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 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.

The Piano Concerto No. 5, W 521, is a piano concerto by the Brazilian composer Heitor Villa-Lobos, written in 1954. One performance recorded under the composer's baton lasts about 19 minutes. The concerto was composed in 1954 in Rio de Janeiro. It was commissioned by Felicja Blumental, to whom the score is dedicated, and who gave the first performance at the Royal Festival Hall in London on 8 May 1955, with the London Philharmonic Orchestra, conducted by Jean Martinon.

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 train song is a song referencing passenger or freight railroads, often using a syncopated beat resembling the sound of train wheels over train tracks. Trains have been a theme in both traditional and popular music since the first half of the 19th century and over the years have appeared in nearly all musical genres, including folk, blues, country, rock, jazz, world, classical and avant-garde. While the prominence of railroads in the United States has faded in recent decades, the train endures as a common image in popular song. The earliest known train songs date to two years before the first public railway began operating in the United States. "The Carrollton March", copyrighted July 1, 1828, was composed by Arthur Clifton to commemorate the groundbreaking of the Baltimore and Ohio Railroad. Another song written for the occasion, "Rail Road March" by Charles Meineke, was copyrighted two days after Clifton's, one day before the July 4 ceremonies. The number of train songs that have appeared since then is impossible to determine, not only because of the difficulties in documenting the songs but also in defining the genre. Following is a list of nearly 800 songs by artists worldwide, alphabetized by song title. Most have appeared on commercially released albums and singles and are notable for either their composers, the musicians who performed them, or their place in the history of the form. Besides recorded works, the list includes songs that preceded the first wax cylinder records of the late 1800s and were published as either broadsides or sheet music.

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

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

Chôros No. 4 is a quartet for three horns and trombone, written in 1926 by the Brazilian composer Heitor Villa-Lobos. It forms a part of a series of fourteen numbered compositions collectively titled Chôros, ranging from solos for guitar and for piano up to works scored for soloist or chorus with orchestra or multiple orchestras, and in duration up to over an hour. Chôros No. 4 is one of the shorter members of the series, a performance lasting about five-and-a-half minutes.

Chôros No. 10 ("Rasga o Coração") is a work for chorus and orchestra written in 1926 by the Brazilian composer Heitor Villa-Lobos. It is part of a series of fourteen numbered compositions collectively titled Chôros, ranging from solos for guitar and for piano up to works scored for soloist or chorus with orchestra or multiple orchestras, and in duration up to over an hour. Chôros No. 10 is of moderate length, one performance recorded by the composer lasting just under thirteen minutes.

This is a list of compositions by Niels Viggo Bentzon.

This is a list of notable musical works which use the whole tone scale. Béla Bartók Cantata Profana, b. 186–187 Concerto for Orchestra, fifth movement, b. 484 String Quartet No. 1, end of movement 3 String Quartet No. 4, first movement, b. 157–160 String Quartet No. 5 "The sequence of tonalities of the single sections [of the sonata form] produce the whole-tone scale". "In the first movement of the Fifth String Quartet...the tonalities of the individual sections form a complete whole-tone scale (B♭–C–D–E–F♯–G♯–B♭)." Mikrokosmos, Volume V, No.136 "Whole-Tone Scales" Alban Berg Violin Concerto "Nacht" from Seven Early Songs Hector Berlioz Francs-Juges Overture Ferruccio Busoni An die Jugend for piano, the right hand part of the "Preludietto, Fughetta ed Esercizio" is based on the whole tone scale. Frédéric Chopin Prelude No. 19, mm. 43–44, in the bass, "while the melody moves down chromatically" Alexander Dargomyzhsky The Stone Guest, passage from act 3 Peter Maxwell Davies Symphony No. 3, first movement, horns, between rehearsals P and Q Claude Debussy Chansons de Bilitis Children's Corner Images for piano, No. 1 Jeux La mer Pelléas et Mélisande, act 4 scene 2 Prélude à l'après-midi d'un faune, b. 32–33, 35–36 Voiles from Préludes, Book 1 Edward Elgar The Dream of Gerontius Blair Fairchild A Baghdad Lover, nine songs for bass and piano, Op. 25 (1911) Mikhail Glinka Ruslan and Lyudmila, near the end of the overture, in the finale to act 1, and in the act 4 chorus "Pogibnet! Pogibnet!" The Human Abstract "Holographic Sight" Leoš Janáček Sinfonietta (1926) Sigfrid Karg-Elert "Allegro burlesco" from the Sonatina exotique for piano King Crimson "Fracture" One More Red Nightmare Kraftwerk "Spacelab" (from The Man-Machine) Franz Liszt Fantasy and Fugue on the chorale "Ad nos, ad salutarem undam", for organ Réminiscences de Don Juan Gustav Mahler Symphony No. 5, end of fifth movement, b. 784-787 Das Lied von der Erde, sixth movement, b. 454-459 Olivier Messiaen Quartet for the End of Time (movement 6, "Danse of Fury, for the seven trumpets", cello part) Lee Morgan "Our Man Higgins" Wolfgang Amadeus Mozart A Musical Joke Giacomo Puccini Madama Butterfly Maurice Ravel Jeux d'Eau, page 1 Vladimir Rebikov Une fête, No. 6 Les rêves Nikolai Rimsky-Korsakov Piano Concerto, 1882, Allegro Arnold Schoenberg "Am Wegrand", Op. 6, no. 6 Chamber Symphony No. 1 "Jesus bettelt", Op. 2, no. 2 Pelleas und Melisande String Quartet No. 1 Franz Schubert "Sanctus" from the Mass No. 6 in E♭ major, D. 950 Sparks "In the Future" from the album Indiscreet Karlheinz Stockhausen Montag aus Licht, act 1, scene 6, "Das große Geweine", b. 879–881 Igor Stravinsky L'Histoire du soldat Heitor Villa-Lobos Chôros No. 2 String Quartet No. 3, second movement (Molto Vivo) Stevie Wonder "You Are the Sunshine of My Life" (introduction) Joe Hisaishi "Les Aventuriers" from Piano Stories II – The Wind of Life, 1996

The Guitar Concerto, W501 (piano reduction: W502), is a work for solo guitar and small orchestra written by the Brazilian composer Heitor Villa-Lobos in Rio de Janeiro in 1951. A typical performance lasts about 18 minutes.

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

Fantasia for saxophone, three horns, and strings, W. 490, is a concertante work in three movements by the Brazilian composer Heitor Villa-Lobos, written in 1948. A typical performance lasts approximately ten minutes.

James Augustine Aloysius Joyce (born James Augusta Joyce; 2 February 1882 – 13 January 1941) was an Irish novelist, poet, and literary critic. He contributed to the modernist movement and is regarded among the most influential and important writers of the 20th century. Joyce's novel Ulysses (1922) is a landmark in which the episodes of Homer's Odyssey are paralleled in a variety of literary styles, particularly stream of consciousness. Other well-known works are the short-story collection Dubliners (1914) and the novels A Portrait of the Artist as a Young Man (1916) and Finnegans Wake (1939). His other writings include two books of poetry, a play, correspondence, and occasional journalism. Born in Dublin into a middle-class family, Joyce attended the Jesuit Clongowes Wood College in County Kildare, then, briefly, the Christian Brothers–run O'Connell School. Despite the chaotic family life imposed by his father's unpredictable finances, he excelled at the Jesuit Belvedere College and graduated from University College Dublin in 1902. In 1904, he met his future wife, Nora Barnacle, and they moved to mainland Europe. He briefly worked in Pola (now in Croatia) and then moved to Trieste in Austria-Hungary, working as an English instructor. Except for an eight-month stay in Rome working as a correspondence clerk and three visits to Dublin, Joyce lived there until 1915. In Trieste, he published his book of poems Chamber Music and his short-story collection Dubliners, and began serially publishing A Portrait of the Artist as a Young Man in the English magazine The Egoist. During most of World War I, Joyce lived in Zurich, Switzerland, and worked on Ulysses. After the war, he briefly returned to Trieste and in 1920 moved to Paris, which was his primary residence until 1940. Ulysses was first published in Paris in 1922, but its publication in the United Kingdom and the United States was prohibited owing to its perceived obscenity. Copies were smuggled into both countries and pirated versions were printed until the mid-1930s, when publication became legal. Ulysses frequently ranks high in lists of the greatest books, and academic literature analysing Joyce's work is extensive and ongoing. Many writers, film-makers, and other artists have been influenced by his stylistic innovations, such as his meticulous attention to detail, use of interior monologue, wordplay, and the radical transformation of traditional plot and character development. Though most of his adult life was spent abroad, his fictional universe centres on Dublin and is largely populated by characters who closely resemble family members, enemies and friends from his time there. Ulysses is set in the city's streets and alleyways. Joyce said: "For myself, I always write about Dublin, because if I can get to the heart of Dublin I can get to the heart of all the cities of the world. In the particular is contained the universal." In 1923, Joyce started his next major work, Finnegans Wake. It was published in 1939. Between these years, he travelled widely. He and Nora were married in a civil ceremony in London in 1931. He made several trips to Switzerland, frequently seeking treatment for his increasingly severe eye problems and psychological help for his daughter, Lucia. When Germany occupied France during World War II, Joyce moved back to Zurich in 1940. He died there in 1941 after surgery for a perforated ulcer at age 58.

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.

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.

The saxophone (often referred to colloquially as the sax) is a type of single-reed woodwind instrument with a conical body, usually made of brass. As with all single-reed instruments, sound is produced when a reed on a mouthpiece vibrates to produce a sound wave inside the instrument's body. The pitch is controlled by opening and closing holes in the body to change the effective length of the tube. The holes are closed by leather pads attached to keys operated by the player. Saxophones are made in various sizes and are almost always treated as transposing instruments. A person who plays the saxophone is called a saxophonist or saxist. The saxophone is used in a wide range of musical styles including classical music (such as concert bands, chamber music, solo repertoire, and occasionally orchestras), military bands, marching bands, jazz (such as big bands and jazz combos), and contemporary music. The saxophone is also used as a solo and melody instrument or as a member of a horn section in some styles of rock and roll and popular music. The saxophone was invented by the Belgian instrument maker Adolphe Sax in the early 1840s and was patented on 28 June 1846. Sax invented two groups of seven instruments each—one group contained instruments in C and F, and the other group contained instruments in B♭ and E♭. The B♭ and E♭ instruments soon became dominant, and most saxophones encountered today are from this series. Instruments from the series pitched in C and F never gained a foothold and constituted only a small fraction of instruments made by Sax. High-pitch (also marked "H" or "HP") saxophones tuned sharper than the (concert) A = 440 Hz standard were produced into the early twentieth century for sonic qualities suited for outdoor use, but are not playable to modern tuning and are considered obsolete. Low-pitch (also marked "L" or "LP") saxophones are equivalent in tuning to modern instruments. C soprano and C melody saxophones were produced for the casual market as parlor instruments during the early twentieth century, and saxophones in F were introduced during the late 1920s but never gained acceptance. The modern saxophone family consists entirely of B♭ and E♭ instruments. The saxophones in widest use are the B♭ soprano, E♭ alto, B♭ tenor, and E♭ baritone. The E♭ sopranino and B♭ bass saxophone are typically used in larger saxophone choir settings, when available. In the table below, consecutive members of each family are pitched an octave apart.

Introdução aos Chôros: Abertura (Introduction to the Chôros: Overture), is a composition for guitar and orchestra by the Brazilian composer Heitor Villa-Lobos, composed in 1929 as an overture to precede a complete performance of his series of fourteen Chôros. A performance of just the Introdução lasts about thirteen minutes.

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

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

This is a list of compositions by Niels Viggo Bentzon.

The saxophone (often referred to colloquially as the sax) is a type of single-reed woodwind instrument with a conical body, usually made of brass. As with all single-reed instruments, sound is produced when a reed on a mouthpiece vibrates to produce a sound wave inside the instrument's body. The pitch is controlled by opening and closing holes in the body to change the effective length of the tube. The holes are closed by leather pads attached to keys operated by the player. Saxophones are made in various sizes and are almost always treated as transposing instruments. A person who plays the saxophone is called a saxophonist or saxist. The saxophone is used in a wide range of musical styles including classical music (such as concert bands, chamber music, solo repertoire, and occasionally orchestras), military bands, marching bands, jazz (such as big bands and jazz combos), and contemporary music. The saxophone is also used as a solo and melody instrument or as a member of a horn section in some styles of rock and roll and popular music. The saxophone was invented by the Belgian instrument maker Adolphe Sax in the early 1840s and was patented on 28 June 1846. Sax invented two groups of seven instruments each—one group contained instruments in C and F, and the other group contained instruments in B♭ and E♭. The B♭ and E♭ instruments soon became dominant, and most saxophones encountered today are from this series. Instruments from the series pitched in C and F never gained a foothold and constituted only a small fraction of instruments made by Sax. High-pitch (also marked "H" or "HP") saxophones tuned sharper than the (concert) A = 440 Hz standard were produced into the early twentieth century for sonic qualities suited for outdoor use, but are not playable to modern tuning and are considered obsolete. Low-pitch (also marked "L" or "LP") saxophones are equivalent in tuning to modern instruments. C soprano and C melody saxophones were produced for the casual market as parlor instruments during the early twentieth century, and saxophones in F were introduced during the late 1920s but never gained acceptance. The modern saxophone family consists entirely of B♭ and E♭ instruments. The saxophones in widest use are the B♭ soprano, E♭ alto, B♭ tenor, and E♭ baritone. The E♭ sopranino and B♭ bass saxophone are typically used in larger saxophone choir settings, when available. In the table below, consecutive members of each family are pitched an octave apart.

Symphony No. 4 is a composition by the Brazilian composer Heitor Villa-Lobos, written in 1919. This symphony is subtitled A Vitória (The Victory), while its predecessor and successor are subtitled A Guerra (War) and A Paix (Peace), respectively. It is also the fourth in a cycle of five symphonies in the style of Vincent d'Indy. Villa-Lobos composed his Fourth Symphony in Rio de Janeiro in 1919, beginning in October, as the second in a trilogy of programmatic symphonies based on arguments by Luís Gastão d'Escragnolle Dória. It was first performed at the Theatro Municipal in Rio de Janeiro, together with the Third Symphony, in September 1920 by the Orchestra do Theatro Municipal conducted by the composer. A recording conducted by the composer lasts just over 30 minutes.

Symphony No. 7, Odisséia da paz (Odyssey of the Peace) is a composition by the Brazilian composer Heitor Villa-Lobos, written in 1945. A typical performance lasts about 30 minutes.

This is an alphabetically ordered list of sub-titles, nicknames and non-numeric titles that have been applied to classical music compositions of types that are normally identified only by some combination of number, key and catalogue number. These types of compositions include: symphony, concerto, sonata, and standard chamber music combinations (strings trio, quartet, quintet, sextet, etc.; piano trio, quartet, quintet, sextet, etc.), among others. A sub-title is a subsidiary name given to a work by the composer, and considered part of its formal title, such as: The Age of Anxiety, the sub-title of Bernstein's Symphony No. 2 Pathétique, the sub-title of Tchaikovsky's Symphony No. 6 in B minor, Op. 74. A nickname is a name that is not part of the title given by the composer, but has come to be popularly associated with the work, such as: Emperor, the nickname of Beethoven's Piano Concerto No. 5 in E-flat major, Op. 73 Jupiter, the nickname of Mozart's Symphony No. 41 in C major, K. 551. A non-numeric title is a formal title that departs from the usual sequential numbering of works of the same type, such as: Symphonie fantastique by Berlioz and Warsaw Concerto by Addinsell.

This is a partial repertoire list of classical works for saxophone.