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Concert program

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114: 789: 799: 779: 830: 809: 82:), or by allowable time. For example, a brass ensemble may perform an "all brass" program, the pieces of which may be chosen by a theme, such as "all Bach", and the chosen pieces may be ordered so that they build in intensity as the concert progresses. Concert programs may be put together by ensembles, 172:
Program notes serve two purposes: to provide historical and background information on the piece, and to give the audience some sense of what to expect, providing what to listen for during the concert. Also provided, if necessary, is information about the conductor and performers of the ensembles, and
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especially featured soloists. With the presentation of contemporary pieces, it is common to include notes provided by the composer. Program notes may include information about, and quotes or commentary from, the composer, conductor, or performers, as well as provide context regarding the
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considered this particularly necessary for the English middle class: "Feeling usually uncertain about things aesthetic, the English listener loves direct instruction." Program notes arrived later in continental Europe.
58:. Concert program's can be organized into a booklet. In some occasions the programs might be simpler, and will be put on a piece of paper. Programs may be influenced by the available 162:
created a model for the concert culture of the second half of the century in Britain and abroad. He personified what was considered a musical guide for his Victorian contemporaries.
652: 410: 867: 454: 293: 742: 531: 631: 626: 621: 616: 611: 606: 601: 347: 765: 90:, and are often explained in program notes. The structure of modern concert programs can be traced back to the contributions of 297: 812: 573: 860: 585: 148:, under the name "Synoptical Analysis". They became common in symphony concerts in the 1850s. In 1862, the Viennese critic 313: 770: 236: 901: 853: 17: 760: 578: 375: 340: 174: 521: 501: 496: 491: 215:, International Review of the Aesthetics and Sociology of Music, vol. 45, no. 2, 2014, p. 3. Gothan, Mark. 177:. Programs may also include information about the programmatic or absolute content of the music, including 129: 95: 896: 271: 891: 782: 553: 563: 792: 548: 538: 449: 333: 568: 558: 307: 802: 543: 441: 422: 755: 98:
in Leipzig. Mendelssohn's programming style consists of an overture (or other short work), a
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is being performed. These were introduced in Edinburgh and London in the 1840s, first for
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Christian Thorau, "'What Ought to be Heard': Touristic Listening and the Guided Ear" in
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of program notes for use by orchestras of educational and community arts organizations
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With his program notes for the Saturday Concerts at the Crystal Palace,
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The Oxford Handbook of Music Listening in the 19th and 20th Centuries
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Coherence in Concert Programming: A View from the U.K.
106:, an intermission, and then a larger work such as a 878: 117:1846 concert showing audience with program notes 27:Selection of pieces to be performed at a concert 861: 341: 836:This article about a music publication is a 355: 66:, by performer ability or skill, by theme ( 868: 854: 348: 334: 316:Classical Music Programme Note Generator 223: 221: 112: 14: 879: 329: 218: 824: 245:10.1093/oxfordhb/9780190466961.013.9 181:, and may point out details such as 808: 54:to be performed at an occasion, or 24: 298:University of Wisconsin–Whitewater 46:) is a selection and ordering, or 25: 913: 287: 828: 807: 797: 788: 787: 777: 78:), by musical concerns (such as 778: 206: 167:— Christian Thorau, 2019 13: 1: 306:to writing program notes for 296:to writing program notes for 94:while he was director of the 840:. 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Index

Programme notes
American English
British English
programming
pieces
concert
ensemble
instruments
historical
programmatic
technical
form
conductors
ensemble directors
Felix Mendelssohn
Gewandhausorchester
concerto
suite
symphony
String quartet in foreground, with audience in background
contemporary
classical music
chamber music
John Ella
Musical Union
Eduard Hanslick
Grove
musical era
analysis
themes

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