Sir Malcolm Henry Arnold (21 October 1921 – 23 September 2006) was an English composer and conductor. His works feature music in many genres, including a cycle of nine symphonies, numerous concertos, concert works, chamber music, choral music and music for brass band and wind band. His style is tonal and rejoices in lively rhythms, brilliant orchestration, and an unabashed tunefulness. He wrote extensively for the theatre, with five ballets specially commissioned by the Royal Ballet, as well as two operas and a musical. He also produced scores for more than a hundred films, among these The Bridge on the River Kwai (1957), for which he won an Oscar.

Sir Malcolm Henry Arnold (21 October 1921 – 23 September 2006) was an English composer and conductor. His works feature music in many genres, including a cycle of nine symphonies, numerous concertos, concert works, chamber music, choral music and music for brass band and wind band. His style is tonal and rejoices in lively rhythms, brilliant orchestration, and an unabashed tunefulness. He wrote extensively for the theatre, with five ballets specially commissioned by the Royal Ballet, as well as two operas and a musical. He also produced scores for more than a hundred films, among these The Bridge on the River Kwai (1957), for which he won an Oscar.

Four Scottish Dances (Op. 59) is an orchestral set of light music pieces composed by Malcolm Arnold in 1957 for the BBC Light Music Festival.

Sir Malcolm Henry Arnold (21 October 1921 – 23 September 2006) was an English composer and conductor. His works feature music in many genres, including a cycle of nine symphonies, numerous concertos, concert works, chamber music, choral music and music for brass band and wind band. His style is tonal and rejoices in lively rhythms, brilliant orchestration, and an unabashed tunefulness. He wrote extensively for the theatre, with five ballets specially commissioned by the Royal Ballet, as well as two operas and a musical. He also produced scores for more than a hundred films, among these The Bridge on the River Kwai (1957), for which he won an Oscar.

This is a selective list of the works of Malcolm Arnold, listed by genre.

Overture (from French ouverture, lit. "opening") is a music instrumental introduction to a ballet, opera, or oratorio in the 17th century. During the early Romantic era, composers such as Beethoven and Mendelssohn composed overtures which were independent, self-existing, instrumental, programmatic works that foreshadowed genres such as the symphonic poem. These were "at first undoubtedly intended to be played at the head of a programme". The idea of an instrumental opening to opera existed during the 17th century. Peri's Euridice opens with a brief instrumental ritornello, and Monteverdi's L'Orfeo (1607) opens with a toccata, in this case a fanfare for muted trumpets. More important was the prologue, consisting of sung dialogue between allegorical characters which introduced the overarching themes of the stories depicted.

This is a selective list of the works of Malcolm Arnold, listed by genre.

This is a selective list of the works of Malcolm Arnold, listed by genre.

Overture (from French ouverture, lit. "opening") is a music instrumental introduction to a ballet, opera, or oratorio in the 17th century. During the early Romantic era, composers such as Beethoven and Mendelssohn composed overtures which were independent, self-existing, instrumental, programmatic works that foreshadowed genres such as the symphonic poem. These were "at first undoubtedly intended to be played at the head of a programme". The idea of an instrumental opening to opera existed during the 17th century. Peri's Euridice opens with a brief instrumental ritornello, and Monteverdi's L'Orfeo (1607) opens with a toccata, in this case a fanfare for muted trumpets. More important was the prologue, consisting of sung dialogue between allegorical characters which introduced the overarching themes of the stories depicted.

A clarinet concerto is a concerto for clarinet; that is, a musical composition for solo clarinet together with a large ensemble (such as an orchestra or concert band). Albert Rice has identified a work by Giuseppe Antonio Paganelli as possibly the earliest known concerto for solo clarinet; its score appears to be titled "Concerto per il Clareto" and may date from 1733. It may, however, be intended for soprano chalumeau. There are earlier concerti grossi with concertino clarinet parts including two by Johann Valentin Rathgeber, published in 1728. Famed publishing house Breitkopf & Härtel published the first clarinet concerto in 1772. The instrument's popularity soared and a flurry of early clarinet concertos ensued. Many of these early concertos have largely been forgotten, though German clarinettist Dieter Klocker specialized in these "lost" works. Famous clarinet concertos of the Classical and early Romantic era include those of Wolfgang Amadeus Mozart, Carl Maria von Weber and Louis Spohr. Relatively few clarinet concertos, or wind instrument concertos generally, were produced during the middle and late Romantic music era, but the form became more popular in the twentieth century, with famous clarinet concertos from Carl Nielsen and Aaron Copland, as well as more recent ones by composers such as John Adams, Kalevi Aho, Elliott Carter, John Corigliano, Magnus Lindberg, Donald Martino, Christopher Rouse, and John Williams.

Clarinet Concerto No. 2 was the second clarinet concerto written by English composer Malcolm Arnold, his Opus 115. It was commissioned in 1974 by clarinetist Benny Goodman, who had given the American premiere of Arnold's Clarinet Concerto No. 1 in 1967. In the late 1960s, Goodman telephoned Arnold to commission the concerto; however, Arnold, believing the call to be a prank, yelled "Sod off!" and hung up on him. After this confusion was resolved, Arnold agreed to compose the piece. Upon its completion in April 1974, Goodman travelled to Dublin to collect the score. Arnold left it in his hotel room with flowers and a bottle of Jack Daniel's whiskey. Several hours later he received a call from Goodman, who noted: "I may be a bit stoned but I think your concerto is just great!" The concerto is tailored to Goodman's jazz background: the first movement, "Allegro vivace", includes a cadenza marked "as jazzy and way out as you please". "Lento", the second movement, is more lyrical, although Paul Serotsky suggests that "this might have 'graced' some horror film". The final movement, "Allegro non troppo", is also known as the "Pre-Goodman Rag", and is characterized by ragtime rhythms. The concerto was premiered at the Red Rocks Music Festival with Goodman and the Denver Symphony Orchestra. When it was first composed, few classical clarinetists were willing to attempt a performance because of the "outrageous" quality of the final movement. Jack Brymer was among the first, other than Goodman, to perform the work publicly, but did not record it. There have since been several recordings made by various musicians.

This is a selective list of the works of Malcolm Arnold, listed by genre.

This is a list of musical compositions for keyboard instruments such as the piano, organ or harpsichord and orchestra. See entries for concerto, piano concerto, organ concerto and harpsichord concerto for a description of related musical forms.

This is a list of compositions for piano and orchestra. For a description of related musical forms, see Concerto and Piano concerto.

English Dances, Op. 27 and 33, are two sets of light music pieces, composed for orchestra by Malcolm Arnold in 1950 and 1951. Each set consists of four dances inspired by, although not based upon, country folk tunes and dances. Each movement is denoted by the tempo marking, as the individual movements are untitled.

English Dances, Op. 27 and 33, are two sets of light music pieces, composed for orchestra by Malcolm Arnold in 1950 and 1951. Each set consists of four dances inspired by, although not based upon, country folk tunes and dances. Each movement is denoted by the tempo marking, as the individual movements are untitled.

This is a selective list of the works of Malcolm Arnold, listed by genre.

Johannes Brahms (; German: [joˈhanəs ˈbʁaːms] ; 7 May 1833 – 3 April 1897) was a German composer, virtuoso pianist, and conductor of the mid-Romantic period. His music is noted for its rhythmic vitality and freer treatment of dissonance, often set within studied yet expressive contrapuntal textures. He adapted the traditional structures and techniques of a wide historical range of earlier composers. His œuvre includes four symphonies, four concertos, a Requiem, much chamber music, and hundreds of folk-song arrangements and Lieder, among other works for symphony orchestra, piano, organ, and choir. Born to a musical family in Hamburg, Brahms began composing and concertizing locally in his youth. He toured Central Europe as a pianist in his adulthood, premiering many of his own works and meeting Franz Liszt in Weimar. Brahms worked with Ede Reményi and Joseph Joachim, seeking Robert Schumann's approval through Joachim. He gained both Robert and Clara Schumann's support and guidance. Brahms stayed with Clara in Düsseldorf, becoming devoted to her amid Robert's insanity and institutionalization. The two remained close, lifelong friends after Robert's death. Brahms never married, perhaps in an effort to focus on his work as a musician and scholar. He was a self-conscious, sometimes severely self-critical composer. Though innovative, his music was considered relatively conservative within the polarized context of the War of the Romantics, an affair in which Brahms regretted his public involvement. His compositions were largely successful, attracting a growing circle of supporters, friends, and musicians. Eduard Hanslick celebrated them polemically as absolute music, and Hans von Bülow even cast Brahms as the successor of Johann Sebastian Bach and Ludwig van Beethoven, an idea Richard Wagner mocked. Settling in Vienna, Brahms conducted the Singakademie and Gesellschaft der Musikfreunde, programming the early and often "serious" music of his personal studies. He considered retiring from composition late in life but continued to write chamber music, especially for Richard Mühlfeld. Brahms's contributions and craftsmanship were admired by his contemporaries like Antonín Dvořák, whose music he enthusiastically supported, and a variety of later composers. Max Reger and Alexander Zemlinsky reconciled Brahms's and Wagner's often contrasted styles. So did Arnold Schoenberg, who emphasized Brahms's "progressive" side. He and Anton Webern were inspired by the intricate structural coherence of Brahms's music, including what Schoenberg termed its developing variation. It remains a staple of the concert repertoire, continuing to influence composers into the 21st century.

This is a list of notable events in music that took place in the year 1964.

Johannes Brahms (; German: [joˈhanəs ˈbʁaːms] ; 7 May 1833 – 3 April 1897) was a German composer, virtuoso pianist, and conductor of the mid-Romantic period. His music is noted for its rhythmic vitality and freer treatment of dissonance, often set within studied yet expressive contrapuntal textures. He adapted the traditional structures and techniques of a wide historical range of earlier composers. His œuvre includes four symphonies, four concertos, a Requiem, much chamber music, and hundreds of folk-song arrangements and Lieder, among other works for symphony orchestra, piano, organ, and choir. Born to a musical family in Hamburg, Brahms began composing and concertizing locally in his youth. He toured Central Europe as a pianist in his adulthood, premiering many of his own works and meeting Franz Liszt in Weimar. Brahms worked with Ede Reményi and Joseph Joachim, seeking Robert Schumann's approval through Joachim. He gained both Robert and Clara Schumann's support and guidance. Brahms stayed with Clara in Düsseldorf, becoming devoted to her amid Robert's insanity and institutionalization. The two remained close, lifelong friends after Robert's death. Brahms never married, perhaps in an effort to focus on his work as a musician and scholar. He was a self-conscious, sometimes severely self-critical composer. Though innovative, his music was considered relatively conservative within the polarized context of the War of the Romantics, an affair in which Brahms regretted his public involvement. His compositions were largely successful, attracting a growing circle of supporters, friends, and musicians. Eduard Hanslick celebrated them polemically as absolute music, and Hans von Bülow even cast Brahms as the successor of Johann Sebastian Bach and Ludwig van Beethoven, an idea Richard Wagner mocked. Settling in Vienna, Brahms conducted the Singakademie and Gesellschaft der Musikfreunde, programming the early and often "serious" music of his personal studies. He considered retiring from composition late in life but continued to write chamber music, especially for Richard Mühlfeld. Brahms's contributions and craftsmanship were admired by his contemporaries like Antonín Dvořák, whose music he enthusiastically supported, and a variety of later composers. Max Reger and Alexander Zemlinsky reconciled Brahms's and Wagner's often contrasted styles. So did Arnold Schoenberg, who emphasized Brahms's "progressive" side. He and Anton Webern were inspired by the intricate structural coherence of Brahms's music, including what Schoenberg termed its developing variation. It remains a staple of the concert repertoire, continuing to influence composers into the 21st century.

This is a selective list of the works of Malcolm Arnold, listed by genre.

Since the 1940s, a number of concertos have been written for the harmonica. Nearly all harmonica concertos are composed for the chromatic harmonica. One of the few exceptions is the 2001 concerto for the 10-hole harmonica by Howard Levy. Such works include: Malcolm Arnold: Concerto for Harmonica and Orchestra, Op. 46 (1954, composed for Larry Adler) Milton Barnes - Concerto for Harmonica and Strings (for Tommy Reilly) Arthur Benjamin - Harmonica Concerto (1953, for Larry Adler) Jean-François Marcoux - Harmonica Concerto Le sommeil des voeux (1990) et Harmonica concerto 'ôde à Siguer' et Le meilleur don de la conscience Robert Russell Bennett - Concerto (1974) Jean Berger - Caribbean Concerto (1940, for Larry Adler) Henry Cowell Concerto for Harmonica and Orchestra (1962, for John Sebastian) Norman Dello Joio - Concertino for Harmonica and Orchestra (1948, for John Sebastian) Brett Deubner - Concerto for Harmonica and Orchestra Walter Girnatis - Concertino Richard Hayman - Concerto (1978) Hugo Herrmann - Concertino (1948) Alan Hovhaness - Concerto No. 6, op. 114 (1953-4, for John Sebastian) George Kleinsinger - Street Corner Concerto (1942, for John Sebastian) Karl-Heinz Köper - Concerto for Harmonica and Orchestra, Op. 12 (1961, for Tommy Reilly) Serge Lancen - Concerto (1958, for Larry Adler) Alan Langford: Concertante for Harmonica and Strings (1981, for Tommy Reilly) Howard Levy - Concerto for Diatonic Harmonica and Orchestra - first concerto for 10-hole harmonica and orchestra Frank Lewin - Concerto for Harmonica and Orchestra (1960, for John Sebastian) Terje Rypdal: Modulations for Harmonica and Orchestra (1981, for Sigmund Groven) Henri Sauguet - The Garden's Concerto (1970, for Claude Garden) Henning Sommerro: Concertino for Harmonica and Orchestra (2008. for Sigmund Groven) Michael Spivakovsky - Concerto (1951, for Tommy Reilly) Siegfried Steinkogler - Harmonica Concerto (2001, for Sigmund Groven) Vilém Tauský - Concertino (1963, for Tommy Reilly) Alexander Tcherepnin - Concerto for Harmonica and Orchestra, Op. 86 (1953, for John Sebastian) Heitor Villa-Lobos - Concerto for Harmonica and Orchestra (1955, for John Sebastian) Meiro Sugawara - Concerto for Harmonica and Orchestra (1978, for Joe Sakimoto) Graham Whettam Concerto Scherzoso, Op. 9 (1951, Larry Adler) Second Concerto, Op. 34 (for Tommy Reilly) Corky Siegel Corky Siegel's Chamber Blues – Chamber Blues (1994 – Alligator) Complementary Colors – Chamber Blues (1998 – Gadfly) Corky Siegel's Traveling Chamber Blues Show – Chamber Blues (2005 – Alligator) A good portion of Chamber Blues material is written as a harmonic concerto. i.e. Opus 7, Opus 8, Opus 12 Filisko's Dream, Opus 13 Unfinished Jump, Opus 17, Opus 18, Opus 19, Opus 20, Opus 21, Opus 22, Five Planets in Harmonica Convergence, .. all for Harmonica and String Quartet with East Indian Tabla is some cases. Radames Gnatalli Concerto para harmônica de boca e orquestra (1959 for Edu da Gaita) Concerto nº 2 para harmônica e orquestra (1968)

The Planets, Op. 32, is a seven-movement orchestral suite by the English composer Gustav Holst, written between 1914 and 1917. In the last movement the orchestra is joined by a wordless female chorus. Each movement of the suite is named after a planet of the Solar System and reflects its astrological significance. The premiere of The Planets was at the Queen's Hall, London, on 29 September 1918, conducted by Holst's friend Adrian Boult before an invited audience of about 250 people. Three concerts at which movements from the suite were played were given in 1919 and early 1920. The first complete performance at a public concert was given at the Queen's Hall on 15 November 1920 by the London Symphony Orchestra conducted by Albert Coates. The innovative nature of Holst's music caused some initial hostility among a minority of critics, but the suite quickly became and has remained popular, influential and widely performed. The composer conducted two recordings of the work, and it has been recorded at least 80 times subsequently by conductors, choirs and orchestras from the UK and internationally.

This is a selective list of the works of Malcolm Arnold, listed by genre.

Pyotr Ilyich Tchaikovsky wrote many works well-known to the general classical public, including Romeo and Juliet, the 1812 Overture, and the ballets Swan Lake, The Sleeping Beauty and The Nutcracker. These, along with two of his four concertos, three of his symphonies and two of his ten operas, are among his most familiar works. Almost as popular are the Manfred Symphony, Francesca da Rimini, the Capriccio Italien, and the Serenade for Strings.

Pyotr Ilyich Tchaikovsky wrote many works well-known to the general classical public, including Romeo and Juliet, the 1812 Overture, and the ballets Swan Lake, The Sleeping Beauty and The Nutcracker. These, along with two of his four concertos, three of his symphonies and two of his ten operas, are among his most familiar works. Almost as popular are the Manfred Symphony, Francesca da Rimini, the Capriccio Italien, and the Serenade for Strings.

A concerto (; plural concertos, or concerti from the Italian plural) is, from the late Baroque era, mostly understood as an instrumental composition, written for one or more soloists accompanied by an orchestra or other ensemble. The typical three-movement structure, a slow movement (e.g., lento or adagio) preceded and followed by fast movements (e.g., presto or allegro), became a standard from the early 18th century. The concerto originated as a genre of vocal music in the late 16th century: the instrumental variant appeared around a century later, when Italians such as Arcangelo Corelli and Giuseppe Torelli started to publish their concertos. A few decades later, Venetian composers, such as Antonio Vivaldi, had written hundreds of violin concertos, while also producing solo concertos for other instruments such as a cello or a woodwind instrument, and concerti grossi for a group of soloists. The first keyboard concertos, such as George Frideric Handel's organ concertos and Johann Sebastian Bach's harpsichord concertos, were written around the same time. In the second half of the 18th century, the piano became the most used keyboard instrument, and composers of the Classical Era such as Joseph Haydn, Wolfgang Amadeus Mozart and Ludwig van Beethoven each wrote several piano concertos, and, to a lesser extent, violin concertos, and concertos for other instruments. In the Romantic Era, many composers, including Niccolò Paganini, Felix Mendelssohn, Frédéric Chopin, Robert Schumann, Johannes Brahms, Pyotr Ilyich Tchaikovsky and Sergei Rachmaninoff, continued to write solo concertos, and, more exceptionally, concertos for more than one instrument; 19th century concertos for instruments other than the piano, violin and cello remained comparatively rare, however. In the first half of the 20th century, concertos were written by, among others, Maurice Ravel, Edward Elgar, Richard Strauss, Sergei Prokofiev, George Gershwin, Heitor Villa-Lobos, Joaquín Rodrigo and Béla Bartók, the latter also composing a concerto for orchestra, that is without soloist. During the 20th century concertos appeared by major composers for orchestral instruments which had been neglected in the 19th century such as the clarinet, viola and French horn. In the second half of the 20th century and onwards into the 21st a great many composers have continued to write concertos, including Alfred Schnittke, György Ligeti, Dmitri Shostakovich, Philip Glass and James MacMillan among many others. An interesting feature of this period is the proliferation of concerti for less usual instruments, including orchestral ones such as the double bass (by composers like Eduard Tubin or Peter Maxwell Davies) and cor anglais (like those by MacMillan and Aaron Jay Kernis), but also folk instruments (such as Tubin's concerto for Balalaika, Serry's Concerto in C Major for Bassetti Accordion, or the concertos for Harmonica by Villa-Lobos and Malcolm Arnold), and even Deep Purple's Concerto for Group and Orchestra, a concerto for a rock band. Concertos from previous ages have remained a conspicuous part of the repertoire for concert performances and recordings. Less common has been the previously common practice of the composition of concertos by a performer to be performed personally, though the practice has continued via certain composer-performers such as Daniil Trifonov.

The keyboard concertos, BWV 1052–1065, are concertos for harpsichord (or organ), strings and continuo by Johann Sebastian Bach. There are seven complete concertos for a single harpsichord (BWV 1052–1058), three concertos for two harpsichords (BWV 1060–1062), two concertos for three harpsichords (BWV 1063 and 1064), and one concerto for four harpsichords (BWV 1065). Two other concertos include solo harpsichord parts: the concerto BWV 1044, which has solo parts for harpsichord, violin and flute, and Brandenburg Concerto No. 5 in D major, with the same scoring. In addition, there is a nine-bar concerto fragment for harpsichord (BWV 1059) which adds an oboe to the strings and continuo. Most of Bach's harpsichord concertos (with the exception of the 5th Brandenburg Concerto) are thought to be arrangements made from earlier concertos for melodic instruments probably written in Köthen. In many cases, only the harpsichord version has survived. They are among the first concertos for keyboard instrument ever written.

Anton Webern (German: [ˈantoːn ˈveːbɐn] ; 3 December 1883 – 15 September 1945) was an Austrian composer, conductor, and musicologist whose modernist music was among the most radical of its milieu in its lyrical, poetic concision and use of then novel atonal and twelve-tone techniques. His approach was typically rigorous, inspired by his studies of the Franco-Flemish School under Guido Adler and by Arnold Schoenberg's emphasis on structure in teaching composition from the music of Johann Sebastian Bach, the First Viennese School, and Johannes Brahms. Webern, Schoenberg, and their colleague Alban Berg were at the core of what became known as the Second Viennese School. Webern was arguably the first and certainly the last of the three to write music in an aphoristic and expressionist style, reflecting his instincts and the idiosyncrasy of his compositional process. Working from personal experience, he treated themes of love, nature, mysticism, and nostalgia. Unhappily peripatetic and often assigned light music or operetta in his early conducting career, he aspired to conduct what was seen as more respectable, serious music at home in Vienna. Following Schoenberg's guidance, Webern tried writing music of greater length during and after their World War I service, relying on the structural support of texts in many Lieder. He rose as a choirmaster and conductor, championing Gustav Mahler's music in Red Vienna and abroad. With Schoenberg based in Berlin, Webern began writing music of increasing confidence, independence, and scale using twelve-tone technique. Marginalized as a "cultural Bolshevist" in Fascist Austria and Nazi Germany, he maintained "the path to the new music", enjoyed international recognition, and relied more on teaching for income. He opposed fascist cultural positions but always espoused pan-Germanism and was torn, like friends and family, among uncertainties. His hope for moderate, stable, and successful governance of Austria within Nazi Germany proved misplaced, and he helped Jewish friends emigrate and hide while repeatedly considering emigrating himself. A soldier accidentally killed Webern after World War II. In a phenomenon known as post-Webernism, his music was celebrated by composers, musicians, and scholars. René Leibowitz, Pierre Boulez, Robert Craft, and Hans and Rosaleen Moldenhauer established it as an important part of modernism through performance, study, and advocacy. Igor Stravinsky assimilated it. To many, it represented a path to serialism. Broader understanding of Webern's expressive agenda, performance practice, and complex sociocultural and political context lagged. A historical edition of his music is underway.

Peterloo, Op. 97, is a concert overture by Malcolm Arnold written in 1968 to commemorate the centenary of the first meeting of the Trades Union Congress. It is a programme piece which depicts the Peterloo Massacre of 1819. It was given a mixed reception by critics, but has nevertheless become one of Arnold's best-known works, being arranged several times for wind or brass band, recorded many times, and played twice at the Proms, once in its original form and once in a choral arrangement to words by Sir Tim Rice.

Arnold Alois Schwarzenegger (born July 30, 1947) is an Austrian and American actor, businessman, politician, and former professional bodybuilder, known for his roles in high-profile action films. He served as the 38th governor of California from 2003 to 2011. Schwarzenegger began lifting weights at the age of 15 and won the Mr. Universe bodybuilding championship at the age of 20. He won the Mr. Olympia title seven times, tying with Phil Heath for the second-highest number of wins. Nicknamed the "Austrian Oak" in his bodybuilding days, he is regarded as one of the greatest bodybuilders of all time. He has written books and articles about bodybuilding, including the autobiographical Arnold: The Education of a Bodybuilder (1977) and The New Encyclopedia of Modern Bodybuilding (1998). The Arnold Sports Festival, the second-most prestigious bodybuilding event after the Mr. Olympia competition, is named after him. He appeared in the bodybuilding documentary Pumping Iron (1977), which set him on his way to a career in films. After retiring from bodybuilding, Schwarzenegger gained worldwide fame as a Hollywood action star. His breakthrough came with his starring role in Conan the Barbarian (1982), which was followed by a sequel, Conan the Destroyer (1984). He subsequently starred as the Terminator in the science fiction film The Terminator (1984), and reprised the role in four sequels. Schwarzenegger's other appearances include the action films Commando (1985), The Running Man (1987), Predator (1987), Total Recall (1990), and True Lies (1994), and the comedies Twins (1988), Kindergarten Cop (1990) and Jingle All the Way (1996). At the height of his career, Schwarzenegger was known for his rivalry with Sylvester Stallone. Films in which he has appeared have grossed over $5.4 billion worldwide. He is the founder of the film production company Oak Productions. As a registered member of the Republican Party, Schwarzenegger chaired the President's Council on Physical Fitness and Sports during most of the George H. W. Bush administration. In 2003, he was elected governor of California in a special recall election to replace Gray Davis. He received 48.6 percent of the vote, 17 points ahead of the runner-up, Cruz Bustamante of the Democratic Party. He was sworn in on November 17 to serve the remainder of Davis' term, and was reelected in the 2006 gubernatorial election with an increased vote share of 55.9 percent to serve a full term. In 2011, he reached his term limit as governor and returned to acting. As of 2025, Schwarzenegger and insurance commissioner Steve Poizner are the last Republicans to win or hold statewide office in California, having both won their respective elections in 2006.

The keyboard concertos, BWV 1052–1065, are concertos for harpsichord (or organ), strings and continuo by Johann Sebastian Bach. There are seven complete concertos for a single harpsichord (BWV 1052–1058), three concertos for two harpsichords (BWV 1060–1062), two concertos for three harpsichords (BWV 1063 and 1064), and one concerto for four harpsichords (BWV 1065). Two other concertos include solo harpsichord parts: the concerto BWV 1044, which has solo parts for harpsichord, violin and flute, and Brandenburg Concerto No. 5 in D major, with the same scoring. In addition, there is a nine-bar concerto fragment for harpsichord (BWV 1059) which adds an oboe to the strings and continuo. Most of Bach's harpsichord concertos (with the exception of the 5th Brandenburg Concerto) are thought to be arrangements made from earlier concertos for melodic instruments probably written in Köthen. In many cases, only the harpsichord version has survived. They are among the first concertos for keyboard instrument ever written.

This is a summary of 1988 in music in the United Kingdom, including the official charts from that year.

Concerto for Group and Orchestra is a live album by Deep Purple and the Royal Philharmonic Orchestra, conducted by Malcolm Arnold. Recorded at London's Royal Albert Hall in September 1969, it consists of a concerto composed by Jon Lord, with lyrics by Ian Gillan.

A mandolin (Italian: mandolino, pronounced [mandoˈliːno]; literally "small mandola") is a stringed musical instrument in the lute family and is generally plucked with a pick. It most commonly has four courses of doubled strings tuned in unison, thus giving a total of eight strings. A variety of string types are used, with steel strings being the most common and usually the least expensive. The courses are typically tuned in an interval of perfect fifths, with the same tuning as a violin (G3, D4, A4, E5). Also, like the violin, it is the soprano member of a family that includes the mandola, octave mandolin, mandocello and mandobass. There are many styles of mandolin, but the three most common types are the Neapolitan or round-backed mandolin, the archtop mandolin and the flat-backed mandolin. The round-backed version has a deep bottom, constructed of strips of wood, glued together into a bowl. The archtop, also known as the carved-top mandolin, has an arched top and a shallower, arched back both carved out of wood. The flat-backed mandolin uses thin sheets of wood for the body, braced on the inside for strength in a similar manner to a guitar. Each style of instrument has its own sound quality and is associated with particular styles of music. Neapolitan mandolins feature prominently in European classical music and in traditional music like the Andean music of Peru. Archtop instruments are common in American folk music and bluegrass music. Flat-backed instruments are commonly used in Irish, British, and Brazilian folk music, and Mexican estudiantinas. Other mandolin variations differ primarily in the number of strings and include four-string models (tuned in fifths) such as the Brescian and Cremonese; six-string types (tuned in fourths) such as the Milanese, Lombard, and Sicilian; six-course instruments of 12 strings (two strings per course) such as the Genoese; and the tricordia, with four triple-string courses (12 strings total). Design changes in the history of the mandolin have often involved the soundboard (the top). Early instruments were quiet, strung with gut strings, and plucked with the fingers or with a quill. Modern instruments are louder, using metal strings, which exert more pressure than the gut strings. The modern soundboard is designed to withstand the pressure of metal strings that would break earlier instruments. The soundboard comes in many shapes—but generally round or teardrop-shaped, sometimes with scrolls or other projections. It usually has one or more sound holes in it, which may be round, oval, or shaped like a calligraphic f (f-hole). A round or oval sound hole may be covered with a decorative rosette or bordered with purfling.

This is a selective list of the works of Malcolm Arnold, listed by genre.

The Year 1812, Solemn Overture, Op. 49, popularly known as the 1812 Overture, is a concert overture in E♭ major written in 1880 by Russian composer Pyotr Ilyich Tchaikovsky. The piece commemorates Russia's successful defence against the French invasion of the nation in 1812. The overture's first public performance, conducted by Ippolit Al'tani, took place in Moscow on 20 August [O.S. 8 August] 1882, under a tent, near the still unfinished Cathedral of Christ the Saviour, which also memorialised the 1812 defence of Russia. The fifteen-minute overture is best known for its climactic volley of cannon fire, ringing chimes, and a brass fanfare finale. It has also become a common accompaniment to fireworks displays on the United States' Independence Day. The 1812 Overture went on to become one of Tchaikovsky's most popular works, along with his ballet scores to The Nutcracker, The Sleeping Beauty, and Swan Lake.

The Symphony No. 9 in D minor, Op. 125, is a choral symphony, the final complete symphony by Ludwig van Beethoven, composed between 1822 and 1824. It was first performed in Vienna on 7 May 1824. The symphony is regarded by many critics and musicologists as a masterpiece of Western classical music and one of the greatest and most influential musical works in history. One of the best-known works in common practice music, it stands as one of the most frequently performed symphonies in the world. The Ninth was the first example of a major composer scoring vocal parts in a symphony. The final (4th) movement of the symphony, commonly known as the Ode to Joy, features four vocal soloists and a chorus in the parallel key of D major. The text was adapted from the "An die Freude (Ode to Joy)", a poem written by Friedrich Schiller in 1785 and revised in 1803, with additional text written by Beethoven. In the 20th century, an instrumental arrangement of the chorus was adopted by the Council of Europe, and later the European Union, as the Anthem of Europe. In 2001, Beethoven's original, hand-written manuscript of the score, held by the Berlin State Library, was added by UNESCO to its Memory of the World International Register, becoming the first musical score so designated.

The Symphony No. 9 in D minor, Op. 125, is a choral symphony, the final complete symphony by Ludwig van Beethoven, composed between 1822 and 1824. It was first performed in Vienna on 7 May 1824. The symphony is regarded by many critics and musicologists as a masterpiece of Western classical music and one of the greatest and most influential musical works in history. One of the best-known works in common practice music, it stands as one of the most frequently performed symphonies in the world. The Ninth was the first example of a major composer scoring vocal parts in a symphony. The final (4th) movement of the symphony, commonly known as the Ode to Joy, features four vocal soloists and a chorus in the parallel key of D major. The text was adapted from the "An die Freude (Ode to Joy)", a poem written by Friedrich Schiller in 1785 and revised in 1803, with additional text written by Beethoven. In the 20th century, an instrumental arrangement of the chorus was adopted by the Council of Europe, and later the European Union, as the Anthem of Europe. In 2001, Beethoven's original, hand-written manuscript of the score, held by the Berlin State Library, was added by UNESCO to its Memory of the World International Register, becoming the first musical score so designated.

In music, Op. 40 stands for Opus number 40. Compositions that are assigned this number include: Arnold – Symphony No. 2 Barber – Antony and Cleopatra Beethoven – Romance for violin and orchestra no. 1 Op. 40 Brahms – Horn Trio Bruch – Hermione Chopin – Polonaises Op. 40 Dohnányi – Symphony No. 2 Dvořák – Nocturne in B major Elgar – Cockaigne (In London Town) Finzi – Cello Concerto Holberg – Holberg Suite Mendelssohn – Piano Concerto No. 2 Rachmaninoff – Piano Concerto No. 4 Reger – Zwei Choralphantasien, Op. 40 Robbins – The Concert Saint-Saëns – Danse macabre Schumann – 5 Lieder Schwabe – Fervaal Shostakovich – Cello Sonata Strauss – Ein Heldenleben

In music, Op. 63 stands for Opus number 63. Compositions that are assigned this number include: Alkan – Esquisses Arnold – Symphony No. 3 Britten – Missa Brevis Bruch – Swedish Dances Chopin – Mazurkas, Op. 63 Elgar – Symphony No. 2 Lyapunov – Piano Sextet Prokofiev – Violin Concerto No. 2 Schumann – Piano Trio No. 1 Shostakovich – The Gamblers Sibelius – Symphony No. 4 in A minor (1911) Strauss – Josephslegende Weber – Trio for Piano, Flute and Cello

In music, Op. 71 stands for Opus number 71. Compositions that are assigned this number include: Albéniz – Rumores de la Caleta Arnold – Symphony No. 4 Chopin – Polonaises, Op. 71 Dvořák – Saint Ludmila Milhaud – Little Symphony No. 3 Reger – Gesang der Verklärten Schumann – Adventlied for soprano, chorus and orchestra Sibelius – Scaramouche, ballet-pantomime for orchestra (1913) Tchaikovsky – The Nutcracker

In music, Op. 74 stands for Opus number 74. Compositions that are assigned this number include: Arnold – Symphony No. 5 Beethoven – String Quartet No. 10 Brahms – Two Motets, Op. 74 Britten – Songs and Proverbs of William Blake Chopin – 17 Polish songs Dvořák – Terzetto in C major Glière – Harp Concerto Madetoja – Juha, opera in three acts (1934) Prokofiev – Cantata for the 20th Anniversary of the October Revolution Schumann – Spanisches Liederspiel (3 songs, 5 duets, 2 quartets) Scriabin – Prelude, Op. 74, No. 2 Strauss – Lava-Ströme Tchaikovsky – Symphony No. 6 Weber – Clarinet Concerto No. 2

In music, Op. 95 stands for Opus number 95. Compositions that are assigned this number include: Arnold – Symphony No. 6 Beethoven – String Quartet No. 11 Dvořák – Symphony No. 9 Schumann – 3 Gesänge Sibelius – Hymn of the Earth (Maan virsi), cantata for mixed choir and orchestra (1920) Stanford – Serenade in F major Strauss – Idyllen Tcherepnin – Chinese Songs

In music, Op. 113 stands for Opus number 113. Compositions that are assigned this number include: Arnold – Symphony No. 7 Beethoven – The Ruins of Athens Schumann – Märchenbilder Shostakovich – Symphony No. 13

In music, Op. 124 stands for Opus number 124. Compositions that are assigned this number include: Arnold – Symphony No. 8 Beethoven – The Consecration of the House Reger – An die Hoffnung Schumann – Albumblätter

The Symphony No. 9, Op. 128 by Malcolm Arnold was finished in 1986. It is in four movements: The symphony is scored for two flutes, piccolo, two oboes, two clarinets, two bassoons, four horns, three trumpets, three trombones, tuba, timpani, two percussionists, harp and strings. The symphony is dedicated to Anthony Day, who looked after Malcolm Arnold from 1984 to 2006. It was first performed in 1988 in a private run-through by the now defunct Orchestra of the National Centre for Orchestral Studies conducted by Charles Groves in Greenwich. The first professional and public performance was given on Monday 20 January 1992 by the BBC Philharmonic Orchestra in Manchester also conducted by Charles Groves. The last movement is as long as the previous three together, uses a theme similar to the last movement of Mahler's Ninth Symphony, and is very sparsely scored and bleak.

In music, Op. 51 stands for Opus number 51. Compositions that are assigned this number include: Arnold – Tam O'Shanter Overture Beethoven – Two rondos for piano Brahms – Two String Quartets Chopin – Impromptu No. 3 Dvořák – String Quartet No. 10 Elgar – The Kingdom Fibich – Šárka Holst – A Choral Fantasia MacDowell – Woodland Sketches Prokofiev – On the Dnieper Schubert – Three Marches Militaires Schumann – Lieder und Gesänge volume II (5 songs) Scriabin – Prelude in A minor, Op. 51, No. 2 Sibelius – Belshazzar's Feast (Belsazars gästabud), theatre score and suite (1906, arranged 1907) Tchaikovsky – 6 Pieces for solo piano

Anton Webern (German: [ˈantoːn ˈveːbɐn] ; 3 December 1883 – 15 September 1945) was an Austrian composer, conductor, and musicologist whose modernist music was among the most radical of its milieu in its lyrical, poetic concision and use of then novel atonal and twelve-tone techniques. His approach was typically rigorous, inspired by his studies of the Franco-Flemish School under Guido Adler and by Arnold Schoenberg's emphasis on structure in teaching composition from the music of Johann Sebastian Bach, the First Viennese School, and Johannes Brahms. Webern, Schoenberg, and their colleague Alban Berg were at the core of what became known as the Second Viennese School. Webern was arguably the first and certainly the last of the three to write music in an aphoristic and expressionist style, reflecting his instincts and the idiosyncrasy of his compositional process. Working from personal experience, he treated themes of love, nature, mysticism, and nostalgia. Unhappily peripatetic and often assigned light music or operetta in his early conducting career, he aspired to conduct what was seen as more respectable, serious music at home in Vienna. Following Schoenberg's guidance, Webern tried writing music of greater length during and after their World War I service, relying on the structural support of texts in many Lieder. He rose as a choirmaster and conductor, championing Gustav Mahler's music in Red Vienna and abroad. With Schoenberg based in Berlin, Webern began writing music of increasing confidence, independence, and scale using twelve-tone technique. Marginalized as a "cultural Bolshevist" in Fascist Austria and Nazi Germany, he maintained "the path to the new music", enjoyed international recognition, and relied more on teaching for income. He opposed fascist cultural positions but always espoused pan-Germanism and was torn, like friends and family, among uncertainties. His hope for moderate, stable, and successful governance of Austria within Nazi Germany proved misplaced, and he helped Jewish friends emigrate and hide while repeatedly considering emigrating himself. A soldier accidentally killed Webern after World War II. In a phenomenon known as post-Webernism, his music was celebrated by composers, musicians, and scholars. René Leibowitz, Pierre Boulez, Robert Craft, and Hans and Rosaleen Moldenhauer established it as an important part of modernism through performance, study, and advocacy. Igor Stravinsky assimilated it. To many, it represented a path to serialism. Broader understanding of Webern's expressive agenda, performance practice, and complex sociocultural and political context lagged. A historical edition of his music is underway.

A list of Christmas albums by year of release:

This is a selective list of the works of Malcolm Arnold, listed by genre.

This is a selective list of the works of Malcolm Arnold, listed by genre.

The Lexicon of Musical Invective is an American musicological work by Nicolas Slonimsky. It was first published in 1953, with a revised and expanded second edition appearing in 1965. The book is an anthology of negative musical criticism, focusing primarily on works that later became part of the standard classical repertoire and on composers now widely regarded as canonical, including Beethoven and Varèse. The material is systematically organized, with entries arranged alphabetically by composer and chronologically within each section. The volume also contains an index titled the “Invecticon,” or “Index of Invectives,” which categorizes recurring critical expressions under thematic headings, ranging from “aberration” to “zoo,” and provides references to the corresponding passages. The structure of the work highlights the rhetorical strategies and stylistic devices employed in critical writing, including metaphorical language and unconventional comparisons. The juxtaposition of critiques drawn from different historical periods—often directed at works that later achieved recognition—reveals recurring patterns of resistance to musical innovation and contributes to the book’s ironic and often humorous effect. In a preface titled Non-Acceptance of the Unfamiliar, Slonimsky identifies a central theme of the collection: the tendency of critics to reject unfamiliar artistic developments. A later edition, published in 2000, includes a foreword by Peter Schickele, titled If You Can’t Think of Something Nice to Say, Come Sit Next to Me, which offers a humorous reflection on the work and its implications. The book has been regarded as a reference resource for the study of nineteenth- and early twentieth-century musical reception. Its entries were extensively used in Dictionary of Folly and Errors in Judgment, a work published in 1965 by Guy Bechtel and Jean-Claude Carrière. A Spanish translation by Mariano Peyrou, titled Repertorio de vituperios musicales, was published in 2016. Concepts illustrated by Slonimsky’s compilation have subsequently been applied in the analysis of critical reception in other musical genres, including popular music.

This is a selective list of the works of Malcolm Arnold, listed by genre.

This is a list of some notable composers who wrote symphonic poems.