Heitor Villa-Lobos (March 5, 1887 – November 17, 1959) was a Brazilian composer, conductor, cellist, and classical guitarist described as "the single most significant creative figure in 20th-century Brazilian art music". Villa-Lobos has globally become one of the most recognizable South American composers in music history. A prolific composer, he wrote many orchestral, chamber, instrumental and vocal works, totaling over 2,000 works by his death in 1959. His music was influenced by both Brazilian folk music and stylistic elements from the European classical tradition, as exemplified by his Bachianas Brasileiras (Brazilian Bach-pieces) and his Chôros. His Etudes for classical guitar (1929), dedicated to Andrés Segovia, and his 5 Preludes (1940), dedicated to his spouse Arminda Neves d'Almeida, a.k.a. "Mindinha", are important works in the classical guitar repertory.

This is a list of compositions by the Brazilian composer Heitor Villa-Lobos. It is still incomplete (he composed over 2000 works in his lifetime), and needs expansion. You can help. (More nearly complete lists of compositions may be found in the References or External Links listed below).

This is a list of notable events in music that took place in the year 1930.

This is a list of compositions for cello and piano. It includes sonatas as well as other pieces for cello and piano.

This is a list of compositions for cello and piano. It includes sonatas as well as other pieces for cello and piano.

This is a list of musical compositions or pieces of music that have unusual time signatures. "Unusual" is here defined to be any time signature other than simple time signatures with top numerals of 2, 3, or 4 and bottom numerals of 2, 4, or 8, and compound time signatures with top numerals of 6, 9, or 12 and bottom numerals 4, 8, or 16. The conventions of musical notation typically allow for more than one written representation of a particular piece. The chosen time signature largely depends upon musical context, personal taste of the composer or transcriber, and the graphic layout on the written page. Frequently, published editions were written in a specific time signature to visually signify the tempo for slow movements in symphonies, sonatas, and concerti. A perfectly consistent unusual metrical pattern may be notated in a more familiar time signature that does not correspond to it. For example, the Passacaglia from Britten's opera Peter Grimes consists of variations over a recurring bass line eleven beats in length but is notated in ordinary 44 time, with each variation lasting 2+3⁄4 bars, and therefore commencing each time one crotchet earlier in the bar than the preceding one.

Heitor Villa-Lobos (March 5, 1887 – November 17, 1959) was a Brazilian composer, conductor, cellist, and classical guitarist described as "the single most significant creative figure in 20th-century Brazilian art music". Villa-Lobos has globally become one of the most recognizable South American composers in music history. A prolific composer, he wrote many orchestral, chamber, instrumental and vocal works, totaling over 2,000 works by his death in 1959. His music was influenced by both Brazilian folk music and stylistic elements from the European classical tradition, as exemplified by his Bachianas Brasileiras (Brazilian Bach-pieces) and his Chôros. His Etudes for classical guitar (1929), dedicated to Andrés Segovia, and his 5 Preludes (1940), dedicated to his spouse Arminda Neves d'Almeida, a.k.a. "Mindinha", are important works in the classical guitar repertory.

This is a list of compositions by Niels Viggo Bentzon.

Johann Sebastian Bach (31 March [O.S. 21 March] 1685 – 28 July 1750) was a German composer and musician of the late Baroque period. He is known for his prolific output across a variety of instruments and forms, including the orchestral Brandenburg Concertos; solo instrumental works such as the Cello Suites and Sonatas and Partitas for Solo Violin; keyboard works such as the Goldberg Variations and The Well-Tempered Clavier; organ works such as the Schübler Chorales and the Toccata and Fugue in D minor; and choral works such as the St. Matthew Passion and the Mass in B minor. He is known for his mastery of counterpoint, as heard in The Musical Offering and The Art of Fugue. Felix Mendelssohn precipitated the Bach Revival with a performance of the St. Matthew Passion in 1829. Ever since, Bach has been acclaimed as one of the greatest composers of classical music. The Bach family had already produced several composers when Johann Sebastian was born in Eisenach, the youngest child of the city musician Johann Ambrosius Bach. After being orphaned at age 10, he lived for five years with his eldest brother, Johann Christoph, then continued his musical education in Lüneburg. In 1703 he returned to Thuringia, working as a musician for Protestant churches in Arnstadt and Mühlhausen. Around that time he also paid extended visits to the courts in Weimar, where he expanded his organ repertory, and the reformed court at Köthen, where he was mostly engaged with chamber music. By 1723 he was hired as Thomaskantor, church music director of the city of Leipzig and thus responsible for music in four Lutheran city churches and for the St. Thomas School. He decided to compose annual cycles of church cantatas, and also wrote music for Leipzig University's student ensemble, Collegium Musicum. In 1726 he began publishing his organ and other keyboard music. In Leipzig, he had difficult relations with his employer, as he had during some of his earlier positions. This situation was somewhat remedied when his sovereign, Augustus III of Poland, granted him the title of court composer of the Elector of Saxony in 1736. In the last decades of his life, Bach reworked and extended many of his earlier compositions. He died due to complications following eye surgery in 1750 at the age of 65. Four of his twenty children, Wilhelm Friedemann, Carl Philipp Emanuel, Johann Christoph Friedrich, and Johann Christian, became composers. Bach enriched established German styles through his mastery of counterpoint, harmonic and motivic organisation, and his adaptation of rhythms, forms, and textures from abroad, particularly Italy and France. His compositions include hundreds of cantatas, both sacred and secular. He composed Latin church music, Passions, oratorios, and motets. He adopted Lutheran hymns, not only in his larger vocal works but also in such works as his four-part chorales and his sacred songs. Bach wrote extensively for organ and other keyboard instruments. He composed concertos, for instance for violin and for harpsichord, and suites, as chamber music as well as for orchestra. Many of his works use contrapuntal techniques like canon and fugue. Several decades after his death, in the 18th century, Bach was still primarily known as an organist. Several biographies of Bach were published in the 19th century, and by the end of that century all of his known music had been printed. Dissemination of Bach scholarship continued through periodicals (and later websites) devoted to him, other publications such as the Bach-Werke-Verzeichnis (BWV, a numbered catalogue of his works), and new critical editions of his compositions. His music was further popularised by a multitude of arrangements, including the "Air on the G String" and "Jesu, Joy of Man's Desiring", and recordings, among them three boxed sets of performances of his complete oeuvre marking the 250th anniversary of his death.

This is a list of compositions by the Brazilian composer Heitor Villa-Lobos. It is still incomplete (he composed over 2000 works in his lifetime), and needs expansion. You can help. (More nearly complete lists of compositions may be found in the References or External Links listed below).

Ashan Pillai (born 1 December 1969 in Colombo, Sri Lanka) is a British violist. He was educated as a music and academic scholar at Merchant Taylors School, London and then at the Royal Academy of Music, London, the University of Southern California, Los Angeles, the Banff Center for the Arts, Alberta, Canada, and the Juilliard School, New York City. His principal teachers were John White, and distinguished American pedagogues and former students of William Primrose, Donald McInnes and Karen Tuttle. Between 1994 and 1998 he won several prizes at international and national competitions including the Tertis and Rome International Competitions, the Royal Overseas League and Park Lane Group Competitions in London and Artists International in New York. These successes led to acclaimed debuts in London's Wigmore Hall and Purcell Room (1997–1999), New York's Carnegie Hall and festivals throughout the world including Kuhmo, Salzburg, Tanglewood, Banff, Ravinia, Aspen, Casals (Puerto Rico, France and Barcelona), and Schleswig-Holstein. He has premiered works (many dedicated to him) by noted Spanish composers Anton Garcia Abril, Leonardo Balada, Francisco Fleta Polo and others, and also works by Krzysztof Penderecki, Wolfgang Rihm and Gavin Bryars. Pillai has performed as soloist under the batons of Christian Zacharias, Eiji Oue, Andrew Parrott, Christopher Hogwood, Robert King and Lawrence Foster, with the English, Gulbenkian, Czech, Andorran and Scottish Chamber Orchestras, as well as I Musici, London and New York, several Spanish orchestras and collaborated with the likes of Lynn Harrell, the Kreutzer and Brodsky Quartets, and the Ensemble Modern, Frankfurt. He was assistant principal violist in the English Chamber Orchestra (1995–2000), co-founding member of the Mobius Ensemble (London 1997–2006), violist in the Zukerman Chamber Players (New York/Ottawa 2004–2010), violist in the Trio Cervello (Barcelona 2016– ) with pianist Enrique Bagaria and clarinetist Josep Fuster, and principal violist with the Barcelona Symphony Orchestra (2000–2018). Pillai is Professor of Viola at Escola Superior de Música de Catalunya ( ESMUC) (from 2001), the Conservatori Superior del Liceu in Barcelona (from 2008) the Alfonso X El Sabio University in Madrid (from 2012). In 2014, he was appointed chair of viola and chamber music in Música en Compostela, the historic music festival which specializes in Spanish music.The distinguished faculty voted him as Artistic Director in August 2023. In 2020, Pillai was appointed Artist in Residence and Visiting Professor at the Royal Academy of Music, London. The same institution appointed him Professor in 2021. As a recording artist, Pillai has recorded widely for EMI, Naxos, ASV, Altara, Verso, Meridian, Bel, Columna, RTVE (Spanish Radio and Television), the BBC and Oehms Classics. His recordings include sonatas by Brahms, Bax, Debussy, Lluís Benejam, Felipe de los Rios, Juan Oliver Astorga, Mendelssohn, Naumann, Glinka, Schubert, Gerhard, and concerti by Hoffmeister, Mozart, Leonardo Balada and Josep Soler. Among Pillai's notable recordings are The Viola Sonatas from the Royal Palace in Madrid, The Virtuoso Viola in Spain, the Hoffmeister Works for Viola, and the string quintets recorded with Zukerman. Pillai edited the 12 Estudios o caprichos de mediana dificultad (12 Studies or Capriccios of Medium Difficulty) for viola solo (1881) by José María Beltrán Fernández (1827–1907), published by Clivis Publications. In 2016 he edited the first edition of the 11 sonatas from the Royal Palace in Madrid (1770-1819) for Boileau Publications and released the first recording of this monumental collection of works for viola. He has also edited the Sonata en Re by Tomas Lestan ( 1884) for Edition Piles.

This is a list of compositions for cello and piano. It includes sonatas as well as other pieces for cello and piano.

This is a list of compositions for cello and piano. It includes sonatas as well as other pieces for cello and piano.

Among the fairly large repertoire for the standard piano trio (violin, cello, and piano) are the following works: Ordering is by surname of composer.

Among the fairly large repertoire for the standard piano trio (violin, cello, and piano) are the following works: Ordering is by surname of composer.

Among the fairly large repertoire for the standard piano trio (violin, cello, and piano) are the following works: Ordering is by surname of composer.

This is a selected list of musical compositions that feature a prominent part for the natural horn or the French horn, sorted by era and then by composer.

A violin sonata is a musical composition for violin, which is nearly always accompanied by a piano or other keyboard instrument, or by figured bass in the Baroque period.

A violin sonata is a musical composition for violin, which is nearly always accompanied by a piano or other keyboard instrument, or by figured bass in the Baroque period.

Heitor Villa-Lobos (March 5, 1887 – November 17, 1959) was a Brazilian composer, conductor, cellist, and classical guitarist described as "the single most significant creative figure in 20th-century Brazilian art music". Villa-Lobos has globally become one of the most recognizable South American composers in music history. A prolific composer, he wrote many orchestral, chamber, instrumental and vocal works, totaling over 2,000 works by his death in 1959. His music was influenced by both Brazilian folk music and stylistic elements from the European classical tradition, as exemplified by his Bachianas Brasileiras (Brazilian Bach-pieces) and his Chôros. His Etudes for classical guitar (1929), dedicated to Andrés Segovia, and his 5 Preludes (1940), dedicated to his spouse Arminda Neves d'Almeida, a.k.a. "Mindinha", are important works in the classical guitar repertory.

This is a list of compositions by Niels Viggo Bentzon.

This is a list of musical compositions for cello and orchestra ordered by their authors' surnames.

This is a list of musical compositions or pieces of music that have unusual time signatures. "Unusual" is here defined to be any time signature other than simple time signatures with top numerals of 2, 3, or 4 and bottom numerals of 2, 4, or 8, and compound time signatures with top numerals of 6, 9, or 12 and bottom numerals 4, 8, or 16. The conventions of musical notation typically allow for more than one written representation of a particular piece. The chosen time signature largely depends upon musical context, personal taste of the composer or transcriber, and the graphic layout on the written page. Frequently, published editions were written in a specific time signature to visually signify the tempo for slow movements in symphonies, sonatas, and concerti. A perfectly consistent unusual metrical pattern may be notated in a more familiar time signature that does not correspond to it. For example, the Passacaglia from Britten's opera Peter Grimes consists of variations over a recurring bass line eleven beats in length but is notated in ordinary 44 time, with each variation lasting 2+3⁄4 bars, and therefore commencing each time one crotchet earlier in the bar than the preceding one.

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.

Septuple meter (British: metre) or (chiefly British) septuple time is a meter with each bar (American: measure) divided into 7 notes of equal duration, usually 74 or 78 (or in compound meter, 218 time). The stress pattern can be 2 + 2 + 3, 3 + 2 + 2, or occasionally 2 + 3 + 2, although a survey of certain forms of mostly American popular music suggests that 2+2+3 is the most common among these three in these styles. A time signature of 218, however, does not necessarily mean that the bar is a compound septuple meter with seven beats, each divided into three. This signature may, for example, be used to indicate a bar of triple meter in which each beat is subdivided into seven parts. In this case, the meter is sometimes characterized as "triple septuple time". It is also possible for a 218 time signature to be used for an irregular, or "additive" metrical pattern, such as groupings of 3 + 3 + 3 + 2 + 3 + 2 + 3 + 2 eighth notes. Septuple meter can also be notated by using regularly alternating bars of triple and duple or quadruple meters, for example 44 + 34, or 68 + 68 + 98, or through the use of compound meters, in which two or three numerals take the place of the expected numerator 7, for example, 2 + 2 + 38, or 5 + 28.

This is a list of compositions by Niels Viggo Bentzon.

This is a list of notable events in music that took place in the year 1946.

D major is a major scale based on D, consisting of the pitches D, E, F♯, G, A, B, and C♯. Its key signature has two sharps. Its relative minor is B minor and its parallel minor is D minor. The D major scale is: Changes needed for the melodic and harmonic versions of the scale are written in with accidentals as necessary. The D harmonic major and melodic major scales are:

String Quartet No. 12 is the part of a series of seventeen works in the genre by the Brazilian composer Heitor Villa-Lobos. Villa-Lobos began composing the quartet in New York in 1950, during a stay in Memorial Hospital following kidney surgery, completing the score at the Hotel Weston on 15 September. According to the catalogue published by the Museu Villa-Lobos, it was first performed by the Quarteto Haydn in the Auditório do MEC, Rio de Janeiro, on 3 November 1951. According to another authority, the first performance was given that same year by the São Paulo Quartet. The score is dedicated to Mindinha (Arminda Neves d'Almeida), the composer's companion for the last 23 years of his life. A typical performance lasts approximately 22 minutes.

This is a list of musical compositions or pieces of music that have unusual time signatures. "Unusual" is here defined to be any time signature other than simple time signatures with top numerals of 2, 3, or 4 and bottom numerals of 2, 4, or 8, and compound time signatures with top numerals of 6, 9, or 12 and bottom numerals 4, 8, or 16. The conventions of musical notation typically allow for more than one written representation of a particular piece. The chosen time signature largely depends upon musical context, personal taste of the composer or transcriber, and the graphic layout on the written page. Frequently, published editions were written in a specific time signature to visually signify the tempo for slow movements in symphonies, sonatas, and concerti. A perfectly consistent unusual metrical pattern may be notated in a more familiar time signature that does not correspond to it. For example, the Passacaglia from Britten's opera Peter Grimes consists of variations over a recurring bass line eleven beats in length but is notated in ordinary 44 time, with each variation lasting 2+3⁄4 bars, and therefore commencing each time one crotchet earlier in the bar than the preceding one.

This is a list of compositions by Niels Viggo Bentzon.

This is a list of string quartet composers, chronologically sorted by date of birth and then by surname. It includes only composers who have Wikipedia articles. This list is by no means complete. String quartets are written for four string instruments—usually two violins, viola and cello—unless stated otherwise.

In music, quartal harmony is the building of harmonic structures from the intervals of the perfect fourth, the augmented fourth, and the diminished fourth. For instance, a three-note quartal chord on C can be built by stacking perfect fourths, C–F–B♭. Quintal harmony is harmonic structure preferring the perfect fifth, the augmented fifth and the diminished fifth. For instance, a three-note quintal chord on C can be built by stacking perfect fifths, C–G–D.

This is a list of notable events in music that took place in the year 1951.

Eduardo "Dado" Dutra Villa-Lobos (born 29 June 1965) is a Belgian-born Brazilian musician, best known as the ex-guitarist of Brazilian rock band Legião Urbana. Along with singer Renato Russo and drummer Marcelo Bonfá, he was one of the founding members of that band, who formed in Brasília in 1982. Villa-Lobos remained with the band through all of their studio albums, until the group dissolved after the 1996 death of Russo. In 2005, he released his first solo album, Jardim de Cáctus, produced by Laufer. On 30 May 2012, he attended the Tribute to Legião Urbana with Wagner Moura, where they clashed with a fan during the presentation.

The following is a non-exhaustive list of notable compositions for the harp.