Talk:Symphony/Draft

Well, this is the first try. It wouldn't surprise me if this isn't taken down. Tee hee. Hopefully a music scholar can come onboard and pump up the volume, as it were. Jeffrey Scott Bernstein 19:12, 17 October 2007 (CDT)

Looks like an excellent start! --Larry Sanger 22:11, 18 October 2007 (CDT)

Yes, a brave start! One point, which is an issue as it involves a category heading, is that Beethoven symphonies are not normally seen as Romantic: they form a transition between classical and Romantic, and in a sense belong in a category of their own. You have more or less done that, by separating him from the 19th century symphonists, but still -- he was also 19th C :-)) --Martin Baldwin-Edwards 22:43, 18 October 2007 (CDT)

Good, great, integral point, Martin. I'm going to take a rest for a bit, then return, and I'll put Beethoven in a category of his own. I also have to inject Richard Strauss into this, and then figure out a way to characterize the twentieth century (because there is a supposed European "line", but then there are British and American symphonists). I'm picking up eight more books on the subject when the university libraries open, so my eyes'll be zipping along like twin Concordes. Jeffrey Scott Bernstein 23:05, 18 October 2007 (CDT)

W.r.t. the photo, I can't help feeling that it is a bit odd to use an orchestra and hall from Taiwan, rather than Europe or USA! I have been looking for a picture, and so far have found two of the Moscow Phil, but I don't know what the copyright position is. We could try asking and I suspect they would happily give permission.--Martin Baldwin-Edwards 12:27, 19 October 2007 (CDT)

Regarding "A Fifth..."; I liked it. --Robert W King 17:14, 19 October 2007 (CDT)

Hey, don't get me wrong: I absolutely loved it at the time! I'm wondering now if I still would...maybe I'd better go buy a copy and listen to it again! Aleta Curry 17:17, 19 October 2007 (CDT)

Lists

What do you all say to removing the list of modern composers from the 20th Century section? It's fine the way it is; my fear is that people with start adding to it and we'll get one of those WP type endless lists, which I hate.

I started catalog of symphonic composers, in any case.

(and thangsalot, Justine--I can't get this music out of my head, now! Singing: This is/the sim-fon-nee/that Schubert wrote and didn't fin-nish!)

Aleta Curry 18:14, 19 October 2007 (CDT)

I am rather impressed that Jeffrey can write so authoritatively on 20th century composers, and welcome the inclusion of these composers in this article. Actually, I was thinking of suggesting a few more to add there:-)

Actually, it's the twentieth century where I feel more comfortable. (And in order to keep it short and snappy, I left out some composers which others may have put in, such as Rachmaninoff, Nielsen, Hindemith, etc. I just didn't want to give the reader an information overload. I think that list of composers of symphonies will be VERY wonderful.) (And it struck me hard as I wrote this article that the history of the symphony kind of in one way ends with Beethoven, and everything that follows him is like a footnote: it's odd, that.) Martin, for my two cents, I love the photograph that you added; it enhances the page marvellously. However, you may have a point about substituting it for another; I won't enter the discussion because, as I say, I love the photograph as it stands; I only hope a picture commensurate in beauty is available! ALSO! Regarding lists, the Appendix A and Appendix B of the Adam Carse book in my bibliography lists what looks like a couple hundred composers of symphonies in the eighteenth century, virtually all of them completely forgotten today. Although they won't warrant inclusion in a CZ list, perhaps we could/should mention that this list (these appendices) exists?Jeffrey Scott Bernstein 00:39, 20 October 2007 (CDT)

Actually, I didn't add the photo. I have two of the Moscow Phil I collected, but they are not public domain, so I didn't upload them. If you are happy with this one, let's leave it there! --Martin Baldwin-Edwards 00:42, 20 October 2007 (CDT)

P.S. YOu can add as many as you like to catalogs, as subpages of this article. Go to Catalogs from the articlke page, and I made a link to another subpage from the Catalogs subpage, which means that we can have as many catalogs there as we like. It sounds complex, but if you look you will see easily. --Martin Baldwin-Edwards 00:45, 20 October 2007 (CDT)

Martin, thanks for the info on lists, I'll figure it out in hours to come. (Typing up these appendices of hundreds of names sounds like FUN!) Now I need to withdraw back into this pile of books by my side, to double-check all my facts and maybe add a few. Back later . . . hopefully to "finish" this article Jeffrey Scott Bernstein 00:49, 20 October 2007 (CDT)

Related articles

Trying to figure out how to deal with subpages is way too complicated for me at the moment; I’m gathering info together for articles, so need to keep focused. So I’ll put here information for three subpages for the symphony page and let someone else judge if these are useful and so on:

See also:

Ripieno concerto

Symphonie concertante

Sinfonia characteristica

The ripieno concerto was a popular form of instrumental music in Italy at the outset of the eighteenth century. It was composed for an orchestra without featuring a solo instrument, and was sometimes structured in three movements of contrasting speeds (generally fast-slow-fast). It differed from the concerto grosso insofar as the orchestra for the ripieno concerto wasn’t divided into two antiphonal sections; “ripieno” can translate as “full” and referred to “full orchestra”. Italian composers who wrote ripieno concertos include Antonio Vivaldi, Giuseppe Torelli, and Tommaso Albinoni. Some music scholars relate the ripieno concerto to the development of the symphony, as many early symphonies adhered to a three-movement pattern of fast-slow-fast, but this general structural principle wasn’t exclusive to the ripieno concerto. (See, for example, the Italian sinfonia.) The genre of the ripieno concerto died out during the eighteenth century while the modern form of the concerto grew in prominence in this same period.

The symphonie concertante (or sinfonia concertante; symphony concertante) was a genre related to the symphony which grew in prominence during the 1770s – 1780s in Europe but which died out for the most part by 1800. It was a symphony-concerto hybrid, organized in two movements, and scored for up to six soloists and orchestra. Some composers of symphonie concertantes were Carl Stamitz, Giovanni Giuseppe Cambini, and Jean-Baptiste Davaux. Wolfgang Amadeus Mozart composed at least one finished symphonie concertante, Sinfonia concertante in E-flat major for Violin and Viola, K. 364, in 1779.

The sinfonia characteristica (or sinfonia caractéristique, characteristic symphony) was a type of symphony composed mainly in the eighteenth century which was embellished with a printed text (either one line or many paragraphs long) which pointed the listener in a specific direction, so that the music would convey a thematic expression, i.e., “tell a story”. Music scholar Richard Will has identified over 225 such works written between 1750 – 1815, the majority of subjects being these five: pastoral, military, hunts, storms, and national or regional expressions. As a term, “characteristic symphony” is the forerunner of the “program symphony” of the nineteenth century which gained major prominence with Hector Berlioz’s Symphonie Fantastique. Jeffrey Scott Bernstein 05:28, 21 October 2007 (CDT)

DONE!! --Martin Baldwin-Edwards 11:41, 25 October 2007 (CDT)