CE on Music Theory Print

Celempungan

Mon, 01 Jan 0001 00:00:00 +0000

Cello concerto

Mon, 01 Jan 0001 00:00:00 +0000

Selected list of cello concertos#

Cello concertos near the center of the “repertoire”. The original list of cello concertos has been moved to List of compositions for cello and orchestra. *Carl Philipp Emanuel Bach **Cello Concerto in A minor (Wq 170) **Cello Concerto in B-flat major (Wq 171) **Cello Concerto in A major (Wq 172) *Samuel Barber **Cello Concerto in A minor, Op. 22 (1945) *Luigi Boccherini **Cello Concertos 1-12 including: ***Cello Concerto in D major, G. 479 ***Cello Concerto in B-Flat major, G. 482 *Fritz Brun **Cello Concerto in D minor (1947) *Elliott Carter **Cello Concerto *Frederick Delius **Cello Concerto (1921) *Antonín Dvořák **Cello Concerto No. 1 in A major, Op. posth **Cello Concerto No. 2 in B minor, Opus. 104 (1894–1895) *Edward Elgar **Cello Concerto in E minor, Op. 85 (1918–1919) *Gerald Finzi **Cello Concerto, Op. 40 (1955) *Philip Glass **Concerto for Cello and Orchestra No. 1 (2001) **Concerto for Cello and Orchestra No. 2 Naqoyqatsi (2002/2012) *Joseph Haydn **Cello Concerto No. 1 in C major **Cello Concerto No. 2 in D major **Cello Concerto No. 3 in C major (lost) **Cello Concerto No. 4 in D major (spurious, written by Giovanni Battista Costanzi) **Cello Concerto No. 5 in C major (spurious, written by David Popper) **Cello Concerto in G minor (doubtful, lost) *Paul Hindemith **Cello Concerto in E-flat major, Op. 3 (1916) **Kammermusik No. 3 for cello and 10 instruments, Op. 36/2 (1925) **Cello Concerto in G (1940) *Arthur Honegger **Cello Concerto (1934) *Dmitri Kabalevsky **Cello Concerto No. 1 in G minor, Op. 49 (1949) **Cello Concerto No. 2 in C minor, Op. 77 (1964) *Aram Khachaturian **Cello Concerto in E minor (1946) **Concerto-Rhapsody in D minor (1963) *Erich Wolfgang Korngold **Cello Concerto in C major, Op. 37 (1950) *Milan Kymlicka **Cello Concerto *Édouard Lalo **Cello Concerto in D minor (1876) *György Ligeti **Cello Concerto (1966) *Witold Lutosławski **Cello Concerto (1969–70) *Bohuslav Martinu (1890 - 1959) **Cello Concerto No. 1 (1924) **Cello Concerto No. 2 (1945) *Peter Mennin **Concerto for Cello and Orchestra (1956) *Georg Matthias Monn (1717 - 1750) **Cello Concerto in G minor *Wolfgang Amadeus Mozart **Cello Concerto, K. 206a (1775, lost) *Nikolai Myaskovsky **Cello Concerto in C minor, Op. 66 (1944) *Arvo Pärt **Pro et Contra, concerto for cello and orchestra (1966) *Krzysztof Penderecki **Cello Concerto No. 1 (1972) **Cello Concerto No. 2 (1982) * David Popper ** Concerto No. 1 in D minor, Op. 8 (1865) ** Concerto No. 2 in E minor, Op. 24 (1862) ** Concerto No. 3 in G major, Op. 59 (1888) ** Concerto No. 4 in B minor, Op. 72 (1900) ** Concerto in C major, WoO (1894, mis-attributed to Joseph Haydn) *Sergei Prokofiev ** Cello Concerto, Op. 58 ** Symphony-Concerto, Op. 125 (revision of Op. 58) ** Cello Concertino in G minor, Op. 132 (incomplete) (1952) * Behzad Ranjbaran ** Cello Concerto (1998) * Einojuhani Rautavaara ** Cello Concerto No. 1 (1968) ** Cello Concerto No. 2 Towards the Horizon (2010) *Camille Saint-Saëns ** Cello Concerto No. 1 in A minor, Op. 33 (1872) ** Cello Concerto No. 2 in D minor, Op. 119 (1902) ( https://web.archive.org/web/20060203090640/http://www.mmguide.musicmatch.com/artist/artist.cgi?ARTISTID=1089026&TMPL=LONG ) *Robert Schumann **Cello Concerto in A minor, Op. 129 (1850) *Alfred Schnittke **Cello Concerto No. 1 (1985/1986) **Cello Concerto No. 2 (1990) *Dmitri Shostakovich **Cello Concerto No. 1 in E-flat major, Op. 107 (1959) **Cello Concerto No. 2 in G major/minor, Op. 126 (1966) *Carl Stamitz (1745-1801) **Cello Concertos 1-3 *Arthur Sullivan **Cello Concerto (1866) *Giuseppe Tartini ** Cello Concerto in A major ** Cello Concerto in D major *Henri Vieuxtemps **Cello Concerto in A minor, Op. 46 (1877) **Cello Concerto in B minor, Op. 50 (1879) *Heitor Villa-Lobos **Cello Concerto No. 1 (1915) **Cello Concerto No. 2 (1953) *Antonio Vivaldi **At least 25 Cello Concertos (RV 398-399 / 400-408 / 410-424) *William Walton **Cello Concerto (1956) *Mieczysław Weinberg **Concerto for Cello and Orchestra (1948) *John Williams **Concerto for Cello and Orchestra (1994) **Heartwood: Lyric Sketches for Cello and Orchestra (2002) *Isang Yun **Concerto for Cello and Orchestra (1975/76) *Maury Yeston **Concerto for Cello and Orchestra (1966/67)

Cello rock

Mon, 01 Jan 0001 00:00:00 +0000

Cello sonata

Mon, 01 Jan 0001 00:00:00 +0000

List of major cello sonatas#

Charles-Valentin Alkan
Sonate de Concert, Op. 47 (c. 1857)
Samuel Barber
Cello Sonata in C minor, Op. 6 (1932)
Arnold Bax
Cello Sonata (1923)
Cello Sonatina (1933)
Legend-Sonata (1943)
Ludwig van Beethoven
Cello Sonata No. 1 in F major, Op. 5/1 (1796)
Cello Sonata No. 2 in G minor, Op. 5/2 (1796)
Cello Sonata No. 3 in A major, Op. 69 (1808)
Cello Sonata No. 4 in C major, Op. 102/1 (1815)
Cello Sonata No. 5 in D major, Op. 102/2 (1815)
Easley Blackwood Jr.
Cello Sonata, Op. 31
Johannes Brahms
Cello Sonata No. 1 in E minor, Op. 38 (1862–65)
Cello Sonata No. 2 in F major, Op. 99 (1886)
Violin Sonata No. 1 in G major, “Rain”, Op. 78 (1878–79), transcribed for cello by Paul Klengel
Violin Sonata No. 2 in A major, Op. 100 (1886), transcribed for cello by Laszlo Varga
Violin Sonata No. 3 in D minor, Op. 108 (1886–88), transcribed for cello by Laszlo Varga
Frank Bridge
Cello sonata in D minor, H. (Hindmarsh) 125 (1913–17)
Benjamin Britten
Sonata in C for Cello and Piano, Op. 65 (1961)
Elliott Carter
Cello Sonata (1948)
Frédéric Chopin
Cello Sonata in G minor, Op. 65 (1845–46)
George Crumb
Sonata for Solo Cello (1955)
Claude Debussy
Cello Sonata in D minor (1915)
Frederick Delius
Cello Sonata (1916)
Felix Draeseke
Cello Sonata in D major, Op. 51 (1890)
Antonín Dvořák
Cello Sonata in F major (1871); lost (cello part extant)
George Enescu
Cello Sonata in F minor, Op. 26/1 (1898)
Cello sonata in C major, Op. 26/2 (1935)
Heitor Villa-Lobos
Cello Sonata No. 2, W103 (1916)
Gabriel Fauré
Cello Sonata No. 1 in D minor, Op. 109 (1917)
Cello Sonata No. 2 in G minor, Op. 117 (1921)
César Franck
Violin Sonata in A major, transcribed with the composer’s approval for cello by Jules Delsart. See
John Foulds
Cello Sonata (1905, rev. 1927)
François Francoeur (attrib.)
Sonata for Cello and Piano in E major (actually a cello arrangement of a Louis Francoeur violin sonata)
Peter Racine Fricker
Cello Sonata (1956)
Zoltán Gárdonyi
Cello Sonata (1944)
Edvard Grieg
Cello Sonata in A minor, Op. 36 (1883)
Paul Hindemith
Cello Sonata, Op. 11/3 (1919)
Sonata for Cello Solo, Op. 25/3 (1923)
Cello Sonata (1948)
Vagn Holmboe
Sonata for Solo Cello, Op. 101 (1968–69)
Arthur Honegger
Cello Sonata in D minor, H.32 (1920)
Stephen Hough
Sonata for Cello and Piano (left hand) (2014)
Bertold Hummel
Cello Sonata in F major, Op. 2 (1950)
Sonata brevis, Op. 11a (1955)
Johann Nepomuk Hummel
Sonata in A major, Op. 104
John Ireland
Cello Sonata in G minor (1923)
Giuseppe Maria Jacchini
Sonata No. 3 in C major (1697)
Joseph Jongen
Cello Sonata in C minor, Op. 39 (1913)
Dmitry Kabalevsky
Cello Sonata in B flat major, Op. 71 (1962)
Zoltán Kodály
Cello Sonata, Op. 4 (1907)
Sonata for Solo Cello, Op. 8 (1915)
Cello Sonatine (1923)
Josef Labor
Cello Sonata in A major, Op. 7 (1896)
Édouard Lalo
Cello Sonata in A minor (1856)
Lowell Liebermann
Cello Sonata No. 1, Op. 3 (1978)
Cello Sonata No. 2, Op. 61 (1998)
Cello Sonata No. 3, Op. 90 (2005)
Cello Sonata No. 4, Op. 108 (2008)
György Ligeti
Sonata for Solo Cello
Albéric Magnard
Sonata for Cello in A, Op. 20 (1910)
Bohuslav Martinů
Cello Sonata No. 1, H 277
Cello Sonata No. 2, H 286
Cello Sonata No. 3, H 340
Felix Mendelssohn
Cello Sonata No. 1 in B-flat major, Op. 45 (1838)
Cello Sonata No. 2 in D major, Op. 58 (1842–43)
Ignaz Moscheles
Cello Sonata, Op. 34 in B-flat major
Cello Sonata No. 2, Op. 121 in E major
Georges Onslow
Cello Sonatas 1, 2 and 3, Op. 16/1-3 (1820)
Henrique Oswald
Cello Sonata No. 1 in D minor, Op. 21 (1898)
Cello Sonata No. 2 in E-flat major, Op. 44 (1916)
Hubert Parry
Cello Sonata in A major (1879–83)
Giovanni Battista Pergolesi
Cello Sonata in F major (uncertain attribution)
Francis Poulenc
Cello Sonata, FP 143 (1948)
Sergei Prokofiev
Cello Sonata in C major, Op. 119 (1949)
Sonata for Solo Cello in C minor, Op. 134 (unfinished)
Sergei Rachmaninoff
Cello Sonata in G minor, Op. 19 (1901)
Maurice Ravel
Sonata for Violin and Cello (1920–22)
Max Reger
Cello Sonata No. 1 in F minor, Op. 5 (1892)
Cello Sonata No. 2 in G minor, Op. 28 (1898)
Cello Sonata No. 3 in F major, Op. 78 (1904)
Cello Sonata No. 4 in A minor, Op. 116 (1910)
Edmund Rubbra
Cello Sonata in G minor, Op. 60 (1946)
Camille Saint-Saëns
Cello Sonata No. 1 in C minor, Op. 32
Cello Sonata No. 2 in F major, Op. 123
Philipp Scharwenka
Cello Sonata in G minor, Op. 116
Alfred Schnittke
Cello Sonata No. 1 (1978)
Cello Sonata No. 2 (1993/4)
Franz Schubert
Sonata for Arpeggione in A minor, D. 821 is often transcribed for cello.
Dmitri Shostakovich
Cello Sonata in D minor, Op. 40 (1934)
Viola Sonata, Op. 147 (1975), transcribed for cello by Daniil Shafran
Charles Villiers Stanford
Cello Sonata No. 1 in A major, Op. 9 (1878)
Cello Sonata No. 2 on D minor, Op. 39 (1893)
Richard Strauss
Sonata in F major for cello and piano (1882)
Antonio Vivaldi
At least 9 cello sonatas
Kurt Weill
Sonata for Cello and Piano (1920)

Chronology of major cello sonatas#

The following list (inevitably incomplete) tries to place the major sonatas and equivalent works for cello and piano or cello solo in chronological order of completion. It will be susceptible to uncertainty of dates, and whether original or revised versions are definitive.

Celtic chant

Mon, 01 Jan 0001 00:00:00 +0000

History#

The Celtic Church goes back to the Irish monastic traditions. The churches in Ireland and Britain had no central authority except, in theory, Rome, which in practice exerted very little influence. Notable in this transition from local Irish customs to more standardized Roman traditions was the conflict over the dating of Easter, where the Roman tradition of solar dating finally supplanted the Irish lunar dating at the Synod of Tara in 692. Over the next several centuries, versions of the Roman rite such as the Use of Salisbury were gradually enforced in Brittany in the 9th century, Scotland in the 11th century.

Celtic fusion

Mon, 01 Jan 0001 00:00:00 +0000

Celtic electronica#

The genre of Celtic electronica blends traditional Celtic influences with modern electronic music. Artists such as Martyn Bennett, Lorne Cousin, Mouth Music, Mark Saul, and Valtos (band) whose backgrounds are in traditional Celtic music tend to favor traditional instruments, melodies, and rhythms, but augment them with drum machines and electronic sounds. Others, like Dagda, Brigid Boden and Niteworks approach the fusion from a background in electronic music that eschews traditional instruments and incorporates traditional melodies played on synths into a New Age-influenced trance sound. Peatbog Faeries have experimented with Celtic electronica, mainly on Faerie Stories.

Celtic metal

Mon, 01 Jan 0001 00:00:00 +0000

History#

The origins of Celtic metal can be traced to the earliest known exponent of folk metal, the English band Skyclad. Their “ambitious” and “groundbreaking” debut album The Wayward Sons of Mother Earth was released in 1990 with the song “The Widdershins Jig” acclaimed as “particularly significant” and “a certain first in the realms of Metal”. This debut album made an impact on a young Keith Fay who had formed a Tolkien-inspired black metal band by the name of Minas Tirith. Inspired by the music of Skyclad and Horslips, Keith Fay set out to combine black metal with the folk music of Ireland. Like Waylander, Keith Fay also credits the Irish rock band Horslips as a “huge influence on Cruachan,” further noting that “what they were doing in the 70s is the equivalent of what we do now.” With a specific focus on Celtic music and the use of Celtic mythology in their lyrics, Cruachan’s style of folk metal is known today as Celtic metal. Parallel to Cruachan, the black metal act Primordial also released a demo recording in 1993 and “found themselves heralded as frontrunners in the burgeoning second-wave black metal movement.” Irish music plays “a very big role” in Primordial but in “a dark and subtle way” through the chords and timings. The year 1993 also saw the formation of Waylander. With vocalist Ciaran O’Hagan fronting the group, they released a demo recording in 1995. A debut album Reawakening Pride Once Lost was unveiled in 1998. O’Hagan notes that it was a coincidence that “Primordial, Cruachan and Waylander sprang up within little more than a year of each other.” Since then a few other bands from Ireland have emerged to perform Celtic metal including Geasa Ithilien from Belgium, Mägo de Oz from Spain, Suidakra from Germany, Leah from Canada, Skiltron from Argentina, and Gun Ghaol - who perform entirely in Scottish Gaelic - from Scotland. Despite the Irish origins of the genre, Celtic metal is not known to be popular in Ireland. Ciaran O’Hagan of Waylander notes that while “Primordial are Ireland’s biggest Metal band in terms of sales and international profile” the band would be “lucky to sell much more than 500 copies of their albums in their own country or pull more than 300 punters to a gig.”

Celtic music

Mon, 01 Jan 0001 00:00:00 +0000

Characteristics#

The term Celtic music denotes the music of the people that identify as Celts of the Celtic nations. Many notable Celtic musicians such as Alan Stivell and Paddy Moloney claim that the different Celtic music genres have a lot in common. These styles are known because of the importance of Irish and Scottish people in the English speaking world, especially in the United States, where they had a profound impact on American music, particularly bluegrass and country music. The music of Wales, Cornwall, the Isle of Man, Brittany, Galician traditional music (Spain) and music of Portugal are also considered Celtic music. The tradition is particularly strong in Brittany, where Celtic festivals take place throughout the year, and in Wales, where the ancient eisteddfod tradition was revived and flourishes. Celtic music is prevalent abroad as well, especially in Canada and the United States. The provinces of Atlantic Canada are known for being a home of Celtic music, most notably on the islands of Newfoundland, Cape Breton and Prince Edward Island. The traditional music of Atlantic Canada is heavily influenced by the Irish, Scottish and Acadian ethnic makeup of much of the region’s communities. In some parts of Atlantic Canada, such as Newfoundland, Celtic music is as or more popular than in the old country. Some older forms of Celtic music that are rare in Scotland and Ireland today, such as the practice of accompanying a fiddle with a piano, or the Gaelic spinning songs of Cape Breton, remain common in the Maritimes. Much of the music of this region is Celtic in nature, but originates in the local area and celebrates the sea, seafaring, fishing and other primary industries. Instruments associated with Celtic Music include the Celtic harp, uilleann pipes or Great Highland bagpipe, fiddle, tin whistle, flute, bodhrán, bones, concertina, accordion and a recent addition, the Irish bouzouki. The mandolin has become increasingly common in Scottish folk ensembles during the 21st century, particularly within acoustic duos and contemporary folk groups drawing influence from both traditional dance tunes and modern Celtic arrangements.

Celtic music in Canada

Mon, 01 Jan 0001 00:00:00 +0000

Newfoundland#

There are very strong connections between Newfoundland folk music and Irish music, however elements of English folk music and French-Canadian and Acadian music can be heard within the style. A very traditional strain of Irish music exists in Newfoundland, especially in the primarily Irish-Catholic communities along the southern shore. The instrumentation in Newfoundland music includes the button accordion, guitar, violin, tin whistle and more recently the bodhrán. Many Newfoundland traditional bands also include bass guitar and drum kit. Other folk instruments such as the mandolin and bouzouki are common especially among Newfoundland bands with an Irish leaning. Because Newfoundland is an island in the North Atlantic, many of the songs focus on the fishery and seafaring. Many songs chronicle the history of this unique people. Instrumental tune styles include jigs, reels, two steps, and polkas.

Celtic punk

Mon, 01 Jan 0001 00:00:00 +0000

History#

Celtic punk’s origins date back to 1960s and 1970s folk rock musicians who played Irish folk music and Celtic rock in the UK, as well as in more traditional Celtic folk bands such as the Dubliners and the Clancy Brothers. The Scottish band the Skids were possibly the first UK punk band to add a strong folk music element, as they did on their 1981 album Joy. Around the same time in London, Shane MacGowan and Spider Stacy began experimenting with a sound that became the Pogues, which most consider to be the prototypical Celtic punk band. Other early Celtic punk bands included Nyah Fearties, Australia’s Roaring Jack and Norway’s Greenland Whalefishers. The 1990s gave rise to a Celtic punk movement in North America, centered around the likes of the Dropkick Murphys of Quincy, Massachusetts, and Chicago’s The Tossers – both from cities with particularly large population of Irish Americans – as well as LA’s Flogging Molly (founded by Irish emigrant Dave King) and The Real McKenzies of Vancouver, B.C.. North American Celtic punk bands have been influenced by American forms of music, and commonly sing in English.

Celtic rock

Mon, 01 Jan 0001 00:00:00 +0000

Definition#

The style of music is the hybrid of traditional Irish, Scottish Gaelic, Welsh and Breton musical forms with rock music. This has been achieved by the playing of traditional music, particularly ballads, jigs and reels with rock instrumentation; by the addition of traditional Celtic instruments, including the Celtic harp, tin whistle, uilleann pipes (or Irish bagpipes), fiddle, bodhrán, accordion, concertina, melodeon, and bagpipes (highland) to conventional rock formats; by the use of lyrics in Celtic languages and by the use of traditional rhythms and cadences in otherwise conventional rock music. Just as the validity of the term Celtic in general and as a musical label is disputed, the term Celtic rock cannot be taken to mean there was a unified Celtic musical culture between the Celtic nations. However, the term has remained useful as a means of describing the spread, adaptation and further development of the musical form in different but related contexts.

Cerdd Dant

Mon, 01 Jan 0001 00:00:00 +0000

History#

is a unique tradition of singing lyrics over a harp melody. Traditional Welsh language singers who sang in stately homes tended to sing in a verse form that had strict rules about metre, rhyme, and acceleration. is usually performed by a solo singer and a harpist; however, it is also performed by choirs and with several harps. A common form is have a harp melody written down or a well known tune, while the vocalist improvises their own harmony while singing a poem . When sung in a competition, there are strict rules about rhythm and cadences. When finishing a piece, the final verse has to end on a perfect cadence that is close to the home key so that the ending of the song is clear. In Wales, during the 14th, 15th and 16th centuries, two arts flourished side by side: (the craft of the tongue, poetical craft) and (the craft of string music). The poets and musicians were part of an all-embracing bardic system. The poets wrote verse of an occasional nature, praising the exploits and virtues of their patrons: the Welsh nobility and high-ranking clergy. They also provided elegies, devotional poetry, commemorated the generous acts of their patrons and satirised certain people in verses which might have the intensity of curses. The art of poetry was learnt orally, i.e. examples were learnt by heart and exercises given as spoken instruction. Part of the poet or musician’s craft was the ability to remember the important work of previous generations. One of the spurs to the active and generous patronage of poets must have been the prospect that one’s name and deeds would live forever. In descending social order came: poet, harper, player and the specialised singer of bardic verse, the . The crafts of poetry and instrumental music were interdependent and the performance of a new poem, at its most splendid, probably required the services of the , harpist and/or player; no doubt superintended by the poet. Between the beginning of the 14th century and the end of the 16th century Welsh poetical forms were brought to an extreme pitch of elaboration.

CE on Music Theory Print

Celempungan

Cello concerto

Selected list of cello concertos#

Cello rock

See also#

Cello sonata

List of major cello sonatas#

Chronology of major cello sonatas#

Celtic chant

History#

Celtic fusion

Celtic electronica#

Celtic metal

History#

Celtic music

Characteristics#

Celtic music in Canada

Newfoundland#

Celtic punk

History#

Celtic rock

Definition#

Cerdd Dant

History#