Symphony
Symphonies are almost always scored for an orchestra consisting of a string section (violin, viola, cello, and double bass), brass, woodwind, and percussion instruments which altogether number about 30 to 100 musicians.
[1] The word referred to a variety of different concepts before ultimately settling on its current meaning designating a musical form.
[2] In the Middle Ages and later, the Latin form symphonia was used to describe various instruments, especially those capable of producing more than one sound simultaneously.
[2] Isidore of Seville was the first to use the word symphonia as the name of a two-headed drum,[3] and from c. 1155 to 1377 the French form symphonie was the name of the organistrum or hurdy-gurdy.
[4] In the sense of "sounding together", the word begins to appear in the titles of some works by 16th- and 17th-century composers including Giovanni Gabrieli's Sacrae symphoniae, and Symphoniae sacrae, liber secundus, published in 1597 and 1615, respectively; Adriano Banchieri's Eclesiastiche sinfonie, dette canzoni in aria francese, per sonare, et cantare, Op.
[5][6] In the 17th century, for most of the Baroque era, the terms symphony and sinfonia were used for a range of different compositions, including instrumental pieces used in operas, sonatas and concertos—usually part of a larger work.
However, if a bigger budget was available for a performance and a larger sound was required, a basso continuo group might include multiple chord-playing instruments (harpsichord, lute, etc.)
LaRue, Bonds, Walsh, and Wilson write in the second edition of The New Grove Dictionary of Music and Musicians that "the symphony was cultivated with extraordinary intensity" in the 18th century.
[9] Since the normal size of the orchestra at the time was quite small, many of these courtly establishments were capable of performing symphonies.
[10] LaRue, Bonds, Walsh, and Wilson's article traces the gradual expansion of the symphonic orchestra through the 18th century.
Over the century, other instruments were added to the classical orchestra: flutes (sometimes replacing the oboes), separate parts for bassoons, clarinets, and trumpets and timpani.
Haydn, Mozart and their contemporaries restricted their use of the four-movement form to orchestral or multi-instrument chamber music such as quartets, though since Beethoven solo sonatas are as often written in four as in three movements.
Early exponents of the form in Vienna included Georg Christoph Wagenseil, Wenzel Raimund Birck and Georg Matthias Monn, while later significant Viennese composers of symphonies included Johann Baptist Wanhal, Carl Ditters von Dittersdorf and Leopold Hofmann.
[20] At the beginning of the 19th century, Beethoven elevated the symphony from an everyday genre produced in large quantities to a supreme form in which composers strove to reach the highest potential of music in just a few works.
5 is perhaps the most famous symphony ever written; its transition from the emotionally stormy C minor opening movement to a triumphant major-key finale provided a model adopted by later symphonists such as Brahms[22] and Mahler.
9 includes parts for vocal soloists and choir in the last movement, making it a choral symphony.
Of the Eighth Symphony (1822), Schubert completed only the first two movements; this highly Romantic work is usually called by its nickname "The Unfinished".
Around the beginning of the century, a full-scale orchestra would consist of the string section plus pairs of flutes, oboes, clarinets, bassoons, horns, trumpets, and lastly a set of timpani.
Trombones, which had previously been confined to church and theater music, came to be added to the symphonic orchestra, notably in Beethoven's 5th, 6th, and 9th symphonies.
The combination of bass drum, triangle, and cymbals (sometimes also: piccolo), which 18th-century composers employed as a coloristic effect in so-called "Turkish music", came to be increasingly used during the second half of the 19th century without any such connotations of genre.
[28] A concern with unification of the traditional four-movement symphony into a single, subsuming formal conception had emerged in the late 19th century.
This has been called a "two-dimensional symphonic form", and finds its key turning point in Arnold Schoenberg's Chamber Symphony No.
[31][32] In addition to those composers listed above, other symphonists from the first half of the twentieth century include Edward Elgar, Bohuslav Martinů, Roger Sessions, William Walton, and Rued Langgaard.
Twentieth-century composers who fulfil this measure include Jean Sibelius, Igor Stravinsky, Luciano Berio (in his Sinfonia, 1968–69), Elliott Carter (in his Symphony of Three Orchestras, 1976), and Pelle Gudmundsen-Holmgreen (in Symphony/Antiphony, 1980).
[42] Hector Berlioz originally wrote the Grande symphonie funèbre et triomphale for military band in 1840.
Anton Reicha had composed his four-movement 'Commemoration' Symphony (also known as Musique pour célébrer le Mémorie des Grands Hommes qui se sont Illustrés au Service de la Nation Française) for large wind ensemble even earlier, in 1815, for ceremonies associated with the reburial of Louis XVI and Marie Antoinette[43][better source needed] After those early efforts, few symphonies were written for wind bands until the 20th century when more symphonies were written for concert band than in past centuries.
[51][52] Additionally, in common usage, a person may say they are going out to hear a symphony perform, a reference to the orchestra and not the works on the program.
