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score and recording
New Zealand Chamber Orchestra
Donald Armostrong (Conductor)
Music in this video
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Song
I. Presto
Artist
Armstrong, Donald
Album
Stamitz, J.: Symphonies, Vol. 1
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NaxosofAmerica (on behalf of Naxos)
Song
II. Andantino
Artist
Armstrong, Donald
Album
Stamitz, J.: Symphonies, Vol. 1
Licensed to YouTube by
NaxosofAmerica (on behalf of Naxos)
Song
III. Menuetto
Artist
Armstrong, Donald
Album
Stamitz, J.: Symphonies, Vol. 1
Licensed to YouTube by
NaxosofAmerica (on behalf of Naxos)
Song
IV. Prestissimo
Artist
Donald Armstrong
Album
STAMITZ, J.: Symphonies, Vol. 1
Licensed to YouTube by
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Symphony in D major, Op. 3, No. 2 (Stamitz) – Wikipedia
The Symphony in D major, Op. 3, No. 2 is a symphony by Johann Stamitz, written in the of the Mannheim school sometime from 1750 to 1754.
Source: en.wikipedia.org
Date Published: 11/14/2021
View: 8897
Symphony in D major, DTB VII/2.3 (Stamitz, Johann) – IMSLP
Symphony in D major, DTB VII/2.3 (Stamitz, Johann) ; 4 movements. 1. Presto (Allegro) (D major): 2. Andantino (G major): 3. Menuetto-Trio (D …
Source: imslp.org
Date Published: 3/27/2021
View: 5074
1750 Stamitz Op. 3 No. 2 – ALevelMusic.com
1750, Johann Stamitz, Symphony in D, Op. 3 No. 2. Instrumentation, Strings and continuo, 2 oboes, 2 horns, 2 trumpets, timps. Movements, I: Presto (D) II: …
Source: alevelmusic.com
Date Published: 11/30/2021
View: 7802
Symphony in D major DTB VII/2.3 Johann Stamitz
[PDF] – Orchestra – Classical * License : Public Domain – Orchestra: 2 flutes, 2 oboes, 2 bassoons, 2 horns (D), strings.Source: www.free-scores.com
Date Published: 12/2/2022
View: 9462
Stamitz, Johann: Symphony in D major, Op. 7, No. 6 (AE109)
Buy a sheet music edition of Symphony in D major, Op. 7, No. 6 by Johann Stamitz.
Source: www.artaria.com
Date Published: 12/29/2022
View: 7164
Stamitz: Symphonies, Vol. 3 – 8.573966 – Naxos Records
Blessed with a gift for musical invention and structural organisation, Johann Stamitz was one of the pioneering figures in symphonic music before the …
Source: www.naxos.com
Date Published: 5/9/2021
View: 2415
Stamitz, C: Symphony in D major ‘La Chasse’ – Presto Music
This page lists all recordings of Symphony in D major ‘La Chasse’ by Carl Stamitz (1745–1801).
Source: www.prestomusic.com
Date Published: 3/10/2022
View: 5338
Sinfonia a 4 in D Major: I. Presto – song and lyrics by Johann …
Listen to Sinfonia a 4 in D Major: I. Presto on Spotify. Johann Stamitz · Song · 2013.
Source: open.spotify.com
Date Published: 3/4/2021
View: 8738
주제와 관련된 이미지 stamitz symphony in d major
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주제에 대한 기사 평가 stamitz symphony in d major
- Author: David Lloyd-Mostyn
- Views: 조회수 51,719회
- Likes: 좋아요 409개
- Date Published: 2019. 5. 19.
- Video Url link: https://www.youtube.com/watch?v=fh8-6mpZAxw
Symphony in D major, Op. 3, No. 2 (Stamitz)
The Symphony in D major, Op. 3, No. 2 is a symphony by Johann Stamitz, written in the style of the Mannheim school sometime from 1750 to 1754.[1] The symphony was published as No. 4 in a 1769 publication of six symphonies by Stamitz.[2] It consists of four movements:
Presto Andantino Menuetto – Trio Prestissimo
It is about 10 minutes long.
This symphony is also notable for being one of the first to give distinct independence to the flutes and oboes, rather than having them simply reinforce the first violin part, as had been the convention for earlier symphonic works.[3]
Notes [ edit ]
1750 Stamitz Op. 3 No. 2
1750 Johann Stamitz Symphony in D, Op. 3 No. 2
Instrumentation Strings and continuo, 2 oboes, 2 horns, 2 trumpets, timps
Movements I: Presto (D) II: Andantino (G) III: Menuetto (D) IV: Prestissimo (D)
Overview An early symphony in the galant style written by a composer at the Mannheim court. See the full score of this piece.
Essay Points
A) Overall form Early example of short symphony (ca. 12 minutes) that uses the standard four-movement pattern. The second movement is in the subdominant, which is a very common more relaxed key for the slow movement.
B) 1st mov. / sonata The form is somewhat like sonata form but the there are several differences: the development is not that different from the exposition, it just presents themes in their entirety in a range of closely related keys (i.e. it does not fragment and modulate any quicker than the expo)
the ‘recapitulation’ reverses the order of the subjects (second then first) and the tonic returns in the equivalent of the development as well as at this point. This shows that the important principles in mature sonata form of a fragmented and modulatory development followed by a ‘double return’ of the tonic and the opening thematic material at the beginning of the recapitulation is not yet established. Look at the annotated score of first movement. Listen to the opening of the first movement: https://alevelmusic.com/wp-content/uploads/2017/09/1750-stamitz-first-movement-opening.mp3
C) 2nd mov. This movement is in a loose rounded binary form, in this case without any repeats (the B section starts on the third page with the D major version of the opening). Whilst later Classical and Romantic symphonists began to write slower and more impassioned Adagio-type second movements, this relaxed Andante in the subdominant key with a simple MDH texture is very typical of the earlier Classical period. Look at the score of the second movement.Listen to the opening of the second movement: https://alevelmusic.com/wp-content/uploads/2017/09/1750-stamitz-second-movement-opening.mp3
D) 3rd mov. / Minuet The third movement is quite old fashioned in some of its features, for example the fact that first and second violins play the same throughout. The reduction of forces in the trio (no trumpets) is standard, but the relatively independent woodwind parts are more innovative. Another more old-fashioned feature is the fact that the B section of the rounded binary minuet starts with a new idea before the A’ brings back the opening material. Composers later in the Classical period nearly always treated the beginning of the B section a bit like a sonata development, modulating whilst fragmenting ideas from the A section rather than introducing anything new. Have a look at the beginning of the movement on the score. Opening of Minuet https://alevelmusic.com/wp-content/uploads/2017/09/1750-stamitz-minuet-opening.mp3 The Trio is, like most early third movements, short and similar in feel to the minuet. Later composers would write Trios that were both more substantial and more contrasting. Opening of Trio https://alevelmusic.com/wp-content/uploads/2017/09/1750-stamitz-trio-opening.mp3
F) Dev. of orchestra As with all early symphonies this would have been played with continuo keyboard – an editorial realisation is suggested in the score. However, the orchestra is larger than the often-used ‘Sinfonia a 8’ configuration (see Haydn Symphony No. 2) with added trumpets (and indeed timps). Stamitz used a wide variety of sizes of ensemble ranging from this more lavish grouping to strings and continuo alone (as in his E minor symphony)In the second movement there are some good examples of Stamitz’s pioneering orchestration, in which he gives independent lines to the woodwind. The tune is first played on the strings but then the oboes take over with the strings reduced to an accompanying role. Look at the score of the second movement. Listen to the opening of the second movement: https://alevelmusic.com/wp-content/uploads/2017/09/1750-stamitz-second-movement-opening.mp3
G) Harm. / tonality Very simple and direct harmony with lots of pedals and primary chords. In terms of tonality, the double return of tonic and thematic material that would become standard in sonata form is not yet established – the tonic returns in the development as well. Look at the annotated score of first movement.
H) Drama / progr. The dramatic opening of the first movement is typical of the Mannheim style with three opening tonic chords in rhythmic unison (sometimes called Mannheim hammerstroke) followed by sudden a drop to piano that marks the beginning of a gradual crescendo that is partially achieved by adding instruments to the texture as it continues (called a Mannheim crescendo). This opening is also a good example of the Mannheim roller – a rising melodic idea over a pedal.Listen to the opening of the first movement: https://alevelmusic.com/wp-content/uploads/2017/09/1750-stamitz-first-movement-opening.mp3
I) Melody / theme Galant music makes much use of simple, diatonic material with lots of motivic repetition (e.g. the three-note idea starting in the thirteenth bar of the first movement).The last movement begins with a rising arpeggio – a very generic sort of melodic idea that is typical of Galant writing. Look at a score of the fourth movement opening Listen to the opening of the fourth movement: https://alevelmusic.com/wp-content/uploads/2017/09/1750-stamitz-fourth-movement-opening.mp3
J) Texture Galant writing is typically melody-dominated homophony – the second movement provides very clear examples. Look at the score of the second movement.
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Johann Stamitz: Symphony in D major, Op. 7 – Sheet Music
Details
The six symphonies published in Paris by La Chevardière in 1763 as Opus 7 all appear to have been composed over the period ca 1747-1753. The title page of the publication reads: “SIX / SIMPHONIES / a quatre Parties obligves / avec Haubois et Cors de chasse / Composes par Mr / JEAN STAMITZ / Directeur de la Musique de S.A.S. / Mr l’Electeur Palatin Mannheim. / OEUVRE VII…” The present work, the sixth of the set, is probably among the earliest them (ca 1747-1751) although Wolf believes that an implied crescendo in the first movement may indicate a composition date near to 1751. This edition is based on a contemporary set of MS parts formerly in the Sarasin collection (No.301) and now preserved in the ?ffentliche Bibliothek der Universitt Basel,Musiksammlung, under the shelfmark kr 320. In the absence of the autograph score or a set of authentic parts the edition presents as faithfully as possible the intentions of the composer as transmitted in the source. The notation of articulation and dynamic markings has been standardised throughout, and, where missing, markings have been reconstructed from parallel passages. These are indicated by the use of dotted slurs or brackets where appropriate. Like most eighteenth-century sources, the Basel MS is inconsistentin its notation of appoggiature; these have also been standardised to minimise confusion. Obvious wrong notes have been silently corrected; otherwise, any editorial emendation with no authority from the source is placed within brackets. Allan Badley
Stamitz, C: Symphony in D major ‘La Chasse’ (page 1 of 1)
5 CDs $31.50
This item is currently out of stock at the UK distributor. You may order it now but please be aware that it may be six weeks or more before it can be despatched.
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