1068. The arrangement differs from the original in that the part of the first violins is transposed down so that it can be played entirely on a violin's lowest string, ""i.e."", the G string. It is played by a single violin (instead of by the first violins as a group). Bach's third Orchestral Suite in D major, composed in the first half of the 18th century, has an ""Air"" as"
"in Beethoven's day, to the point of exasperating the composer himself, who remarked to Czerny, ""Surely I've written better things."" #(set-global-staff-size 17) »</score> The second movement is a relatively conventional scherzo and trio, a moment of relative calm written in D major, the more easily notated enharmonic equivalent of C major, the parallel major of the first movement's key, C minor. Franz Liszt is said to have described the second movement as ""a flower between two chasms"". The slight majority of the movement is in ""piano"", but a handful of ""sforzandos"" and ""forte-piano""s helps to maintain the movement's cheerful disposition."
"The second movement has been associated with the imagery of Orpheus taming the Furies (represented, respectively, by the piano and unison strings) at the gates to Hades, a suggestion of Beethoven's 1859 biographer Adolf Bernhard Marx. The movement's quiet E minor ending leads without pause into the C major chords that open the finale. In contrast to the preceding movements, the third movement, in traditional rondo form, is simpler, characterised by a very rhythmic theme. The main theme begins in the subdominant key of C major before correcting itself to reach a cadence in the tonic G major. Cadenzas for"
"material of the other parts of Bach's piece, although occasionally versions that stay more in line with Bach's original can go by the same name. Air on the G String ""Air on the G String"" is August Wilhelmj's arrangement of the second movement in Johann Sebastian Bach's Orchestral Suite No. 3 in D major, BWV 1068. The arrangement differs from the original in that the part of the first violins is transposed down so that it can be played entirely on a violin's lowest string, ""i.e."", the G string. It is played by a single violin (instead of by the"
"Brandenburgs"", and ""Switched-On Bach 2000"") have second movements that are completely different from each other. Occasionally, the third movement from Bach's Sonata for Violin and Continuo in G, BWV 1021 (marked Largo) is substituted for the second movement as it contains an identical 'Phrygian cadence' as the closing chords. The Largo from the Sonata for Violin and Obbligato Harpsichord in G major, BWV 1019, has also been used. The outer movements use the ritornello form found in many instrumental and vocal works of the time. The first movement can also be found in reworked form as the sinfonia of the"
"1771. His second set, Op. 11, consisted of six quintets, most notably No. 5 in E Major. This became Boccherini’s most famous work even though, when published, it received no special recognition. The quintet has four movements: The third movement of the quintet is notably the most famous, and is the most often performed of all the movements. It is in 3/4 time, and is occasionally referred to as the “Celebrated Minuet”. It departs from the original key of E Major and becomes A Major. In the beginning of the movement, the first violin plays a simple, elegant melody, while"
"figure in clarinet and bassoon . The movement can also be seen as a sort of modified rondo form (ABCDA'B' plus coda), in which the D section is essentially episodic. However, the two occurrences of the refrain (A) are in the dominant and supertonic keys of G and D, and the overall tonic key, C, is reached only in the concluding coda . The main theme of the second movement was inspired by the scherzo of Tchaikovsky's Sixth Symphony . Symphony No. 3 (Villa-Lobos) Symphony No. 3 is a composition by the Brazilian composer Heitor Villa-Lobos, written in 1919. A"
"of Symphony No. 2, this is not always observed nowadays. The second movement is marked ""Sehr gemächlich. Nie eilen."" (Very leisurely. Never rush.) It is a delicate Ländler in A major. </score> with two contrasting sections of slightly darker music. </score> This slow movement itself is contrasting to the two adjacent movements. Structurally, it is one of the simplest movements in Mahler's whole output. It is the remembrance of the joyful times in the life of the deceased. The third movement is a scherzo in C minor. It opens with two strong, short timpani strokes. It is followed by two"
"Wilhelmj arranged the second movement of Bach's third Orchestral Suite for violin and an accompaniment of strings, piano or organ (harmonium). On the score he had printed (on the G string) above the stave for the solo violin, which gave the arrangement its nickname. In Wilhelmj's version the piece is transposed down from its original key (D major) to C major. Then the part of the first violins is transposed down a further octave and given to a solo violin that can play the entire melody on its lowest string, the G string. The dynamic markings added by Wilhelmj are"
"the fugal sections, Brahms repeats the entire second movement (excluding the fugues) in D minor. The chorus replaces their final D major triad of the first statement with a D diminished chord in measure 322. The cadential material then repeats, landing on the tonic C minor in measure 332. The second movement closes by way of a 54-measure orchestral section with a C pedal tone and the chorus intermittently repeating the last line of Hölderlin's poem. The addition of Es starting in measure 364 predicts the coming modulation to C major for the final movement. The third movement, marked ""Adagio"","
"the entire movement. It begins (after a tonally ambiguous introduction) and ends in E minor (; ). The second movement, predominantly in C-sharp minor, is based primarily on one sweet but sad melody and is far more subdued than the first movement. This movement was transcribed and expanded from an ""Elegy"" for flute and piano, composed in 1959 for the flautist Manfred Ibel. It was published in 1962, as ""Canzone (Elegy)"", Op. 38a . The third movement, mostly in B-flat minor, is in a furiously fast 5/8 time, with a pounding ostinato that gives the piece a rather devilish sound."
"appears at the end of the movement, it is repeated so as to emphasize the end of the movement and not the beginning of the theme. The second movement is an aria in G minor for first violin over a steady accompaniment in the other three instruments. The melody bears a strong resemblance to the oboe theme that begins the arioso ""Che puro ciel"" from Gluck's ""Orfeo ed Euridice"", which Haydn had directed at Esterhazy in 1778. The movement contains what is essentially a written-out, accompanied cadenza from mm. 41-50, and soon afterwards ends with a unison pizzicato G. This"
"strings, piano (or harpsichord), and pairs of horns, oboes and trumpets. The movements are: The first movement is based on the initial movement of Honauer's Op. 2, No. 1. The second on one by Johann Gottfried Eckard (op. 1, no. 4 ), the most famous keyboardist of his day. The third movement is based on C. P. E. Bach's piece ""La Boehmer"", published in the early 1760s. Mozart's cadenzas for the concerto survive. The concerto is scored for strings, piano (or harpsichord) and pairs of horns and flutes. The movements are: As all the movements of this concerto are in"
"alternate throughout the movement. Like the second subject of the first movement's exposition, this movement exemplifies progressive tonality as it ends in D major rather than the key in which it began, A major. The third movement, a scherzo and trio, begins in F minor with a musical quotation of the beginning of the finale of Felix Mendelssohn's Piano Trio No. 2, Op. 66. In contrast to the tumult of the scherzo, the trio in D major is calm and lyrical, and the accompanying bass too refers to Beethoven's ""fate motif"". Once the trio brings back the movement's opening material"
"notes that this is ""the closest Bach gets to South German rococo architecture. One can almost see the putti and gold sunbursts of the many churches from this era in Bavaria and Austria"". The second movement is a secco bass recitative. It provides a dual transition, both harmonically – moving from a major key to minor to prepare the third movement – and thematically – ""progressing (or retrogressing) from the state of celebration to a recognition of the humility of Christ's state"". The da capo alto aria is accompanied by unison oboe d'amore and strings. It expands on the minor"
"composers wrote airs for instrumental ensembles without voice. These were song-like, lyrical pieces, often movements in a larger composition. Johann Sebastian Bach composed two of the best known airs: the second movement of his ""Suite No. 3 in D major"", BWV 1068, which August Wilhelmj arranged for violin and piano as ""Air on the G String""; and the theme of his ""Goldberg Variations"", BWV 988, the Air present also in Partitas BWV 825–830 harpsichord. The fifth movement of George Frideric Handel's ""Suite in F Major"", HWV 348, part of Handel's ""Water Music"" collection, is another frequently performed air. Air (music)"
"No. 3 (""Ballade""). Claude Debussy also composed the famous ""Clair de lune"" in this key, with a significant section in C-sharp minor. Edvard Grieg composed the second movement of his Piano Concerto in D-flat. Frédéric Chopin'sNocturne in D-flat, Op. 27, is in this key. Franz Liszt composed heavily in this key, with his most recognizable piece being the third movement of his piano composition ""Trois études de concert"", dubbed ""Un sospiro"". Liszt took advantage of the piano's configuration of the key and used it to create an arpeggiating melody using alternating hands. In orchestral music, the examples are fewer. Gustav"
"The second movement is another sonata-form movement, this time in and in the key of B major, the subdominant of the main key of the work. It begins with the strings playing a motif that clearly imitates flowing water. The cello section is divided, with just two players playing the flowing-water notes on muted instruments, and the remaining cellos playing mostly pizzicato notes together with the double basses. Toward the end is a cadenza for woodwind instruments that imitates bird calls. Beethoven helpfully identified the bird species in the score: nightingale (flute), quail (oboe), and cuckoo (two clarinets). The third"
"cadence signal the end of the first movement. The second movement is in obvious sonata form, the only example of a sonata structure ""Adagio"" in Bruckner's symphonies, apart from that of the ""nullified"" Symphony in D minor and the early draft of the Adagio of the First Symphony, dating from 1865. Simpson went so far as to describe the movement as the most perfectly realized slow sonata design since the ""Adagio"" of Beethoven's ""Hammerklavier"" sonata The movement opens with a theme in the strings, a yearning love song that is joined (bar 5) by a mournful lament on the oboe:"
"returns in D major before modulating back to tonic for the second theme. The second movement is a minuet in F minor with a trio, with the return of the minuet strongly embellished. It is more reminiscent of Beethoven's bagatelles than of most of his minuets. The trio, in D major, has a hint of anticipation of the third movement of Symphony No. 1. The third movement is in sonata form, with a fugal development. The exposition has theme 1 in F major and a closing section in C major. The recapitulation is unusual because the 1st theme is a"
"for the second theme. But he stays in that key only half a measure, modulating to C major, then to D major, and on, shifting keys relentlessly until he comes back to the dominant E major. The second movement, marked ""Adagio"", is a variation on sonata form, modeled after a form developed by Haydn's contemporary, Carl Philipp Emanuel Bach. The violins dominate, with the first violin playing the melody over rippling sixteenth notes in the second, or the second carrying the melody, with the first playing embellishments. The minuet is in strict danceable form. The theme of the minuet is"
"concerto has three movements: Adélaïde Concerto The Adélaïde Concerto is the nickname of a Violin Concerto in D major attributed to Wolfgang Amadeus Mozart and given the catalogue number K. Anh. 294a in the third edition of the standard Köchel catalogue of Mozart's works. Unknown until the 20th century, this concerto was later discovered to be a spurious work by Marius Casadesus. It was given a new number in the sixth edition of the Köchel catalogue, K. Anh.C 14.05, as part of the Anhang C designated for spurious or doubtful works which have been attributed to Mozart at some time."
"experimented with form in this piece, replacing the customary sonata form first movement with a more discursive structure, opening with a solemn cadenza. The scherzo second movement and ""presto"" finale are in such contrast with the opening that the pianist Zygmunt Stojowski commented that the work ""begins like Bach and ends like Offenbach"". The Third Piano Concerto, in E (1869) has another high-spirited finale, but the earlier movements are more classical, the texture clear, with graceful melodic lines. The Fourth, in C minor (1875) is probably the composer's best-known piano concerto after the Second. It is in two movements, each"
"such a way so that the third of E minor, G, is emphasized. Moreover, the movement concludes with a loud G-major chord, which becomes the dominant to C minor at the start of the second movement. The second movement is a double fugue in C minor, and uses as text Psalm 39, verses 2, 3, and 4. The first fugue theme is based on the same four-note cell used in the first movement, and begins in the oboe in measure one: The first entrance of the second theme starts in measure 29 in the soprano, followed by an entrance in"
"are extensively developed against a chromatically falling bass followed by a restatement of the end of the insertion aria then leading to C major for the recapitulation. With the exception of the usual key transpositions and some expansion of the minor key sections, the recapitulation proceeds in a regular fashion. The second movement, also in sonata form, is a sarabande of the French type in F major (the subdominant key of C major) similar to those found in the keyboard suites of J.S. Bach. The third movement, a ""menuetto"" marked ""allegretto"" is similar to a Ländler, a popular Austrian folk"
"as the second movement. That new piece, ""Andante alla zingaresca"", or ""Andante rubato"", is better known as the ""Gypsy Andante"", and under the bow of players like Jascha Heifetz and Fritz Kreisler it became a concert favourite separate from the suite of which it forms a part. Dohnányi also arranged the ""Gypsy Andante"" from Op. 32c for cello and piano, as Op. 32d. There is also an arrangement of Op. 32d for cello and harp, and cello and orchestra. The term ""Gypsy Andante"" is sometimes also applied to the ""Adagio non troppo"" movement of the orchestral suite. Ruralia hungarica Ruralia"
"the clavichord, and added so much harmonies to them, as he found necessary”. Though the key signature of the manuscript suggests D minor, such was a notational convention in the Baroque period, and therefore does not necessarily imply that the piece is in the Dorian mode. The second movement, the fugue, would later be reworked for the organ (in the Prelude and Fugue, BWV 539) and the lute (Fugue, BWV 1000), with the latter being two bars longer than the violin version. This partita substitutes a bourrée (marked ""Tempo di Borea"") for the gigue. Each movement is followed by a"
"The latter case transposes the second repeat of its exposition by a fifth, starting on the minor dominant (instead of the tonic) and finishing on the major mediant (instead of the submediant). The first movement of Richard Strauss's Symphony No. 2, in F minor, modulates to the submediant D minor, as do the F minor first movements of Brahms' first clarinet sonata and piano quintet; all three works balance this downward third by moving up to the major mediant (A major) for the key of the second movement. Rarely, a major-mode sonata form movement will modulate to a minor key"
"major both times. The second movement is a minuet featuring two contrasting trio sections. The minuet section is in B flat major and uses all the instruments extensively. The first trio is in E-flat major and employs only the clarinets and basset horns. This section leads into a repeat of the minuet section. The second trio section is in the relative minor, G minor, and extensively uses the solo oboe, basset horn and bassoon. Described by Goodwin as “virtually an ‘operatic’ ensemble of passionate feeling and sensuous warmth”, the third movement, marked ""Adagio"", is in E flat major. A syncopated"
"movement (the second ""Nachtmusik"") contrasts with the first in that it illustrates a more intimate and human scene. With its ""amoroso"" marking and reduced instrumentation (trombones, tuba and trumpets are silent and the woodwinds are reduced by half) this movement has been described as ""a long stretch of chamber music set amidst this huge orchestral work"". A solo violin introduces the movement, while a horn solo above the gentle tones of a guitar and mandolin create a magical serenade character. However, sardonic dissonances give this movement a more satirical and even diseased feel. The trio contrasts with this, and more"
"Symphony No. 2 (Schubert) The Symphony No. 2 in B major, D 125, is a symphony by Franz Schubert composed between 1814 and 1815. It is scored for 2 flutes, 2 oboes, 2 clarinets, 2 bassoons, 2 horns, 2 trumpets, timpani and strings. There are four movements: The work runs about 31 minutes. \relative c' { </score> In the opening movement, the initial theme of the ""Allegro vivace"" is based on the corresponding first theme of Ludwig van Beethoven's overture to ""The Creatures of Prometheus"". The second movement is a theme with five variations in E major, Schubert's only set"
"1 (Op. 18, No. 1). The second movement is in E-flat major and strophic form, with a statement of a theme followed by three variations (the second of which is in E-flat minor) and a coda. Haydn used a similar design for the slow movement of the Opus 20, No. 4 quartet. In 1793 the poet Gabriele von Baumberg set the movement's theme to words, for inscription on a monument honouring Haydn in the composer's home town of Rohrau, Austria. The third movement, a minuet and trio, features motivic elements that hark back to the previous two movements. In the"