Dictionary of Music - Birding America

416 symphonie concertanteNOTABLE SYMPHONIES (1765–1969) (continued)Composer* Symphony DateNo. 7, op. 60 (Leningrad) 1941No. 10 in E major, op. 93 1953No. 13 in B-flat, op. 113 1962No. 14, op. 135 (Babi Yar) 1969Jean Sibelius (7) No. 1 in E minor, op. 39 1900No. 2 in D major, op. 43 1902No. 3 in C major, op. 52 completed 1907Piotr Ilyitch Tchaikovsky (6) No. 2 in C minor, op. 17 (Little Russian, or Ukrainian) 1873No. 3 in D major, op. 29 (Polish) comp. 1875No. 4 in F minor, op. 36 1877No. 5 in E minor, op. 64 1888No. 6 in B minor, op. 74 (Pathétique) 1893Ralph Vaughan Williams (9) No. 1, Sea Symphony 1910No. 2, London Symphony 1920No. 7, Sinfonia Antartica 1953Anton Webern (1) Symphony, op. 21 1928* Number in parentheses is total number composed.became engrossed with newer kinds of music (electronicmusic, aleatory music, etc.), nearly everymajor composer wrote at least one symphony. Outstandingtwentieth-century symphony composersinclude Vaughan Williams, Prokofiev, Shostakovitch,Hindemith, Stravinsky, Sessions, Honegger, Nielsen,Ives, Piston, Copland, Harris, and Davies. However,their symphonies sometimes differed radically fromthe classical form described above, especially thosecomposed from the second half of the twentiethcentury on.The chart on pages 414–16 lists most of thefamous symphonies written between about 1765 and1969. Symphonies are identified by number and key,as is conventional, and titles and nicknames areincluded wherever they were added by the composeror have come into common use.symphonie concertante (saN fo nē′ kôN ser täNt′)French. Also, sinfonia concertante (sin fô nē′a koncher tän′te) Italian. A concerto for two or more soloinstruments and orchestra, in which the orchestramainly accompanies the soloists. The form firstappeared in the 1760s in France and also attractedAustrian and Bohemian composers. Only one ofHaydn’s works actually bears the title Concertante,for violin, cello, oboe, and bassoon. Mozart wroteseveral, of which the Sinfonia concertante in E-flatfor violin and viola, K. 364, is the outstandingexample. Although the nineteenth century broughtgreater emphasis on the solo CONCERTO (def. 2),some examples were produced, among themBeethoven’s Triple Concerto and Brahms’s DoubleConcerto. A number of twentieth-century composersrenewed interest in the form, among them FrankMartin, Francis Poulenc, and Bohuslav Martinů. Seealso CONCERTO, defs. 3 and 4.symphony orchestraSee ORCHESTRA.syncopation An effect of uneven rhythm thatresults from changing the normal pattern of accentsand beats. For example, in 3/4 meter (waltz time) thenormal pattern accents the first of the three beats ineach measure (one-two-three, one-two-three). Thispattern can be changed in several ways. One waywould be to accent the second beat instead of thefirst (one-two-three). Another would be to hold the