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Bernstein stopped and said, “I’ll give ten dollars to anyone who can tell me which piece this Walton Concerto is directly modeled on.”
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Bernstein stopped and said, “I’ll give ten dollars to anyone who can tell me which piece this Walton Concerto is directly modeled on.”
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For at least six hundred years, composers have been borrowing the melodies of folk songs and incorporating them into their compositions. And there’s a good reason: they’re good melodies; they’re melodies that have stood the test of time—that have never lost their hold on people.
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For at least six hundred years, composers have been borrowing the melodies of folk songs and incorporating them into their compositions. And there’s a good reason: they’re good melodies; they’re melodies that have stood the test of time—that have never lost their hold on people.
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Now, if ever there was a musician who was entitled to say of a Bartók quartet, “This is the way it goes,” it was Robert Mann. He knew those quartets inside out, and had recorded them more than once.
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Now, if ever there was a musician who was entitled to say of a Bartók quartet, “This is the way it goes,” it was Robert Mann. He knew those quartets inside out, and had recorded them more than once.
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When “classical” public radio stations surveyed their audiences some years back, the most common answer to the question, “Why do you listen to classical music,” was, “Because it’s soothing.”
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To make an arrangement of a musical composition is to rewrite the composition for a new set of musical forces—to rewrite a wind quintet for string quartet, for example, or to transform a string quartet into a piano trio.
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