Duple meter was predominant in the earliest canzonas, but later examples of the genre frequently introduced contrasting sections in triple or compound meter. Very often, sections were set off one from another by dynamic contrasts or by varied tempo indications. Imitative sections tended to be in lively tempos, whereas passages in free counterpoint or homophony were at a slower pace. Precise instrumentation was seldom indicated in the scores of canzonas da sonar. Formal designs within canzonas were as varied and numerous as were the composers.
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The debate over the issue of rights for the LGBT community, including same-sex marriage, began to shift in favor of same-sex couples. In 2012, President Obama became the first president to openly support same-sex marriage, and the Supreme Court provided for federal recognition of same-sex unions and then nationwide legalized gay marriage in 2015. Reagan ordered a buildup of the U.S. military, incurring additional budget deficits.
As in much of his music, elements of Armenian folk music pervade this colorful score. Haydn’s in›uence on Mozart, particularly in this dif‹cult, new genre, is equally clear; but Mozart was one of many composers who learned from Haydn, either as a result of personal contact or through knowledge of his compositions. Ignaz Joseph Pleyel (1757–1831), a proli‹c composer, a pupil of Haydn’s, and an instrument manufacturer, was also an important music publisher. During the years 1801–2, he published eighty-three Haydn quartets (up to Op. 76 and including the misattributed Op. 3) as the Collection complette des quatuors d’Haydn dédiée au Premier Consul Bonaparte. Finally, Haydn acted as Beethoven’s mentor from the of his arrival in Vienna in 1792 until Haydn’s departure for his second London visit. Beethoven took the techniques that Haydn had developed in his quartets and transformed them to serve his needs in the ‹rst Romantic works for that medium.
The ‹rst performance was given by pianists Gilbert Kalisch and James Freeman and percussionists Raymond des Roches and Richard Fitz at Swarthmore College on 30 March 1974. Sur incises is a vast elaboration of a nine-page piece for piano solo entitled “Incises” , which was composed for the 1994 Umberto Micheli Piano Competition in Milan. In Sur incises, Boulez uses the three harps and percussion battery to accentuate the characteristic yet tremendously diverse sounds produced by a modern, acoustic piano. In this respect, Boulez’s intentions were clearly aligned with those of Bartók in his score of the Sonata for two pianos and percussion. The connection between the two works is con‹rmed by the fact that Boulez dedicated the score of Sur incises to Paul Sacher on the occasion of his ninetieth birthday. The score won the University of Louisville’s Grawemeyer Award for Music Composition in 2001.
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The relationship between the third and ‹fth movements is unmistakable. Equally clear is the fact that Beethoven had intended a symmetrical design for the entire quartet. In comparing the ‹rst and ‹fth movements, we ‹nd concordances of thematic material, dynamic structure, contrapuntal textures, and so forth. At the same time, the third movement presents an extended contrast to the outer movements. The innovative aspects of the ‹nale are balanced by Beethoven’s use of traditional rondo form for that movement.
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