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
173:
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
152:
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:
760:
17:
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
695:
526:
244:
113:
136:
is being performed. These were introduced in
Edinburgh and London in the 1840s, first for
8:
886:
841:
51:
47:
227:
Christian Thorau, "'What Ought to be Heard': Touristic
Listening and the Guided Ear" in
700:
261:
63:
322:
of program notes for use by orchestras of educational and community arts organizations
303:
798:
715:
685:
486:
405:
232:
91:
75:
730:
664:
466:
266:
240:
194:
178:
59:
35:
356:
190:
149:
133:
43:
837:
461:
400:
87:
880:
710:
430:
281:
186:
182:
145:
137:
103:
71:
67:
737:
435:
159:
79:
325:
705:
690:
392:
158:
With his program notes for the
Saturday Concerts at the Crystal Palace,
725:
720:
659:
478:
83:
669:
370:
229:
The Oxford
Handbook of Music Listening in the 19th and 20th Centuries
141:
276:
107:
99:
647:
319:
55:
829:
213:
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:. You can help Knowledge by
7:
272:In Concert (disambiguation)
255:
10:
918:
823:
126:annotated concert programs
751:
678:
640:
594:
514:
477:
421:
391:
384:
363:
653:Unruly audience response
200:
902:Music publication stubs
357:Western classical music
308:University of Melbourne
110:or operatic movement.
455:Transition to Romantic
385:Major periods and eras
164:
118:
411:Transition to Baroque
156:
140:concerts, notably by
116:
743:Worldwide traditions
696:Classical music blog
595:Students by teacher
96:Gewandhausorchester
897:Music publications
262:Commission (music)
119:
88:ensemble directors
892:Music performance
849:
848:
821:
820:
716:Progressive music
510:
509:
128:are common where
92:Felix Mendelssohn
40:concert programme
16:(Redirected from
909:
870:
863:
856:
832:
825:
811:
810:
801:
791:
790:
781:
780:
766:Composers by era
731:Video game music
665:Musical ensemble
467:Post-romanticism
389:
388:
350:
343:
336:
327:
326:
267:Dedication (art)
247:
239:, January 2019,
225:
216:
210:
168:
36:American English
21:
917:
916:
912:
911:
910:
908:
907:
906:
877:
876:
875:
874:
822:
817:
747:
674:
636:
590:
506:
473:
423:Common practice
417:
380:
359:
354:
290:
258:
252:
250:
226:
219:
211:
207:
203:
170:
166:
150:Eduard Hanslick
134:classical music
44:British English
32:concert program
28:
23:
22:
15:
12:
11:
5:
915:
905:
904:
899:
894:
889:
873:
872:
865:
858:
850:
847:
846:
833:
819:
818:
816:
815:
805:
795:
785:
774:
773:
768:
763:
758:
752:
749:
748:
746:
745:
740:
735:
734:
733:
728:
718:
713:
708:
703:
698:
693:
688:
682:
680:
676:
675:
673:
672:
667:
662:
657:
656:
655:
644:
642:
638:
637:
635:
634:
629:
624:
619:
614:
609:
604:
598:
596:
592:
591:
589:
588:
583:
582:
581:
574:United Kingdom
571:
566:
561:
556:
551:
546:
541:
536:
535:
534:
524:
518:
516:
512:
511:
508:
507:
505:
504:
499:
494:
489:
483:
481:
475:
474:
472:
471:
470:
469:
459:
458:
457:
447:
446:
445:
442:Empfindsamkeit
438:
427:
425:
419:
418:
416:
415:
414:
413:
403:
397:
395:
386:
382:
381:
379:
378:
373:
367:
365:
361:
360:
353:
352:
345:
338:
330:
324:
323:
317:
311:
301:
289:
288:External links
286:
285:
284:
279:
274:
269:
264:
257:
254:
249:
248:
217:
204:
202:
199:
187:musical motifs
155:
26:
18:Programme note
9:
6:
4:
3:
2:
914:
903:
900:
898:
895:
893:
890:
888:
885:
884:
882:
871:
866:
864:
859:
857:
852:
851:
845:
843:
839:
834:
831:
827:
826:
814:
806:
804:
800:
796:
794:
786:
784:
776:
775:
772:
769:
767:
764:
762:
759:
757:
754:
753:
750:
744:
741:
739:
736:
732:
729:
727:
724:
723:
722:
719:
717:
714:
712:
711:New-age music
709:
707:
704:
702:
699:
697:
694:
692:
689:
687:
684:
683:
681:
677:
671:
668:
666:
663:
661:
658:
654:
651:
650:
649:
646:
645:
643:
639:
633:
630:
628:
625:
623:
620:
618:
615:
613:
610:
608:
605:
603:
600:
599:
597:
593:
587:
586:United States
584:
580:
577:
576:
575:
572:
570:
567:
565:
562:
560:
557:
555:
552:
550:
547:
545:
542:
540:
537:
533:
530:
529:
528:
525:
523:
520:
519:
517:
513:
503:
500:
498:
495:
493:
490:
488:
485:
484:
482:
480:
476:
468:
465:
464:
463:
460:
456:
453:
452:
451:
448:
444:
443:
439:
437:
434:
433:
432:
429:
428:
426:
424:
420:
412:
409:
408:
407:
404:
402:
399:
398:
396:
394:
390:
387:
383:
377:
376:Dates of eras
374:
372:
369:
368:
366:
362:
358:
351:
346:
344:
339:
337:
332:
331:
328:
321:
318:
315:
312:
309:
305:
302:
299:
295:
292:
291:
283:
282:Program music
280:
278:
275:
273:
270:
268:
265:
263:
260:
259:
253:
246:
242:
238:
237:9780190466961
234:
230:
224:
222:
214:
209:
205:
198:
196:
192:
188:
184:
180:
176:
169:
163:
161:
154:
151:
147:
146:Musical Union
143:
139:
138:chamber music
135:
131:
127:
123:
122:Program notes
115:
111:
109:
105:
101:
97:
93:
89:
85:
81:
77:
73:
69:
65:
61:
57:
53:
49:
45:
41:
37:
33:
19:
842:expanding it
835:
738:Third stream
701:Experimental
532:Porto Alegre
502:21st-century
497:20th-century
492:Contemporary
440:
251:
228:
212:
208:
171:
165:
157:
130:contemporary
125:
121:
120:
72:programmatic
39:
31:
29:
813:WikiProject
706:Light music
691:Baroque pop
686:Avant-garde
641:Performance
406:Renaissance
393:Early music
175:musical era
64:instruments
48:programming
887:Live music
881:Categories
726:Film score
721:Soundtrack
660:Conducting
579:Birmingham
515:By country
364:Definition
84:conductors
68:historical
771:Festivals
670:Orchestra
522:Australia
487:Modernism
479:New music
450:Classical
371:Art music
314:Automatic
195:movements
142:John Ella
76:technical
793:Category
462:Romantic
401:Medieval
310:students
300:students
277:Premiere
256:See also
191:sections
179:analysis
144:and his
108:symphony
100:concerto
60:ensemble
783:Outline
679:Related
648:Concert
554:Ireland
549:Germany
431:Baroque
320:Archive
56:concert
803:Portal
761:Genres
632:T to Z
627:R to S
622:N to G
617:K to M
612:G to J
607:C to F
602:A to B
569:Russia
564:Kosovo
544:France
539:Canada
527:Brazil
436:Galant
235:
189:, and
183:themes
52:pieces
756:Lists
559:Italy
304:Guide
294:Guide
201:Notes
160:Grove
104:suite
86:, or
74:, or
50:, of
38:) or
838:stub
233:ISBN
80:form
42:(in
34:(in
241:doi
193:or
132:or
124:or
102:or
62:of
883::
231:,
220:^
197:.
185:,
70:,
30:A
869:e
862:t
855:v
844:.
349:e
342:t
335:v
243::
20:)
Text is available under the Creative Commons Attribution-ShareAlike License. Additional terms may apply.