What genre does the composer of Symphony No. 1 operate in?
opera
Title: Symphony, K. 97 (Mozart)
Passage: The Alte Mozart-Ausgabe (published 1879–1882) gives the numbering sequence 1–41 for the 41 numbered symphonies. The unnumbered symphonies (some, including K. 97, published in supplements to the Alte-Mozart Ausgabe until 1910) are sometimes given numbers in the range 42 to 56, even though they were written earlier than Mozart's Symphony No. 41 (written in 1788). The symphony K. 97 is given the number 47 in this numbering scheme.
Title: Symphony No. 4 (Mendelssohn)
Passage: The Symphony No. 4 in A major, Op. 90, commonly known as the Italian, is an orchestral symphony written by German composer Felix Mendelssohn.
Title: Symphony, K. 95 (Mozart)
Passage: The Alte Mozart-Ausgabe (published 1879–1882) gives the numbering sequence 1–41 for the 41 numbered symphonies. The unnumbered symphonies (some, including K. 95, published in supplements to the Alte-Mozart Ausgabe until 1910) are sometimes given numbers in the range 42 to 56, even though they were written earlier than Mozart's Symphony No. 41 (written in 1788). The symphony K. 95 is given the number 45 in this numbering scheme.
Title: Adolph Weiss
Passage: Adolph Weiss (Baltimore, Maryland, November 12, 1891 – Van Nuys, California, February 21, 1971) was an American composer. A modernist, he was a pupil of Arnold Schoenberg in Berlin; his father was a pupil of Ferruccio Busoni. He also served as a professional bassoonist in a number of orchestras, including the New York Philharmonic, the New York Symphony Society, the Rochester Symphony, the Los Angeles Philharmonic, the San Francisco Symphony, and the Chicago Symphony. His music was once described as being "fuller of crabs than Chesapeake Bay".
Title: Zane Banks
Passage: Zane Banks (born 1986) is an Australian guitarist from Sydney, who plays both classical and electric guitars in a variety of musical genres. Banks premiered the 1-hour long solo electric guitar work, "Ingwe", by composer Georges Lentz.
Title: Symphony (El Khoury)
Passage: Bechara El Khoury's Symphony, subtitled "The Ruins of Beirut", was composed in 1985. It was the third of a series of works inspired in the ongoing Lebanese Civil War, being preceded by tone poem "Lebanon in flames" and a Requiem. It is composed of four movements, marked "Drammatico", "Misterioso", "Poetico" and "Tragique".
Title: Symphony No. 7 (Henze)
Passage: The Seventh Symphony by the German composer Hans Werner Henze was written in 1983-84. It was commissioned by the Berliner Philharmoniker as part of the orchestra's centenary celebrations in 1982.
Title: La Symphonie fantastique
Passage: La Symphonie fantastique is a 1942 French drama film by Christian-Jaque and produced by the German-controlled French film production company Continental Films. The film is based upon the life of the French composer Hector Berlioz. The title is taken from the five-movement programmatic "Symphonie fantastique" of 1830. The film lasts around 90 minutes and was first shown at the 'Normandie' cinema in Paris on 1 April 1942. The posters at the premiere contained the sub-title 'La Vie passionnée et glorieuse d'un génie' (which links with the quote from Hugo at the very end of the film).
Title: Harold Van Heuvelen
Passage: Harold Van Heuvelen (March 30, 1919 – April 26, 2017) was an American composer and musician known principally for his Symphony No. 1 (opus 7), which was composed during World War II and which premiered 67 years later in 2012.
Title: Nader Mashayekhi
Passage: Nader Mashayekhi (; born November 26, 1958 in Tehran) is a Persian composer. From 2006 to July 2007 he was conductor of the Tehran Symphony Orchestra. He is the son of Jamshid Mashayekhi.
Title: Classical music
Passage: Almost all of the composers who are described in music textbooks on classical music and whose works are widely performed as part of the standard concert repertoire are male composers, even though there has been a large number of women composers throughout the classical music period. Musicologist Marcia Citron has asked "[w]hy is music composed by women so marginal to the standard 'classical' repertoire?" Citron "examines the practices and attitudes that have led to the exclusion of women composers from the received 'canon' of performed musical works." She argues that in the 1800s, women composers typically wrote art songs for performance in small recitals rather than symphonies intended for performance with an orchestra in a large hall, with the latter works being seen as the most important genre for composers; since women composers did not write many symphonies, they were deemed to be not notable as composers. In the "...Concise Oxford History of Music, Clara Shumann  [sic] is one of the only  [sic] female composers mentioned." Abbey Philips states that "[d]uring the 20th century the women who were composing/playing gained far less attention than their male counterparts."
Title: Symphony
Passage: At the beginning of the 19th century, Beethoven elevated the symphony from an everyday genre produced in large quantities to a supreme form in which composers strove to reach the highest potential of music in just a few works. Beethoven began with two works directly emulating his models Mozart and Haydn, then seven more symphonies, starting with the Third Symphony (``Eroica '') that expanded the scope and ambition of the genre. His Symphony No. 5 is perhaps the most famous symphony ever written; its transition from the emotionally stormy C minor opening movement to a triumphant major - key finale provided a model adopted by later symphonists such as Brahms and Mahler. His Symphony No. 6 is a programmatic work, featuring instrumental imitations of bird calls and a storm; and, unconventionally, a fifth movement (symphonies usually had at most four movements). His Symphony No. 9 includes parts for vocal soloists and choir in the last movement, making it a choral symphony.
Title: Erkki Melartin
Passage: Although Melartin was chiefly a lyricist, the symphony was central to his musical output. He wrote six symphonies (1902–1924) and was the first Finnish composer to bear Mahler's influence. The fourth symphony uses a vocalise like that of Carl Nielsen's "Sinfonia Espansiva". The fifth is a "Sinfonia brevis" ending in a fugue and chorale, while the sixth, harmonically more advanced than the other five, advances stepwise from a C minor first movement – with evocations of Mahler's second symphony – to an E-flat major finale. His musical output also includes an opera, "Aino" (based on the character from the Finnish national epic), a violin concerto, four string quartets, and many piano pieces. His works therefore are divided mainly into large-scale works for orchestra, and chamber pieces for much smaller groups and soloists. Despite working in the same time period as Jean Sibelius he was not influenced by the more famous composer's style, and his work has been largely overshadowed by that of Finland's most revered composer.
Title: Spring Symphony
Passage: The Spring Symphony, a choral symphony, is Benjamin Britten's Opus 44. It is dedicated to Serge Koussevitzky and the Boston Symphony Orchestra. It was premiered in the Concertgebouw, Amsterdam, on Thursday 14 July 1949 (not 9 July which is quoted by many sources) as part of the Holland Festival, when the composer was 35. At the premiere the tenor soloist was Peter Pears, the soprano Jo Vincent and the contralto Kathleen Ferrier. The conductor was Eduard van Beinum. A recording of the performance survives and was first issued by Decca in August 1994.
Title: Symphony No. 1 (Corigliano)
Passage: John Corigliano's Symphony No. 1 for Orchestra was written between 1988 and 1989 during the composer's tenure as the first Composer-In-Residence for the Chicago Symphony Orchestra. The symphony's first performance was by the Chicago Symphony conducted by Daniel Barenboim on March 15, 1990.
Title: Symphony No. 2 (Berkeley)
Passage: Lennox Berkeley composed his Symphony No. 2 in 1958. The work was commissioned by the City of Birmingham Symphony, who premiered it under Andrzej Panufnik in February 1959. Berkeley revised the symphony in 1976 for its first recording, by the London Philharmonic under Nicholas Braithwaite.
Title: Margaret Ruthven Lang
Passage: Margaret Ruthven Lang (November 27, 1867 – May 29, 1972) was an American composer, affiliated with the Second New England School. Lang was also one of the first two women composers (along with Amy Beach) to have compositions performed by American symphony orchestras: Lang's "Dramatic Overture", by the Boston Symphony Orchestra, 1893; Beach's Grand Mass in E-flat, 1892, by the Handel and Haydn Society; and Beach's Gaelic Symphony, 1896, by the Boston Symphony..
Title: The Ghosts of Versailles
Passage: The Ghosts of Versailles is an opera in two acts, with music by John Corigliano to an English libretto by William M. Hoffman. The Metropolitan Opera had commissioned the work from Corigliano in 1980 in celebration of its 100th anniversary, with the premiere scheduled for 1983. Corigliano and Hoffman took as the starting point for the opera the play "La Mère coupable" ("The Guilty Mother") by Pierre Beaumarchais. They took seven years to complete the opera, past the initial deadline. The opera received its premiere on December 19, 1991, at the Metropolitan Opera, with the production directed by Colin Graham. The premiere run of seven performances was sold out. The original cast included Teresa Stratas, Håkan Hagegård, Renée Fleming, Graham Clark, Gino Quilico, and Marilyn Horne. The Metropolitan Opera revived the opera in the 1994/1995 season.
Symphony No. 1 (Corigliano) The Ghosts of Versailles