The Symphony No. 88 in G major (Hoboken 1/88) was written by Joseph Haydn. It is occasionally referred to as The Letter V referring to an older method of cataloging Haydn's symphonic output. The symphony was completed in 1787. It is one of Haydn's best-known works, even though it is not one of the Paris or London Symphonies and does not have a descriptive nickname. Movements The work is in standard four movement form and scored for flute, two oboes, two bassoons, two horns, two trumpets, timpani, continuo (harpsichord) and strings. 1. Adagio - Allegro 0:42 2. Largo 9:57 3. Menuetto: Allegretto 17:14 4. Finale. Allegro con spirito 21:39 The first movement begins with a brief introduction which quickly settles to the dominant chord to prepare for the main body of the movement. The strings open the Allegro stating the main theme and the rest of the movement develops from there, with almost every statement deriving from a previous idea. The exposition is monothematic and the development continues to make use of that single melodic idea. In the recapitulation, the initial statement of the theme is embellished by a solo flute. The slow movement in D major consists mainly of embellishments of the legato oboe theme which opens it, though every so often is punctuated by chords played by the whole orchestra. After hearing this slow movement, Johannes Brahms is said to have remarked, 'I want my Ninth Symphony to sound like this'. It is the first of Haydn's symphonies to use trumpets and timpani in the slow movement. Mozart had previously used trumpets and timpani in the slow movement of his Linz Symphony. The minuet is in G major. The trio has an unusual feature to it: after stating a rather simple theme, the fifths held in the bassoons and violas shift down a fourth in parallel, an effect typically avoided by the classical composers. The finale is a sonata-rondo, with the rondo theme first presented in binary form. The first section of this is noteworthy for ending on unusual cadence on the mediant. A "perpetual-motion finale," it is considered one of the most cheerful Haydn ever wrote.
A musical rite of the holiday season, the Baroque-era oratorio still awes listeners 250 years after the composer's death
Venus Consoling Love is a painting by François Boucher, from 1751. The painting depicts a mythological scene, where Venus, the goddess of Love, depicted as a young, charming and supple young woman is impersonating the French Rococo's beauty ideals. She is about to disarm Cupid, by taking away his arrows, that he uses when shooting at people to make them fall in love. "In Enlightenment France the dedicated search to define truth engendered a re–evaluation of the natural. The belief that it was right to follow nature, and that the pursuit of pleasure was natural, influenced the prevailing conception of the nude ... Venus sits beside the pond with doves, the goddess symbol. The white doves at her feet, her complexion, the pearls in her hair are just as luxurious like the silk draperies that were wrapped around her, but now are lying on the ground. Boucher painted the artwork with soft pastel tones using a dim silvery light. The painting was made with high technical skill. The principal charm of Rococo art is its sensuality and seductivity.
This portrait of a poetic, dreamy Pierrot is an exceptionally large painting for Watteau. It may have been a sign for a café belonging to a former actor by the name of Belloni. The stock Commedia dell' Arte characters in the lower part of the painting, gives it an enigmatic air. It was formerly known Gilles. It has elements of Italian Comedy.
Wolfgang Amadeus Mozart wrote his Symphony No. 40 in G minor, KV. 550, in 1788. It is sometimes referred to as the "Great G minor symphony," to distinguish it from the "Little G minor symphony," No. 25. The two are the only minor key symphonies Mozart wrote. The 40th Symphony was completed on 25 July 1788. The composition occupied an exceptionally productive period of just a few weeks in 1788, during which time he also completed the 39th and 41st symphonies (26 June and 10 August, respectively). The symphony is scored (in its revised version) for flute, 2 oboes, 2 clarinets, 2 bassoons, 2 horns, and strings. Notably missing are trumpets and timpani. The work is in four movements, in the usual arrangement (fast movement, slow movement, minuet, fast movement) for a classical-style symphony: 1. Molto allegro, 2/2 2. Andante, 6/8 3. Menuetto. Allegretto -- Trio, 3/4 4. Finale. Allegro assai, 2/2. Every movement but the third is in sonata form; the minuet and trio are in the usual ternary form. This work has elicited varying interpretations from critics. Robert Schumann regarded it as possessing "Grecian lightness and grace". Donald Francis Tovey saw in it the character of opera buffa. Almost certainly, however, the most common perception today is that the symphony is tragic in tone and intensely emotional; for example, Charles Rosen (in The Classical Style) has called the symphony "a work of passion, violence, and grief." Although interpretations differ, the symphony is unquestionably one of Mozart's most greatly admired works, and it is frequently performed and recorded. Ludwig van Beethoven knew the symphony well, copying out 29 measures from the score in one of his sketchbooks. It is thought that the opening theme of the last movement may have inspired Beethoven in composing the third movement of his Fifth Symphony.
The Athenian courts executed the philosopher Socrates (469–399 B.C.) for the crime of impiety: his behavior toward the gods was judged to have been irreverent, and he had exerted a corrupting influenc
This piece was adored in Bernini's lifetime but later harshly criticized for its overt sensuality and eroticism. It falls within the Baroque Era. It was sculpted by Gian Lorenzo Bernini.
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