#Recitative

Chopin Nocturne No.9 Op.32 No.1 Moments of pause appear throughout, and toward the end it unfolds in a recitative-like style 🎶 The expression, as if reading lines of dialogue, is fascinating — and also one of the challenging points 👀 定期的に考えるような停止の瞬間が現れて、最後にはレチタティーヴォ風の展開を迎えます🎶 セリフを読んでいるような表現が面白く、難しいポイントでもあります👀 #chopin #nocturneop32no1 #pianist #ノクターン #ピアニスト

As aspiring opera singers, besides learning how to sing recitative, we also learn how to compose our own ones✍️🎹 think we had a little too much fun doing so, but I ain’t complaining 🤣 . . . #opera #soprano #mezzo #classicalmusic #recitative

Just a gal and some recitative 500 points for anyone who can guess the opera ⚡️ #operasingersofinstagram #soprano #operasinger #coloraturasoprano

Piano recitative 😁🎹 Coldplay - WE PRAY #evgenykhmara #coldplay #wepray

Schoenberg’s Variations on a Recitative, Op. 40, was commissioned in 1941 by the American Guild of Organists (AGO) through conductor William Strickland, as part of a project to expand modern organ repertoire. Schoenberg wrote it between August 25 and October 12, 1941 in Los Angeles. The premiere was given by Carl Weinrich on April 10, 1944 in New York City. It was published later that year by H.W. Gray Co. and remains Schoenberg’s only completed organ composition. #Schoenberg #ArnoldSchoenberg #AGO #AmericanGuildOfOrganists #OrganMusic #VariationsOnARecitative #Op40 #WilliamStrickland #CarlWeinrich #HWGray #1941 #Modernism #20thCenturyMusic #Atonality #OrganRepertoire #MusicHistory #Composer #VienneseSchool #BrotherAllwood #Organist #PhDComposer

A very young José Carreras, one of my all-time favorite tenors, always sang as if it were his last day on the stage: full-blown, untamed passion!!! 🔥🔥🔥This excerpt of Verdi’s “La forza del destino”, is only part of the recitative, showing what we are about to get in the rest of the gorgeous and difficult aria “O tu che in seno agli angeli” 👏🏻👏🏻👏🏻 • • #carreras #josecarreras #josepcarreras #thethreetenors #verdi #laforzadeldestino #otucheinsenoagliangeli #lavitaeinferno #lavitaeinfernoallinfelice #opera #tenor #verditenor #giuseppeverdi #fabianrobles #fabianroblestenor #fabiantenor

Behold! A #lunchtimelisten where there's no mystery about why this music is so good. Baritone soloist Daniel Rich and new WSS principal trumpeter Calvin Godfrey shine in this recitative/aria combo from Handel's Messiah. View the whole aria at symp.ws/trumpet 🎺 🎥 John Jordan Films 🎙️Frank Martin / Media Production Associates #baroque #trumpet #baritone #handel #handelsmessiah @rich_baritone @clgodfrey56

🌿🌷🎶 Deh vieni non tardar (from Le Nozze di Figaro) 🌿 Keeping it consistent with #SpringTheme. What follows the Recitative accompagnato, is a 3-minute aria. Suzanna finds herself in the garden outside the palace of Seville. She's playing the game of deception, being involved in a very complicated yet comical love story.  🎶 Intrigued? The full performance video is coming out on my YouTube soon.  🌷As the 2024-2025 academic year concludes with the Spring Recital, so does my journey with the SF Opera Guild Scouts Program. It has been an amazing five years, and I could not be more grateful to our faculty, teaching artists, friends, and supporters. Thank you to everyone who came out to support me last Monday - @lenamira2 @irinakarlik @ludmilake and my entire family! The celebration dinner at Mona Lisa was delicious and amazing! ***Special thank you to my vocal coaches for helping me prepare this piece in less than a month. Congratulations to all friends graduating this year! @sfopera @sfoperaguild 🎹 Paul Dab ©️ Alliana Lili Yang. Do not repost without permission. Parent-managed acc. SPRING RECITAL | MAY | FLOWERS | MOZART | LOVE | OPERA | GRADUATING #fridayflashback #springrecital #mozart #opera #operasingersofinstagram #operasinger #flowers #reel #lenozzedifigaro #singer #soprano #operalife #reels #reelsviral #trending #SFBayArea #sfopera #AllianaLiliYang

A mid-week special: Henryk Szeryng’s performance of Recitative & Scherzo-Caprice, Op. 6!

#100dayspractice (Day 47) ~ Kreisler {Recitative and Scherzo} — #mayalevyviolinist #practiceviolin #violintips #violintipsandtricks #practicingviolin #howtopracticeviolin #violincover #violino #cordas #strings #violindaily #violinistdiary #violininsta #instaclassical #guarnerius

Fancy a chat? 🗣️ For those of us who like a natter, recitative is a style of singing that mimics the pace and inflections of ordinary speech. Frequently used in the 18th and early 19th centuries, recitative pushes the plot forward at speed - see if you can spot it in Mozart's The Marriage of Figaro. #TheRoyalOpera #Opera #Mozart #SingingStyle #Recitative #OperaNotes #RoyalBalletAndOpera

This is one of the most overwhelming contrapuntal piece ever! Enjoy and share, please! Beethoven: Sonata No.31 m, op.110 - Last movement - Fugue Glenn Gould: piano The third movement’s structure alternates two slow arioso sections with two faster fugues. In Brendel’s analysis there are six sections – recitative, arioso, first fugue, arioso, fugue inversion, homophonic conclusion (Brendel 1990,[page needed]). The movement uses the scherzo’s concluding ritardando bass arpeggio in F major to resolve to B♭ minor, forming a seamless bridge between the rough humour of the scherzo and the doleful meditation of the Arioso, in A♭ minor. Commentators (including Rosen 2002 and Kinderman 2004) have seen the initial recitative and arioso as “operatic”. The recitative, whose tempo changes frequently, leads to an extended arioso dolente, a lament whose initial melodic contour is similar to the opening of the scherzo (although Tovey (1931,[page needed]) dismisses this as insignificant). The lament is supported by repeated left hand chords. The arioso leads into a three-voice fugue, whose subject is constructed from three parallel rising fourths. The opening theme of the first movement carried within it elements of this fugue subject (the motif A♭–D♭–B♭–E♭) and Matthews (1967,[page needed]) sees a foreshadowing of it also in the alto part of the first movement’s antepenultimate bar. The countersubject moves by smaller intervals. Kinderman finds a parallel between this fugue and the fughetta of the composer’s later Diabelli Variations, also finding similarities with the Agnus Dei and Dona Nobis Pacem movements of the contemporaneous Missa Solemnis (sketches of this work and the Missa Solemnis are to be found interspersed in the same notebook) (Kinderman 2004). The subject of this fugue (Loudspeaker.svgListen) opens with three ascending fourths (A♭ → D♭; B♭ → E♭; C → F) and then goes downwards in gestures outlining fourths (i.e. F–E♭–D♭–C). The counterpoint has two themes working together to highlight the fourth. #glenngould #beethoven