# data[].attributes.body
http://en.wikipedia.org/wiki/Joseph_K%C3%BCffner To learn about him.

(Joseph Küffner)

# data[].attributes.body
Richard Wagner

Wilhelm Richard Wagner was a German composer, theatre director, polemicist, and conductor who is primarily known for his operas. Unlike most opera composers, Wagner wrote both the libretto and the music for each of his stage works

# data[].attributes.body
1. Johann Strauss I was an Austrian Romantic composer. He was famous for his waltzes, and he popularized them alongside Joseph Lanner, thereby setting the foundations for his sons to carry on his musical dynasty. Wikipedia

2. Born: March 14, 1804, Vienna, Austria

3. Died: September 25, 1849, Vienna, Austria

4. Film music credits: Supervixens

5. Children: Johann Strauss II, Josef Strauss, Eduard Strauss

6. Compositions: Radetzky March, Walzer aus Wien, Seufzer-Galopp,More

7. Parents: Franz Borgias Strauss, Barbara Dollmann

# data[].attributes.body
Symphonies[7]

First Symphony, Opus 75 (pub. Schott, 1818)[8]

Second Symphony, Opus 76 (Schott)[9]

Third Symphony, Opus 83 (pub. André, ca 1820)[10]

Fourth Symphony, Opus 141 (Schott)[11]

Fifth Symphony, Opus 142 (pub. by 1824) (Schott)[12]

Sixth Symphony, Opus 150 (Schott)[13]

Seventh Symphony, Opus 164 (pub. 1826)(Schott)[14]

# data[].attributes.body
Franz Liszt was born on October 22nd 1811

# data[].attributes.body
Richard wangner

# data[].attributes.body
Franz Liszt was born on October 22nd 1811

# data[].attributes.body
Franz Liszt

# data[].attributes.body
Charles-François Gounod was a French composer, best known for his Ave Maria, based on a work by Bach, as well as his opera Faust. Another opera by Gounod, occasionally still performed, is Roméo et Juliette.

# data[].attributes.body
Franz Liszt's

# data[].attributes.body
anton bruckner

# data[].attributes.body
every one wellcome

# data[].attributes.body
Hector is so cool

# data[].attributes.body
Born on January 31, 1797, in Himmelpfortgrund, Austria, Franz Peter Schubert, the son of a schoolmaster, received a thorough musical education and won a scholarship to boarding school. Although he was never rich, the composer's work gained recognition and popularity, noted for bridging classical and romantic composition. He died in 1828 in Vienna, Austria.

Early Life

Born on January 31, 1797, in Himmelpfortgrund, Austria, Franz Peter Schubert demonstrated an early gift for music. As a child, his talents included an ability to play the piano, violin and organ. He was also an excellent singer.

Franz was the fourth surviving son of Franz Theodor Schubert, a schoolmaster, and his wife, Elisabeth, a homemaker. His family cultivated Schubert's love of music. His father and older brother, Ignaz, both instructed Schubert early in his musical life.

Eventually, Schubert enrolled at the Stadtkonvikt, which trained young vocalists so they could one day sing at the chapel of the Imperial Court, and in 1808 he earned a scholarship that awarded him a spot in the court's chapel choir. His educators at the Stadtkonvikt included Wenzel Ruzicka, the imperial court organist, and, later, the esteemed composer Antonio Salieri, who lauded Schubert as a musical genius. Schubert played the violin in the students' orchestra, was quickly promoted to leader, and conducted in Ruzicka's

absence. He also attended choir practice and, with his fellow pupils, practiced chamber music and piano playing.

In 1812, however, Schubert's voice broke, forcing him to leave the college, though he did continue his instruction with Antonio Salieri for three more years. In 1814, under pressure from his family, Schubert enrolled at a teacher's training college in Vienna and took a job as an assistant at his father's school.

Young Composer

Schubert worked as a schoolmaster for the next four years. But he also continued to compose music. In fact, between 1813 and 1815, Schubert proved to be a prolific songwriter. By 1814, the young composer had written a number of piano pieces, and had produced string quartets, a symphony, and a three-act opera.

Over the next year, his output included two additional symphonies and two of his first Lieds, "Gretchen am Spinnrade" and "Erlkönig." Schubert is, in fact, largely credited with creating the German Lied. Boosted by

a wealth of late 18th-century lyric poetry and the development of the piano, Schubert tapped the poetry of giants like Johann Wolfgang von Goethe, showing the world the possibility of representing their works in musical form.

In 1818, Schubert, who had not only found a welcome audience for his music but had grown tired of teaching, left education to pursue music full-time. His decision was sparked in part by the first public performance of one of his works, the "Italian Overture in C Major," on March 1, 1818, in Vienna.

The decision to leave school teaching seems to have ushered in a new wave of creativity in the young composer. That summer he completed a string of material, including piano duets "Variations on a French Song in E minor" and the "Sonata in B Flat Major," as well as several dances and songs.

That same year, Schubert returned to Vienna and composed the operetta "Die Zwillingsbrüder (The Twin Brothers), which was performed in June 1820 and met with some success. Schubert's musical output also included the score for the play "Die Zauberharfe" (The Magic Harp), which debuted in August 1820.

The resulting performances, as well as Schubert's other pieces, greatly expanded his popularity and appeal. He also showed himself to be a visionary.

# data[].attributes.body
what is going on!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!29 21 98=100000.

# data[].attributes.body
Franz liszit

# data[].attributes.body
kyle dr

# data[].attributes.body
Beethoven was born in 1770 he past away on 1827.Also Beethoven was German. Ferdinando carulli was a composer, a singer, derecter

# data[].attributes.headline
MATTHEWP                                                                                                                                                                                                              

# data[].attributes.subject
MATTHEWP                                                                                                                                                                                                              

# data[].attributes.body
1Hector Berlioz is AWESOMEEEEEEEEEEEE!!!!!!!!

n opened before me a new world of music, as Shakespeare had revealed a new universe of poetry.[104]

He was able to hear Beethoven's works through the performances of the Société des Concerts du Conservatoire, an orchestra founded by François Antoine Habeneck and his colleagues to promote modern orchestral music. The inaugural concert, on 9 March 1828, featured the French premiere of the Eroica Symphony.[105] Despite protests from French and Italian composers,[104] by the end of the first season Habeneck and the orchestra had also performed the Fifth Symphony, the Third Piano Concerto, the Violin Concerto as well as other works.[106]

For Berlioz the experience of hearing the Eroica brought the last and greatest revelation of the power of instrumental music as an expressive language, along with the freedom of action with which it could be expressive.[107] He understood at once that the symphony was a dramatic form to an extent that he had not previously realized,[108] and that in Beethoven he saw a way to the dramatic manner in which he desired to compose.

Most tellingly, hearing the Eroica inspired Berlioz to widen his horizons for the first time past opera and other vocal works and consider the expressive power of purely instrumental music.[101] Prior to this, he had defaulted to the dominant view of the Parisian music establishment, as typified by Le Sueur: that the symphony was a lesser form of composition that Mozart and Haydn had already taken as far as possible.[109] Berlioz would go on to find instrumental music to be far more penetrating in expression and articulation than vocal setting.[101] "Now that I have heard that terrifying giant Beethoven", he wrote, "I know exactly where my musical art stands; the question is to take it from there and push it further."[110]

Other composers[edit]

Next to those of Beethoven, Berlioz showed deep reverence for the works of Gluck, Mozart, Méhul, Weber and Spontini, as well as respect for some of those of Rossini, Meyerbeerand Verdi.

The innovative use of chromaticism by his contemporaries and associates Chopin and Wagner had little effect on Berlioz's style.

During his second visit to Russia in 1867, Berlioz met composer and pianist Anton Rubinstein, the director and founder of the Saint Petersburg Conservatory (he left his position that August to live in Germany). Other Russian composers he knew or at least had met include Mussorgsky, Rimsky-Korsakov, Vladimir Stasov, and Tchaikovsky.
First page of original Symphonie fantastique (1830) manuscript

Roman Carnival Overture, Op. 9MENU0:00Performed by the Skidmore College Orchestra. Courtesy of Musopen
Problems playing this file? See media help.

Works[edit]
See also: List of compositions and literary works by Hector Berlioz
Musical works[edit]

The five movement Symphonie fantastique, partly due to its fame, is considered by most to be Berlioz's most outstanding work,[111] and the work had a considerable impact when first performed in 1830, 3 years after the death of Beethoven and 2 years after that of Schubert.[14][50] It is famous for its innovations in the form of the programmatic symphony. The story behind this work relates to Berlioz himself and can be considered somewhat autobiographical.[112]

In addition to the Symphonie fantastique, some other orchestral works of Berlioz currently in the standard orchestral repertoire include his "légende dramatique" La damnation de Faust and "symphonie dramatique" Roméo et Juliette (both large-scale works for mixed voices and orchestra), and his concertante symphony (for viola and orchestra) Harold en Italie, several concert overtures also remain enduringly popular, such as Le Corsaire and Le Carnaval romain. Amongst his more vocally oriented works, the song cycle Les nuits d'été and theoratorio L'enfance du Christ have retained enduring appeal, as have the quasi-liturgical Te Deum and Grande messe des morts.

The unconventional music of Berlioz irritated the established concert and opera[11] scene. Berlioz often had to arrange for his own performances as well as pay for them himself. This took a heavy toll on him financially[52] and emotionally. The nature of his large works – sometimes involving hundreds of performers[113] – made financial success difficult. His journalistic abilities became essential for him to make a living and he survived as a witty critic,[18] emphasizing the importance of drama and expressiveness in musical entertainment. It was perhaps this expense which prevented Berlioz from composing more opera than he did. His talent in the genre is obvious, but opera is the most expensive of all classical forms, and Berlioz in particular struggled to arrange stagings of his operas, due in part to the unwillingness of conservative Paris opera companies to perform his work.[30]

Literary works[edit]

While Berlioz is best known as a composer, he was also a prolific writer, and supported himself for many years by writing musical criticism, utilising a bold, vigorous style, at times imperious and sarcastic. He wrote for many journals, including the Rénovateur,[114] Journal des débats and Gazette musicale.[115] He was active in the Débats for over thirty years until submitting his last signed article in 1863.[4] Almost from the founding, Berlioz was a key member of the editorial board of the Gazette as well as a contributor, and acted as editor on several occasions[116] while the owner was otherwise engaged. Berlioz took full advantage of his times as editor, allowing himself to increase his articles written on music history rather than current events, evidenced by him publishing seven articles on Gluck in the Gazette between June 1834 and January 1835.[116] An example of the amount of work he produced is indicated in his producing over one-hundred articles[116] for the Gazette between 1833 and 1837. This is a conservative estimate, as not all of his submissions were signed.[116] In 1835 alone, due to one of his many times of financial difficulty, he wrote four articles for the Monde dramatique, twelve for the Gazette, nineteen for the Débats and thirty-seven for the Rénovateur.[117] These were not mere scribbles, but in-depth articles and reviews with little duplication,[117] which took considerable time to write.

Another noteworthy indicator of the importance Berlioz placed on journalistic integrity and even-handedness were the journals which he both did and did not write for.[which?] During the middle of the 1830s the Gazette was considered an intellectual journal, strongly supporting the progressive arts and Romanticism in general, and opposing anything which it considers as debasing this.[116] Exemplified in its long-standing criticism of Henri Herz, and his seemingly endless stream of variations on opera themes, but to its credit, it also positively reviewed his music on occasion.[118] Its writers included Alexandre Dumas, Honoré de Balzac and George Sand.[116] The Gazette wasn't even unanimous in its praise of Berlioz's music, although it always recognised him as an important and serious composer to be respected.[118] An example of another journal of the same time is the Revue musicale, which thrived on personal attacks, many against Berlioz himself from the pen of critic François-Joseph Fétis.[119] At one point, Robert Schumann was motivated to publish a detailed rebuttal of one of Fétis' attacks on Berlioz's Symphonie fantastique[39] in his own Neue Zeitschrift für Musik journal.[119] Fétis would later contribute to the debasement of the reputation of the Gazette when his journal failed and was absorbed by the Gazette, he found himself on the editorial board.[119]

The books which Berlioz has become acclaimed for were compiled from his journal articles.[4] Les soirées de l’orchestre (Evenings with the Orchestra) (1852), a scathing satire[120]of provincial musical life in 19th century France, and the Treatise on Instrumentation, a pedagogic work, were both serialised originally in the Gazette musicale.[4] Many parts of the Mémoires (1870) were originally published in the Journal des débats, as well as Le monde illustré.[121] The Mémoires paint a magisterial (if biased) portrait of the Romantic era through the eyes of one of its chief protagonists. Evenings with the Orchestra is more overtly fictional than his other two major books, but its basis in reality is its strength,[120]making the stories it recounts all the funnier due to the ring of truth. W. H. Auden praises it, saying "To succeed in [writing these tales], as Berlioz most brilliantly does, requires a combination of qualities which is very rare, the many-faceted curiosity of the dramatist with the aggressively personal vision of the lyric poet."[122] The Treatise established his reputation as a master of orchestration.[12] The work was closely studied by Gustav Mahler and Richard Strauss and served as the foundation for a subsequent textbook by Nikolai Rimsky-Korsakov, who, as a music student, attended the concerts Berlioz conducted in Moscow and Saint Petersburg.[71]

References[edit]

1. Jump up^ Although baptised Louis-Hector Berlioz, he was always known as Hector; see Cairns – Berlioz vol. 1, p. 36.

2. Jump up^ "Classic FM". Classic FM. Retrieved 13 March 2010.

3. Jump up^ Blas Matamoro – "Hector Berlioz: Un genio francés", essay edited by Grupo Santillana and La Nación, Buenos Aires, 2004

4. ^ Jump up to:a b c d e f g h i j k l m n o p q r s t u v w x y "HBerlioz.com". HBerlioz.com. Retrieved 13 March 2010.

5. Jump up^ Cairns – Berlioz vol. 1, pp. 25–6

6. Jump up^ Cairns – Berlioz vol. 1, pp. 59–60

7. Jump up^ Cairns – Berlioz vol. 1, pp. 30–1

8. Jump up^ Barzun, Jacques (1982) [1956]. Berlioz and His Century: An Introduction to the Age of Romanticism (3rd ed.). University of Chicago Press. p. 19. ISBN 978-0-226-03861-2.

9. Jump up^ Cairns – Berlioz vol. 1, pp. 51

10. Jump up^ "HBerlioz.com". HBerlioz.com. Retrieved 13 March 2010.

11. ^ Jump up to:a b c d e f g h i j k l m n o p q "EssentialsOfMusic.com". EssentialsOfMusic.com. Retrieved 13 March 2010.

12. ^ Jump up to:a b c d e f g h i "w3.rz-berlin.mpg.de". w3.rz-berlin.mpg.de. Retrieved 13 March 2010.[dead link]

13. Jump up^ "Rhapsody.com". Rhapsody.com. Retrieved 13 March 2010.

14. ^ Jump up to:a b c d e "Caltech". Its.caltech.edu. 3 June 1996. Retrieved 13 March 2010.

15. ^ Jump up to:a b c d e f g h i j "Berlioz and Shakespeare". Home.vicnet.net.au. Retrieved 13 March 2010.

16. ^ Jump up to:a b c d e "Karadar.com". Karadar.it. 15 November 2009. Retrieved 13 March 2010.

17. ^ Jump up to:a b c d e f g h i "Think Quest". Library.thinkquest.org. Retrieved 13 March 2010.

18. ^ Jump up to:a b c d e f g h i j "Naxos Records". Naxos.com. Retrieved 13 March 2010.

19. Jump up^ Berlioz, Hector, translated by Cairns, David (1865, 1912, 2002). The Memoirs of Hector Berlioz. Hardback, pp. 20–1. Everyman's Library/Random House. ISBN 0-375-41391-X

20. Jump up^ Berlioz/Cairns – Memoirs pp. 34–6

21. Jump up^ "HBerlioz.com". HBerlioz.com. Retrieved 13 March 2010.

22. Jump up^ Rushton, Julian (2 June 2009). "Newish Berlioz". Musical Times. Retrieved 13 March 2010.[dead link]

23. Jump up^ "HBerlioz.com". HBerlioz.com. Retrieved 13 March 2010.

24. ^ Jump up to:a b c ClassicalArchives.com[dead link]

25. Jump up^ Cairns, David (1989, rev. 1999). Berlioz: The Making of an Artist, 1803–1832. Paperback, p. 144 Penguin Books. ISBN 978-0-14-028726-4

26. Jump up^ "NewAdvent.org". NewAdvent.org. Retrieved 13 March 2010.

27. Jump up^ Cairns – Berlioz vol. 1, p. 265

28. Jump up^ Cairns – Berlioz vol. 1, p. 311

29. Jump up^ "La Marseillaise site". Marseillaise.org. Retrieved 13 March 2010.

30. ^ Jump up to:a b c d "CarringBush.net". CarringBush.net. Archived from the original on 5 June 2008. Retrieved 13 March 2010.

31. ^ Jump up to:a b "Encyclopedia.Farlex.com". Encyclopedia.Farlex.com. Retrieved 13 March 2010.

32. Jump up^ Berlioz/Cairns – Memoirs pp. 105–6

33. Jump up^ Memoirs, 225.

34. Jump up^ Cairns – Berlioz vol. 1, p. 442

35. ^ Jump up to:a b c d Cairns – Berlioz vol. 1, pp. 457–9

36. ^ Jump up to:a b c d e f g IMDb

37. ^ Jump up to:a b c d "NNDB.com". NNDB.com. Retrieved 13 March 2010.

38. Jump up^ Cairns – Berlioz vol. 1, p. 542

39. ^ Jump up to:a b Posted on 6 November 2008 1:30PM by Kelly Wilson (6 November 2008). "Scott D. Farquhar". Members.aol.com. Retrieved 13 March 2010.

40. Jump up^ "HBerlioz.com". HBerlioz.com. Retrieved 13 March 2010.

41. ^ Jump up to:a b c d Encyclopædia Britannica. "Encyclopædia Britannica". Britannica.com. Retrieved 13 March 2010.

42. Jump up^ Berlioz/Cairns – Memoirs p. 243

43. Jump up^ "Programme Notes – Berlioz Requiem". Web.ukonline.co.uk. 14 October 2002. Retrieved 13 March 2010.

44. Jump up^ "Matthew B. Tepper". Home.earthlink.net. Retrieved 13 March 2010.

45. Jump up^ Cairns – Berlioz vol. 1, p. 312+2, pics, top caption

46. Jump up^ "Playbill Arts". Playbill Arts. 9 February 2007. Retrieved 13 March 2010.

47. Jump up^ "Royal Albert Hall". Tickets.royalalberthall.com. Retrieved 13 March 2010.

48. ^ Jump up to:a b c d e FindArticles.com[dead link]

49. Jump up^ Answers.com

50. ^ Jump up to:a b "Internet Public Library". Ipl.org. Retrieved 13 March 2010.

51. ^ Jump up to:a b Bartleby.com

52. ^ Jump up to:a b c Cairns, David (1999, 2000). Berlioz: Servitude and Greatness, 1832–1869. Paperback, p. 361–5, Penguin Books. ISBN 0-14-028727-2

53. ^ Jump up to:a b Cairns – Berlioz vol. 2, p. 395

54. ^ Jump up to:a b Berlioz/Cairns – Memoirs p. 527

55. Jump up^ "HumanitiesWeb.org". HumanitiesWeb.org. Retrieved 13 March 2010.

56. Jump up^ "Completely Berlioz". Groups.msn.com. 23 October 2008. Retrieved 13 March 2010.

57. Jump up^ Cairns – Berlioz vol. 2, p. 494

58. ^ Jump up to:a b c d "HBerlioz.com". HBerlioz.com. Retrieved 13 March 2010.

59. Jump up^ Cairns – Berlioz vol. 2, p. 587–8

60. ^ Jump up to:a b Cairns – Berlioz vol. 2, p. 591

61. Jump up^ "Completely Berlioz". Groups.msn.com. 23 October 2008. Retrieved 13 March 2010.

62. ^ Jump up to:a b Cairns – Berlioz vol. 2, p. 682

63. Jump up^ Cairns – Berlioz vol. 2, p. 699

64. ^ Jump up to:a b "HBerlioz.com". HBerlioz.com. Retrieved 13 March 2010.

65. Jump up^ Cairns – Berlioz vol. 2, p. 660+6 bottom caption

66. Jump up^ Cairns – Berlioz vol. 2, p. 754

67. Jump up^ The Hector Berlioz website, Berlioz in Grenoble

68. Jump up^ Cairns – Berlioz vol. 2, pp. 772–3

69. Jump up^ Cairns – Berlioz vol. 2, p. 779

70. Jump up^ "French gov Ministry for Foreign Affairs". Diplomatie.gouv.fr. Retrieved 13 March 2010.

71. ^ Jump up to:a b c d "Scena.org". Scena.org. 10 December 2003. Retrieved 13 March 2010.

72. Jump up^ Economist review of David Cairns's biography of Berlioz

73. Jump up^ David Cairns (2003). Berlioz: Servitude and Greatness, 1832–1869 (2 ed.). University of California Press. p. 136. ISBN 9780520240582. "Berlioz spoke of himself as an atheist, at most as an agnostic."

74. Jump up^ Boult, G. K. Life of Berlioz. 1903

75. Jump up^ "Hector Berlioz". The Catholic Encyclopedia. Retrieved 12 September 2009. "...The Childhood of Christ, songs, choruses, etc. ... give us an idea of what he might have been had he remained faithful to Catholic ideals."

76. ^ Jump up to:a b c d e Cairns – Berlioz vol. 2, p. 100

77. ^ Jump up to:a b c Cairns – Berlioz vol. 2, p. 99

78. ^ Jump up to:a b c d e Cairns – Berlioz vol. 2, p. 101

79. Jump up^ Cairns – Berlioz vol. 2, p. 761

80. Jump up^ Mascagni.org

81. ^ Jump up to:a b c "Row mars Berlioz anniversary". BBC News. 16 February 2003. Retrieved 13 March 2010.

82. Jump up^ "FilmSound.org". FilmSound.org. Retrieved 13 March 2010.

83. Jump up^ "The Literary Encyclopedia". Litencyc.com. 29 January 2004. Retrieved 13 March 2010.

84. Jump up^ Cairns – Berlioz vol. 2, p. 470

85. ^ Jump up to:a b KBAQ.org

86. Jump up^ "HBerlioz.com". HBerlioz.com. Retrieved 13 March 2010.

87. ^ Jump up to:a b c d e Stevens, David (28 April 2000). "International Herald Tribune". International Herald Tribune. Retrieved 13 March 2010.[dead link]

88. ^ Jump up to:a b "HBerlioz.com". HBerlioz.com. Retrieved 13 March 2010.

89. Jump up^ "The Memoirs of Hector Berlioz: a Radio Series in Twenty-one Half-hour Parts". Berlioz.50webs.com. Retrieved 13 March 2010.

90. Jump up^ IMDb.com Moi, Hector Berlioz (2003)

91. Jump up^ "HBerlioz.com". HBerlioz.com. Retrieved 13 March 2010.

92. Jump up^ "Berlioz 2003". Berlioz-anhb.com. Retrieved 13 March 2010.

93. Jump up^ "HBerlioz.com". HBerlioz.com. Retrieved 13 March 2010.

94. ^ Jump up to:a b N. Paglinauan (21 June 2003). "NPR.org". NPR.org. Retrieved 13 March 2010.

95. Jump up^ Holoman, 46.

96. ^ Jump up to:a b c MacDonald, "Berlioz, (Louis-)Hector", New Grove, 2:581.

97. Jump up^ Holoman, 45.

98. Jump up^ Quoted in Holoman, 46.

99. Jump up^ Holoman, 93.

100. Jump up^ Holoman, 92–93.

101. ^ Jump up to:a b c MacDonald, New Grove, 2:582.

102. Jump up^ Holoman, 92.

103. Jump up^ MacDonald, New Grove, 2:582–3.

104. ^ Jump up to:a b Memoirs, 104.

105. Jump up^ Holoman, 48.

106. Jump up^ Holoman, 48–49.

107. Jump up^ Cairns, 1:265.

108. Jump up^ Cairns, 1:265–6.

109. Jump up^ Cairns, 1:261.

110. Jump up^ Quoted in Holoway, 93.

111. Jump up^ "HBerlioz.com". HBerlioz.com. Retrieved 13 March 2010.

112. Jump up^ "NPR.org". NPR.org. Retrieved 13 March 2010.

113. Jump up^ "Matthew B. Tepper". Home.earthlink.net. 2 March 1936. Retrieved 13 March 2010.

114. Jump up^ "HBerlioz.com". HBerlioz.com. 18 July 1997. Retrieved 13 March 2010.

115. Jump up^ Cairns – Berlioz vol. 2, p. 95

116. ^ Jump up to:a b c d e f Cairns – Berlioz vol. 2, p. 96

117. ^ Jump up to:a b Cairns – Berlioz vol. 2, p. 85

118. ^ Jump up to:a b Cairns – Berlioz vol. 2, p. 97

119. ^ Jump up to:a b c Cairns – Berlioz vol. 2, p. 98

120. ^ Jump up to:a b Hector Berlioz. "GreenManReview.com". GreenManReview.com. Retrieved 13 March 2010.

121. Jump up^ HBerlioz.com[dead link]

122. Jump up^ "University of Chigago Press". Press.uchicago.edu. Retrieved 13 March 2010.

External links[edit]

Book: Hector Berlioz

Wikiquote has quotations related to: Hector Berlioz

Wikimedia Commons has media related to Hector Berlioz.

Works by Hector Berlioz at Project Gutenberg

The Hector Berlioz Website, comprehensive Berlioz reference site, including scores, analysis and libretti

Hector Berlioz material in the BBC Radio 3 archives

Association Nationale Hector Berlioz, French National Berlioz Society

U.K. Berlioz Society website

Festival Berlioz

Free scores by Berlioz at the International Music Score Library Project

Grande ouverture de Benvenuto Cellini / par Hector Berlioz; for piano four hands

Le carnaval romain, for piano four hands

Free scores by Hector Berlioz in the Choral Public Domain Library (ChoralWiki)

Memorial page at FindaGrave

Berlioz cylinder recordings, Cylinder Preservation and Digitization Project at the University of California, Santa Barbara library

Selection of Writings in French

Works

# data[].attributes.body
Amy marcy cheny beach was an America

1. Amy Marcy Cheney Beach was an American composer and pianist. She was the first successful American female composer of large-scale art music. Most of her compositions and performances were under the name Mrs. H.H.A. Beach. Wikipedia

2. Born: September 5, 1867, Henniker, NH

3. Died: January 27, 1944, New York City, NY

4. Spouse: Henry Harris Aubrey Beach (m. 1885)

5. Compositions: Mass in E-flat, Cabildo, Sea Fairies, op. 59, More

n

# data[].attributes.body
Hector Berlioz

# data[].attributes.body
Franz Schubert !!!!!!

# data[].attributes.body
Franz lisz He was doern in 1811 and he died in 8186 his mom and dad dide in1183

# data[].attributes.body
Ludwig van Beethoven (i/ˈ l ʊ d v ɪ ɡ v æ n ˈ b eɪ ˌ t oʊ v ən/; German: [ˈluːtvɪç fan ˈbeːtˌhoˑfn̩] ( listen); baptised 17 December 1770[1] – 26 March 1827) was a German composer and pianist. A crucial figure in the transition between the Classical and Romantic eras inWestern art music, he remains one of the most famous and influential of all composers. His best-known compositions include 9symphonies, 5 concertos for piano, 32 piano sonatas, and 16 string quartets. He also composed other chamber music, choral works (including the celebrated Missa solemnis), and songs.

Born in Bonn, then the capital of the Electorate of Cologne and part of the Holy Roman Empire, Beethoven displayed his musical talents at an early age and was taught by his father Johann van Beethoven and by Christian Gottlob Neefe. During his first 22 years in Bonn, Beethoven intended to study with Wolfgang Amadeus Mozart and befriended Joseph Haydn. Beethoven moved to Vienna in 1792 and began studying with Haydn, quickly gaining a reputation as a virtuoso pianist. He lived in Vienna until his death. In about 1800 his hearing began to deteriorate, and by the last decade of his life he was almost totally deaf. He gave up conducting and performing in public but continued to compose; many of his most admired works come from this period.

# data[].attributes.body
Robert Alexander Schumann's spouse was Clara Schumann and they gave birth to Felix Schumann,

# data[].attributes.body
Joseph Küffner
He was a violinist with the Würzburg court orchestra,[3][4] and was later, when Würzburg became part of Bavaria (1802), assigned to take charge of military music. At this point he became bandmaster with a Bavarian Army regiment.[3][5]A quintet of Küffner's for clarinet and strings was once attributed to Carl Maria von Weber,[2] and is still recorded in collections of Weber's music.[6] He composed seven symphonies and a large number of works for various chamber music combinations. His output also contains a substantial quantity of music for classical guitar (some of it still published as of 2008 and some newly reprinted).

# data[].attributes.headline
Hiramari velazguez                                                                                                                                                                                 Amy Marcy Cheney Beach was an American composer and pianist. She was the first successful American female composer of large-scale art music. Most of her compositions and performances were under the name Mrs. H.H.A. Beach. 

# data[].attributes.subject
Hiramari velazguez                                                                                                                                                                                 Amy Marcy Cheney Beach was an American composer and pianist. She was the first successful American female composer of large-scale art music. Most of her compositions and performances were under the name Mrs. H.H.A. Beach. 

# data[].attributes.body
John addam was born in feb 15 he is also a famous composer 1947 in Massachusetts. . He was heavily influenced as a child by the New English music scene and grew up playing the clarinet. He earned two music degrees from Harvard during the 1970’s. After reading the book Silence by John Cage he began dabbling in electronic music composition. Today his style is often electronic and considered "minimalist" or "post-minimalist" by many, with sparse instrumentation and a lot of repetition. Two of his most famous works are Short Ride in a Fast Machine (1986) and On the Transmigration of Souls (2002), composed for those lost on 9/11.

Franz Joseph Haydn was the most famous composer of his time. He helped develop new musical forms, like the string quartet and the symphony. In fact, even though he didn't invent it, Haydn is known as the "Father of the Symphony."

Haydn was born in the tiny Austrian town of Rohrau, where his father made huge wooden carts and wagonwheels. His mother was a cook. When he was 8, Joseph (he didn't go by Franz) went to Vienna to sing in the choir at St. Stephen's Cathedral, and to attend the choir school. His younger brother Michael joined him a short time later. Joseph could never resist a playing a joke, which got him in trouble at school. Since Michael Haydn was much better behaved than his brother, everyone thought he would be the more successful musician. Wrong!

At first, Haydn struggled to earn a living as a composer. Then, he got a job with a rich, powerful family named Esterhazy. It was Haydn's job to write music for the Esterhazy princes, and to conduct their orchestra. Haydn composed symphonies, operas, string quartets, and all kinds of other music for performance at the Esterhazy court.

Haydn was also a good businessman. Music publishing made him and his music famous all over Europe. After he retired from working for the Esterhazy family, Haydn made two very successful trips to England, where audiences at concerts of his music treated him like a superstar.

Georg Friedrich Händel was born in Halle, Germany. But since he spent most of his professional life in England, he's better known as George Frederick Handel.

Even though Handel was very interested in music, his father (who was a barber and surgeon) was not. There's a story that Handel smuggled a clavichord -- a VERY quiet instrument -- into the house so that he could practice in secret. Handel's father insisted that his son become a lawyer, until the day that Handel sat down at the keyboard and dazzled a duke. The duke convinced Handel's father to let his son study music.

What Handel really loved was opera. At the time, Italy was the place to learn about that, so Handel went to Italy for four years. After he got home to Germany, he was hired as court composer to a prince. But he immediately asked for time off to go to England, where people really liked Italian opera. (When the English got tired of opera, Handel built a whole new career for himself composing oratorios.)

Through a strange set of circumstances, Handel's princely German employer wound up becoming king of England. When he got to London, he didn't need to hire a court composer, because he found his court composer from Germany -- namely Handel -- was there!

The level of distinction between composers and other copyright[specify] and the deference given to individual interpretations of a particular piece of music.[citation needed] In the development of European classical music, the function of composing music initially did not have much greater importance than that of performing it.[citation needed] The preservation of individual compositions did not receive enormous attention and musicians generally had no qualms about modifying compositions for performance. Over time, however, the written notation of the composer came to be treated as strict instructions from which performers should not deviate without good practical or artistic reason. Performers do, however, play the music and interpret it in a way that is all their own. In fact, in the concerto form, the soloist would often compose and perform a cadenza as a way to express their individual interpretation of the piece.

In as much as the role of the composer in western art music has seen continued solidification, in alternative idioms (i.e. jazz, experimental music) it has in some ways become increasingly complex or vague. For instance, in certain contexts the line between composer and performer, sound designer, arranger, producer, and other roles, can be quite blurred.

The term "composer" is often used to refer to composers of instrumental music, such as those found in classical, jazz or other forms of art and traditional music. In popular and folk music, the composer is usually called a songwriter, since the music generally takes the form of a song.

Since the mid-20th century, the term has expanded to accommodate creators of electroacoustic music, in which composers directly create sonic material in any of the variouselectronic media. This is distinct from instrumental composition, where the work is represented by a musical score to be interpreted by performers.

Clustering[edit]

Famous composers have a tendency to cluster in certain cities throughout history. Based on over 12,000 prominent composers listed in Grove Music Online and using word countmeasurement techniques the most important cities for classical music can be quantitatively identified.[1]

Paris has been the main hub for classical music of all times. It was ranked fifth in the 15th and 16th centuries but first in the 17th to 20th centuries inclusive. London was the second most meaningful city: eight in the 15th century, seventh in the 16th, fifth in the 17th, second in the 18th and 19th centuries, and fourth in the 20th century. Rome topped the rankings in the 15th century, dropped to second in the 16th and 17th centuries, eight in the 18th century, ninth in the 19th century but back at sixth in the 20th century. Berlin appears in the top ten ranking only in the 18th century, and was ranked third most important city in both the 19th and 20th centuries. New York entered the rankings in the 19th century (at fifth place) and stood at second rank in the 20th century.

The patterns are very similar for a sample of 522 top composers.[2]

See also[edit]

Lists of composers

References[edit]

1. Jump up^ Karol Jan Borowiecki and John O'Hagan (2012). "Historical Patterns Based on Automatically Extracted Data: the Case of Classical Composers". Historical Social Research (Section 'Cliometrics'), 2012, 37(2): 298–314. Retrieved 2012-10-13.

2. Jump up^ John O'Hagan and Karol Jan Borowiecki (2010-07-08). "Birth Location, Migration, and Clustering of Important Composers". Historical Methods, Volume 43, Issue 2, 2010.doi:10.1080/01615441003729945. Retrieved 2012-10-13.

Merriam-Webster dictionary on 'composer', accessed 17 November 2010

External links[edit]

Look up composer in Wiktionary, the free dictionary.

Media related to Composers at Wikimedia Commons

Composer societies at DMOZ

Composers at DMOZ

Composers and arrangers at DMOZ

[hide]

v

t

e

Musical composition & composers

Instrumentation

Libretto

Lists of composers

Lyricist

Lyrics

Musical form

Musical notation

Music theory

Orchestration

Songwriting

[show]

v

t

e

Music

Categories:

Composers

Occupations in music

Musical terminology

Navigation menu

Create account

Log in

Article

Talk

Read

Edit

View history

Main page

Contents

Featured content

Current events

Random article

Donate to Wikipedia

Wikimedia Shop

Interaction

Help

About Wikipedia

Community portal

Recent changes

Contact page

Tools

What links here

Related changes

Upload file

Special pages

Permanent link

Page information

Wikidata item

Cite this page

Print/export

Create a book

Download as PDF

Printable version

Languages

Afrikaans

Alemannisch

العربية

Aragonés

Azərbaycanca

Bân-lâm-gú

Беларуская

Беларуская (тарашкевіца)‎

Български

Boarisch

Bosanski

Català

Чӑвашла

Cebuano

Čeština

Cymraeg

Dansk

Deutsch

Eesti

Ελληνικά

Español

Esperanto

Euskara

فارسی

Français

Frysk

Furlan

Galego

한국어

Հայերեն

हिन्दी

Hrvatski

Bahasa Indonesia

Interlingua

Íslenska

Italiano

עברית

ქართული

Қазақша

Kernowek

Latina

Latviešu

Lëtzebuergesch

Lietuvių

Lojban

Magyar

Македонски

Malti

მარგალური

Bahasa Melayu

Nāhuatl

Nederlands

日本語

Norsk bokmål

Norsk nynorsk

Occitan

Олык марий

Oʻzbekcha

Polski

Português

Română

Runa Simi

Русский

Scots

Shqip

Simple English

Slovenčina

Slovenščina

کوردی

Српски / srpski

Srpskohrvatski / српскохрватски

Suomi

Svenska

Tagalog

Татарча/tatarça

ไทย

Тоҷикӣ

Türkçe

Українська

Tiếng Việt

Walon

ייִדיש

粵語

中文

Edit links

This page was last modified on 27 October 2014 at 15:09.

Text is available under the Creative Commons Attribution-ShareAlike License; additional terms may apply. By using this site, you agree to the Terms of Use and Privacy Policy. Wikipedia® is a registered trademark of the Wikimedia Foundation, Inc., a non-profit organization.

See other composers from the Baroque period