|
capriccio| In music, an all-purpose name for a lightweight piece, often in the style of a fugue, combining technical virtuosity with entertainment. |
capriccio| In art, usually a free or fantastic combination of architectural objects, real or imaginary, in a painted view. Giovanni Panini, Giambattista Piranesi, Francesco Guardi, and Hubert Robert provide examples. Francisco Goya, however, in his Caprichos, gives the term a wider imaginative significance. |
Capriccio| Opera by Richard Strauss (libretto by C Krauss and the composer), first produced at the Munich Staatsoper, Germany, on 28 October 1942. An elegant ‘conversation piece’ in which the composer Flamand and poet Olivier compete for the affections of Countess Madeleine, it is also a deconstructionist opera about opera. |
| It is also the title of a work by Leoš Janáček in four movements for piano left hand and orchestra, composed in 1926 and first performed in Prague (now the Czech Republic) o 2 March 1928. |
| Stravinsky also composed a work with the same title for piano and orchestra in 1929; it was first performed in Paris, France, on 6 December 1929, conducted by Ernest Ansermet. |
How to thank TFD for its existence? Tell a friend about us, add a link to this page, add the site to iGoogle, or visit webmaster's page for free fun content. |
?Sign in  |
|---|
|
|
|
| ? Mentioned in | | ? References in periodicals archive |
|---|
Bär, Olaf
Berchem, Jachet de
Brydon, Roderick
Capriccio espagnol
Capriccio italien
Davis, Andrew
Davy, Gloria
Duesing, Dale
fandango
Hartmann, Rudolf
| Heger, Robert
Holm, Richard
Jünger, Ernst
Juon, Paul
Kusche, Benno
Maksymiuk, Jerzy
posthorn
string sextet
Vierdanck, Johann
|
| In Baselitz's aesthetics, then, a personally tailored Africa functions as a kind of stabilizing basso continuo for the iconoclastic capriccios of Western artistic freedom. The Renaissance is at the heart of this study, but later chapters also examine the evolution of drawing practice in Rembrandt, in the eighteenth-century capriccio (Hogarth, Piranesi, the Tiepolo, and Goya), and, as an epilogue, in Picasso. Now, from a more secure place, they're ready to take that vigorous embodiment of Stravinsky's Capriccio for Piano and Orchestra all the way to Washington for the opening week of the Kennedy Center's Balanchine Celebration. |