![]() With his brother Josef, Johann Strauss had composed the Pizzicato-Polka in 1869 for one of his several visits to Russia. It exhibits a ternary (ABA) form with eight-measure subsections and sometimes includes an introduction and a coda. A French dictionary of dance terms dating from 1847 describes the polka as having a tempo of 104 beats per minute with an emphasis on the second beat of the measure. The polka was very popular in the late nineteenth century and examples were penned by nearly every major composer of dance music, performed by almost all military bands and distributed in the form of sheet music throughout the world. ![]() Local musicians created variants of the dance, and in the 1850s in Vienna, the elegant Polka française and the lively Schnell-Polka developed. By 1843-1844 it was the favorite dance of Parisians and in May, 1844, it was first performed in the U.S. The dance was exported to Vienna in 1839 by a Bohemian regiment band, precipitating its rapid spread throughout Europe. Whatever its origins, it is certain that the polka first appeared in Prague in 1837. ![]() The name may be derived from the Czech pulka (half) or polska, the Czech word for a Polish girl. A couple-dance in 2/4 meter, it seems the polka developed in Bohemia as a type of round-dance with three short, heel-and-toe half-steps on the first three half-beats and a rest on the fourth. Tickets will also be available at the door.Some of the characteristics of the polka appear in music performed by and written for Bohemian village musicians around 1800 aside from this, the dance's origins are obscure. Children 12 and under are free but need a ticket, and a discounted ticket price of $30 is available for groups of 10 or more seniors ages 62 and up. Tickets are $40 for adults and $10 for youth 13–17. Finally, Tchaikovsky’s Fourth Symphony, known for powerful melodic and rhythmic themes that, in turn, represent fate, suffering, melancholy, happiness, and even whimsy (illustrated by pizzicato strings throughout the third movement) brings the concert to a rousing close.Īdvance tickets are available at the Lesher Center for the Arts box office (92) or by visiting. Composed for piano but revised for orchestra by Black composer William Grant Still after Price’s untimely death in 1953, the suite’s three movements-a rag in the style of Scott Joplin, a dreamy “nostalgic” dance, and a spirited “cakewalk”-take listeners away to an invigorating dance floor. Price’s Dances in the Canebrakes pays tribute to the dancing that gave relief to slaves after long days spent clearing thickets of cane. The program will be conducted by music director and conductor Matilda Hofman as well as “conduct the orchestra” auction winners Kathryn Crandell and Bill Rudiak. The orchestra is thrilled to bring Orinda native and extraordinary violinist Juliana Athayde-daughter of Bob Athayde, recently retired music director at Lafayette’s Stanley Middle School-back to the Bay Area for Mendelssohn’s masterpiece, described as “a vibrant source of pleasure.” The youngest person to be appointed concertmaster of the Rochester Philharmonic Orchestra, she is also associate professor of violin at the Eastman School of Music. Continuing the DSO’s Jubilation (60th) Season, the program begins at 2:00 p.m. 4 and, to honor Black History Month, Florence Price’s Dances in the Canebrakes, inspired by Black plantation songs and dances of the 1920s and ’30s. It may be winter, but warmth and energy fill the Diablo Symphony’s February 26 concert featuring Mendelssohn’s lyrical, virtuosic, and uplifting Violin Concerto in E Minor Tchaikovsky’s ultimately celebratory Symphony No.
0 Comments
Leave a Reply. |
AuthorWrite something about yourself. No need to be fancy, just an overview. ArchivesCategories |