Symphony 44114 225644752 2008-07-14T18:31:53Z 99.246.152.243 {{Refimprove|date=February 2007}} {{Cleanup|date=June 2008}} {{otheruses}} A '''symphony''' is a [[musical composition]], often extended and usually for [[orchestra]]. "Symphony" does not imply a specific form. Many symphonies are [[tonality|tonal]] works in four [[movement (music)|movements]] with the first in [[sonata form]], and this is often described by music theorists as the structure of a "[[Classical period (music)|classical]]" symphony, although even some symphonies by the acknowledged classical masters of the form [[Joseph Haydn]], [[Wolfgang Amadeus Mozart]] and [[Ludwig van Beethoven]] do not conform to this model. ==History of the form== ===Origins=== The word "symphony" derives from Greek {{polytonic|συμφωνία}}, meaning "agreement or concord of sound", "concert of vocal or instrumental music", from {{polytonic|σύμφωνος}}, "harmonious" (''Oxford English Dictionary''). [[Isidore of Seville]] was the first to use the Latin word ''symphonia'', as the name of a two-headed drum, and from ca. 1155 to 1377 the French form ''symphonie'' was the name of the ''organistrum'' or [[hurdy-gurdy]]. In late medieval England, ''symphony'' was used in both of these senses, whereas by the sixteenth century it was equated with the [[appalachian dulcimer|dulcimer]]. In German, ''Symphonie'' was a generic term for [[spinet]]s and [[virginals]] from the late 16th century to the 18th century (Marcuse 1975, 501). 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]] (''Sacrae symphoniae'', 1597, and ''Symphoniae sacrae, liber secundus'', 1615), [[Adriano Banchieri]] (''Eclesiastiche sinfonie'', 1607), [[Lodovico Grossi da Viadana]] (''Sinfonie musicali'', 1610), and [[Heinrich Schütz]] (''Symphoniae sacrae'', 1629). In the 17th century, for most of the Baroque period, the terms ''symphony'' and ''sinfonia'' were used for a range of different compositions, including instrumental pieces used in [[operas]], [[sonatas]] and [[concertos]]&mdash;usually part of a larger work. The ''opera sinfonia'', or ''Italian overture'' had, by the 18th century, a standard structure of three contrasting movements: fast; slow; fast and dance-like. It is this form that is often considered as the direct forerunner of the orchestral symphony. The terms "overture", "symphony" and "sinfonia" were widely regarded as interchangeable for much of the 18th century.{{Fact|date=January 2008}} Another important progenitor of the symphony was the ''ripieno concerto''&mdash;a relatively little-explored form resembling a [[concerto]] for [[string instrument|strings]] and [[figured bass|continuo]], but with no solo instruments. The earliest known ripieno concerti are by [[Giuseppe Torelli]] (his set of six, opus five, 1698). [[Antonio Vivaldi]] also wrote works of this type.{{Fact|date=January 2008}} Perhaps the best known ripieno concerto is [[Johann Sebastian Bach]]'s ''[[Brandenburg Concerto No. 3 (Bach)|Brandenburg Concerto No. 3]]''. ===18th century symphony=== Early symphonies, in common with both ''overtures'' and ''ripieno concertos'', have three movements, in the [[tempi]] quick-slow-quick. However, unlike the ripieno concerto, which uses the usual [[ritornello]] form of the concerto, at least the first movement of these symphonies is in [[binary form]]. They are distinguishable from Italian overtures in that they were written to stand on their own in concert performances, rather than to introduce a stage work—although a piece originally written as an ''overture'' was sometimes later used as a ''symphony'', and vice versa. The vast majority of these early symphonies are in a major [[key (music)|key]].{{Fact|date=January 2008}} Symphonies at this time, whether for concert, opera, or church use, were not considered the major works on a program: often, as with concerti, they were divided up between other works, or drawn from suites or overtures. Vocal music was dominant, and symphonies provided preludes, interludes, and postludes. At the time most symphonies were relatively short, lasting between 10 and 20 minutes.{{Fact|date=January 2008}} The "Italian" style of symphony, often used as overture and entr'acte in opera houses, became a standard three movement form: a fast{{unclear}} movement, the "allegro"{{unclear}}; a slow movement; and then another fast{{unclear}} movement. [[Wolfgang Amadeus Mozart|Mozart]]'s early symphonies are in this layout. The early three-movement form was eventually replaced by a four-movement layout which was dominant in the latter part of the 18th century and most of the 19th century. This symphonic form was influenced by Germanic practice, and would come to be associated with the "classical style" of Haydn and Mozart. The important changes were the addition of a "dance" movement and the change in character of the first movement to becoming "first among equals."{{Fact|date=January 2008}} The normal four movement form became, then: #Quick, in a [[binary form]] or later [[sonata form]] #Slow #[[Minuet]] and [[trio (music)|trio]] in [[ternary form]] #Quick, sometimes also in [[sonata form]], or a [[Rondo form|rondo]] or [[Sonata rondo form|sonata-rondo]] Variations on this layout were common, for instance the order of the middle two movements, or the addition of a slow introduction to the first movement. The first known symphony to introduce the minuet as the third movement is a work in D major of 1740 by [[Georg Matthias Monn]], while the first composer to consistently add a minuet as part of a four-movement form was [[Johann Stamitz]].{{Fact|date=January 2008}} The composition of early symphonies was centred on [[Vienna]] and [[Mannheim]]. Early exponents of the form in Vienna included [[Georg Christoph Wagenseil]], [[Wenzel Raimund Birck]] and Georg Monn, while the [[Mannheim school]] included Johann Stamitz. Symphonies were written throughout Europe, however, with examples by [[Giovanni Battista Sammartini]], [[Andrea Luchesi]] and [[Antonio Brioschi]] from Italy, [[Carl Philipp Emanuel Bach]] from northern Germany, [[Leopold Mozart]] from Salzburg, [[François-Joseph Gossec]] from Paris, and [[Johann Christian Bach]] and [[Carl Friedrich Abel]] from London.{{Fact|date=January 2008}} Later significant Viennese composers of symphonies include [[Johann Baptist Vanhal]], [[Karl Ditters von Dittersdorf]] and [[Leopold Hoffmann]]. The most important symphonists of the latter part of the 18th century are [[Joseph Haydn]], who wrote at least 108 symphonies over the course of 36 years (Webster and Feder 2001), and [[Wolfgang Amadeus Mozart]], who wrote at least 56 symphonies in 24 years (Eisen and Sadie 2001). ===19th century symphony=== With the rise of established professional orchestras, the symphony assumed a more prominent place in concert life between approximately 1790 and 1820. [[Ludwig van Beethoven]]'s first Academy Concert advertised "Christ on the Mount of Olives" as the featured work, rather than his performances of two of his symphonies and a piano concerto.{{Fact|date=January 2008}} Beethoven dramatically expanded the symphony. His ''[[Symphony No. 3 (Beethoven)|Symphony No. 3]]'' (the ''Eroica''), has a scale and emotional range which sets it apart from earlier works. His ''[[Symphony No. 9 (Beethoven)|Symphony No. 9]]'' takes the unprecedented step of including parts for vocal soloists and choir in the last movement, making it a [[choral symphony]]. [[Hector Berlioz]], who coined the term "choral symphony," built on this concept in his "dramatic symphony" ''[[Roméo et Juliette (symphony)|Roméo et Juliette]]'' while explaining his intent in the five-paragraph introduction in that work's score.<ref name="avant1">"Avant-Propos de l'auteur," Reiter-Biedermann's vocal score (Winterhur, 1858), p. 1.</ref> Beethoven and [[Franz Schubert]] replaced the usual genteel minuet with a livelier [[scherzo]].{{Fact|date=January 2008}} In Beethoven's ''[[Symphony No. 6 (Beethoven)|Pastoral Symphony]]'', a program work, the composer inserted a "storm" section before the final movement; Berlioz's ''[[Symphonie Fantastique]]'', also a programme work, has both a [[march]] and a waltz, and five movements instead of the customary four. [[Robert Schumann]] and [[Felix Mendelssohn]] were two leading German composers whose symphonies added the expanded harmonic vocabulary of [[Romantic music]]. Some composers also wrote explicitly programmatic symphonies, such as the French [[Hector Berlioz]] and the Hungarian [[Franz Liszt]]. [[Johannes Brahms]], who took Schumann and Mendelssohn as his point of departure, composed symphonies with very high levels of structural unity; other important symphonists of the late 19th century included [[Anton Bruckner]], [[Antonín Dvořák]] and [[Pyotr Ilyich Tchaikovsky]].{{Fact|date=January 2008}} By the end of the 19th century, some [[France|French]] [[organist]]s named some of their organ compositions ''symphony'': their instruments (many built by [[Aristide Cavaillé-Coll]]) allowed an orchestral approach. [[Charles-Marie Widor]]'s and [[Louis Vierne]]'s orchestral symphonies are heard much less often than their organ symphonies.{{Fact|date=January 2008}} ===20th century symphony=== [[Gustav Mahler]], at the beginning of the 20th century, wrote large-scale long symphonies (his [[Symphony No. 8 (Mahler)| eighth]] is nicknamed the "Symphony of a Thousand" because of the forces required to perform it). The twentieth century also saw further diversification in the style and content of works which composers labelled as "symphonies".{{Fact|date=January 2008}} Some composers, including [[Sergei Rachmaninoff]] and [[Carl Nielsen]], continued to write in the traditional four-movement form, while other composers took different approaches: [[Jean Sibelius]]' ''[[Symphony No. 7 (Sibelius)|Symphony No. 7]]'', his last, is in one movement, whereas [[Alan Hovhaness]]'s Symphony No. 9, ''Saint Vartan'' (1949–50) is in twenty-four. There remained, however, certain tendencies: symphonies were still on the whole orchestral works. Symphonies with vocal parts, or parts for solo instrumentalists, were the exception rather than the rule.{{Fact|date=January 2008}} Designating a work a "symphony" still implied a degree of sophistication, and seriousness of purpose. The word ''[[sinfonietta]]'' came into use to designate a work that was "lighter" than a "symphony" ([[Leoš Janáček]]'s ''[[Sinfonietta (Janáček)|Sinfonietta]]'' is one of the best known examples).{{Fact|date=January 2008}} The 20th century saw an increase in the number of works which could reasonably have been titled symphonies, but which the composer gave another designation.{{Fact|date=January 2008}} ''[[Concerto for Orchestra (Bartók)|Concerto for Orchestra]]'' by [[Béla Bartók]], and Mahler's [[Das Lied von der Erde]] are sometimes analysed{{weasel-inline|date=May 2008}} as symphonies. The late 20th Century and early 21st Century has seen works written by composers for [[Wind Ensemble]] being called Symphonies. Composers continue to write works which they call "symphonies", although exactly what qualifies a work as a symphony is not well-defined. As can be seen from examples as diverse as those by [[Witold Lutosławski]], [[Olivier Messiaen]], [[Luciano Berio]], [[Glenn Branca]] and [[Philip Glass]], it can denote an artistic purpose other than conformity with any symphonic tradition.{{Or|date=May 2008}} ==See also== {{Symphonies by number and name}} ==Media== {{multi-listen start}} {{multi-listen item|filename=Ludwig van Beethoven - Symphonie 5 c-moll - 1. Allegro con brio.ogg|title=Symphony 5, movement 1|description=[[Symphony No. 5 (Beethoven)|Ludwig van Beethoven's 5th Symphony]], 1st movement|format=[[Ogg]]}} {{multi-listen item|filename=Ludwig van Beethoven - Symphonie 5 c-moll - 2. Andante con moto.ogg|title=Symphony 5, movement 2|description=[[Symphony No. 5 (Beethoven)|Ludwig van Beethoven's 5th Symphony]], 2nd movement|format=[[Ogg]]}} {{multi-listen item|filename=Ludwig van Beethoven - Symphonie 5 c-moll - 3. Allegro.ogg|title=Symphony 5, movement 3|description=[[Symphony No. 5 (Beethoven)|Ludwig van Beethoven's 5th Symphony]], 3rd movement|format=[[Ogg]]}} {{multi-listen item|filename=Ludwig van Beethoven - Symphonie 5 c-moll - 4. Allegro.ogg|title=Symphony 5, movement 4|description=[[Symphony No. 5 (Beethoven)|Ludwig van Beethoven's 5th Symphony]], 4th movement|format=[[Ogg]]}} {{multi-listen item|filename=Symphonie no 9 en re mineur, op. 125, allegro ma non troppo.ogg|title=Beethoven's 9th symphony, first movement. Full orchestra version.|Description=[[Symphony No. 9 (Beethoven)|Ludwig Van Beethoven's 9th symphony]]|format=[[Ogg]]}} {{multi-listen item|filename=Symphonie no 9 en re mineur, op. 125, Molto vivace.ogg|title=Beethoven's 9th symphony, second movement.|Description=[[Symphony No. 9 (Beethoven)|Ludwig Van Beethoven's 9th symphony]]|format=[[Ogg]]}} <!-- NOT Beethoven. Someone uploaded the wrong file. Commenting this out until the file is fixed {{multi-listen item|filename=Symphonie no 9 en re mineur, op. 125, Adagio molto e cantabile - Andante moderato - Adagio.ogg|title=Beethoven's 9th symphony, third movement.|description=[[Symphony No. 9 (Beethoven)|Ludwig Van Beethoven's 9th symphony]]|format=[[Ogg]]}} --> {{multi-listen item|filename=Symphonie no 9 en re mineur, op. 125, Adagio - Allegro molto e vivace.ogg|title=Beethoven's 9th symphony, fourth movement|description=[[Symphony No. 9 (Beethoven)|Ludwig Van Beethoven's 9th symphony]]|format=[[Ogg]]}} {{multi-listen end}} ==Sources== * Bukofzer, Manfred F. 1947. ''Music in the Baroque Era: From Monteverdi to Bach''. New York: W. W. Norton. * Eisen, Cliff, and Stanley Sadie. 2001. "Mozart (3): (Johann Chrysostum) Wolfgang Amadeus Mozart". ''The New Grove Dictionary of Music and Musicians'', ed. S. Sadie and J. Tyrrell. London: Macmillan. * Marcuse, Sybil. 1975. ''Musical Instruments: A Comprehensive Dictionary''. Revised edition. The Norton Library. New York: W. W. Norton. ISBN 0-393-00758-8. * Newman, William S. 1972. ''The Sonata in the Baroque Era''. New York: W. W. Norton. * Tarr, Edward H. 1974. Unpaginated editorial notes to his edition of Giuseppe Torelli, ''Sinfonia a 4, G. 33, in C major''. London: Musica Rara. * Webster, James, and Georg Feder. 2001. "Haydn, (Franz) Joseph". ''The New Grove Dictionary of Music and Musicians'', ed. S. Sadie and J. Tyrrell. London: Macmillan. ==External links== * [http://www.kylegann.com/Symphony.html A Chronology of the Symphony 1730-2005] A list of selected major symphonies composed 1800-2005, with composers of 18th century symphonies * [http://library.thinkquest.org/22673/index.html The Symphony - Interactive Guide] [[Category:Musical forms]] [[ar:سيمفونية]] [[zh-min-nan:Kau-hiáng-khek]] [[bg:Симфония]] [[ca:Simfonia]] [[cs:Symfonie]] [[cy:Symffoni]] [[da:Symfoni]] [[de:Sinfonie]] [[et:Sümfoonia]] [[el:Συμφωνία (μουσική)]] [[es:Sinfonía]] [[eo:Simfonio]] [[eu:Sinfonia]] [[fa:سمفونی]] [[fr:Symphonie]] [[gl:Sinfonía]] [[ko:교향곡]] [[id:Simfoni]] [[is:Sinfónía]] [[it:Sinfonia]] [[he:סימפוניה]] [[lv:Simfonija]] [[lt:Simfonija]] [[li:Symfonie]] [[hu:Szimfónia]] [[nl:Symfonie]] [[ja:交響曲]] [[no:Symfoni]] [[nn:Symfoni]] [[pl:Symfonia]] [[pt:Sinfonia]] [[ro:Simfonie]] [[ru:Симфония]] [[simple:Symphony]] [[sk:Symfónia]] [[sl:Simfonija]] [[sr:Simfonija]] [[fi:Sinfonia]] [[sv:Symfoni]] [[th:ซิมโฟนี]] [[vi:Giao hưởng]] [[tr:Senfoni]] [[uk:Симфонія]] [[zh-yue:交響曲]] [[zh:交響曲]]